ARCHITECTURE DESIGN STUDIO :AIR PROGRESS JOURNAL UNIVERSITY OF MELBOURNE - SHEENA BAGLEY
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CONTENTS WEEK ONE:
WEEK TWO:
Architectural Discourse Personal Project State of the Art Porject : Water Cube and Federation Square
Compositional Design Richard Buckminster Fuller: Manhattan Dome Ordos Museum Bus Terminal, San Francisco
WEEK THREE:
WEEK FOUR:
Sripting Contemporary Scriptiing Project: Fibulae
Cut Definitions
WEEK FIVE:
WEEK SIX:
Case Studies Articulated Cloud Gatenbein Vineyard Facade BANQ Restaurant -Reverse Engineering Process
Nestting Photography of Detail Model BANQ Restaurant as an Ornament Experimentation with Influence of Air
WEEK SEVEN/EIGHT: EOI Document
Advancing
Architectural Discourse
Week 1
ARCHITECTURAL DISCOURSE “The built architectural works that architecture releases into the wider social world lead a communicative double life: they speak to and intervene in communication systems outside the autopoiesis of architecture, while at the same time circulating within the architectural discourse as examples, evidence, points of critical reference etc.” (Patrik Schumacher, 2011, pp.3) “Completed buildings/spaces are but one set of reference points within the overall network of architectural communications. Buildings are photographed, published, written and talked about, but in the overall flow of architectural communications the completion of a new building is a rather rare occasion, and their immediate presence within the discourse - by being directly experienced during an architectural excursion - is so rare as to be negligible.” (Patrik Schumacher, 2011, pp.3-4)
Personal Project headpiece The idea behind this design project is Bubbles. Inspired by the Water Cube, Beijing, I designed a voronoi structured headpiece. Soap bubbles are formed using voronoi designs (; in mathematics, a voronoi design is a special kind of decomposition of a metric space determinded by distances to a specified discrete set of objects in space.)
This headpiece stands out due to its complex shapes of trusses and solids mixing together to form a whole. The trusses seem to perform by allowing more air flow and light to enter. The inspiration of a truss system was derived from Federation Square, Melbourne.
Federation Square, Melbourne Designed by LAB + Bates Smart [Lab architecture studio in association with Bates Smart Melbourne (Peter Davidson and Donald Bates)], “The Federation Square is a creation of new urban order that has never existed before”, LAB Architecture. The architects have employed non-classical geometries that govern surfaces and three-dimensional form at a variety of scales. These geometries, which are not all the same but are genetically alike, are based on concepts of fields of force and focus, he forms of Federation Square arise from a reiteration and accumulation of actions within the system set up by the architects. (Macarthur, John, 2003) This piece of architecture advances in digital technology. Federation Square forces people to think about its design, is it modern? unfamiliar? something we could relate to? or just an alien design, something from some other era? The architectural piece excells in its fabrication, popularising digital techniques for designing. Federation Square is a contectualist building; it has a familiar scale, and interesting connections with its context. “It also seeks to imitate the experiential paramters of Meblourne’s ninteenth century structure of streets and lanes. The route up and across the square from Swanston Street crosses over the Atrium and is a clear and memorable primary structure, and the complex is fractured by lane-like openings. None of these spaces is like a street or a lane, but the hierarchy is familiar.” JOHN MACARTHUR. (Macarthur, John, 2003) According to the article, ‘Federation Square: A Future About Shatters’, 1997, there were three decisions that were made during the competition of this project by the architects that were terribly wrong urbanistically; the masking of the cathedral from the Princes Bridge approach by the two thin slabs forming a triangular forecourt; the masking of Flinders Street Station corner by locating buildings hard up on flinders street for its extent and the blocking of the Russell Street vista by extending the site to the western alignment of that streets extension.’Elements of the design are similar to the work of Daniel Libeskind, the international juror, and therein may lie the explanation in part. As Oscar Wilde remarked, “Imitation is the sincerest form of flattery”, although quoting juror’s work in a competition often has the reverse effect.’ The project, Federation Square in Melbourne, had a variety of views over its form; disrespecting it, and loving it. The square has won many awards, for example, Victorian Architecture Medal—Federation Square, by Lab architecture studio in association with Bates Smart Melbourne 01. (RadarAwards, 2003). The Federation Square is an excellent example of mixing innovation with imitating existing architectural projects. The building overall performs by getting people together by the various spaces of the building; Such an approach for the Gateway Project in Werribee would be helpful. Imitating and extending the form with innovation of our own is an effective way of showing flattery and the architect’s skills. Optimising performance of the building in terms of structure in this case adds to the intricacy of the Federation Square.
