8. Process

Week 08

People, Process & Technology

Process

By Amal Shah Faculty of Design CEPT University

Teaching Associates Chandni Chhabra, Sachi Motiwala & Shikha Mehta

IR3609 | Monsoon Semester 2020

Experience Music Project, Seattle by Gehry Partners 1995-2000

Stakeholders : Owner, Architect, Contractor

Generation of Geometry Celebrating creativity of modern music

Celebrate American Rock and Roll and Pop Culture

Visual of smashed guitars

Design/Build (D/B) Approach to achieve complex geometry as structure

6 forms forming the museum

Design–build is a project delivery system used in the construction industry.The designer and contractor work together from the beginning, as a team, providing unified project recommendations to fit the Owner's schedule and budget.

Courtesy:https://www.djc.com/news/ae/10058444.html?id=10058444&printmode=true

2

Experience Music Project, Seattle by Frank Gehry Partners

3

Experience Music Project, Seattle by Frank Gehry Partners

Stakeholders : Software Developers, Structural Engineers, Fabricator, Architect, Contractor,

Rationalization of geometry for constructability Achieved by rule-based algorithms and Gaussian curvature analysis as Tools

Surface Fabrication Strategy was developed by procedural modelling approach by software/digital technology for the Non-symmetrical curvatures of the surface to be integrated.

Shape-fitting programs minimized material quantities by analyzing the “best fit” of multiple curved ribs from a single plate.

4 Courtesy:https://www.researchgate.net/publication/275921708_Shape_grammar_in_contemporary_architectural_theory_and_design/figures?lo=1

Experience Music Project, Seattle by Gehry Partners

Stakeholders : A.Zahner, Structural Engineers (Hoffman), Fabricator, Architect

Design Detailing, Problem-Solving, Fabrication

Use of CATIA V4 simplified design drawings for subcontractors for complex irregular geometries, and helped pioneer the use of BIM in construction.

Courtesy:https://www.researchgate.net/publication/275921708_Shape_grammar_in_contemporary_architectural_theory_and_design/figures?lo=1

5

Experience Music Project, Seattle by Gehry Partners

Stakeholders : A.Zahner (Manufacturers, Contractors), Fabricators, Architect

Material Technology, Geometry and Application of Techniques

Manufacturing Processes

Production processes were based on cutting, subtractive, additive and formative fabrication

Custom Metal Polishing for Ambient Reflectivity

Red interference- coated stainless steel

Response to heat & light

Applying Physics of Light Interference

Precision-controlled machinery to etch stainless steel with a fine grain.

It greatly diffuses light caused by parabolic shapes and the intense reflectivity of stainless steel

The effect is made by immersing the material in an acid bath, which forms a chromium oxide film layer on the surface.

Fluorocarbon-coated aluminum.

Baked-on finishings and coatings onsite/offsite.

6

Stakeholders : A.Zahner (D/B), Structural Engineers (Hoffman), Fabricators, Architect, Vendors, Manufacturers, Workers

Experience Music Project, Seattle by Gehry Partners

Construction Technology : Complex Invention of ‘Steel Stiffened Concrete Shell’ Structural System 1

2

To sculpt more than 50 distinct beams which will weigh 5,000 to 10,000 pounds each, the fabrication company had to customize a steel press bed that uses rollers to shape each rib's web and flange pieces identically.

3

Pouring of shortcrete cement to take the shape of the irregular geometries following by an insulating layer

Global Positioning Technology was used to verify location of the components onsite 7

Courtesy : https://www.hoffmancorp.com/project/mopop/

Experience Music Project, Seattle by Gehry Partners On-site Assembly of Prefabricated systems Reduction of curves into large prefabricated assemblies which could be easily shipped and rapidly installed

4

Off-site and onsite processes culminate in entire custom wall system with exterior skin, waterproofing membrane, vapor barrier, structure, MEP, insulation, and interior wall substrate.

