studio air ABPL30048: STUDENT JOURNAL SARAH TAN 541324
CONTENTS Introduction
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Part A: Case For Innovation
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A1.0 Architectural Discourse A1.1 Danish Pavilion, Bjarke Ingels Group A1.2 Church of Saint Pierre, Le Corbusier
9 10-11 12-15
A2.0 Computational Architecture A2.1 Geco A2.2 Weaver Bird
17 18 19 21 22-25 26-29
A3.0 Parametric Modelling A3.1 Mercedes Benz Museum, UN Studio A3.2 nonLin/Lin Pavillion Marc Forbes/THEVERYMANY A4.0 Conclusion A5.0 Appendix
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INTRODUCTION
I am Sarah Tan. Currently a 3rd Year Undergraduate Student, undertaking the Bachelor of Environments degree and majoring in Architecture.
interpreted and rationalized into a purposeful form. I was fond of this way of design thinking, taking inspiration from such not only gives a sense of connection to the world but has a idea of technical stability through imitating the physics & behaviour of natural occurrences.
My experience with digital design theory is still only beginning to take form although I have experimented with digital design tools before in previous work or in my personal time. My proficiency of Adobe Illustrator, Indesign and Photoshop ranges from basic to above average in the respective order. However, my knowledge of more Architectural based programs such as Rhino is much more limited to the fundamentals I gathered from my studies at the University. As such, I have no prior understanding of Grasshopper.
For my design I decided to use the process of combustion as the point of focus. towards an arm guard design. Taking inspiration from the methods of Coop Himmelb(l)au the form was extracted from a psychogram of the process.. My idea explored the momentum of flames engulfing the arm, using protrusions for dynamism. It would be eventually be rationalized using Rhino, going through steps of contouring, lofting, panelling, to unravelling and reconstruction in the creation of the final model. I found the whole project to be very rewarding in the end from the translation of a 2D representation into something I could touch Appendix - Algorithmic Explorations Appendix - Algorithmic Explorations with my own hands.
My first exposure to the method of digital fabrication stems from my time in the course “Virtual Environments�. The design project (pictured below) required choosing a natural process which would then be
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PART 1: CASE FOR INNOVATION
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A1.0 ARCHITECTURE AS A DISCOURSE Architecture is a discourse, beyond the boundary of their physical manifestations is a world full of discussion on design theory and philosophy within built forms. A piece of architecture can create an experience and a means of social connection. It can stand as a marker or symbol of something, such as a Church as a place of worship. Understanding this is crucial to how we design a building to function. Architecture can be considered abstractly as a spatial experience which lends it idea to a broader spectrum of built forms not just limited to buildings. And so, through it is through these values to which the proposal for the Wyndham Gateway Project will be evaluated and addressed.
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DANISH PAVILION BJARKE INGELS GROUP
The Danish Pavilion, designed by BIG (Bjarke Ingels group) for the Shanghai Expo and an exhibition centre that seeks to give the public an opportunity to experience various aspects of Danish city life. It accommodates elements of Danish life through provision of a multitude of activities within using an innovative multi-functional structure designed in the form of a double loop. It is an interesting design solution for circulation in the way it acts as an infinitely continuous path, allowing visitors to bike up and down the elevation. Within the centre of the pavilion lies the Little Mermaid statue and iconic public sculpture imported from the Netherlands. Built of perforated steel, during the night the pavilion becomes an apparatus for illuminating light. It gives life to the structure, animating the city skyline all lit up with LED lighting. The disparity between the widths and densities of the façade’s perforations lead us to presume that they are related to the mechanics of illumination, each fabricated through the use of randomly generated parametric exploration. Such complex forms of architecture, utilise digital technology in order to realize their designs and the external perforations are just one example of how parametric tools have helped develop and enhance the design. The building pays respect to its users in consideration of how they travel through it, it revolves around bicycles as a means of transportation embodying the lifestyles of the Danish. The form’s capacity to capture dynamism and movement within the space is what makes this project.
10 Figure 1 Exterior of Danish Pavillion
Figure 2. Interior, continuos looping circulation with a central focal point of display.
Figure 3. Night scene highlighting the led lighting installations within the perforations.
