J OURNA L
Phung Hao Thanh Geoffery ABPL30048_2015_SM1 | STUDIO AIR
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STUDIO 11 CANHUI CHEN |
Space for Good Quote
Table of Contents 01.
02.
Introduction
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Part A
A1 dESIGN fUTURING
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A2 dESIGN cOMPUTATION 10
a3 cOMPOSITION AND GENERATION
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A4 cONCLUSION 18 A5 lEARNING OUTCOMES 18 A6 aPPENDIX 19 03.
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PArt B
Special thanks to
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Geoffery Phung
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i n t r o D UC TION I am Geoffery, third year in Bachelor of
Environments Majoring in Architecture at
University of Melbourne. For me, Architecture is something that I have been dreaming to
do when I was younger, amazed and inspired by little LEGO blocks that was given to me on my 6th birthday. Growing older, I still
pursue the dream of being one. Studio Air to me is a new opportunity to expose myself to the more modern way of approaching Architecture. Although with little base
knowledge in the digital realm, I seek to gain new knowledge that the subject provide in
order to apply them to the real world one day. Rhino was introduced to me as a common tool being use for 3D Modelling since first
year of the degree, and I have found myself favoring the use of the program with various
tasks I need to do, and was and always pursue
to learn ways of using the software efficiently and effectively for future tasks
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PART A A1.Design Futuring a2.Design Computation A3.Composition & Generation a4.ConClusion
“How is the future being understood? And what is meant by design?”
Tony Fry[1]
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Design Futuring A1
It has always been recognized that individuals communities, races and even nations can be fated or made to disappear. With our current de-futuring condition of unsustainability it can be assume that we human no longer have what it is called to be future, and the only way to resolve such problem is to design “against the still accelerating defuturing condition”.[1]
The Shukhov Tower The Shukhov Tower in Polibino
delivering the slender, transparency
(water tower, is now being pre-
feel to the structure, yet at the same
served and under state protec-
time stable.
tion) was designed in 1896 by the architect/engineer Vladimir Shukhov. Although not so much
This structure and form, since then
well known in the world, the tower
has been applied and use for various
itself lay the foundation to the
designs, namely few of Shukhov’s
structure and designs of various
following years projects the Adziogol
towers worldwide since then as the
Lighthouse, Stanislav Range Front
world first hyperboloid structure.
Light, and the Shukhov Tower in Oka
The skeletal framing of the tower
River which would have surpassed
brings a strong sense of lightness
the Eiffel Tower by 50m which using
and slender compare to tradi-
less than a quarter of the amount
tional compression method of
of materials (unfortunately they
stacking up levels for towers.
didn’t have enough materials so they built a smaller version instead). Others influences would be the Kobe
Towers are tall structures that sym-
Port Tower in Japan (1963), Corpora-
bolize strength, power, and guid-
tion Street Bridge in Manchester
ance, hence the way a tower de-
City (1999), and the Canton Tower in
livers its experience is very much
Guangdong China (2010) etc.
important to the audiences. The I.1 Shukhov Tower in Polibino sketch (p6 Left) I.2 Shukhov Tower present day image (p7 Top Left) I.3 Kobe Tower (p7 Top Right) I.4 Corporation Street Bridge (p7 Bot)
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skeletal steel work outside combining with the hyperboloid form generates a modern and futuristic look to the Shukhov tower
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Guggenheim Museum Guggenheim Museum is one of Frank
Loyd Wright major project in his career.
Built in 1959, it strike the world of modern
architecture at time, with its organic curves contrasting form to the strictly Manhattan grid, making it an “unforgettable mark in
Manhattan”[2]. The dynamic caused by the spiral reinforced concrete swirling upwards to the sky has become an iconic symbol for the Museum itself as well as marking a refreshing idea in design in which the
exterior aesthetic of the building is used
as a piece of artwork to attract the public
eyes. Hence an important highlight for an
architecture age in which the emphasis of individual style over standardized form is
once again recall as an important aspect.
The Museum is still currently in use,
however it was noted that visitor’s main objective coming to the museum is to
perceive the building more than the work inside. The building has also influence on current days designs namely the
resemblance of idea in the Denmark’s Pavilion by Bjarke Ingels of BIG.
I.5 Denmark Pavillion Shanghai Expo (p9 Top) I.6 Guggenheim Museum (p9 Bot)
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Design Comp uti ng A2
Technology has been and is being an essential tool in present day design and constructing industry. Not only that it resolve complex and expressive geometries in buildings or the building itself with complex forms, delivering solutions in which is effective and efficiently. The outcome can also delivers a systematic analytic to the problems which demonstrate high quality of evaluations in the design and construction process.
ICD ITKE Research Pavilion 2013-14 The project is an exemplar of computing in design process, demonstrating through the initial idea developing a strategy for
biomimetic investigation of natural fiber
composite shells. During the process, they
research vigorously upon shells of different species of beetles, studying down to micro level structure within the shells, which
would not be able to achieve without the
assistance of computing. Combining with the planned out materials, spatial layout structure and biological research, the
pavilion was made possible. The result is a
wrapped carbon fiber shelter which illustrates biomimicry, computation design modular design. The building process involves
complex computing levels in order to
construct a custom robot for the efficient
process generating light weighted modular components.
