ARCHITECTURE DESIGN STUDIOAIR
KIA TZOUNOS 390419
CONTENTS
WEEK 01|ARCHITECTURAL DISCOURSE WEEK O2|COMPUTATIONAL DESIGN WEEK 03|PROGRAMMING/ SCRIPTING CULTURES WEEK 04|GRASSHOPPER DEFINITIONS WEEK 05|REVERSE ENGINEERING CASE STUDY WEEK 06|MODELLING CASE STUDY |EXPRESSION OF INTEREST DOCUMENT WEEK 08-WEEK 12|DESIGN PROJECT: GATEWAY
WEEK 01
ARCHITECTURAL DISCOURSE ZAHA HADID|GUANGZHOUOPERAHOUSE The state of the art opera house was designed and constructed over 8 years (2003-2010) reflects Hadids love of contemporay yet simultaneously naturalistic form. The form resembles two large boulders and an inviting promenade has been sculpted from the landscape, beginning from the opposite side of the central boulevard and winding towards the entrance of the opera house.
The opera house is located at the centre of Guangzhou’s cultural district. The twin bolder form works in harmony with the sourounding city, the structure opens the adjacent buildings up to the Pearl River and creates an interesting contrast from the formality of the sky-scrapers surrounding the naturalistic structure.
architecture and visual culture...
&
SIGNIFICANCE RELVANCE
“the term architecture applies only to buildings designed with a view to aesthetic appeal” The week 01 Richard Williams reading highlights a strong realm of the architecture industry which is treating the profession as a form of Visual Communication. Hadids buildings are very much works of art with the apparant design intents and attention to ‘aesthetic appeal’. The interesting relationship in this precedent is how Hadid has created art, for art and how the building responds to the intended purpose of the performing arts. The natural form of the building reflects the grace of Opera and expresses the purpose and art that will be carried out in the structure.
The architectural significance of Hadid’s structure is highlighted through its form, and the design intent behind the structure. Hadids building evolved through taking inspiration from the natural world (a contrast from Chinas concrete jungle). The idea arose from the concept of a natural landscape and the relationship between architecture and nature. The key ideas for Hadids inspiration were the principles of erosion, geology & topography. The inspiration behind the Unique Opera house provides a relationship between the precedent and the EOI proposal. It is important that the Gateway take inspiration from the surrounding landscape and topography. I think this idea of responding to the natural environment will provide a strong response to the design brief. Zahas inspiration is abstract and not obvious to those who don’t look to find a deeper meaning which is a strong concept for the design of the gateway project.
“the installation need not be literal or didactic in its refrences, as it may capture a more abstract, aspirational intent or feeling” - design brief
WEEK 02
COMPUTATIONAL DESIGN MICHAEL HANSMEYER|VOXELS
EXPERIMENTING WITH FORM
Michael Hansmeyer is a post-modern architect who incorporates algorithmic (artificial) and CAD software techniques to create structures and architectural forms. He is apart of the CAAD (computer aided architectural design) group at ETH’s architecture faculty in Zurich.
Basic diagramatic explanation of a single voxel in 3D space.
Voxel is short for volume pixel, the smallest distinguishable box-shaped part of a three-dimensional image. Voxels (volumetric cells) are a volumetric element that represent a single sample, data point or value on a regular grid (e.g blocks) in 3-Dimensional space. Voxels use a procedural approach to creating form rather than working with surfaces, (such as pixels which use 2D image data).
In Hansmeyers subdivision projects (shownright) the Voxels are used as the basic geometry. Hansmeyer uses this approach in certain projects such as ‘platonic solids’ (main image) and ‘Columns’ (below) as the basic geometric form.
ARCHITECTURES NEW MEDIA “design is the epitome of intelligent behaviour, it is the single most important ability that distinguishes humans from other animals” - Jacob Bronowski
Computational architecture is further removing architecture from traditional methods of design. The ability to manipulate and incorporate these software techniques advances many areas of the field of architecture, but equally neglects certain aspects. The profession is being further advanced with the continually innovative ways to experiment with form. Computational from sketches to scripts... A rhinoscript design can be critiqued as removing the single aspect away from and Frank Lloyd Wrights section of ‘Fallingwater’ what makes the architecture field so artistically extroardianry. Although the idea is dismissed (Stanislavs notes) the ability to design “distinguises the artist from the mere artisan” 5, and as computers lack any design intuition (lets hope they ever will), why are we relying on technology to assist in one of the only remaining fields that cannot be succumbed to robots. Computational design provides many advantages for creating form but also if used in-correctly can possibly delete the need for any passion or desire to drive.
