371392 SHAHNAZ NAMIRA ABPL30048 ARCHITECTURAL DESIGN STUDIO AIR STUDIO 10 DANIEL DAVIS
TABLE OF CONTENTS I. CASE FOR INNOVATION
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1. Architecture as Discourse 2. Computational Architecture 3. Parametric Modelling 4. Algorithmic Explorations 5. Learning Outcomes 6. Conclusion
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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
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II. DESIGN APPROACH
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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
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 A 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 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”. 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 EXPLORATION
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
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.
OUTCOMES & CONCLUSION
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]
PART TWO DESIGN APPROACH
“Design is a process of discovery.” - Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design
DESIGN FOCUS
FREEWAY PROJECT The Western Design Gateway Project is an opportunity for architects, designers and/or environmental artists to make a statement of an “exciting, eye catching installation” as it “inspires and enriches the municipality”. Wyndham City seeks to improve the current “condition and aesthetics of its streetscapes, open spaces and parks”. These key implications are significant to the group’s journey in exploring the design possibiltiies. Taking into cosideration of the other conceptual framework proposed in the brief, the group considered the significance in creating an installation that would be “viewed by motorists travelling at high speed”. As suggested by the brief, the design intent is derived from how speed affects the visual experience of the motorists travelling through the installation. This is the beginning of the group’s interest in establishing an experiential architecture that heightens the quality of the interior space. How can one create an experietial architecture, that does not only express visual aesthetics, but more importantly, psychological effects? This will be explored through digital and physical attempts to create an “entry statement and arrival experience”. Offering visual pleasure for an audience is one thing, enhancing the emotional sensation of an architectural experience and space is another. Thus, by integrating the design brief, the design intents and further explorations, the group hopes to provide a great range of possibilities in the “explicit design space”.
STRIPS & FOLDING From the beginning of our design exploration, the group considered thoroughly the potential of adapting strips and folding as future fabrication technique. As strips and folding come in individual pieces, this serves as an advantage for futher manipulation. The group seeks a technique that optimises additional architectura elements that can potentiallly be incorporated in establihsing a sound architectural experience. Lines express speed in many 20th century architectural designs. This is a potential design solution to compliment the motion of the moving audience - the motorists. The installation may be a static architecture, but manipulation of space can be achieved in such a way that it creates an illusion of speed. Strips come naturally with the interplay of light and shadow. These fundamental architectural components are fascinating to incorporate because the dynamism of these natural features are potential ‘ornamentation’. “If a spatial effect emerges from the interference or the coexistence of a number of lines, this effect is the result of an initially conscious decision within a design process. This design decision manifests itself through a more or less deliberate process and string of experiments.”
CASE STUDY 1.0
SEROUSSI PAVILLION Alisa Andrasek Paris, France
Seroussi Pavillion was the first precedent project that we explored in Grasshopper. The form references were the six points that were further developed into trajectories of “self-modifying patterns”. Based on attraction/repulsion trajectories, individual element generates its own “structural monoarching sections” through sine function. Light and shading is achieved by sine functions defined through parametric angle, orientation and size. Algorithmic and parametric relationships of each component enable choice of materiality and adapation to site conditions. Resulting swirling forms become metaphor of “living with art”. The self-generated rhythm creates a flow of motion that may potentially be an interesting design approach considering the lack of undulations of site’s topographical feature. Seroussi Pavillion is an interesting precedent, considering how a point can generate lines and reference them with an attractor point to orient the lines in particular direction. However, ts design approach will not be applicable to the group’s design intent to create something that enhances the idea of (linear) movement. Perhaps, this would be best applied for a ‘static’ design concept, in which it creates a generative, almost kinetic, kind of installation. Although the electro-magnetic fields (EMF) is a fairly complex process in computerized design, this demonstrates an automatic modification to optimise form-finding. It is indeed exciting to generate and manipulate an automated design, however it is not the potential direction in which the group hopes to address the conceptual framework of Wyndham Gateway Project.
