STUDIO AIR 2014, SEMESTER 2, PHILIP BELESKY MICHELL BRADY
STUDENT JOURNAL MITCHELL BRADY: 587149 SEMESTER 1, 2014 TUTORS: PHILIP BELESKY & BRAD ELIAS
ABOUT ME
Hi, my name is Mitchell Brady and I am a third year Bachelor of Environments student majoring in architecture at the University of Melbourne. I have had a strong affiliation with design in particular architecture since a young age. This is in part due to being apart of a property family, where since an early stage, I have had the opportunity to view many different properties. Having seen many properties, I gained a strong interest in the design principles and functionality of each property, which has ultimately driven my motivation to become an architect. I was fortunate enough to have undertaken exchange for one semester at the University of Manchester. My time at Manchester University allowed me to do an extensive travel around the United Kingdom and also visit many other European countries where i was able to gain an
appreciation for the different styles of Architecture on offer, ranging from Roman times to modernist Architecture. In particular, one of my favourite places whilst abroad was Venice. I was particularly interested from an Architectural standpoint how the city operated, seeing as it is a city built on water. My design work to date has been largely based around hand drawings, Google SketchUp, Auto CAD and the introduction to Rhino. I endeavour to establish a greater understanding of Rhino and Grasshopper throughout this subject, that will ultimately fulfil this subjects requirements and also allow me to continue my studies of Architecture through completing my major.
PART A CONCEPTUALISATION
CONTENTS A1
Design Futuring
A.1.1
Design Precedent
A.1.2
Design Precedent
A2
Design Computation
A.2.3
Design Precedent
A.2.4
Design Precedent
A3
Composition/Generation
A4
Conclusion
A5
Learning outcomes
A6
Algorithmic Sketches
“As change has to be by design rather than chance, design has to be in the front-line of transformative action.�
DESIGN FUTURING
Humanity’s actions and mentality towards the planet have been undeniably destructive. As damage to the planet’s ecological systems continually increases, there is the pressing need for way we as humans ‘live, act and engage the world around us, to change’ 1 As a society we have lived beyond our means and the beyond the capabilities of the planet to sustain us. We have treated the planet simply as an infinite resource at our disposal. The planets renewable resources are being used up at a rate of 25 per cent faster than they can be renewed. 2 Therefore, humanity has been in ecological overshoot where the annual demand on resources has been exceeding what the earth can regenerate each year. Therefore, it is critically important that we address these issues by getting people to change their actions and actually admit that change needs to occur. Changing public mentality must be at the forefront of our international agenda. This is where, contrary to popular belief, that design holds the answer to a more sustainable and viable future. Essential for the creation of design to be remade with sustainability, design intelligence needs to be developed. ‘The realisation of design intelligence would mean having the ability to read the qualities of the form and content
1,2,3,4,5 Tony Fry, ‘Sustainability, ethics and new practise’, Design Futuring, 1.1, (2009), p12.
of the designed environment in which one exists’. 3 To achieve design intelligence the current way design is thought needs to change. Design futuring looks at adding to and mobilizing, design intelligence. It does this in three ways. Firstly, design futuring looks at how design practise is understood, developed and deployed. Secondly it looks at how strategies to enable change are presented and examined. Thirdly it elaborates on how design practice and change strategies can be deployed.4 Design futuring looks at delivering other ways of thinking and delivering change. ‘In doing so it confronts the issue of the seeming impossibility of redirecting the trajectory of human development away from the defuturing path of unsustainability’. 5 The Land Art Generator Initiative (LAGI) is an excellent example of how we can go about setting this change in motion. The LAGI proves that sustainable design and renewable energy can be aesthetically pleasing, and that they are not mutually exclusive. In-fact, it proves that something simple as public artwork can have a positive ecological impact.
DESIGN PRECEDENT 1.0
FIG.1
‘Calorie Park’ was a proposal submitted by entrants from Columbus,USA. The artists designed a mechanical energy structure in the form of an exercise park. The premise behind the structure is to convert mechanical energy by enthusiastic athletes into electricity. How is this achieved? Calorie Park is configured from a series of three dimensional pods that create a ‘habitrail-like’ maze. The clusters of interconnected pods houses different fitness equipment.1 The pods are designed under the premise that the built in fitness equipment collects the mechanical energy produced by users and converts the generated electricity to the city’s grid. The artists have taken into consideration that exercise for most people is usually morning or evening, and to compensate for the shortage of mechanical energy during noon hours, and to regulate the production of electricity, solar panels have been added to the areas on the pods where they receive the most sunlight during these hours.
1
Morteza Karimi, Calorie Park (2010)
Calorie Park revolutionises the form of exercising and how it can positively contribute back to the environment. It revolutionises the way in which exercise can be thought of, in terms of not only fulfilling and pursuing exercise for ones own health and fitness but also ensuring that it is done in a way that can positively contribute back to the environment. Furthermore, it breaks down the barrier of having the singular purpose of being a renewable energy source, but promotes and thrives off human interaction. The design of the pods, is visually appealing and can not only be seen as a fitness park, but designed also to look like a public sculpture, that can be admired from the surrounding highways. Ultimately Calorie Park would be appreciated by New Yorker’s not simply as a renewable energy source but as a social experiment and new form of exercising, that if implemented could change the face of renewable energy as simply not being only solar or wind farms void of human interaction, but in-fact, a thriving fitness park that generates renewable energy from manpower.
FIG.2
DESIGN PRECEDENT 2.0
FIG.3
The ‘Freshkills Playground’ project was an entry submitted in the 2012 LAGI competition. The artists from Oslo, Norway, designed a multi purpose solar farm, breaking down the production barriers of large scale energy generation and human interaction. They have achieved this by introducing the idea the idea of including human interactive spaces in a solar farm setting. They have introduced the idea of sun-cathers interacting with the user like trees do in an open landscape revolutionising the idea of the multi use space. Instead of placing the grids in the homogeneous way, the sun catchers have been designed in a clustered approach at three different heights creating diversity and guiding views in many different directions, allowing the clusters to become denser and therefore have a greater effect. Through introducing ‘denser’ clusters, certain electrical components such as the power
certain electrical components such as the power optimizers and cabling can be shared, reducing production costs. Furthermore, the stainless steel poles play a double role in the design. The poles create interactive add ons that stimulate activity including features such as lighting, a water tap, a power outlet, a height adjustable hook, all of which cater for a variety of games. The ‘Freshskills Playground’ proposal is an ingenious idea, promoting human interaction in an otherwise ‘off-limits environment’. The ‘Freshskills Playground’ is an example of where power-production and social activities can successfully co-exist. This power production methods provides an inviting public domain without being intrusive or dangerous. The ‘Freshskills Playground’ proposal has tremendous potential to be developed on a variety of scales, and could revolutionise the way large scale solar farms are viewed.