Courtesy : https://www.hoffmancorp.com/project/mopop/, https://www.azahner.com/creations/zepps/

8

Aurora Place, Sydney by Renzo Piano

Stakeholders : Bovis Lend lease, Renzo Piano Building Workshop, Ove Arup and Partners/Environ

Generation of Geometry Harmony with the Sydney symbolic Opera House

Reect the historical & architectural quality of the existing buildings in Macquarie Street .

Responding to the context of the site, the nature of the views, winds and orientation, produce something more memorable than just another skyscraper

The roof is inclined at an angle of 43 degrees to avoid shading the adjacent park

Courtesy:http://faculty.arch.tamu.edu/anichols/courses/applied-architectural-structures/projects-631/Files/AuroraPlace.pdf

9

Aurora Place, Sydney by Renzo Piano

Courtesy:Arch Daily

Stakeholders : Bovis Lend lease, Renzo Piano Building Workshop, Ove Arup and Partners/Environ

10

Aurora Place, Sydney by Renzo Piano

Stakeholders : Bovis Lend lease, Renzo Piano Building Workshop, Ove Arup and Partners/Environ

Building Structure The structural elements of the commercial oďŹƒce tower can be considered as two basic components.

1) The primary building frame 2)The secondary structural facade support elements attached to the building frame

Courtesy:http://faculty.arch.tamu.edu/anichols/courses/applied-architectural-structures/projects-631/Files/AuroraPlace.pdf

Aurora Place, Sydney by Renzo Piano

Stakeholders : Bovis Lend lease, Renzo Piano Building Workshop, Ove Arup and Partners/Environ

Facade System The aluminium and glass curtain wall system spans from oor to oor and is supported by the edge beams with cast-in anchorage brackets.

The design brief was to create openable glass louvres supported within a glass mullion framework. The operating mechanism to rotate the louvres mullions was also incorporated within the glass mullion framework.

Courtesy:http://faculty.arch.tamu.edu/anichols/courses/applied-architectural-structures/projects-631/Files/AuroraPlace.pdf

Aurora Place, Sydney by Renzo Piano

Stakeholders : Bovis Lend lease, Renzo Piano Building Workshop, Ove Arup and Partners/Environ

Facade System

Courtesy:http://faculty.arch.tamu.edu/anichols/courses/applied-architectural-structures/projects-631/Files/AuroraPlace.pdf

Aurora Place, Sydney by Renzo Piano

Stakeholders : Bovis Lend lease, Renzo Piano Building Workshop, Ove Arup and Partners/Environ

Facade System The design challenge was to bring two opposing objectives together and meet somewhere in the middle: To create a mechanism that allows for practical installation and ongoing maintenance, whilst still achieving the strong design intent of the architect.

Courtesy:http://faculty.arch.tamu.edu/anichols/courses/applied-architectural-structures/projects-631/Files/AuroraPlace.pdf

Georges Cafe, Paris by Jakob + Macfarlane 2000 (Delivery)

Stakeholders : Owner, Architect

Designed with an idea to provide a new identity/ new place in the city of Paris, the project in the Centre Pompidou sees formless volumes in the space.

15

Georges Cafe, Paris by Jakob + Macfarlane

16

Georges Cafe, Paris by Jakob + Macfarlane

Stakeholders : Architect, Ship-building Industry + Engineering Consultants, Owner

Generation of Geometry and Surface Tectonics NURBS Patch : Local manipulation of curvatures and forms as a whole

Mutation of Floor Plane

Interior within the architectural shell

Courtesy : Kolaveric, B. (Ed.). (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press Mehta,S. (2020). Technology & Tectonics : A study into the impact of Production Processes in Interior Design. Ahmedabad : CEPT University

Inputs and development by boatbuilding consultants

Geometry analysis & Gravity modelling

17

Georges Cafe, Paris by Jakob + Macfarlane Application of the shipbuilding industry Evolving and Adapting Production Techniques and Technology, Input of knowledge, skills

Semi-Monocoque structure to achieve surface articulation Pieces produced in boat building industry using its tools, techniques & technology by skilled workers

Interior Rubber skin for perception of softness & insulation

Services integrated through forms akin to boats because of thin oor slab of Pompidou 18 Courtesy :Mehta,S. (2020). Technology & Tectonics : A study into the impact of Production Processes in Interior Design. Ahmedabad : CEPT University

