Design Studio: Air - Part A

CONTROL FREAK CONTROL FREAK CONTROL FREAK

CONTROL FREAK SHANNON TERRY 757856 DESIGN STUDIO:AIR - 2018 JULIUS EGAN

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK

TABLE OF CONTENTS PART A: CONCEPTUALISATION 1 3 9 17 22 24 25

A. // INTRODUCTION A.1 // DESIGN FUTURING A.2 // DESIGN COMPUTATION A.3 // COMPOSITION/GENERATION A.4 // CONCLUSION A.5 // LEARNING OUTCOME REFERENCES

INTRODUCTION

I'm Shannon, and I'm a third year student in Architecture at the University of Melbourne.

Design Studio: Air is my third design studio and I'm excited to see where it takes me.

Architecture to me is exciting because it is fundamentally just a bunch of materials produced on this earth put together. It is the integration of artistic innovation in a wide range of forms.

I am originally from Hobart, Tasmania. I was lucky enough to be brought up with keen and creative parents, always encouraging me to take my artistic career further.

Moving to Melbourne broadened my experience and knowledge of the wide range of architecture and the culture PHOTOSHOP

1

INDESIGN

AUTOCAD

within. It's interesting experiencing and comparing the types of architecture in Hobart and Melbourne.

My experience with digital design technology began in first year where I was dropped in the deep end. I remember my first tutor saying "I'm sorry to break it to you, but the only way to learn the programs are to just do it". Two years down the track, I can safely say I have come a long way, and even now I know it is just the beginning.

Technology is imroving all the time and it is only getting easier for architects and drafters to complete a project in an efficient manner. CAD programs are becomming easier and more efficent to use every year.

RHINO

GRASSHOPPER

BOATHOUSE DESIGN LEARNING FROM THE MASTER

TADAO ANDO SHANNON TERRY 757856 SITE LOCATION

1 BOATHOUSE ROAD KEW, MELBOURNE VIC, 3101

BB ION SECT

SEC

TIO

N A A

YARRA BEND RD

SUN PATH DIAGRAM

TOPOGRAPHY

LEE UFAN MUSEUM

LE

Y

PA

R

K

R

D

INTERIOR RENDERS

HYOGO PREFECTURAL MUSEUM OF ART

D

SITE MAP

ST

U

SCALE 1:400

ACCESS CHI CHU MUSEUM

SECTION AA

SECTION CC

SECTION BB

NORTH-WEST VIEWS

GALLERIA AKKA

EXPLODED AXONOMETRIC

DESIGN STUDIO: WATER

SEMESTER 2, 2

CASE STUDY 01

CLEVELAND CLINIC LOU RUVO CENTRE FOR BRAIN HEALTH FRANK GEHRY PROJECT YEAR: 2010

LAS VEGAS The concept behind Frank Gehry's building the Cleveland Clinic Lou Ruvo Centre for Brain Health in Las Vegas, was to 'keep Memory Alive'. Gehry has a strong connection with this specific masterpiece of architecture he created due to his family history of Alzheimer's and Huntinson's1.

This building is a fusion of simplistic cubes and a wave formation created on comput-

er software. It is also descibed as 'Lego-like and distorted 2 blocks' . In creating this project, he generated a structure which is easily remembered, fun and vibrant.

With these design principles, Gehry created such a form with the aid of modern technology, such as Grasshopper and more complex parametric design plugins.

1 Etherington, R. (2010). Lou Ruvo Center for Brain Health by Frank Gehry | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2010/06/17/lou-ruvo-center-for-brain-health-by-frankgehry/ [Accessed 2 Mar. 2018].

2 Cleveland Clinic Lou Ruvo Center For Brain Health / Frank Gehry, Archdaily, 2010 <https:// www.archdaily.com/65609/center-for-brain-health> [Accessed 4 March 2018]

FIG 1 3

FIG 2

FIG 3

FIG 4

DESIGN FUTURING: A.1

4

CASE STUDY 02

THE CITY OF CULTURE PETER EISENMANN PROJECT YEAR: 1999

SPAIN

FIG 5

FIG 6

5

FIG 7

The City of Culture by Eisenmann is a new cultural centre for the Province of Galicia. The building contains three sets of information. The first of which is the street plan of the medieval centre of Santiago overlayed with a topographical map.

The second is a modern Cartesian grid which is amalgamated over the medieval routes. Finally, with the aid of computer modeling software, the topography of the hillside was distorted into two flat geometries.

Hence, the topological surface

we see in the image below.

The surface neither acts as a figure nor a flat map, but rather a 'figured ground and a figured figure'1.

The composition of the three elements are juxtaposed with the surround landscape of Santiago, leaving a place for tourists and locals to experience the city both historically and in the present.

