STUDIO AIR JOURNAL Part A. Conceptualisation JAMES SCIESSERE 699068 Semester 1, 2017.
CONTENTS A.0 - Introduction Pages 4-5
A.1 - Design Futuring Pages 6-9
A.2 - Design Computation Pages 10-13
A.3 - Generation/Composition Pages 14-17
A.4 - Conclusion Page 18
A.5 - Learning outcomes Page 18
A.6 - Algorithmic Drawings Pages 19-20
A.0 INTRODUCTION
My name is James Sciessere, and I am a third year Architecture student, enrolled in the Bachelor of Environments course at the University of Melbourne. I was born in Mlebourne, and have lived my entire life here - however my background is Italian and Macedonian, from my father and mother’s sides respectively. The catalyst behind my intrest in architecture is family oriented, as the entire generation above me work in the building industry in some capacity. I was especially interested in the
design subjects offered to my while I was at high school, so it seemed like a natural progression to undertake this study - combining both my interest in working in building and design. The aspect of this subject that I am most drawn to is the idea that we would be enabled, through the mediums offered, to turn our ideas into tangible realities. I am looking forward to exploring both my limits, and the limits of the programs and fabrication lab.
A.1 DESIGN FUTURING CASE STUDY 1: SHANGHAI LIBRARY (2016) Client : Pudong New Area Planning and Land Authority, Pudong New District Propaganda Department (Cultural Media Bureau), The Architectural Society of Shanghai China, “Time Architecture” magazine. Project Location : Shanghai, China Area : 110,000 m2 Program : Library + information resource center
FOOTNOTES:
1 - “Shanghai Library East Hall | Narchitects”, Narchitects.Com, 2017 (Figs 1-3)
This concept was the receipient of the 2016 International Young Architects Design competition, beating over 200 entries in the process. The title of the project is labeled ‘Library at home’, and this idea serves to be the main crux when looking at what the designer is aiming to achieve. In accordance with the reading Speculative Everything: Design Fiction, the reason I chose this concept was to further explore the notion of innovation not necessarily being dictated by apocolyptic scale events and needs, but also by smaller scale things. Applied to this specific instance, the designer can be said to be creating a space in which would attract people, as, currently, the main issue with libraries is that with the advancement of technology, they are becoming more and more obselete. The concept ‘Library at home’ is the designers attempt in mending the gap between society and their library. The means in which this is achieved is through the layout of the spaces and their interactions. Four open levels provide distinct library environments, each connected to exterior gardens at every level, as well as to each other, resulting in a continuous public interior. The cylindrical space also maximises the surrounding spaces, as the footprint of the park level is small. This addresses the issue of a compacting urban environment, while still maintaining a degree of legibility regarding the overall scale of the surrounding city, in line with an increasingly modern line of thinking.
A.1 DESIGN FUTURING CASE STUDY 2: ROOFTOP REMODELING Architect: Coop Himmelblau Date: 1983 (Concept design), 1987 (Construction) Location: Vienna, Austria
FOOTNOTES:
1 - “Rooftop Remodeling Falkestrasse”, Coop Himmelb(L)Au, 2017 (Figs. 1-3) 2 - Kristin Feireiss and others, Say Himmelb(L)Au.. 3 - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice
Coop Himmelblau’s Rooftop remodeling was a deliberately provocative idea, with the aim to ‘break the mold’ of the contemporary style of design 3. The structure itself is parasitic in nature, as it looks ot be emanating from the surrounding building - due to the fact that it is an extention out from an existing roof. The inovation from this project stems from the manner in which it was designed - leaning heavily on digital programming to facilitate the unbalenced and asymmetrical form that it takes. The use of fragmentation is something that has been propegated throughout architecture since, with a notable example being our very own Federation square. This opened up a new scope in which forms could be designed in as, these new chotic forms took over from the refined and meaured style that had been developed over the years. It is apparent through this form that design can act as a catalyst for forward thinking, as with new precendents out forth, the perception of normality continually changes.
A.2 DESIGN COMPUTATION CASE STUDY 1: ICD PAVILION Architect: Achim Menges Date: 2010 Location: Stuttgart, Germany.