Georges Cafe, Paris by Jakob + Macfarlane

Stakeholders : Ship Building Industry + Engineering Consultants, Architect, Fabricator

Structure from Geometry

19 Courtesy : Kolaveric, B. (Ed.). (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press

Stakeholders : Ship Building Industry + Engineering Consultants, Skilled workers, Fabricator, Architect

Georges Cafe, Paris by Jakob + Macfarlane Prefabrication in boat building industry Evolving and Adapting Production Techniques and Technology, Input of knowledge, skills OFFSITE

ONSITE Brushed Onsite ďŹ nishing

Installation using skilled techniques

Structure & Services

Fabricated sized according to machine and site constraints

For eg - Site lift constraints

Courtesy : Kolaveric, B. (Ed.). (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press Mehta,S. (2020). Technology & Tectonics : A study into the impact of Production Processes in Interior Design. Ahmedabad : CEPT University

20

Stakeholders : Skilled workers, Ship Building Industry + Engineering Consultants, Architect

Georges Cafe, Paris by Jakob + Macfarlane

Onsite assembly by components by skilled boat builders

Brushed aluminium ďŹ nishing process to achieve material eect.

21 Courtesy : Kolaveric, B. (Ed.). (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press

Crystal Palace, London by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

Generation of Geometry Idea of ‘Exhibition of all nations’

800,000 square feet area

A structure that could be dis-assembled from site

In startling contrast to the architectural ethos of the day, the building was not conceived as a form, but instead as a process.

Courtesy:Article: The Crystal Palace and its Place in Structural History

Joseph Paxton’s initial idea to repeat the glass house module

22

Crystal Palace, Queen’s Island by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

Generation of Geometry Paxton’ design was based on a 10in x 49in module, the size of the largest glass sheet available at the time. The modular system consisted of right-angled triangles, mirrored and multiplied, supported by a grid of cast iron beams and pillars. These basic units were extremely light and strong and were extended to an incredible length of 564 meters. The design was also influenced by Paxton’s passion for biomimicry; he drew inspiration from the giant leaves of the Victoria Amazonica waterlily.

Courtesy:Article: The Crystal Palace and its Place in Structural History

23

Crystal Palace, Queen’s Island by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

Design Process To increase precision Paxton developed a steam-powered machine to standardize fabrication of the wooden sash bars which were designed to incorporate grooves for gathering condensation internally.

Courtesy:Article: The Crystal Palace and its Place in Structural History, https://thearchiblog.wordpress.com/2011/06/10/joseph-paxton-crystal-palace-detailed-analysis/

24

Crystal Palace, Queen’s Island by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

Assembly at site The 22.8-m (74.ft) span of the central vaulted aisle was achieved by iron and timber semicircular ribs, which were fully assembled on the ground and hoisted ingeniously at an angle in order to clear the slightly narrower internal width of the vault. Special equipment was designed by Fox Henderson to speed site assembly. Ingenious wheeled trolleys which ran on the Paxton gutters as rails eliminated the need for scaffolding for the glaziers. Using the trolleys, a team of 80 men was able to fix 18000 panes of glass in one week.by December 1850, there were 2260 labourers on site working in tightly coordinated sequences of operations.

Courtesy:Article: The Crystal Palace and its Place in Structural History, https://thearchiblog.wordpress.com/2011/06/10/joseph-paxton-crystal-palace-detailed-analysis/

25

Crystal Palace, Queen’s Island by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

Component development Every component was designed to conform to Paxton’s 1.2-m (4-ft) planning module. To reduce the number of components and lighten the construction, each element was designed to do more than one job glazing sash bars doubled as gutters; hollow cast iron columns as rainwater pipes; and the site hoarding was subsequently laid as floorboards.

Components were fabricated in workshops throughout Britain on assembly lines, with each labourer described by the architectural critic Matthew Digby Wyatt as “acting precisely as the various portions of a well-devised machine, skilled in his own department, profoundly ignorant in others”.

