STUDIO AIR 2017, SEMESTER 1 FINNIAN WARNOCK ISURIE WEERASINHA 761387
Book Size: Standard Portrait 8x10
Place a background image
This is the first printable page in your book and will print on the right side.
These instructions should not appear in your exported pdf. Please be sure to complete your Pages design prior to creating your Cover template. The Page Count must be exact when creating your Cover template.. You’ll need to upload a PDF for the pages and at least one cover type. Remember, all books must be an even number of pages. The first page will be on the right side as you open the cover and the last page will be on the left side as you close the book. Hardcover books include an end sheet on both the front and back of the inside pages for binding purposes. Please note, all critical text and art should appear within this gray area. Any content outside this area may be unevenly trimmed or hidden by the gutter when the book is bound. If you would like your artwork to extend to the very edge of your finished book then pull your artwork edge to the red bleed line.
Be sure to review your exported PDF in an outside program (like Adobe Reader) to ensure it appears correctly and without these instructions. Further info can be found at: http://www.blurb.com/apps/indesign-plugin
STUDIO AIR Table of Contents INTRODUCTION
4
PART A: CONCEPTUALISATION
7
A1 DESIGNING FUTURING
8
•
A1.1 CASE STUDY -
10
•
A1.2 CASE STUDY -
12
A2 DESIGN COMPUTATION A3 COMPOSITION/ GENERATION A4 CONCLUSION
14
INTRODUCTION
HI THERE, MY NAME IS ISURIE WEERASINHA. I AM CURRENTLY IN MY THIRD YEAR OF STUDY IN THE BACHELOR OF ENVIRONMENTS, MAJORING IN ARCHITECTURE AND PROPERTY. AFTER COMMENCING MY DEGREE IN 2015, I DECIDED THAT BOTH PROPERTY AND ARCHITECTURE COMPLIMENTED EACH OTHER WELL AND ENHANCED MY KNOWLEDGE OF THE INDUSTRY. ALTHOUGH THE WORKLOAD IS OFTEN IMMENSE, IT IS ENJOYABLE. CURRENTLY WHILE STUDYING I AM WORKING AS A RETAIL ASSISTANT FOR TYPO. THIS ROLE HAS TAUGHT ME TIME MANAGEMENT AND THE IMPORTANCE VISUAL DESIGN IN APPEALING TO AN AUDIENCE. I HAVE COMPLETED STUDIO EARTH BUT DUE TO MY STUDY TIMETABLE I WAS UNABLE TO COMPLETE WATER OR DDF WHICH IMPACTED ON MY LEVEL OF KNOWLEDGE OF RHINO. BUT FOR THE PAST WEEKS I HAVE BEEN ATTEMPTING TO LEARN THE PROGRAM. I DO HOWEVER HAVE EXPERIENCE IN ADOBE ILLUSTRATOR, PHOTOSHOP, SKETCH UP AND AUTO CAD. I AM QUITE ENTHUSIASTIC ABOUT GOING INTO THIS YEAR, AND LEARNING NEW SOFTWARE AND KNOWLEDGE WHICH WILL ASSIST ME IN MY CAREER.
4
FIG.1 FINAL EARTH PRESENTATION
5
PART A: CONCEPTUALISATION
A1 : DESIGNING FUTURES
8
"IT IS NOW EASIER FOR US TO
IMAGINE THE END OF THE WORLD THAN AN ALTERNATIVE TO CAPITALISM. YET ALTERNATIVES ARE EXACTLY WHAT WE NEED. WE NEED NEW DREAMS FOR THE TWENTY-FIRST CENTURY AS THOSE OF THE TWENTIETH CENTURY RAPIDLY FADE."1 -FEDRICK JAMESON
1 DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING (MIT PRESS) , P4
9
A1 .1 CASE STUDY- ALGAE CANOPY A LONDON BASED ECOLOGICAL STUDIO, CLAUDIA PASQUERO AND MARCO POLETTO PROPOSED A NEW VISION OF FUTURE BIO-DIGITAL ARCHITECTURE FOR EXPO MILANO 2015.