FOOTNOTES:
1 - “ICD/ITKE Research Pavilion 2011 | Achimmenges.Net”, Achimmenges.Net (Figs 1-3) 2 - “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, Archdaily, 2017 (Fig 4)
Newfound techniques continue to emerge, and one which seems to create a connection between the ever changing environment as our build world is computation. More and more does this allow designers to merge things like ecological processes and structure, as works are framed through logical relationships as formulae within a computer. Computation is a medium in which the formative thinking of any given designer is easily facilitated, as they are enabled in a plethora of ways. Regarding complex designs, the algorithmic nature of this pavilion means that Menges was able to enhance the complexity of the project. The fine tooth joinery allowed each individual hexagonal cell to be assembled by hand, and then the overall work in a similar manner. His vision, to use recognised bionic principles as the basis of his geometries4, was made possible through the use of computational processes. The finger joints of each cell were cut via a robotic fabrication system, and the urchin-like form was found through a number of form finding processes. This way of thinking is a small scale example of a larger shift towards a logic and performance based shift in design, with computational processes serving as a foundation.
FOOTNOTES:
3 - “ICD/ITKE Research Pavilion 2011 | Institute For Computational Design And Construction�, Icd.Uni-Stuttgart. De
A.2 DESIGN COMPUTATION CASE STUDY 1: HYPERMEMBRANE DEMO Architect: HYBRIDa Date: 2012 Location: Barcelona, Spain
FOOTNOTES:
1 - “HYPER MEMBRANE | Hibrida - Arch2o.Com”, Arch2o.Com, 2017 2 - “Hybrida”, Hybrida, 2017 <https://www.hybridarch.net/>
This demonstration serves to be a smaller piece of what would constitute a larger â&#x20AC;&#x2DC;Hypermembrane sports stadiumâ&#x20AC;&#x2122;, as it illustrates a response to dynamic structure. Through computation, the range of achievable geometries is widened, and more ideas can be applied to built form. This is illustrated through the overarching concept behind the Hypermembrane demo, as it adaptable form is something unseen on static buildings at this scale. The dynamic beam detector within utilises radiation data collected on the surface panels as the main computational control over the form of the structure3. The functions provided are things like creating shaded areas in high heat conditions, using solar panels in order to capture energy, or creating cavities for ventilation or light diffusion. This demo serves to be an example of performative architecture made possible through computation, as it is defined by its highly adaptable nature. The responsiveness to the environment through stimulation is also another instance of computational design.
FOOTNOTES:
3 - European Commission : CORDIS : Projects & Results Service : Demonstration Of An Adaptable Structure For Architecture Applicationsâ&#x20AC;?, Cordis.Europa.Eu, 2017
A.3 GENERATION/COMPOSITION CASE STUDY 1: LA SAGRADA FAMILIA Architect: Antoni Gaudi Date: 1882 Location: Barcelona, Spain
MISSION STATEMENT: Through algorithmic modelling, a huge amount of options has been opened up to designers to the point where it must be considered an integrated part of architectural design. The complexity in which some buildings are erected can no longer be fully fleshed out by simply drawing, and so generative design seems like it could be the main driving force behind design moving forward. “When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” 1
FOOTNOTES:
1 - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 2 - Residential Design and others, “The Sagrada Familia”, Inspiredspaces.Com.Au 3 - “Antoni Gaudi’S Sagrada Familia | Architecture And Design”, Architecture And Design, 2017 (Fig 1)
An early example of parametric design was seen through the parametric, hanging string, model of La Sagrada Familia and serves to be a baseline understanding on which the more complex nature of Parametric Modelling was built upon. The structural capabilities of this building may have been far beyond the mathematical capabilities of its time, however through the novel process of using sandbags to create an inverse structure, Gaudi was able to create a very structurally sound building. The parameters contained within the model were rather straight forward, the string length, the weight and the anchor points all effected the output. The generative nature of this building is especially telling when looking at the conception of the idea, compared to how it sits within the cityscape. While the building itself hasn’t yet been completed, the fact that construction began over 135 years ago, yet it does not exude the same simple characteristics prominent in the 19th century. The in depth understanding of catenary curves, while perhaps extending the building process, creates a vastly complex shape.
