AIR
architectural design studio 3
julia koutroulis 350577
Part I. Expression of Interest 1. Case for Innovation 1.1. 1.2. 1.3. 1.4.
Architecture as a Discourse Computing in Architecture Parametric Modelling Case for Innovation Conclusion:
2. Research Project 2.1. Scope of Possibilities 2.1.1. Input/Association/Output Matrix 2.1.2. Reverse-Engineered Case-Study 2.1.3. Material Effects 2.1.4. Assembly Methods 2.2. Research Project Conclusion 3. Expression of Interest Conclusion: Competitive Advantage 4. Learning Objectives and Outcomes: Interim Part II. Project Proposal 1. 2. 3. 4.
Project Project Project Project
Interpretation Delivery Presentation Proposal Conclusion
Part III. Learning Objectives and Outcomes: Final 1. 2. 3. 4.
Personal Background and Learning Objectives Learning Progress Learning Outcomes Future Work
“Architecture
needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.” Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p.!108
1.1 ADVANCING ARCHITECTURAL DISCOURSE THE SERPENTINE GALLERY PAVILION 2007 ELIASSON & THORSON The Serpentine Pavilion is key to the discussion of architectural discourse as it produced by the leading figures in architectural design each year and is emblematic of the level of development reach at any particular time as the result of modern methods. Elaisson and Thorson’s Serpentine pavilon from 2007 is an amazing timberclad structure which resembles a spinning top and brings a dramatic vertical dimension to the traditional single-level pavilion. It’s unique design involves a wide spiralling ramp that makes two complete turns, allowing visitors to ascend from the Gallery lawn to the highest point for views across Kensington Gardens as well as a bird's eye view of the chamber below.
Discourse surrounding building, how it is engaging as visual culture: Olafur Eliasson’s deep-rooted interest in spatial questions, explored in his artistic practice, has resulted in an increasing engagement with architectural projects. This has led to Kjetil Thorsen and Olafur Eliasson collaborating on a number of projects, including the National Opera House, Oslo, and a recently submitted competition proposal for a new Museum of Contemporary Art in Warsaw. (http://www.kvadrat.dk/textile s/kvadrat_art_projects/serpent ine_gallery_pavilion_olafur_el iasson_kjetil_thorsen/)
1.1 ADVANCING ARCHITECTURAL DISCOURSE THE SERPENTINE GALLERY PAVILION 2007 ELIASSON & THORSON
Designers’ Statement: Based on the principle of a winding ramp, the 2007 Serpentine Gallery Pavilion explores the idea of vertical circulation within a single space. The aim is to reconsider the traditional, single-level pavilion structure by adding a third dimension: height. The vertical movement of visitors in the Pavilion will complement the horizontal circulation in the exhibition spaces at the adjacent Serpentine Gallery. (ArchDaily) By creating an emphasis on the reconsideration of traditional principals Elaisson and Thorson are advancing architectural discourse.
1.1 ADVANCING ARCHITECTURAL DISCOURSE
1.1 advancing architectural discourse THE SERPENTINE PAVILION AND ITS EVER CHANGINGINFLUENCE TO THE ADVANCEMENT OF ARCHITECTURAL DISCOURSE SERPANTINE GALLERY 2012 HERZOG & DE MEURON AND AI WEIWE The design team responsible for the Beijing National Stadium, home to the 2008 Olympic Games and won the prestigious RIBA Luberkin Prize have com together again to create the Serpentine pavilion of 2012. Opening in June 2012, the Pavilion will be presented as part of the London 2012 festival/ SERPANTINE PAVILION 2007 ZAHA HADID Pritzker prize winning architect Zaha Hadid and Patrik Schumacher designed temporary installation 'Lilas' on the occasion of the Gallery's world-renowned fundraiser The Summer Party. It was remained next to the gallery for a week. SERPANTINE PAVILION 2006 REM KOOLHAS AND CECIL BALMOND Pritzker prize winning architect Rem Koolhas and innovative structural designer Cecil Balmond created the centerpeice of the design spectacular ovoid-shaped inflatable canopy which floated above the gallery’s lawn. SERPANTINE PAVILION 2008 FRANK GEHRY This spectacular structure was designed by Frank Gehry in conjunction with Arup, it featured four massive steel columns anchoring it to the ground and was comprised of large timber planks and a complex network of overlapping glass lanes that created a dramatic, multi-dimensional space. SERPANTINE PAVILION 2002 TOYO ITO AND CECIL BALMOND WITH ARUP The pavilion of 2002 appeared to be an extremely complex random pattern that proved upon careful examination to derive from an algorithm of a cube that expanded as it rotated.
