ARCHITECTURE DESIGN STUDIO AIR The University of Melbourne Lee Qianning Michelle | 590224
Infobox Vienna Central Station Source: http://www.karamba3d.com/infobox-competition/
CONTENTS
24 PARAMETRIC ARCHITECTURE 26 28 30
The Guangzhou Opera House Kartal-Pendik Masterplan One North Masterplan
32 PARAMETRIC DESIGN EXPERIENCE 34
Case Studies •Dynamic Performance of Nature
12 6
7 11 12 14
ARCHITECTURE AS A DISCOURSE
Previous Studio Works Experience with Digital Architecture Alila Villas Uluwatu Row House
16 COMPUTING IN ARCHITECTURE 18 22
National Musuem of the American Indian Milwaukee Art Mtusuem
27
36 38 40 41 42
CUT CASE STUDY 2.0
BKK- Pavilion for the New Architecture Reverse Engineering Attractors & Perception Aims & Objective Matrix Exploration
51 EXPRESSION OF INTEREST
44 Precedent Studies for EOI 46 Morphogenesis •Developed Technique 48 Morphogenesis •Evolution of Design 50 Model Making Process 51 Final Model 52 EOI Presentation Feedback •Further Development 53 References
34
ARCHITECTURE DESIGN STUDIO AIR | 4
‘Architecture should speak of its time and place, but yearn for timelessness.’ -Frank Gehry
Lou Ruvo Center for Brain Health by Frank Gehry ARCHITECTURE DESIGN STUDIO AIR | 5 Source: http://www.flickr.com/photos/29820142@N08/4586001600/
ARCHITECTURE AS
A DISCOURSE
I
grew up in Singapore and is always very fascinated and excited about designs and facades of houses especially shophouses since I was young. tMy passion in design of houses then grew and playing with lego became my favourite past time as I can build whatever designs I wanted in my ‘house’. I came to The University of Melbourne straight to 3rd year as I graduated in Singapore Polytechnic with a Diploma in Architecture which was given extra credit points and advance standing. A few months before starting University I worked in a local architecture firm for three months on a university project located in Singapore and I also had an attachment to an architecture company during my studies in Singapore Polytechnic. However, I prefer to do residential landed projects as a smaller group of architects are involved and the project takes a shorter period of time to complete unlike commerical projects which requires large amount of planning. Heeren Shophouse, Malacca Malaysia http://www.scdaarchitects.com/web/index.html
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PREVIOUS STUDIO WORK “Allowing nature to evolve into an interactive space.�
D
uring my 1st year in Singapore Polytechnic, we are to proposed an Eco House for a family of 4. The design concept was, to allow nature to evolve into an interactive space. As the owner wanted the house to be eco-friendly, nature is seeped into the space and less enclosures is used. The spaces between the outdoor and indoor spaces are interconnected and an outdoor deck is built bigger for interactive purposes. A courtyard and open terrace is placed in the middle of the house to allow the spaces to be interactive among its users. To allow nature to seep in, protruding elements are built and there is a use of large transparent sliding glass doors and window panels. Trees, bushes and water features are also placed around the house to block off unwanted views and sounds which gives the owner a sense of privacy. Weighing openness and enclosure, the use of less walls and columns allow air ventilation throughout the house. The house is also cross ventilated to allow the air to cool the interior spaces.
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Planter boxes are located directly outside every units to allow users to be closer to nature. In addition, green walls and planter boxes with creepers are located at the shelthered terraces allowing users to relax and view nature. In my 2nd year, we designed a SOHO (Small Office Home Office) for an Artist who requires a large and condusive space to paint his work. He would usually spend most of his time in his Artist studio and needs smoothing music for him to do his work. The design intent is to experience tranquility within living spaces. Thus the strategies were to allow the views to be facing greenery. Also when I thought of experiencing tranquility within living spaces, I thought of having a quiet and condusive environment and lastly a spacious work area and at the same time having a clear segegration between work and living spaces. The artist studio is designed whereby it is segregated away from the living and dining area, allowing a quiet and condusive environment for the artist to paint his work. I also created the views of the different units to be different, the studio apartment is facing the Alexandra park connector while the units with two bedrooms and the penthouse is facing the landscape design. Thus the windows of the living room are designed bigger to maximize the views of the user.
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“The juxtapositioning of spaces and having connections between the public and the dancers.�
Moving on to the 3rd year final year project, we proposed a dance centre for T.H.E Dance Company. The site is located within the Central Business District of Singapore and walking distance from numerous historical sites, monuments and institutions. The aim of the company is to create a building that reflects its unique function as a dance centre, to focus on the experience and expression of movement in space and to create space that inspire learning and creativity. Thus the concept was to explore the movement of a dancer which I came out strategies such the juxtapositioning of spaces and having connections between the public and the dancers.
Double volume spaces are designed to allow maximum interaction between the dancers and the public.
