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Architecture Design Studio Air SARAH CHESTERFIELD
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h e W y n d h a m C i t y h a s b e e n a d d re s s i n g t h e i s s u e o f i t s i m a g e b y u n d e r t a k i n g s i g n i f i c a n t w o r k s t o u p g r a d e t h e c o n d i t i o n a n d a e s t h e t i c s o f i t s s t re e t s c a p e s , o p e n s p a c e s a n d p a r k s . H e n c e t h e G a t e w a y P ro j e c t , w h e re t h e i n s t a l l a t i o n w i l l e n h a n c e t h e p h y s i c a l e n v i ro n m e n t t h ro u g h t h e i n t ro d u c t i o n o f a v i s u a l a r t s c o m p o n e n t . A n e w a rc h i t e c t u r a l d i s c o u rc e i n t ro d u c e d b y c o m p u t i n g d e s i g n t h ro u g h t h e c o m b i n a t i o n o f s p a c e , n a t u re a n d m a t e r i a l i t y.
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IS ARCHITECTURE ART H O W A R C H I T E C T U R E A S A RT H A S A D V A N C E D DISCOURSE? A rc h i t e c t u re a s a r t i n t h i s c a s e a s a n e x p re s s i o n o f d e s i g n intent that have the power to evoke a feeling, emotion or a s s o c i a t i o n a n d p ro d u c e s i g n i f i c a n t e f f e c t s t o i t s c o n s u m e r s , h a s b e e n a n o n g o i n g c o n t r i b u t i o n t o t h e a rc h i t e c t u r a l discourse. T h e p y l o n s o f t h e K a r a n k t e m p l e a re s e e n a s a c a n v a s f o r a r t w o r k . I t i s a d o r n e d i n h i e ro g l y p h i c a n d re p re s e n t s a barrier a gateway to the inside of the temple that is a re p re s e n t a t i o n o f t h e re a l m o f t h e g o d s . T h e re a s o n w h y t h e y a re s o t a l l i n h e i g h t i s t o i n t i m i d a t e t h e u n w o r t h y. T h e s a m e i d e a o f d e c o r a t i o n h a s b e e n u s e d f o r m o re t h a n 1 5 0 0 y e a r s , l a t e r b y B r i t i s h a rc h i t e c t s i r J o h n S o a n e i n t h e adoring walls in home. The towering height and the chaos o f a r t w o r k s w e re c o n c e i v e d t o b e t r i c k t o o v e r w h e l m , a n d to cause a sense of severity and vertigo. One can see that e v e n t h o u g h S o a n e b o r ro w e d a p i e c e o f a n d i d e a f ro m K a rnak temple, that he also duly added his own intake to it.
HOW THIS HELPS CONTRIBUTE TO AN ARCHITECTURAL DISCOURSE?
I t l o o k s b a c k u p o n w h a t h a s a l re a d y h a p p e n e d / b e e n d o n e , re f l e c t i n g o n i t a n d re p ro d u c i n g i n i n a w a y t h a t b o t h re f l e c t s t h e z e i t g e i s t o f t h e t i m e a s w e l l a s o f f e r i n g s o m e t h i n g t h a t w i l l b e b ro a d e n t h e m e a n i n g o f a rc h i t e c t u re and give the opportunity for someone else in other parts of a rc h i t e c t u r a l p ro f e s s i o n t o re p l a y t h e p ro c e s s . T h e p re v i o u s w o r k s s h o w n a re g re a t w o r k s o f a r t . H o w e v e r i t i s u n d e n i a b l e t h a t t h e y a re a l s o o u t o f d a t e . I t i s m a n d a t o r y t h a t a rc h i t e c t u re a s a n a r t re f l e c t s t h e s o u l o f t h e c u r re n t a g e . A n d r i g h t n o w t h a t a g e d e m a n d s f o r s o m e t h i n g contemporary dynamic a parametric manifesto.
HOW ARCHITECTURAL AS SIGN HAS ADVANCED THE ARCHITECTURAL DISCOURSE? O n c e w e h a v e e s t a b l i s h e d t h a t a rc h i t e c t u re c o u l d b e a n art form, the question that follows is “Because it is tha s u b j e c t i v e , t h e n h o w d o w e i n t e r p re t i t ? � I t i s p re c i s e l y t h i s q u a l i t y i n a rc h i t e c t u re t h a t a l l o w s i t t o be defined also as a sign. A rc h i t e c r u e a s a s i g n i s h i g h l y re l a t e d t o t i t s a s s o c i a t i v e p o w e r s . T h ro u g h o u t h i s t o r y a rc h i t e c t u re h a s b e e n u s e d t o s h o w p o w e r, re p re s e n t a p o l i t i c a l s t a n c e , re p re s e n t a p a r t i c u l a r s o c i a l g ro u p s p re s e n c e , e t h n i c a l i d e n t i t y, o r c u l t u r a l i d e n t i t y. F o r e x a m p l e , s k y s c r a p e r s h a v e l o n g s i n c e b ro k e t h ro u g h f ro m i n t i a l m e e t i n g i t s s p a c e c o s t e f f i c i e n c y. d i f f e re n t f ro m i t s e a r l i e s t p re d e c e s o r s o f p ro t o - s k y s c r a p e r s . T h e y a r n o w a rc h i t e c t u r a l s i g n s o f m o d e r n c i v i l i z a t i o n a p ro o f o f t e c h n o l o g i c a l , e n g i n e e r i n g a d v a n c e , p ro o f o f f i n a n c i a l p o w e r, d e s i g n a n d c u l t u r a l p ro w e s s a n d s a t u re o f a n a t i o n .
