STUDIO AIR
JOURNAL JOSH BLASHKI_697827 SEMESTER 1_ 2016
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STUDIO AIR : JOURNAL Table of Contents 3 Introduction 4 A.1_Design_Futuring 4 CCTV_HEADQUATERS 6 SPANISH_PAVILION 8 A.2_Design_Computation 8 ICD_ITKE_Research_Pavilions 10 A.3_Composition_Generation 10 BIFID_Ceiling_System_Prototype 11 Sagrada_Família 12 A.4_Conclusion 12 A.5_Learning_Outcomes 13 A.6_Appendix 13 Algorithmic_Sketches 14 References
TUTOR_CAITLYN PARRY 2
STUDIO AIR: JOURNAL
Josh Blashki - 2D MODELING AUTO-CAD - 3D MODELLING RHINO, SKETCH-UP - ADOBE SUITE PHOTOSHOP, ILLUSTRATOR, IN-DESIGN - DESIGN STUDIOS DESIGNING ENVIRONMENTS, STUDIO: EARTH
PHOTO: DAVID ZWIER
STUDIO: EARTH - HERRING ISLAND - ‘THE WOMB STUDIO AIR: JOURNAL
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A.1_Design_Futuring CCTV_HEADQUATERS ARCHITECT: OMA Location: Beijing, China Client: China Central Television (CCTV) Year: 2002 - 2012 The CCTV headquaters contributes to contemporary architectural discourse with both technical innovation and by challenging typical ideas of the skyscraper.1 According to OMA’s own website the ‘CCTV headquarters aims at an alternative to the exhausted typology of the skyscraper’. 2 Comprising of two L-shaped 50 storey towers connected by a 13-storey bridge, the building loops to create a continuous ‘loop of interconnected activities’ 3 Thus, while OMA disengages with a skyscraper typology of ‘ultimate height’, they have reinvigorated an architectural discourse surrounding the possibilites around skyscrapers of the future.
FIG. 2 - SOURCE: ARCH DAILY - SECTION 01
On a more conceptual level, some have argued that the building has diverged from the common phallic typology of skyscrapers that permeate city skylines. Arguably, instead the building represents a more vaginal form, because it appears as an ‘O’ rather than an ‘I’.4 From an innovation and engineering perspective the building challenges standard contstruction techniques. ‘The building’s primary support is achieved through the irregular grid on its surface, a visible expression of the forces travelling through the tube structure; the smaller the diagonal pattern, the stronger the load and the greater the support.’5 This can be seen in Figure 4. Thus, an aesthetic statement is also made by exposing the building’s load-bearing structure to the public. FIG. 1 - SOURCE: ARCH DAILY - EXPLODED STRUCTURAL DIAGRAM
1 “The Most Scandalous Skyscraper In Modern History”, Colorcoat-online.com, 2016 2 “CCTV – Headquarters”, OMA, 2016 <http://oma.eu/projects/ cctv-headquarters> [accessed 7 March 2016]` 3 “CCTV Headquarters / OMA”, ArchDaily, 2012 <http://www. archdaily.com/236175/cctv-headquarters-oma> [accessed 7 March 2016].
4 http://www.gizmodo.com.au/2013/11/a-briefhistory-of-buildings-that-look-like-vaginas/ 5 “China Central Television (CCTV) Headquarters | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers”, Arup.com, 2016
FIG. 3 - SOURCE: WORDPRESS - CCTV RENDERING
FIG. 4 - SOURCE: ARCH DAILY - COLOUR CODED STRUCTURAL DIAGRAM
SPANISH_PAVILION ARCHITECT: Foreign Office Architects (FOA) Location: Haiki, Aichi, Japan Client: Spanish Society of International Exhibitions (SEEI) Year: 2005 Behind this geometric tessalating facade is the Spanish social ideal of ‘cultural hybridisation’. Referencing arches, vaults, lattices and traceries, this pavilion pays homage to a Spanish lineage of Christian and Islamic architecture. 1 Tessalating hexagonal ceramic tiles form the exterior of this pavilion. Seemingly non-repetitive, these colour coded tiles therefore represent this ideal of ‘cultural hybridisation’.2 In this pavilion we see architectural language being used to engage in a social, cultural or even religious discourse. As well as this, there is a nationalistic overtone using variations of red and yellow for the ceramic tiles (the spanish flag). The key material, ceramic is also widespread in Spain.
FIG. 2 - PHOTO: SATORU MISHIMA - SHADDOWS
We also see this building engage in a discourse regarding the internal vs. external or inside vs. outside. The facade almost like a membrane which signifies a transitioning between spaces. This references Japanese ideas and therefore responds to it’s setting at the Expo AICHI. So not only does a transitioning between inside and outside occur, but also a transitioning between the east and the west.3 Ultimately, the Spanish Pavilion uses digital modeling and pattern generation to project political, nationalistic and religious ideas. Thus, we see algorithmic design becoming a tool of expression and facilitating architectural and broader discourses globally.