1.1 ADVANCING ARCHITECTURAL DISCOURSE SEED CATHEDRAL HEATHERWICK STUDIO
Architects at Heatherwick studio continue to present an exemplar of architectural discourse and computational design. The design process evolved to produce two interlinked and experiential elements: an architecturally iconic Seed Cathedral, and a multilayered landscape treatment of the 6,000m2 site. The complex nature of the form would be impossible without the help of digital modeling software. These fiber optic filaments are particularly responsive to external light conditions so that the unseen movement of clouds above the Seed Cathedral are experienced internally as a changing luminosity. The studio’s intention is to create an atmosphere of awe around this formidable collection of the world’s botanical resources and to truly create an experience more than just a building. The key reason this specific project is advancing architectural discourse is the perfect marriage of intuitive design and the limitless possibilities of computational design.
1.1 ADVANCING ARCHITECTURAL DISCOURSE SEED CATHEDRAL HEATHERWICK STUDIO The Seed Cathedral is made from a steel and timber composite structure pierced by 60,000 fibre optic filaments, 20mm square in section, which pass through aluminium sleeves. The holes in the 1 metre thick wood diaphragm structure forming the visitor space inside the Seed Cathedral were drilled with great geometric accuracy to ensure precise placement of the aluminium sleeves through which the optic fibre filaments are inserted. This was achieved using 3D computer modelling data, fed into a computer controlled milling machine. After the Expo just as dandelion seeds are blown away and disperse on the breeze, the Seed Cathedral’s 60,000 optic hairs, each one containing the huge potential of life, will be distributed across China and the UK to hundreds of schools as a special legacy of the UK Pavilion at the 2010 Shanghai Expo.
1.1 ADVANCING ARCHITECTURAL DISCOURSE HERRING ISLAND DISCOVERY CENTRE PERSONAL PROJECT The Brief: “You are asked to design ‘Unearthing’, a small Discovery Centre for Parks Victoria on Herring Island. The centre will be an opportunity for visitors to ‘unearth’ the natural history of Melbourne and, in particular, the island. Visitors will be taken on a journey through an indigenous landscape, a partially underground exhibition space that will focus on the geological history of the site (and its use as a basalt quarry and silt dump), the history of colonization and the changes to the landscape and river system that took place early last century and the more recent history of its use as a campground for the Scouts association. It will also acknowledge and support its current use as an environmental sculpture park and festival of Melbourne event space. Following the model of contemporary natural history and science museums (local examples include Science works, the children’s section of the Melbourne Museum, and the Ian Potter Foundation Children’s Garden at the Royal Botanic Gardens Melbourne) which rely less on static displays and more on an active engagement by visitors, the architecture should be a vehicle for visitors to unearth the history for themselves. Carefully consider sitting, the pathway from the punt landing to the discovery centre, its relationship to the other structures and sculptures on the island, views (distant and intimate), and its material nature”
Using computational techniques I was able to design a discovery centre unlike the norm, it is a centre that is circular in form to reflect the rings of a tree that matures with each ring, it symbolizes growth and knowledge. There is an internal amphitheatre and all roof segments are green roofs with a ramp almost the whole way around the structure. The idea of this discovery centre advances architectural discourse with its new use of materials and space to create an integration of multipurpose spaces in a new and innovative way not seen before. Although it may not be practical to have an ampitheatre surrounded by external spaces used for other purposes it does allow for discussion on new construction techniques.
“Any
serious “rethinking” of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject […].” Vidler, Anthony (2000). ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’, Harvard Design Magazine, 11, pp. 1-4, p. 3
1.1 ADVANCING ARCHITECTURAL DISCOURSE EXPRESSION OF INTEREST
These three projects relate directly to ideas about the advancement of architectural discourse by exploring innovations and techniques that computational design can accommodate for. This innovation can be taken forward into the Wyndham City Gateway project to explore ideas of shape, materiality and technical innovation.
