ARCHITECTURE DESIGN STUDIO AIR JAMIE KIM 390150
NAME: JAMIE KIM STUDENT NO: 390 150 A D S :A I R S E M E ST E R 1 TUTOR:LOREN & CHRIS
JOURNAL CONTENT PAGE 05 - 08 A R C H I T E C T U R E A S D I S C O U R S E 09 R H I N O - E X E R C I S E 10 - 11 C O M P U T A T I N G & T E C H N O L O G Y 12 - 13 G R A S S H O P P E R - E X E R C I S E 14 - 15 C U T - P R O J E C T 16 - 17 C U T - E X E R C I S E 18 - 31 E X P R E S S I O N O F I N T E R E S T 32 R E F E R E N C E
JOURNAL WEEK 1: ARCHITECTURE AS DISCOURSE
“We should work for simple, good, undecorated things, but things which are in harmony with the human being and organically suited to the little man in the street.” Alvar Aalto
PERSONAL PROJECT I have taken virtual environment as one of my environment course. This subject got me to start developing ideas through 3D computer modelling. First I had to make a muckup model with clay and bringing that clay model photos to Google SketchUp to develop into 3D model. This process was very interesting for me, how physical model can be reformed in complex 3D modelling, Furthermore made into real size physical model with paper by unfolding 3D model. This was my first experience on computational design. My concept of the design was “fluid wind� where I have gained this idea from combining both movement of water and wind. Then I used cloth to put over that ribs that I have created a form which i was satisfied with. Then this from became my initial design of the whole project, which i developed this into physical clay model then sketchup model, which then became actual head piece that can be worn.
JOURNAL WEEK 1: ARCHITECTURE AS DISCOURSE PRECEDENT
THE SEED CATHEDRAL, 2010 - HEATHERWICK STUDIO
The Seed Cathedral project was developed by Heatherwick Studio, who does really amazing architectural projects, their simple idea which develops into a form or structure is very innovative. Seed Cathedral was a project which attempts to showcase the natural roots of the United Kingdom. Underlying intension of this Pavilion is to advertise the region. Since the region was famous for collection of different seeds of trees and flowers. He has decided to use seeds as fundamental object of this project, to integrate nature in to city. They have also decide locate a seed inside the rod – tip of it. Heatherwick Studio was interested in the idea of keeping something inside see through material. It gives ‘precious’ feeling towards object that is trapped within the object (like gem-stone from Jurassic Park). Pavilion is covered by 60 thousand acrylic rods which can be moveable through wind. Also each one of the rods has optics at the tip of the rod which brings artificial light in to the centre of the box, then the light is released at night. Through 3d modelling computation technology they were able to achieve an accurate result of precision in drilling a hole through the box
THE SEED CATHEDRAL, 2010 - HEATHERWICK STUDIO
This building is called Rotating Tower: it was name as “Rotating” tower because every single floor would be capable of rotating around a central axis, it will be continually in motion. it also prvide residents choose the views that they want to see. apparently the architect has said this building is highly resistive to earthquake due to each floor rotating independently. interestingly independent movements of each floor could create many different monumental looking of the building. In relation to Architectural discourse, ‘Rotating Tower’ demonstrates the possibilities of mechnical kineticism this apporach of creating a dynamic and changing by over time
JOURNAL WEEK 1: ARCHITECTURE AS DISCOURSE
AESTHETIC IN ARCHITECTURE ‘Aesthetic’ in architecture has been out there and developed through long history. In the history aesthetic part of building was expressed through details of building. Whereas, now these aesthetic features are expressed through façade and building form. Through technology enhancement, architects were able to achieve/design complex form and shape through computation. Creating a parametric design through computation may be strength in terms of having non-constraints form and design. However, this could also be a potential problem. Since parametric modelling is free and not limited in its form, this could be carried away to have disconnected design which seem to ignore the surrounding physical context and brief of the design. It is very important to, bear in mind with concept and design intension.