http://academics.triton.edu/faculty/fheitzman/new%20buildings.html
National Aquatics Centre (Water Cube), Beijing The Bejing Water Cube, or National Swimming Centre, China was designed by Peddle Thorp and Walker-PTW with Arup in 2004-08. The water cube advances in digital technology, it has contributed to a discourse regarding improvements in technology that has affected the designs in terms of material usage as well as use of computer software. The geometry is a light-weight contruction, clad with ETFE (ethyl tetra fluoro ethylene) -which is a recyclable, ecofriendly and energy efficient material. ETFE lets more light in the centre and is more resistant to weathering effects of sunlight.To maximize energy efficiency, the Water Cube acts as a greenhouse. The ETFE cushions allow high levels of natural daylight into the building and harness the sun to passively heat the building and pool water. This sustainable concept reduces the energy consumption of the leisure pool hall by an estimated 30 percent. The water cube is self-sufficient in the consumption of energy. The system generates an effective negative U value, a net energy gain to the building. Thermal mass heat storage (in both the swimming pool water and heavy surfaces surrounding the pool) ensures that solar heating during the day is offset by overnight cooling. Variation in shading of the facades ensures that fabric heat loads are minimized in summer but maximized in winter, when the solar heat gain is most beneficial. This is achieved by patterning the various layers of the facade with translucent painted frit and by ventilating the heat out of the cavity in summer, and containing it in winter. (Professor Tristram Carfrae, 2006) The Water Cube building optimises performance with the help of materiality. The structure of the building is but a symbolic representation and generation of voronoi systems mixed with bubble inspiration, resulting in an optimised form of the structure which perfoms well with the function of the building--national swimming centre.
Computational
Week 2
Design Techniques EOI
Computation design is a process in which computation is used to solve design problems. A computer is used to perform millions of mathematic computations to create multiple outcomes. These could be anything : manipulations, reductions or form generations. The result of this technique can only be created with the help of a computer, these solutions could not be skethced by the designer/creater alone. Computation design techniques are much faster and have the possibility of creating the solutions to a much finer leve, using algorithmic code.
Computers can graphically illustrate solutions of a design problem. They do not tire or get bored, unlike human beings. The required reading, Architecture’s New Media : Principles, Theories, and Methods of Compuer-Aided Design illustrates the importance of computer’s in the field of designing. Architectural designing is constrained by a number of problems, it relies on the analytical and the create sides to produce a feasible solution. Computers are amazing analytical engines, which when programmed correctly, can achieve solutions to design problems much faster and to finer details. They lack the creativity needed, but computers can follow instructions well. Humans can programme the computers in ways which can tell them to manipulate electrical impulses. These manipulations can be representated in the most suitable form required for its comprehension. (Yehuda E. Kalay, 2004, pp5-25)
Richard Buckminster Fuller’s Manhattan Dome Richard Fuller was an Architect, Inventor, Designer and Theorist. Born in 1895 (-1983), Fuller workded on numerous projects as an architect, designer, philosopher, artist, engineer and more. Fuller and Shoji Sadao designed a dome over Manhattan in 1968. He imagined cutting people off from all elements by doming the cities. According to Fuller, doming the cities would have free climate control during winter and summer-never rain or snow, it would be much warmer inside than outside (New Yorker).
