371392 SHAHNAZ NAMIRA ABPL30048 ARCHITECTURAL DESIGN STUDIO AIR STUDIO 10 DANIEL DAVIS
TABLE OF CONTENTS I. CASE FOR INNOVATION
1
1. Architecture as Discourse 2. Computational Architecture 3. Parametric Modelling 4. Algorithmic Explorations 5. Learning Outcomes 6. Conclusion
2 6 8 12 14 15 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
Hi, I’m Shhanaz Namira, a third-year architectural student in the University of Melbourne. It has been my long-time dream to be an architect. And I am very glad that every step I take in learning more about architecture, it leads me to fascinating discoveries and opportunities. Previously, Virtual Environments was the first class where I was exposed to Rhino NURBS Modelling. I learned that frequent practice helps to improve one’s quality to engage with the unknown, ‘exclusive’ digital design. What was memoriable from design learning process was the challenges and decision-making to reach the final outcome of the project. My first ‘public’ architectural project was The Body Space in 2011. The design brief required students to create a body accessory that explored domain of light. This was achieved through exploration of the newly established digital program Rhino NURBS. With the help of my wonderful tutor, Sonja Parton, I familiarized myself with Rhino and its plug-in paneling tools. As a result, I designed an architectural piece for the hand. As I was not entirely familiar with digital programming, it took me awhile to achieve my design intentions due to the trials and errors encountered during the design process with Rhino. Panelling Tools were very useful to explore the different patterns favorable for the intended design. The accuracy, variety and versatility offered by digital programs facilitates exploration of greater opportunities that would ideally satisfy individual design intents.
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. The paradigm shift in architectural critics, as implied by Williams, is moving towards “[describing] the point at which debate explands from consideration of buildings alone, to consider the psychological (and indeed other) effects that an accumulation of buildings might have.” Architecture has never been just a symbol, it is also a psychological expression and experience offering doors to infinite interpretations. 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 selfreflection. 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”. Williams signifies the significance of “[locating] architecture in a broader context, to make it legible as a social and political practice, and above all as something open to interpretation, question and use”. Though perceived as a national statement, the Dancing House is criticised for its lack of integration 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 in a more Deconstructionist approach. 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. Williams proposes that “[a]rchitecture, because of its unique position in the public realm, is a uniquely compromised art, if it is an art at all. It exists because a client allows it to exist… architecturally can scarcely exist without patronage. And it is generally the client who determine the function of a project, its specification, its location and above all, its cost the architect works within these parameters.” Architecture becomes something more than just a visual pleasure when it is addressed in social and political contexts. The essence of taking architecture as discourse becomes clear when one relates a discipline to other disciplines because it exhibits the contextual significance of architecture as not just a mere symbol, but a work of poetic art. In this case, The Dancing House is the symbol of the desire and joy for the Velvet Revolution in former Czechoslovakia.
COMPUTATIONAL ARCHITECTURE It is fascinating to acknowledge that designers are leaning towards a more experimental approach with the use of computation. Though computers are acknowledged for their accurate and analytical abilities, design requires a balanced exploration of the ‘analytical and creative’ to address a problem in a more innovative approach. Change is the constant thing there is in the world. And it is the same in the architectural world. Change is perhaps the drive for dynamism in any existing process. It drives one to search for the something that will satisfy the change. This potentially drives one to explore the ‘unknown’, in search of something that potentially gives them an optimal satisfaction to face the change. In relation to architecture, change is an element of exceptional dynamism that can be addressed with the use of computation. Moreover, it is crucial to acknowledge that consistency may not be the ideal approach in embracing the nature of design process. Hence, this section will examine the favorable opportunities by highlighting the use of computation as not so much of a core element, but a dynamic element that allows one to explore the ‘unknown’.
Considering the earlier discussion on Architecture as Discourse, one should be able to grasp the essence of paradigm shift experienced by recent architectural practices. In the past, architects, architectural writers and critics showed interest in defining and classifying architecture in a particular period, style and movement. Perhaps it is inevitable that architecture is a representation of deeper meaning or message. However, Woodbury and Burrow’s contention is that a good representation “ … must not ever commit to a specific and limited set of represented properties and feasible inferences. It should display some aspects of having strong representation; other, a significant part of the benefit of using a computer is lost. It must remain open to the weak uses of representation…” This quotes highlight the significance of being more open into design approaches and opportunities because this particular characteristic becomes the highlight of architecture as a representation of the ‘New Age’. One starts to wonder on how opportunities can be achieved through the use of computation and further application of computerization. Woodbury and Burrow proposes that incorporating computers as another design tool may enhance qualities of representation through codification. This may be applied in ‘explicit space’, in which he implied looking back to past work for more design inspiration and/or solution. He suggests the search for potential alternatives, accentuating the role of computerization within the design process. As asserted Woodbury and Burrow’s article, “computability means that we must carefully attend to using only algorithms and representations that work within the finite resources available to computation” addresses the finite opportunities that are set within parameters which would ideally lead to optimization of design solution. In addressing the issue at hand, it is essential to acknowledge that navigation and recombination are ‘sources of clarity’ that can enhance a tractable creativity. This is essential to maintain authenticity in design. Mastery of design intent and authenticity of design are, perhaps, few of the many design parameters that may be set to oneself to achieve a design innovation. This discussion may be asserted further when one has reached more advanced progress in this topic.