The feature space of the dance centre is the resource centre located on the 4th and 5th storey. It is cladded with curtain wall. Part of the 5th storey floor uses glass structural floor. This allows light to pass thru to the 4th storey and the users from 5th storey is able to see the users on the 4th storey. Users from the 4th and 5th storey are able to having connection with each other. The 4th storey of the resource centre is mainly for the public while the 5th storey is mainly for the dancers. Another feature space is the dance studios located on the 2nd storey. When users are at the lift lobby, they are able to take a peek into the dance studios. The dance studios are naturally ventilated as glass blocks are used. These glass blocks allow air flow throughout the studios cooling the spaces.
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Source: http://www.archithings.net/digital-design-miniproject-by-faculty-of-architecture-and-design-at-aalborg-university
EXPERIENCE WITH
DIGITAL ARCHITECTURE
D
igital architecture is the ‘in’ thing in this century where many architects use to generate and share their ideas. One of the Architects that uses digital architecture is Frank Gehry. Hand built models are built to capture the design intent. After these models are refined, Gehry Partners uses Catia software to create threedimensional computer models. In prior to digital architecture, I have used 3d softwares such as 3d Studio Max, Google Sketchup,Vray (a plug-in for Sketchup), Autocad and Revit Architecture to generate forms for my project massings. I also used these programes to do renderings of exterior and interior views for my projects. I prefer using Revit to render and draw out my plans as when I draw out my walls in plans, the three dimensional view of the wall is automatically shown. In addition, the elements used in Revit are able to be edited with different physical properties such as the materials, dimensions and internal or external locations. I haven exactly used Rhinoceros and Grasshopper for my previous projects thats why I am pretty excited to start this semester to learn more about these programmes.
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WOHA, ALILA VILLAS ULUWATU, ULUWATU, BALI, INDONESIA, 2009 “The design of this hotel and villa is a fusion of vernacular architecture with a modernist design and uses Balinese architecture.�
A
lila Villa Uluwatu sits on a ecologically sustainable development located in the southern cliffs of Indonesia, Bali. The design of this hotel and villa is a fusion of vernacular architecture with a modernist design and Balinese architecture. The buildings are inspired by the local farmer terraces. Thus rather then using typical steep pitched Balinese pavilions which would have block the paranomic views, loose piled limestone boulders and a terraced low pitched roof are used. The material of the roof is natural insulating and it blends with the natural landscape. Above: View of the private pool in the villa Source: http://housevariety.blogspot.com.au/2011/10/ alila-villas-uluwatu-by-woha.html#.UEUqxpbvr0M
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Above: View of the infinity pool Source: http://housevariety.blogspot.com.au/2011/10/alila-villas-uluwatu-by-woha.html#.UEUqxpbvr0M
The villa rooms are designed more like a inhabited garden rather than an interior room like any other villas. This make staying in Alila Villas interesting as it would make us feel closer to nature. The room allows extensive sunlight to enter which would reduce the use of artificial lighting. Every villa has a pool overlooking the sea which makes us ‘wake up to nature’ every single morning. The materials used around the villa are mostly natural or sourced locally such as stone walls, timber, bamboo and even coconut. This makes the building environmental friendly.
Above: View of the interior of the villa Source: http://housevariety.blogspot.com.au/2011/10/alila-villasuluwatu-by-woha.html#.UEUqxpbvr0M ARCHITECTURE DESIGN STUDIO AIR | 13
TADAO ANDO, ROW
HOUSE (AZUMA HOUSE),
‘In its simple but rich spatial composition, in its expression of enclosure, and in the way light gives character to daily-life spaces, this house encapsulates an image of my architecture.’ -Tadao Ando
Above: Interior view of the Row House Source: http://livegso.blogspot.com.au/2010/10/light-artist-tadao-ando.html
OSAKA, 1975
A
From clockwise direction (left to bottom): Exterior Facade of the house, Courtyard which brings in natural daylight, External staircase in the house from the courtyard
ndo’s work is sensitive towards the relationship between nature, climate and also subject to social and cultural influeneces. The house sits on a simple, narrow rectangular site and is divided in two spaces. Ando designed the house to be in contact with light, air, rain and other natural elements to connect back to the Japanese life-style. The living areas in the house surround an inner atrium which is exposed to wind and light to allow the user to interact with the environment. The courtyard separates the living room from the kitchen, dining and bathroom. An internal private street is designed within its enclosure to give users a sense of itimacy and privacy which separates the children’s room from the master bedroom. I like how Tadao Ando design his houses to be closer to the environment. This allows the use of less energy and electricity and it makes me feel relax and at peace when I am closer to nature. Source: http://www.ananasamiami.com/2011/01/row-house-azumahouse-by-tadao-ando.html ARCHITECTURE DESIGN STUDIO AIR | 15
COMPUTING IN ARCHITECTURE
Source: http://premiumurbandesign.blogspot.com.au/
I loved logic, math, computer programming. I loved systems and logic approaches. And so I just figured architecture is this perfect combination.� -Maya Lin
The 21st century digital age has brought computers to a whole new level. We can say that using the computers are inevitable. Many Architects in the industry has been using computers as a tool to communicate their design concepts and ideas to their clients. In architectural design, it uses both sides of our brain- the analytical and the creative. Computers never get tire or make any silly arithmetrical mistakes, it also helps us in collating all the infomation, storing it into its memory and has different types of programmes which helps us in completing our tasks efficiently. As our human memory do not have the ability to store every single memories we have, the computers are really good in this area. For example, it could store our work and even what we do on the programmes that we use in the computers.