1

"The City Of Culture / Eisenman Architects", Archdaily, 2011 <https://www.archdaily. com/141238/the-city-of-culture-eisenman-architects> [Accessed 5 March 2018].

FIG 8

DESIGN DESIGN FUTURING: FUTURING: A.1 A.1

6

BIOMIMICRY

algorithmic sketchbook

7

The piece of music, Arrival on Platform Humlet by Percy Grainger took me by surprise as I listened to it walking through the site at Rushall Station in Fitzroy North. I started on the east side of the bridge as the music started. Throughout the song, I got a strong sense of anticipation and I felt agile.

The music changed from calm to intense within seconds.

user into it. It has a nook area at the back which resembles the complexity of the song as the song progresses.

I wanted to create a pavillion structure as users walk up and down the Merri Creek River.

Like the song, the form starts off very open and captures the

In a similar way to the song, the form encaptures the user, bringing them closer to the nook at the back.

I intended for the pavillion to be by the Merri Creek because as I first walked across the bridge, this spot captured my attention. It is secluded beyond the shrubs, and is open for the curious.

DESIGN FUTURING: A.1

8

A.2

DESIGN COMPUTATION With the rapid changes in technology, computational design techniques are expanding.

It allows the user to explore multiple design options, as opposed to very few options in traditional design techniques (due to limited time and energy). With this intention, designers can evaluate and optimise the best possible strategy.

Furthermore, with the upcoming technology, these computer programs are beginning to have the opportunity to interconnect and it is becoming much easier to transfer data between the different softwares. In addition, contemporary technology allows us to complete the tedious and repetitive tasks very fast, making the process much

more do-able. This gives more time for the designers to create interesting and unique figures that would not have been made possible otherwise.

The contemporary computational design strategies allow simulation like real life data (including sun path diagram in a specific location) much easier and very realistic, thus we are producing more sustainable designs. Finally, the technology allows people with left-brain logic to encode the data to create the forms, which might otherwise be quite difficult.

Computational design is logical and allows for a set of data which can be evaluated, revised and improved1.

1 "5 Ways Computational Design Will Change The Way You Work", Archdaily, 2016 <https://www. archdaily.com/785602/5-ways-computational-design-will-change-the-way-you-work> [Accessed 11 March 2018].

FIG 9 9

CASE STUDY 01

KOLON CORPORATE AND RESEARCH HEADQUARTERS MORPHOSIS ARCHITECTS PROJECT YEAR: 2018

SEOUL, SOUTH KOREA

FIG 10

An example of a building which was optimised with computational design is the Kolon Corporate and Research Headquarters in Seoul.

The design is by Morphosis architects, who use sustainable and efficient technology. The exterior facade of the building has a shell which has optimal shading, thus keeping the building cool during the summer and warm in the winter. The designers used a 'holistic approach' to minimise energy use and conserve resources1.

1 Marco Rinaldi and Marco Rinaldi, “Kolon Corporate And Research Headquarters By Morphosis”, A As Architecture, 2017 <http://aasarchitecture.com/2017/02/kolon-corporate-research-headquarters-morphosis.html> [Accessed 14 March 2018].

DESIGN COMPUTATION: A.2

10

CASE STUDY 02

WILLIAM BARAK BUILDING ARM ARCHITECTS PROJECT YEAR: 2018

MELBOURNE

FIG 11

FIG 13 11

FIG 12

FIG 14 The William Barak Building on Swanson Street in Melbourne CBD is another building created with a contemporary comutation design program. Designed

by ARM architects, the building contains a photograph of Barak. Barak was an artist and an influential crusader for aboriginal social justice. ARM architects went through a step by step procedure to create this masterpiece. First they trans-

formed the photo into a binary black and white image, then using Photoshop the image was converted into horizontal bands of black and white. The bands were then turned into vector based line work to inport into 2D and 3D CAD files. Without the contemporary technology for computational design, this building and hundreds of buildings around the world would not have been made possible1.

1 'Barak Building / ARM Architecture', Armarchitecture.Com.Au, 2015 <http://armarchitecture.com. au/projects/barak-building/> [Accessed 17 March 2018].

DESIGN COMPUTATION: A.2

12

DISSOCIATION

The series of films, The Enclave,

by Richard Mosse was highly immersive and attention grabbing.

The series depicts the conflict in the Democratic Repulic of Congo in a surreal world. The magenta colour sounding the people was created with infared cameras; changing everything green to a bright, unworldly pink. When researching Mosse's project in depth, I read that 5.4 million people have died since 1998, and yet we hear near to nothing about this monstrosity in the media.

This realisation of the war torn

13

country jolted me into reality as I viewed the series. I no longer see it as 'surreal', but rather as powerful, shocking and alienating. The artwork, along with the research accompanied by it showed us that the situation is very real, as is our detatchment to it.