ICD/ITKE PAVILLION 2010 Prof. Achim Menges University of Stuttgart, Germany The significance of ICD/ITKE Pavillion 2010 is the integration of materialbased computerised design and its fabrication process. This was successfully achieved as the design team produced a â&#x20AC;&#x153;bending-active structureâ&#x20AC;? out of thin plywood. This particular project is siginificant to our design research because it demonstrates how the use of computation has helped the researchers achieved an optimal form-finding for the contemporary gridshell. In terms of architectural experience, there is a sense of delicacy and intricacy with the interweaving technique of strips. The visual and spatial continuity demonstrated by the gridshell is another aspect of the project precedent that enhances the design aesthetics and structural integrity. The group was interested to explore the intersecting/weaving pattern of the individual strip in ICD/ITKE Pavillion. First attempt of algorithmic exploration demonstrates the ability to recognise and explore the weaving technique of individual strips. It was a bit tricky to create a planar surface out of a curve generated in Grasshopper. This was possible by extruding the curve in a series and interweave them accordingly. Optimisation was achieved by Cull Pattern in which three points are simultaneously culled and eliminated. Thus, readjusting the position of first and second layers of strips. As a result, this creates the weaving and intersecting pattern of plywood strips. The algorithmic exploration in Grasshopper allowed us to capture different perspectives of the stripped gridshell. The rendered models below are perspective and top views of the gridshell pavillion, shown for comparison on how something viewed in different perspective creates different visual sensation and experience.
CASE STUDY 2.0
ZARAGOZA BRIDGE PAVILLION
Zaha Hadid Architects Zaragoza, Spain
Zaragoza Bridge Pavillion is a “hybrid of pedestrian footbridge and exhibition pavillion”. It is an expression based on the concept of “Water and Sustainability Development”. Structurally, it has four elements derived from diamond shapes to enhance the structural integrity of bridge pavilllion since diamond section allows equal distribution of forces along a surface. The rhythm is accentuated by the extruded part of the bridge that generated the four elements of Zaragoza Bridge Pavillion. Complexity is achieved with the interlocking of four different spaces. Simultaneously, providing visual and acoustic experiences that are quite different from one space to the other. “Spatial identity” is identified by the transition from an more enclosed interior of the entry to a gradually open space of the end point, integrating the two separated lands. This precedent project highlights the successful integration of exhibiting a typical open bridge structure and conventional pavillion. It also focuses on qualities of the climate and light. Another groundbreaking achievement of this bridge pavillion is the application of shark scales as part of the design, highlighting both visual and structural performances. Not only did it result breathtakingly with steel, it also provides visual aesthetics and economic efficiency. Fluidity is another main feature of this bridge pavillion. This does not necessarily refer to the structural form, but more on experiential qualities of the interior space. The spatial continuity is an interesting concept as it expresses the wholeness of an architecture. Variety in this bridge pavillion is demonstrated through intersecting and bracing of structural components. Thus, creating a patterned surface that controls light penetration and heightening the spatial experience.
REVERSE ENGINEERING OF ZARAGOZA BRIDGE PAVILLION a) reference points
d) basic surface
b) surface
e) surface on structure
c) divide surface to points
f) tessellated surface
Analysis & Experimentation on Reverse- Engineering
g) kinetic tessellation
a) initial process of reverse-engineering always begin with defining points of reference; b) followed by form configuration, the group wanted to emphasise on undulating surface; c) deliberate division of surface helps to address the tessellation of real Zaragoza Bridge Pavillion; d) undulating surface demonstrates fluidity and spatial continuity the group hopes to achieve in both reverseengineering process and design approach; e) adapt surface on structural elements (small columns on the sides); f) addressing tessellation as the skin of bridge pavillion; g) applying sense of dynamism on tessellated surface
â&#x20AC;&#x153;Beauty of form is produced by lines growing out one from the other in gradual undulations: there are no excrescences; nothing could be removed and leave the design equally good or better.â&#x20AC;? - Owen Jones, The Grammar of Ornament
TECHNIQUE DEVELOPMENT
1. CONVENTIONAL UNDULATION Early exploration showed an interest in the manipulation of conventional curvilinear surface. The linear are neatly aligned in a curved form. Fluidity in form is the highlight of this initial exploration as it expresses visual and spatial continuity of a space. Thus, this is a form that can be reference back for further exploration.
2. TRIANGULATED UNDULATION The group considered the interplay between light and shadow created from triangulating the strips and folding. This might be an effective execution for patterning a surface. However, our desire to enhance linear movement might not be achievable if the exploration generated more patterning attempts. Potentially, having individual geometric form might distort the flow of linear motion.
3. FLOW OF MOTION Intersection of lines (or in this case, thin strips) was an attempt to show how intersecting two elements provide structural and artistic cohesion for the environmental art installation. Despite coherence in structure, the group considered the broken rhythm created from intersecting thin strips could hinder visual continuity.