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Source: http://fineartamerica.com/featured/home-architecture-plans-soultana-koleska.html http://www.southcoastarchitecture.com/services/
Communication plays an important role in sharing information between humans, especially in communicating with designers, architects and their clients. Computers are able to represent ideas graphically and numerically. For example, it allows architects to work on 2-demensional and 3-demensional programmes such as computeraided design to draw out plans or 3-demensional models. Images to show ideas are easily found on the internet or architects could easily use programmes such as Adobe Photoshop to communicate their ideas. In addition, audios can also be used to communicate ideas. For example, a song, audio message or a video will allow the client, designer or an architect to understand or learn about situation better or would even give them inspirations for their design work, As computers advance, more programmes are invented and it help designers to communicate with one another. Computers help to preserve the drawings as compared to the hand drawn drawings. Bolder, more organic and innovative designs were designed by architects with the use of digital architecture. The forms of the buildings are slightly more complex and has curvilinear forms. Some of the examples are from Frank Gehry’s Walt Disney in Los Angeles, California, National Muesuem of American Indian and Milwaukee Art Museum. However, computers and CAD softwares has its downside to it as they may be expensive to purchase these softwares and designers or architects require extensive trainning to be proficient in computer design which then the process could be time consuming. Also despite all the rendering options that the softwares provide, many will still perfer to make a physical model instead of the computer rendered model to a able to visualise the spaces better and more efficiently.
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JONES & JONES ARCHITECTS AND LANDSCAPE ARCHITECTS LTD, NATIONAL
MUSEUM OF THE AMERICAN INDIAN, WASHINGTON, D.C, 2004
Top: Exterior view of the Musuem Source: http://inzumi.com/en/travel/point-of-interest/d_id/New-York-City/c_id/Sightseeing/p_ id/National-Museum-of-the-American-Indian
T
he fast paced world including digital technology and computer-aided design have radically transformed the design and efficiency of Architectural drawings and planning. The National Musuem of the American Indian in Washington, D.C. designed by Jones & Jones Architects and Landscape Architects Ltd. and SmithGroup. The form of the Musuem is organic and innovative, far different from the designs of classical and old traditional museums. One unique feature of this building is the organic flow of the facade is brought Source: http://www.flickr.com/photos/75905404@N00/669287692/ into the interior of the building where the walls sizes/l/in/photostream/ http://siarchives.si.edu/blog/challenge-preserving-digital- are mostly curved with almost or no sharp corners. architectural-drawings
MiniCAD is used in designing the National Museum of the American Indian. The programe is much easier for designers and architects as there are many basic drawing tasks and it thinks in a graphical manner rather than in engineering terms. In addition, MiniCAD’s method of sketching is more intuitive and user friendly as compared to other CAD softwares or programmes. The programe was implemented into one of the major projects at the exbition gallery in the National Museum of the American History, ‘Audubon & the Smithsonian’. Minicad helped the designer in designing the project efficiently as many of the symbols and elements that the designer had created could be reuse in the exhibit. Not only it helped to save time and effort, MiniCAD allowed the CAD model to do ‘flyovers’ of the 3D models, where visitors and designers are able to see the exhibit case-by-case. Furthermore, MiniCAD not only saves times in modeling in 2-dimensional and 3-dimensional, it also helps to save time in coordinating efforts as well. The data stored can be read by AutoCAD. Also, the Cultural Resources Centre (CRC) is also designed by Computer-aided Design (CAD) programe. The design of CRC represents a Native approach to architecture and its landscape shows a flow with the building. The roof of the building are curve with an organic shape and the radial walls compliments with the spiral forms which are commonly found in nature.
From clockwise direction (far left to above): A typical 2D CAD drawing which portays an aerial view of the plan for the NMAI, Main Entrance of the NMAI, Framework of the spiral-shaped roof at the main entrance, Cultural Resource Centre, Interior of the Cultural Resource Centre Source: http://nmai.si.edu/explore/collections/crc/
Plans, sections and elevations are cadded out to show its precision so that the engineers were able to read from the plans efficiently. With the aid of CAD programe, the design of the organic facade was able to come to realization. Less work was needed to hand drawn and computers were able to calculate the length and degree of the roofs and facades.
