studio air part A by LKKim

STUDIO AIR 2016, SEMESTER 1, TUTORS LUKE KIM

CONTENTS A.0 INTRODUCTION

A.1 DESIGN FUTURE

1.1 ONE CENTRAL PARK 1.2 IN-ORBIT

A.2DESIGN COMPUTATION

2.1 COOPER SQUARE 2.2 YOKOHAMA TERMINAL

A.3 COMPOSITION/ GENERATION

3.1 EDEN PROJECT 3.2 LA SAGRADA FAMILIA A.4 CONCLUSION

A.5 LEARINING OUTCOME

A.6 APPENDIX

INTRODUCTION

ABOUT ME

Hello My name is Luke Kim, I am currently in my third year of architecture this semester. I was born in South Korea, and have moved to New Zealand at a young age, and completed my last year of high school at Perth, and ended up coming to Melbourne. Through my adaptation around varies of different cities, from dense to dispersed, I started to grow an interest in architecture by seeing how architecture is heavily influence by culture and function making every architecture unique and fascinating. I always thought architecture as the face of a city; how in every different city there is at least one architecture representing its city. My architecture goal is to one day design an architectural piece that can represent the city that I live in. architecture for me I believe is not just about the functionality or the aesthetics of the building rather its creating new experience for people. My overall exposure to studio includes ; design environment, studio earth, studio water and AA visiting school program. Through these studios I have taught myself softwares such as sketchup, photoshop, indesign, autocad and a bit of rhino and grasshopper.

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FIGURE 1- PROJECT TITLE-” GET OUT OF MY PERSONAL BUBBLE” AA VISITING SCHOOL PROGRAMME (COMPLETE FEB-2016)

FIGURE 2- PROJECT TITLE-” JOURNEY THROUGH SOUND” STUDIO WATER (COMPLETE SEMESTER 2 2015)

FIG.1: (STUDIO WATER -2ND YEAR 2ND SEMESTER)

FIGURE 2- PROJECT TITLE-” BUILDING THAT EATS NATURE ” STUDIO EARTH (COMPLETE SEMESTER 1 2015)

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A B C

PART A: CONCE P TUALIZ ATION

A .1

“STATE OF DESIGN SHOULD REFLECT THE STATE OF THE WORLD” BY TONY FRY

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D E S I G N

F U T U R I N G Living in a more or less anthropocentric world, the act of designing is seen as an unsustainable process; “leading to our own extinction.” Part A.1 “Design future” confronts the contemporary architectural practice; where architect tries to satify the rapid development of urbanization which blinds us from seeing the future. Answering the ‘design futuring’ question requires having a clear sense of what design needs to be mobilized for or against. Even more significantly, it means changing our thinking, then how and what we design. Equally, it also requires understanding that the ‘dialectic of sustainment’ is another basic feature of being human. inorder to further supporting this discussion two precedents- One central park and In-orbit are analyzed.1

1. TONY FRY, DESIGN FUTURING (OXFORD: BERG, 2009), P.1-16.

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“LANDSCAPE IS ARCHITECTURE,” DECLARES NOUVEL. “HERE WE HAVE CREATED A CONTINUIT Y SO THE FAÇADES EXTEND THE PARK INTO THE SKY” 10

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A.1-1

O N E

C E N T R A L

ATELIERS JEAN NOUVEL

PA R K

Location: LOT 1 Broadway, Central Park, Chippendale NSW 2008, Australia Design architect: Ateliers Jean Nouvel. Green Walls: Patrick Blanc Project Year: 2014

In contemporary urbanized cities it is merely impossible to see any greenery, due to the conflicting relationship between urban growth and natural environment. One central park challenges this perspective of design, where 250 different species of Australian flowers and plant are used as a system revolving around the design of the building. When seen from a distance the design almost looks as if the nature is embracing the building. The design represents a harmonies relationship between the building and nature; where the system work coherently bringing benefits to both systems. For example the plants are growing on the façade of the building providing natural shade; whereas it can also be seen as building direct the plants so that it gains the optimum sunlight possible. Additionally the incorporation of plants decreases the CO2 present on the site enhancing the inhabitants’ comfort and performance.