4. ATTRACTION & REPULSION The attractor points are placed to orient the potential user - the motorist - in a particular direction. The exciting sensation arised from having an abrupt change in orientation could potentially heighten the experiential quality of this hypothetical open space. The complexity in form appeared impossible for fabrication and real activity (e.g. driving through), thus leading the group to another variation.
5. DIRECTIONAL VARIATION This exploration appeared similar to previous one, but the essence of form-finding was different. In this exploration serie, the group was interested to explore the possibilities of how the strips are oriented. Unfortunately, some are not possible for fabrication because additional connections and/or joints may be required. This can potentially break the smooth visual continuity that the group seeks in executing design brief.
6. TRIANGULAR DIRECTION With three defined points, there was a focused orientation as to how the motorists move from the entry towards the exit. A â&#x20AC;&#x2DC;triangularâ&#x20AC;&#x2122; opening seemed to be the ideal form as it adapted to the concept of linear movement. Indeed, this form served as a reference for the group to explore more possibilties on how a space could heighten sensory experiences.
7. SMOOTH DIRECTION Though â&#x20AC;&#x2DC;triangularâ&#x20AC;&#x2122; opening seemed to be an interesting formfinding approach, a much smoother undulation occured when linear exploration defined by a base curve oriented the direction of the gateway. This resulted as a smooth, unchanging freeway for the motorists. However, such smooth installation may not be a good solution to create the illusion of speed and concept of experiential architecture.
8. COMPOUND ILLUSION Rather than having a single smooth form for different driving orientations for the motorists, the group tried to have compound linear strips to demonstrate the different road orientation. Through this exploration, the group was interested in combining two compounds together, as inspired by Zaragoza Bridge Pavillion. This was the stage in which our exploration became a â&#x20AC;&#x2DC;summaryâ&#x20AC;&#x2122; of the brief, intent and aspiring precedents.
9. COLOUR EXPLORATION Exploration with colours became our recent area of interest because considering Architecture as a Discourse, the group acknoledged the significance of integrating psychology within the architectural experience to heighten sensory stimulation. Hence, achieving the groupâ&#x20AC;&#x2122;s intent to create an experiential architecture. A range of colours expresses diversity, as well as providing variety of possible sensory stimulations and affected emotions.
â&#x20AC;&#x153;If colour and light are not considered as central design factors, they cannot assume any great importance in the formation of spaces and space sequences.â&#x20AC;? - Karen Fridell Anter
â&#x20AC;&#x153;If a spatial effect emerges from the interference or the coexistence of a number of lines, this effect is the result of an initially conscious decision within a design process. This design decision manifests itself through a more or less deliberate process and string of experiments.â&#x20AC;? - Mark Mueckenheim & Juliane Demel, Inspiration: Contemporary Design Methods in Architecture
TECHNIQUE PROTOTYPES
Fabrication is indeed a crucial stage, as it assisted the group to progress into the physical exploration of our digital models. Virtual environment might be exciting until one is challenged to solve the issue of fabrication. Since our early exploration with strips and folding, the group recognized the versatility of this particular design approach and fabrication method as something that compliments our design intents of establishing visual continuity and velocity within the interior space. As we generated physical models in reference to our digital explorations, the group acknowledged the significance of accuracy in creating the illusion of speed. Accurately defined points served as points of reference that would undergo further optimisation. “Optimisation” is a term proposed by Kolarevic in regards to form-finding in digital design process. In our group’s case, optimization did not only apply to digital exploration because physical explorations with variety of materials help to broaden our knowledge as to how visual continuity and sense of velocity can be heightened in the interior space of our environmental art.
