ARCHITECTURE AND SOCIAL RESPONSIBILITY
STUDIOAIR KURT BALLENER - 541042
WHAT TO EXPECT
architecture as a discourse continual body of knowledge
ARCHITECTURE AS A DISCOURSE continual body of knowledge
SOCIAL RESPONSIBILITY AND DESIGN the power of design - with great power, comes great responsibility
COMPUTATION IN DESIGN DIGITAL CAPACITY
PARAMETRIC DESIGN FURTHER PRODUCTIVE CAPACITY and minimal surface
the yusakuji approach further exploring minimal surface
the yusakuji Reform application of feedback from mid semester presentation
source: http://woodensquarerulers.files.wordpress.com/2013/01/walkingcity02.jpg
learning outcomes what i learnt from studio air
Architecture as a Discourse is a conceptual and perceptual method of viewing architecture. It ensures the perspective of architecture is viewed as a Continual Body Of Knowledge rather exclusively the built environment. The discourse of architecture is often use to refer to complex issues related to society, responsibility, design capacity and the development of design techniques which allow for the further exploration of complexity through structure and, even further, exploration of design intentions and ideas. As the progression of digital design continues of a path of rapid development, it is important that as designers we consider the larger societal impact that occurs as a result of the designs we integrate into the environment. Often seen throughout current designs are the concept of sustainability and the consideration of reducing embodied energy and water as well as an overall reduced energy consumption over time.
Another facet of architectural discourse is its ability to catalytically induce change or the further adoption of particular thought processes. Elaborating on this concept we refer to the Walking City by ArchiGram1 which, although designed in 1964, holds much pertinence within society as it considers the human consumption rate and the need for sustainable alternatives to a highly commercialized and overly productive civilization. Walking City holds significance as an architectural discourse as it ascertains an awareness of particular issues which are ongoing. And, although unbuilt and completely theoretical, it has been added into this body of knowledge which remains relevant as long as architecture is continued.
source: http://veronicaaj.files.wordpress.com/2010/04/image-disney_concert_hall_by_carol_highsmith_edit.jpg
Although critically received by some, Gehry’s Guggenheim2 is another prime example as a key piece of architecture which adds to the architectural discourse.
Architectural Discourse can be seen as the seeming immortalisation of a building, or project, or concept, or idea as it adds to this body of knowledge to be remembered forever.
Being the first of its kind, the Guggenheim was innovative beyond measure and its sense of monumentality provided Bilbao with a name and a reputation - although the attribute may be a sole attribute to Bilbao, at least in a conversational sense.
We should consider these particular aspects as we carry on as designers and providing solutions for clients.
Walking City, ArchiGram < http://www.archigram.net/projects_pages/walking_city_5.html >, [accessed th of 3rd April]
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The critical example of the contribution to the architectural discourse is the concept of being referred to as a solution or a desired aesthetic or feel etc. The Guggenheim further adds to what people, lay or industryinformed, perceive to be architecture and what they understand to be so. This is Architectural Discourse.
Guggenheim Museum Bilbao, GUGGENHEIM< http://www.guggenheim.org/bilbao>, [accessed th of 5th April]
social responsibility the power of design
with great power, there must also come - great responsibility3
3
Robert Genter, Cold War Culture and the Birth of Marvel Comics < SPORTDiscus with Full Text, EBSCOhost >, [accessed th of 7th April]
source: http://www.skyscrapernews.com/images/pics/3017BFLSDesignDalstonEcoTower_pic1.jpg
By considering how architecture must reflect the environment it sits in, whether commentary of contrasting, we see the obligation architecture has - especially within the built environment. This is especially the case with the progression of digital design tools and the productive capacity to generate and assemble more abstract and radical forms.
As described in Design Issues, the products which are introduced to society have a great effect on social behavior and, therefore, there are social implications with regards to what we create as architects and designers.
s o u rc e : htt p : / / w w w. za h a - h a d i d . co m / architecture/33-35-hoxton-square/
Considering this, I have decided to observe the work of Zaha Hadid in particular her proposed 33-35 Hoxton Square project. Through her heavy incorporation of digital design into her design process she is able to manipulate the form of the proposed structure and provide an outcome which provides a phenomenological experience to the inhabitants of the dwelling, aesthetic captivation for those who sight it and, more importantly, a sense of social responsibility towards the site and the pre-existing environment. As expressed primarily through the form, the sense of social responsibility within this project is clearly outlined within the design ideology - respecting the neighborsâ&#x20AC;&#x2122; desire for natural sunlight access and views. As the captivating aesthetic of the building provides an innovative appeal to the building, this underlying ideology driving the design process is what can be truly taken from this proposal.