In order to facilitate this harmony, the design have featured the installation of motorised mirror which provides plants with sunlight in areas of design where there is no direct sun-exposure. “After dark the structure is a canvas for leading light artist Yann Kersalé’s LED art installation that carves a shimmering firework of movement in the sky. This brings a new starlit architectural shape to the One Central Park design.”1 FIGURE 1- DIRECTING OF SUN LIGHT USING MOTOEISED MIRROR

Referring back to the designing future sustainability is a very critical aspect in contemporary architectural practice. There practically aren’t any architecture which can increasing or enhancing the concept of sustainability as the optimal condition is when the land is left alone. 2 However since it is impossible for humans to move forward without any kind development. The One central park displays some sense of sustainability through the use of plants, where extra budget on shading can be lowered dramatically,also lowering the embodied energy required for the construction. One Central park can be seen as a successful green building. This precedent have proven that architecture can be created to satisfy both human and nature.

1.CENTRAL PARK SYDNEY”, CENTRALPARKSYDNEY.COM, 2016 <HTTP://WWW. CENTRALPARKSYDNEY.COM/LIVE/ONE-CENTRAL-PARK> [ACCESSED 7 MARCH 2016]. 2. TONY FRY, DESIGN FUTURING (OXFORD: BERG, 2009), P.1-16.

FIGURE 1.1- REPRESENTING THE GREENERY AROUND THE FACADE

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A.1-2

I N - O R B I T TOMAS SARACENO

Location: Kunstsammlung Nordrhein-Westfalen Germany Architects: TOMAS SARACENO Project Year: 2013 project statues: temporary installation

“ TO DESCRIBE THE WORK MEANS TO DESCRIBE THE PEOPLE WHO USE ITAND THEIR EMOTIONS.”

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The In-orbit installation by Tomas Saraceno is a temporary installation to provide users the experience of weightlessness by suspending a steel net structure two-hundred meters above ground. This safety net, covers the distance of 2500 meters square. When viewed from below or from intermediate levels of the Standehaus, it gives the illusion of people floating on the air.1 In contemporary architecture the exploration of material is very limited where most of the building now a days are created using material such as concrete. Due to this factors architecture nowadays are seen very grounded and static. Therefore through this installation Tomas Saraceno is challenging the notion of contemporary architecture. He explores the nature of floating architecture to examine the relationship between a peoples’ movement with the space, which I believe one day will change people perception on architecture and view it in a more wider spectrum.

1. INTERNETAGENTUR PROGRAMMMIERUNG, "KUNSTSAMMLUNG NRW: TOMÁS SARACENO", KUNSTSAMMLUNG.DE, 2016 <HTTP://WWW.KUNSTSAMMLUNG.DE/EN/DISCOVER/EXHIBITIONS/TOMAS-SARACENO.HTML> [ACCESSED 6 MARCH 2016].

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A.2

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DESIGN COMPUTATION Design in contemporary society is heavily driven by the use of technology such as softwares like, Autocad, Rhino and etc. Design Computation talks about the necessity of these computer aided software in architectural discourses. Some says it’s a tool in which frees the architects creativity in creating something new and extraordinary; on the other hand it is represented as the creator, in which architects are no longer needed.1 Part A.2 “Design Computation” will create an argument in which to prove how computation is a tools that enhances the architects’ ability to design and create; by analysising two precedents- Cooper Square and Yokohama terminal.

1. YEHUDA E KALAY, ARCHITECTURE'S NEW MEDIA (CAMBRIDGE, MASS.: MIT PRESS, 2004). CONCEPTUALISATION 15 2. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 5-6.