My partner and I decided to base our project on this detatchment and dissociation.

We explored Rushall Station and decided to create a form where commuters wait for the train in a secluded area of the site.

This is a place where the urban surroundings are out of sight of mind, and the peace is broken only by the arrival of the train.

We began with a similar form to a tree, as we know that trees are associated with nature, thus is peaceful.

As we created this form, we loved it, but we knew we could go further and take this form out of this world, like The Enclave. We exploded lines from our points on the original structure, and attached cylinder forms to these points.

It was then, when we knew that the main tree structure must go. Remained was the cylinders, floating in space, as seen in the figure above. They allow light to float through, dappling the ground with speckles of light.

The combination of the cylinders, the location, and the motif, allowed us to achieve the 'peaceful' aspect. With the noise of the train arriving we get the 'jolting' sensation, as the commuters jolt back to reality.

DESIGN COMPUTATION: A.2

14

algorithmic

ard Mosse - The Enclave hall Station - Waiting

15

sketchbook

DESIGN COMPUTATION: A.2

16

A.3

COMPOSITION/GENERATION In the reading 'Computation Works; The Building of Algorithmic Thought', Peters explains that as computerisation and computation both have very different meanings. Computerisation may be described as virtual drafting to make it easier to edit, copy and increase the precision of drawings. Computation on the other hand is the use of the computer to process the parameters of the code in

order to create complex orders, forms and structures. Algorithms are translated through the computer software, and will only produce something if the set of algorithms and parameters are written in a particular language that the computer can understand1.

1 Brady Peters, 'Computation Works: The Building Of Algorithmic Thought', Architectural Design, 2.83 (2013), 8-15.

FIG 15 17

CASE STUDY 01

ICD/ITKE RESEARCH PAVILION ICD AND ITKE PROJECT YEAR: 2014

STUTTGART

The Institute for computational deign (ICD) and the Institute of building structures and structural design (ITKE) at the University of Stuttgart constructed a research pavilion which shows the novel design simulation, and fabrication processes. The designers formulated the project from a 'bottom-up' strategy for a biomimetic investigation for natural fibre shells. The project was not only made by architects, but also biologists, palaeontologists and engineers. The role model and inspiration was the elytra, a protective shell for beetles' wings1. This inspiration, drove the workers to take the form further, yet still using a similar shell like structure like the beetles.

1 'ICD/ITKE Research Pavilion 2013-14 | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart.de/?p=11187> [Accessed 18 March 2018].

FIG 16 COMPOSITION/GENERATION: A.3

18

CASE STUDY 02

TEXTILE MORPHOLOGIES SEAN AHLQUIST PROJECT YEAR: 2013

STUTTGART Sean Ahlquist's exhibition at the Stuttgart University consisted of scaled protoypes and computational simulations exploring spatial forms. Ahlquist develops his work around the behaviour and performance of various materials. Thus, generating multi-layered membrain systems and textil hybrid

structures. The extent of computational design enables expression of parametres and and sets of rules. Alhquist speculated various design potentials by stretching the parametres of the computational design program1.

1 'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.

De, 2013 <http://icd.uni-stuttgart.de/?p=8893> [Accessed 18 March 2018].

19

FIG 17

FIG 18

COMPOSITION/GENERATION: A.3

20

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK 21

A.4

CONCLUSION

Part A has given me an insight on the revolution of technology in the field of architecture. The computational design strategies are expanding in many ways in the architecture world to come up with flexible, strategic and sustainable designs.

Throughout the discourse of this module I have produced architectural forms at the Rushall Station site in Fitzroy North.

The forms I created were based on the piece of music, Platform Humlet by Percy Grainger, and

the series of filmwork, The Enclave by Richard Mosse.

I used my interpretation of the two pieces of work and used my up and coming knowledge of the Grasshopper plugin for Rhinocerous 3D to formulate my designs. It was infact the mistakes I made in Grasshopper that allowed my work to develop into shapes I never would have imagined would be possible at my current level of computation design.

CONCLUSION:A.4

22

CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK CONTROL FREAK 23

A.5

LEARNING OUTCOMES

At the beginning of Design Studio: Air I was terrified of what was yet to come in the semester. Learning new programs, especially coding, is challenging for me and is out of my confort zone.

After the first week of the semester, I realised it was actually easier than I exptected.

Although the codes look complex and confusing, they are very logical.

Three weeks into the semester I have realised that the pro-

grams have allowed me to be spontaneous and loosen up to create weird and wonderful design solutions.

In addition, I have become more comfortable and I have hope in my abilities for computational design programs.

If I were to go back on my previous designs I would use my current knowledge to manipulate the parametres of my designs, thus creating more interesting and conceptual designs.