T h i s i s w h a t i t m e a n s t o l o o k a t a rc h i t e c t u re a s a s i g n . Lo o k i n g a t a rc h i t e c t a s a s i g n m e a n s l o o k i n g a t a rc h i t e c t u re a n d i t s m e a n i n g a n d i m p a c t i n t h e p u b l i c s e y e . I n o rd e r t o p ro p e r l y i n t e r p re t a rc h i t e c t u re a n d t h e m e a n i n g s b e h i n d i t o n e m u s t l o o k a t i t s c o n t e x t i t s p re d e c e s s o r s , its design drivers and constraints and the designers and consumers. T h i s c o n t r i b u t e s t o t h e a rc h i t e c t u r a l d i s c o u r s e . I n t e r p re t a t i o n o f a s i n g l e a rc h i t e c t u r a l e n t i t y w i l l n o t b e a c h i e v e d without the extensive discussion that will touch upon other a re a s i n t h i s s u b j e c t . I t c o n t r i b u t e s t o t h e d i s c o u r s e b e c a u s e i n t e r p re t a t i o n o f a rc h i t e c t u re re l i e s o n a rc h i t e c t u r a l s y m b o l s a n d g e s t u re s , w h i c h h a v e d i f f e re n t m e a n i n g s o v e r t i m e . T h e re f o re l o o k i n g a t a rc h i t e c t u re a s a s i g n c o n t r i b u t e s t o t h e a rc h i t e c t u r a l d i s c o u r s e b e c a u s e i t i s e q u i v a l e n t t o i n t e r p re t i n g c o n s t a n t l y c h a n g i n g l a n g u a g e , t h a t a re influenced by the changing social, political, cultural and h i s t o r i c a l e n v i ro n m e n t . A rc h i t e c t u re h a s t o h a v e t h a t c a p a c i t y f o r p e o p l e t o p ro j ect their own understanding and beliefs into them, in a s e n s e s , t h e p u b l i c m u s t b e a l l o w e d t o a p p ro p r i a t e a b i t o f t h e i n t e r p re t i v e a s p e c t o f a rc h i t e c t u re . I f n o t a rc h i t e c t u re i s m e a n i n g l e s s a n d t h e re f o re i s d e t a c h e d f ro m i t s m a i n a u d i e n c e , re n d e r i n g i t d y s f u n c t i o n a n d u n l o v e d .
ARCHITECTURE AS AN URBAN EXPERIENCE
Lo o k i n g a t a rc h i t e c t u re a s a n u r b a n e x p e r i e n c e d o e s n o t s u b j e c t b u i l d i n g s o r a n y o t h e r a rc h i t e c t u r a l e l e m e n t s below the power of urban planners, or the city as a while. I t i s m e re l y a c k n o w l e d g i n g t h e f a c t t h a t a rc h i t e c t u re d i s s o l v e s i n t o n o t h i n g m o re b u t a n a c c u m u l a t i o n o f e x p e r i ence, emotions, memories, activities and necessities within an urban fabric. I t i s i n t e re s t i n g t o e x p l o re t h e s i t u a t i o n s w h e n a n i n d i v i d u a l s t o p s p e rc e i v i n g t h e c i t y a s a n a g g l o m e r a t i o n o f buildings, but instead as a series of experiences shaped a n d m a d e b y t h e s e p re c i s e a r r a n g e m e n t s t y l e s , a n d d e s i g n o f b u i l d i n g s o r o t h e r a rc h i t e c t u r a l e l e m e n t s .
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MIRROR FUN HOUSE N a m e : M i r ro r H o u s e Lo c a t i o n : C o p e n h a g e n Ty p e : Pa v i l i o n A rc h i t e c t s : M L R P A rc h i t e c t s Ye a r : N o v e m b e r, 2 0 1 1
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h o s a y s a rc h i t e c t u re c a n n o t b e f u n ? I n c o p e n h a g e n , M L R P A rc h i t e t s h a v e c re a t e d a f u n h o u s e t h a t t a k e s i t s e l f s e r i o u s l y. I n d o i n g s o i t h a s e v e v a t e d t h a a rc h i t e c t u re o f t h e p l a y g ro u n d t o s e r i o u s a rc h i t e c t u re , d e s e r v i n g o f w i d e r c o n s i d e r a t i o n . To o o f t e n a rc h i t e c t u re f o r c h i l d re n i s a m a n i f e s t a t i o n o f a d u l t s f a n t a s i e s f o r p l a y. W i t n e s s t h e m a n y a d v e n t u re p l a y g ro u n d s t h a t p l a u g e o u r c o u n t r y s i d e a n d a re b u i l t o u t o f m a s s i v e t a n a l i s e d t i m b e r m e m b e r s t h a t tiny hands could never grip. T h e m i r ro r h o u s e re l e c t s l i t t e r a l l y t h e p l a y o f c h i l d re n . I t i s b o t h s t r i c k i n g a n d s u t i b l e t h e e n d s a re e n t i re l y c l a d i n m i r ro r s w h i l e t h e v e r t i c a l t i m b e r s i d e s h i d e a s e r i e s o f d o o r s t h a t , w h e n o p e n e d , re v e a l c o n c a v e a n d c o n v e x f u n h o u s e m i r ro s . I n s i d e i s a f l e c i b l e s p a c e w i t h re s t ro o m s u s e d b y a k i n d e rg a r t e n d u r i n g t h d a y. A t n i g h t w h e n t h d o o r s a re c l o s e d a n o n y m i u t y re t u r n s a n t h e m i r ro re d e n d s q u i e t l e y re f l e c t t h e e n v i ro m e n t i n w h i c h t h e b u i l d i n g s i t s , w a i t i n g t o b e re a n i m a t e d b y t h e re t u r n o f t h e c h i l d re n . W h a t m a k e s t h i s h o u s e f re s h i s i t s a t t i t u d e t o i t s u s e r s a n d t o i t s e n v i ro m e n t . I t t a k e s c h i l d re n s e r i o u s l y a n d t h e y a re b e t t e r f o r i t . T h e h o u s e k n o w s i t s p l a c e a n d h o n o u r s i t . i f o n l y a rc h i t e c t s c o u l d a p p ro a c h t h e a d u l t w o r l d w i t h as much commitment and consideration, imagine the wond ro u s w o r l d w e c o u l d l i v e i n .