Courtesy:Article: The Crystal Palace and its Place in Structural History, https://thearchiblog.wordpress.com/2011/06/10/joseph-paxton-crystal-palace-detailed-analysis/

26

Crystal Palace, Queen’s Island by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

Construction The scale of components was broken down so that nothing weighed over a ton and the building could be assembled largely by manpower, with the occasional aid of horses.

Courtesy:Article: The Crystal Palace and its Place in Structural History, https://thearchiblog.wordpress.com/2011/06/10/joseph-paxton-crystal-palace-detailed-analysis/

Components were fabricated in workshops throughout Britain on assembly lines, with each labourer described by the architectural critic Matthew Digby Wyatt as “acting precisely as the various portions of a well-devised machine, skilled in his own department, profoundly ignorant in others”.

27

Crystal Palace, Queen’s Island by Joseph Paxton & Owen Jones

Stakeholders : Exhibition committee, Architect, Contractor

28

Blur Building, Switzerland by Dilller Scofidio + Renfro 1998-2002 Environment as Builtform

Building Enveloped in a Cloud

Water is not only the site and primary material of the building; it is also a culinary pleasure.

Design Approach to achieve complex geometry as structure

Movement within is unregulated. The public can ascend to the Deck via a stair that emerges through the fog into the blue sky.

The lightweight tensegrity structure

Visitors immersed in Fog

Design–The Blur Building is an architecture of atmosphere—a fog mass resulting from natural and manmade forces.In this exposition pavilion there is nothing to see but our dependence on vision itself. The Building’s striking form also incorporates functionality, sociability, and technological innovation.

Courtesy:https://dsrny.com/project/blur-building

29

Blur Building, Switzerland by Dilller Scofidio + Renfro 1998-2002 Upon entering Blur, visual and acoustic references are erased. There is only an optical “white-out” and the “white-noise” of pulsing nozzles. Contrary to immersive environments that strive for visual fidelity in high-definition with ever-greater technical virtuosity, Blur is decidedly low-definition.

.A system of rectilinear struts and diagonal rods cantilevers out over the lake from piles in the water.

It is an experiment in de-emphasis on an environmental scale.

The building was clad in steam, avoiding the need to attach cladding to the tensile web. Water is pumped from Lake Neuchâtel,, the site itself.

30

Blur Building, Switzerland by Dilller Scofidio + Renfro 1998-2002 Structural strategy for constructability : Tensegrity - Concrete Foundation ---Modular Elements --- Steel Ties

Ramps and walkways weave through the system, some of them providing a counterweight for the structure.

As the blur building is conceived as tensegrity structure, a spatial network of elements composed of isolated compression struts and continuous tensile rods define stable volume in the space.

Courtesy:https://www.researchgate.net/publication/306922903_Verification_of_Tensegrity_Properties_of_Kono_Structure_and_Blur_Building

31

Blur Building, Switzerland by Dilller ScoďŹ dio + Renfro 1998-2002 Modular System Several computational models were prepared to analyze the Blur building as a potential tensegrity structure.

Single Module: Regular (a) and boundary irregular (b)

Four Modules (a) and six Modules (b) structures with additional round cables

Total Structural System

The structure of building is conceived as a combination of tensegrity basic modules into a central horizontal square mesh of struts with a lower and upper system of diagonal rods all held together by a lower and an upper square net of horizontal tension rods.

Courtesy:https://dsrny.com/project/blur-building

32

Blur Building, Switzerland by Dilller Scofidio + Renfro 1998-2002 Force Transmission System

The connection between the tension rods and the compression struts to the basic square module allows the configuration of the stable system where the forces are equilibrated

Compression

Tension

The use of steel for the cables in tension and ribs in compression, not only allows the formation of stable structure but also gives lightness and efficiency.

Design Detailing Each module is connected with another so that the whole form a structural and stable grid where the joints are fundamental to guarantee the structure’s stability.

33 Courtesy:https://www.researchgate.net/publication/306922903_Verification_of_Tensegrity_Properties_of_Kono_Structure_and_Blur_Building

Blur Building, Switzerland by Dilller ScoďŹ dio + Renfro 1998-2002 Passive Environment Performance System Weather system : Wind Analysis and Cloud Formation for shifting climatic conditions

. A weather station was built-in and it controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed

A smart weather system reads the shifting climatic conditions of temperature, humidity, wind speed and direction and regulates water pressure at a variety of zones.