A.2-1 4 1

CO O PER

MORPHOSIS

S Q UA R E

Different to many other designing industries, Architecture are required to deal with external factors such as “site conditions. Climate, functionality, cost, building codes and so forth.”1 Which make architecture a discourse that doesn’t solidly rely on the use of creativity but also the analytical aspects such as-calculating the load capacity of a material, the angle of shading devices and so forth.1 There is no universal design solution as all the sites are unique and factors that arise from these site are all independent. Therefore in-order for architects to design computer programs are required to fasten the process of analytical thinking.

How does computing affect the design process ? The modern architecture design evolved from simple schema to a more agorithmic process (through parametric design) where design development is recorded with variable parameter to identity the optimum solution. Not only this enhance the speed of designing but also creates a more desirable design outcome. As represented in figure 2 Morphosis architects have generated a design process involving logical step to produce the optimum form of the atrium represented in Cooper Square. The facade of the Cooper Square represents a complex curved geometry which without the aid of computer will have been hard to achieve.

FIGURE 2- AGORITHMIC PROCESS REPRESENTING THE CHANGE IN THE FORM OF THE ATRIUM

Computation also enchance the architects ability to represent and organise ideas, This is critical, as architecture is a discourse revolving around communication. The 41 Cooper Square design consist of a complex exterior building skin which allows the control of the sun penetration, enhancing the comfort of the inhabitants. As represented in figure 2.1 the diagram clearly represents the sustainable strategies that have been undertook by the design of Cooper Square with the aid of computer software.

FIGURE 2.1- DIAGRAM REPRESENTING THE SUSTAINABLE STATEGIES WITHIN THE DESIGN

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1. YEHUDA E KALAY, ARCHITECTURE'S NEW MEDIA (CAMBRIDGE, MASS.: MIT PRESS, 2004).

The Cooper Square by Morphosis architects, is an academic and labaratory building, that have attempt to incorporate the characteristics of culture and vibrant represented by the 150 year old institution and the city itself. The complexity of this design comes from the exterior facade and the atium itself. 2 The exterior skin of the building is created out of semi-trasparent layer of peforated stainless steel with the buidling glazed. This provide the critical interior eviromental control while also allowing for transpariencies to reveal the creative activities that takes place inside. 2 As stated the Cooper Square building like many other contemporary building tackles the notion of function and form at the same time looking into the concept of sustainability. Due to the complex relationship between the factors that arise during the design phase of this building; computer is used to break down some of the elements into parameters which can be easily adjusted during the design process.

2. "41 COOPER SQUARE | THE COOPER UNION", COOPER.EDU, 2016 <HTTPS://WWW.COOPER. EDU/ABOUT/HISTORY/41-COOPER-SQUARE> [ACCESSED 4 MARCH 2016].

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A.2-2

YO KO H A M A FOA

T ER M I N A L

The Yokohama terminal by FOA is a ship terminal which is the creation of inventive architectural methodology and socially conscious thinking. Where through the use of computation unqiue form is generated which challenges the social responisibilty of large-scale projects in enhance the environment of urban space. 1 The futuristic appearance of the terminal was heavily derived from the use of computer-aided design.1 The design originally was constructed using section, with highly complex series of geometry that are later lofted together. The form almosts looks as if an atificial landscape have been constructed with series of different topographical level (creating a sense of hieracial order.) enhance the comfort of the inhabitant.

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1."AD CLASSICS: YOKOHAMA INTERNATIONAL PASSENGER TERMINAL / FOREIGN OFFICE ARCHITECTS (FOA)", ARCHDAILY, 2014 <HTTP://WWW.ARCHDAILY.COM/554132/AD-CLASSICS-YOKOHAMA-INTERNATIONALPASSENGER-TERMINAL-FOREIGN-OFFICE-ARCHITECTS-FOA/> [ACCESSED 7 MARCH 2016].