WEEK 03
Alisa Andrasek
PROGRAMING/SCRIPTING CULTURES ALISA ANDRASEK|BIOTHING
Alisa Andrasek is an experimental practitioner and research based educator of architecture and computational processes in design. In 2001 she founded biothing, a cross-disciplinary laboratory that focuses on the generative potential of computational systems for design.
Biothing - exploring the shift from technical based approaches to the more explicit computational approach. This is done by engaging with scripting in an ‘open source manner’. This scripting culture addresses a growing trend of collective computational knowledge within a discipline (in this case architecture). removing the technic al ability of architects as designers?
“it is the means by which the user gives highly specific instructions to the computer with which they are interacting.” The ever-arising ability for designers to rely on computers is creating a potential for designers to ‘spend more time on design thinking.’ The ability to script or program computer software is creating opportunities for users to escape the screen presented in-front of them and escape the parameters of the software set in place by the makers.
EXPRESSION OF INTEREST The organic form highlighted through biothing, presents a free form that resembles what can be seen in the natural environment. The ability to create this organic form provides a method of inspiration that can be used to communicate the idea of the natural environment within the gateway project.
positives of scripting include: • The ability to adapt and customise software; expanding traditional boundaries. • modifying software, rather than using it with it’s intended use. • presenting opportunities for the designer to escape the strictures inherent in any software. negatives of scripting include: • the implications of lower- level computer programming • placing trust in it’s intirety in computers.
WEEK 04
CUT DEFINITIONS The first table of the matrixs’ is developed through the combination of the input definitions and the association definitions.
Attractor Point
Curve Attractor
Image Sampler
Maths Function
Multi Maths Function
Streaming Text
As s
oc In ia pu tio t n
Sets
Arbitrary Points
Boolean Pattern
Curve Intersections
Explicit Grids
Overlapping Pattern
Surface Grids
Using Surface
WEEK 04
CUT DEFINITIONS The second table of the matrixs’ is developed through the combination of the out put definitions, combined together with the above outputs of the combined input/association definitions.
Data Driven Extrusion
Data Driven Rotation
Attractor Point Curve Attractor Arbitrary Points
Maths Function
Multi Maths Function
Streaming Text
Sets
Attractor Point Boolean Input
Curve Attractor
Maths Function
Multi Maths Function
Streaming Text
Sets
Attractor Point Curve Intesec
Curve Attractor
Maths Function
Multi Maths Function
Streaming Text
Sets
Data Driven Rotation
Data DrivenExtrusion
Data Driven Rotation
WEEK 06
CHILDRENS MUSEUM OF PITTSBURGH
CASE STUDY NED KAHN|CHILDRENSMUSEUMOFPITTSBURGH ‘A 3-story steel and glass structure surrounded by a kinetic screen of tens of thousands of 51/2 inch translucent white acrylic panels that flutter in the wind, creating a dynamic surface responds to air A RESPONSIVE STRUCTURE A RESPONSIVE STRUCTURE movement in beautiful and unpreThe museum is This establishes the condictable ways. appropriate for the cept of ‘peripheral viGateway project in the sion’ and how our vision way it responds to the can change at different movement of the outscales and positions. side world. The design This structure acknowlfor a gateway should edges a similar concept, respond to movement by changing scales and in a visible manner by aesthetics from the some-how transforming influence of the wind. or appearing to The gateway is going transform from the eye to change aesthetics of the on-looker. through the influence of movement.
WEEK 06
CASE STUDY NED KAHN|CHILDRENSMUSEUMOFPITTSBURGH RHINOCEROS These two panels were created on Rhinocerous as an attempt to mimick the form with parametric modeling, laser-cut and then re-create the structure manually. A mistake I made was to create an entire 4-sided square shape, it should have been 3-sided so as that one side of the shape was still attached to the rest of the form, making it respond to outside elements (air, water) better.
These two panels, though do not relate to the precedent were produced as a way to experiment with how different shapes work within the same form.
A snapshot of the job that was sent to the fablab. Only the four rectangular panels were worked on within this precedent. The non-linear shapes were printed for a member within my group who worked on a different precedent.
