Air
ARCHITECTURAL DESIGN STUDI0 _ SEM 1 _ 2013 JOHN CARLOS RAMOS
CONTENT
INTRODUCTION ABOUT THE AUTHOR PREVIOUS WORKS
CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE
WATERCUBE (H2O)3 Lyon-Saint Exupéry Airport Railway Station
COMPUTATION IN ARCHITECTURE ICD/ITKE RESEARCH PAVILION
PARAMETRIC MODELLING DeRMOID DOROBANTI TOWER
CONCLUSION
WYNDHAM GATEWAY PROJECT LEARNING OUTCOMES
NOTES
APPENDIX GRASSHOPPER ALGORITHMS LOFTING & PIPES LOFTING & MESH
INTRODUCTION
JOHN CARLOS RAMOS YEAR 3 - ARCHITECTURE THE UNIVERSITY OF MELBOURNE
WHY ARCHITECTURE? As a young age, I was fascinated by the construction process. I remember spending time in the neighbour extending their house and observing how reinforce steel mesh are laid and then the process of pouring concrete. Then when I moved to Australia, new design and construction possibilities has open up – timber cladding, rustic brick house with modern take on the interior, innovative bridge form such as Webb Bridge in Docklands, Melbourne. Possibilities are endless! For that reason, I started to appreciate structures that affect people visually – through innovative cladding system, vertical garden running through the façade, illuminating colour display projection during the night or out-of-this-world forms. I am also profound by historical buildings that give you chills because you just have witness the haunting ingenuity of the past designers. I want to be part of that!
DIGITAL EXPERIENCE I have used Google SketchUp previously for 3D modelling for Virtual Environments. In terms of drafting, predominantly I hand drawn my design however I have the basic knowledge of Autodesk AutoCad. I am actually looking forward to learn Rhino together with Grasshopper as a plug-in to produce exciting new forms and experiment with intricate textures this semester.
PERSONAL PROJECTS VIRTUAL ENVIRONMENT HEADSPACE 2010
Virtual Environment was a great introduction of digital designing. The aim for the student was to gain an understanding how media can shape the real world environment. Headspace was the major project for the semester involved constructing a headpiece. Initially, we have explored the material properties such as paper and plasticine. This enabled students to understand the limitations and opportunities that these materials have to offer. Then we have to look at architectural precedents to gain inspiration from their techniques in designing. Our understanding of materials and techniques were then come to play on digitizing and fabrication of the final model realizing the suitability of the paper for the construction as well as detailing it. My final design was influenced by natural system particularly the structure of the bird’s head. Furthermore, it also echoes the work of a Spanish architecture, Santiago Calatrava Concert hall of Tenerife, Spain. My design intentions was to achieve rough look representing the attribute of a natural environment being uncontrolled.
ARCHITECTURE DESIGN STUDIO:EARTH PROSPECT & REFUGE 2012
The project encompassed the theory of “Prospect and Refuge�. This particular exercise of design process dealt with the playful creation of shadows through enriching of the detail of the scheme for a outdoor performance stage.
The design was formed by the exploration of materials through model making. I have experimented with the physical properties of the paper by creating curvilinear surfaces as well as weaving yarn around the sticks. Then further articulate the shadow by cutting out patterns on the surface. However, computerisation was not reinforced rather presented hand drawn. On the later exploration of the proposal for the Wyndham Gateway Project, I could use this knowledge of materials that I have gained to form an interesting shapes.
Part 1
CASE FOR INNOVATION
Innovation points to an attitude and an ethos that might be summarised in the simple directive of: ‘make a difference’ Ednie-Brown, Burry and Burrow
ARCHITECTURE AS A DISCOURSE CASE FOR INNOVATION As a contemporary architect, we thrived to express our own input to the industry to showcase our own beliefs, traditions even our experimentation as our own take to “make a difference”. We then contribute to an ongoing communication process through a vast range of media that encompasses artifacts, knowledge and practices1 being the Internet as the fast phase means to converse.
In the history of architecture, we have observed the technologies and processes made available were the driving force of built forms. Nowadays, technology enabled us to create complex architectural forms to go beyond the norms consequently we challenged traditional methods – planar, orthogonal and repetitive2. Symmetry and system of proportion are evaded to allow fluid fields of flexible spines, blobs and NURB surfaces. Furthermore, organic form of organization is adopted to replace the absolute closed, systems3. This process is so called innovation, ‘introduction of new things or methods into established practice’ 4.