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Pratt Institute’s Higgins Hall A rc h i t e c t s : S t e v e n H o l l A rc h i t e c t s Name: Pratt Institute’s Higgins Hall Lo c a t i o n : N e w Yo r k , U S A Ty p e : A rc h i t e c t u re S c h o o l Ye a r : 1 9 9 7 - 2 0 0 5
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f t e r a 1 9 9 6 f i re a t P r a t t I n s t i t u t e ’ s H i g g i n s H a l l , Steven Holl was commissioned to design a connection b e t w e e n t w o p re e x i s t i n g b u i l d i n g s . T h e re s u l t i n g d e s i g n f e a t u re s a n e w , c l e a r l y o r i e n t e d c e n t r a l e n t r a n c e c o u r t , in which the focal point of the façade is an asymmetrical composition of channel glass and steel sash windows. S t e v e n H o l l w a s a b l e t o m a n i p u l a t e t h i s i n s e r t i o n h a l l f ro m the façade employing traditionally industrial materials in a new, institutional context. Detailing on channel glass, a re l a t i v e l y n e w m a t e r i a l i n t h e U n i t e d S t a t e s , h a d n o t evolved beyond what had been in use for several decades i n i n d u s t r i a l b u i l d i n g i n E u ro p e . H o l l h a s c re a t e d a t r a n s i t i o n a l e x p e r i e n c e b e t w e e n t w o d i f f e re n t l a n g u a g e s . A s t h e t r a n s i t i o n i s n o t j u s t t h e f a c a d e but also the transition between the interior spaces, as you t r a v e l f ro m t h e p re e x i s t i n g b u i l d i n g , s m a l l e r d a r k e r a re a , i n t o a l a rg e b r i g h t l y l i t s t u d i o . T h e u s e o f t r a n s l u c e n t m a t e r i a l s w h i c h c o v e r t h e m a j o r i t y o f t h e b u i l d i n g c re a t e a e x c i t i n g e n e rg e t i c i n t e r i o r d u r i n g d a y a n d n i g h t . To m e e t t h e s i g n i f i c a n t l y h i g h e r p e r f o r m a n c e d e m a n d s of an institutional building in the US as well as Steven Holl’s aesthetic objectives, Heintges developed a detailing strategy to integrate custom steel windows within the glass-channel cladding. Higgins Hall is also one of the f i r s t b u i l d i n g s i n t h e U S t o e s t a b l i s h t h e u s e o f t r a n s p a rent capillary insulation encapsulated within channel glass, e n a b l i n g t h e p ro j e c t t o m e e t s t r i c t t h e r m a l p e r f o r m a n c e re q u i re m e n t s a n d e n s u re c o m f o r t d u r i n g N e w Yo r k ’ s c o l d winters.
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NORWEGIAN WILD REINDEER CENTRE PAVILION A rc h i t e c t s : S n o h e t t a N a m e : N o r w e g i a n W i l d Re i n d e e r C e n t e r Pa v i l i o n Lo c a t i o n : D o v re f j e l l N a t i o n a l Pa r k , S w e e d e n Ty p e : Pa v i l i o n Ye a r : 2 0 1 1
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wed by the design of the Norwegian Wild Re i n d e e r C e n t re Pa v i l i o n o b s e r v a t i o n p l a t f o r m . T h e 9 0 - s q u a re - m e t e r s t r u c t u re w a s d e s i g n e d b y O s l o - b a s e d l a n d s c a p e , i n t e r i o r a n d a rc h i tectural design firm Snohetta. The Norwegian W i l d Re i n d e e r C e n t re Pa v i l i o n i s l o c a t e d a t H j e r k i n n o n t h e o u t s k i r t s o f D o v re f j e l l N a t i o n a l Pa r k , o v e r l o o k i n g t h e S n à ¸ h e t t a m o u n t a i n r a n g . The 90m2 building is open to the public and serves as an observation pavilion for the Wild Re i n d e e r F o u n d a t i o n e d u c a t i o n a l p ro g r a m s . T h e N a t i o n a l To u r i s t Ro u t e s s c h e m e i s a s u c c e s s f u l l o n g - t e r m a rc h i t e c t u r a l i n i t i a t i v e t h a t has transformed parts of rural Norway into nat i o n a l t o u r i s t a t t r a c t i o n s . P re v i o u s l y i s o l a t e d a re a s h a v e b e c o m e d e s t i n a t i o n s i n t h e m s e l v e s t h ro u g h t h e c o m m i s s i o n i n g o f a v a r i e t y o f b u i l t p ro j e c t s . A b o u t 5 0 h a v e b e e n u n d e r t a k e n , m a n y o f t h e m b y y o u n g e r a rc h i t e c t s , a n d t h e y i n c l u d e river saunas, viewing platforms and bridges, l a y- b y s , s t e p s a n d p a t h s d o w n t o w a t e r o r u p a mountain slope, cafes, hotels and exhibition and i n f o r m a t i o n c e n t re s . T h e p ro j e c t s s p a n f ro m t h e s o u t h e r n t o w n o f J a e re n t o t h e n o r t h e r n t i p o f Va re n g e r. V i s i t o r s a n d N o r w e g i a n n a t i v e s a l i k e a re a f f o rd e d t h e l u x u r y o f s a f e ro a d s a n d re v e l i n g i n c l e a n a n d re l a x i n g a rc h i t e c t u r a l l y i n s p i re d v i e w p o i n t s . T h e o n g o i n g p ro j e c t h a s b e e n a p t l y n a m e d , T h e N a t i o n a l To u r i s t Ro u t e s I n N o r w a y, a n d f e a t u re s a n a r r a y o f a rc h i t e c t s i n c l u d i n g M a rg re t e F r i i s , Pe t e r Z u m t h o r, PU S H A K a r k i t e k t e r, C o d e A r k i t e k t u r, M a n t h e y K u l a , S n ø h e t ta AS, and Jensen and Skodvin to name a few.