FIG.4
“We are subsequently experiencing an architectural shift from the drawing to the algorithm as the desired method of articulating and communicating ideas�
DESIGN COMPUTATION
The digital realm has penetrated itself through the design process in architecture. Today, technology is now used as an imperative means to the end design. The pivotal challenge facing the architectural industry at present is finding a balance between human and computational contributions to the process of the designing of architecture. Architectural design is an activity that deals with specifically imposed external constraints (e.g. climate, functionality, site conditions, building codes etc).1 It is evident that the origins for this are dependent on human thinking. However, there are benefits for designers to adopt a design technique that unifies the benefits of human thinking and the advantages of computer aid. In Today’s society there is a dominant methodology to take entities, processes or ideas that are conceptualised in the designer’s mind, enter them, manipulate and store them in a computer system. This is a widely adopted procedure by many of the world’s architects and is known as computerisation. Computerisation itself revolves around ‘automation, mechanisation, digitalisation of entities or processes that are preconceived’. 2 The biggest limitation with this approach to design is that it does capitalise on the extensive scope of possibilities that computation and computational design hold. ‘Computers by their nature are superb analytical engines.’3 This is where computation comes into play. Computation is primarily the procedure of calculation, whereby something is determined
1,3 2,4
Kalay, ‘Architecture’s New Media’ pp2 Kostas Terzidis, Algorithmic Architecture, p.xi
through mathematical or logical methods. 4 Computation is a digitally driven design process that focuses on the exploration of the indeterminate, vague, unclear and often ill-defined processes. Unlike computerisation, computation not only uses the computer as a tool for documentation but as an extension of the human intellect. The computational design process involves generating automatic shapes by following specific algorithms, by which generates geometries far more than the designer can imagine. The benefits of computational design, is that designs can be edited rapidly, through editing the algorithms, allowing for designers to produce an extensive range of proposals for examination, which largely enriches the range of design products and extends design possibilities. The computational design method has brought about a whole new approach to the design process and the benefits of this method of design are enormous. Computation employs the faultless and thorough manner of the computer to run monotonous data & processing that would otherwise be tedious for the human mind.
DESIGN PRECEDENT 3.0
‘Shellstar Pavilion’ is a project by MATSYS that articulates the capabilities of computational modelling. The Shellstar pavilion demonstrates logical and rational algorithmic technology which gives rise to something that is seemingly unimaginable, leaving viewers to question how this sophisticated and intricate design was thought of. The pavilion was a lightweight temporary structure, commissioned for Detour, an art and design festival in Hong Kong. The organic pavilion was designed to be an iconic gathering place for festival attendees.1 ‘The design emerged out of a desire to create a spatial vortex whereby visitors would feel drawn into the pavilion centre’. 2 Working entirely within the parametric environment, the design was quickly developed and iterated within a six week period including all works of design, fabrication and assembly.
FIG.5
The designers used grasshopper and the physics engine Kangaroo to achieve the catenary-like thrust surfaces that are aligned with the structural vectors. The surface is made up of 1500 individual cells that are slightly non-planar. Each cell was optimised to eliminate any interior seams and make them as planar as possible, greatly simplifying the fabrication process. Surface optimisation was undergone to ensure that the smaller planar form to wrap the overall curve of the larger system, done using Python scripts. Through MATSYS implementing algorithms they were able to maximise structural enclosure while minimising material use. Shellstar pavilion demonstrates the benefit of computation and computational modelling. It equipped the designer to create a structure that was far more complex than something the human brain could come up with or justify.
1, 2
Dennis Lo, Shellstar Pavilion, (2013)
FIG.6
FIG.7
DESIGN PRECEDENT 4.0
Zaha Hadid has designed this extravagant train station dubbed to be the worlds most luxurious once completed. The train station commissioned for Saudi Arabia’s King Abdullah is a breathtaking and sweeping design, created by Architect Zaha Hadid to mimic the country’s wind blown sand dunes.1 The design of this articulates the where the benefits of computation and computational modelling lie. It equips the architects to create structures that are far complex that something the human brain can come up alone with or justify. Computational modelling opens up a whole world of design possibilities and provides architects the potential to take their architectural design to never before seen places. The potential lies where it allows designers to extend their abilities to deal with highly complex situations. The financial district metro station design clearly articulates the capabilities of computational modelling. It uses logical and rational algorithmic technology giving rise to something that is seemingly unimaginable, an architecture of free from. The exterior of the building, mimicking the country’s wind blown sand dunes highlights the intricate and sophisticated shapes that have been achieved through parametric modelling. Similarly, the interior is defined by a series of angular curves and parametric patterns, designed to let light in while keeping out the harsh desert sun. The architects behind this vision would have taken there relatively abstracted vision for the complex and employed computational modelling to refine, modify and develop their initial concept, allowing them to arrive at complex and sophisticated form that truly pushes the parameters of design.
1 Zaha Hadid , King Abdullah Financial District Metro Station (2014)
FIG.8
FIG.9
FIG.10
“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method for design architecture.
