Matt's Journal by Matthew Chai

ARCHITECTURE DESIGN STUDIO AIR MATTHEW CHAI #583290 JOURNAL 2013

CONTENT CASE FOR INNOVATION 1 WEEK 1 Introduction 3 Material Exploration in Relation to Context 6 Natural Integration 7 Immersion 9 WEEK 2 Computational Architecture 11 Sinosteel Int. Plaza - MAD 13 WEEK 3 Parametric Modelling 15 The Hinzert Museum 17 Mercedes Benz Museum 21

CASE FOR INNOVATION

MATTHEW CHAI AGE: 21 HOMETOWN: MELBOURNE, AUSTRALIA ENJOYS: MUSIC, NAVY BLUE, ANYTHING MADE OF PLYWOOD

I have always been inspired and interested in architecture and the built environment so the descision to pursue a career in architecture was an easy one to make. I briefly studied a Bachelor of Architecture at Deakin University’s Geelong Waterfront Campus before transferring to Melbourne University’s Bachelor of Environments course. I have found the Bachelor of Environments course extremely interesting and well rounded in regards to relevant issues in design, the natural environment and sustainable living in all aspects of our lives. Design Studio: AIR is just one example of the course’s diverse syllabus which equips us, as architects, with the skills to influence change within our evolving world. I’m particularly interested in learning and discovering the language of computing in architecture as the notion of parametric modelling was a relatively foreign concept before Design Studio: AIR; my experience is somwhat limited in computing in architecture and design. Nevertheless, I’m extremely eager to put my computing knowledge and skills to the test.

MATERIAL EXPLORATION IN RELATION TO CONTEXT

6 “ARCHITECTURE IS THE MOST PUBLIC OF THE ARTS. IT IS INESCAPABLE ON A DAILY BASIS FOR ANYONE LIVING IN AN URBAN SOCIETY. WORKS OF ARCHITECTURE FRAME OUR LIVES; WE INHABIT THEM, THEY DEFINE OUR MOVEMENT THROUGH CITIES; THEY MORALISE AND DISCIPLINE, OR ATTEMPT TO.” RICHARD WILLIAMS As Richard Williams states - architecture surrounds us. It’s an obvious statement; it creates the tangible urban environment of our modern day society. From the early works of Marc-Antoine Laugier and his ideals of The Primitive Hut, architecture can be viewed as an entity which provides us with shelter, warmth and protection. However, as we progress from the premise that architecture is simply an enclosure of space which performs a certain function, the definition of architecture can become multi-faceted, subjective and even philosophical. Architecture is a unique form of expression which allows architects to design three-dimensional, inhabitable spaces unlike the limited nature of painting or sculpturing. Furthermore, architecture is often

free to experience as opposed to other forms of visual culture which is often sheltered from the public realm. Consequently, the consumption of architecture is not contained to the analyses of the professionally trained.1 As our urban environment grows rapidly, we are exposed to more and more new technology, materials and innovation. In order to consider architecture as a discourse, one must critically engage in architecture as something more than bricks and mortar, whether it be as art, as a symbolic representation or the way space can make you feel emotionally. I believe that the discourse of architecture in relation to material selection and context is one of utmost importance. Personally, I believe that architecture must not impose itself upon its vernacular, but it must integrate itself to achieve a wholesome expression. That is, buildings with no contextual formal gesture are lost or irrelevant. Material selection and performance is one way that creates harmony between itself and its surroundings.

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 (p.108) 1

CASE FOR INNOVATION 01

NATURAL INTEGRATION OUR UNDERSTANDING OF ARCHITECTURE IS ALWAYS CHANGING AND EVOLVING. THIS IS ONE OF ARCHITECTURE’S MOST EXCITING FACETS; IF WE LOOK AT ARCHITECTURE AS A DISCOURSE, ITS MEANING BECOMES OPEN TO INTERPRETATION AND CONTINGENT. IN OTHER WORDS, THE MEANING OF ARCHITECTURE HAS NO RIGHT OR WRONG SPECTRUM. IN THE CASE OF ALVARO SIZA’S LA LECA SWIMMING POOLS PROJECT, NATURE HAS BEEN RECOGNISED AS A DRIVING SITE FACTOR WHICH NEEDED TO BE ADDRESSED AT THE FORE.