â&#x20AC;&#x153;Computers, by their nature, are superb analytical engines. If correctly programmed they can follow a line of reasoning to its logical conclusion. They will never tire, and never make silly mistakes and will gladly search through and correlate facts buried in the endless heaps of information they can store.â&#x20AC;? 2 As stated by Kalay, Yehuda there are areas in which computers are far beyond the capability of normal human beings- however due to this outstanding performance the role of the architects are under looked and questioned. Due to the overpowering capability of the computer shadows the fact that computers are totally incapable of making up new decision; they lack any creative abilities or intuitions. Which make it a nothing but a tool. 3

FIGURE 2.3- AERIAL IMAGE OF THE TERMINAL

What are the ongoing and incoming changes within design and construcion industries? Computing have brought a signifcant changes to the design and construction industries. As discussed previously the use of computing enhance the quality and the speed to both the industries. 2 Additionally not only about that computing have created a communication system; which enables designers to share knowledge. 2 computing have enhance the way in which we commucate ideas where computing allows architects to design beyond the limit of the two-demisional construction drawing, This also enables architecture to become more complex and can incorporate curved geometries that is difficult to achieve by normal means. 2 Can computing be used to refine practice? It is obvious that the computing have bought siginificant changes in the way architects think and design. the development of computing design changes and redefine the way we view the practice, as prior to 21st century architecture was a course which was based around the idea of compostion. Where composition compose a building through geometrical qualities; where as through computation the shift to generation is represented which is a complete different way of generating different forms through the use of algorithmic thinking. This will be discussed further in part A3. FIGURE 2.4- THE SECTIONAL REPRESENTATION OF THE TERMINAL

2. YEHUDA E KALAY, ARCHITECTURE'S NEW MEDIA (CAMBRIDGE, MASS.: MIT PRESS, 2004). 3. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 5-6.

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A.3

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COMPOSITION/GENER ATION In the recent years of architectural practice we can identify the shift from compositions to generation design. In order to examine how architectural literature and practice react to this shift; the question of what is composition and generation design has to be established first. The Composition in architecture looks into the fundamental characteristics of design such as space, pattern, line and abstraction- As mentioned in the lecture it also looks into the idea of symmetry and size of human body (by Le Corbusier); where then the form of the design is based around these characteristics. Whereas On the other hand Generation design links heavily with the development of computation.1 Generation design generate new form through the use of computation which enable the architects to think algorithmically. 2 Software such as Grasshopper branches of the notion of parametric design which part A3 will discuss about through investigating two precedents Eden project and La Sagrada Familia and discuss the advantage and shortcoming of this approach to design. 1. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15.

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2. ROBERT A WILSON AND FRANK C KEIL, THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (CAMBRIDGE, MASS.: MIT PRESS, 1999), PP. 11-12.

A.3-1

EDEN GRIMSHAW

The Eden project by Grimshaw architect is a multiple greenhouse complex. The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species. 2 In order to provide a in-door condition which satisfies the survivability of the diverse plants- rises the complexity in the factors that needs to be achieved by the structure such as the amount of sun exposure and temperature of the overall condition. The generative design enable Grimshaw architects to create a structure in which allow to generate a form in which optimizes the condition; making the design even more contextual (incoporating the environmental factors.)1 . The one negative aspect about the generative method is that due to digital world that the architect are trapped in, the architects lose the aspect of handcrafting.1 The advantage of handcrafting is represented through material choices. In digital world the ability to explore and test out different types of material such as its load bearing capacity is still very limited. Which might result in problems in the construction process.

PROJECT

However despite this limitation Grimshaw architect resolve this problem very professionally. Since Eden project is a construction of green house complex the ability to allow light in is a very critical factor that arise during designing phase. The Grimshaw decides to ETFE instead of using glass which is a primary material to enhance the light penetration. 2 ETFE is an inflatable material which brings a very similar characteristics of glass into the architecture discourse. The advantage of using ETFE comes from the light weight of this material, which in comparsion to glass will be much lighter. This will dramtically lowers the load capacity of the structure lowing the cost in creating the form. Additionally other advantage of using ETFE for this case come from the round nature of the structure; where the surface created are not planar makeing the costruction with glass fairly impossible. 2

FIGURE 3- DIAGRAM REPRESENTING THE ETFE MATERIAL QUALITY TO REACT TO SUNLIGHT.

1. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15. 2. FOOTNOTE: "TOP ECO VISITOR ATTRACTION - RAINFOREST, GARDENS & EDUCATIONAL CHARITY - EDEN PROJECT CORNWALL UK", EDENPROJECT.COM, 2016 <HTTP://WWW.EDENPROJECT.COM/> [ACCESSED 13 MARCH 2016]. 22

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Architect(s) - GRIMSHAW Architectural- BIODOME Estimate Completed- 2000 Location- St Blazey, Cornwall, UK

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A.3-2

L A

S AG R A DA

ANIOMI GAUDI

The la Sagrada Familia project by Antomi Gaudi is a Roman Catholic Church which is influenced by gothic architecture. The construction of the project commenced ever since 1882, till the contemporary society; where itâ&#x20AC;&#x2122;s expected to be complete in 2026.1 As the Church was design in 1882 computation was not an option of designing method; making the project ever more rely on the use of composition. from the observation we can identify a strong sense of symmetry represent from its external and internal deisgn. The advantage of composition comes from is aesthetic and spatial quality which is created, where the design represent a sense of order in terms of proportion. However the disadvantage of composition come from the slow nature of design and construction phase; additionally it will be less site contextual compared to generation. (due to the lack of data that computers can provide.)

FA M I L I A

FIGURE 3.1- PLAN OF THE LA SAGRADA FAMILIA (DISTINCT SYMMETRY REPRESENTED.)

In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies. Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process. A digitally rendered.1 La Sagrada Familia adapt the comtemporary method of design through the aid of computation- taking the advantage of the speed provided by the computers. La Sagrada Familia represents both traditional and comtemporary method of designing, taking the advantage of both the methods. Making the la Sagrada Familia ever more extraordinary.

FIGURE 3.2- INTERIOR CEILING AND COLUMNS OF LA SAGRADA FAMILIA

1. "AD CLASSICS: LA SAGRADA FAMILIA / ANTONI GAUDI", ARCHDAILY, 2013 <HTTP://WWW.ARCHDAILY.COM/438992/ AD-CLASSICS-LA-SAGRADA-FAMILIA-ANTONI-GAUDI/> [ACCESSED 12 MARCH 2016]. 2. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15. 24

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Architect(s) - Antoni GaudĂ Architectural style-Modernisme Estimate Completed- 2026-2028 Location-Barcelona, Catalonia, Spain

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A.4

CONCEPTUALISATION

Living in a rapid developing society, understanding the theory of conpectualization is very critical. In order to facilitate the development of our society we need to understand that architecture itself have evolved in-order to enhance the ability to reflect back to our community. As in the modern era of architecture the use of computer aided design (CAD) arises. The notion of computer aided design have cause a great debates in architectural literature and practice; whether it actually facilitate or hinder the creativity of the architects. The study of part A have summaries the importance of computer aided design- As “A1 design future” states that the direction in which the design in contemporary society is heading- is to defuturing. The idea of defuturing rises from the fact that in modern architecture does not consider the fact that our world have limit resource with infinite demand. The reading states that the state of design should reflect the state of the world inorder for design to work with the development of our society rather the working against it. This creates an indirect link to part A2 design computation; where computation is represented as the new era of architecture which is a way of responding to the state of the current society. continuing on, part A2 discussed the idea of computation how it brings positive influence to the architectural practice. The computer enable architect ability to think and design in 3 dimension with complex geometries including curves. The current world of architecture is very demanding as it incorporate and reflect the value of functionalilty, aesthetic while hindered by the notion of sustainability. This make architecture ever more a practice of analytical thinking rather the creativity. This highlights the necessity of computer aided design in the architectural practice -where computers are perfect analytical engines. moving on, the shift of compostion to generation as the computation in architecture is no longer considered as an improper way of designing; The idea of generation in ever more present in the contemporary practices. The advantage of generation is far more outstanding compared to the advantages of composition as discussed in “A3 composition/ generation.” From this study of Part A we can clearly identify the evolution of architecture with the aid of computation, and how this evolution is reflect the state of our society and rather then question this notion of “new generation” Architects should realised that it an era in which computers are there to enhance the quality of the architecture in modern society.