COMPOSITION/GENERATION
With the recent propagation of utilitarian computing, architects rejoice as the digital era opens its doors to a plethora of new possibilities. Society has grown accustomed to ‘eye-popping architectural statements’.1 The immensely complicated systems being used to create these architectural statements, known as parametric modelling, does much more than facilitate these intricate creations. Parametric modelling is not just used to buildings more visually compelling but used to precisely tune every aspect of performance from acoustics to energy efficiency. 2 Since the 1980’s, Computer aided design has been the industry standard in the design realm. Computerisation simplifies the task of humans through the use of technology as a ‘virtual drafting board making it easier to edit copy and increase the precision of drawings. 3 Operating as a digital pencil, it requires the designer to move a mouse around to manipulate the lines of the architectural drawing.4 Conversely, computation on the other hand extends the architects abilities to deal with highly complex situations. 5 The parametric side of computational modelling is much more than just a drafting tool. It can not only model a building and many of its attributes in 3-D, but can revise models instantly. It is a vague process where the pathways of concepts and forms intersect in a series of algorithms and scripting. It is seen as form finding rather than from making. 6
1, 2, 4 ,7 Allison Arieff, New Forms that function better (2013) 3 ,5, 8 Peters, Brady ‘Computation works’, p.10 6 Kolarevic, Branko, ‘Architecture in the digital Age; Design and Manufacturing’, p.13
Parametric design allows the designer to set the rules and parameters, with the computer doing the iterations. This gives designers more flexibility to explore designs and make changes faster. The computational modelling phenomenon has revolutionised the way in which we design. Phil Bernstein, vice president at the software maker Autodesk , believes that parametric design makes new buildings more environmentally sustainable.7 Architects are using parametric design as not only a means to create intricate designs but are able to use the software to investigate what a building can be made out of and for example, how a design can be configured to maximise the natural lighting. Computation has redefined the practise of architecture. This has been illustrated in new building projects by some of the world’s most forward thinking practices. Computational design illustrates the potential of providing inspiration to the designer, going beyond the intellect of the designer, through the generation of unexpected results. 8
DESIGN PRECEDENT 5.0
FIG.11
Shenzhen Bao’an International airport is one of the world’s largest parametrically defined buildings. Based on a given building organisation and floor plan structure, a freely shaped terminal design was developed as result of an international competition in 2008, from which Italian architect Massimiliano Fuksas supported by German engineers Knippers Helbig emerged victorious. 1 The design process began with the initial design development where clay models were made by architect M. Fuksas. From here, they were subsequently digitalised using Rhino 3d. From there, Kinppers Helbig then undertook the discretisation of the surfaces through the implementation of parametric modelling tools. 2 Parametric modelling allowed iterative optimisation
1,2,3, Adrian Welch, Shenzhen Bao’an International Airport (2014)
of the facade at short time intervals, making it possible to complete the preliminary design of both the facade and structure within a year. The building envelope is dominated by a honeycomblike facade which through its double skin largely permits indirect light to enter the interior through 25,000 openings. The rays of sunshine enter the building directly, however pending on the sun’s position, they offer unusual continuously changing lighting effects throughout the day. 3 Without the help of the parametric design tools, the generation of such a complex design by hand would be rendered impossible.
FIG.12
DESIGN PRECEDENT 6.0
FIG.13
The Dongdaemun Design Plaza in South Korea’s capital city Seoul, is another exuberant result of Zaha Hadid’s form exploration through parametricism. The variety of Public Spaces within the Dongdaemun Design Plaza include exhibition halls, media centres, seminar rooms, design markets and labs and a designers lounge.1 The DDP has presented the city with a space that presents the widest diversity of exhibitions and events that feed into the cultural vitality of the city. Hadid’s signature flowing style shapes the Plaza’s many curves. Some 45,000 panels in various sizes and degrees of curvature were used for the facade which is also the roof. 2 Because of the buildings highly complex geometry, the construction proved to be very costly and difficult for the Korean Contractors.
1 Zaha Hadid, Dongdaemun Design Plaza, (2014) 2, 3 Ulf Meyer, Dongdaemun Design Plaza (2014) 4 The Angry Architect, ‘Zaha Hadid’s Seoul Design Park: Urban Oasis or Metallic Monstrosity?’(2014)
The facade incorporates a field of pixilation and perforation patterns making the building look like a singular entity. Critics has discussed whether the new centre is an architectural marvel or an ‘urban pimple’. 3 The generative form of the building claims to have responded to the surrounding building topology. The form does slightly infer a development of parametric families of components and in the essential control of data. Yet, critics suggest that Hadid’s ‘wave of titanium is a wholly disproportionate response, displaying a complete lack in the sensitivity towards the context’.4 The design of the Dongdaemun Design Plaza indicates that whilst the use of algorithms can generate impressive shapes, it is essential to first have a thoughtful composition of valued variable inputs including the connection between the human scale and the wider context in general.
FIG.14
CONCLUSION
FIG.15
Parametric design has changed the traditional form of Architectural design. Parametric design has been revolutionary in the design realm as it has allowed the creation of new geometries and awe inspiring final products. Without doubt, parametric modelling has pushed the boundary of design as it uses new structural systems and construction technologies. On a theoretical level, it is not only an innovate approach to design as it incorporates the beauty of geometry, but also the efficiency and relative easy of designing through algorithmic design, with the ability to realise designs that are far more complex than the human mind could imagine. The shift towards these computational approaches has essentially allowed for more responsive designs, allowing architects to explore new options, understand the performance and parameters of the materials and machinery involved in the design and construction process and to better analyse the architectural and structural decisions throughout the design process, ultimately, leading to improved, more well-rounded outcomes.
It is evident that in the design precedences explored that the push towards a technological and computational means of design is resulting in the innovation and development of more sustainable and environmentally sensitive design solutions. The computational design approach should be recognised as a way of taking advantage of the extreme complexity and exceptional capacity of the computer. The intended design approach for the Land Art Generative Initiative is to harness the energy produced from the sun and channel it into a compatible landscape for human interaction, education and all renewable energy production. Ultimately, the ambition is to design a public art innovative sculpture that generates utility-scale clean energy for the city of Copenhagen. It is essential to design in a way that is in accordance with the Danish Government’s ambition of green transformation of the energy systems. Therefore, it is essential that we find new innovative solutions through parametric design to generate solar energy that will contribute to the green transition to the city, without compromising the standard of living and quality of life currently experienced in Copenhagen.
LEARNING OUTCOMES
FIG.16
My experiences with Design Studio Air so far have been very enlightening. This subject has drastically altered not simply my view of architectural computing but architecture as a whole. Previously, my knowledge was quite limited, where i was able to identify buildings that had been designed with the computer, but was unaware of how or by what means the convoluted shapes i associated with it came to be. My introduction to algorithms explained how these intricate and convoluted shapes were achieved. The biggest understanding so far that has been achieved has been the distinction between computerisation and computation. Computerisation is now very clearly the automation, mechanisation, digitalisation of entities or processes that are preconceived. Computerisation revolves around the idea being conceptualised in the designer’s mind, entered into a computer system, stored and manipulated whereas Computation is a digitally driven process that focuses on the exploration of the indeterminate, vague, unclear and often ill-defined processes.
The computational design process involves generating automatic shapes by generating algorithms, resulting in geometries far more advanced than what the designer can solely imagine. By distinguishing the difference between computerisation and computation, i feel that my architectural practise and analysis of architectural design has become more informed and analytical. The way in which i look at buildings in my everyday life has dramatically changed, where i no longer just look at them on a aesthetic level but instead the ability to categorise them into their relevant groups and envisage how their technical designs may have been realised. Learning about computational design and the benefits that it holds has made me more open to using computational methods in my own designs, now and in the future. I believe that i could have benefited from the knowledge learned so far, not so much in a pragmatic and technical sense but in the form finding and idea generation of some of my previous design studios. From the knowledge learned, i envisage that from now my designs will explore with a computational method of some form.