FIG. 1 - SOURCE : FOA - DETAIL: TESSELATING HEXAGONAL TILES 1 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016]. 2 “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare.com/projects/272168-foa-alejandrozaera-polo-farshid-moussavi-spanish-pavilion> [accessed 7 March 2016].
FIG. 3 - SOURCE : FOA - WEST ELEVATION 3 Invisible Architect, “Spanish Pavilion Expo 2005 - Haiki, Aichi, Japan.”, Slideshare.net, 2014 <http://www.slideshare.net/kappa2007/spanishpavilion-expo-2005-haiki-aichi-japan> [accessed 7 March 2016].
FIG. 4 - SOURCE : FOA - SITE PLAN
FIG. 5 - PHOTO: SATORU MISHIMA - SPANISH PAVILION
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A.2_Design_Computation ICD_ITKE_Research_Pavilions ARCHITECTS: ICD/ ITKE University of Stuttgart Location: Universität Stuttgart, Keplerstraße 11, 70174 Stuttgart, Germany Years: 2010 + 2011 The advent of computing as a method of design has had a multi-faceted effect on architecture. Taking the 2010 and 2011 ICD/ITKE Research Paviliuons as micro examples, we may project methods used in these projects to consider the broader impact of computing on structural innovation, pushing geometric boundaries, material and fabrication efficiency. The 2010 ICD/ITKE Pavilion demonstrates the way in which parametric design in conjuction with digital stress modelling can push structural boundaries. Using FEM simulation, the team were able to build a structure with a twelve meter span out of 6.5 millimetre thin birch plywood sheets.1
FIG. 1 - SOURCE : ICD - ICD/ITKE RESEARCH PAVILION 2010 - AERIAL VIEW
From a fabrication perspective, The 2011 Pavilion demonstrates full use of computing as a tool for efficient construction. Using ‘programmed routines’ a seven axis robot was used to cut ‘850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space.’ What this process enables is the reduction of manual labour hours and therefore enables an economic fabrication process. The University staff and students were able to put together the modular elements of the Pavilion themselves to complete the project.2 Furthermore, this pavilion is able to explore geometries and concepts of biology which previously may not have been possible without parametric design. 3
FIG. 2 - SOURCE : ICD - INTERNAL PERSPECTIVE
Perhaps a key aspect of computation design is therefore the expidited design and fabrication processes, as well as improved efficiency of material usage and a faster assembly.
1 “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016]. 2 “ICD/ITKE Research Pavilion 2011 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=6553> [accessed 13 March 2016]. 3 “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, ArchDaily, 2012 <http://www.archdaily.com/200685/icditke-researchpavilion-icd-itke-university-of-stuttgart> [accessed 13 March 2016].
FIG. 3 - SOURCE : ICD - PLYWOOD SHEETS DIAGRAM
FIG. 4 - SOURCE : ARCH DAILY - SEVEN AXIS ROBOT
FIG. 5 - SOURCE : ARCH DAILY - FINGER JOINTS
FIG. 6 - SOURCE : ARCH DAILY - ICD/ITKE RESEARCH PAVILION 2011 - INTERNAL VIEW
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A.3_Composition_Generation BIFID_Ceiling_System_Prototype ARCHITECTS: BIOTHING Location: New Museum, NY Years: 2005 Studio Air engages in a discourse surrounding a shift from traditional ‘Composition’ to ‘Generation’. The BIFID prototype engages in a form of generative composition, using computation to explore material attributes and form complex patterning and geometries.
FIG. 1 - SOURCE : BIOTHING - ROOF PROTOTYPE
From a technical standpoint, Brown explains “The intersection and fabrication pattern was generated algorithmically.... Parametric differentiation embedded into the script derived multiple offspring conditions.1” Thus we see human controlled parameters arranging and producing the end architectural product and must question how Parametricism is changing the role of the Architect. FIG. 2 - SOURCE : BIOTHING - DIAGRAM OF ROOF STRUCTURE
FIG. 3 - SOURCE : BIOTHING - ROOF STRUCTURE
1 Pia Ednie-Brown, “All-Over, Over-All: Biothing And Emergent Composition”, Architectural Design, 76 (2006), 72-81 <http://dx.doi.org/10.1002/ad.296>. 10
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Sagrada_Família ARCHITECTS: Antoni Gaudí Location: Carrer de Mallorca, Barcelona, Spain Years: 1882 - Present
FIG. 4 - SOURCE : PINTREST - GAUDI’S INVERTED PARAMETRIC MODEL
FIG. 5 - SOURCE : DEZEEN SAGRANA FAMILIA IS ENTERING ITS FINAL STAGE OF CONSTRUCTION
Assuming a nexus between Parametricism and Generative Architecture, one might consider that these ‘tools’ could threaten the need for architects. Prof. Mark Burry poses the question, ‘Is Parametricism 2.0 a dangerous step down the road towards the destruction of the profession of architecture, or is it simply architectural practice as we know it that is at risk?’ Perhaps, the Architect can no longer be the sole author of a project but rather work symbiotically with generative methods.1
We may also consider that Parametrisim is not a contemporary concept, but architects from the 19th century such as Antonio Gaudi have unashamedly adopted parametric tools in the past to devise their schemes. Parametric tools perhaps provide a flexibility and complexity in Architecture that cannot be achieved otherwise.