“ C O N S I D E R A B L E E M P H A S I S I S PU T ON THE QUALITY AND DURABILITY OF THE MATERIALS TO WITHSTAND THE HARSH CLIMATE.” “THE SIMPLE FORM AND USE OF NATURAL MATERIALS REFERENCE LO C A L B U I L D I N G T R A D I T I O N S . ” A 1 . 5 k m n a t u re p a t h b r i n g s v i s i t o r s t o t h i s spectacular site, 1200 meters above sea level. Beautiful and functional, but laughably out of context. The building design is based on a rigid outer s h e l l a n d a n o rg a n i c i n n e r c o re . T h e s o u t h f a c i n g e x t e r i o r w a l l a n d t h e i n t e r i o r c re a t e a p ro t e c t e d a n d w a r m g a t h e r i n g p l a c e , w h i l e s t i l l p re s e r v i n g the visitor’s view of the spectacular panorama. Considerable emphasis is put on the quality and durability of the materials to withstand the h a r s h c l i m a t e . T h e re c t a n g u l a r f r a m e i s m a d e i n r a w s t e e l re s e m b l i n g t h e i ro n f o u n d i n t h e l o c a l b e d ro c k . T h e s i m p l e f o r m a n d u s e o f n a t u r a l m a t e r i a l s re f e re n c e l o c a l b u i l d i n g t r a d i t i o n s . H o w e v e r, a d v a n c e d t e c h n o l o g i e s h a v e b e e n u t i l i z e d b o t h i n t h e d e s i g n a n d t h e f a b r i c a t i o n p ro cess. Using digital 3D-models to drive the milling m a c h i n e s , N o r w e g i a n s h i p b u i l d e r s i n H a rd a n g e rf j o rd c re a t e d t h e o rg a n i c s h a p e f ro m 1 0 i n c h s q u a re p i n e t i m b e r b e a m s . T h e w o o d w a s t h e n a s sembled in a traditional way using only wood pegs a s f a s t e n e r s . T h e e x t e r i o r w a l l h a s b e e n t re a t e d with pine tar while the interior wood has been o i l e d . T h e p a v i l i o n i s a ro b u s t y e t n u a n c e d b u i l d i n g t h a t g i v e s v i s i t o r s a n o p p o r t u n i t y t o re f l e c t and contemplate this vast and rich landscape.
“ A D V A N C E D T E C H N O LO G I E S H A V E BEEN UTILIZED BOTH IN THE DESIGN AND THE FABRICATION PROCESS.”
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h e u s e o f C o m p u t e r s e n a b l e s a rc h i tects to do things that used to be virtually impossible. Contemporary compu¬tational d e s i g n t e c h ¬ n i q u e s a re a d v a n c i n g i n s u c h a m a n n e r, w h i c h , n o t o n l y t re m e n d o u s l y a s sist practitioners in portraying their ideas, b u t a l s o a i d s i n p ro v i d ¬ i n g c r u c i a l i n s i g h t s t o t h e p o s s i b i l i t i e s w h i c h a rc h i t e c t u re , h a n d i n h a n d w i t h t e c h n o l ¬ o g y, w i l l b e h e a d i n g . Through the following heading we can explor and get a better understranding on how contemporary compu¬tational design tech¬niques are advancing design and contiunue to see these this technology in built works: Pa r a m e t r i c M o d e l i n g - W i t h i n p a r a m e t r i c modeling a range of possible solutions is derived within infinite potentials, designe r s a re a b l e t o a r t i c u l a t e i n t e r n a l g e n e r a tive logic rather than mold external forms. This allows design to be consistent, cont i n u a l a n d d y n a m i c . A s a s h i f t f ro m m a k i n g f o r m s t o f i n d i n g f o r m s , t h e h i e r a rc h y o f t h e b u i l d i n g i n d u s t r y i s c h a n g i n g a s t h e re s p o n s i b i l i t y a n d d u t y o f t h e a rc h i t e c t e v o l v e s . Pe r f o r m a t i v e D e s i g n - Pe r f o r m a t i v e d e s i g n enables the incorporation of various factors of consideration to be analysed at once for example the financial, spatial, social and c u l t u r a l . T h i s a l l o w s t h e u s e o f re a l - t i m e building performance as a design principle and guiding over traditional form making. Thus utilises finite element method to m e a s u re s t r u c t u re e n e rg y a n d f l u i d d y n a m i c at once as build form is actively shaped a c c o rd i n g t o i m m e d i a t e c o n d i t i o n s . E m e rg e n t D e s i g n - W i t h t h e e v e r y i n c re a s i n g m o v e m e n t a w a y f ro m d e t e r m i n i s t i c t r a d i t i o n design methods allows us to embrace comp l e x i t y o f e m e rg i n g d e s i g n . T h i s i n v o l v e s c re a t i n g a g e n e r a t i v e s y s t e m w h i c h c o n t ro l s behaviour on a smaller scale and selects and o u t f ro m t h e f o r m w h i c h e m e rg e s a l l o w i n g
a complexity and variation to motivate cons t r u c t i o n w i t h c l o s e r re l a t i o n s h i p s t o w a rd s n a t u r a l s y s t e m i n t h e e n v i ro n m e n t . A s t h e d e s i g n e r s w i t c h e s ro l e s t o a n e d i t o r h e i n t e r p re t s a n d m a n i p u l a t e s t h e e m e rg i n g d a t a . Data Fabrication- Data fabrication is a every expanding technology within not only in the a rc h i t e c t u re w o r l d b u t w i t h i n a l l d e s i g n a n d c o n s t r u c t i o n . C h a n g i n g t h e i d e a s a rc h i t e c t s can draw to what they can build and build what they can draw. It involvesthe use of c o m p u t e r n u m e r i c a l c o n t ro l l e d f a b r i c a t i o n t e c h n i q u e s w i t h d e v e l o p a c l o s e r ro u t e t o p ro d u c t i o n t h ro u g h t h e f i l e t o f a c t o r y p ro cess. This method simultaneously depends o n n e w d i g i t a l t e c h n o l o g y a s i t e m e rg e s t o v a l i d a t e a n d g i v e c re d i b i l i t y t o t h e c o n structability of digital design methods. N e w M a t e r i a l s - N e w m a t e r i a l s a re a d i re c t o u t c o m e t o n e w t e c h n o l o g y ’ s a s t h e re m u s t b e a m e a n s t o e x p re s s a rc h i t e c t u r a l l y t h e s e new aesthetic and spatial effects. A shift in c o n s i d e r a t i o n t o w a rd s m o re s u r f a c e a r t i c u l a t i o n t h e re f o re t h e d e v e l o p m e n t o f t h e s e n e w materials must be able to meet design intent i o n s a n d f u l f i l s t r u c t u r a l re q u i re m e n t s . T h u s a n i n t ro d u c t i o n o f c a r b o n f i b re s c o m p o s i t e materials and even intelligent materials has changes the digital design landscape. P ro d u c t i o n S t r a t e g i e s - W i t h i n t h e i n d u s t r y the use of digital design technology mediu m s a l l o w s t h e a c l o s e r re l a t i o n b e t w e e n d e s i g n , a rc h i t e c t s a n d e n g i n e e r i n g . t h e u s e o f d i f f e re n t m a t e r i a l s a n d m e a n s o f p ro d u c t i o n c a n i n f l u e n c e f ro m t h i s c a n b e s e e n i n p ro j e c t s s u c h a s t h e S y d n e y O p e r a H o u s e . P ro d u c t i o n s t r a t e g i e s e n a b l e c u r v e s a n d m o re f l u i d f o r m s t o b e g e n e r a t e d i n t h e re a l w o r l d .