In the case of Greg Lynn, his practice is based on innovating through the adaptation of technology5. Initially, he intervenes to the architectural discourse of tectonics with his blob as a way to rethink the architectural form and design technique6. Then, he progress toward digital and other advanced fabrication technologies taking on architectural construction, materiality and formal languages7. The proposition of the merging robots and buildings were his own way to see the future of architecture8. Now we are going to look at State of the Art precedent that made their mark in the discourse of architectural innovation.
STATE-OF-THE-ART PROJECT WATERCUBE (H2O)3 PTW, Architects; and Oye Arup; Engineering Group
Watercube contributes to the discourse of innovation through construction advancement and innovative materials. This state-of-the-art project provides opportunities for collaboration between disciplines of architecture, engineering as well as material manufacturing. This iconic National stadium adopted a simple square geometry to reference the country’s culture – “Chinese ideals of regulated harmony”9 – however incorporated an innovative façade that reference the natural system. The cladding system was inspired by the soap bubble structure. This influence from nature rejects the notion of conventional stadium structure being reliant on gigantic columns, beams and slabs which dominates the building10. Therefore, the new design approach takes into account the walls, roof, structural elements and aesthetics to be unified as one system. This resulted with a unique continuous form11. The skin of the Aquatic centre is made up of inflated transparent plastic film called Ethylene Tetra Fluoro Ethylene (ETFE). This type of system is cost effective cladding solutions as well as sustainability. This material does not degrade under exposure of ultra-violet light or other means of atmospheric pollutant12. Visually, people perceive Watercube as “serene, emotion-engaging, ethereal and poetic”13. This innovative state-of-the-art project provides opportunity perhaps to engage the public to change their perspective to conventional buildings to something new and inspiring creative work.
Model of the Watercube structure
Watercube spectacular view at night
Exterior cladding system of Watercube using inflated
Ethylene Tetra Fluoro Ethylene (ETFE).
Lyon-Saint Exupéry Airport Railway Station Santiago Calatrava
Santiago Calatrava’s scope of knowledge in design is vast considering his eclectic education – arts, architecture and engineering. His approach, in engineering’s perspective goes beyond merely solving technical problems. He treated it as “an art of possible” allowing innovation to seek a new vocabulary of forms14 whilst incorporating his passion towards uniting structure and movement15. The contemporary railway station that Calatrava designed initially appeared to be a prehistoric bird ascending from the ground or other animals suggesting the influence in nature. He greatly emphasized that he does not imitate the organic form of nature rather he learnt from it through observing its strong visual movement16. However, his inspiration was his early abstraction of the human eye influenced by Egyptian hieroglyphic17 which he also sculpted, Bird I (1986). Visually, Lyon railway station has strong sense of directionality innate on its form. This is advantageous in terms of travellers progress around the building without reinforcement of signs which contrasting the method of other many contemporary terminal designers18.
External view of the railway station
Abstraction of human eye and Lyon Airport Railway station
As has been observed, this State-of-the-art project not only achieved the brief to “provide smooth passenger flow while creating an exciting and symbolic gateway to the region”19, but it also contributed to the discourse of innovation using multidiscipline approach, being the art as the catalyst.
Bird I sculpture, 1986
Roof of the main hall emphasizing the strong sense of direction that is innate on Lyon Airport Railway station.
We’re changing the world with technology. Bill Gates
computation in architecture EVOLUTION OF DIGITAL TECHNOLOGY As cliché as it sound, we often use the phrase “we are only human after all” when making a mistake. It is in our nature to be easily bored, distracted or make mistake when confronted with large and complex problems. Therefore, we invented computers, in a way to be superb analytical engines, which never tire, nor make silly arithmetical mistake and able to search through series of information stored in its memory. However, this technology has limitation being reliant to set of instructions called programs. Furthermore, they are not able to produce their own new instructions due to lack of creative abilities and intuition that we human have20. The architectural practice is undoubtedly changed as a result of contemporary digital technology widely accessible today. The term computation is generally the use of computer to process information through codes which are expressed with particular set of instructions called algorithms21. In Grasshopper for example, designers utilise it to solve a particular design problem then the software allows further modification maybe through sliders as number inputs. This process is defined as sketching through algorithms. It is advantageous since it allows the designers to be creative and adventurous in problem solving of highly complex situation22. The advancement in computer-aided design (CAD) and computer-aided manufacturing (CAM) technologies open up new opportunities in building design and construction practices. This progression in digital technology allows experimentation with complex, curvilinear forms which thought of earlier to be difficult and expensive when employing traditional methods. In relation to construction and fabrication, the process can be more direct and more complex since the information can be communicated easily with greater speed. Furthermore, architects are provided by an opportunity to be involved with the construction process and to have more control over it23.