REFERENCES TEXT Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3-12
The Angry Architect, Zaha Hadid’s Seoul Design Park: Urban Oasis or Metallic Monstrosity? (2014) <http://architizer.com/ blog/angry-architect-zaha-hadid/> [accessed 20 August 2014]. IMAGES
Kostas Terzidis, Algorithmic Architecture (Oxford: Architectural Press, 2006) pp.5
Figure 1: http://landartgenerator.org/LAGI-2012/6713KE13/
Morteza Karimi, Calorie Park (2010) <http:// landartgenerator.org/LAGI-2012/6713KE13/> [accessed 2 August 2014].
Figure 2: http://landartgenerator.org/LAGI-2012/6713KE13/
Constantin Boincean, Aleksandra Danielak, Ralph Bertram, 2012 (Freshkills playground) <http://landartgenerator. org/LAGI-2012/RBADCB12/> [accessed 2 August 2014].
Figure 4: http://landartgenerator.org/LAGI-2012/RBADCB12/
Kalay, Yehuda E, (2004). Architecture’s New Media: Principles, Theories, and methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Dennis Lo, Shellstar Pavilion (2013) <http://www. contemporist.com/2013/03/04/shellstar-pavilion-bymatsys/ss_040313_01/> [accessed 9 August 2014]. Zaha Hadid , King Abdullah Financial District Metro Station (2014) <http://www.zaha-hadid. com/architecture/king-abdullah-financial-districtmetro-station/> [accessed 11 August 2014]. Allison Arieff, New Forms that function better (2013) <http:// www.technologyreview.com/review/517596/new-formsthat-function-better/> [accessed 18 August 2014]. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Kolarevic, Branko, ‘Architecture in the Digital Age: Design and manufacturing’ pp.13 Adrian Welch, Shenzhen Bao’an International Airport (2014) <http://www.e-architect.co.uk/hong-kong/ shenzhen-airport> [accessed 18 August 2014].
Figure 3: http://landartgenerator.org/LAGI-2012/RBADCB12/
Figure 5: http://www.contemporist.com/2013/03/04/ shellstar-pavilion-by-matsys/ Figure 6: http://www.contemporist.com/2013/03/04/ shellstar-pavilion-by-matsys/ Figure 7: http://www.contemporist.com/2013/03/04/ shellstar-pavilion-by-matsys/ Figure 8: http://www.zaha-hadid.com/architecture/ king-abdullah-financial-district-metro-station/ Figure 9: http://www.zaha-hadid.com/architecture/ king-abdullah-financial-district-metro-station/ Figure 10: http://www.zaha-hadid.com/architecture/ king-abdullah-financial-district-metro-station/ Figure 11: http://trends.archiexpo.com/projects/ shenzhen-baoan-international-airport-inauguration/ Figure 12: http://trends.archiexpo.com/projects/ shenzhen-baoan-international-airport-inauguration/ Figure 13: http://www.zaha-hadid.com/architecture/ dongdaemun-design-park-plaza/ Figure 14: http://www.zaha-hadid.com/architecture/ dongdaemun-design-park-plaza/
Zaha Hadid, Dongdaemun Design Plaza (2014) <http:// www.zaha-hadid.com/architecture/dongdaemundesign-park-plaza/> [accessed 20 August 2014].
Figure 15 http://1.bp.blogspot.com/_SIkloarbekI/ Sx9e0TGS2WI/AAAAAAAAA6I/jYvNz2N6Sz4/s400/5tentext1.jpg
Ulf Meyer, Dongdaemun Design Plaza (2014) <http:// www.arcspace.com/features/zaha-hadid-architects/ dongdaemun-design-plaza/> [accessed 20 August 2014].
Figure 16: http://4.bp.blogspot.com/_ SIkloarbekI/Sx9e0mmAZGI/AAAAAAAAA6Q/ AU82CUAgWNA/s400/6tentext4.jpg
A
ALGORITHMIC SKETCHBOOK
The Algorithmic journal for part A comprises the most interesting algorithmic sketches from weeks 1-4. I believe that the algorithmic sketches chosen demonstrate the large scope of learning that i have progressed in over the weeks. The week one algorithms, were result of an introduction to Grasshopper and demonstrate the ability to produce a 3d surface using Rhino in conjunction with Rhino. Whilst, the two variations are particularly simple, it demonstrates a basic understanding to parametric modelling. In contrast week three two variations demonstrate a superior and more skilled level of design again using Rhino in conjunction with Grasshopper. The premise behind this image was to try and replicate the outside pattern of the RMIT building on Swanston Street. Once this had been achieved the challenge was to change the parameters of the shape and to try and create an opening in the panels using our knowledge on Grasshopper.
WEEK 1
WEEK 2
PART B CRITERIA DESIGN
CONTENTS B1
RESEARCH FIELD
B2
CASE STUDY 1.0
B3
CASE STUDY 2.0
B4
TECHNIQUE: DEVELOPMENT
B5
TECHNIQUE : PROTOTYPES
B6
TECHNIQUE: PROPOSAL
B7
LEARNING OBJECTIVES & OUTCOMES
B8
APPENDIX: ALGORITHMIC SKETCHES
DESIGN PRECEDENT 7.0
The Teshima Art Museum is one of the most intriguing contemporary artworks in Japan. Under the creative visions of Artist Rei Naito and architect Ryue Nishizawa, the musuem stands on a hill on this island of Teshima overlooking the inland sea. The structure opened in 2010 for the Setouchi International Art Festival. Shaped like a drop of water, the museum lies in a corner of the spacious grounds surrounded by rice terraces.1 Structurally, the building consists of a concrete shell, devoid of pillars, covering a space 40 by 60 metres. The open gallery space features a 25cm thick concrete shell with two elliptical openings that are open to the elements. On the higest ceiling 4.5 metres above, two oval openings allow the air, sounds and light of the world aoutside into this organic space where nature and architecture seem intimately interconnected. 2 Inside the feeling experienced is an ambiance that changes from hour to hour and season to season, revealing countless appearances as time passes.