WEEK 06
CASE STUDY NED KAHN|CHILDRENSMUSEUMOFPITTSBURGH MODEL PHOTOS
Please use the following free fonts in your journal: -
DIN 1451 Std : Engschrift DIN 1451 Std : Mittelschrift DIN 30640 Std : Neuzeit Grotesk Bold
Wyndham City Gateway PRODUCED BY XINTI WEI 233865 MAN HO KWAN 560886 KIA TZOUNOS 390419
AT A GLANCE Whilst driving at speeds of 100km/h city bound on the Princes Freeway, it is easy for visuals to slip the mind. Focused drivers do not recall the bridge they travelled under, or the many signs they passed, with only a destination in their vision. The gateway they pass entering Wyndham will create uncertainty. They will see a form at first and then it will transform and before
“WAS THAT A CAT OR A LION?�
CONTENTS At a glance 01 Contents 02 GROWTH 04 Scripting possibilities 06 Interaction 08 Integration 09 This is Wyndham 11 Digital Fabrication 13 Form 15 De-flatten surface 17 Pico-Motion reaction 20 Deployment 21 Construction 23 The peripheral 25 Vision 25
ORGANIC FORM
the organic form highlighted through biothing presents a free form that resembles what can be seen in the natural environment. the ability to use scripting to create this organic form provides a method of inspiration that can be used to communicate the idea of the natural environment withing the gateway project. it is important to use nature and the surrounding environment as a method of igniting inspiration within this project. there needs to be a relationship between the gateway and the surrounds, and biothing and
GROWTH Biothing explores the shift from technical based approaches to more explicit computational approach. This is done by engaging with scripting in an ‘open source manner’. This scripting culture addresses a growing trend of collective computational knowledge within a discipline (in this case architecture).
“THIS PROCESS AFFORDED US A REPERTOIRE OF SUFFICIENT RICHNESS AND COMPLEXITY TO APPROACH URBAN REGENERATION PROJECTS WITH MULTIPLE SIMULTANEOUS STRATEGIES.”- ZAHA HADID ARCHITECTS
SCRIPTING POSSIBILITIES
Parametric design allows architects to discover our environment from a data-driven viewport.
“A SUSPENDED GEOTEXTILE THAT GRADUALLY ACCUMULATES HYBRID SOIL FROM INGREDIENTS DRAWN FROM ITS SURROUNDINGS.” - HYLOZOIC GROUND
Nature: an ever occurring process of actions and reactions. Leaves fall, seasons change. It is apart of life for humans to interact, grow and change. In Philip Beesleys Hylozoic series, he created a delicate system that reacts to the presence of action. The surface almost breathes while it changes creating an interaction between the
viewer and t front of them
The process of integration not only demands the designer to imagine the project, but also use the advantages of computerised techniques to put the designer inside and out of the project simultaneously. This allows further manipulation of the project with a more wholistic horizon of perception to the project. Contemporary reinterpretations such as these can bring architec-
‘A SIMULTANEOUS, SYNCRETIC AND MULTI-SENSORY IMAGINATION AND AN EMBODIED EMPATHY THAT ARE CERTAINLY BEYOND THE CAPACITIES OF THE MOST POWERFUL OF COMPUTERS.’ - HENRY MOORE
THIS IS WYNDHAM Igniting interest. Wyndham city is currently home to wetlands, a state of the art equestrian centre, vineyards, and a growing social culture. The gateway will reflect the growing population and will defy the initial expectation people feel when travelling to Wyndham.
Stimulating growth
BIO-INSPIRED INTERACTION INTEGRATION
DEFYING EXPECTATION
DIGITAL FABRICATION
Computational enables the form respond more quickly to input, being interactive with data instead of pen strokes. Grasshopper with Rhino allows us to associate data input with any
contour and rapidly reflect the progress on screen.
Attractor Point
Curve Attractor
Image Sampler
Maths Function
Multi Maths Function
Streaming Text
As s
oc In ia pu tio t n
Sets
Arbitrary Points
Boolean Pattern
Curve Intersections
Explicit Grids
Overlapping Pattern
Surface Grids
Using Surface
Data Driven Extrusion
Data Driven Rotation
Attractor Point Curve Attractor Arbitrary Points
Maths Function
Multi Maths Function
Streaming Text
Sets
Attractor Point Boolean Input
Curve Attractor
Maths Function
Multi Maths Function
Streaming Text
Sets
Attractor Point Curve Intesec
Curve Attractor
Maths Function
Multi Maths Function
Streaming Text
Sets
Data Driven Rotation
Data DrivenExtrusion
Data Driven Rotation
FORM
A Möbius is a surface with only one side and one boundary component. The shape a Möbius forms has ignited an initial concept for the gateway project. Located adjacent to the Princes highway, the structure needs to represent motion, speed and time, these factors are highlighted through the Möbius form. Through experimentation with the Möbius loop, two sets of physical models( interlocked & linked) were created. We were able to get an array of results relating to form, space, light and
‘WHILE PHY COORDINA IN WHICH I MAKING TH DAMENTAL - GREG LYN
YSICAL FORM CAN BE DEFINED IN TERMS OF STATIC ATES, THE VIRTUAL FORCE OF THE ENVIRONMENT T IS DESIGNED CONTRIBUTES TO ITS SHAPE’, THUS HE FORCES PRESENT IN THE GIVEN CONTEXT FUNL TO THE FORM MAKING IN ARCHITECTURE.’ NN
DE-FLATTEN SURFACE
The irregular surface is being visualized by a waffle. The contour is visible when viewed from the side but disappears when viewed
from the top.