Imagine Source : http://www.newyorker.com/online/2008/06/09/slideshow_080609_fuller?slide=7#slide=7
Ordos Museum Ordos Museum is located at a site which was nothing in the recent years in the Gobi Desert - the new city centre of Ordos, China. Inspired by the Manhattan Dome by Buckminster Fuller, the protective covering of this museum keeps it safe from the ‘city’, the museum was designed to be the new irregular nuclues for the new town which encourages history and culture of Ordos which would further extent into the futrue. The masterplan of the city is an urban grid which still exists only as a pattern due to its urban prematurity. (MAD Architects) MAD conceived of a futuristic shell to protect the cultural history of the region and refute the rational new city outside. Encapsulated by a sinuous facade, the museum sits upon sloping hills - a gesture to the recent desert past and now a favorite gathering place for local children and families. The facade of the Ordos Museum performs by acting as a protective covering of the Musuem, keeping it safe from the ‘city’, it protects the history and culture of China which lies within it with the help of a modern shell.
The ides of having something unique in the middle of no where, or in other words, re-defining a natural landscape, looking at it like an empty canvas and painting something out of the ordinary on it makes the Ordos Musuem beautiful. Buckminster Fuller had an idea of covering a city with a dome to protect it from the outside weather and see the types of conditions arising inside the dome because of its existance. The simplicity of this design integrated
into the vast environment around, puts the Museum in contrast with the surrounding. The Museum in Ordos stands out and offers an environment within which people can experience their culture. A simple, tranquil, yet unique design which performs well with the surroundings and in itself, and optimises its structure is needed for the Gateway project and the Ordos Musuem can inspire great ideas.
B u s Te r m i n a l , S a n F r a n c i s c o The Bus Terminal is a new project near the Bay Bridge in San Francisco. Developed by Bin Lu and Joongsik Yang at the Southern California Institute of Architecture, it is a design project that is based on parametric design, and sustainable technologies as design tools. The Bus terminal is inspired by voronoi patterns that analyses the people coming to the bus station from different directions at different points in time. The result of this is a tree-like structure, opening to the sky, with a cellular pattern. It is inspired by voronoi
patterns, similar to the water cube in beijing. This architectural piece uses a simple idea and results in a complex pattern. The Bus Terminal performs by directing people coming in to the station from different directions into the tree-like structure created. The optimisation of structure can be clearly seen by the way the Bus Terminal is designed, focusing on voronoi, cellular patterns to come up with the design project. Such an approach to design the Gateway Project could be used.
Week 3
Contemporary Scripting
THEVERYMAN,, ART BASEL MIAMI
Sc r i p t i n g i s t he pro c e s s us ing m athem atics and comput ers t o creat e a design, for ex ample, Py t h o n , R hi no s c r i pt, R hino plug-ins like G ras s hopper. Script ing means comput er programming at s eve ral l eve l s . S c r ipting is the capability that s offered by design soft wares t hat let s t he user cha n g e , a da pt , o r r e c onf igure s of tware accordin g t o t heir modes of working.
THEVERYMAN, ECHINOIDS
Sc r i p t i n g ba si c a l l y i nvov les a deep engagem en t be t we e n t he c o m put er and the us er by au t o ma ti ng ro ut i ne as pects and repetitive ac t i v i t i e s, gi vi ng a m uch greater range of ou t c o me s i n t he sa me am ount of tim e.
I n comput ing, ‘script ing language’ is oft en t he same as ‘programming language’, via t his, t he user gives inst ruct uct ions t o t he comput er. (Burr y Mark, 2011, pp8-71)
Co n t e m p o r a r y S c r i p t i n g P r o j e c t : Fibulae Fibulae is a project by THEVERYMAN for the collection of Jewelr y by Irene Neuwrith exhibited during the Spring in NYC. This is a digitally fabricated architectural product of high intricacy which acts as an embroidered symbolic brooch.
THEVERYMAN, IRENE NEUWRITH
Jewelry has been treated as a form of luxury for ages, evolving by ways of varying techiques and treatment. Technology has played a vital role in its development as items of sophisticated modern luxury. The golden lattice of Fabulae represents the use of gold in jewelry and the fine, delicate, vibrant, multicoloured jewels are showcased in interlacing tubes finished with floral like openings for the exhibition.
