Parta (unfinished)

STUDIO AIR 2015 James Gibbs Tutor: Chen CanHui

CONCEPTUALISATION TABLE OF CONTENTS PART A: A0 Introduction A1 Design Futuring A2 Design Computation A3 Compostion/Generation A4 Conclusion A5 Learning Outcomes A6 Appendix - Algorithmic Sketchbook A7 References

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INTRODUCTION:

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A1: DESIGN FUTURING The Beach house at Castle Rock designed by Herbst Architects showcases a traditional approach to housing design. This split level holiday house is designed in such a way as to act as part of its surrounding nature rather than to showcase itself. The surrounding views are the main attraction here.

“The home has a fabulous openness: it feels at times as if it little more than a series of casual shelters on the way to the beach” The reason I have chosen this project was for its active relationship with the surrounding nature, yet it has been treated with a very analogue approach to design. As opposed to the series we have been shown during tutorials and lectures where the concentration has been on using soft-

Fig. 1.1

Fig. 1.2

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ware to either enhance a design or project that seeks the same result of without these tools can still be succ

This project isn’t going to influence thought processes of other within t getting at it this type of architecture was built not to showcase style bu four, for this family to visit every yea the form and texture and openness after years of work, and not through created within its space.

// Castle Rock House / Herbst Arch

r to formulate a form completely, a f a cohesive relationship with nature cessful.

e a movement or even change the the industry, however the point I’m e is inherently personal. The house ut to serve a purpose to a family of ar and to create their own bonds to s. The architecture is only complete h it’s form but through the memories

hitects / 2015

Fig. 1.3

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A1: DESIGN FUTURING The Italian Futurist movement published its first manifesto in 1909, outlining their intentions to overthrow the current backwards trend in architecture, the group’s obsession with the bettering technology of the time went on to influence a number of unbuilt projects they drew up.

The purpose of their work was looking at the future and shunning all forms that had been created in the past. They saw the new technology they had as a opportunity to push the limits of what could be considered a built form or building. The new technology wasn’t even new ways to design building but were new advances in other areas such as motor cars which caught the futurists obsession. Unfortunately world war 1 saw the death of 2 out the 3 leading members of futurism, literally killing off the short-lived but extremely influential movement.

The fact that none of their drawn w didn’t translate into a lack of influe ments of the next 100 years.

Influence is said to have extended and 30’s but most notably we can post-modern version of neo-futuris (disputed) in the 60’s and 70’s.

// Collected Works / Marinetti / S

“11 cro ple wil pol tion we nig shi len rail sm tor cro brid like ing ter ste zon tive tra mo tub of cha ner an

// Fig. 2.1

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works ever saw fruition in the built form ence in following architectural move-

d into the art deco movement in the 20’ n see the extension of futurism into the sm led by Eiro Saarinen and Alvar Alto

Sant’Elia / Chiattone / 1912-14

1. We will sing of great owds excited by work, by easure, and by riot; we ll sing of the multicolored, lyphonic tides of revolun in the modern capitals; e will sing of the vibrant ghtly fervor of arsenals and ipyards blazing with viont electric moons; greedy lway stations that devour moke-plumed serpents; facries hung on clouds by the ooked lines of their smoke; dges that stride the rivers e giant gymnasts, flashg in the sun with a glitr of knives; adventurous eamers that sniff the horin; deep-chested locomoes whose wheels paw the acks like the hooves of enorous steel horses bridled by bing; and the sleek flight planes whose propellers atter in the wind like banrs and seem to cheer like enthusiastic crowd.”

Fig. 2.2

/Exert from the Futurism Manifesto

by F.T. Marinetti Fig. 2.3

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A2: DESIGN COMPUTATION Beeple aka Mike Winkelmann “A graphic designer from Appleton, Wisconsin, USA. His short films have screened at onedotzero, Prix Ars Electronica, the Sydney Biennale, Ann Arbor Film Festival and many others. He has also released a series of Creative Commons live visuals that have been used by electronic acts such as deadmau5, Skrillex, Avicii, Zedd, Taio Cruz, Tiësto, Amon Tobin, Wolfgang Gartner, and Flying Lotus and many others. He currently releases work on Flying Lotus’ Brainfeeder imprint.”

When we talk about design computation we don’t mean to talk about design software taking over the creative process from the artist or designer. Rather we talk about the designer and computer generated design coming together to create a process of effieciency in design. With the help of a computer a designer may have the oppurtunity to refine their own ideas multiple times before settling on a final design or form.

In the case of Beeple we have an artist who uses software, in particular Cinema4d, to create a series of releases over a multitude of media. In particular he has become famous in his feild for his commitment to releasing new projects everyday, starting in May 2007.

Beeple releases all of the C4D files for each of his videos so that you can mess around with the process or use it as a tool to learn yourself, in fact on his website he says:

“These files are available under a sort of "open source" concept. They are intended for educational use but really can be used for whatever the fuck you want...”

Beeple has numerous videos that he creates using scripting work to gives fractal-like loops of mountains growing or water flowing etc. the reason I have chosen his collective work was due to the lack of a consistent style amongst this work, he has a lot of work that uses algorithims derived from geometric and fractal patterns. But from here he has a series of work that also concentrates on a lack of patternisation, using his own randomness to inform the creating of little buildings inherently space-like.

Overall these videos that use his knowledge of scripting does inform his designs on various levels to create a science fiction-esc style of design through his various media.

// Various Works / Beeple / Mike Winkelmann / 2007-Present

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http://www.beeple-crap.com/everydays.p

php

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A2: DESIGN COMPUTATION

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A3: COMPOSITION/GENERATION

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A3: COMPOSITION/GENERATION

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A4: CONCLUSION

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A5: LEARNING OUTCOMES

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A6: APPENDIX - ALGORITHMIC SKETCHES

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A7: REFERENCES Castle Rock Beach House / HERBST Architects" 11 Aug 2015. ArchDaily. Accessed 11 Aug 2015. <http://www.archdaily.com/771657/castle-rock-beach-house-herbst-architects/> http://herbstarchitects.co.nz/media/uploads/2015_02/HE0414_H_Herbst_VjRKW4D.pdf Apollonio, Umbro, ed. Documents of 20th Century Art: Futurist Manifestos. Brain, Robert, R.W. Flint, J.C. Higgitt, and Caroline Tisdall, trans. New York: Viking Press, 1973. 19-24 http://www.kpf.com/project.asp?S=1&ID=509

http://liftarchitects.squarespace.com/journal/?currentPage=4

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