FIG.1
The simple conctrete strucutre stimulates its visitor’s senses with the play of water drops on the concrete surface. Architect. Ryue Nishizawa, said that it was ‘important to create an architectural space to act in harmony with the island’s environment. Our idea was that the curved droplike form would create a powerful space in harmony with the undulating landforms around it’. 3
FIG.2
1,2,3 Benesse Art Site Naoshima, Teshima Art Museum (2014)
FIG.3
DESIGN PRECEDENT 8.0
The ‘KREOD’ pavilion was designed by Chun Qing Li of Pavilion Architecture and was on display at the Greenwich Peninsula in London during 2013. The pavilion is an innovative architectural sculpture, organic in form, environmentally-friendly and inspired by nature. Using state of the art parametric tools and digital fabrication, KREOD was designed to challenge current thinking and showcase sustainable and forward-thinking building methods.1 The pavilion is representative of three seeds. Each pod is 20m2 and combined through a series of interlocking hexagons, creating an enclosed structure that is not only intricate in its design but also secure and waterproof. The water proof tensile membrane seals the interior from the elements. 2 The hexagonal composition was constructed with Kebony, the award winning sustainable alternative to tropical hardwood and preservative treated wood. The wooden structure of KREOD is durable, resistant, sustainable, environmentally-friendly, easily-maintained and beautifully aesthetic. 3
FIG.4
The pavilion was fully portable with demountable joints allowing for efficient transportation. The structural design aims to show a sustainable and forward thinking building method in the digital age, challenging the new way of thinking, designing, engineering, fabricating and installing.4 The architects behind the KREOD pavilion believe that Architecture is inclusive and highly collaborative saying ‘Our innovative application of experience and knowledge sharing enables us to create design solutions-aesthetically, functionally, economically and environmentally friendly’-Chun Qing Li. 5 FIG.5
1,2 ,3,4,5 Alison Furuto, KREOD/Chun Qing Li of Pavilion Architecture (2014)
FIG.6
RESEARCH FIELD
FIG 7
FIG 8
The Gridshell workshop was a result of a four day workshop that aimed at exploring how material properties can be embedded within parametric design and analysis environments. 1 Conceptually, the designers wanted to create a construction of a wooden Gridshell using only straight wooden members bent along geodesic lines on a relaxed surface. 2 Along the journey the design team faced many engineering problems including working with plywood and its tense relationship with bending stresses. 3
the iterative design cycle, whilst finding viable solutions integrating the trade-offs among requirements. The cluster focused on timber Gridshells as they provided an excellent opportunity to investigate the integration of generative and analytic digital tools with material reality. 4
The team worked hard on the design through the evolutionary design process involving the use of algorithms, iterative physical prototyping and testing to achieve the desired result. Ultimately, the goal behind the Gridshell project was to achieve escape velocity from
12 3 4
Mark Cabrinha, SG2012 Gridshell (2012)
The Gridshell project was chosen as apart of my research stream as i believe it will help facilitate and aid in the process my design. Like the Gridshell project i aim to use materials that are sympathetic to the environment and that minimise material waste. I understand that using materials that minimise environmental waste is difficult enough, but also on the other extreme be able to tolerate the winter conditions faced in Copenhagen. It is essential that i take into account the climatic conditions that Copenhagen is faced with and design an energy generating sculpture that is appropriate to its surrounding environment and makes use of the weather conditions to achieve the best outcome.
FIG 9
FIG 10
CASE STUDY 1.0 1
A
B
C
D
E
2
3
CASE STUDY 1.0 4
5
6
CASE STUDY 1.0 1
A
B
C
D
E
2
3
CASE STUDY 1.0 4
5
6
CASE STUDY 1.0
Species A: Species A is playing with the base geometry where there was exploration to try and produce different shapes.
Species B: Species B explores the results of what happens when the density of the curved divisions are changed.
Species C: Species C explores the customisation of pipes by playing with the radius.
Species D: Species D changes the spherical joints within each of the strips with the use of â&#x20AC;&#x2DC;curve divisionsâ&#x20AC;&#x2122;
Species E: Species E is the cross pollination of species 1-4 by adding up the selected properties (base geometry, curve divisions, pipes and spherical joints) whilst also playing with the base geometry.
CASE STUDY 1.0 Species A5: This iteration was identified as successful as this particular shape i was able to create by playing with the base geometry, which produced an organic shape that i have identified as quite appealing. The open section that has been achieved could be used as a light well to provide natural light.
Species C3: Off all the iterations produced, i identified this one as having the most promise for the realised application. This iteration was not only successful in the aesthetically pleasing aspect but also successful in its functionality purposes. The thickness of the pipes, would ultimately allow for the electrical systems (wiring) to fit in.
Species D6: Similarly, this iteration was successful not only on an aesthetic level but also on a functionality level. The iteration has a potential light well in the middle. With this iteration i was trying to achieve a dome like structure where the creation of space was important. The potential architectural application in this is the definition of space here, creating pathways through the given structure.
Species E3: This iteration shares some resemblance with a dome like surface. This iteration was a cross pollination of species one-four, where individual selected properties (base geometry, curve divisions, pipes and spherical joints) were played with to produce organic forms. This iteration was the most successful from this species as it has produced an aesthetic shelter that could be developed as a mesh structure.
CASE STUDY 2.0
South pond is a project designed and created by Architects Studio Gang situated in Chicago’s Lincoln Park Zoo. The Architects, Studio gang, aimed to design a pavilion that would help transfer the picturesque urban bond from the 19th century into an ecological habitat with life. 1 The design’s improvements to water quality, hydrology, landscape, accessibility, and shelter, allow the site to function as an outdoor classroom in which the co-existence of natural and urban surroundings is demonstrated. 2 At the center of the boardwalk around the lake is the pavilion. The pavilion provides shelter for open air classes on the site. Inspired by the tortoise shell, its laminated structure consists of prefabricated, bentwooden members and a series of interconnected fiberglass pods that give global curvature to the surface. 3 I am particularly interested by the pavilion designed and created by Studio Gang. It features pre-fabricated wooden planks that have been interconnected and milled to form the curving structural members. The top of the pavilion is covered with semi-transparent fiberglass pods, which let light filter in while still protecting those underneath. The materials they have used to construct the pavilion work well within the surrounding natural environment. I particularly like the ‘openness’ of the pavilion, yet the ingenuity behind it where they have covered the outside with semitransparent pods, making it ‘usable’ all year around. Like Copenhagen, Chicago suffers from cold & wet winters, experiencing a lot of snowfall. The pavilion provides a space where people can exercise and congregate year round, whilst still remaining in an ‘open’ setting.