PLAN
Keeping the idea of Jewelry, THEVERYMAN uses Python and Rhinocommon for scripting. The use of interlacing tubes wih floral like openings to showcase the multicoloured jewelry collection of Irene Neuwrith, appears to have been inspired by the multicoloured flowers seen in the Spring. To give a royal look, the use of golden lattice has been undertaken which enhances the colours and sparkles of the jewelry. The design philosophy of this project enriches the collection by Irene Neuwrith and makes it stand out. Scripting used mathematics and computers to produce
a unique design. Use of scripting in this project illustrates the different patterns that can be achieved. The structure performs well with the design context of Jewelry. Something different using scripting is seem in this design which compliments the jewelry being displaced. The performance of this structure is optimised by the design process; scripting and mathematics. This unique approach to achieve the results required can make the Gateqay Project sophisticated and highten Werribee’s freeway.
TOP VIEW
Research project: CUT/DEVELOP Cut Definitions
Week 4
Matrix Combinations
For Matrix combinations, a number of input/associative technique/output combinations were explored. According to Kalay’s reading, ‘Search’ is a process we engage in when the outcome of an action cannot be fully ascertained in advance. It consists of findings, or developing, candidate solutions, and evaluating them against the goals and constraints. Seach processes involves two steps; the first being, producing candidate solutions for considering, and the second being, chooseing the ‘right’ solution for further consideration and development. Refering back to the reading, there are three design methods of achieving a solution; ‘Depth-First’, ‘Breadth-First’ and ‘Best-First’. (Yehuda E. Kalay, 2004, pp. 17-19)
For this exercise, Breadth-First has been used. In this method, several alternative ways to develop a design are explored before taking any one into considertation and forming a logical conclusion. All possibilities are explored before coming back to the one which looks more promising than the other designs. Variations of Three designs have been explored following the ‘Depth-First’ approach, in which a design solution is explored to its logical conclusion, before moving on to another design solution. In this exercise, performance of the structure is explored; Performance involves different factors that could be optimised to each to a unique design, in this exercise, a way to optimise structure is being explored.
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ONE SurfaceGrid-domeshape/ImageSampleKinkCurv/ DataDrivenRotation
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For this variation, a dome shaped surface was used as an input, an image sampler as an associative technique and data driven rotation as the output. The variations in this exploration were done by varying the slider value for the rotation which resulted in number 24, 25 and 27, and by changing the views of the rotated result, which resulted in number 26. Data driven shader was added to number 27 to add a pink colour to the end points of the ‘kinky curve’ used in this exploration. Number 27 sort of looks like a futuristic dress, the dome being the top, and the ‘feather-like’ lines being the skirt. Details of each are shown. Refering back to Kalay’s reading, for this exploration, a ‘Depth-First’ design method has been used. In this method, a promising candidate solution is explored to its logical conclusion, it either meets the goals, or it fails, before another candidate solution is examined. (Yehuda E. Kalay, 2004, pp. 19) These variations are done in order to try to optimise the structure, depth analysis is required to come to a logical conclusion for optimisation. Number 27 being an optimised structre of this form.