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h e E m b r y o l o g i c a l H o u s e b y G re g Ly n n e x p l o re s t h i s i d e a o f u s i n g a s y s t e m o f m a n i p u l a t i o n t h ro u g h c o n t ro l p o i n t s . T h e s e c o n t ro l p o i n t s w e re re s p o n s i v e o f a q u e s t i o n s t h a t w h e re b a s e d o n a b a s i c c l i e n t w i s h e s , f o r e x a m p l e t o ro o m s i z e . T h u s t h e f o r m g r a d u a l l y e m e rg e d a s t h e c l i e n t re s p o n d e d a n d d a t a g re w . T h e p ro j e c t w a s i n t e n d e d t o b e e n gaging with the contemporary issues of variation and customisation.
FRANK GEHRY
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r a n k G e h r y ’ s Wa l t D i s n e y C o n c e r t H a l l ’ s facade is made possible by the use of digit a l t e c h n o l o g y. T h i s i n n o v a t i o n o f f e re d b y t h e t e c h n o l o g y b e c a m e e x t re m e l y u s e f u l i n t h e c o n s t r u c t i o n s t a g e s o f t h e p ro j e c t . A s t h e u n i q u e c o m p o n e n t s o f e a c h f o l d w e re t o o c o m plex to be managed by conventional drawing, techniques and fabrication, digital technolo g y a l l o w e d o n e m o d e l t o c o n t a i n f o r a p ro j e c t . A l l o w i n g a rc h i t e c t s t o n o l o n g e r s p e n d t i m e o n j u s t 2 d d r a w i n g s b u t s p e n d m o re t i m e f o c u s o n c re a t i n g t h e f o r m t h e n c o l l a t i n g a l l t h e i n f o r m a t i o n f ro m t h e i r m o d e l s . T h i s p ro c e s s i s n o t o n l y m o re e f f i c i e n t f o r t h e a rc h i t e c t i s i t a l l o w s p re c i s e b u i l d i n g c o n s t r u c t i o n t h ro u g h c o m p u t a t i o n a l d e s i g n m o d e l s . F r a n k G e h r y ’ s Wa l t D i s n e y C o n c e r t H a l l ’ s w a s e n h a n c e s b y t h e u s e o f c o m p u t a t i o n a n d a rc h i t e c t u r a l s o f t w a re . w h i c h e n a b l e d t h e a rc h i tect’s ability to deal with both analytical skill a n d c re a t i v i t y t o p ro d u c e d e s i g n . T h e t e c h n o l o g i c a l a d v a n c e i n a rc h i t e c t u re a l s o h e l p s t h e a rc h i t e c t t o c re a t e a n d b r i n g t o l i f e o f m u c h m o re f l e x i b l e s h a p e c o m p a re d w i t h m a n u a l o l d - f a s h i o n s t y l e o f a rc h i t e c t u r a l d r a w i n g s .
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h e u s e o f s c r i p t i n g f o r t h e ‘ We s t e r n G a t e w a y s D e s i g n P ro j e c t ’ h a s t h e p o t e n t i a l t o t a k e a d v a n t a g e o f c o m p u t a t i o n a l d e s i g n a l l o w i n g f o r m a t e r i a l a n d t i m e e f f i c i e n c y. M o re i m p o rtantly computational design can be engage in culturally sensit i v e i s s u e s d e v e l o p i n g a m e t ro p o l i t a n i d e n t i t y. We c a n s e e t h i s i n t h e c a s e s t u d y t h e ‘ D i g i t a l Te a H o u s e ’ u n d e r t a k e n i n 2 0 1 0 a t t h e U n i v e r s i t y o f C o l u m b i a a n d U n i v e r s i t y o f To k y o a n d l e a d b y K a o n Ko a n d S a l v a t o - J o h n L i o t t a . B y e x e rc i s i n g t h e u s e o f scripting to use advanced techniques of parametric design and d i g i t a l m a n u f a c t u r i n g , t o “ p ro d u c e n e w i m a g e s o f t e a h o u s e a n d re n e w i t s c o n c e p t u a l m e a n i n g s ” A t t h e e n d o f t h e w o r k s h o p t h e t h re e t e a m s h a d a s s e m b l e d t h re e t e a h o u s e s , t e s t i n g c o n c e p t s , m e t h o d o l o g i e s a n d m a t e r i als that had been developed in the meantime.
