371392 SHAHNAZ NAMIRA ABPL30048 ARCHITECTURAL DESIGN STUDIO AIR STUDIO 10 DANIEL DAVIS
TABLE OF CONTENTS I. CASE FOR INNOVATION 1. Architecture as Discourse 2. Computational Architecture 3. Parametric Modelling 4. Algorithmic Explorations 5. Conclusion 6. Learning Outcomes II. DESIGN APPROACH 1.Design Focus 2. Case Study 1.0 3. Case Study 2.0 4. Technique: Development 5. Technique: Prototypes 6. Technique Proposal 7. Algorithmic Sketches 8. Learning Objectives & Outcomes III. PROJECT PROPOSAL 1. Gateway Project Design Concept 2. Gateway Project: Tectonic Elements 3. Gateway Project: Final Model 4. Algorithmic Sketches 5. Learning Objectives & Outcomes 6. Learning Outcomes
PART ONE CASE FOR INNOVATION
ARCHITECTURE AS DISCOURSE The discussion of architecture has always been associated with building typologies and styles. Academics are very interested to classify works by profusion of architects, though it seems rather adverse in recent architectural practice. William’s ‘Exploring Visual Culture’ discusses thoroughly how a conventional perspective on architecture may result as a misleading interpretation of contemporary architectural practice. It is essential to understand architecture as not entirely a form of art, but rather, as a symbol in a broader context, exhibiting an aesthetic form that is engraved with a deeper meaning or metaphor. Has contemporary architectural practice successfully liberate the minds of architects and their audiences? How can we justify the significant role of architecture in society today? This section will examine two architectural precedents that will give an overview on the paradigm shift in architecture. The discussion will highlight the significance of architecture to their respective audiences in relation to the function and spatial experience of each project. By having architectural and urban precedents, this section attempts to justify these two as a “symbol of culture”, not mere architecture.
PETER EISENMANN The Holocaust Memorial Berlin, Germany Peter Eisenmann made an architectural statement when he designed the Holocaust Memorial in Berlin. There is a long list of themes that inspired and associated the catastrophic history to reach this point of creating a nostalgic urban space. Perhaps, it is inevitably true that a memorial serves as a place for remembrance and respect. However, Eisenmann wanted to establish something more than just a place of reminiscence and contemplation. He was interested in inviting his audience to live in the present by translating the ‘guilt’ in the tragic Jewish history into a memorial of acceptance and redemption. It is interesting to know that Eisenmann thinks of this urban space as being too aesthetic. Perhaps, from having this point of view, one could see a broader significance on how architectural experience should offer. Through imperfection. The highlight of this memorial is the grid of stelae that runs across a slightly undulating topography, thus creating a space for contemplation and self-reflection. Eisenmann did not seem to be entirely interested in creating a single spatial experience, he seemed to be liberate his audience by providing them the freedom to have individual experience in the Holocaust Memorial. The power of architecture as a symbol or sign in social and political context in relation to Eisenmann’s Holocaust Memorial lies in the fact that simple stelaes of different heights and distance could create a kind of ‘spiritual awakening’ and self-awareness, to put it simply as “moments of contemplation”.
FRANK GEHRY The Dancing House Prague, Czech Republic
The collaboration between Vlado Milunić and Frank Gehry made a monumental breakthrough for the public in Czechoslovakia. This was accomplished during the Velvet Revolution. Milunić might have come up with an incredible idea, but Frank Gehry managed to signify a “moment of national translation and celebration”. Though perceived as a national statement, the Dancing House is criticised for its lack of integration in relation to its landscape and urban context. It is justifiable to propose that Gehry and Milunić attempted to highlight and revolutionise the typical Modernist architecture, by designing such poetic buidling. Gehry is acknowledged for his liberal approach in design, possibly to the extent of not considering the cost of construction for complex design. This could be a good point to contemplate on when creating an architecture that would be judged by the eyes of the public. One may not have the power to control individual interpretations, however it is always good to acknowledge what sort of spatial eperience we would like to create for our audience, to meet the balance between personal intent and public audience. Architecture becomes something more than just a visual pleasure when it is addressed in social and political contexts. The Dancing House becomes a symbol of how the people expressed their desire and joy for the Revolution.