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CHURCH OF SAINT PIERRE LE CORBUSIER
Figure 4. Effect of exterior perforations on facade within interior
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Figure 5. Exterior form of the Church of Saint Pierre
CHURCH OF SAINT PIERRE LE CORBUSIER
Figure 6. Stream of Lights within interior also due openings within 14 the facade.
CHURCH OF SAINT PIERRE LE CORBUSIER
The Church of Saint Pierre was the last major project made by Modernist Charles-Edouard Jeanneret (Le Corbusier), completed after his death in 2006. The church uses some of Corbusier’s five points of architecture, mostly the usage of pilotis, free façade and an open floor plan; it also uses Corbusier’s signatures of ramps as the main method of movement throughout the building. It’s large open plan can only have been achieved with the new technologies of the time of an open plan and a free facade; pilotis is used to support the building and the free façade is used in order to open up the space of the building, thus allowing for large open spaces. While the church seemingly does not hold the traditional dome and spire, it has actually been reinterpreted by Corbusier. The main building form seems to mimic that of a traditional spire and when looking inside the building, a dome like form appears inside similar to that of traditional churches. The church’s main interest point is its control of external light and the way it bends to create a spectacular vision of a stream of lights. Inside the building, creating waves of light or holes of light creating an effect of a star lit night. Controlling of light has been used throughout history in churches as a manner of creating mystical atmosphere inside the church, using ambient light in order to evoke a sense of spirituality.
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A2.0 COMPUTATIONAL ARCHITECTURE The utilization of computers in the architectural practice had had an immense effect on the way we conceptualize, realize and fabricate design solutions. It has impacted the efficiency of design and opened up new possibilities of producing more complex and detailed forms that would otherwise be too intricate and costly to build using conventional construction technologies. 10 As architects explore geometries we see a shift of the paradigm and the materialization of more curvilinear structures. The use of NURBS and computational tools rise as we transition from more planar geometry. Departing from analog methods ode designing such as through sketching and drafting, forms are now being generated digitally and input for calculation with computational methods. 11 That paradigm as such changes from trying to make a form into trying to find one. Previously, digital design tools have been used for computerisation which involves the digitization of predefined entities. Not to be confused with computation computerization refers to the conversion or traditionally generated designs into a virtual medium as a means of visual communication. Computation however is the exploration of vague, often ill-defined process. It has an investigative nature, aiming to emulate or extend human intellect through the use of algorithms and coding, Computation is advantageous to design beyond increasing the complexities of geometry. It streamlines the design process and gives architects improved creative control over their designs. Through inputting datas different parameters can be analysed, before decisions are finalized programs will give an idea of the outcome whether this be through form , how efficient it is or how well it functions. This ability allows for the production of more advanced and innovative designs within the realm of designed spaces.
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GECO
The Hong Kong Shenzhen Border Station is an entry to a competition regarding the new design of the border station. The entry utilizes a new computing technique and program, GECO is a prototype plug-in for Rhino. GECO is a computing device that allows users to “export complex geometries to evaluate the design performance of the project.â€? In using the GECO program, the architects were able to create a building that interacted with its surrounding elements. Especially concerning itself with sunlight, how to maximize sunlight and how to control it. It is similar to the program ecotect giving understanding of performance feedback of structures. concerning structural form or comfort of the building through heat and lighting is especially important in determining the success of a building as a spatial experience. Computation design is a new tool in which Architects have in expressing their art. Digital design is able to test the parameters on a digital medium without wasting resources, also able to create a continuous surface, fluid and uniform that otherwise cannot be reproduced18 by hand or produced less precise. There are, however, limitations to digital design, in using design we thus further limit ourselves in analyzing and understanding both the site and the design itself. The issue concerned with digital design is that the programs are making our lives easier, making it so that we think less about our design choices and rely more on the programs to do our work for us. This is not necessarily true; we still put a lot of cognitive effort into our designs through digital design. We are still aware of what we are doing, how each element affects and interacts with another element and we still place a high importance on thoughtful and conscious design however, we no lonÂŹger start considering the surrounding context of our and how our design might interact with the surrounding site not only functionally but aesthetically. GECO is a program devised to combat this problem, we can now analyze our site through the use of digital technologies, making this a huge leap forward for digital design. But this still raises the question of how much cognitive effort we place in our designs and if we are just relying too heavily on digital computation that needs to be managed so that we can continue to exercise our own analog creativity.