12 3 Studio Gang Architects, Nature boardwalk at Lincoln park zoo (2014)
CASE STUDY 2.0
CASE STUDY 2.0
1) Creation of two linear lines followed by making arches in between them through the ‘arch command’
2) Played with the ‘sine’ curve and made a similar pattern to what is seen on South Pond.
3) First array of the pattern in the vertical direction.
4) Second array of the pattern. After vertical length was achieved, the pattern was arrayed horizontally.
5) Projected two dimensional pattern onto the arch.
5) Extruded the projection in the Z direction.
CASE STUDY 2.0
Pictured above is the final outcome from the reverse engineering. Overall, the final outcome showed some strong resemblance to the South Pond structure itself. Similarities involve achieving a similar base form consisting of the shape and pattern. I was also able to achieve similar depth as the original. However, the flaws of the reverse engineer is that the bottom parts of the structure are flimsy because i was unable to extrude the pattern all the way to the ground . Also i was unable to achieve the transparent glass infill because the neighbouring curves werenâ&#x20AC;&#x2122;t linked to each other. If i was unconstrained by the original form, i wouldâ&#x20AC;&#x2122;ve played around with the shape so that the projection would have worked better. Therefore, moving forward with this design, i would like to explore different pattern possibilities, similar to the one achieved here and the possibilities surrounding the overall shape.
TECHNIQUE: DEVELOPMENT
TECHNIQUE: DEVELOPMENT
TECHNIQUE: DEVELOPMENT
TECHNIQUE: DEVELOPMENT
SELECTION CRITERIA
The selection criteria has been revised from Case Study 1.0, based on the results i was able to achieve from the new set of iterations. The new selection criteria for these iterations has subsequently developed and become more specific due to narrowing down the iterations and having a clearer idea of the what i am wanting to achieve. The new selection criteria revolves around wanting to achieve an aesthetic effect that is not only innovative in its design but also frames the nature that it is apart of. Therefore, the selection criteria will rely on the ability to be able to walk through the area, indicating the successfulness of the intermixed relationship between the nature and the structure. Furthermore, identifying the iterations with interesting, innovative patterns will also fulfill the selection criteria bearing in their mind of being constructed and fulfilling the environmentally friendly materiality objectives. The patterns need to have the potential to frame the solar panels and therefore cannot be too intricate as they might fail in accommodating solar panels and hence limit the potential of generating renewable energy.
TECHNIQUE: DEVELOPMENT This iteration resembles an ‘igloo’ like structure. The pattern that was projected onto the shape, is indicative of the form found in the South Pond project by Studio Gang. In terms of architectural application and fabrication, this iteration could be fabricated into a real life model. Whilst,the pattern achieved is highly aesthetic and would work effectively with fitting solar panels, it is not organic, as its pattern shares too much resemblance to the Studio Gang project.
This iteration is a development from the single dome ‘igloo’. This iteration highlights an accumulation of two domes with the pattern being projected onto the surface. I find that this iteration could be a usable space on the site as it provides two usable spaces. Whilst, i enjoy this pattern, i realise that it shares too much similarity with the South Pond pavilion.
Similarly, this iteration shares the accumulation of two domes as the base shape. The variable that has been altered here is the skin. a Pattern consisting of squares with circle insets has been projected onto the surface. Considering the need to have clear transparent surfaces and surfaces that are covered in solar panels, this iteration fits the brief, as the circle insets could fir the solar panels. I recognise this design as having some aesthetic appeal that could produce some interesting shadows from sun directing onto the skin.
The last iteration that has been recognised as the most successful. The exterior skin projected onto the surfaces of the three domes has been recognised as being the most aesthetically pleasing. This iteration demonstrates an accumulation of three domes, which if fabricated would provide a multitude of different user areas and the users experience would change through each dome. Furthermore, the exterior skin suits well for solar panels to be fitted in as well as translucent glass panels.
TECHNIQUE: PROTOTYPE 1
To begin to think about materialisation, it is necessary to look at the proposed design in detail to explore the arrangement and structure of the external covering. Firstly, i drew up some sketches of how the structure would be connected together. From analysing the overall structure, i decided that an assembly notch system would work best. From ascertaining the joint system, i sent off the file, where the components were individually layed out to be laser cut. Prototype one was laser cut on 3mm MDF. I found that assembly of the notches in between the intersection points was quite a struggle. The interlocking system was not working as well as intended and to solve the issue, and PVA glue had to be used to cement the joints together.
TECHNIQUE: PROTOTYPE 1
I have established that the composition of my design will be in most part wooden components. Therefore i believed that it would be most appropriate to prototype in a form that was closely representative to the form itself. Therefore for Prototype 1, i used MDF. The MDF allowed me to create components of the external layer and see how they best fit together and identify the assembly sequence. Though this process, i was able to test the tensile strength to realise whether the components would hold the tensile strength. The tensile strength of prototype 1 was tested by applying some finger pressure, from which the interlocking system worked well as the interlocking system did not collapse as the pressure was dispersed across the structure.
The second part of this prototype, was to create the external â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; over the structure. The exterior skin was constructed with White ivory card (270GSM).The strips were connected together with tabs but ultimately for further fabrication there would need to be a detailed joint system. Ultimately, this prototype was constructed as i wanted to test the shadows that were produced when light was projected onto the prototype. The concept of the design is to produce a light well that can pick up the external skin and reflect it onto the ground. I tested the skin over the structure by projecting a torch onto the prototype. The skin would be indicative of the glass components of the structure, so it is important that the sun would be able to project through the structure. The prototype was tested under winter and summer sun to see if similar shadowing/lighting was achieved.
TECHNIQUE: PROTOTYPE 2
Prototype two was constructed with 1mm Box-board. The assembly process for both structures (Prototype 1 & 2) was similar, using the same method. The assembly process for both comprised of the horizontal components being arranged first and then adding then interlocking with the vertical components. Similarly as Prototype 1, the interlocking system needed glue for them to properly stick together. I found this prototype with the box-board to not be as sturdy as prototype one, with the end bits struggling under pressure. There is the possibility for this prototype to work, which it would need to be embedded into the ground. The ability to take a â&#x20AC;&#x2DC;skinâ&#x20AC;&#x2122; on top decreases and therefore less pressure can be applied. Therefore, it was deduced that the MDF, was a lot studier and could take heavier loads and showed no signs of cracking when pressure was placed on it.
TECHNIQUE: PROTOTYPE 2
This prototype used the shell from the 1mm Boxboard and applied the skin on top of it. The skin was constructed with Black ivory card (270 GSM). Similarly, the skin, a series of ivory card strips were connected with tabs, however they would need a detailed joint system if they were going to be fabricated for real life construction. The black ivory card skin was representative of the solar panels.