ICD/ITKE research pavilion University of Stuttgart, Faculty of Architecture and Urban Planning
The ICD/ITKE Researched Pavilion recently contributed to the discourse of innovation with their investigation of potential collaboration of biomimetic design and robotic production. This multidisciplinary project – architecture, engineering and biology – introduced a new type of construction method with the experimentation of the exoskeleton of the lobster as see in the natural system as well as using composite materials24. Initially, the designers will simulate the structural integrity of the crustacean’s shell to produce a fibrous composite form. This is achieved using computer-generated design and simulation methods which resulted an end product of four millimetre thick composite shell with a span of eight metres25. The project exhibit an innovative robotic fabrication process involving morphing glass and carbon fibres into a structurally stable pavilion. The carbon fibres are responsible for the structure due to its rigid properties whilst the glass fibres predominantly handled the formwork of the layers26.
Elevation
Robotic fabrication process
The innovative ICD/ITKE Research Pavilion which is inspired by the exoskeleton of the lobster.
Design is change. Parametric modeling represents change. Robert Woodbury
PARAMETRIC MODELING PARAMETRIC MODELING, INNOVATIVE THINKING? In parametric modelling also known as constrain modelling, designer no longer just add and erase. The fundamental changes are incorporating add, change, relate and repair. Therefore, designers will learn to explicitly think about the relations of different parts. Repairing is also essential to consider after deleting parts due to modification of the design. The link between the remnant parts need to be connected back to create a continuous relationship27 which associated with positive and negative implications. In the conventional designing tool, it is easy to produce an initial model on the other hand manipulating the design is a totally different scenario. The parts are independent therefore altering it required manually adjusting it – in summary, the more complex the shape, the more labour intense and time consuming it is. Nonetheless, deleting parts is uncomplicated because it is not related to other parts. Parametric modelling alternatively has the luxury of manipulating the shape and experiment with an ease however a need for repairing the relationship is required when erasure of parts occurred28. Parametricism is normally though of a process instead of aesthetic expression since the definition of the system is based on relationship. This tool is becoming an influential tool for architects in terms of designing buildings in a faster and efficient manner. However, Schumacer intentionally negate parametricism as being a process since he explicitly advertised it as a new type of aesthetic expression exploiting the power of computer modelling software29. This will later be discussed in the work of Zaha Hadid.
DERMOID Centre for Information Technology and Architecture (CITA), Royal Academy of Fine Arts, School of Architecture Dermoid is year worth of research project using parametric modelling. The final design of the pavilion is constructed by series of bent joint wooden elements30. In the exploration of the form using Grasshopper, one of the problems that the designers had encountered in modelling the pavilion was its uneven doubled curved surface. The most natural solution that they have initially attempted was to draw a surface in two dimension then wrapping it into the three dimensional shape. As a result, it created so much distortion and losing the original property of the surface – the elements either becomes too Dermoid Pavilion long or short. This complication shows either the limitation of the software or we are designing in the vocabulary of the program31. Another solution was also implemented which determined the form of the pavilion, it is to use swarming algorithms. The process involved creating random points on the surface then setting them apart until desired distance is reached. With this algorithm, it is possible to produce the same length of constantly without having distortions32.
Swarming algorithm applied on Dermoid
The form of the Dermoid manipulated using Parametric Modelling.