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A.5

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L E A R NIN G Through the completion of part A it has broaden and at times challenged my understanding of the role in which computer software take place in the architectural discourse. Prior to the studio air my understanding on computer aided design was very limited to the idea of computerization where I believe architects used computer to enhance the quality and the speed of the design that we have finalized through pen and paper. I had a very shallow understanding of parametric design which I came across through the studying AA visiting school initially I was very against the idea of computation as I thought of it as a fake creativity. Where you explore and generate cool looking forms with function like lofting and etc.

O U TCO ME However after actually exploring parametric design through the creation of algorithmic sketchbook. I can to appreciate the power of computation how it can not only fasten the process of designing, but finds the optimum solution for a design through the variable parameter which we can set.1 Looking back to my previous works the understanding of parametric design would have provide me with design solutions in a more earlier state; and would have resulted in a more desirable design outcome.

1WW. BRADY PETERS AND XAVIER DE KESTELIER, COMPUTATION WORKS (ARCHITECTURAL DESIGN), PP. 8-15. CONCEPTUALISATION 29

A.6

CONCEPTUALISATION

Through the creation of algorithmic sketchbook. we were introduced to the basic functions of grasshopper (form of parametric design software). The learning outcome of part A sketchbook, consist oflofting, triangulation, and exploration of meshes and grid structure. The basic understanding of variable parameters were also covered. The outcome of some of the exploration is included, in PART A.6.

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WEEK 1 LO F T I NG VASE The lofting technique using grasshopper enable the creation of three different outcome of a vase design. series of different size circles were lofted together then the radius of the circle were then changed using the control points. out of 6 different iteration 3 best looking result were taken and photoshopped.

VASE ONE

VASE TWO

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VASE THREE

WEEK 3 M E S H E S PERGOLA The meshes tool through grasshopper enables the creation of difference outcome of pergola shades. The advance to the lofting, few variable parameters were set which enable the control of the density and the height of a individual struts as represented through the renders on the right.

PERGOLA ONE

PERGOLA TWOE

PERGOLA THREE

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BIBILIOGRAPHY “41 Cooper Square | The Cooper Union”, Cooper.edu, 2016 <https://www.cooper. edu/about/history/41-cooper-square> [accessed 4 March 2016] “AD Classics: La Sagrada Familia / Antoni Gaudi”, ArchDaily, 2013 <http://www. archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi/> [accessed 17 March 2016] “AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)”, ArchDaily, 2014 <http://www.archdaily.com/554132/adclassics-yokohama-international-passenger-terminal-foreign-office-architectsfoa/> [accessed 7 March 2016] “Central Park Sydney”, Centralparksydney.com, 2016 <http://www. centralparksydney.com/live/one-central-park> [accessed 7 March 2016] Dunne, Anthony, and Fiona Raby, Speculative Everything Fry, Tony, Design Futuring (Oxford: Berg, 2009) Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004) Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London; New York: Routledge, 2014), pp. 5-6 Peters, Brady, and Xavier De Kestelier, Computation Works (Architectural Design), pp. 8-15 programmmierung, internetagentur, “Kunstsammlung NRW: Tomás Saraceno”, Kunstsammlung.de, 2016 <http://www.kunstsammlung.de/en/discover/ exhibitions/tomas-saraceno.html> [accessed 19 March 2016] “Top Eco Visitor Attraction - Rainforest, Gardens & Educational Charity - Eden Project Cornwall UK”, Edenproject.com, 2016 <http://www.edenproject.com/> [accessed 13 March 2016] Wilson, Robert A, and Frank C Keil, The MIT Encyclopedia Of The Cognitive Sciences (Cambridge, Mass.: MIT Press, 1999), pp. 11-12

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