COMPUTATIONAL ARCHITECTURE The use of computation has been a great aid to (architectural) designers. Design process is a very good approach to have a balanced exploration of the brain – the analytical and the creative. In contemporary architectural practice, this highlights the use of computation by means of refining conceptual ideas through digital processing. Computers are, in most cases, the ideal ‘tool’ for design refinement and manipulation due to its accuracy in providing analytical and mathematical outcomes. Thus, enabling greater range of opportunities in searching for design solutions. Computers do not necessarily function as mere ‘problem solvers’, but rather, as a storage for data of the entire design process – from the inception stage to the final outcome. It is fascinating to acknowledge how crucial is an interaction between humans and computers. Kalay proposed that communication initiated by the computers to the people tend to be less complex. Unfortunately, not vice versa. Thus, can we rely on the use of computation alone for a work of exceptional innovation?
Computers can potentially lead to a breakthrough or struggle. Originality in design process is defined by its conceptualization to persist the so-called ‘limitation of computation’. It is essential for designers to master initial design intent and digital programming to meet the requirements of the design brief as well as individual expectations and desires. The mastery of initial design intent help to define the authenticity of a design concept that guarantee the originality and meaning in a broader context. Design process begins with search, continues with generation of solutions, followed by evaluation and refined by optimization. Considering this interrelated process of ‘communication’, it is important to acknowledge that the use of computation tend to be useful in relation to addressing parameters. Computerization incorporates real life constraints within the design brief. This leads to more appropriate and justified solutions. Though design is highly subjective and highlights the significance of achieving an aesthetic form, computational architecture offers solutions through a process of problem analysis, solution synthesis, evaluation and communication. As discussed earlier, it is crucial to acknowledge each step as a phase of design refinement that leads to optimization of design outcome. Changes are inevitable in design process. Design process is a filled with uncertainty and simultaneouly, leads to further explorations for more discovery. The changes may include client’s expectations or environmental needs. As a part of communication, modified goals and constraints in (architectural) design process is inevitable and can possibly lead into something entirely different from initial design intent. Thus, it is crucial to should be highly anticipated because they may lead to something entirely different from initial design intents. It is always favorable to have design constraints to maintain a traceable design process. The research on computer-aided design has managed to develop the different systems that can assist designers in their process of generating innovative inception. From drafting and modeling systems, the use of computation has been a helpful assistance for linear and geometrical drawings. Further development leads to analytical systems, rationalising the analytical solutions. And recently, the design systems are subjected to refinement and further development by the designers through both computation and computerization.
PARAMETRIC MODELLING Parametric modelling offers greater possibilities for designers to explore design solutions within finite parameters. I personally regard parametric modelling as very intriguing yet daunting at the same time. It has always been a challenge to understand the mathematical logic behind such practice. Taking into account Burry’s ‘Scripting Cultures’, it seems that incorporating scripting in formal architectural education is ideally a necessity to explore architecture in a deeper mathematical engagement. It is fairly justifiable to acknowledge parametric modelling and algorithmic design as both motivation and challenge in recent architectural practice. Form-finding seems to be the current interest highlighting the search, discovery and decision-making within design process. Neri Oxman proposes in her talk on ‘Designing Form’ that nature offers finite references and understanding of structural system. It is astounding how parametric modelling has come a long way to establish such prominence in contemporary architectural discourse. Integrating Burry’s ’Scripting Cultures’ and Oxman’s theory on ‘Designing Form’ broaden my perception on the nature of design (process). Perhaps a deeper mathematical and philosophical mastery can potentially optimise design outcomes. Considering how crucial is the role of mathematics in architectural practice, parametric modelling and algorithmic design seem to address mathematics in a more innovative way, thus etablshing multidisciplinary approach within the design process. This section will discuss other two parametric projects can be define as architectural innovation. Works of Zaha Hadid architects are some of the best precedents for parametric innovation and inspiration. Thus, inviting us to discover the application of ‘Scripting Cultures’.
ZAHA HADID ARCHITECTS Arum Shell for Venice Biennale 2012 Venice, Italy
Zaha Hadid’s works in Venice Biennale 2012 entitled Arum Shell is an example of applied algorithmic design. Form-finding is explored by deriving inspiration from nature and addressing it with structural integrity and materiality. Integration of weight shells and tensile structures was one of the many breakthroughs achieved by Zaha Hadid Architects. This proves that through algorithmic modelling with parameters, a simple shell can structurally and aesthetically transform into a master piece of architectural innovation. I have mentioned earlier Neri Oxman’s lecture on ‘Designing Form, which pays a huge interest in adapting natural forms as reference to structure. Perhaps this has been a great aid to Zaha Hadid Architects in their recent works and explorations with parametric modelling. Such architectural breakthrough might have not been possible without the help of constraints from nature and materiality as well as opportunities offered by applying parameters for form-finding. Indeed, form-finding has been successfully addressed through parametric modelling where constraints act as a motivation to explore the variety of design solutions.