34

Courtesy:https://issuu.com/emmanuelalexandercohen/docs/project_4_ďŹ nal_submission/4

Blur Building, Switzerland by Dilller ScoďŹ dio + Renfro 1998-2002 Water pump System and Cloud formation

The public can drink the building with an immersive acoustic environment. The lightweight tensegrity structure measures 300 feet wide by 200 feet deep by 75 feet high and is supported by four columns.

The fog nozzle amounting to almost three thousand in the structure, was materialised as a result of cooperation between science, technology and design reproducing the weather phenomenon and at the same time having a visible impact on art and architecture.

Courtesy:https://dsrny.com/project/blur-building

0.01mm droplet size 924 PSI Pressure 35000 nozzles

35

Serpentine Pavilion, by Bjarke Ingels

Stakeholders : Serpentine Gallery, Architect, Fiberline, Contractor

Generation of Geometry simple manipulation of a traditional garden wall

stack of extruded-ďŹ berglass modules that seem to unzip toward the ground, forming a cavity to accommodate the gallery’s programs.

Courtesy: https://www.architecturalrecord.com/articles/11524-bjarke-ingels-group-to-design-2016-serpentine-pavilion

36

Serpentine Pavilion, by Bjarke Ingels

Stakeholders : Serpentine Gallery, Architect, Fiberline, Contractor

Generation of Geometry The form embodies multiple aspects that are often perceived as opposites—free-form yet rigorous, modular yet sculptural, both transparent and opaque, both box and blob

Program: An ‘unzipped wall’ that is transformed from a straight line to a three dimensional space, creating a dramatic structure that, by day, will house a café and provide free family activities. By night, it will become a space for the Serpentine’s acclaimed Park Nights programme, providing a performance space for artists, writers and musicians.

Courtesy: http://www.iaacblog.com/programs/serpentine-gallery-pavi lion-01/

37

Serpentine Pavilion, by Bjarke Ingels

Stakeholders : Serpentine Gallery, Architect, Fiberline, Contractor

Module Development The superstructure is formed of two surfaces which begin as separate sinusoidal walls at ground level and rise to merge as a straight, horizontal line at an elevation of 14 m above ground. The surfaces are formed from a series of 500 mm by 400 mm bricks.

The length of each brick is such that it overlaps its neighbours suďŹƒciently enough to create an enclosure, whilst also providing suďŹƒcient connection length between adjacent bricks for structural purposes. The transition from two separate halves to a single surface at the apex was achieved by arranging the boxes in alternate chequerboard patterns on either side of the wall, allowing them to merge seamlessly.

Courtesy: http://www.iaacblog.com/programs/serpentine-gallery-pavilion-01/

38

Serpentine Pavilion, by Bjarke Ingels

Stakeholders : Serpentine Gallery, Architect, Fiberline, Contractor

Module Development Fiberline in Denmark manufactured the GFRP bricks to a new improved mixture to enhance the material’s stiness, and these were then joined by aluminium connectors and bolts.

The bending, compression and shear forces generated by the arching action of the pavilion are transferred between the bricks by push-pull forces in the connecting bolts along the overlapping edges of the boxes.

GFRP bricks

Aluminium connectors

In the longitudinal direction, horizontal wind loads are transferred through a combination of shell and vierendeel action. The bricks step such that people may sit or climb on the lowest rows, so this was considered in the loading.

Courtesy: http://www.iaacblog.com/programs/serpentine-gallery-pavilion-01/

39

Serpentine Pavilion, by Bjarke Ingels

Stakeholders : Serpentine Gallery, Architect, Fiberline, Contractor

On-site assembly Each module was numbered based on its position, location and orientation in the structure and was arranged using mechanical cranes. Once positioned, each module was then locked with the structure using aluminium connectors & bolts.