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SANTIAGO CALATRAVA, MILWAUKEE ART MUSEUM, MILWAUKEE, WISCONSIN, 2001
On this: Movable sunscreenthe Burke Brise Soleil
The Milwaukee Art Museum (MAM) also known as the Quadracci Pavilion is located on Lake Michigan in Milwaukee, Wisconsin and designed by Spanish architect Santiago Calatrava. It’s most interesting feature of the building is its movable sunscreen - the Burke Brise-Soleil with a 217-foot which could be raised and lowered to provide shade to the interior of the musuem. Calatrava’s buildings are known to be innovative, cutting edge and has a flowy and curved form. He often uses materials like steel, concrete, glass and also computer modeling for his compositions and forms which make his structure possible.
Source: http://mam.org/info/details/quadracci.php
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“This is a monumental project, encompassing an exceptional architectural and engineering masterpiece�. -Russell Bowman Director Milwaukee Art Museum
Top: Overall view of the Milwaukee Art Museum Source: http://www.jjr-us.com/index.aspx?id=1092&section=34
He added Quadracci Pavilion to the Milwaukee Art Museum in 2001. The Quadracci Pavilion served as the grand entrance to the expanded museum. The structure of the roof has seventeen built A-frames. Calatrava and his team used computers to design the A-shaped rafters were custom-fabricated. The A-frame shapes were determined digitally from a computerized model. These frames the movable wings of the Brise Brise-Soleil which allow natural lighting into the building during day and artificial illumination at night. To see if the structure works, it was modeled out using CAD program as a truss in the finite element analysis.
Top: Interior view of the Quadracci Pavilion Source: http://www.jjr-us.com/index.aspx?id=1092&section=34 ARCHITECTURE DESIGN STUDIO AIR | 23
PARAMETRIC ARCHITECTURE “As a style, parametricism is marked by its aims, ambitions, methodological principles, and evaluative criteria, as well as by its characteristic formal repertoire.� -Patrik Schumacher
Above: Parametric Design Studies on Novel Interiorities for Existing Structural Systems / 0RN8 Source: http://www.evolo.us/architecture/parametric-design-studies-on-novel-interiorities-for-existingstructural-systems-0rn8/
Parametric architecture is the new technology in this 21st century. In parametric design many of the forms which seems unrealistic in the past are now able to put to past using parametric softwares. Parametricism means all architecture elements and complex are parametrically malleable. There is a shift between the use of elements. Parametrics has evolve from CAD and has exceeded the expectation of just being a drafting tool. It has introduced a level of both control and possibilities to create new forms. Instead of using rigid geometrical figures, the new primitives of parametricism are animate geometrical entities- splines, nurbs and subdivs. The use of parametric modelling have inspired a new collective movement with many radical and new ambitions and values. There are also fundamental geometrical building blocks for dynamical systems which could be made via scripts. Scripting can be used to differentiate and correlate all elements and subsystems of a design. The style of parametricism is rooted in digital animation techniques. Advances of the deconstructivism have been form through the use of parametricism. Parametricism have returned to a form of pragmatic modernism and also a form of eclecticism by mixing and matching different elements together.
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Above: Parametric Design Studies on Novel Interiorities for Existing Structural Systems / 0RN8 Source: http://www.evolo.us/architecture/parametric-design-studies-on-novel-interiorities-for-existing-structuralsystems-0rn8/
However every tool we use has a downside to it. Parametricism too, has a number of disadvantages. Parametric software such as Bentley’s GenerativeComponents which is based on their Mircostation CAD software is very complex and it requires extensive training and amount of time to master. The softwares and also relatively expensive. Thus it is difficult to introduce to individuals, schools and even smaller architectural practices. Other alternatives are using Grasshopper, a plug-in for Rhino but it does not slove the problem of the issues of complexity of the software. Grasshopper users must write scripts (using Visual Basic, C++ or RhinoScript) to generate the geometry which may put designers and architects off as they may feel learning to code is a boring and tedious process.
Above: An example of Grasshopper Scripting Source: http://www.alexhogrefe.com/louver-orientationgrasshopper/2009/6/7/multi-object-orientation-grasshopper-script-2.html ARCHITECTURE DESIGN STUDIO AIR | 25
ZAHA HADID ARCHITECTS, GUANGZHOU OPERA HOUSE, CHINA, GUANGZHOU, 2010 ‘The two buildings are embedded in an artificial landscape impregnated with progam and spaces.’ -Patrik Schumacher
The Guangzhou Opera House by Zaha Hadid is designed in collaboration with Patrik Schumacher. The outer crystalline was formed in Rhino while the inner, more complex and fluid surfaces inside the auditorium in Maya. These organic forms are created through logaruthms, splines, blobs, NURBS and particles organized by scripts of the dynamic systems of parametric design.