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 installed an architectural project entitled Arum Shell in Venice Biennale 2012. This is an exceptional innovation derived from applied algorithmic design. Formfinding 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. In relation to form-finding through parametric modelling, Neri Oxman’s lecture on ‘Designing Form’ shows a huge interest in adapting natural forms as reference to structure. Perhaps this is also justifiable in assessing the design outcomes of recent works by Zaha Hadid Architects. 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. Patrik Schumacher of Zaha Hadid Architects discusses in ‘Parametric Manifesto’ that “parametricism must not be dismissed as eccentric signature work that only fits highbrow cultural icons.” This implies that parametric approach should be perceived not only as visual pleasure but something that carries a deeper meaning. In this case, possibly, the structural breakthrough that is resolved by in-depth parametric exploration. Indeed, form-finding has began to een successfully addressed through parametric modelling where constraints act as a motivation to explore the variety of design solutions.
ZAHA HADID ARCHITECTS Arum Shell for Venice Biennale 2012 Venice, Italy
Zaha Hadid Architects has established 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 helps us to address the nature of parametric exploration done for a theatre design by the firm. Beethoven Concern Hall is a public space in Bonn, Germany, 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 Parametricism, as proposed by Schumacher, is defined by the “animate, dynamic, and interactive entities�. 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. Zaha Hadid Architects have attempted to seek opportunities for design solutions throuhg parametric exploration. As a result, this enhances both architectural and musical experiences of Beethoven Concert Hall. From the physical attributes, it seems that topography and light are the parameters in which the firm worked on. By acknowledging this approach, one becomes aware of how parametric modelling addresses real-life constraints by considering natural features such as light and landscape. And more importantly, the spatial experience provided by this designed theatre space.
algorithmic explorations loft - variations I remember Loft as the very first step in learning Rhino previously in Virtual Environments. I feel that with Grasshopper, one can make a similar outcome in Rhino. However, there is probably slight differences in establishing a relationship between the container and component. Hence, optimisation may be done parametrically.
gridshell trial & errors I have always been interested in gridshell structures because they remind me of a stadium or even contemporary furniture that also use parametric modelling during the design process. I have tried multiple attempts - some are less successful than others. The two screeshots of gridshells are some evidences to show basic geometry I take an interest in to develop a gridshell.
field fundamentals I tried to consistently update weekly Grasshopper tutorial videos to familiarize myself with the interface and available tools. One of the videos in Week 4 explored Field menu. I was actually enlightened when I did this because I find interesting to have attractor points which result as a surface of colours. Now, I am interested to explore this algorithmic formula can help me create a pavillion (for Wyndham Gateway project) that responds to climate and weather of Melbourne. However, I have not been able to explore how this polychromatic result can relate to light and/or control in future applications.
strips/folding - seroussi pavillion I feel that algorithmic design and parametric modelling offer a variety of possibilities that can only be possibly with accurate analytical processes and abilities. This implies that it can - most of the time only be done by computers. By experimenting with Seroussi Pavillion precedent, I have managed to explore one of the advantages of parametric modelling. That is, efficiency. This precedents shows that Grasshopper is indeed a challenging ‘tool’ to explore, but at the same time it helps one to generate identical elements whilst approach them more innovatively.
learning outcomes As technical learning outcomes, the studio required a vase on Week 3 and a chair on Week 4. Before the final outcomes of these algorithmic explorations, I went through a series of trials and errors to satisfy my personal brief for the vase and chair. I was not entirely intuitive with the program, but I care to admit that they are very useful in terms of considering real-life construction and/or fabrication process, in which technical attributes must be organised accurately. In addition, this process of applying algorithmic design offers a new spectacle to architectural practice that can potentially lead to exploration of innovative artistic and structural discoveries.
week three driftwood surface - vase
week four gridshell - chair
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 Stifftung Denkmal, ‘Peter Eisenman – Architect of the Field of Stelae’ <http://www.stiftung-denkmal.de/en/memorials/ the-memorial-to-the-murdered-jews-of-europe/field-ofstelae/peter-eisenman.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/spiegel-interview-withholocaust-monument-architect-peter-eisenman-how-longdoes-one-feel-guilty-a-355252.html> [accessed 28 March 2013] Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102 - 116. Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20 , 2, pp. 63-82. Zaha Hadid Architects, ‘Beethoven Concert Hall’, in Zaha Hadid Architects <http://www.zaha-hadid.com/ architecture/beethoven-concert-hall/> [accessed 11 March 2013] Zaha Hadid Architects, ‘Contribution to 2012 Venice Biennale’, in Zaha Hadid Architects <http://www.zahahadid.com/design/contribution-to-2012-venice-biennaletheme-%E2%80%98common-ground%E2%80%99/> [accessed 11 March 2013]