I.7 Research Pavillion Diagram (p11 Top) I.8 Research Pavillion (p11 Bot)
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Tape Paris Tape Paris by Numen although is only a
temporary project, it delivers a strong sense of computing involve in designing such
space, the project was meant to be interactive and it was. The project plays with the
idea of exposure and enclosed where visi-
tor can experience the project from within
itself while others outside can observe their movements from outside the maze. The designers stated that the form of the proj-
ect is taken from blood veins in which the
internal space in inspired by the womb-like
spaces, responding to an unconscious desire for comforting.
I.9 Tape Paris Project from below (p13 Top Left) I.10 Tape Paris Project panorama (p13 Top Right) I.11 Tape Paris Project inside (p13 Bot)
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GEneration and CompoSition A3
Computation is ‘the processing of information and interactions between elements which constitute a specific environment’[3] This essentially create a movement in which architecture practices shift from composition towards generation which the allowance of quick, swift modification in which it is not destructive but generates more
The Coral Tower
MVRDV proposed this project as a renewal for the AMP tower as a major effort of Sydney to deal with its density and diversity. The building used the existing structural grid as its basis of the extension and renovation of the tower’s floor plates and facades. This grid generates a “pixel like working environments”, and the “smaller scale of the pixel allows the possibility of individualized floorplans which react to the building’s context”. With this they can create more corner rooms using the carving method which enables more lights and better views for the rooms. Furthermore, these carvings are opened to plantation system which could be an opportunity for a three dimensional park to reside into the building.
I.12 Coral Tower Concept Diagram (p15 Top) I.13 Coral Tower whole perspective (p15 Bot Left) I.14 Coral Tower View (p15 Bot Right)
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National Center For Contemporary Arts
Tom Wiscombe is known in the field of parametric design, in this proposal, his team sought to explore the idea of “sack” in which they described “is a diagram of the conundrum of how things can be simultaneously be autonomous from one another but also contain other things” where the aim of the building is a logical arrangement of multiple autonomous objects but also work as a whole, with distinctive own properties. With such high demand in the objective, it illustrates that it would be extremely hard for designers to approach such building the traditional way, but through the use of generative computing, it is made possible since the relationships between the “autonomous objects” and as a building as a whole is controlled, furthermore, it allows ease modification for the designers during process such that squishing the building into a “ground object” is possible giving the looseness between the building which create a passage underneath the building, emphasizing the object-hood of the building complex. Furthermore, the parametric relations enables the quick modifications of parts of the building in simulation allowing the designer to examine the geometry performances of the objects in the building which influence strongly upon the complete geometry as whole.
I.15 National Center For Contemporary Arts geometry diagram (p17 Top) I.16 National Center For Contemporary Arts 3D Model (p17 Bot)
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CONCLUSION and L e a r n i n g O u tcom es A4 + A5
Computation has become a strong tool in architecture practices in which opened up new possibilities for designers to generate complex and innovative geometries with efficiency, allowing not only quick digital models, and effectively manipulate the fabrication process but also enables quick modification of the geometries at ease so that the forms would work at its best in reality. Parameters set in parametric design do not constrain the designs from the designers it seems from studies in part A, it proves to be the opposite, with parameters, designers was able to simulates their designs in various ways which does not cause destructive to their original design but enhance the design’s forms. From the case studies above, I found myself most interested upon Tom Wiscombe’s National Center For Contemporary Arts, taking the concept of “sack” into his design, working closely with individual forms as well as the complete form as a whole.
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App e n dix A6
[1] Tony Fry Design Futuring [2] http://arthistoryteachingresources.org/lessons/architecture-since-1900/ [3] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
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Apendix - P ictu r es A6
I.1 http://upload.wikimedia.org/wikipedia/commons/a/a1/First_Shukhov_Tower_Nizhny_Novgorod_1896.jpg I.2 http://en.wikipedia.org/wiki/Vladimir_Shukhov#/media/File:Worlds_First_Hyperboloid_in_Polibino_photo_by_Arssenev.jpg I.3 http://upload.wikimedia.org/wikipedia/commons/0/03/Kobe_port_tower_01.jpg I.4 http://pic.triposo.com/ios/macncheese_2/pic/Corporation_Street_Bridge.jpg I.5 http://www.patriquinarchitects.com/site/wp-content/uploads/2010/08/Danish-Montage.jpg I.6 http://interactive.wttw.com/sites/default/files/styles/tenbuildings_hero/public/tenbuildings/TM600ss_0.jpg I.7 https://vimeo.com/98783849 I.8 https://i.vimeocdn.com/video/479622219_1280x720.jpg I.9 http://www.numen.eu/installations/tape/paris/ I.10 http://www.numen.eu/installations/tape/paris/ I.11 http://www.numen.eu/installations/tape/paris/ I.12 http://www.mvrdv.nl/projects/coraltower/gallery.html I.13 http://www.mvrdv.nl/projects/coraltower/gallery.html I.14 http://www.mvrdv.nl/projects/coraltower/gallery.html I.15 http://www.tomwiscombe.com/project_012.html I.16 http://www.tomwiscombe.com/project_012.html
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