The gateway project asks for as much , if not primarily, for contribution to discourse as it asks for a physical structure Rampley – exploring visual culture (2005) The movement around a space and it's impact on the site can be taken into consideration when working towards the Wyndham council's gateway project, the changing views and Have you explained a connection between the approach or ideas in a precedent project, and what is asked for in the Wyndham council’s Gateway Project brief? If not, relate the project to the competition brief or choose another precedent. Have you made an argument for the importance of contributing to a discourse when designing the Gateway Project Brief, making references to lectures and readings? If not, watch the lecture and summarize its content
The use of digital modeling (three-dimensional) and animation (four-dimensional) software has opened new territories of formal exploration in architecture, in which digitally generated forms are not designed in conventional ways. New shapes and forms are created by generative processes based on concepts such as topological space, isomorphic surfaces, dynamic systems, key shape animation, parametric design and genetic algorithms. The process of describing and constructing a design can be now more direct and more complex because the information can be extracted, exchanged, and utilized with far greater facility and speed; in short, twitht he use of digital technologies, the design information is the construction information. The emphasis shifts from the 'making of form” to the “finding of form” which various digitally based generative techniques seem to bring about intentional The introductio of digital modeling software into architectural design provided a departure from the Euclidean geometry of discrete volumes represented in Cartesian space and made possible the present use of “topological” “rubbersheet” geometry of continuous curves and surfaces that feature prominently in contemporary architecture. The highly curvilinear surfaces in the architecture of the digital avant-garde are descived mathematically as NURBS. Kolarevic – Architecture in the Digital Age “ computers by their nature are superb analytical engines...but while they can follow instructions precisely and faultlessly, computers are totally incapable of making up new instructions: they lack any creative abilities for innovation” Kalay What follows is that to appraise design you need to show: 1. The current situation. 2. The desired situation. 3. That the new situation is better in some specified way. “Buildings prior to the Renaissance, were constructed, not planned” -Kalay a state to which many contemporary practitioners of digital architecture wish to return.
1.2 COMPUTING IN ARCHITECTURE
Parametrics can provide for a powerful conception of architectural form by describing a range of possibilities, replacing in the process stable with variable, singularity with multiplicity. In parametric design, it is the parameters of a particular design that are declared, not its shape. By assiging different values to the parameters, different objects or configurations can be created. -Kolarevic “According to Lynn, “While physical form can be defined in terms of static coordinates, the virtual force of the environment in which it is designed contributes to its shape,” thus making the forces present in the given context fundemental to the form making in architecture. Images above show Inverse kinematics is used in the House ptoototype in Long Island progect – Greg Lynn Particle emission is used in the Port Authority Bus terminal, New York – Competition project by grey Lynn
1.2 COMPUTING IN ARCHITECTURE
Experience music Project – Frank Gehry seattle 2000 More than 21,000 differently shaped metal shingles for the exterior of the Experience Music Project in Seatle were cut using digitally-driven cutting machines from the geometric information extracted directly from a digital model. The new digitally-enabled processes of production imply that the construct-ability in building design becomes a direct function of computability. This form of design and construction offers “rich opportunities for the tectonic exploration of new geometries – Kolarevic There is also a conventional approach in which the sinuous skin is attached to a conventionallyconceived structural grid, which is carefully applied can produce interesting results.
1.2 COMPUTING IN ARCHITECTURE NORWEIGEN WILD REINDEER CENTRE PAVILION SNØHETTA OSLO AS
PARAMETRICS “Parametrics can provide for a powerful concepton of architectural form by describing a range of possibilites, replacing in the process stable with variable, singularity and muliplicity” (Architecture in the digital age‐Kolarevic)
Considerable emphasis is put on the quality and durability of the materials to withstand the harsh climate. The rectangular frame is made in raw steel resembling the iron found in the local bedrock. The simple form and use of natural materials reference local building traditions. However, advanced technologies have been utilized both in the design and the fabrication process. Using digital 3D-models to drive the milling machines, Norwegian shipbuilders in Hardangerfjord created the organic shape from 10 inch square pine timber beams. The wood was then assembled in a traditional way using only wood pegs as fasteners. The exterior wall has been treated with pine tar while the interior wood has been oiled. The pavilion is a robust yet nuanced building that gives visitors an opportunity to reflect and contemplate this vast and rich landscape.