Dunn proposed that folding technique does “… not simply as a representational approach.. but also as a generative technique…” Indeed, this is something that comes across both digital and physical explorations. The greater possibilties offered an ‘explicit design space’ in our form-finding process as “… digital technologies enable the calculation and setting out of complex fold patterns, furnishing the practitioner with a greater spectrum of design options.” First physical model shown is an exploration of curvilinear strips that is aligned in an undulating curve. This is done to create a seemingly wider opening that gradually decreases in size as the potential moves through the space. Due to its inaccurate and undefined points of bending movement, the model has not been successful in demonstrating and optimising the concept of speed illusion. As for the refined physical model, the group decided to fabricate linear strips to improve accuracy for points of bending. This may not seem as an optimised manipulation of form-finding through physical exploration However, the group agreed that this is the direction we are heading towards for future design approach. Since the same materials are used for both
â&#x20AC;&#x153;The Speed of the Earth deals with light. For light can create illusion, and illusion can depict the real. Intangible, yet seemingly corporeal. A sequence of individual strobe flashes enters the eyes and perception sees a solid ball of light racing past us. Pure light becomes substance. The Speed of the Earth deals with relative perspective. Einstein postulates two different experiences of the same event, from two different perspectives, from two different orientations. Our Earthbound perspective is suspended. It is we who move, not just the heavens. The moving light is fixed. The fixed viewer is moving. The speed of the Earth deals with charm. Simple charm. Of simple lights upon simple poles and simple illusions of racing white energy.â&#x20AC;? - Mitchell Benoff, Speed of the Earth: The Illusion and Experience of Speed and Scale
TECHNIQUE PROPOSAL
Addressing the Conceptual Framework of Wyndham Gateway Project As an attempt for an installation of public art and sculpture, the group is interested in establishing an integration of artistic, structural and environmental elements. This piece of environmental art should provide an “entry statement and arrival experience” heightened by our experiential architecture, achieved through linear rhythms of strips and folding. The “the motorists travelling at high speed” is indeed the assigned users of the gateway installation. To compliment their rapid motion, an alignment of linear strips is the chosen design approach to create the illusion of speed that the group hopes to achieve. The “dialogue between sculpture and landscape” occurs when colour is added to the design approach. The psychology of colours is an interesting concept in architectural discourse. Anter contended the significant relationship between the various architectural elements as followed, “[c]olour, light and spatial experience are dependent upon each other, and all of them are absolutely fundamental for our existence as human beings.” This implies sensory qualities optimized through manipulation of space and light with additional applied colours.
The Mind & the Body An experiential architecture should ideally offer an exciting spatiotemporal experience. Our design concept of “illusion of speed” aims to heighten spatial and psychological effects of interior space. This is potentially explored and established through visual continuity of the linear strips to compliment the velocity of moving users. According to Ferlen, the interaction between the mind and body occurs at “[t]he moment we begin to perceive sensory stimulation“. This sensory stimulation refers to the time in which the motorists are travelling through the interior space defined by the linear strips. Diagram A is a helpful tool to understand how our design approach was inspired and generated over time. Initial consideration was the given site condition where there is no significant undulating topography. This leads to the potential application of strips and folding to express linear movement of the motorists. Furthermore, enhancing perspective became a significant part of our goals to achieve an experiential architecture. Deriving Inspiration from Physics The diagram (in the folllowing page) concludes the final design concept that the group has been working towards, which is illusion of speed. This leads to deriving Einstein’s equation of E = MC2 to understand the human perception of speed. There is a direct relationship between energy and speed (i.e. as both increase, the mass of object will increase too). However, an indirect relationship occurs between speed and time because as speed increases, less time is required to cover a given distance.
a) conceptualisation from considering site condition to refined the group concept “illusion of speed”
Aberration is another fascinating feature of manipulating perception - it is the condition wherein one travels in a tunnel-like environment. This becomes a design inspiration and solution in relation to further explorations with the density of strips. Derived from earlier precedent of Zaragoza Bridge Pavillion and research of Aberration, larger entry with smaller exit is the base approach for form-finding. Relating Psychology with Architecture Experiential architecture is responsible for enhancing the psychological effects of the users. As Anter proposed that “[c]olour and light are sensory qualities that have to be experienced”, the group acknowledged the significance in incorporating the natural elements of light and shadow casted by the linear strips and the range of colours. Colours help to enhance spatial quality and visual aesthetics. An insight on different intensity of colours suggested that “red significantly increased the force exerted, with participants in the red condition squeezing with greater maximum force than those in the gray or blue conditions”. This implied that particular colour tone represents and triggers variety of general reactions. In addition, Jones addressed the role of colour as followed, “[c]olour is used to assist light and shade, helping the undulations of form by the proper distribution of the several colours”.
b) Einstein’s relativity)
mass-energy
equivalence
(general
Advantages Integrating linear strips and colours help to enhance the spatial quality and sequence in which “[t[he various colours should be so blended that the objects coloured, when viewed at a distance, should present a neutralized bloom”, as suggested by Jones in The Grammar of Ornament. Perhaps, the interesting point of our design approach is the attempt of integrating the different design elements to create something that gives a psychological insight - activating sensory stimulation and heightening the level of experience within a defined space. Challenges Optical illusion is indeed a complex discourse in psychology and arts. It takes a significant amount of effort and time to establish an optimal solution because creating illusion directly implied to manipulating space and perspective view. Purkinje quoted that “[d]eceptions of the senses are the truths of perception”. Another consideration is the fact that one should acknowledge the hypothetical audience who is bound to experience the interior space. Though there is another exciting approach such as biomimicry, the group is quite firm in wanting something that does not necessarily describe a natural phenomenon or process. Thus, establishing something more abstract.