Prototype, it produced dark areas in the internal area, as seen in the photo directly above.
The idea for this prototype was to also testing the shadows produced when light was projected onto the structure. This prototype was tested under the summer and winter sun to ascertain whether sufficient lighting/ shadowing was achieved. From the prototype, it was realised that sufficient lighting was achieved within the dome when the summer lighting was projected onto it. Here, the structural grid was reflected onto the ground. However, when the winter sun was reflected onto the
I have realised that instead of having two ‘skins’, the internal structural skin, and the external aesthetic skin, the design needs to incorporate both skins into the one structure. This can be achieved by altering the structural skin to incorporate the desired pattern so that the translucent glass panels and solar panels can be inserted into. I have noted through this process that when the structure is thicker the gaps in between can be bigger, and hence the solar panels/glassing can be larger (less joints, optimising efficiency) producing a cleaner aesthetic look.
Connecting the external ‘skin’ to the structure proved difficult and did not work as well as anticipated. Therefore, i have deduced, that from extensive testing with prototypes, the design needs to be changed and simplified.
TECHNIQUE: PROPOSAL
My design concept is in response to the LAGI design brief which is to create a sculptural land art which is visually pleasing on what the LAGI website has identified as a virtually flat site. The site is located in a rather industrial area, making the adjoining buildings lack in character and design. Whilst there is no underlying design theme other than the bland nature of the industrial buildings, the intention is to create a structure that will draw and entice people to the site. The Refshaleoen site, is a reclaimed site and provides a perfect opportunity to make a statement through art and architecture about renewable energy. The site provides the perfect opportunity to achieve certain LAGI targets such a promoting the generation of renewable energy whilst challenging the notion that building green diminishes the aesthetic outcome and to ultimately inspire and educate the public about the scope of potential in sustainable design.
SITE CONTEXT
LAGI SITE
The site is located across the river from local icons of cultural significance in Copenhagen, such as â&#x20AC;&#x2DC;The Little Mermaidâ&#x20AC;&#x2122;. My design aims to make a connection with the cities cultural and heritage landmarks. In doing so, the design gives the users the opportunity to fully understand the city they live in by utilizing the views from the design. As the topography of the land is quite flat, i will be utilising the views on the ground level. The sculpture intends to shape the site around it and not isolate the users to be removed from the surroundings they are in.
SITE ANALYSIS
entry point Summer sun
bus stop winter sun ferry port
Addressing the site and its relationship with the designed environment, there are various factors that need to be considered. The first was the servicing entry and arrival points and integrating them into the design. As such, the pathways throughout the design connect the water taxi terminal at the south west of the site, the bus stop at the south east end of the site as well as another point along the eastern boundary. The topography of the site was also analysed as the topography of the land for any given site directly affects what can be designed and what can ultimately be realised on the site. However, the LAGI site, as referred to on the website refers to the site being as virtually flat, which meant that the design or structure did not have to be altered drastically to accommodate for this.
Site analysis through the use of supplied documentation and research informed the design process as it helped ascertain a sun path diagram. Copenhagen has only 17.5 hours of sunlight during the summer, and 7 hours of sunlight during the winter. Through this process of data collection and site analysis, the potential of our design is informed and we can make decisions about the location of the design, how to use green spaces and where to provide shelter, as well as how to integrate the energy generation technique into the design site. Although solar energy is not used in Copenhagen, the sun path diagram is still important to the conceptual design approach. The maximum and minimum hours of natural light in Copenhagen inform how much artificial lighting the design proposal needs.
FORM: GENERATION
1) Establishment of a ‘path’ on-site that connects the ferry dock to the bus stop and the foot path.
2) The domes ‘igloos’ were arranged along each of the three paths in ascending order to the ‘centre point’ which is placed at the middle intersect of the three paths.
2) Once the domes were aligned correctly, the pattern ‘skin’ was projected onto the structure.
TECHNIQUE: PROPOSAL
TO DESIGN A SPACE THAT CONTRASTS THE STATIC NATURE OF THE SURROUNDING INDUSTRIAL AREA.
MOVEMENT SECTIONING
ORGANIC FORM
INFLUENCING FLUIDITY AND MOVEMENT ACROSS THE SITE
NATURAL TOPOGRAPHY
CIRCULATION
RENEWABLE ENERGY
ENCOURAGE FLUID MOVEMENT THROUGHOUT THE SITE
SOLAR
SPATIAL EXPERIENCE INTERNAL VS EXTERNAL LIGHTING MOOD
TECHNIQUE: PROPOSAL
The design at the Refshalaoen, a reclaimed piece of land, needs to be a man made attempt to reconcile users with their natural environment through their active contribution to renewable green energy. Due to the exposed location of the site, i have decided on solar as the energy generation form. The proposal is in response to Copenhagen’s already carbon neutralising city and its need to continue on its green agenda. The proposal is an innovative glass structure that is comprised of a series of ‘domes’ with a variety of purposes. The aim behind the concept was to create a series of pathways on the site connecting the ferry dock to the road and the bus stop. The design is a series of three paths that intercept in the middle ‘centre point’. The paths are made up of a series of ‘domes’ that gradually get bigger in ascending height, where they reach their peak at the centre point, which is directly in the middle of the site. The domes do not only serve as a walk-able area, but as a versatile space that can be used as an art gallery space or serve for other communal and recreational purposes. The domes are arranged in an alternate order consisting of an open glass dome, allowing the natural light to project through the ‘skin’.
Following on from a glass dome, the user, will walk through a dome, covered in solar panels, which will be internally lit to counteract the the solar panel exterior. The domes are designed in an alternate order and varying height difference to create interest from the outset (external view) and ultimately enhance the users experience. The drawbacks of producing a scale project of this size, is constructing it on site using large amounts of inefficient materials. My proposal counteracts these problems through the proposal to use Eco-friendly materials such as kebony timber, which will allow for the project to be largely prefabricated off-site and joined on-site. The benefits of this construction method is that the components of the structure can be easily dismantled. The proposal aims to achieve certain targets such as promoting the generation of wind energy, to challenge the notion that building green diminishes the aesthetic outcome and to ultimately inspire and educate the public about the scope of potential in sustainable design.