GRASSHOPPER DEFINITON
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UsingSurfaceNormals/Image/DataDrivenRotation
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Colour Added Variation
THREE UsingSurfaceNormals/Image/ CircleOutputDataDrivenRotation_DataDrivenShader
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Circles added to the plane
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KEY 1. Pattern and Overlap_Image Sampler_Data Driven Rotation 2. Using Surface Normals_Image Sampler_Data Driven Rotation 3. Using Surface Grids_Image Sampler_Change in surface 4. Using Surface Normals_Attractor Point_Data Driven Rotation 5. Pattern and Overlap_Image Sampler_Surface Change_Data Driven Shading 6. Using Surface Grids_Point Attractor_Data Driven Extrusion 7. Boolean Pattern_Point Attractor_Data Driven Extrusion 8. Using Surface Normals_Curve Attractor_Data Driven Rotation 9. Using Surface Normals_Attractor Point_Data Driven Rotation 10. Boolean Pattern_Stream Text_Data Driven Rotation 11. Using Surface Grids_Pointt Attractor_Data Driven Extrusion 12. Rotation Input_Stream Text_PolyArchs Rotation 13. Boolean Pattern_Image Sampler_Data Driven Rotation 14. Explicit Grids_Image Sampler_Data Driven Rotation 15. Boolena Pattern(doughtnut surface)_Using Sets_Data Driven Rotation 16. Curve Attractor_Data driven Rotation_Data Driven Shading_Make 2D 17. Boolean Pattern_Point Attractor_Data Driven Extrusion_Make 2D 18. Attractor Point_Point Attractor_Data Driven Shading 19. Lofted Surface_Using Math Function_Data Driven Shading_ 20. Lofted Surface_Using Math Function_Data Driven Shading_ 21. Using Sets_Rationalisation_Data Driven Shading 22. Boolean Pattern_Point Attractor_Data Driven Shading
Research project: CUT/DEVELOP Case Studies Week 5
Gantenbein Vineyard Facade Stacking; Rotation; Image mapping A small winery located in Switzerland, commissed the construction of a new service building to contain large a fermentation room for processing grapes, a wine barrel storage cell and a roof terrace for wine tasting and receptions. A simple concrete structure, with the facade design undertaken by the Zurich-based desgin office of Gramazio and Kohler who proposed a strategy for masonry infill between the concrete skeleton which could serve both temperature buffer and sunlight filter for the fermentation room. This project uses digitally-guided assembly according to specific pre-programmed parameters, such as orientation and spacing. Each brick was laided with an offset that permits indirect light to penetrate. As the surface of each brick reflects sunlight differently according to the angle reletive to the facade, the building surface appears from a distance to be a pixelated composition - a condition which the architects harnessed into a depiction of the vineyard’s chief resource: grapes. This covergence of the pictorial, which speaks to the function of the building, with the envelop’s material organization becomes more or less apparent as an observer moves around the building; shifting one’s appreception between representation and pure material sensation.
Andre De Gouveia Residence Perforation; Tiling; Repetition Located in Paris, and surrounded by historic buildings. In 2005 AAVP Architecture was commissioned to rehabilitate the 1960’s era residence with a new architectural identity. In response, the architects developed a unique, gilded aluminum facade comprised of panels, each mechanically stamped with two different sizes of slotted perforations. The arrangement of these produces an image reminiscent of calcada patterns, a traditional Portuguese paving pattern which also circumscribes the project site. This motif is applied to the new facase as a kind of translucent wallpaper, generating a haze lighting effect through the perforated screens.
M c C o r m i c k Tr i b u n e C a m p u s C e n t e r ( O M A ) Framing views; Image Mapping This building comprises of two elements: concrete tube, clad in corrugated stainless steel, and the main building, a one story structure containing the program spaces, ie meeting rooms, dining, auditorium etc under the tube. The interior plan of the building is quite simple, with colour playing a major role: orange is prevalent on the west facade, green used in the central dining area and red saturates a narrow ramp of computer terminals. Unique materials are used in the interior, for example, wire mesh between panes of glass that bends light, wall coverings that create the illusion of movement, and translucent fiberglass with a honeycomb core for walls and tabletops. Graphic designers created a consistent graphic language for the Campus Center based on the international symbol for a human, with large scale graphics in some areas and, most strikingly, portraits comprised of the miniature symbols describing the different activities taking place in the building. (Archidose, 2003)
Dior Ginza (office of Kumiko Inui) Perforation; Image mapping; Layering Office of Kumiko Inui drew inspirtation from the canage pattern of the signature “Lady Dior” handbag. Interpreted at the scale of the city, the plaid and disgonal pattern wraps the taught skin of the building, disguising the scale and internal organization of floor levels and program. The facade was developed as a double-layered skin comprised of two independent, 10mm thick aluminium surfaces: an outer, perforated layer, produced with a CNCmiling machine, separated from an inner, printed layer an airspace which is fiber-optically illuminated. While the perforations and silkscreened print both depict the instantly recognizable cannage pattern, the silk-screened pattern is scaled down, which combined with the literal offset between the two layers produces a hazy effect. In counterpoint to the typically loud, electronic signage of the neighborhood, the Dior facade presents itself like an architectural apparition; a ghost-like volume articulated soley through the luminous effects of its care-fully edited surfaces.