FOOTNOTES: 4 - UNESCO Centre, “Works Of Antoni Gaudí”, Whc.Unesco.Org, 2017 (Fig 2)
A.3 GENERATION/COMPOSITION CASE STUDY 2: SEED CATHEDRAL Architect: Heatherwick Studio Date: 2010 Location: Shanghai, China
FOOTNOTES:
1 -”UK Pavilion For Shanghai World Expo 2010 / Heatherwick Studio”, Archdaily, 2017 (Figs 1-2) 2 - “Designing The Seed Cathedral”, Detail.De, 2017 (Figs. 2-4) 3 - “UK Pavilion | Heatherwick Studio”, Heatherwick.Com
A much more contemporary example of parametric design going above and beyond existing capabilities is illustrated through Heatherwick Studioâ&#x20AC;&#x2122;s Seed Cathedral. The accuracy and placement of the 60,000 rods containing plant seeds goes well above and beyond the accepted industry standards. There is an intense consideration of element placement, configuration and the relationship between each individual seed. This also extends to the landscape of the concept too, as the wrapping-like ground is specifically designed to make it seem like the cathedral is a present sitting upon wrapping paper3. An argument put forth criticising this method is that it creates a delineation between the maker and the object, as it loses a sense of creativity. However, in contrast to this way of thinking, I would propose that when looking at computation as a whole, the creativity aspect is a zero-sum concept. That is to say, while it undeniably casts away some classic characteristics regarding creativity in design, in other aspects it also opens up many avenues in which creativity could be expressed in different ways. Applied to this example, the seed cathedral is a measured attempt in showcasing a catalogue of seeds. Yet it is also a striking piece of architecture in its own right, and an extremely innovative way of means of showing something otherwise uninspired.
A.4 CONCLUSION As I was drawn to the idea of Achim Menges merging both computational design with ecological processes, I intend to try to explore this relationship even further. Regarding the innovative aspect of my approach, it is not what is being applied that is the source of innovation, but rather how it will be. As I do not believe that all of the interactions between the outside world and our inside world have been fully explored, especially in a mathematical sense, it is my intention to forge another bridge between these two ideals and make them one. This is something I do not believe could be achieved through drawing techniques that I am very familiar with. Therefore, I think that in order to satisfy the scope in which I intend to work in, the design will be very heavily computerised. The reason that I think it will be beneficial to work in this manner is that, whilst retaining the aesthetic elements prevalent in architecture, having an existing set of rules to work by would be very helpful in emphasising functionality.
A.5 LEARNING OUTCOMES In a general sense, I have designed under the ethos that â&#x20AC;&#x2DC;simplicity is bestâ&#x20AC;&#x2122;, and have valued simple and sleek designs over those with lots of visual noise. This is, in part, due to my propensity to design for functionality rather than form, with a shortcoming of this thought process being that it sometimes leads to uninspired designs. However, especially through our work in grasshopper, I have garnered an appreciation for the complex results generated through seemingly simple mathematical processes. Retrospectively, I think that from what we have already learnt this semester, I could have used one of the algorithms we have used in order to add a layer of depth or complexity to any of my previous projects. I tended to use alternate materials to create areas of focus, however, these spaces may be further enhanced through the use of texture. Moving forward, I think that I will endeavour to learn more to learn about the capabilities of algorithmic design, as design through mathematics is an especially attractive concept for me.
A.6 ALGORITHMIC DRAWINGS
The first algorithmic sketch I attempted was to create a from that interacted with a reference point. The interaction I chose as part of the algorithm was to alter the radius of each spehere depending on how far away it was from the point. The first image was not as successful as the distinction between the shapes was not as pronounced, but in changing the algorithm I was able to achieve the result I wanted in the second.
The second drawing was an effort to manipulate a singular shape and create a structure within the algorithm. This was done using an elipse as a starting point, and rotating it around itâ&#x20AC;&#x2122;s central axis. The next step was to move each piece vertically in order to create the helix shape. Finally I chose to divide the surface, with a heavy emphasis on the U-value to create more horizontal nodes, and assign a circle to each point. The second image in this series is exploring the properties of baking the same algorithm with minor changes.
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