DOROBANTI TOWER Zaha Hadid Architects
Parametricism is being explored by the work of Zaha Hadid Architecture. They are claiming it to be the greatest new style after Modernism, consequently replacing Postmodernism and Deconstructivism. This style as previously argued by Schumacer, is rejecting the ideal geometric figures as has been observed on the history of architecture such as cubic volumes, cylinders, hemispheres and pyramids in favour of splines, blobs and NURB surfaces. As a result, the elements of architecture evolved into parametrically malleable which provides opportunity to use this technique in interior as well as exterior incorporation33. Zaha Hadid Architecture formed a dedicated research group to innovate using parametric systems. The research of parametric towers is part of their investigation including Dorobanti Tower (2008-2013). The main component that is applied in this tower is the octagonal shapes which possess visual property contributing to the diagonal feeling of the structure. The faรงade consist of two main function being structural and enclosure that are modelled through a computer code which incorporated the slab size and location to be the main input. Furthermore, the structural layers located in front of the smaller patterns of mullions and transom of glass are also generated with similar computational process. However, the form is altered due to having different parameters applied on it 34.
Incorporating octagonal shape on the facade
Facade - structural and enclosure
Dorobanti Tower, part of the Zaha Hadid Architects’ parametric towers research.
Anyone who has never made a mistake has never tried anything new. Albert Einstein
conclusion WYNDHAM GATEWAY PROJECT In the contemporary architecture, we are given plenty of prospects to innovate. The technologies that are currently accessible allow designers’ creative ideas to be materialised consequently either challenge or contribute to architectural discourse. My purpose as part of this era of digital technology is to be involved into the architectural discourse given the opportunity of the Wyndham Gateway Project. I would like to showcase parametric modelling as a medium of communication to create an exciting, eye catching installation that will enrich the municipality. My intended proposal not only inherits innovative ideas but also provide significant impact for local participants to get involved.
LEARNING OUTCOMES In terms of the theory presented in this course, such as discourse, algorithms and parametric modelling not to mention all the new forms – splines, blobs, NURB surfaces etc. – I never heard them before! But with the benefits of studio discussions, lectures, online tutorials and readings, I gradually have an understanding and appreciation of the subject. The introduction of new innovative architectural precedents is in fact useful to further comprehend the underlying theory behind the design. Initially, I was hesitant of taking Architecture Design Studio: Air due to my lack of knowledge in software in general. Even previously, I have learnt Google SketchUp as an introductory to 3D modelling, Rhino together with Grasshopper will be more powerful tool as I have heard people talk of it. As the weeks progress, I started to have more fun with the software since I can create some unfamiliar forms that I have not explored previously – through sketching nor material exploration. I have utilised the online tutorials not only for Grasshopper but also Rhino to learn as much as I can in a short period of time. I believed I am making progress, from a person initially designing in a primitive approach into a beginner level of 3D software. Now my goal is to further experiment with it to probably create a far more complex unique form!
IMAGES ARCHITECTURE AS A DISCOURSE Watercube 1 http://www.dezeen.com/2008/02/06/watercube-by-chris-bosse/ 2 http://www.designbuild-network.com/projects/watercube/watercube10.html Lyon-Saint Exupéry Airport Railway Station 1 http://www.skyscrapercity.com/showthread.php?t=1152061 2 Scanned image in: Michael Levin, ‘A laboratory of ideas, forms and structures’ in Santiago Calatrava: the artwork (Switzerland: Birkhauser – Publisher for Architecture, 2003), p. 202 3 http://www.metmuseum.org/Collections/search-the-collections/210016189?rpp=20&pg=1&rndkey=20130 402&ft=*&where=Spain&who=Santiago+Calatrava&pos=4 4 http://home.fotocommunity.de/frankrother/index.php?id=426531&d=23603091 COMPUTATION IN ARCHITECTURE ICD/ITKE Research Pavilion 1 http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-ofarchitecture-and-urban-planning/ PARAMETRIC MODELLING Dermoid 1 http://www.nzarchitecture.com/page.php?id=32 2 Video caption in: http://www.nzarchitecture.com/blog/index.php/2010/07/15/swarming-dynamicrelaxation-on-a-surface/ Dorobanti Tower 1 http://www.dezeen.com/2009/07/17/dorobanti-tower-by-zaha-hadid-architects/ 2 http://www.archdaily.com/14760/dorobanti-tower-bucharest-zaha-hadid-architects/