http://mokader.com/architecture/guangzhou-opera-house-by-zaha-hadidarchitects/
The opera house structure is a volume within a volume where the auditorium and fly tower is a concrete box with terraces cantilevering into the auditorium and lobby. The geometry of the auditorium represents a different mathematical Top to Above:Exterior overall view of the Opera house Interior of species which uses the software Maya to develop 1,800 seat grand theatre as NURB surfaces. In working with Maya, the Source: http://www.zaha-hadid.com/architecture/guangzhou-opera-house/ architects sent digital files to the factory where the data will be translated and milled into molds. The use of materials such as glass fiber- reinforced gypsum could be cast. ARCHITECTURE DESIGN STUDIO AIR | 26
“From the perspective of lighting, the architectural complexity of Guangzhou Opera House does not lie in its structure, but in its space form and architectural shape which is different to our familiar conventional style,” -Rongxing Yan, Beijing Light & View’s Chief Engineer
From clockwise direction (above to right): Sweeping staircase in the main volume, view of the column free foyer, Structural Source: http://www.zaha-hadid.com/architecture/guangzhou-opera-house/ system view of the interior
Thus the buildings were not conceived planimetrically but rather were modeled dynamically in 3D. The lobbies of the opera house are voluminous and column free and the cantilevered staircases and terraces cantilever from the threater volumn provide a grand architectural promenade which guides visitors throughout the voloume. In the grand entrance hall, the windows are composed of many triangular pieces of glass which allows sunlight in by day and the neighbourhood’s neon-lit skyscapers and towers by night.
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ZAHA HADID ARCHIECTS, KARTAL-PENDIK MASTERPLAN, ISTANBUL, TURKEY, 2006
Above: Rendered aerial view of the city centre
The Kartal- Pendik Masterplan is a winning competition proposal for the new city centre in Instanbul. The plan is to redevelop the abandoned site into a new sub-centre of Instanbul, with a central business district, high-end residential development and cultural facilities.
Above: 3D Rendered view of the city centre Source: http://www.zaha-hadid.com/masterplans/kartal-pendikmasterplan/#
The project ties together the infrastructural and urban context of the surrounding site. The use of lateral line stitch together the major road connections of the site. Then these connections integrates and connects with the main longutudinal axis which creates a soft grid that forms the underlying framework for the whole project. The net can be bundled to form areas of higher programmatic intensity as well as to have a vertical build-up of the city fabric.
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Above: Rendered sea view of the city centre
The fabric is then articulated by an urban script that helps to generate different typologies of buildings that respond to the different demands of each district. This is done using a parametric software. Then the calligraphic script creates different forms and open conditions which can be transform from the buildings. The soft grid incorporates possibilities of growth. The masterplan by Zaha Hadid in collaberation with Patrik Schumacher is a dynamic system that generates an adaptable framework for urban form.
Above: 3D Rendered view of the city centre Source: http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/#
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ZAHA HADID ARCHITECTS, ONE NORTH MASTERPLAN, SINGAPORE, 2003
Above: Rendered Massing blocks Masterplan of One North Source: http://www.urbanarchnow.com/2012/03/bldg-list-singapore.html
Above: Rendered Masterplan of One North Source: http://www.zaha-hadid.com/masterplans/one-north-masterplan/#
Zaha Hadid’s One-North Masterplan is a next-generation urban model for a new mixed development site in Singapore. The plan of OneNorth Masterplan is to accomodate to 50,000 new residents and 70,000 workers which will incorporate a uniquely designed transporation infrastructure. Zaha hadid researched into the manipulation of groundforms and experimentation with the spatial quality. The approach for the master plan stresses the connecting lines between the fabric and physical programme of the development. The use of parametric software was put to good use in planning and coming out with renders for the master plan.
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“Parametricism aims to organise and articulate the increasing diversity and complexity of social institutions and life processes...” - Patrik Schumacher, Let The Style Wars Begin - The Architects’ Journal (May 2010)
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PARAMETRIC DESIGN EXPERIENCE
To me, there is no precise defination to parametric design as it can include many other types of designs into it, such as computating, computer aided and even digital designs. Parametric is a very broad term and it uses computer to design instead of regular pen and paper. In rhino and grasshopper, we are able to use algorithms and formulas to work out and figure out our designs. These use of techniques help designers and architects to visualize and maximise their ideas. However while in the process of using rhino and grasshopper, I found it difficult to adapt to the software as grasshopper is rather different from other programmes. Rhino and grasshopper has taught me new insights about parametric designs which could be done so easily by just playing around with the functions. With one element, many different variables are created with the use of different functions in Grasshopper. In addition, the use of attractor point allows the designer or architect to simply visualize the object in a different point of view and style by just changing the location of the attractor point. One of a parametric design is by Federico Rossi in a housing competition during 2007. The design is generated through using variables which is grouped into a system and thus generating different variations of outcomes. The housing unit of the project uses a rhomboid framework which are constrained within two strips which form the above parametric model. The model is able to have different outcome by just changing the length, width and thickness of each elements.
Top: Parametric model of housing unit Source: http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/
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Top: Variation of different types of modules Source: http://www.evolo.us/architecture/eco-sustainable-housing-parametric-design/
Thus, I feel that though the process of learning rhino and grasshopper may be tough in the starting, once I know how to use the programe, it can save me alot of time and hassle. My designs could be more bold and out of the box.
