[AIR]
STUDIO
MATT AMBLER FINN & HANNES
CONTENTS: SECTION A- CASE FOR INNOVATION A1.
ARCHITECTURE AS A DISCOURSE
-Introductory Paragraph -Brick Country Villa (Mies Van Deh Rohe)
-Jewish Museum Berlin (Daniel Libeskind)
A2.
NON-EUCLIDEAN GEOMETRY
A3.
COMPUTATIONAL DESIGN
-Deconstructivism -
-Uknown Project (Daniel Libeskind) -Villa Libeskind (Daniel Libeskind)
A4. PARAMETRICISM kind)
-tFuturopolis Installation (Daniel Libes-
-Flux Installation (CCA)
A5. PANELISATION
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A- CASE OF INNOVATION
‘CRUMPLED, FOLDED, ROUNDED SHOW-OFF “WOW” BUILDINGS WILL BECOME INCREASINGLY COMMONPLACE- BUT THEY’LL NO LONGER BE DESIGNED BY THE STARS. THE ONLY TRUE STARS WILL BE THE GUYS WHO DESIGN THE PARAMETRIC SOFTWARE.’ Karrie Jacobs (2009)
It’s only a matter of time until the limitations are alleviated and the knot is undone. So I suppose we better all get on board then....
A1- Me. I’m Matt Ambler, I’m 20 years old and completing my third year of this Environments Degree, with a major in Architecture. I work as a Cocktail Bartender, I live out in the ‘burbs and moved to Melbourne 3 years ago from country Victoria. I’ve always had a certain passion for Architecture, and knew it what was what I wanted to do from an early age. My experience with Digital Architecture is very limited, it isn’t a major interest of mine and at this stage I suppose I don’t really appreciate the whole Parametric Design thing, but it’s growing on me. I have particular interest in sharp geometric forms, modernism and minimalism. I’m hands on, and design with a clear direction and insight into my final product. I like to control the processes and solutions in design, rather than an unknown program doing it for me. The content of this course will be a challenge, as well as the overall processes and outcomes of parametric design. But nethertheless, bring it on. I understand that Digital Architecture will become more and more dominant in the design world, as I am aware of the greater pool of possibilities associated with digital architecture combined with parametric design. Greater levels of complexity can be achieved, and those achievements can become fabricated accurately, creating new forms and aesthetics that were simply unattainable before. My appreciation for Architecture lies elsewhere. Modernism and the modern movement is my favourite style, with use of sharp geometries, minimal ornamentation, where the form of the design alone is ornate. Architecture for me is something drawn and designed from start to finish, where the design and the construction of that design is derived from a collection of different professionals. Architecture for me is functional, effectively creating an aesthetic shell in order to support a specific function.
Brick Country House (Unbuilt) -Mies van der Rohe (1923) The Brick Country House is my favourite modern design. It makes use of simplified shapes and surfaces, clustering towards the centre and across mutliple vertical levels. The emphasis on horizontality and it’s extension into space blurs the line between design and surroundings, built spaces and natural spaces. Walls thrust out into the surroundings, emphasising a natural relationship and connection to the site. Something I potentially intend to incorporate into my Wyndham City Gateway Project. This design was radical and was drawn up in 1923 in the height of the modern movement, it is a standout representation of the modern movement representating a shift in ideals.
“IT IS POSSIBLE TO CLAIM THAT A LIMITED BY THE BY THE VERY PRO TO FREE THEIR IMAGINATION.”
A
A DESIGNERS CREATIVITY IS OGRAMS THAT ARE SUPPOSE
Terzidis, Kostas (2009) Algorithms for visual design using the processing language
Jewish Museum Berlin (1999) -Daniel Libeskind The Jewish Museum is an extraordinary design. Its overall form and layout is extremely unique, featuring sharp geometric angles kind of like how lightning is depicted. It is an aggressive design capable of evoking strong emotion, with its tall, dark and raw faรงade, completed with its unique diagonal slit windows. The inside is just as evoking, with strangely off-center spaces, dull skylights and large dark spaces. The building alone has the ability to spook you, representing a series of catastrophic events in Jewish History around Berlin. I love the consistency of form throughout the design, with sharp, diagonals created through relatively simple geometries. The building alone has an ability to evoke emotion suiting superbly within its role.