Courtesy: http://www.iaacblog.com/programs/serpentine-gallery-pavilion-01/

40

Serpentine Pavilion, by Bjarke Ingels

Courtesy: http://www.iaacblog.com/programs/serpentine-gallery-pavilion-01/

Stakeholders : Serpentine Gallery, Architect, Fiberline, Contractor

41

Federation Square, Melbourne by Bates Smart and Lab Architecture Studio 2002 Generation of shell Employment of non-classical geometry

Genetically alike based on the concept of ďŹ elds of force and focus

Governs surfaces and three dimensional form at variety of scales.

Translation of complex geometry into various building surfaces.

Federation Square is a cluster of builtforms, where the facade dierentiates them, maintaining an overall coherence within the site. A condition made possible within the industrial, prefabricated construction techniques demanded by the scale of built form.

Courtesy: https://www.jstor.org/stable/3171372?read-now=1&seq=7#page_scan_tab_contents

42

Federation Square, Melbourne by Bates Smart and Lab Architecture Studio 2002

The forms of Federation Square arise from a reiteration and accumulation of actions within the system set up by the architects.

The parts, such as the facade segments or the framing of the Atrium, have a high degree of complexity and particularity, and thrust themselves in to a sharp focus.

The three-dimensional form of the buildings, the facade panel system and the interior planning cohere through their dierence as much as through their commonality.

43

Federation Square, Melbourne by Bates Smart and Lab Architecture Studio 2002 Facade system The characteristic of a system is exhibited with the discovery of details as one observes the system. Here the detail is referred to the module discovered on magnifying the facade.

44 Courtesy: https://www.db-a.co/work/federation-square/

Federation Square, Melbourne Facade system The part of the whole conceptualizes the essence of the whole. A system is developed from a simple form which in itself has an inherent or implied order.

The smallest of triangle in facade system expresses immense similarity with the largest of the system.

Courtesy: CEPT University Thesis, Haripriya Patel, UI1015

45

Federation Square, Melbourne by Bates Smart and Lab Architecture Studio 2002 Part to Whole The chaotic looking system is formed by repetition of part considering a speciďŹ c rule to form a whole.

Total facade system

Determining the rule for repetition

Breaking the module to determine the smallest part that exhibits self-similarity with the whole Single Module Courtesy: CEPT University Thesis, Haripriya Patel, UI1015

46

Federation Square, Melbourne by Bates Smart and Lab Architecture Studio 2002 Design detailing Geometry, determined by pinwheel pattern where the members are completely independent of the pattern.

1.Exterior structure 2.Exterior mullions 3.Diagonal bracing between layers 4.Support struts 5.Interior Mullions 6 Interior Structure

Courtesy: CEPT University Thesis, Haripriya Patel, UI1015

47

BMW Pavilion (Bubble) ‘99 Expo, Frankfurt by Bernhard Franken, ABB Architekten Form Finding and Digital Generation Application of physics, forces, geometry and software tools

The interacting “drops of water” (blobs) and the translation into a built form. The concept is inspired by hydrogen-based technology Franken used a dynamic process to express the balance between internal pressure and surface tension of a drop of water, he simulated a physical forces of two drops merging under the influence of gravity, and so the Bubble was generated Courtesy : https://www.noveformy.cz/blob/blob-reference/the-bubble-bmw-pavilion/

48

BMW Pavilion (Bubble) ‘99 Expo, Frankfurt by Bernhard Franken, ABB Architekten

49 Courtesy : https://www.noveformy.cz/blob/blob-reference/the-bubble-bmw-pavilion/

BMW Pavilion (Bubble) ‘99 Expo, Frankfurt Skin to Structure Approach

A computer program for droplet simulation is used to generate this shape.

The FEM analysis for the glass envelope

.

Framework from 3D model - cutting the surface with horizontal and vertical planes orthogonal to each other.

50 Courtesy : https://www.noveformy.cz/blob/blob-reference/the-bubble-bmw-pavilion/

BMW Pavilion (Bubble) ‘99 Expo, Frankfurt CNC 2D Cutting

Forming Process and Subtractive Fabrication

Onsite Assembly Process

Digital Manufacturing

3 layers of cut sheet aluminum.