Zaha Hadid Architects establish a significant role in the development of Parametric Architecture. Patrick Schumacher, a partner at Zaha Hadid Architects, wrote in Parametric Manifesto that “the concept of style has long been losing ground within architectural discourse.” This thoroughly addressed Williams’ contention on the integration of realms within the architecture that may best define it as a discourse - various modes of interests interlinked to address architecture as a topic of discussion. Beethoven Concern Hall is a public space in Bonn, Germany that is situated nearby the Rhine River, following a gentle slope - highlighting its entry and thorough circulation. Its crystalline mass “growing out of earth” and “floating on water” enhanced not only the surrounding natural environment but the spatial experience of its users.
ZAHA ARCHI
HADID ITECTS
Beethoven Concert Hall Bonn, Germany
Addressing Beethoven Concert Hall in context will lead to the discussion of how this parametric architectural space contribute to the society. Its cultural values are not only limited to the fact that it is a space designed for musical experience, but also, encapsulated the dynamic details achieved through parametric modelling. Tessellations improve the quality of natural light that enters in daytime and radiates the interior light at nighttime. Germany, as it was left with scarcely grandeur historical - Renaissance, Baroque and/ or Gothic architecture - gave a new impression of creating a contemporary public space that welcomes the paradigm shift to Parametricism.
conclusion ‘Architecture as Discourse’ has broadened my view on how significant is the role of architecture in contemporary society. Today, architecture is approached more holiistically and integrate the variety of existing disciplines. This is true with computerization that has been incorporated within the design process. One may be concerned with the originality and quality of a computerized design, however it is also important to consider the opportunities that may result from integrating the intuitive minds of (architectural) designers and the analytical abilities offered by the computers. Hence, producing a design solution as a ‘tool’ for communicating and solving the design brief and requirements. I would like to approach my design brief in a more liberal way, that does not restrict the outcome of the design itself, but rather, attempting to satisfy the contextual brief. I can potentionally begin with analog and/or metaphors that would be the design intent. The process only commences when I explore this by incorporating the set parameters, enabling a ‘traceable creativity’ to be generated. This mght be a challenge because I did not have an extensive experience with parametric modelling and algorithmic design. However, it is important to motivate and engage myself in such practice, because by having parameters and apply them through computerization, I am reminded by Neri Oxman’s approach as to how she was able to generate form-finding. Design can potentially be successful if one manages to balance and integrate ‘the intuitive and the analytical’. Considering this, I would like to explore the possibilities by engaging with the site conditions and design brief, as well as making more discoveries through materiality. This acts as another parameter within the design process, nevertheless, it is a favourable one due to its relevance and signifiance to final outcome of design - as to whether it can be constructed or not.
references Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71. Definition of “algorithm” in Wilson, Robert A. and Frank C. Keil eds(1999) in The Mit Encyclopedia of Cognitive Science (London: The MIT Press) pp.11-12 Peter Eisenman – Architect of the Field of Stelae, in Stiftung Denkmal <http://www.stiftungdenkmal.de/en/memorials/the-memorial-to-the-murdered-jews-of-europe/field-of-stelae/petereisenman.html> [accessed 28 March 2013] Patrik Schumacher, ‘The Parametrist Manifesto’, in Archpaper <http://archpaper.com/news/ articles.asp?id=4623> [accessed 11 March 2013] Hawley, Charles and Natalie Tenberg, in Spiegel ,http://www.spiegel.de/international/spiegelinterview-with-holocaust-monument-architect-peter-eisenman-how-long-does-one-feelguilty-a-355252.html> [accessed 28 March 2013] Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. Zaha Hadid Architects, ‘Beethoven Concert Hall’, in Zaha Hadid Architects <http://www.zahahadid.com/architecture/beethoven-concert-hall/> [accessed 11 March 2013] Zaha Hadid Architects, ‘Beethoven Concert Hall’, in Zaha Hadid Architects <http://www. zaha-hadid.com/design/contribution-to-2012-venice-biennale-theme-%E2%80%98commonground%E2%80%99/> [accessed 11 March 2013]