John Lewis Department Store Layering The John Lweis Department Store intends to challenge the blank envelopes which characterizes large-scale retail, often designed as opaque enclosures to allow retailers the flexibility to rearrage interior layouts. The architects, London-based Forgeign Office Architects, focused on the physical experience of shopping as an increasingly important consideraton to complenet the convienieces of online shopping. The store is enclosed with a double glazed facade system, conceieved of as a net-like ‘curtain’ which provides privacy to the interior while introducing natural light and views of the city from the store. Each layer is treated with a frit pattern, the design of which combines a textile pattern selecte from the John Lewis archieves with a number of local cultural references. This pattern is deployed on the facade as four panels of varying density which meet seamlessly to produce a textile-like expression to the building’s envelope. The interior glazing is treated with a ceramic grit pattern while the mirrored frit of the exterior glazing reflects the surrounding city in fragments, the perception of which shifts as the sun moves around the building.
Articulated Cloud (Ned Kahn) Kinetic; Making the invisible visible; Air; Dynamic Three story, steel and glass structure, which is surrounded by a kinetic screen of tens of thousands of 5 1/2inch trnaslucent white acrylic panels that flutter in the wind, creating a dynamic surface that responds to air movement. The screen is intended to suggest that a digitized cloud has enveloped the building, its appearance changing dramatically with variations in light conditions, weather, and time of the day. When wind passes, the acrylic panels ripple like clouds moving. The skin acts as a protective outer layer to reduce heat gain on the glass facade and is visible throughout the interior.
BANQ Restaurant (Office DA) Contouring The ceiling is encumbered by the myrid of mechanical, structural, and acoustic limits inherited from the building. The entire ceiling is covered by a wood-slatted system that encases and conceals the inherited system while offering a large canopy under which to dine. The wood slats are designed as a landscape. The wine storage in the middle of the hall acts as a point of support, along with the columns(tree trunks) and acts as a monumental trunkappear to suspend the ceiling. Certain areas of the ceiling “drip” and “slump”, acknowledging the location of to place exit signs, lighting features and other details. (NADAA website)
D e Yo u n g M u s u e m Perforation; Layering; Weathering Spatial experiences in this museum are interwoven with the architecture and the natural landscape. This three story building was developed as three parallel structures whose edges are infelected to produce internal figures of garden space between them. The copper facade was designed to simulate the effects of natural light filtering through the canopy of trees. The architects used digital photographs of the site, and projected high-contrast, pixelated images of local tress onto each elevation of the de Young and its four-sided tower. These pixelated feileds were translated into more than 3mil perforations and covex debossings. The untreated copper facade panels were intended to weather in reaction to the salf-laden winds of the near Pasific ocean. The result is a building skin which mimics the effects of its natural environment in an attempt to harmonize the architecture with the landscape.
Carabanchel Social Housing Cutting; Folding This site is a 100x45 parallelogram, the architects proposed a compact volume which would provide east and west exposure to residential units. This housing has 1.5m deep terraces which flank each long facade of the building at each floor. These terraces are enclosed with bamboo louvers mounted on folding frames which provide shelter from strong east-west sun exposure and allow for use of the semi-exterior terraces. The repetition of the bamboo screen provides the building with a continuous and unique material expression.