The section cutting was carried out using CNC-driven water-jet technology in seven dierent factories,

Producing custom styrofoam moulds by CNC Milling Process

The glass panels were heat formed onto individually CNC milled foam blocks, and then CNC trimmed at the edges, Styrofoam Mould (down)

51 Courtesy : Kolaveric, B. (Ed.). (2003). Architecture in the Digital Age : Design and Manufacturing. New York, USA: Spon Press

BMW Pavilion (Bubble) ‘99 Expo, Frankfurt by Bernhard Franken, ABB Architekten

3500 individual pieces of structural ribs were completed with required drill holes and assembly markings, so that the manual work on site for assembly could be reduced.

The computer model and constructed surface are absolutely identical, and with a thickness of 8 mm approach to the dimensionless data-surface.

52 Courtesy : http://www.improve2011.it/Full_Paper/106.pdf

Analyze the projects

What were the applications that brought about the design process?

Techniques, tools, knowledge, skills, sciences & engineering, concepts,understanding, scientiďŹ c understanding

53

Analyze the projects

What were the applications that brought about the design process?

Techniques, tools, knowledge, skills, sciences & engineering, concepts,understanding, scientiďŹ c understanding

Technology

54

Analyze the projects

What was the role of technology in the design process?

55

What was the role of technology in the design project?

How was technology applied ?

What were the outcomes of the process?

Technique of making Method Knowledge Skills used Concepts & Sciences Understanding Tools Technology

Generation of Geometry Form Finding Material Articulation & Application Integration of data Operation of Production Production & Construction Viability Tectonic Articulation Optimum Output of Process . . .

. . .

Analyse the relationship between the two

56

What was the role of technology in the design project?

Analyse the process of the design project How was technology applied ?

What did the application result in ?

What was the nature of the application and the impact ?

Skills Tools

Data Integration Response to Context

Techniques

Understanding

Operation of Production

Concepts & Sciences Applied Knowledge Methods of making/ thinking/ approaches

Technology as the driving force?

Production Viability

Generation of Geometry/ Form Finding

Technology as an Enabler or a catalyst?

Tectonic Articulation Material Application & Articulation

57

What was the role of technology in the design project?

Analyse the process of the design project What were the outcomes of the process?

How was technology applied as a response?

What was the nature of the application and the impact ?

Skills Tools

Data Integration Response to Context

Operation of Production

Production Viability

Generation of Geometry/ Form Finding

Tectonic Articulation Material Application & Articulation

Technology as an Enabler or a catalyst?

Techniques

As a doer?

Understanding

Concepts & Sciences

Technology itself as the outcome?

Applied Knowledge Methods of making/ thinking/ approaches

58

What is the role of technology in the design project?

Analyse the process of the design project How was technology applied ?

What did the application result in ?

How was technology applied as a response?

What was the result ?

Skills Skills

Data Integration

Understanding

Concepts & Sciences

Operation of Production

Generation of Geometry/ Form Finding

Tectonic Articulation Applied Knowledge

Response to Context Techniques

Response to Context

Techniques

Tools

Production Viability

Concepts & Sciences

Material Application & Articulation

Methods of making/ thinking/ approaches

59

What is the role of technology in the design project?

Questions: to analyse the nature and role of technology in the design process What was the core idea of the process and why?

What was the intent of the project? Through which sub-factors was it achieved?

Why were the subfactors of technology applied ? Where were they and on which other factors were they applied?

60

In the Interior Design Context….

Technology "the application of scientific knowledge for practical purposes" Technology can be most broadly defined as the entities, both material and immaterial, created by the application of mental and physical effort in order to achieve some value.

Technique “a way/ manner /approach of carrying out a particular task, the performance or the production. “ Tool “A tool is an object used to extend the ability of an individual to modify a feature.”

61

In the Interior Design Context….

Knowledge “facts, information, and skills acquired through experience and learning; the theoretical or practical understanding of a subject.”

Understanding Acquired knowledge and insight leading to a sense of sensitivity and awareness.

Tectonics "the expressive potential as a resultant of the process of building."

It is a merge of ornament, functionality, and emotion in space

62