THIS IS A PERFEC T EX AMPLE OF THE ALTERNATIVE T WENT Y-FIRST CENTURY DREAMS THAT ARCHITEC TS AND DESIGNERS SHOULD BE STRIVING TOWARDS TO PROTEC T THE PL ANET WE LIVE IN.
"OUR TIME ON EARTH IS DETERMINED BY OUR ABILITY TO UNDERSTAND THE PRESENT AND ACT ACCORDINGLY TO REACH A DESIRED FUTURE." 1
THE PROJECT INTEGRATES TECHNOLOGICAL ADVANCES OF THE 21ST CENTURY WITH THE NATURAL ENVIRONMENT OF THE MODERN TIME. AS HUMANS WE ARE PART OF THIS NATURAL ENVIRONMENT. HENCE THIS PROJECT WORKS TOWARDS THE WAYS IN WHICH HUMANS CAN ASSIST THE SLOW REHABILITATION OF NATURE. THIS CANOPY, IS A TRANSPARENT BIO-DIGITAL STRUCTURE FILLED WITH MICRO ALGAE ORGANISMS TO PROVIDE SHADE FOR VISITORS BELOW WHILE AT THE SAME TIME PRODUCING LARGE AMOUNTS OF OXYGEN. THE ALGAE IS A FLUID THAT RESPONDS ACCORDINGLY TO THE PRESENCE OF VISITORS. AS HUMANS WALK THROUGH THE AREAS OF THE CANOPY, ELECTRO VALVES ARE TRIGGERED ALTERING THE SPEED AT WHICH THE ALGAE FLOWS THROUGH THE CANOPY.
FIG. 1: GROUND SURFACE ON CANOPY
THE CANOPY ALSO RESPONDS TO THE WEATHER. FOR EXAMPLE, WHEN THE SUN IS SHINING INTENSELY, THE ALGAE WOULD PHOTOSYNTHESISE AND GROW. IN TURN REDUCING THE TRANSPARENCY OF THE CANOPY AND PROVIDING MUCH NEEDED SHADE. PROJECTS SUCH AS THIS INSPIRES DESIGNERS TO SEARCH BEYOND THE PRESENT FORMS OF ARCHITECTURE. WHILST THIS PROJECT HAS NOT BEEN BUILT IT IS POSITIVE STEP TOWARDS INTEGRATING TECHNOLOGY WITH NATURE AS IT IS IN THE 21ST CENTURY. THE COMPLETED CANOPY WILL 'PRODUCE THE OXYGEN EQUIVALENT OF 4 HECTARES OF WOODLAND AND UP TO 150KG OF BIOMASS PER DAY, 60% OF WHICH ARE NATURAL VEGETAL PROTEINS'. IT IS NEARLY IMPOSSIBLE ACHIEVE THE LEVEL OF BENEFITS THROUGH TRADITIONAL MEANS, YET AGAIN HIGHLIGHTING THE IMPORTANCE OF USING TECHNOLOGY AS A MEANS TO BETTER OUR CURRENT STANDARDS.
1 DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING (MIT PRESS) , P4
10
FIG. 2: GROUND SURFACE AND FRAMING CANOPY
FIG. 3: ADDITION OF SUPPORTING SURFACE OF CANOPY
FIG. 4: COMPUTER GENERATED 3D MODEL OF CANOPY
FIG. 5: INTERIOR OF CANOPY AND MOOD CAPTURING
11
A1 .2 CASE STUDY- HARBIN OPERA HOUSE THE HARBIN OPERA HOUSE DESIGNED BY MAD ARCHITECTS, WAS COMPLETED IN OCTOBER 2015. SITUATED IN THE WETLANDS OF THE NORTHERN REGIONS OF CHINA, THE CONSTRUCTION AT ITS PEAK STANDS AT 56 METERS.