Hills Place (Amanda Levete Architects) Slicing; Reflection Using high quality ship hull technology, to create a sculptural facade for a new office building in London. A key issue was lack of daylight in the narrow street, Amanda Levette Architects use aluminum skin with large glazed ares orientated towards the sky to maximise and channel natural light into the office, inspired by the art work of Lucio Fontana AL_A. The facade is fabricated using curved aluminim profiles assembled on-site. Selft cleaning glass and hidden gutters encuse low maintenance. The fine faceting of the aluminium strips creates beutiful and complex reflections of the sky and street making the building highly visible (Reflection). At ground level a bespoke glass, mesh and dichromatic film sandwich is animated with fibre optics to create visual depth of field and a dynamic moiré pattern on an otherwise blank facade. (Amanda Levete Architects, 2009)
Spanish Pavillion, Expo 2005 Image mapping; Selective perforation Developed as a reflection upon Spain’s unique cultural tradition. The pavillion is organized around a large central space which connects the seven exhibit rooms, conceieved as vaulted, chapel like spaces. Spain’s traditional ornate gothic vaults and islamic domes are reinterpretted as more free-form structures containing the Pavillion’s different themes. In developing the exterior enclosure, the architects looked at traditional Spanish and Islamic lattices and traceries found in late-gothic cathedrals- the strip of wood found at the threshold between a window and the interior of the room (concept of engawa). The enclosure of the pavillion developed as a similar kind of threshold in the form of a lattice structure comprised of hexagonal, glazed-ceramic tiles. The tiles are fabricated in two versions-with and without a centre aperture. Each tile is tinted in one of the six colours; variations of red, yellow, of the spanish flag whcih invoke mnay of the cultural and geological distinctions. Each six-tile panel is rotated and/or mirrored to create both continuity and a high degree of variation across the facade.
A i r s p a c e To k y a Layering; Voronoi Patterning Four story mixed-use residential and commercial building designed by Tokyo architect Hajime Masubuchi of Studio M. Lower two levels provide space for professional fashion and product photo shoots and community or compant meetins, events etc. while the upper floors feature four loft-style private residences, all of which face the street to the north and the enclosed garden to the south. The public faces of the building were developed by the San Francisco-based office, Faulders Studio. The facade of the building, reflecting upon the unique, preexisting landscape, was conceieved as a protective airspace. A series of digitally generated geometric patterns were developed, which were then overlaid and projected as voids which puncture the two layers of the facade. The resulting interstital celluar field acts as a visually dynamic threshold between public and private, framing and fragmenting views as one moves around the building. The screen facade acts to buffer the inhabitations from the street and veils the disparate functions of the building behind an extensive and unifying enclosure system.
R e s t a u r a n t A o b a - Te i ( A I P ) Perforation; Abstraction from nature This project is developed around the working concept of “soft boundary surface”. The surface takes the form of an organic membrane which responds to the pressures of adjacent spaces and is constituted as a continuous interior wrapper- a complexly curved steel armature which moves in both section and plan to unite the two levels of the restaurant and mediate between the existing shell and the interior spaces. The steel panels are perforated with a hole pattern based on a photograph of a tree canopy. Produced using CNC router, the hole pattern renders the originial low resolution image as a series of back-lit, pointillized figures whose boundaries are themselves solft and organic. Thin steel plates are used to form complex geometries using the technology of local shipbuilding industry. The steel surface is assembled as a smooth and continuous membrane. The curvature of it in plan and section suggests the organic shape of the trees, the arrangement of the hole pattern yields bth the figure of the tree and the gradient lighting effects of its canopy.
Articulated Cloud, Ned Kahn Kinetic; Making the invisible visible; Air; Dynamic Surface Grids; Image Sampler; 3D Rotation
For Reverse Engineering of the Ned Kahn Building, the Articulated Cloud, the following definition was used:
Input_Surface Grids AssociativeTechnique_Image Sampler Output_3DRotation
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In this building, acrlyic panels are added to the facade which flutter in the wind, creating a dynamic surface responding to air movement. The skin changes dramatically with variations in weather, time of the day and light conditions. The articulated skin is supported by an aluminum space frame so it appears to float in front of the building.
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The views of this building, change with the angle it is viewed from, creating different effect in the building from the corresponding sides, optimising perception. This will be the main focus of the Gateway Project.
Gantenbein Vineyard Facade Stacking; Rotation; Image mapping
The facade of the winery is a masonry infill between the concrete skeleton which serves both, as a tempertature buffer and sunlight filter for the fermentation room. Using digital technology, this project was made in such a way that each brick is offsetted in a way that it permits indirect light to penetrate. Since the surface of each brick reflects sunlight differently, from a distance, the building appears to be pixelated. Whereas, as one moves closer to the building, the image used in the designing of the facade becomes more and from some angels, less apparent. The Gantenbein Vineyard Facade is a good example of exploring different views from different angels of the building. The structure of this facade is optimised by the use of context and image mapping, providing it with a perception change from different views.