s o u rc e : htt p : / / w w w. za h a - h a d i d . co m / architecture/33-35-hoxton-square/
In this issue they discuss the analysis of Winner and mention his commentary on the New York overpasses on the Long Island parkways and how the designer had intentionally designed them to wield political power as their height would restrict public transport access (Tromp, Hekkert and Verbeek 2011). This was a ploy to limit the presence of the lower socio economic class into the parkways in 1912.
source:http://sbiii.com/b-uattwn/meiii4/pix/ limpmark.jpg
source:http://graphics8.nytimes.com/ images/2008/10/09/business/25267643.JPG
As we can observe from the effect that designs may have on society, and the way in which society operates, It is the obligation of the designer to consider their responsibility to serve the needs of the community and the society in which their building, or structure, or architecture will sit within.
s o u rc e : htt p : / / w w w. za h a - h a d i d . co m / architecture/33-35-hoxton-square/
Although the case is old, the moral of the story is still pertinent to society and obligatory societal concerns whilst designing.
source:http://www.vanderbiltcupraces.com/ vcrsys/Images/Then/L1164-58725-58-186_ edited-3.jpg
COMPUTATION IN DESIGN DIGITAL CAPACITY
applying algorithims toward design and creating relationships
ICD Design Studio (Prof. A. Menges, S. Ahlquist), Sonja Templin / Valentin Brenner, ICD Stuttgart University, 2010
source: http://www.achimmenges.net/icd-imagedb/icd_ent_evolving-systems_project1_cover.jpg
source: http://www.achimmenges.net/?p=4703
source: http://www.achimmenges.net/?p=4703
source: http://www.achimmenges.net/?p=4703
source: http://www.achimmenges.net/?p=4703
The Achim Menges exploration into the development of cylindrical morphology links into the applications of computations in digital design. The exploration looks into the concept of minimal surfaces whilst occupying volumetric space. This concept of occupying space at a high volume to surface area ratio is an area which is further explored by Yusakuji and holds great pertinence toward the outcome they used to resolve the Wyndham Western Gateway Project Entry. The actual exploration by Achim Menges adopts the concept of the sun paths and the relationship between the light and shade - but this is expressed through the use of the minimal surface technique. As the relationship of the light and shade are applied algorithmically toward the design, it demonstrates the digital capacity within design showing the ability to further realize design intentions within projects both built and unbuilt.
Top right - source: http://www.michael-hansmeyer.com/projects/columns.html#1 Mid right - source: http://www.michael-hansmeyer.com/projects/columns.html#2 Bottom right - source: http://www.michael-hansmeyer.com/projects/columns.html#3
The computation and applicability of the digital capacity allows for a new form of exploration on a less constrained level - as there is a three dimensional aspect to digital design from the genesis of a project. Computation also allows for the application of forces and the structural tests of design outcomes through plug-in such as kangaroo where loads can be added to show force allocation and stress points - thus providing opportunity to design more holistically and with a greater knowledge and awareness of realistic outcomes.
As computation further delves into complex geometry and composition, the amount of detail and craftsmanship (seeming craftsmanship) becomes apparent. From Michael Hansmeyer’s Column work we can see the amount of geometric complexity that can be produced through the use of computational architecture. The computation subdivides the Doric Order Column3 then does so iteratively. The Columns actually reach an 8th stage iteration4. Through applying the computational aspect of digital design, the design is able to explore how a particular aspect of design can be expressed in a completely innovative and fresh perspective. This is similar to the Yusakuji approach to the minimal surface - as shown in more detail later.