The Leça Swimming Pools by Alvaro Siza is undoubtedly one of his most recognised and published works. It is also one of his oldest. Completed in 1966, it is situated along the the Leça de Palmeira beaches, just north of Porto. It consists of changing rooms, a cafe and two swimming pools. The pools are purposefully sunken into the rocky hillside which consequently creates an undisturbed view of the Atlantic Ocean from the roadside; the pools blend into the landscape illustrating Siza’s careful consideration of the relationship between nature and the built environment. As visitors enter the complex, they are confronted

with previously unseen views.1 The surrounding walls are made of a sandy coloured concrete which reference the surrounding rocks around the site. The Leça Swimming Pool complex is extremely successful in achieving the seamless interaction of nature into the design. It is one of my favourite examples of how architecture integrates, instead of imitates, its natural surroundings. However, it simultaneously disconnects itself from its vernacular by contrasting the linear concrete walls with the jagged, sharp nature of the rocks. You could say it does not pertain to either the built or the

01 View of pools from beach. 02 The concrete steps blend into the rocky surroundings.

8 02

03 Winding, planar concrete walls create dramatic environment. 04 View from children’s pool.

natural; conversely, you could also argue that it bridges the gap between the two and therefore, could be considered as mutually exclusive to both. At first glance, the complex is reminiscent of an old WWII bunker on the shores of Normandy. Although I have never visited, it appears to sit heavily within the landscape. Moreover, in plan it creates many concealed and dark spaces. I can only imagine the sense of adventure one would experience as you navigate your way through the long

dark corridors, tip-toeing through with trepidation and excitement. Eventually, you are elevated from this dark and daunting environment and suddenly the feelings of adventure vanish and the breathtaking view of the Atlantic Ocean generates a completely contrasting expanse to the depths of below. The way Alvaro Siza makes his visitors feel by occupying his spaces is truly unique. He takes them on a journey through the sensitive use of materials and program layout.

Sofia Balters, “AD Classics: Leça Swimming Pools / Alvaro Siza” , Archdaily <http://www.archdaily.com/150272> (date accessed 30 March 2013) 1

CASE FOR INNOVATION 01

IMMERSION “MOUNTAIN, STONE, WATER – BUILDING IN THE STONE, BUILDING WITH THE STONE, INTO THE MOUNTAIN, BUILDING OUT OF THE MOUNTAIN, BEING INSIDE THE MOUNTAIN – HOW CAN THE IMPLICATIONS AND THE SENSUALITY OF THE ASSOCIATION OF THESE WORDS BE INTERPRETED, ARCHITECTURALLY?” - PETER ZUMTHOR

As visitors circulate through the narrow corridors, they immediately feel a deep connection with the countryside through the clever use of local materials such as stone. The internal pools are lit with minimal diffused lighting and subtle opening within the stones to allow for natural light to pierce through. Peter Zumthor’s Therme Vals in Switzerland has been described as a complete sensory experience. Built to create a cave-like structure set deep into the hillside, the baths create a serene and peaceful environment - perfect for immersing yourself. Immersion has strong connotations with water and cleansing, and indeed, they are both pertinent in terms of the Therme Vals. However, the notion of immersion is not limited to the tangible and can also include the psychological immersion of one’s self.

This building is as much about exploration as it is about relaxation. These may seem contradictory in theory however Zumthor states that this idea of “exploration” is not one of trepidation but more about personal emotional exploration.1 As Zumthor explains: “The meander, as we call it, is a designed negative space between the blocks, a space that connects everything as it flows throughout the entire building, creating a peacefully pulsating rhythm. Moving around this space means making discoveries. You are walking as if in the woods. Everyone there is looking for a path of their own.”2 Abstract in its conception, however it creates a unique experience for each individual as he or she “meanders” through the space.

01 View from outside Therme Vals. 02 Dark, dramatic spaces foster a complete sensory experience. 03 Local stone used inside and out.

10 02

“The Therme Vals / Peter Zumthor” (2009), ArchDaily. <http://www.archdaily.com/13358> (accessed 27 March 2013) 2 ‘The Therme Vals / Peter Zumthor” (2009) ArchDaily. 1