1 Mark Burry, “Antoni Gaudí And Frei Otto: Essential Precursors To The Parametricism Manifesto”, Archit. Design, 86 (2016), 30-35 <http://dx.doi.org/10.1002/ad.2021>. STUDIO AIR: JOURNAL
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A.4_Conclusion The above projects demonstrate engagement on varying levels with parametric thought and processes. In some cases we see an expedited design and fabrication process, as well as improved efficiency of material and a faster assembly. We can see geometries and concepts being explored which have not yet been. We see parametics being used to develop nationalistic and political messages. In this sense, Parametricism can be powerful tool for design. However, what can also be seen is the traditional identity and role of the architect being challenged. By critically analysing these projects I have developed a personal view that there is a fine line between maintaining authorship and control while relinquishing some aspects of the decision making process. If a balance is struck then great design outcomes may be achieved. However, it this balance is not struck, authorship may be lost and the design outcome may be derivative and reflect merely the style of parametricism. Throughout my design process I intend to maintain deliberate decision making whereby digital agency is kept under my control so as to preform and reflect significant design drivers, whether they be amenity, shelter or social responsibility. Secondarily, I will aim to utilise parametric tools available to enhance the aesthetic, style and visual complexity of the project.
A.5_Learning_Outcomes I have developed a strong conceptual understanding of the way in which algorithms can be programmed using Grasshopper - a node based, visual alternative to traditional scripting. Particularly, I have developed a technical ability in creating patterning algorithms to create complex surfaces. Skills such as these may have enhanced previous designs I have worked on, particularly in terms of adding complexity.
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A.6_Appendix Algorithmic_Sketches
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References “A Brief History Of Buildings That Look Like Vaginas”, Gizmodo.com.au, 2013 <http://www.gizmodo. com.au/2013/11/a-brief-history-of-buildings-that-look-like-vaginas/> [accessed 17 March 2016] “CCTV – Headquarters”, OMA, 2016 <http://oma.eu/projects/cctv-headquarters> [accessed 17 March 2016] “CCTV Headquarters / OMA”, ArchDaily, 2012 <http://www.archdaily.com/236175/ cctv-headquarters-oma> [accessed 17 March 2016] “China Central Television (CCTV) Headquarters | Arup | A Global Firm Of Consulting Engineers, Designers, Planners And Project Managers”, Arup.com, 2016 <http://www.arup.com/projects/ china_central_television_headquarters.aspx> [accessed 17 March 2016] “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare. com/projects/272168-foa-alejandro-zaera-polo-farshid-moussavi-spanish-pavilion> [accessed 17 March 2016] “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare. com/projects/272168-foa-alejandro-zaera-polo-farshid-moussavi-spanish-pavilion> [accessed 17 March 2016] “FOA | Alejandro Zaera-Polo & Farshid Moussavi · Spanish Pavilion · Divisare”, Divisare.com, 2016 <http://divisare. com/projects/272168-foa-alejandro-zaera-polo-farshid-moussavi-spanish-pavilion> [accessed 17 March 2016] “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University Of Stuttgart”, ArchDaily, 2012 <http://www.archdaily. com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart> [accessed 17 March 2016] “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458> [accessed 17 March 2016] “ICD/ITKE Research Pavilion 2011 « Institute For Computational Design (ICD)”, Icd.unistuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=6553> [accessed 17 March 2016] “The Most Scandalous Skyscraper In Modern History”, Colorcoat-online.com, 2016 <http://www.colorcoat-online. com/blog/index.php/2012/08/the-most-scandalous-skyscraper-in-modern-history/> [accessed 17 March 2016] Burry, Mark, “Antoni GaudÃAnd Frei Otto: Essential Precursors To The Parametricism Manifesto”, Archit. Design, 86 (2016), 30-35 <http://dx.doi.org/10.1002/ad.2021> Ednie-Brown, Pia, “All-Over, Over-All: Biothing And Emergent Composition”, Architectural Design, 76 (2006), 72-81 <http://dx.doi.org/10.1002/ad.296>
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