By closely looking at the “Space of Waves”, which took the technical qualities of pressboard to its limits, bending it as far as possible to obtain a curvature effect inspired by the imperfect forms of the cup used during the tea ceremony. The cylindrical pavilion following the shape of the cup is dematerialized and is composed of tilted “waves” of plywood that, thanks to incisions made through the numerical controlled machines, create the space of the pavilion. The “waves” cast a calming repetitive pattern that sugg e s t e d i d e a s o f r e l a x a t i o n . Yo u c a n s e e h o w t h e l i g h t c a n be used to cast shadows of calm or excitment, this is an impor tant “theme” we want to express.
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PARAMETRIC DESIGN IN PAVILIONS
“ Pa r a m e t r i c d e s i g n c a n a l s o b e i n t e r p re t e d t h ro u g h s p e c i f i c , c u l t u r a l l e n s e s , i n t h e s e n s e t h a t t h e J a p a n e s e s e n s i b i l i t y re tains its unmistakably unique character even when it is filt e re d t h ro u g h t h e u s e o f R h i n o a n d G r a s s h o p p e r ” . - K a o n Ko a n d S a l v a t o r- J o h n A . L i o t t a S c r i p t i n g w a s a n e s s e n t i a l t o t h e p ro c e s s a s c o n t a c t w i t h the generative system enabled active feedback thus helping re s o l v e i s s u e s t h e y o c c u r re d a n e n a b l i n g a m o re e f f i c i e n t c o n s t r u c t i o n p ro c e s s . T h e u s e o f s c r i p t i n g t o i n t e g r a t e d c o n struction and design is also by Achim Menges: ‘material information should become a generative driver rather than an a f t e r t h o u g h t i n d e s i g n” . tools”.
A s K a o n Ko a n d S a l v a t o r – J o h n L i o t t a i n t i m a t e d “ m o s t a rc h i t e c t s t o d a y a re f o rc e d t o s q u e e z e t h e i r i m a g i n a t i o n t h ro u g h t h e p re f a b r i c a t e d s t r u c t u re s o f e x i s t i n g p ro t o c o l s w h e re a s s c r i p t ing enabled designers to ‘tweak the constraints of their tools”. A sentiment also echoed by Mark Burry when he stated that d e s i g n e r s t h a t re l y o n c o m p u t a t i o n a l d e s i g n y e t d o n’ t s c r i p t “ a t o n c e p l a c e t h e i r e n t i re t r u s t i n t h e s o f t w a re e n g i n e e r s ” .
SPACE OF WAVES
C O LU M B I A U N I V E R S I T Y P A V I L I O N
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Nami-no-ma (space of waves) pavilion app ro p r i a t e a s a n J a p a n e s e a e s t h e t i c s t o o k t h e t e c h n i c a l q u a l i t i e s o f p re s s b o a rd t o i t s l i m its, bending it as far as possible to obtain a c u r v a t u re e f f e c t i n s p i re d b y t h e i m p e r f e c t forms found in the traditional Japanese tea b o w l w a s e x p re s s e d i n t h e o u t e r s k i n o d t h e p a v i l i o n w h i c h a l s o c re a t e d a b a r r i e r t o t h e o u t s i d e . C o m p o s e d o f t i l t e d “ w a v e s ” o f p l yw o o d i n w h i c h i n c i s i o n s m a d e t h ro u g h t h e n u m e r i c a l c o n t ro l l e d m a c h i n e s c re a t e s t h e space of the pavilion.
Designed by the students of the Columbia U n i v e r s i t y u s i n g t h e p a r a m e t r i c d e s i g n p ro c e s s a s a p re t e x t t o b r i n g e l e m e n t s o f t h e t e a c e re m o n y t o t h e p ro j e c t .
The ‘130008252010’ pavilion was designed to perform its function only at a p re c i s e , p re d e t e r m i n e d t i m e : 1 3 : 0 0 , 2 5 A u g u s t 2 0 1 0 . T h e s u n l i g h t f i l t e re d t h o u g h the external surface consisted of a bold but gentle triangular composition, would fall on a similar pattern on the floor interplaying w i t h t h e p a t t e r n e d f l o o r. T h e o v e r l a p p i n g o f t h e l i g h t a n d f l o o r p a t t e r n l a s t s o n l y b r i e f l y. T h e e f f e c t i s q u i t e d e l i c a t e , c re a t i n g a s y m m e t r i c a l a e s t h e t i c c o n s i d e re d a p p e a l i n g i n J a p a n e s e c u l t u re a n d s p e c i f i c t o t h i s m o ment in time.
T h e y c re a t e d a s p a t i a l s e q u e n c e w h e re g u e s t s a n d h o s t s e n t e r f ro m s e p a r a t e e n t re e s a n d t h e s e a t s a s s i g n e d t o t h e t e a m a s ter and the two guests using them as “focal points and attractors”. This spatial distinct i o n w a s re i n t e r p re t e d t h ro u g h t h e c re a t i o n of attractor points for each part.