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EB OFFICE, DYNAMIC PERFORMANCE OF NATURE, SALT LAKE CITY, 2011
Source: http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office
This interactive media installation is designed by Yong Ju Lee and Brian Brush, partners of New York/ Portlandbased design collaboration EB office. The installation acts as a transitional space between the exhibit spaces in the museum and it helps to communicate global environmental information through a dynamic and interactive interface. The installation uses panels, static materials and the colour spectrum given out from the installation to allow its viewers to see a flow of spectral waves. When the visitors to the musuem visit the installation, every different angle of the installation will look differently and also the installation changes its colour through its temperatures and its wind speed. Visitors are able to interact with installation by using twitter to send messages to change the colours of the panels. ARCHITECTURE DESIGN STUDIO AIR | 34
Source: http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_office
From Clockwise direction (Left to above): Installation located in Salt Lake City’s Leonardo Museum of Art, Science and Technology, Colours of panels which reacts to the global weather, the use of Parametric software for the geometry Source: http://www.hz-journal.org/n17/brush.html
The installation uses the parametric software, Grasshopper to come out with the scripting. Grasshopper allowed the design process to shift from manual manipulation of geometry, to allow the design of mathematical relationships between geometric entitles. What we draw from this project is the dynamic flow of views and the rhythm that it gives the users. ARCHITECTURE DESIGN STUDIO AIR | 35
PAVILLION FOR NEW ARCHITECTURE, MONASH BBK ARCHITECTS,
UNIVERSITY MUSEUM OF ART, 2005
Above: Overall view of the Pavilion for the New Architecture Source: http://www.sial.rmit.edu.au/Projects/Pavilions_for_ New_Architecture.php
The Pavillion type was first chosen as a starting point because of its typically experimental nature and the absence of programmatic requirements. It was then designed by a digital software before making its physical contruction. The form of the Pavillion was inspired by geometric and structural forms of mainly two buildings; Buckminster Fuller’s Montreal Expo Geodesic Dome and Toyo Ito’s Orthogonal Serpentine Pavilion. Both structure of the buildings uses steel frames which has a ‘transparent’ skin over the structure. The pavilion for the new architecture gives the impression of a sphere caught within a cube.
Top left, right: Toyo Ito’s Orthogonal Serpentine Pavilion, Buckminister Fuller’s Montreal Expo Geodesic Dome Source: http://www.toyo-ito.co.jp/WWW/Project_Descript/2000-/2000-p_08/4-800.jpg http://www.flickr.com/photos/christiangates/4708789561/
In order to build this structure, firstly, a geodesic sphere is created then using a centre point, it is then trimmed against an inner and outer cube. A number of variations could be created using parametric software by just changing the position of the centre point or the size of the intersecting cubes. The bkk installation creates a visual illusion for the user as when the user stand on the outside of the installation, it looks rather solid. However when the user is inside and the head is placed specifically on the point of origin or the attractor point, the boundary of thick lines seems to disappear into thin lines, blurring the boundary between the internal and external space and creating a sense of infinite projection. What we draw from this project is the qualities of contrast we get from the play of attractors and the directional qualities it gives which inferred from the “infinite projection”. Above: View from the interior of the pavilion Source: http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_ Architecture.php
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REVERSE ENGINEERING
To create the Pavillion for New Architecture by BKK Architects, first a box is created in grasshopper, then population 3D is used to populate the region with points, randomly. Voronoi is then used to create different shapes with the points created using population 3D. However, we found out using population 3d is the wrong technique. Thus, we tried using population 2D instead as we wanted to extrude thru the surface instead of the cube.
Above: Grasshopper scripting of using population 3d and Voronoi
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Above: Grasshopper scripting of using population 2d and Voronoi
We then connected voronoi to population 3D and came out with the 3D image on the left.
Next the cube is scaled bigger to allow the planes to loft each other. As we had an attractor point, the planes all loft towards the attractor point.
Another problem we encounter was that we could not offset the lines to give the form thickness. We also couldnt pair up the geometries. This was the form we got after extruding the planes.
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ATTRACTORS & PERCEPTION
Our group’s idea is to use to attractors and perception as our starting research to create a pleasing visual impact by using a polychromatic modular system with the use of different colours and a play of solid and transparency of materials.
Above: A photo of a polychromatic art painting Source: http://fineartamerica.com/featured/polychromatic-charles-yates.html
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AIMS AND OBJECTIVES
The main objectives are to create visual impact, having a not too complex model and the scale of the structure is within the field of the driver. By allowing the the structure to have a visual impact, a variety of perspectives is created where there is a colour contrast in it and also capture the attention of the drivers driving from both sides of the highway. As the structure is incomplex, drivers would be able to appreciate it in a short timing while driving past it. Also, by placing the structure horrizontally along the road, it is more visible within the field of view of the driver.