Figure 7. Utilization of Geco to analyse daylight factors and the functionality of the structure.
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WEAVER BIRD
Convoluted Inferences, was formed through the experimental Rhino Plug-In, Weaver Bird. WeaverBird is a topological editor, focusing on creating hard to draw shapes that go beyond the established tilling patterns. The project itself was an experiment to test the realms of the program, testing morphology, organisation and how patterns can have dynamic behavioural effects and how the interact with their surrounding environment to create an “organic complexity.” “WeaverBird gives architects more geometric control and allows them to create comple surface structures that join in orderly ways, yet in arbitrary configurations.”Convoluted Inferences, was formed through the experimental Rhino Plug-In, Weaver Bird. WeaverBird is a topological editor, focusing on creating hard to draw shapes that go beyond the established tilling patterns. The project itself was an experiment to test the realms of the pro-gram, testing morphology, organization and how patterns can have dynamic behavioural effects and how the inter-act with their surrounding environment to create an “organic complexity.”WeaverBird refers to the real life animal the Weaver 19 Bird, where the male weaver bird creates intricate nests to attract a mate. WeaverBird hopes to emulate the “organic complexity“ of their nest,creating a repeating pattern that is hard to hand create and complex surface structures that join in an orderly way.
Figure 8. Convuluted Inferences, resulting morphology through use of WeaverBird.
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A3.0 PARAMETRIC DESIGN Parametric Design involves the controlling of specified parameters within algorithms to generate forms. Architect, Patrick Schumacher discusses the future of ’parametricism’ terming it as the new architectural epoch, the broad new paradigm of design research programmes. He distinguishes it from previous styles as one being of innovation, design that behaves in continuities and correspondences across diverse and distant elements. It is a form of pragmatic modernism with a “slightly enriched palette”. Instead of classical and modern reliance on rigid geometrical figures, the new fundamentals of parametricism are “animated from geometrical entities – splines, nurbs and subdivs.” Adam Nathaniel Mayer however argues that it is wrong to classify it as a style and more correct to think of it as a process. It is a powerful tool and not as Schumacher propagates as being a new aesthetic expression created by technology. Mayer sees this as an exploitation of technology without consideration of social aims. Thinking of parametricism in physical form as a styles is meaningless if buildings cannot respond to context without resorting to gimmicks. The term Parametricism, being misrepresented, pigeonholed into being thought of as a style when rather it is a means of exploration in the design process. In the purest form, parametrics are about the use of algorithms in architecture. They allow architects to choose what parameters to deploy. If utilised wisely parametric design can optimize design efficiency in relation to time, form, tectonics, sustainability and technology. With technological tools at disposal, Architects can better build environmentally responsive structures. Rather than being fussed with terminology, it is important to consider what it is that parametricism brings to design and how we can react using knowledge to enhance or designs. Essentially parametric design is a process that employs design tools to create forms and spaces from kits of parts but the beauty of architecture lies within its purpose. In this discourse, we regard Parametricism as a new approach to architecture. Design tools may create the forms for analysis but what we as architects always need to concern ourselves with is how we can apply these instruments to create things of substance. We must always consider context, social needs, function and things beyond yet including aesthetics so that we are not left with careless architecture.
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Mercedes benz museum
Figure 9. Mercedes Benz Museum Exterior.