AS DESIGNERS WE SHOULD BE STRIVING TO COMBINE THE IDEAS OF BOTH THE OPERA HOUSE AND THE ALGAE CANOPY. ENVIRONMENTALLY FRIENDLY DESIGN IS NOT NECESSARILY A PIECE OF CAKE. ARCHITECTS MUST ALSO ACCOUNT FOR HUMAN WANTS AND NEEDS, SUCH AS COMFORT. DESIGNING SUSTAINABLY DOES NOT DEDUCT HUMAN NEEDS AND WANTS.
HARBIN OPERA HOUSE WAS DESIGNED IN RESPONSE TO THE CLIMATE IN THE REGION. IT’S CURVACEOUS EXTERIOR, TOPOGRAPHY AND LUXURIOUS INTERIOR ARE USED AS A MEANS TO BLEND INTO AND FEEL CLOSER TO NATURE. SMOOTH WHITE ALUMINIUM PANELS WERE USED FOR THE EXTERIOR OF THIS BUILDING HELPING THE STRUCTURE TO CAMOUFLAGE DURING THE SNOWY WINTER MONTHS. THE GLASS ROOF REPRESENTS THE ICE OF THE FRIGID CLIMATE WHILE THE WHITE SURFACE REPRESENTS THE SOFT SNOW. THIS PARTICULAR PROJECT SERVES THE PURPOSE OF BEING A CULTURAL CENTRE WHICH INTEGRATES HUMANS, ART AND CITY IDENTITY. THE CONSTRUCTION IS VERY MUCH THE ICON OF THE CITY ATTRACTING VISITORS FAR MORE THAN PRIOR TO ITS EXISTENCE.
FIG. 6: CURVILINEAR FACADE CONTAINING ALUMINIUM PANELS AND GLASS
THE STRUCTURE IS IMPRESSIVE IN ITS USE OF TECHNOLOGY AND MATERIALS. TECHNOLOGY HAS BEEN USED TO DESIGN EACH ELEMENT OF THIS BUILDING TO SUITE THE NATURAL CLIMATE OF THE REGION AND WELL AS MATERIALS. EACH MATERIAL SERVES A PURPOSE. THE BENT PLANKS OF MANCHURIAN WOOD HAS GOOD ACOUSTIC QUALITIES WHILST MARBLE FLOORS OF THE BUILDING ARE EQUIPPED WITH HEATING FOR COLD WINTER MONTHS. UNLIKE THE ALGAE CANOPY THIS PARTICULAR STRUCTURE DOES NOT USE ARCHITECTURE AS A MEANS ASSIST THE REHABILITATION OF NATURE, RATHER ATTEMPTS TO BLEND A LARGE ARCHITECTURAL CONSTRUCTION WITH NATURE. IT IS THE JUXTAPOSITIONING OF THE BUILT ENVIRONMENT AND THE NATURAL ENVIRONMENT.
FIG. 7: TIMBER FINISH INTERIOR OF THEATRE
ALTHOUGH THE PROJECT FOCUSES ON PROVIDING A COMFORTABLE ENVIRONMENT TO USERS AND A MEANS FOR HUMANS TO FEEL CLOSER TO NATURE IN A SAFE ENVIRONMENT. IT IS SHOULD NOT BE SEEN AS THE ALTERNATIVE DESIGN TECHNIQUES THAT WE ARE SEARCHING FOR. FIG. 8: VIEW OF OPERA HOUSE FROM THE TOP
12
FIG. 9: SIDE VIEW OF OPERA HOUSE SHOWING CURVACEOUS FEATURES AND JAGGED GLASS
FIG. 10: SMOOTH MARBLE INTERIOR, SHOWING HOW LIGHT IS REFLECTED IN THE SPACE
13
A2: DESIGN COMPUTATION
14
"FORMATION PRECEDES FORM, AND DESIGN BECOMES THE THINKING OF ARCHITECTURAL GENERATION THROUGH THE LOGIC OF THE ALGORITHM"
15