A2- Discourse: Non Euclidean Forms. My chosen discourse is Non-Euclidean forms, but more specifically, those with a deconstructivist and rectilinear influence. Non-Euclidean is a comtemporary architectural form specifically referring to a unique set of geometries, unlike original Euclidean forms, used in classical architectures in the past. Non Euclidean form is unnatural, following a unique law of geometry. It is unsettling, abrupt, and unique and it doesn’t conform to standard straight-lined Euclidean rule. Deconstructivism is a late 20th century movement following post modernism, therefore is highly influenced by modernism and post modernism, but with a bit of an unpredictable and contemporary competitive edge. The movement entailed deformation of architectural element, into a manipulated structural form and surface. Decontructivism and Non Euclidean architectures work hand in hand together. My original interest in architecture lay strictly with straight, sharp and rectilinear forms (such as the Brick Country Villa on previous page), but more specifically, those forms combined with a Non-Euclidean twist. Furthermore, with the influence of the architectural movement deconstructivism, I found that it was the tying of these basic forms and geometries with a more complex, twisted and visually aggressive touch to be my main interest, and something I wish to influence my design concept for the Wydnham City Design Project.
A3- Computational Architecture and Design. Computers are the supreme tools to assist in the architectural design process. They have the ability to quickly and relentlessly draw from endless stored collections of information, they never tire, and they present information in forms ideal for human comprehension. Stored information is accessed and used as we request and instructions set will be followed flawlessly and precisely- Computers are capable of many things humans simply are not. 1 Nevertheless, individual designers are still in control of the design process, as it is our creative design process that transforms the product- not the computers. Computers are entirely incapable of making up new instructions, totally incompetent of actual design. 2 Computational design operates through a circle of communication between designer and computer, constantly drawing from the shared knowledge of both, sharing the task of design between them, endlessly improving the product.
1.Kalay, ‘Architectures New Media,’ 2. 2 Kalay, ‘Architectures New Media’, 4.
I have a particular interest in modernism the modernism movement, partly because of it’s aesthetic, but also because it was simply unprecedented and radical, modernism was making use of the recent tools, technologies, styles and materials. Computational design is just that, encapsulating the innovations of present day science and technology. Parametric design is the up-to-date modernism. The innovations of modernism that I took particular interest in were the development of the façade, the push from ornate embellishments to plain surface geometries. Now, parametric design has the potential to push that even further, and that is what fascinates me. Digital Architectures open up a whole new conceptual world of opportunity, which through fabrication can become tangible. Parametric design partnered with technological developments in fabrication and computer aided manufacture allows for new designs to be created, produced and constructed. Digital Architectures allow for computerized dynamic and kinetic systems and facades, it makes the creation of much more complex geometries such as topological geometries (solid yet continuously deformed and stretched forms) an attainable reality.
Unknown Project (Unbuilt) -Daniel Libeskind
Villa Libeskind (2003) -WDaniel Libeskind Daniel Libeskind’s work is phenomenal, where sculptural living space meets the highest standard in design, craftsmanship and sustainability. Clean, crisp and elegant lines create neat and sharp rectilinear forms, bending and folding around spaces. His work has strong emphasis on the diagonal, slanting, sloping and the oblique; nothing is simply straight forward vertical or horizontal. The product is a sophisticated balance of simplicity and complexity, with overly simple forms and shapes combined to create abstract and seemingly complex forms. I see Libeskind as one of the masters of modern architecture; it is this signature form of his designs which I particularly adore. Through Computational design structures and architectural forms such as Libeskind’s can be more easily achieved.