COMPUTATIONAL ARCHITECTURE

12 Unlike most other design disciplines like sculpture and art, architectural practice requires a unique set of constraints in formulating a coherent building. Site context, costing, weather conditions and material properties are just a handful of objective constraints that need to be considered in the design process. In conjunction with other considerations such as the needs of the client, aesthetic values and contractors, architects indeed have a lot to think about in the design process. The role of the computer in architecture has drastically changed the way we think, operate and organise information and help to synthesise multiple design solutions into a final proposal. Computer-aideddesign programs such as AutoCad provide a fast and efficient drafting tool to minimise time and costs to the documentation process. Modelling programs such as Rhinoceros, 3Ds Max and Revit enable architects to fully visualise complete buildings (within site context) without the need to build physical scale models. Moreover, through the use of programs such as Ecotect, we can simulate real-world conditions to monitor thermal performance, solar radiation, shadows and reflection and fully evaluate the cost of a building. Computers are extremely useful in aiding us as designers and indeed, have a place in the design

world. However, when we look at the debate between “Computation” versus “Computerisation”, a whole new argument is formed. Often these two terms are used interchangeably; however, their meanings, by definition are quite dissimilar. As Kostas Terzidis states “Computation is the procedure of calculating, i.e. determining something by mathematical or logical methods. Computerization is the act of entering, processing, or storing information in a computer or a computer system.”1 By this definition, computerisation is predetermined and well-defined (much like the application of AutoCad and Ecotect) whereas, computation is about the exploration of vague and unclear processes. In Architecture Design Studio:Air, we will be exploring these vague and indeterminate entities in the form of algorithmic expressions. This process of applying algorithms to the proposed constraints creates unprecedented geometries which can further be explored. Over the last decade, the emergence of digital programming in design has grown exponentially. Conventional methods in the design process are a thing of the past as parametric modelling enables architects to design spaces which stimulate our senses in ways we have never seen or experienced before...

Kostas Terzidis, Algorithmic Architecture, (Hoboken : Taylor & Francis, 2012) p.57

13 CASE FOR INNOVATION

SINOSTEEL INT. PLAZA MAD LOCATION: TIANJIN, CHINA TYPOLOGY: OFFICE AND HOTEL SITE AREA: 26,666SQM TOWER A: BUILDING AREA 228,638SQM, HEIGHT 358M TOWER B: BUILDING AREA 69,216SQM, HEIGHT 95M YEAR: UNDER CONSTRUCTION

The Sinoteel International Plaza in the heart of the Tianjin CBD, China, reflects a shift in economic prowess from the powerhouse of Beijing to the future of the urban metropolis in Tianjin. The concept combines geometry, structure and cultural symbolism as a repetitive motif.1 The facade is comprised of a combination of five different types of hexagonal shaped windows which symbolise the heritage values of Chinese architecture.2 Although the patterning of the facadeâ&#x20AC;&#x2122;s hexagons appears to be randomly positioned, the intent was to respond to climatic conditions. Wind and solar radiation was mapped and the postion of thes windows will minimise heat loss in winter and heat gain in summer; the

building becomes energy efficient. However, what makes this building special? MAD architects wanted to move away from the conventional, repetive and straight high rise buildings which dominated the urban skylines of China (and indeed the rest of the world). The design is futuristic, efficient and unique to its context. Moreover, the building is revolutionary. The outer hexagonal skin also is the main structure of the building. Consequently, the need for internal structures is removed.3 Through generative modelling, MAD architects were able to formulate an appropriate design solution for the proposal.

01 Photo-realistic rendering of Sintosteel Tower A showing varying hexagon sizes

MAD Architects, 2010, MAD Architects, Beijing < http:// www.i-mad.com/#works_details?wtid=4&id=48> (date accessed 1 April 2013) 2 MAD Architects, 2010, <http://www.i-mad.com/#works_ details?wtid=4&id=48> 3 Sinosteel International Plaza by MAD, 2008, ArchiScene, <http://www.archiscene.net/hotels/sinosteel-internationalplaza-by-mad/> (date accessed 1 April 2013) 1

PARAMETRIC MODELLING

THE HINZERT MUSEUM AND DOCUMENT CENTRE WANDEL HOEFER LORCH + HIRSCH

So, what makes this building special? How is computing relevant to this design? Firstly, computing plays a pivotal role in the outer and inner skin designs. In the diagram below, we can see that each skin and surface has been created using a mesh which has then been folded and welded together to create an enclosed surface. In relation to its context, the material selection is a symbolic gesture to the earthy hills which surround it.