RHINO-EXERCISE
JOURNAL WEEK 2: COMPUTING & TECHNOLOGY
COMPUTATING&TECHNOLOGY Parametric design itself uses parameters to define a form. Therefore it is very easy to create a geometry and exploring a new form: everything could be generated through algorithms. Grasshopper is a program which allows you to create graphical algorithmic freely by combining 3d modelling tools called ‘Rhino’s 3D’. Parametric design offers anyone to ‘design’ a model in an interactive way. Development in technology of parametric has brought architecture to step up to another level of complexity and efficiency in time and cost. Taking a look at the example of ‘ICD/ITKE Research Pavilion 2011’ In this pavilion project; both design and manufacturing methods were controlled through computation techniques. Research Pavilion 2011 is a clear example of advantage in using computation technology. Whole structure could be built in 6.5mm plywood sheets, and this could still be structurally stable. Computation is performing in a way that; which increases maximise in accuracy of manufacturing
JOURNAL WEEK 2: COMPUTING & TECHNOLOGY
GRASSHOPPER EXERCISE
Creating Points and lofting surface using grasshopper
Creating two lines and connecting through bezzier durve.
JOURNAL WEEK 3: PARAMETRIC MODELLING
GRASSHOPPER EXERCISE
Association Curves reference to octagon hatch.
Image Smapling technique
JOURNAL : CUT PROJECT
CHILDREN‘S MUSEUM OF PITTSBURGH - NED KAHN
Children’s Museum of Pittsburgh has very interesting facade; which is also known as ‘Articulated Clouds.’. Big facade consists of small acrylic panel which could be fluttered by the wind. This creats an image through kinetic movement of panels attached by the facade. Key element of ‘Articulated Cloud’ is ‘organic movemet’, in which movement of wind (kinetic) is projected on the facade by many geometric element that are able to flutter by the wind. In relation to Wyndham Gateway project, this idea of kinetic movement of element by natural source could be an intresting idea. this could also bring a monumenttal mass into a live form
CUT-PROJECT
MATH-ASSOCIATION
MATH-ASSOCIATION
ASSOCIATION-ATTRACTOR
EXPRESSION OF INTEREST State of Art Project
EXPRSSION OF INTEREST
E O I
GATEWAY PROJECT
Wyndham City is already home to a number of public artworks, including the notable “Seeds of Change� (2003) at the Eastern Interchange of the Princes Freeway. The city is hoping for a successful addition to their repertoire, with a new artwork planned for the Western Interchange. This artwork is to indicate arrival into metropolitan Melbourne and should cater to all audiences. In this EOI we hope to put forward a strong
The main objective of the UK Pavilion design was to create a structure whose architecture was directly related to the content it exhibited, through a simple idea that was strong enough to attract attention and stand out amongst the other competing pavilions at the Shanghai Expo. The Seed Cathedral showcased the Millenium Seedbank work as undertaken by the Royal Botanical Gardens at Kew, by means of 60000 transparent optical fibre strands, with each tip embedded with a seed. Schumacher stated that “the built architectural works that architecture releases into the wider social world... circulate within the architectural discourse as examples and evidence.� (1) In such a way was the Seed Cathedral released into the world, generating discourse and being pinpointed as an example of innovation and creative use of technology and structure. This project is relevant to architecture as a discourse as it generated much public and academic interest, just by being completed (2). It was consistently ranked by visitors at the Expo as one of the most popular pavilions and was visited by more than 50000 people each day (according to Heatherwick Studios official website) (3).In architectural circles, the project shot to credibility when it received the prestigious Lubetkin Prizei 2010, awarded annually by the Royal institute of British Architects (RIBA).
“Thestrongvisualandformaljuxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and theirperceptionofbeingexceptionaland marvellous”. Described by the RIBA president as “an outstanding emblem for Britain” (4), the project was a representation of Britain that was openly portrayed to the rest of the world. “The strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being exceptional and marvellous”. (5) If this is the case, then the exterior structure was truly innovative and thus it is a prime example of a project that generated discourse. An underlying purpose of the cathedral was to create an architecture that was a direct manifestation of the content it exhibited. This was achieved, and relevance to the Gateway Project can be drawn from this success. If the Gateway is to be a success it could be worth drawing on the ideas of successful projects and applying a similar school of thought and innovation to the design of the Gateway Project.
JOURNAL WEEK 1
“Thestrongvisualandformaljuxtaposition created between ‘blobs’ and boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and theirperceptionofbeingexceptionaland marvellous”.