1.2 COMPUTING IN ARCHITECTURE
This structure is a key example of how contemporary computational techniques can arrive at innovative solutions and extend create conversations about the digital realm and the physical realm. It is only through processes of digital design and digital production something such as this is made possible. The exact contours of the faรงade would be extremely time consuming and economically unfeasible if it were not for advances in modern computational design.
1.2 COMPUTING IN ARCHITECTURE
2. contemporary computational design Moored to the ground, it belongs to this place, and to all other places. In reality, there are forms that can only be drawn once, buildings that can only be built once, the second time being a replica. We believe in this opportunity for iGuzzini. Because this form, imperfect, slightly deformed, belongs to the world of iGuzzini. Though it is easy to identify, not everyone can appropriate this profile or this geometry. The structure and it’s skin can not be replicated without the use of contemporary computational design techniques, each panel works with the other perfectly because it was programmed to do so. These architects have created an amazing structure with the help of computational design.
1.2 COMPUTING IN ARCHITECTURE
This innovatve structure advances architectural discourse with modern forms of design and constructon, creatng questons and facilitatng discussions on the topic of contemporary computatonal design and it’s lack of limitatons. In the architects words “iGuzzini does not belong to the ground on which it sits. Like a balloon, Leonidov’s aerostat, it will atempt to escape from this world, seeking a new sky. It will describe the conditons of the light, natural and artfcial, in its interior, it will refer to its origins, recognizing a geometric order, but above all it will want to speak to us of aspiraton” Just like digital design seeks new sky and is always evolving and changing.
1.2 COMPUTING IN ARCHITECTURE EXPRESSION OF INTEREST The project has asked us to broaden our minds in producing an entrance, welcoming travellers into the Wyndham City area along the city bound Princess Freeway. This instillation must be exciting and eye catching, something that inspires and encourages further reflection on the design after the first glance. When considering our design the elements we considered are the flat wide landscape, high speed traffic movement, sense of pride to local community, aspirational intent to creating a new discourse and enhancing Wyndham City’s place on the cultural map. These examples highlight the ability of computing in Architecture to create something quite amazing, Each example uses quite different materials to produce quite different outcomes. We will carry through ideas of spacial movement past a space through to our design for the Wyndham city gateway. Probably most relevant to our discoveries is Frank Ghery's experience music project, the framing system creates a skeleton for the building that changes with progress past the structure which is the key idea we would like to take into our design for the Gateway project. The process of moving past the structure is key due to the location of the site, traffic runs either side of the Gateway so these qualities will translate better as a dynamic experience through static form rather than the other way around. Through a changing in shape of each piece of structural fabric we see an undulating form that changes shape as the eye moves past it. Wether it is later covered in an external fabric or left bare the idea still remains. The idea of the community and 'seeds of change, also strikes resonance with the construction of an ever changing form.
1.2 COMPUTING IN ARCHITECTURE 3. contemporary scripting cultures CONTEMPORARY SCRIPTING CULTURES Architects are ultimately choreographers of systems, and the benefits of teaching programming in an architectural context are manifold. If architecture wants to survive as a discipline, it needs to engage the culture of innovation and computing. (Mark Collins & Toru Hasegawa, Proxy) Prevalence in exhibited and published experimental work and absense from education programmes
The education system should start teaching procedural Students should then build on these skills and focus them within the context of architecture. (Casey Reas) Tendency to sway to a generic form of design using algorithms or agent systems. Occurring from appropriation of scripts sharing codes can be good and bad, bad because it can produce generic designs or good because it could cause mash ups in the process, which can cause s creative growth. From creative free-flow of design to the cold hard logic of script.. An algorithmic understanding of creativity - that the act is not a flash in the dark, a blessing from heaven but the result of hard rigorous thought which can in many parts be represented algorithmically - that is the important step. Right now, scripting is a very useful paradigm but it is not exclusively so. (Tom Kvan) MOTIVATIONS Authors response: Scripting for Productivity A path to ‘the answer’ Voyage of discovery – global discovery or personal Interviewed designers responses: reaching beyond analogue processes; • capturing material logic and computing performance; • being playful; • exploiting generative processes; seeking deeper access to the imagination; • engaging with complexity; • inducing rapid iteration and variation; • grappling with the performative; • toying with the unexpected and delving into the unknown; • being forced to be explicit; • discovering novelty; • localizing intelligence; • investigating self-organisation principles; • studying phenomena;
3. contemporary scripting cultures SOUMAYA MUSEUM FERNANDO ROMERO
DESIGN PHILOSOPHY
The Soumaya museum is located in a former industrial zone dating from the 1940’s. The area today presents high commercial potential. The museum plays a role in transformation of the area as a preeminent cultural program. It indicates the transformation of the urban perception. It defines a new paradigm in history of Mexican and international architecture with it’s use of interesting morphology and topology through parametric design. The building was designed to be perceived differently by each visitor, its organic form was intended to reflect the diversity of the collection on the inside. The shell of the building was constructed with 28 steel curved columns of different diameters, each with a different geometry and shape creating a non-linear circulation through the building. Ring beams provide braces around the structure at each level insuring stability.