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ATTRACTOR POINT + COMPONENTS IMAGESAMPLER + COMPONENTS
MATHS FUNCTIONS + COMPONENTS
ATTRACTOR POINT + EXTRUDE
IMAGESAMPLER + EXTRUDE
MATHS FUNCTIONS + EXTRUDE
M U LT IP L E M A T H S FU NCT ION + EX T R U D E
U S ING S ET + EX T R U D E
ATTRACTOR POINT + ROTATION
IMAGESAMPLER + ROTATION
MATHS FUNCTIONS + ROTATION
M U LT IP L E M A T H S FU NCT ION + ROTATION
U S ING S ET + ROTATION
ATTRACTOR POINT + COMPONENTS
IMAGESAMPLER + COMPONENTS
MATHS FUNCTIONS + COMPONENTS
M U LT IP L E M A T H S FU NCT ION + COMPONENTSU S ING S ET + COMPONENTS
ATTRACTOR POINT + EXT RU D E
IMAGESAMPLER + E X TRUDE
MATHS FUNCTIONS + EX T R U D E
M U LT IP L E M A T H S FU NCT ION + EX T R U D E
U S ING S ET + EX T R U D E
ATTRACTOR POINT + ROTATION
IMAGESAMPLER + ROTATION
MATHS FUNCTIONS + ROTATION
M U LT IP L E M A T H S FU NCT ION + ROTATION
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M U LT IP L E M A T H S FU NCT ION + EX T R U D E
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MATHS FUNCTIONS + ROTATION
M U LT IP L E M A T H S FU NCT ION + ROTATION
ATTRACTOR POINT + COMPONENTS
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MATHS FUNCTIONS + COMPONENTS
M U LT IP L E M A T H S FU NCT ION + COMPONENTS U S ING S ET + COMPONENTS
ATTRACTOR POINT + EXTRUDE
IMAGESAMPLER + EXTRUDE
MATHS FUNCTIONS + EXTRUDE
M U LT IP L E M A T H S FU NCT ION + EX T R U D E
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ATTRACTOR POINT + ROTATION
IMAGE SAMPLER + ROTATION
MATHS FUNCTIONS + ROTATION
MULTIPLE MATHS FUNCTIONS + ROTATION
USING SET + ROTATION
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h e f i r s t s e t o f m a t r i c e s t h a t w e re p ro d u c e d a re a re s u l t o f e x p e r i m e n t a t i o n w i t h d i f f e re n t c o m b i n a t i o n s o f t h e p ro v i d e d d e f i n i t i o n s . T h e i n t e n t o f t h e s e m a t r i c e s w e re t o u n d e r s t a n d t h e p o s s i b i l i t i e s a n d e x p l o re t h e c h a n g e s t h a t w e re o c c u r i n g a s d i f f e re n t c o m b i n a t i o n s o f i n p u t s , a s o c i a t i o n s a n d o u t t p u t s w e re c o m b i n e d . I n e v e r y g r a p h i c p re s e n t a t i o n t h e m o s t i m p o r t a n t q u e s t i o n is how to communicate graphically in the most succinct, effective and elaborate when needed too and non ambiguo u s l y. I n t h i s c a s e w h e re t h e c o m p u t a t i o n a l d e s i g n p ro c e s s p ro d u c e s m u l t i p l e a n d o p e n e n d e d o u t c o m e s o f c a n d i d a t e s f o r o p t i m a l d e s i g n , i t i s t h e re f o re n e c e s s a r y t o l a y t h e m o u t i n a s t r u c t u re d w a y, n o t j u s t f o r t h e b e n e f i t o f t h e c l i ent but also for the designers own benefit. S t r u c t u r i n g t h e re s u l t s i n a m o re s t r u c t u re d w a y a l l o w s t h e designer to declutter systematically his or her workspace a n d t h i n k i n g s p a c e a n d a l l o w s h i m o r h w e t o s e e e m e rg i n g p a t t e r n s o r v a l u e s i n h i o r h e r m a n y, m a n y d i f f e re n t c a n d i d a t e s . I t a l l o w s d e s i g n e r s t o e f f e c t i v e l y c o m p a re a n d c ro s s c h e c k w i t h t h e d i f f e re n t m e t h o d s h e o r s h e u s e d a n d m a k e a m o re i n f o r m e d d e c i s i o n . A f t e r p ro d u c i n g a l a rg e a r r a y o f o u t c o m e s i t b e c a m e c l e a r that this design method would need parameters in which would affect our choice of design solutions. W h a t a re t h e p a r a m e t e r s a f f e c t i n g o u r c h o i c e o f d e s i g n solutions? A lot of factors have been identified: site, f a b r i c a t i o n t e c h n o l o g y, s t a k e h o l d e r s , b u t m o s t i m p o r t a n t l y it should also utilize, train and sharpen the designers i n t u i t i o n o r a r t , f ro m a n d c o m p o s i t i o n . T h e p ro c e s s o f e x p l o r i n g a n d c re a t i n g t h e s e m a t r i c e s c a n re l a t e t o K a l a y ’ s “ Pa r a d i g m o f D e s i g n” , i n t h i s c a s e , i t re l a t e s m o re t o t h e p ro c e s s o f “ p u z z l e m a k i n g ” . T h e m e t h o d s o f d i s p l a y i n g i n f o r m a t i o n f i r s t w e re d o n e , a s t h i s w a s t h e primary method used when exploring grasshopper definitions. Each grasshopper definition had its possibilities and candidates exhausted moving on to another candidate. T h e re w a s n o s p e c i f i c g o a l t o c re a t e a s p e c i f i c g e o m e t r y o r p a t t e r n a n d t h e re f o re d e s i g n i n g b e c o m e s a p ro c e s s o f d i s c o v e r y t h a t i s n’ t n e c e s s a r i l y l i m i t e d b y c o n s t r a i n t s t h a t m i g h t ’ v e s u r f a c e d a s a re s u l t o f s e t t i n g g o a l s . T h i s m e t h o d m a y b e b e n e f i c i a l i n t h e p ro c e s s o f d e s i g n i n g W y n d h a m ’ s g a t e w a y a s i t c a n g e n e r a t e u n i q u e re s u l t s .