A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE ZAHA HADID’S GUANGZHOU OPERA HOUSE IS A DESIGN EVOLVED FROM CONCEPTS OF THE NATURAL LANDSCAPE . ESPECIALLY INFLUENCED BY THE PRINCIPLES OF GEOLOGY, EROSION AND TOPOGRAPHY. WHILE PREVIOUSLY SUCH FLUIDITY AND EXPLORATION WAS LIMITED , PARAMETRIC DESIGN AND COMPUTATION HAS ALLOWED ARCHITECTS TO PUSH BOUNDARIES THROUGH ALGORITHMS. THE OPERA HOUSE HAS TAKEN THE PRINCIPLE OF EROSION AND ADAPTED IT THROUGH COMPUTATION. THE FACADE DESIGN USES FOLDING TRIANGULAR LINES TO ALLOW LIGHT INTO THE BUILDING & VISUALISATION OF RIVER VALLEYS ERODING ASSISTED IN THE PARAMETRIC DESIGN. THE AMOUNT OF LIGHT ALLOWED INTO THE BUILDING CAN NOW BE ALTERED THROUGH THE TECHNOLOGICAL SOFTWARE, ALLOWING EFFICIENCY IN THE DEVELOPMENT PROCESS. GEOLOGY HAS FURTHERMORE HELPED SHAPE THE STRUCTURAL FORMS WITHIN THE BUILDING. DISSIMILAR OBJECTS ARE ALTERED LEADING TO THE DISTORTION OF FORM. IN ORDER TO DO THIS, EXPERIMENTS WOULD HAVE TO BE CARRIED OUT AND EFFECTIVELY THE RESULTS OF THESE, WILL BE USED TO CREATE AN ALGORITHM THAT DICTATES THE BUILT FORM. “THE INTEGRATION OF DIGITAL MATERIALITY AND PERFORMATIVE ANALYSIS NOW THEORETICALLY ENABLES SUCH A POTENTIAL FOR A CONTEMPORARY TECTONIC EXPRESSION TO BE DERIVED FROM THE TECHNOLOGIES OF MATERIAL DESIGN AND FABRICATION” 1
FIG. 11: EXTERIOR OF OPERA HOUSE DURING THE NIGHT
FIG. 12: INTERIOR PARAMETRIC DESIGN
FORMATION PRECEDES FORM AS PARAMETRIC DESIGN IS DEPENDANT ON RELATIONSHIPS BETWEEN OBJECTS, CHANGING ONE PARTICULAR ELEMENT OR CHANGING THE VALUES OF ITS PARAMETERS WILL THEREFORE CHANGE THE ENTIRE BUILDING. THIS FREEDOM ALLOWS FOR BUILDINGS TO HAVE FLUIDITY AND OPENS THE DOORS FOR INNOVATIVE DESIGN. FIG. 13: INTERIOR OPERA HOUSE
1 OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITIAL ARCHITECTURE ( LONDON; NEW YORK : ROUTLEDGE, PP 6
16
FIG. 14: INTERIOR FINISHES AND LIGHTING
17
A2.2 ICD/ITKE Research Pavilion 2015-16
“ MATERIAL EXPERIMENTATION AND INNOVATION SUCH DIFFERENTIATED FIELDS INCLUDES THE ABILITY TO MODULATE CONDITIONS OF THE POROSITY OF MATERIALS SURFACES, AND POTENTIAL CONTROL OF LIGHT PENETRATION AND SO ON.” 1THE RESEARCH PAVILION 2015-2016 USES RESEARCH ON SEA URCHINS TO INSPIRE THE CONSTRUCTION METHOD OF TIMBER PLATE SHELLS. THE EXPLORATION OF TIMBER IS CONDUCTED THROUGH A SERIES OF EXPERIMENTS WHICH IS THEN TRANSFERRED INTO SOFTWARE TO PRODUCE A FULL SCALE MODEL AS CAN BE SEEN IN FIG. 16 AND 17. COMPUTATION DESIGN FACILITATES NATURAL DESIGN THOUGH ALLOWING TO LEARN FROM IT RATHER THAN JUST IMITATING ITS DESIGN. THE PAVILION USES THIN PIECES OF WOOD STRIPS. THESE STRIPS ARE CUSTOM LAMINATED SO THAT THE GRAIN DIRECTION AND THICKNESS RELATES TO DIFFERENT STIFFNESS REQUIRED FOR PARTS WITH VARYING RADII. PROGRAMS SUCH AS GRASSHOPPER CAN BE USED DURING THE COMPUTATION PROCESS TO INTEGRATE DIFFERENT NUMBERS INTO A COMPLETE STRUCTURE.