3. contemporary scripting cultures SOUMAYA MUSEUM FERNANDO ROMERO
This design expresses benefits of the use of parametric design and contemporary scripting/ programming cultures, as stated my Kolarevic Architecture in the digital age‐Kolarevic) parametric designs can provide for ‘powerful conception of architectural form by describing a range of possibilities, replacing in the process stable with variable, singularity and multiplicity’ This design conceptualizes a form with faces that are variable and not stable producing a result that could not as efficiently be achieved by any other process. If we focus on the top floor we see a suspended roof from a cantilever that allows natural light flow, the building also fulfils function as well as design intent by protecting art from the outside due to lack of openings. In terms of discourse the building was required to create a new identity for the site and have a strong urban presence. The building is sculptural and quite unique which can be credited to its process of design and contemporary programming cultures. Constructed with steel columns of varying diameters, the structure provides a non-linear circulation route taking viewers past the nearly 20,000 square meters of exhibition space. This element along with it’s façade of panels ranging in shape are not possible without the help of contemporary scripting/ programming and computational design.
3. contemporary scripting cultures EXPRESSION OF INTEREST
4. cut CUT DEFINITION MATRIX
4. cut CUT DEFINITION MATRIX
5. reverse engineered case study SPANISH PAVILION
5. reverse engineered case study SPANISH PAVILION
Our proposal for the Wyndham Gateway is that of a bold iconic shape that will stand out and resonate with the viewers. It represents a changing, developing and expanding community of Wyndham. It is adaptable to different times of day and has the potential to appear different each time it is viewed. The boldness of the form marks the entrance to a community that is making its mark on Melbourne, and thus is placing Wyndham on the cultural map. It is both a literal and abstract interpretation of Wyndam, taking the W from it's name and morphing it into another dynamic shape while instilling a sense of pride in the Wyndham City People. The form begins simply and then morphs its dynamic. It is eye catching and memorable enforcing commuters to rethink what they first saw and how it was manipulated as they passed by. This initial proposal of contoured frames combined with an outer dynamic form still has much potential and we look forward to your feedback before we progress.
Construct a physical model making reference to case study projects and provided CUT definitions. Materialise the most interesting explorations as detail models anticipating the use of standard-size material elements. Explore texture, materiality, light, atmosphere, distortion, overlay, etc. •
stretching, bending, sagging, dissolving,
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growing, changes in lighting, shifting perspective,
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etc.) using time lapse/stop motion photography
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techniques.
RESOURCES •
http://www.dezeen.com/2007/08/23/serpentine-gallery-pavilion-
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http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world http://www.archdaily.com/180932/tverrfjellhytta-snohetta/
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http://www.archdaily.com/140897/in-progress-iguzzini-illumina
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http://www.archdaily.com/33925/soumaya-museum-lar-fernando-ro
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WEEK 2 http://www.snoarc.no/#/projects/239/true/all/image/1280 /http://www.serpentinegallery.org/architecture/ All images sourced from DesignBoom: http://www.designboom.com/weblog/cat/9/view/11789/ soumaya-museum-by-fernando-romero-architects.html http://www.designboom.com/weblog/cat/9/view/13930/ soumaya-museum-now-open-fernando-romerointerview.html