ARCHITECTURE DESIGN STUDIOAIR
KIA TZOUNOS 390419
CONTENTS
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. 1
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
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.
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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. 2 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 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.
EXPERIMENTING WITH FORM
architecture and visual culture...
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. 4 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). 3
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
WEEK 03
PROGRAMING/SCRIPTING CULTURES ALISA ANDRASEK|BIOTHING
Alisa Andrasek
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 design can be critiqued as removing the single aspect away from 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 from sketches to scripts... A rhinoscript and Frank Lloyd Wrights section of remaining fields that cannot be succumbed to robots. Compu‘Fallingwater’ tational 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. 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.
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
oc In ia pu tio t n
Sets
As s
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.
Arbitrary Points
Boolean Pattern
Curve Intersections
Explicit Grids
Overlapping Pattern
Surface Grids
Using Surface
WEEK 04
WEEK 05
CUT DEFINITIONS
REVERSE ENGINEERING CASE STUDY
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
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 movement in beautiful and unpredictable ways.
REVERSE ENGINEERING CASE STUDY
WEEK 06 CHILDRENS MUSEUM OF PITTSBURGH
WEEK 05
A RESPONSIVE STRUCTURE A RESPONSIVE STRUCTURE
The museum is appropriate for the Gateway project in the way it responds to the movement of the outside world. The design for a gateway should respond to movement in a visible manner by some-how transforming or appearing to transform from the eye of the on-looker.
This establishes the concept of ‘peripheral vision’ and how our vision can change at different scales and positions. This structure acknowledges a similar concept, by changing scales and aesthetics from the influence of the wind. The gateway is going to change aesthetics through the influence of movement.