Above: Photo of Wyndham highway
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MATRIX EXPLORATION
VARIATION 1
TECHNIQUE 1
2
4.1
4.2
2
3
4
1
2
3
4
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3
5
ANALYSIS The different types of matrices are a play of using different modules, thickness, denisty, image sampler and size of the modules. The use of an image sampler gave us the different depth of different modules which related back to the image we put in. However, we found that the image given out was of no use and turned out looking messy and complicated. We then tried playing use of panels which we found it more directional and less complicated and by having it breaking down to smaller modules allowed more flexibility to play with more options and different variations. Panalisation also allowed us to play with rhythms and the flow of the modules and forms. We then decided to choose panalization with the use of attractor points which would attract the attention of the driver at different points.
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PRECEDENT STUDIES FOR EOI
FOREIGN OFFICE ARCHITECTS, SPANISH PAVILION, JAPAN, 2005
Above: Overall patterns of the Hexagons Source: http://www.architecture.com/Awards/RIBAInternationalAwards/2005/Spanish-Pavilion.aspx
The spanish Pavilion designed by Foreign Office Architects was to give an expression to the hybridization of Jewish- Christian cultures and the Islamic influence on the Iberian Peninsula, both so evident in the history of Spanish architecture. The different type of architecture elements of the this culture of synthesis were chosen and it was the types of spatial organization, structural elements and the eneveloping and decorative elements. The lattice created for the pavilion is an appropriate cladding solution for the existing pavilion box and it consisted of six different tiles, based in a hexagonal grid, coded with a colour. The pavilion produces a polychromatic system where by the hexegonal pieces never repeat itself, thus producing a varying pattern of geometry and colour. The six colour of the tiles chosen are the variations of red and yellow of the national flag, reflecting the colours of wine, roses, and the blood of the bullfights, sun and sand- colours universally associated with spain.
Above: Non repeated tilin composing six elements of distinct colour and shape Source: http://digiitalarchfab.com/portal/wpcontent/uploads/2012/01/Spanish-Pavilion.pdf
Above: The play of solid and voids used in the facade of the pavilion Source: http://designmuseum.org/__entry/4876?style=design_image_popup
The building not only plays with the different colour scheme but also the selection of solid and voids of the facade for various reasons. The ventilation and lighting of space plays a huge role in the pavilion where by it concerns the lighting effect and qualities given which impact both emotion and impression of the user. What we draw from this project is the use of polychromatic modular system which gives some rhythm to the pavilion. The correct selection of solid and voids also helps the pavilion to look aesthetically pleasing and also help the building in many technical functions. ARCHITECTURE DESIGN STUDIO AIR | 45
MORPHOGENESIS
DEVELOPED TECHNIQUE MODULES
ATTRACTORS
COLOUR
Source: http://artpause.com/abstract/100637mondrian-inspired-3d.html
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Above: Plan view of the model
EXPLORATION OF TECHNIQUES We chose panalization with the use of different amount of attractor points. From these matrices, we can see the evolution of our design, starting from the panels which we then break down into modules. After which, we added the technique that is related to our area of interest- attractor and perception. The use of attractor points helped to orienatate the panel in a certain direction. We also tested out of using layers of modules. Selection of the amount of layers and points is a subjective but critical analysis is being carried out through group discussion to strike a balance of effectiveness of the objective and level of distraction. This is how we decide on using 6 attractors and 3 levels. We felt that using 6 attractors would be ideal to allow the driver to have a variety of views whereas by using 2 or 4 attractors would be too little to attract the attention of the driver. The use of 3 levels would be almost perpect to allow the view of the driver to see as he/she drives pass as one level of the module would be 2 metres in height. Next we move on to make it attractive through colours/addition of materials. This selection goes through two level of study, which gives the project 2 levels of rhythms for drivers who drive pass. First was the study of solid and voids by using the play of opacity and transparency of the material, next was the colour selection and arrangement. The selected arrangement and colours are chosen in relation to the polychromatic effect that is similar to our precedent study whereby there is order and system in a chaotic arrangement.
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MORPHOGENESIS
EVOLUTION OF DESIGN PLAY OF SOLIDS AND VOIDS WITHOUT THE USE OF COLOURS
TESTING OUT OF DIFFERENT COLOUR COMPOSITIONS
Left: Final 3D view of the model in Illustrator
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FINAL COMPOSITIONS USING THE CHOSEN LAYOUT OF SOLID AND VOIDS
We first studied the use of solids and voids by coming out different variations without using any colour to see the results of it. By playing around with the solid the voids we came out with linear patterns which we found it rather boring and mundane which doesnt give a visual impact to the drivers. We then play around and came out with different interesting patterns. The selected pattern was based on the amount of solids and voids in each area and the solid and voids are spread which does not look complex or messy. The chosen composition also give a sense of rhythm and it is a modular system of 5. At the same time, we also tried playing with colours to get the variations of colour compositions and patterns. However, we went back to our chosen composition with just the solid and voids as we wanted to focus on the quality it gives us. Then by using our choosen composition, we used colours to analyse and explore even further. The selected arrangement and colours are chosen in relation to the polychromatic effect that is similar to our precedent study whereby there is order and system in a chaotic arrangement.