A4- PARAMTETRICISM
Futuropolis Installation (2005)- Daniel Libeskind Imagine trying to construct a sculpture that weighs seven tons, has 98 towers and consists of 2,164 different birch plates. Realizing this design within a two week timeframe and limited budget would be impossible by traditional craftsmanship techniques. Through the assistance of parametric design programs and professionals, this design became a reality. The exact geometry of all 2,164 parts was recorded and was 3 dimensionally modeled parametrically. From here the individual pieces were expanded, separated and labeled, milled and assembled. here a previously unattainable fabrication was made possible through parametric design. I find this exhibit particularly interesting because of its complex rectilinear form. Once again simple geometries combined through repetition create a highly aesthetic faรงade. The design is unified throughout the use of this form, with the separate towers aligned in arrangement. The emphasis on straight, sharp and diagonal line is also present through the sections lines trimming the design to shape.
FLUX Installation (2009) -CCA Architecture/MEDIAlab
A4- PARAMETRICISM - The FLUX Installation designed and constructed by CCA (California College of the Arts) students. It is a 100ft long skeletal structure, undulating in plan and section producing a sense of dynamism through expansion and contraction. The structural form is a series of repetitive geometries with minor differences in shape, built using grasshopper through parametric modeling. The skin is perforated, but not randomly; this was also done using matrices in grasshopper. This parametric design interests me in two ways; the overall rolling geometries completed using sharp and straight geometries, combined with the patterned perforations spanning the entire faรงade. This overall geometrical form is something I wish to incorporate into my design and discourse.
A5- PANALIZATION
Reflection so far... My experience with parametric/ digital theory thus far has been extremely positive, I feel a lot more confident and tcomfortable using the programs and attempting to achieve what I’m setting out to achieve parametrically. My knowledge of tools, methods and the programs is still very little, but It’s a big step for me. There still is a big knowledge gap between what I know and what I want to know so my design goals are more attainable. My perceptions of parametricism have also changed since the beginning of semester; I want to understand it all better. But I just haven’t quite got there yet. I chose to explore penalisation as our secondary discourse. Panalisation is an excellent concept and parametric design style to investigate, due to its general features. Panalisation when used in architecture and design can assist to create a highly repetitive collection of relatively simplistic components, in order to create a highly aesthetic overall form, made possible by the large number of smaller components and connections. Panalisation also allows the potential to create a certain dynamic aesthetic, with a variation in scale and shape of individual components, consistent throughout a surface creating a wave like appeal. This concept also allows the opportunity for perforations throughout individual components allowing for vision through the design and the potential for shadows. Perception points can also be created through the use of Panalisation, which could be a very effective feature of a roadside installation, where all of sudden, for one moment in time at one particular viewpoint, a design can be fully seen, appreciated and understood.
Aggregated Porosity -Biao Hu & Yu Du
Sheer Wall (2008) -Jesse Pietila
reference
Terdizis, kostas 2009, ‘algorithms for visual design using the processing language’ indianopolis, IN: Wiley, page: XX http://aedasresearch.com/images/thumbnails/computational_ design111.png(image week 2 comp design) splash- http://www.torabiarchitect.com/news/parametric_array/ parametric_array_2.jpg http://www.serpentinegallery.org/Libeskind%201.jpg libskind pav http://www.arnewde.com/wp-content/uploads/2010/04/Modern-VillaLibeskind.jpg villa http://www.vectorworks.net/edispatch/Vol46/futuropolisdetail_lg.jpg detail futureopilosi http://www.vectorworks.net/edispatch/Vol46/futuropolis_lg.jpg http://www.google.com.au/imgres?um=1&hl=en&sa=N&tbm=isch &tbnid=u5uHKbtOu8o9NM:&imgrefurl=http://www.shearyadi.com/ myworld/sheer-wall-the-ambivalent-spatial-quality/&docid=tLt__ WV1V8P48M&imgurl=http://www.shearyadi.com/myworld/ wp-content/uploads/2008/10/12102008_sheer-wall-03. jpg&w=500&h=334&ei=dMw1UNBZxpyIB-OEgagM&zoom=1&iact=h c&vpx=480&vpy=483&dur=104&hovh=183&hovw=275&tx=149&ty =100&sig=116358910272568090320&page=1&tbnh=128&tbnw=15 3&start=0&ndsp=35&ved=1t:429,r:19,s:0,i:133&biw=1619&bih=780