NOTES 1 Patrick Schumacher, ‘Introduction: Architecture as Autopoietic System’ in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1. 2 David Kirkland, Nicholas Grimshaw & Partners Ltd, ‘A process-oriented architecture’ in Innovation in architecture (USA: Spon Press, 2004), pp. 41. 3 Alessandra Coppa, ‘Introduction’ in Zaha Hadid Architects, Zaha Hadid (Milano: Electa, 2009), pp. 13. 4 Alan Brookes and Dominique Poole, ‘Introduction’ in Innovation in architecture (USA: Spon Press, 2004), pp. 1. 5 Pia Ednie-Brown, ‘On a fine line: Greg Lynn and the voice of innovation’, Architectural Design, 8 January 2013, p. 45. 6 Greg Lynn, ‘Why Tectonics is Square and Topology is Groovy’, in Fold, Bodies and Blobs: Collected Essays, ed. by Greg Lynn (Bruxelles: La Lettre volée, 1998), pp. 169. 7 Ednie-Brown, op.cit., p. 45. 8 Ibid., p. 44. 9 Ethel Baraona Pohl, Watercube: the book (Barcelona, Spain : Actar, 2008), p. 79. 10 Bernard Chan, ‘Culture, Leisure and Sport’ in New architecture in China (New York ;London: Merrell Publisher Limited, 2005), p. 68. 11 Pohl, op.cit., p. 165. 12 Ibid., p. 202. 13 Ibid., p. 80. 14 Matilda McQuaid, Santiago Calatrava: structure and expression (New York: Museum of Modern Art, 1993) p. 9-10. 15 Michael Levin, ‘A laboratory of ideas, forms and structures’ in Santiago Calatrava: the artwork (Switzerland: Birkhauser – Publisher for Architecture, 2003), p. 7 16 McQuaid, op.cit., p. 13. 17 Levin, op.cit., p. 11. 18 Alexander Tzonis, ‘Bridges for community’ in Santiago Calatrava: the poetics of movement (USA: Universe Publishing, 1999), p. 156. 19 Philip Jodidio, ‘Lyon-Saint Exupéry Airport Railway Station’ in Calatrava (Köln,Germany: Taschen, 2007), p 35. 20 Yehuda Kalay, ‘Introduction’ in Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p. 2. 21 Brady Peters, ‘Introduction’, Architectural Design, 12 March 2013, p. 10. 22 Ibid. 23 Branko Kolarevic, ‘Introduction’ in Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 3-7. 24 Emilie Chalcraft, Researched Pavilion by ICD/ITKE, (2013) <http://www.dezeen.com/2013/03/05/ research-pavilion-by-icd-and-itke/> [accessed on 29 March 2013]. 25 Ibid. 26 Ibid. 27 Rober Woodbury, Elements of Parametric Design (London: Routledge, 2010), p. 11. 28 Ibid., p. 23. 29 Adam Nathaniel Mayer, Style and the pretense of parametric in architecture, (2010) <http://app.lms. unimelb.edu.au/bbcswebdav/pid-3815829-dt-content-rid-11839005_2/courses/ABPL30048_2013_SM1/ ABPL30048_2013_SM1_ImportedContent_20130121032620/Adam%20Nathaniel%20Mayer_%20Style%20 and%20the%20Pretense%20of%20%27Parametric%27%20Architecture.pdf> [accessed on 2 April 2013] 30 Daniel Davis, Dermoid 2010, (2010) <http://www.nzarchitecture.com/page.php?id=32> [accessed on 3 April 2013] 31 Daniel Davis, Swarming & dynamic relaxation on a surface, Programming projects, (2010) < http:// www.nzarchitecture.com/blog/index.php/2010/07/15/swarming-dynamic-relaxation-on-a-surface/> [accessed on 3 April 2013]. 32 Ibid. 33 Patrick Schumacher, ‘ZHA comceptual morphologies within the framework of parametricism’ in Zaha Hadid Architects, Zaha Hadid (Milano: Electa, 2009), p. 21. 34 Zaha Hadid Architects, ‘Parametricism research’ in Zaha Hadid (Milano: Electa, 2009)
GRASSHOPPER ALGORITHMS LOFTING & PIPES
FINAL FORM
PROCESS This particular algorithm transforms the usual smooth surface into series of pipes. I have explored placing the pipes horizontally and vertically along itâ&#x20AC;&#x2122;s form creating a weaving effect on the final shape. Take note that the more the pipes the more possibility of the computer to freeze.
GRASSHOPPER DEFINITION
LOFTING & MESH
FINAL FORM
PROCESS This algorithm in comparison to the previous exploration incorporated mesh on the surface. I have modified the height of the cones using morph box surface to visually generate an interesting effect. The final form exhibits a strong personality due to the cones and their formation.
GRASSHOPPER DEFINITION