The waffle uses ligh it’s advantage cast over-lapping shad when in direct s
ht to ting dows sun-
PICO-MOTION REACTION
DEPLOYMENT
The gateway project will be located on site a. Site a is the largest site and provides a greater opportunity for motorists to view the structure without being pre-occupied from the road. As we are trying to achieve different views and scales of the structure at different points, site a lends itself to achieve this.
CONSTRUCTION CONSTRUCTION QUANTUM MAN EXAMPLE CHANGING THE WAY WE VIEW MATERIALS Artist julian voss-andrea created the sculpture ‘quantum man’ in 2006. The steel sculpture of a walking human was created as a quantum object, a moving object that consists of waves orientated perpendicular to it’s direction of motion. The sculpture appears first to be a solid form made up of dark steel, however when viewed from the side dissolves into almost nothing.
Although the artist intended the sculpture as a metaphor for the world of physics, this is a strong concept which can be related to the idea ‘peripheral vision’, or tunnel vision which is a main theme behind our future design for the gateway project. The idea of peripheral vision pushes the way we view materials and objects at different viewpoints and scales,
STEEL
Cut vertically and oriented in such a way to create an optical illusion. The steel cut into thin slices can be connected to one another in a way to create any desired form. The form is then viewed from certain points but when viewed directly side on, disappears. This is therefore using material for a greater intention than initially
THE PERIPH V
HERAL VISION
THE TASK OF ARCHITECTURE IS TO STRENGTHEN OUR SENSE OF THE REAL, NOT TO CREATE SETTINGS OF MERE FABRICATION AND FANTASY. THE ESSENTIAL MENTAL TASK OF THE ART OF BUILDING IS MEDIATION AND INTEGRATION. - PROF. JUHANI PALLASMAA. HELSINKI UNIVERSITY
WEEK 08 - WEEK 12 Our project is ignited by the sensation of uncertainty. We are using a concept that many feel when driving. Drivers are often in auto-pilot and will forget about if they are going the correct way, taking the right turns, if what they thought they saw was correct, we want to relay this, and need to find a form that represents this concept and ignites uncertainty.
THE PART OF VISION THAT OCCURS OUTSIDE THE VERY CENTER OF GAZE
PERIPHERAL VISION IS A METAPHOR FOR THE WAY WE MISS ELEMENTS OUTSIDE OF OUR DIRECT LINE OF VISION WHEN DOING CERTAIN ACTIVITIES (SUCH AS DRIVING), PERIPHERAL VISION PLAYS WITH WHAT WE PERCEIVE AS REALITY.
QUANTUM MAN| JULIAN VOSS-ANDREAE
A strong precedent which materaialises our concept. The form changes as your line of vision does.
PERIPHERAL VISION
DESIGN PROJECT: GATEWAY PERIPHERAL|VISION
WEEK 08 - WEEK 12
A CONTINUOUS ONE SIDED SURFACE
DESIGN PROJECT: GATEAY MOBIUS|STRIP
THE MOBIUS STRIP IS AN IIREGULAR FORM THAT CAN COMMUNICATE OUR DESIRE TO ACHIEVE DIFFERENT FORMS WHEN VIEWED DIFFERENTLY. THE INTERESTING SHAPE COULD BE SLICED HORIZONTALLY OR VERITICALLY AND MADE FROM THIN SLICES OF STEEL TO ACHIEVE THE EFFECT THAT IT IS ‘DISAPPEARING’ AT CERTAIN POINTS. THESE POINTS WOULD BE WHEN THE SURFACE APPEARS AT IT’S FLATTEST (SHOWN ABOVE).
WEEK 08 - WEEK 12 DESIGN PROJECT: GATEWAY CHANGE OF FORM
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RELYING ON THE UN-KNOWN Tensegrity is a structural principle based on the use of isolated components in compression (green) inside a net of continuous tension (red).
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To determine the location and layout of the new form, push/pull factors were in-corporated to ensure that the layout wasn’t to random. These factors were elements such as: nature, and port phillip bay.
PUSH/ PULL FACTORS
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DETERMINING THE NEW FORM 15
Through constant experimetnatation of the mobius strip, we found that we would not be able to achieve the level of invisibility that we want to with this form. There fore we had to re-consider using this as our form as it could not achieve our concept appropriately.