Mercedes benz museum UNStudio The structure of the Mercedes Benz Museum in Stuttgart was formulated around how its visitors would circulate. The best path imagined seemed to be a constant looping that would cut through to display the museum’s exhibition, the internal arrangement being paramount the success of its function. Its ideal form was envisioned to be three overlapping circles, a trefoil shape1, with the building’s program distributed over surfaces which build up from ground level spiralling around a central atrium. Two intertwining ramps wrap around these spaces creating a twisted spiral for a unique spatial experience. The museum, while design by UN Studio involved the research offered by designtoproduction within parametric design and distinguished the processes of design and production. In order to conceive the build’s complicated form, parametric modelling was crucial in order “to control the geometry of the building as completely as possible”1. The intertwining forms of the Mercedes Benz Museum meant that there was difficulty in succinctly describing it shape merely through traditional plans and sections. Its design process therefore was aided in conjunction with parametric modelling that could visualize its 2D basic geometry and transform it into continuous three dimensional volumes from the layering of plans for each level. The development of the building is set within parameters, dictating what designs were feasible and which were not. By digitally controlling the geometry effects of changes through parameters could be monitored quickly and efficiently. “The models are used like a map – all the other layers” and facilitates the process of going back and forth to examine how it works between aesthetics, function and structure. The building’s design is managed through a mathematical parametric model but it does not compromise the initial design principles and concept that it was first based upon. Parametric modelling here is used here to show the possible solutions through manipulation of parameters. It is not used to create the concept but rather to build upon one without any formal or predetermined resolutions. Through the employment of parametric design tools, UNStudio has been able to design a create a building as if it were thought of as a product, linking it closely with the Mercedes Benz brand. It is a representation of technology and the future, showcasing the advancement of design while still being thoughtful in what it sets out to do.. I believe this design process to be optimal in that it has a clear concept that is enhanced and informed through computation, for a design to be successful, function must not be over sighted for pure aesthetics. The building is not a shell but an environment.
Figure 10. Conceptual diagram of building and following stages of the design process.
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Figure 11. Mercedes Benz Museum interior programme section
Figure 12 & 13. Interior renderings describing the experience within the museum.
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nonLin/Lin Pavilion
Figure 15. Wide View of Lin/Non-Lin Pavillion
nonLin/Lin Pavilion UNStudio
Figure 16. Depicting scale and evolution of form in the algorithm. This perforated aluminium pavilion resembling a huge piece of coral is a prototype of numerous architectural experiments known as text based morphologies. It evolved as a transformation of a network into a surface with a visual perception of being very sculptural, as it has been developed through custom computational protocols. The space is assembled using 27 components with a surface pattern with more than 155,000 asterisk perforations throughout. Because the scale of the structure was very large and complicated it was modulated to be assembled by parts on site.The basic geometry of the structure was designed within Rhino, using codes specially programmed for the firm.
is self supporting and seeks an active participant to engage with the space. Marc Fornes, the designer opf the nonLin/lin Pavilion considers it a model for a future form of architecture: a “prototype of the skin of a building.” The pavilion’s fabrication experiments the constructability and economic viability as a piece of architecture. The structure investigates form, transforming from one state to another where members in the network open up and recombine themselves into larger apertures. As the density of the space increases it gives a sensation of an evolving enclosure with dramatic changes in the morphology. “The structure is forming a eccentric universe where familiar elements such as openings or dimensional measurements turn out of model or scale.” In computation, the structure of the pavilion is described as a set of linear developable elements which can be unrolled and extracted as flat sheets of material for fabrication.
The form of the pavilion is developed using complex computational protocols, derived from “methods of form finding, form description, information modeling, generational hierarchy and digital fabrication”. These protocols are based off of parameters with the design going through processes of decision making, testing and identifying errors. There is a lot of controllability on a particular local level within nodes of the structure which allow the THEVERYMANY to trial a series of variations of the design as they manipulate parameters.
The process of computation here is used as an exploration of possibilities without a well-defined, preconceived form in mind. As an experimental pavilion, the design process doesn’t have as clear of a concept as the previous Mercedes Benz museum where functions are clearly directed but it does show the potential of computation in realizing complex and fascinating forms that we designers would not usually be capable of through traditional analog methods.