the material in use for this particular column is cardboard. The following provides a very brief summary of production. “The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are intersected with a plane representing the sheet. This step generates a series of individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, a polygon-in-polygon test deletes interior polygons. A series of filters then ensures that convex polygons with peninsulas maintain a minimum isthmus width. In a final step, an interior offset is calculated with the aim of hollowing out the slice to reduce weight.” — Michael Hansmeyer5
It is often hard to grasp the method of production for such complex geometries as
Top left - source: http://www.michael-hansmeyer.com/projects/columns.html#8 Mid left - source: http://www.michael-hansmeyer.com/projects/columns.html#9 Bottom left - source: http://www.michael-hansmeyer.com/projects/columns.html#10 Michael Hansmeyer, Subdivided Columns - A New Order (2010) < http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=0>, [accessed th of 25th April] 4 Nicoletta Sala, FRACTAL MODELS IN ARCHITECTURE: A CASE OF STUDY (2000) < http://math.unipa.it/~grim/Jsalaworkshop.PDF>, [accessed 26th March] 5 Michael Hansmeyer, Complex Cardboard Columns Through Computational Architecture (2011) < http://strictlypaper.com/blog/2011/04/ complex-cardboard-columns-through-computational-architecture/>, [accessed th of 26th April] 3
parametric design further productive capacity and the minimal surface
guided by a purpose the realisation of digital design
source: http://farm9.staticflickr.com/8282/7609016248_bfd42237f7_o.jpg
source: http://tex-fab.net/wp-content/uploads/2011/02/DSC_0124.jpg
source: http://tex-fab.net/wp-content/uploads/2011/01/IMG_0200.jpghttp://tex-fab.net/wp-content/ uploads/2011/01/IMG_0200.jpg
The next few pages are going to be considering the Minimal Complexity Series by Vlad Tenu is a key precedent in the development of the minimal surface concept.
surfaces in such a way as to produce an even more complex threedimensional form which still remains, essentially, a single minimal surface.
Minimal Complexity seems to encapsulate the Studio AIR spirit through its highly innovative use of digital design software and its use of the parametric design models utilising a minimal surface to generate complex form. Tenuâ&#x20AC;&#x2122;s sculpture had a great impact on the architectural discourse from its assembly in 2011. It utilises modular surfaces composed together to create another more complex surface. It then further demonstrates this by iteratively combining these complex
The actual form has a great deal of similarity to the Yusakuji Gateway Proposal, however, Yusakuji has taken this concept one stage further and iteratively combined the form to create one final and ultimately complex three-dimensional form.
source: http://farm9.staticflickr.com/8282/7609016248_bfd42237f7_o.jpg
source: http://now-here-this.timeout.com/wp-content/uploads/2012/03/Kings-Cross-22-%C2%A9-Phil-Adams.jpg
As the Minimal Complexity Sculpture had such a profound effect on the architectural discourse from its 2011 construction, it has influenced form of the John McAslan + Partners 2012 redevelopment of Kingâ&#x20AC;&#x2122;s Cross Station. This is clear to see upon the visual analysis of the central feature within the terminus of the station. Considering the apparent perceived modernity of the minimal surface concept, it should be acknowledged how commonly occurring, and accepted, the form and surface are within society.
source: http://tex-fab.net/wp-content/uploads/2011/01/IMG_0183.jpg
The image shows the King’s Cross Station’s Redeveloped Western Concord. The minimal surface does become apparent
source: http://gallery.australianinteriordesignawards.com/website/sites/ all/files/gallery/2006/entry/291/513.jpg
source: http://now-here-this.timeout.com/wp-content/uploads/2012/03/Kings-Cross-2-%C2%A9-Hufton-and-Crow.jpg
The Western Concourse of the King’s Cross redevelopment is shown expressing the minimal surface concept as it connects the structure towards the ground. The form generations of minimal surfaces through parametric modeling and digital design software such as Rhino and Grasshopper have been trending internationally and have been emerging more frequently prior to the redevelopment. Minimal surfaces have been appearing at local Victorian Events, such as the Melbourne Cup of 2005 through the Moët & Chandon
marquee by PTW Architects6. Of course, the emphasis of the marquee at the time was a “bubbly” theme which was also addressing the key criteria of a ‘light’ feel. This lightness is something that is explored by Yusakuji and it is found through the use of particular materials which possess these intrinsic qualities of ‘lightness’. The light feel which the Moët & Chandon marquee communicates so clearly is through the evident material efficiencies expressed through the structural form.