01 View of landscape from roof. 02 Diagram of internal and external netting. 03 Internal exhibition space.

LOCATION: GEDENKSTÄTTE ROTER OCHSE, HALLE, GERMANY TYPOLOGY: MUSEUM SITE AREA: 470,7 SQM YEAR: 2005

Set within the rolling landscape of the Hinzer village, the Hinzert Museum and Document Center acts as a shelter space as well as a museum. It houses a document center including archives, research library, seminar and exhibition spaces. The 43 metre long building is comprised of three-thousand 12mm Corten steel triangular plates which are all welded together to form the facade and roof.1 The angles between the triangular panels were calculated to ensure that the elements have an adequate structural height and that the entire construction forms a rigid folded plate.2 Moreover, the inner skin consists of birch plywood panels in which photographs and text are engraved through a direct printing process.3

Diego Hernandez. “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) ArchDaily,<http://www. archdaily.com/317207> (date accessed 1 March 2013) 2 Diego Hernandez, “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) 3 Diego Hernandez, “The Hinzert Museum and Document Center / Wandel Hoefer Lorch + Hirsch” (2013) 1

21 CASE FOR INNOVATION

MERCEDES BENZ MUSEUM UN STUDIO LOCATION: STUTTGART TYPOLOGY: MUSEUM SITE AREA: 35,000SQM YEAR: 2001-06

The Mercedes Benz Museum, located in Stuttgart, Germany, is the crown jewel of Mercedes Benz. Its programme includes a car museum, shop, restaurant, offices and auditorium. The design is based on the geometry of a clover leaf with the three spaces connected by two helical ascending ramps which spiral around a central atrium.1 The main emphasis of the design are these two circulation pathways which enable visitors to choose their own journey through the space. At each floor, the paths intersect allowing visitors to alternate between each route.2 The curved walls are in fact a result of rigorous parametric processing. UN Studio employed the expertise of parametric consultants, Designtoproduction, to meet the design specifications and contextual constraints. The doubly-curved concrete surfaces reflect the interior sweeping corridors. To achieve these forms

traditional formwork systems and manual planning methods were not suitable. Designtoproduction developed a method of planar boards to create formwork in order to achieve these curved concrete panels. The panels were precisely cut on a CNCrouter and were bent into the desired shape in situ.3 The Designtoproduction team were also responsible for implementing a 3D-parametric model of the entire edifice to coordinate all the planning and construction steps involved in the building process. Due the unique an intertwining nature of the building, traditional plans and sections were nearly impossible for describing the building.4 The decision to use exposed concrete within this builing reflects the industrial language of Stuttgartâ&#x20AC;&#x2122;s automobile history. Concrete is often clinical and cold but has been elasticised to express a sense of futurism to the building.

01 View of museum from highway 02 Pre-cut wooden panel form work 03 Atrium Space 04 Walls that turn into ceilings

UN Studio, 2006, UN Studio, Amsterdam, < http://www.unstudio.com/projects/mercedes-benz-museum> (date accessed 4 April 2013) 2 David Basulto, â&#x20AC;&#x153;Mercedes Benz Museumâ&#x20AC;? (2010), ArchDaily, <http://www.archdaily.com/72802/mercedes-benz-museumun-studio-photos-by-michael-schnell/> (date accessed 4 April 2013) 3 Designtoproduction, 2013, Designtoproduction, Stuttgart, <http://www.designtoproduction.ch/content/view/15/28/> (date accessed 4 March 2013) 4 Designtoproduction, 2013, Designtoproduction, Stuttgart, <http://www.designtoproduction.ch/content/view/4/21/> (date accessed 4 March 2013) 1

CONCLUSION In order for architecture to progress, architects must employ the use of computation in the design process. With progress comes change - a change in the way we view buildings as art or a functional entity. This change may simply introduce new ways of looking, designing and experiencing space. That is not to say that computers must design for us. Through parametricism, we are able to design and create architecture that integrates its contexts in unprecedented ways. One only has to look as far back as Alvaro Siza’s Leca Swimming Pools or Frank Lloyd Wright’s Falling Water to understand the importance of context in designing. Therefore, in the instance of the Wyndham City Gateway competition, it is imperative that the design heavily incorporates its surroundings. This will be important in defining it as a symbolic gesture - one that the people of Wyndham City will be proud to call “their own”. Moreover, the design will also, be proccupied with the notion of structure, more specifically, structure as form-finding. The combination of structural emphasis and contextual materiality will hopefully bring about an innovative and strong design solution.

LEARNING OUTCOMES From the beginning of the semester, I feel as if I was already on the backfoot as my knowledge of algorithmic architecture, parametricism and computational design was very limited. However, as this semester has progressed, these preconceptions in regards to parametrics became much clearer and more informed. Through the readings and lectures, computational architecture became not as daunting as first imagined. The idea of architecture as discourse was also a relatively new idea to me. As discovered, architecture has become much more than a design discipline; it has become a conversation with many facets. This notion of the discourse of architecture may have proven beneficial to past projects due to its philosophical nature. The in depth discussions by relevant notable academics may have given my projects another level of analysis. Moreover, the critical analysis of precendented projects perhaps could have further informed my design choices.