The pavilion is an explores the paradigm shift from linear spaces, not necessarily in a literal sense but as a space that can be adapted to a variety of social uses. The vivid structure
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Figure 17. Closer detail to pavillion and asterisk perforations
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CONCLUSION Architecture needs to be thought of as a discourse not constricted only to buildings. Through the study of precedents we can reinforce our knowledge on the vast role architecture plays in society. Architecture can be art, a symbol or an exploration of spatial experience, key concepts all which are relevant in integration with the vision of the Wyndham Project. The Gateway Project seeks be a symbol of progression and innovation, as one that reflects the global digital age. Parametric modelling captures such ideas being about change and flexibility and will indisputably be playing an important role in the future of architecture. The potential of these technologies will be acknowledged in the design of the Wyndham Gateway. Precedents will aid the development of the design by informing us of what fabrication methods are feasible while giving insight towards successful parametric projects. It is necessary to understand the theories behind parametric design in order to make conscious design decisions In reflection of ideals and method employed within the design process, it is clear why computational design in this case the study of parametric modelling is becoming increasingly prevalent in the industry today. While there is fear that the use of technology could dull creative expression through the means of traditional media, this is an irrational and terribly negative perspective. It appears to ignore of the advantages of parametric design outside of aesthetics in function, efficiency and calculation of feasibility. It will always be the architect’s job to conceptualize how an environment will function and how to direct an experience but it regards to aesthetics an open mind must be kept. What parametric technology offers is an expanse of possibilities. The design shall always be evolving and changing until the final solution to demonstrate how necessary exploration with multiple iterations is to find the best possible solutions to the problem. By building on the foundation of the designer’s intent, parametric modelling can be used to enhance designs. The process is not dependant on computation, as long as the integrity behind the building is bore in mind. It is after all the designer (and the client) who will have the last say in whether they have achieved what they have sought. For this project we intend to see the Wyndham City Gateway Project as a symbol, on of both the present and the future. The effect it will have on onlookers of the present will be a representation of what we as a society strive for and how we continue to advance. As those of the future look to it, it will remain a symbol of the past and our roots.
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APPENdiX IMAGES Figure 1 Exterior of Danish Pavillion, Figure 2. Interior, continuos looping circulation with a central focal point of display, Figure 3. Night scene highlighting the led lighting installations within the perforations, < http://likegoodarchitecture.com/2013/04/the-danish-pavilion-for-expo-2010-by-bjarke-ingels-group/> Figure 4. Effect of exterior perforations on facade within interior, <http://farm5.staticflickr.com/4010/4593041416e_ f487c9dcaz_ .jpg> Figure 5. Exterior form of the Church of Saint Pierre,< http://www.payneandladner.com/wp-content/uploads/2013/08/03Relg-StPierre-Firminy-02.png> Figure 6. Stream of Lights within interior also due openings within the facade, <http://farm5.staticflickr.com/4068/456556741416_ ef487c98gfaz_ .jpg> Figure 7. Utilization of Geco to analyse environmental factors surrounding Station, Grabner, T. and Frick, U. (2013), GECO™: Architectural Design Through Environmental Feedback. Archit Design, 83: 142–143. doi: 10.1002/ad.1572 Figure 8. Convuluted Inferences, resulting morphology through use of WeaverBird, < http://www.suckerpunchdaily.com/wp-content/ uploads/2011/11/DSC3475.jpg> Figure 9. Mercedes Benz Museum Exterior, Figure 10. Conceptual diagram of building and following stages of the design process, Figure 11. Mercedes Benz Museum interior programme section, Figure 12 & 13. Interior renderings describing the experience within the museum Figure 14. Exterior façade <.unstudio.com/projects/mercedes-benz-museum> Figure 15. Wide View of Lin/Non-Lin Pavillion, Figure 16. Depicting scale and evolution of form in the algorithm Figure 17. Closer detail to pavillion and asterisk perforations < Marc Fornes (2011) “nonLin/Lin Pavilion”<http://theverymany.com/constructs/10-frac-centre/>> REFERENCES Basulto, David. “Denmark Pavillion for Shanghai Expo 2010 / BIG” 21 Sep 2008. ArchDaily. Accessed 26 Aug 2013. <http://www. archdaily.com/6465> Designtoproduction, “Mercedes Benz Museum: Stuttgart, 2005 <http://www.designtoproduction.ch/content/view/4/21/> accessed August 2013 Design Week (2006 May 11) “Fine Line”, <http://www.designweek.co.uk/opinion/fine-line/1111392.article> Grabner, T. and Frick, U. (2013), GECO™: Architectural Design Through Environmental Feedback. Archit Design, 83: 142–143. doi: 10.1002/ad.1572 Marc Fornes (2011) “nonLin/Lin Pavilion”<http://theverymany.com/constructs/10-frac-centre/> Patrik Schumacher [2012, May 6] “Patrik Schumacher on Parametricism - ‘Let the style wars begin’ posted to Architects Journal <http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> Stefan Simons (2006, November 28). “A Concrete Testament: Le Corbusier’s Final Project” <http://www.spiegel.de/international/aconcrete-testament-le-corbusier-s-final-project-a-451392.html> Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-22
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