MakMax, Moet & Chandon, <http://www.makmax.com.au/projects/project/moet-and-chandon>, [accessed 25th of April]
6
source: http://media.onsugar.com/files/ons1/325/3255661/23_2009/4d/ moet-chandon-marquee-ptw-architects2.jpg
source: http://cdn.cubeme.com/blog/wp-content/uploads/2009/01/ moet-chandon-marquee-ptw-architects1.jpg
the yusakuji approach
a world of digital design the yusakuji minimal surface
Yusakuji
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As shown in the matrix above, Yusakuji reverse engineered the Voussoir Cloud project by Iwamoto Scott. The purpose of the matrix was to further explore the parametric relationships between digital design algorithms and the form and structure expressed as an outcome. Within the first row, we explored the x-axis and explored a lateral parameter of the project and the different application of force and structure throughout. The second row was similar to the first, however, we explored the y-axis morphologies and the concept still related to lateral parameters but perpendicular to the to the first column.
The fourth column was the experimentation with the opening sizes and its effect on the reverseengineered project. As shown, they had a great deal to do with the form of the outcomes. There were a lot of failures in this column as we learn of the significance of the controlled parameter and how it can affect an entire outcome. The fifth and final columns were the exploration of the curve changes and points. This exploration further provided a knowledge of the parameter. Although it doesnâ&#x20AC;&#x2122;t necessarily express it very well, the relationship between point and curve became apparent through this exploration
As seen within the third row, the vault length was under exploration as this would affect the structural aspect of the project for the vaults, with structural properties, would morph the entire structure with the depth variations. This experiment was particularly useful as it gave quite a good indication of the effect of the parameter on the structure.
the yusakuji minimal surface
Note that the complexity of the deisgn diminishes with the lack of complexity within the applied parameters
The Grasshopper extracts above and below explains the process of the Yusakuji minimal surface formation. Much of the design work of the form was developed by Yun Wa Lai and the images above and below has been supplied by him. It is also interesting to note the relationships between each of the components of the Grasshopper blueprint. The one component that played a great role towards the final outcome was the BlendBox function. Specifically, it created the parameters of applying the modular component and it influenced how the form and structure of the outcome would behave at each iteration. The more basic the top and bottom surfaces (the parameters of the application) the more true the modular component was.
It was noted that when the top and bottom surfaces were both planes parallel to one another, the iterations generated was very basic in form, and almost boringly so. The opposite was also applicable to the iterations to come as you can see a further abstraction to the original modular component as the complexity of the top surface increased - the top surface was chosen to be the variable as the bottom plane would be kept parallel to the flat ground to resemble the ground as flat.
The inverse of the above situation is the case as the top surface increases in complexity. The power of the parameter becomes apparent to a higher degree at this point
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In the above matrix, the Yusakuji minimal surface explorations demonstrate the iterative and thorough design approach undergone by group. The above images show the modular component of the Yusakuji minimal surface structure and final outcome. This modular component is applied to a number of various parameters in order to fully express the innovation of the approach without compromising the communication. Similarly to the reverse engineering, each of the columns are experimented using the same methodology - but rather than exploring our own forms we simply apply to identify the most appropriate outcome. The process seems to be highly labor-intensive, and times are, but the final Yusakuji outcome tends to speak for itself.
Further explorations (on the page to the right) express the iterations of how the approach was applied to a number of parameters - which seemingly sums up to gradual simplification process. It is interesting to note the changes and to observe how they reflect a more appropriate outcome each time - especially with regards to an outcome which communicates well to the drivers who will experience it.
the yusakuji reform As the feedback from the mid semester presentation said, the material efficiency argument held little validity within the confines of this outcome for if it were truly minimal it would emphasise a minimal structure. Yusakuji emphasised, then, the concept of occupying a space in a volumetric manner whilst incorporating complex geomtery through the use of the minimal surface principle and design approach. The Yusakuji approach focuses on using minimal surfaces and placing them in composition so to create complex geometries and forms whilst complying to the parameters set by the group. A key aspect to the success of the Yusakuji approach is the strong concept of a self-supporting structure. A project outcome which has generated a self supporting outcome is more likely to express their design intentions without the obstructions of external supports - or the ugly (or cheat) waffle grid which is looked down upon by so many architects. Yusakuji was able to apply a real sense of pragmatism to the final outcome as they ensured the project had undergone a â&#x20AC;&#x153;complexity dietâ&#x20AC;? considering the
3 second rule of driversâ&#x20AC;&#x2122; attention - being that an advertisement had to communicate within 3 seconds otherwise it was overly detailed. As we considered the 3 secon rule, we simplified the digital outcoe to allow for just the right amount of visual enticing to generate buzz about the gateway, but not as to stop traffic and cause accidents due to over-examination. As many architects would be aware of, the limitations of some of the joinery is a stark indication of the productive capacity of some of th work to be produced within the physical realisation of a project. Yusakuji overcame this through the exploration of the angle panel connection - with further research still ongoing. These angular joints allow for the complexity of the form to be realised through composite panels - of mesh with a hard and rigid steel edge, appropriate for connections to be fixed. This thorough apporach to the Wyndham Gateway Project means that the images that you see on the digital drawing board are practical and well-thought outcomes that can be readily produced.