DESIGN REFLECTION The feedback i received from the interim proposal was very valuable in terms of where to take the design and how to take it further. The feedback provided from the proposal was that while the iterations were good, i need to look into the shape of the design more. The assessors said that the proposal had good technical development and the ability of testing different options. They believed that the prototypes produced were good as they tested different joints and tectonics. The solutions that i was provided with to explore and extend the structure was that there needed to be more interesting variations on the domes that would create more interesting spaces. Architecturally, the design at its current state has not fully explored its aesthetic and experiential potential yet. Therefore, from the assessors critique, i intend to further explore the dome structure by incorporating a unique atmosphere through the lighting, scale and materials rather than just having light and dark spaces as currently proposed. Further suggestions provided were that some of the domes needed to have some set programmes so that they can be designed to be rigid. Therefore, i intend to go back and computationally modify the form and its structural performance so that it can optimise the userâ&#x20AC;&#x2122;s experience. In accordance with the design proposal and the interim presentation feedback, i will largely continue with the current design concept which drives my conceptual design response and further develop it and strengthen it in part C. I will be doing so by the exploration and refinement of the current concept and seeing how the spatial relationships as well as the functions of the spaces can be improved. Also further research on the application of the technology must be taken in order to strengthen the design response. By doing so, the design will be able to more effective in communicating its design intent.
LEARNING OUTCOMES In order to adequately to determine my performance to date in Design Studio Air, i am going to refer to the Learning Objectives stated in the Subject guide: Learning Objective1: Interrogating the brief. This subject has provided me with two briefs to adhere to. Firstly, what is outlined by the course, and secondly the outline of the Land Art Generative Competition (LAGI). I have been able to maintain a clear consideration to both of these briefs throughout the design process. This subject has also given me insight into how we are at an age where briefs are changing radically. Current social conditions require the use of new design tools and techniques, new types of structures, new construction methods, and new environmental requirements, placing further importance on the ability to generate and adhere to a brief. Learning Objective 2: The ability to generate a variety of different design possibilities through the introduction of visual programming, algorithmic design and parametric modelling. This was demonstrated through the different iterations achieved in B2 and B4. The introduction of programs such as Rhino and Grasshopper has allowed me to produce a variety of minutely or vastly different outcomes explored in the different outcomes. Learning Objective 3: Developing skills in various three dimensional media including computational geometry, parametric modeling and digital fabrication. My competency in three dimensional media has significantly improved from the start of the semester. I now have a solid understanding of how to use Rhino and Grasshopper in relation to what tools are required to preform various functions, understand and produce algorithms and furthermore manipulate it to achieve a variety of outcomes. Learning Objective 4: Developed an understanding of the relationship between architecture and air, through the interrogation
of the design proposal. When built, the design proposal sits in a physical setting that is exposed to a variety of harsh climatic conditions. The process of putting forward a proposal requires proof that the design is stable and viable. The relationship between architecture and air was tested through constructing tangible prototypes of design components. Learning Objective 5: Developed the ability to make a strong case for proposals through rigorous and persuasive arguments by the architectural discourse. The ability to argue our design proposal by highlighting similar projects that have eventuated and their success, in relation to what we were wanting to achieve ourselves. Learning Objective 6: Ability to analyse contemporary architectural projects through conceptual, technical and design analyses. Since beginning this subject, the way in which i view architectural landscape has significantly changed. Instead of just looking at the aesthetic components of a building, I now look and begin to think what programs the architect had employed to design and achieve the specific intent. Learning Objective 7: Developed foundational understandings of computational geometry. As previously stated, my understanding of computational geometry and visual programming has increased significantly. I believe that this process has been articulated in parametric outcomes, highlighting the development and knowledge with these programs. Learning Objective 8: Development of personalised repertoire of computational techniques and beginning to understand their advantages, disadvantages and areas of application. I have begun to understand why specific programs are used to complete various tasks and why they are used over alternatives.
REFERENCES TEXT
IMAGES
Benesse Art Site Naoshima, Teshima Art Museum (2014) <http://www.benesse-artsite.jp/en/teshimaartmuseum/> [accessed 26 August 2014].
Figure 1: http://www.archdaily.com/151535/ teshima-art-museum-photos-by-iwan-baan/
Alison Furuto, KREOD/Chun Qing Li of Pavilion Architecture (2014) <http://www.archdaily. com/275460/kroed-chun-qing-li-of-pavilionarchitecture/> [accessed 26 August 2014]. Studio Gang Architects, Nature boardwalk at Lincoln park zoo (2014) <http://studiogang.net/work/2005/ lincolnparkzoo> [accessed 3 September 2014]. Mark Cabrinha, SG2012 Gridshell (2012) <http:// matsysdesign.com/category/projects/sg2012gridshell/> [accessed 16 September 2014].
Figure 2: http://www.archdaily.com/151535/ teshima-art-museum-photos-by-iwan-baan/ Figure 3: http://www.tinylittlesketches.com/ wp-content/uploads/2013/04/teshima-museumryuei-nishizawa-rei-naito-01.jpg Figure 4: http://www.archdaily.com/275460/kroedchun-qing-li-of-pavilion-architecture/jro_9158/ Figure 5: http://nykyinen.com/wp-content/ uploads/2013/02/02/Arch_Kebony_03.jpg Figure 6: http://www.istructe.org/getmedia/ bb6ace60-c392-46e5-8714-2379c78d1f54/kreod-1. jpg.aspx?width=900&height=549&ext=.jpg Figure 7: http://matsysdesign.com/wp-content/ uploads/2012/04/sg2012_ren_skin_03.jpg Figure 8: http://matsysdesign.com/wp-content/ uploads/2012/04/sg2012_ren_skin_01.jpg Figure 9: http://matsysdesign.com/wp-content/ uploads/2012/04/IMG_9422.jpg Figure 10: http://matsysdesign.com/wp-content/ uploads/2012/04/IMG_9420.jpg
A
ALGORITHMIC SKETCHBOOK
The Algorithmic journal for part A comprises designs that were explored in greater detail, but were eventually ruled out for a variety of reasons. Algorithm one was designed around the purpose of having â&#x20AC;&#x2DC;two pathsâ&#x20AC;&#x2122; on the site that are joined at the middle. However, once undertaking a proper site analysis, i realised that it was not going to suit the site and the functionality purposes it has to meet. Algorithm two was ruled out for similar purposes of Algorithm one due to not suiting the site effectively. Whilst this configuration was established as not appropriate, it was successful in achieving the ascending height order . Algorithm three was intended to follow a simple straight line where i scaled the domes to ascending heights from the entrance. The idea here was to create a space where the areas got bigger as you walked through them, allowing a different experience through each dome. However, this configuration was discounted as it was too small on the site.