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O n c e u n d e r s t a n d i n g t h e g e o m e t r i e s t h a t c a n b e p ro d u c e d b y u s i n g d i f f e re n t i n p u t s , a s o c i a t i o n s a n d o u t p u t s , t h e p ro c e s s o f c re a t i n g m a t r i c e s b e c o m e s m o re g o a l o r i e n t a t e d , i n t e r m s k n o w i n g w h a t k i n d o f p a t t e r n s t h a t y o u w a n t t o a c h i e v e - t h e p ro c e s s o f “ p ro b l e m s o l v i n g ” a c c o rd i n g t o K a l a y. IMAGESAMPLER + EXTRUDE
IMAGESAMPLER + ROTATE
H a v i n g s p e c i f i c i n t e n t i o n s c re a t e s c o n s t r a i n t s w h e re b y a n y a l t e r n a t i v e s o l u t i o n s a re t a i l o re d t o m e e t t h o s e re q u i re m e n t s . A p p l y i n g s u c h a d e s i g n p ro c e s s t o t h e d e s i g n i n g o f W y n d h a m ’ s gateway can be suitable as the gateway will be designed to meet the context of the site and w h a t t h e y re p re s e n t , h o w e v e r, t h e e n d d e s i g n m a y b e l i m i t e d t o i t s t y p o l o g y a n d m o r i e .
MATHS FUNCTIONS + ROTATE
M U LT IP L E M A T H S FU NCT ION + R OT A T E
IMAGESAMPLER + COMPONENT
MATHS FUNCTIONS + COMPONENT
M U LT IP L E M A T H S FU NCT ION + COM P ONENT
IMAGESAMPLER + ROTATE
MATHS FUNCTIONS + ROTATE
M U LT IP L E M A T H S FU NCT ION + R OT A T E
SURFACE GRID
SURFACE NORMS
IMAGESAMPLER + EXTRUDE
IMAGESAMPLER + ROTATE
MATHS FUNCTIONS + ROTATE
M U LT IP L E M A T H S FU NCT ION + R OT A T E
MATHS FUNCTIONS + ROTATE
M U LT IP L E M A T H S FU NCT ION + R OT A T E
EXPLICIT GRIDS
IMAGESAMPLER + ROTATE
OVERLAPPING PATTERNS
00
A R C H I T E C T U R E
D E S I G N
S T U D I O
A R C H I T E C T U R E
D E S I G N
S T U D I O
00
A I R S P A C E T O K YO N a m e : A i r s p a c e To k y o A rc h i t e c t s : F a u l d e r s S t u d i o B u i l d i n g D e s i g n : S t u d i o M . To k y o Lo c a t i o n : To k y o Completed: 2007
A
i r s p a c e To k y o d e s i g n e d b y S t u d i o M . To k y o i s a f o u r- s t o r y re s i d e n t i a l a n d c o m m e rc i a l m i x e d - u s e b u i l d i n g . The facade, which is one of the most attractive parts of the b u i l d i n g , u s e s t w o l a y e r s o f v o ro n o i p a t t e r n w i t h d i f f e re n t l e v e l o f c o m p l e x i t y. I t i s a p ro t e c t i v e a i r s p a c e t h a t re f l e c t s t h e u n i q u e p re e x i s t i n g l a n d s c a p e o f t h e s i t e . T h e f a c a d e m a k e s t h e a t m o s p h e re t r a n s f e r n a t u r a l l y f ro m t h e e x t e r i o r t o t h e i n t e r i o r a n d p ro v i d e s e s s e n t i a l p r i v a c y p ro t e c t f o r t h e re s i d e n t i a l a re a s . T h i s o v e r l a p p i n g p a t t e r n n o t o n l y c re a t e s a u n i q u e e x t e r i o r b u t a l s o c a n b e e n j o y e d f ro m t h e inside and still be private, even as you walk closer to the b u i l d i n g t h e p a t t e r n b e c o m e s d e n s e r a n d t h e re f o r p ro t e c t s t h e p r i v a c y o f t h e re s i d e n c e . “ T h e c e l l a r d e s i g n o f t h e p a t t e r n i s i n re f e re n c e t o b i o morphic density of the original vegetation. The design is generated by computation technology by the help of d e s i g n t e c h n o l o g i s t p ro c e s s � ( Pe l l , 2 0 1 0 ) A i r s p a c e To k y o i s a n e x a m p l e o f h o w t o c re a t e d 3 d e f f e c t with 2d patterns. The design itself contains two simple layers of 2d patterns, however with overlapping the patt e r n s a m o re s t e re o s c o p i c f e e l i n g h a s b e e n g e n e r a t e d t h ro u g h t h e i n t e r a c t o f t h e p a t t e r n s a s w e l l a s t h e g a p b e t w e e n t h e m . T h e l a y e r s s e e m t o l o o k m o re l i k e s e v e r a l layers of vegetation mixed together which is what Faulders S t u d i o w a s t r y i n g t o c re a t e . T h e l a y e r s c re a t e d a s p a c e i l l u s i o n t h a t m a k e s 2 d a n d 3 d . M o re o v e r t h e p e o p l e ’ s m o v e m e n t w i t h i n t h e b u i l d i n g c h a n g e s t h e p a t t e r n s c re a t i n g a n i l l u s i o n o f m o v e m e n t . T h i s re l a t e d t o t h e G a t e w a y p ro j e c t a n d t h e n o t i o n o f n a t u re , m o v e m e n t o f l i g h t a n d p a t t e r n . This technique of overlapping patterns becomes useful in m a k i n g 2 d , 3 d a n d a n a p p ro a c h t o t a k e i n t o c o n s i d e r a t i o n i n t h e G a t e w a y P ro j e c t We s h o u l d a l s o c o n s i d e r h o w n a t u re h a s b e e n u s e d n o t o n l y t h i s p i e c e o f a rc h i t e c t u re b u t m a n y p i e c e s o f a rc h i t e c t u re . T h e s t r u c t u re o f a t re e , t h e p a t t e r n o f a f l o w e r a n d e v e n t h e m i c ro o rg a n i s m s h a v e b e e n s t u d i e d a n d m a d e re f e re n c e t o i n m a n y b u i l d i n g s . T h e A i r s p a c e s u s e d t h e re f e re n c e t o b i o m o r p h i c d e n s i t y o f v e g e t a t i o n i n a n a b s t r a c t w a y, t h i s g a v e a n d c a n g i v e a m u c h m o re m e a n i n g f u l b a c k g ro u n d i n t u r n m a y l e a d t o u n i m a g i n a b l e o u t c o m e s .