learning outcomes Resulting from the laborious exploration and research of algorithmic digital design and the use of parameters to inform structural properties and three dimensional forms, I have learnt of how to generate the minimal surface. The Wyndham Gateway Project of Studio AIR has taught me of the physical realization of architectural models and the transition from a digital drawing board to a physical model and, furthermore, an architectural piece to add to the ongoing architectural discourse. Prior to the project, it was never a real concern for me, as a designer, to consider the physical realization and the complications to be contributed to it - such as panel joints and materiality (regarding force application on the structural members). There are still vast concepts which need to be further, and more thoroughly, explored but as time goes on the repertoire of digital techniques that I have acquired from this subject will only continue to grow.
The digital drawing board is merely limited to the amount of effort an individual is will to invest into it. With the right mindset, and the right tools, any objective can be overcome and any goal can be reached. The Grasshopper plugin although requiring research itself, allowed for a further application of knowledge which provided a decent foundation for Yusakuji’s final outcome. One another major aspect of design I have learnt from this project is the conversion and further realization of joints on an architectural scale not using tabs like in presentation models. This project seemed to force us as designers to approach the outcome holistically which provided us with a basis for a more realistic design methodology.
reference list
GENTER, ROBERT. ““With Great Power Comes Great Responsibility”: Cold War Culture and the Birth of Marvel Comics.” Journal Of Popular Culture 40, no. 6 (December 2007): 953-978. SPORTDiscus with Full Text, EBSCOhost (accessed May 1, 2013). 953-978, 971 Walking City, ArchiGram < http://www.archigram.net/projects_pages/ walking_city_5.html >, [accessed th of 3rd April] Guggenheim Museum Bilbao, GUGGENHEIM< http://www. guggenheim.org/bilbao>, [accessed th of 5th April] Michael Hansmeyer, Subdivided Columns - A New Order (2010) < http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=0>, [accessed th of 25th April] Nicoletta Sala, FRACTAL MODELS IN ARCHITECTURE: A CASE OF STUDY (2000) < http://math.unipa.it/~grim/Jsalaworkshop.PDF>, [accessed 26th March] Michael Hansmeyer, Complex Cardboard Columns Through Computational Architecture (2011) < http://strictlypaper.com/ blog/2011/04/complex-cardboard-columns-through-computationalarchitecture/>, [accessed th of 26th April] MakMax, Moet & Chandon, <http://www.makmax.com.au/projects/ project/moet-and-chandon>, [accessed 25th of April] Minimal Complexity fig 3.1 http://www.bustler.net/images/news2/tex-fab_20_exhibition_ minimal_complexity_01.jpg Minimal Complexity fig 3.2 http://tex-fab.net/wp-content/uploads/2011/01/IMG_0183.jpg Minimal Complexity fig 3.3 http://tex-fab.net/wp-content/uploads/2011/02/DSC_0124.jpg
Minimal Complexity fig 3.4 http://tex-fab.net/wp-content/uploads/2011/01/IMG_0200.jpghttp:// tex-fab.net/wp-content/uploads/ Minimal Complexity fig 3.5 http://ad009cdnb.archdaily.net/wp-content/ uploads/2010/12/1291760253-top-revised.jpg Minimal Complexity fig 3.6 http://farm9.staticflickr.com/8282/7609016248_bfd42237f7_o.jpg Minimal Complexity fig 3.7 http://ad009cdnb.archdaily.net/wp-content/ uploads/2010/12/1291760226-minimal2.jpg Minimal Complexity fig 3.8 http://www.evolo.us/wp-content/uploads/2010/11/tex-fab-10.jpg Minimal Complexity VLAD TENU early 1 - 2 http://www.vladtenu.com/2011/minimal-surfaces-asarchitecturalprototypes/ MINIMAL COMPLEXITY http://www.suckerpunchdaily.com/2011/03/16/minimal-complexity/ http://www.archdaily.com/94612/minimal-complexity-vlad-tenu/