FIG. 15 : SHELL STRUCTURE INVESTIGATION
FIG. 16: MATERIAL AND JOINT INFORMATION THROUGH COMPUTATION
THIS CASE STUDY EMPHASIZES HOW FORMATION PRECEDES FORM, WITH THE EXPLORATION OF MATERIALISM THROUGH DIGITAL ARCHITECTURE. COMPUTATION IS A NEW LOGIC OF ARCHITECTURAL DESIGN THROUGH THE USE OF ALGORITHMS.
FIG. 17: STRUCTURAL ANALYSIS
1 OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITIAL ARCHITECTURE ( LONDON; NEW YORK : ROUTLEDGE, PP 7
18
FIG. 18: FINISHED PROJECT
19
REFERENCING ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <HTTP://WWW.ACHIMMENGES.NET/?P=5822> [ 12TH MARCH 2017] ARCH DAILY, ‘ HARBIN OPERA HOUSE/ MAD ARCHITECTS’ ARCH DAILY (16TH DECEMBER 2015) <HTTP://WWW. ARCHDAILY.COM/778933/HARBIN-OPERA-HOUSE-MAD-ARCHITECTS> [ 7TH MARCH 2017] BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <HTTP://NEWATLAS.COM/URBAN-ALGAE-CANOPY-MILAN-EXPO/37480/> [ 6 MARCH 2017] DAVIS, DANIEL, ‘ THE NEXT GENERATION OF COMPUTATIONAL DESIGN’ ARCHITECT ( 31ST JULY 2015) <HTTP://WWW. ARCHITECTMAGAZINE.COM/TECHNOLOGY/THE-NEXT-GENERATION-OF-COMPUTATIONAL-DESIGN_O> [12TH MARCH 2017] ECOLOGICAL STUDIOS, ‘ALGAE CANOPY’ ECOLOGICSTUDIO ( 1ST OCTOBER 2014) <HTTP://WWW.ECOLOGICSTUDIO. COM/V2/PROJECT.PHP?IDCAT=3&IDSUBCAT=59&IDPROJ=137> [ 6 MARCH 2017] KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <HTTP://ARCHITIZER.COM/BLOG/MAD-HARBIN-OPERA-HOUSE/> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘HARBIN OPERA HOUSE’, ARCHELLO ( 2ND APRIL 2014) <HTTP://WWW. ARCHELLO.COM/EN/PROJECT/HARBIN-OPERA-HOUSE> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘ HARBIN OPERA HOUSE’ MAD <HTTP://WWW.I-MAD.COM/WORK/HARBIN-CULTURAL-CENTER/?CID=55> [7TH MARCH 2017] PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <HTTP://EMMELYNCHUA.BLOGSPOT. COM.AU/2014/06/WEEK-7-LURE-OF-CONTINUOUS-SKIN.HTML> [ 12TH MARCH 2017] SENO, ALEXANDRA, ‘HARBIN OPERA HOUSE’ ARCHITECTURAL RECORD (1 DECEMBER 2016) <HTTP://WWW. ARCHITECTURALRECORD.COM/ARTICLES/11368-HARBIN-OPERA-HOUSE> [ 7TH MARCH 2017] ZAHA HADID ARCHITECTS ‘GUANGZHOU OPERA HOUSE’ <HTTP://WWW.ZAHA-HADID.COM/WPCONTENT/FILES_MF/GUANGZHOUOPERAHOUSE.PDF> [12 TH MARCH 2017]
20
21