Computation in Architecture The ability of computational design to recreate natural forms was put in the world spotlight shortly before the Beijing Olympic Games in 2008, when Australian firm PTW architects used computational techniques to create the Water Cube, the National Aquatics Centre at Beijing. The form of the building was based on the formation of soap bubbles. The use of computation allowed a strict geometric pattern to be created underneath a seemingly random arrangement of “bubbles�. The concept combines the symbolism of the square in Chinese culture, with the natural structure of soap bubbles as translated into an architectural form (6) to create the atmospheric aquatics centre.
PROJECT NAME
Watercube - Beijing Aquatics Centre ARCHITECT/S PTW Architects YEAR 2008 AWARDS / RECOGNITION 2004 Venice Biennale – Award for most accomplished work Atmosphere section 2004 BE Award Winner for BIM Building Information Model in Architecture and Engineering
“The structureappearsrandom and playful like a natural system, yet it is mathematically very rigorous.” -Andrew Frost (Director, PTW)
Digitalization gives us the ability to reproduce forms with forgotten geometries lost to us because of the difficulties of representation (7). For the Watercube project, it was possible for this structure be created thanks to the use of computation. The intricacies of the project were described by PTW Architect’s director, Andrew Frost as “appearing random and playful like a natural system, yet it is mathematically very rigorous” (8). The accuracy of each detail that was pinpointed using technological means to translate nature into design is outstanding, and an excellent reason as to why computation has a significant future in the field of architecture. The use of computation allowed the project to combine design with engineering seamlessly, a technique which will no doubt be called upon numerous times in the future in order to push the limits of architecture and create designs that are structurally sound.
As a winner of the Atmosphere category of the Venice Biennale, it is obvious that the space within the Watercube has succeeded in creating a suitable atmosphere for its context. The jury of the award stated that “the project demonstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenology can create an airy and misty atmosphere for a personal experience of water leisure.” (9) In relation to the Gateway Project, creating an appropriate atmosphere for the viewers of the Gateway is tantamount to conveying the project’s message. The success of the Watercube’s atmospheric creation, due to its unqiue engineered structure, is proof of the extent to which computation can be manipulated to control a space and portray a certain feeling. The Gateway Project should take advantage of this function of computation by applying it to the design process.
PROJECT NAME
NanningGateway ARCHITECT/S Denton Corker Marshall YEAR 2002
This project by Melbourne firm Denton Corker Marshall is located in Nanning, China, at the gateway to the city of Nanning via the freeway. As visitors emerge from the toll gates of the freeway, one of the scattered flowers delaminates into separate petals along the course of the road. Like the Gateway project, the Nanning Gateway has a purpose: to create a strong “green� statement for visitorsW (14). The Nanning Gateway has managed to convey this message through its dynamic, rather than static, design. The deconstruction of the flower petals along the road as visitors travel along creates a space/time feeling as though they are caught up in a motion of sorts. This feature draws in viewers and entices them for longer than the usual few seconds than a roadside artwork would usually. This extra time is vital in being able to communicate a stronger message to the audience than would otherwise happen. In order for the Gateway to
Based on our explorations with the CUT definitions, we were able to develop a few concept models from the more successful combinations. The sketch models (left) demonstrate the concept of density in different ways. The plywood model (right & bottom) furthers this concept by making it more realistic as a gateway concept.
REFERENCE (1) Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28. (Page 3) (2) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 4) (3) http://www.heatherwick.com/uk-pavilion/ (4) http://www.bbc.co.uk/news/10447868 (5) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 7) (6) http://www.ptw.com.au/ptw.php (7) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 4) (8) http://www.arcspace.com/architects/ptw/ (9) http://www.dpr-barcelona.com/index.php?/projects/watercube-thebook/ (10) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 71 (Page 8) (11) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 – 71 (pages 8 & 9) (12) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62. (Page 3) (13) Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 (page 16) (14) http://www.dentoncorkermarshall.com/projects.aspx?p=0&projectID=93 2&catID=2&f1=location&f2=asia&pg=1 (15) http://www.archcairo.org/Department/ABT/ARCN106/LECTURES/4%20 -Digital%20Design.pdf