Left: Elevation of the final structure drawn out using CAD Software
MODEL MAKING PROCESS
Use of triangles as the base for different levels of each modules
After many thoughts and discussions, we final settled on our form of the structure and scale and size of our modules. We then decided to laser cut our model which we found would be the most efficient and fastest way for us to build the model.
From clockwise direction (top left to bottom): Laser cut perspex ready to build our model, Different colours of modules we used, Final outcome of our model
However our group came up with problems as we could not find a solution as to how we place our modules on top of each other as the module’s surface area between each other was very little and it will not glue well and fall off easily when glued to each other. We also had another problem as the panels would be too heavy and could not be glued to our base. We then came out with a solution to cut out little triangles as the base for the different levels of each modules. As for the base, we decided to use perspex and cut out slits to slot in for each panels. By doing that, each panels would be secured and we need not worry on how the model is going to stand. For material wise, we chose to use perspex that the FabLab offered as it gives us the opacity of different colours and transparency of the materials which would save us time by having to paint each modules if we were using other materials. One of the thought was that the perspex might be too heavy and could not be glued using super glue. However, it turned out fine and the each module was rather light due to the size we cut out. Thus using super glue to glue the pieces together turned out good.
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FINAL MODEL
From top to bottom: Final outcome of our model, Close up shot of each modules
The final model shows a sense of rhythm and the use of polychromatic modular system. The model was built horizontally along the highway instead of vertically so that it can be seen within the view of the driver. As the structure is not complex, it will not distract the driver while driving. The different attractor points of the modules attracts the drivers at different points.
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EOI PRESENTATION FEEDBACK FURTHER DEVELOPMENT
The Expression of Interest presentation brought me many new insights from learning from the other groups and how they presented their ideas and arguments. The critque overall was better than what I have expected as we received many good comments as well as ideas for our group’s improvement. What we had presented with our techniques were going in the correct direction. The panel like our idea of the play of opacity and transparency in the model. The many feedbacks given from the panels helped us to move on from what we have now. The panel feels that we have so much more to explore and gain with our model by using parametric tool that we should push ourselves even more. We should work on the buildabilty of the model as of now, the model is not being able to be build on site. One idea is to have a proper core stacking of the modules so that it can be build easily. Another idea is to have a weaving and wraping technique where one panel does not stand alone but its all interlink into one model. Next we should relate our model back to the wyndham site context to explore the site and allow the freeway art to be more adaptable to the site.
Top to bottom: Site of the Wyndham highway
For the modules, it should be smaller and more dense as of present, drivers who drive pass our freeway art could not notice there are actually attractors in it. The feedback given was to look at works of ARM Architecture which some of the buildings has similiar qualities to ours.
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References: Jigsaw24 2012, Nottingham viewed 1 August 2012, <http://www.jigsawcad.com/articles/an-industry-view-the-true-benefits-ofrevit-architecture> Archdaily 2010, viewed 1 August 2012, <http://www.archdaily.com/59740/alila-villas-uluwatu-woha/> Great Buildings 2012,Artifice, USA viewed 1 August 2012, <http://www.greatbuildings.com/buildings/Azuma_House.html> Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass: MIT Press, 2004), pp 1-10 National Museum of the American Indian 2012, Smithsonian Institution, Washington viewed 7 August 2012, <http://nmai.si.edu/ explore/collections/crc/> Solaripediat 2011, Viewed 7 August 2012, <http://www.solaripedia.com/13/375/5128/milwaukee_art_museum_lake.html> Patrik Schumacher, 2008, ‘A New Global Style for Architecture and Urban Design’, AD Architectural Design - Digital Cities, Vol 79, No 4, July/August 2009 Michael Ting, Alexander Price, Michael Smith, Erica Henrysson, 2011, Designing with Grasshopper, Mc-smith Joseph Giovannini 2011, Guangzhou Opera House, ARCHITECT The Magazine of the American Institure of Architects, Washington, viewed 15 August 2012, <http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx> Arcspace 2001, viewed 15 August 2012, <http://www.arcspace.com/architects/hadid/One_North_Masterplan/> Arcspace 2007, viewed 15 August 2012, <http://www.arcspace.com/architects/hadid/kartal_pendik/kp.html> Evolo, 2012, United States viewed 21 August 2012, <http://www.evolo.us/architecture/eco-sustainable-housing-parametricdesign/> Bustler, 2011, Viewed 21 August 2012, <http://www.bustler.net/index.php/article/dynamic_performance_of_nature_by_eb_ office> 2012, Dynamic Performance of Nature: Augmenting Environmental Perception Through Social Media and Architectural Informatics, PJIM, The Parsons Journal for Information Mapping, January 2012, Volume IV, Issue 01 RMIT University 2006, Australia viewed 28 August 2012, <http://www.sial.rmit.edu.au/Projects/Pavilions_for_New_ Architecture.php> Digiitalarchfab 2007, viewed 7 September 2012, <http://digiitalarchfab.com/portal/wp-content/uploads/2012/01/Spanish-Pavilion. pdf>
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