LEARNING OUTCOMES: A.5

24

REFERENCES 1 Etherington, R. (2010). Lou Ruvo Center for Brain Health by Frank Gehry | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/2010/06/17/louruvo-center-for-brain-health-by-frank-gehry/ [Accessed 2 Mar. 2018].

2 'Cleveland Clinic Lou Ruvo Center For Brain Health / Frank Gehry', Archdaily, 2010 <https://www.archdaily.com/65609/center-for-brain-health> [Accessed 4 March 2018] 3 'The City Of Culture / Eisenman Architects', Archdaily, 2011 <https://www. archdaily.com/141238/the-city-of-culture-eisenman-architects> [Accessed 5 March 2018] 4 '5 Ways Computational Design Will Change The Way You Work', Archdaily, 2016 <https://www.archdaily.com/785602/5-ways-computational-design-willchange-the-way-you-work> [Accessed 11 March 2018] 5 Rinaldi, Marco, and Marco Rinaldi, 'Kolon Corporate And Research Headquarters By Morphosis', A As Architecture, 2017 <http://aasarchitecture.com/2017/02/ kolon-corporate-research-headquarters-morphosis.html> [Accessed 14 March 2018] 6 'Barak Building / ARM Architecture', Armarchitecture.Com.Au, 2015 <http:// armarchitecture.com.au/projects/barak-building/> [Accessed 17 March 2018] aDesign, 2 (2013), 8-15 7 'Textile Morphologies | Institute For Computational Design And Construction', Icd.Uni-Stuttgart.De, 2013 <http://icd.uni-stuttgart.de/?p=8893> [Accessed 18 March 2018]

25

IMAGE REFERENCES FIGURE 1 Giral, David, View Of The South Side Of The Building At Sunset, 2012 <http://blog.davidgiralphoto.com/2012/08/24/exploring-las-vegas-frank-gehryscleveland-clinic-lou-ruvo-center-for-brain-health/> [Accessed 9 March 2018] FIGURE 2 Carbone, Matthew, Memory Alive, 2011 <http://housevariety.blogspot. com.au/2011/01/cleveland-clinic-lou-ruvo-center-for.html> [Accessed 9 March 2018] FIGURE 3 Cantrelle, Coco, Stand Out From The Crowd. Frank Gehry'S Dreamlike Lou Ruvo Centre, Las Vegas., 2012 <https://thetravelcrew.wordpress. com/2012/04/22/stand-out-from-the-crowd-frank-gehrys-dreamlike-lou-ruvocentre-las-vegas/> [Accessed 9 March 2018] FIGURE 4 Cantrelle, Coco, Stand Out From The Crowd. Frank Gehry's Dreamlike Lou Ruvo Centre, Las Vegas., 2012 <https://thetravelcrew.wordpress. com/2012/04/22/stand-out-from-the-crowd-frank-gehrys-dreamlike-lou-ruvocentre-las-vegas/> [Accessed 9 March 2018] FIGURE 5 Llorca, Mario, Archive Of Fundaciรณn Cidade Da Cultura De Galicia. <http://www.santiagoturismo.com/galeria-fotografica/cidade-da-cultura-de-galicia-2-1> [Accessed 9 March 2018] FIGURE 6 Ito, Shawn, Cidade Da Cultura XXXVI - Museo De Galicia <http://www. flickriver.com/groups/peter_eisenman_architects/pool/interesting/> [Accessed 9 March 2018] FIGURE 7 Showcase City Of Culture, 2018 <http://files.archinect.com/uploads/ai/ aiu_showcase_city_of_culture_03x.jpg> [Accessed 9 March 2018] FIGURE 8 Vicente, Manuel Gonzalez, City Of Culture Of Galicia, 2013 <https:// www.ignant.com/2013/03/25/city-of-culture-of-galicia/> [Accessed 9 March 2018] FIGURE 9 AECCafe, 'Kolon Future Research Park in Seoul, Korea by Morphosis Architects', 2017 < 17/02/28/kolon-future-research-park-in-seoul-korea-bymorphosis-architects/ > [17/02/2018] FIGURE 10 AECCafe, 'Kolon Future Research Park in Seoul, Korea by Morphosis Architects', 2017 < 17/02/28/kolon-future-research-park-in-seoul-korea-bymorphosis-architects/ > [17/02/2018] FIGURE 11 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 12 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 13 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 14 Arm Architecture, 'Barak Building', 2015 < http://armarchitecture.com. au/projects/barak-building/> [18/02/2018] FIGURE 15: ICD/ITKE RESEARCHERS, 'ICD/ITKE RESEARCH PAVILION', 2013 < http:// icd.uni-stuttgart.de/?p=11187> [19/02/2018]

26