c) addressing the idea of aberration as a design solution
OBJECTIVES AND OUTCOMES
Architecture as a Discourse is indeed an important conceptual and practical framework because contemporary practice has proven that architecture is not merely a matter of providing visual aesthetics and inspiration through building configurations and typologies. Architecture is no longer defined through its appearance, but more so on the functionality and relationship between multidisciplines. By interlinking the different displines within design process, a good architect can regain their reputation as the “Master Builder”. Architecture as a Discourse is indeed something that the group wanted to address by producing an experiential architecture. The reason being, experiential implies the role of psychology in experiencing a space. Thus, not only is the group interested in “buiilding an installation”, but also affecting the emotional sensation. By having a variety of elements within a work architecture, one is aware off how architecture has managed to unlock the significant role of an installation in relation to conceptualisation. Selected precedent projects serve important roles in architectural practice due to their attempts to address issues of constructability in relation to parametric modelling. This is indeed an important point of discussion because these precedents inspire me and the group as how design manipulation and fabrication methodology work. Grasshopper does not only give a sense of rhythmic sophistication, it is also a great tool for design generation. Perhaps it is fairly justified to regard a good designer as someone who can develop and manipulate the design possibilities offered by parametric modelling. The advantages of having constraints are highlighted in the ‘explicit design space’ proposed by Kalay.
Given that the freeway installation is something that should provide an essency of unity within diversity, this highlights the role of architecture as a form of artistic expression that facilitate the needs of the users. In the case of our group, our interest in addressing spatial continuity as a sign of wholeness and concept of velocity to compliment the dynamic motion of the users, are the two principles in which the group acknowledged as a sound plan for futher development. The group is aware of how spatial continuity and velocity can be manipulated through Parametric Modelling and addressed the Freeway Project. Indeed, the challenges came when the group had to produce the design concepts in Grasshopper. Conceptualisation is a fascinating stage to drive the design development to its potential limits. However, limited knowledge in the use of software hindered the group in few trials and errors in “the explicit design space”. Through the design development, it is only natural to utilize and generate more inspirations from past exploration. Ideas change over time but “traceable creativity” is the core value that defines a good designer. Until this very moment, the active participations and discussions of the group have helped the design concept to arrive in more room for improvement and refinement. Progressive ideas have been generated, however the group is also aware that physical fabrication is another crucial process in developing intuition and creativity in utilising and manipulation different materiality. It has been quite a journey from the intial design generation to fabrication, but with our sound concept and design approach, the group hopes to develop manipulation of space and interplay of colours and lights with the strips, as to satisfy our design goal of achieving illusion of speed.
references Anter, Karin Fridell (2008). “Forming Spaces with Colour and Light: Trends in Architectural Practice and Swedish Colour Research”. Biothing: Repository for Computation Design, “Seroussi Pavillion (Paris 2007), <http://www.biothing.org/?cat=5> [accessed 15 April 2013] Benoff, Mitchell (1993). Speed of the Earth : illusion and experience of speed and scale. (Massachusetts: Massachusetts Institute of Technology) Dunn, Nick (2012). Digital Fabrication in Architecture. (London: Laurence King Publishers). Jones, Owen (1910, original publication: 1856). The Grammar of Ornament (London: Bernard Quaritch) Moussavi, Farshid and Michael Kubo, eds (2006). The Function of Ornament (Barcelona: Actar), pp. 5-14. Science Daily, ‘Colour Red Increases the Speed and Strength of Reactions’, <http://www.sciencedaily.com/ releases/2011/06/110602122349.htm> [accessed 3 May 2013] University of Stuttgart, ‘ICD/ITKE Research Pavillion 2010’, <http://icd.uni-stuttgart.de/?p=4458> [accessed 15 April 2013] Zaha Hadid Architects, ‘Zaragoza Bridge Pavillion l’, in Zaha Hadid Architects <http://www.zaha-hadid.com/ architecture/zaragoza-bridge-pavillion/> [accessed 22 April 2013]