For Reverse Engineering, the following definition was used:
Input_Surface AssociativeTechnique_Image Sampler Output_Rotate Plane
BANQ Restaurant Contouring
Grasshopper Contouring
BA N Q R E S TA U R A N T D E S I G N BANQ Restaurant designed by NADAA is built in a historical setting where the ceiling hovers away from all interior walls and instead the suspension supports the ceiling structure. Each rib of the ceiling is made from different pieces of plywood adhered together in a puzzle-like form. Nader Tehrani says, the inspiration that reconciled the topography of the ceiling with the desire to create something transcendent was simple, it was the intersection of the extraordinary with the totally conventional. The terminal buildings in the Netherlands Schiphol Airport have a series of ribs through which the mechanical stuff is visible if a person looks straight above, but in a perspective view, light filters through the fins. This application was reapplied to the Banq Restaurant’s ceiling, with curving ribs of the wood which are suspended from steel rods. This ceiling ‘Performs’ by creating a unique topography as well as hiding the mechanical stuff from different angles. Seeing the ceiling in perspective, the composition appears to sway and undulate as a single unit. Whereas, looking up straight through the ribs, one can see the mechanical stuff. The design of the ceiling forms a swaying topography which, with the light effects, looks different from different perspective views. This unique topography whose views are different at different angles, and optimisation of the structure will be the design focus in the journal, and will form the basis of the Gateway Design Project.
Exploration One: For the first exploration of forming contours, the surface of the input_ surfacegrids was used, which was then connected to the Brep/Plane Section. With the help of bounding box, explode, and list items, prep frames were formed which were then connected to the other input of Brep/Plane section giving us the contours. Exploration One: The contours from the Brep/Plane section were baked, giving us the image on the left.
REVERSE ENGINEERING PROCESS
Exploration Two: The surface was explored in this experimentation. Using PointsOn, individual points on the surface were extruded in different directions to achieve something that looks like the BANQ Restaurant form.
Exploration Three: With the failure of the surface in the second experimentaion, a new surface was formed, with less extrusions in the third experimentation.
Exploration Four: Following the third experimentation, the surface was modified and was then connected to the Brep/Plane Section. With the help of bounding box, explode, and list items, prep frames were formed which were then connected to the other input of Brep/Plane section giving us the contours. The Brep/Plane section was then extruded twice, to give depth and thickness in the contours.
Final Model Front View
Final Model Perspective View
FINAL MODEL: Following Exploration four, the Brep/Plane section was connected to Projection which was then connected to End and Line to form End lines, connected to Edge surface and then extruded on x-axis. In order to achieve the intended effect of the case study, the BANQ Restaurant, various experimentations were taken into consideration for getting closer to the ceiling contours of the Restaurant. The ceiling toplogy focuses on the look as well as the performance of the building by hiding away the mechanical system. The main focus of the Gateway Project as well as the model will be the Performance of it. In free space, the contours of the model act as a static structure which can be integrated with movement to further explore.
GRASSHOPPER DEFINITION
Research project: CUT/DEVELOP BANQ RESTAURANT
Week 6
Physical Model
Refering to Kalay’s reading, ‘Breadtht-first’ design method was followed. The BANQ Restaurant was chosen from the various case studies and further explored in the form of a detail model. NESTING For the fabrication of the chosen case study, BANQ Restaurant, the final digital parametric model was simplifed a little and the following nesting definition was used which included tools such as Orient, which remaps the geometry from one axis to another. The contours were divided into sections which were then separated and ‘end’ lines were made to close the contour sections. Slits were added on each section and the base was created before sending the file to FabLab where the plywood used was laser cut.
sheet 1
sheet 2
EXPERIMENTING WITH LIGHT
EXPERIMENTING WITH DARKNESS
EXPERIMENTING WITH SHADOWS
BA N Q R E S TA U R A N T A S A N ‘ O R N A M E N T ’
“Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth. it is through ornament that material transmits affects. ornament is therefore necessary and inseparable from the object.”
Moussavi, Farshid, and Daniel Lopez (2009). The function of Form (Barcelona: actar;new york), p. 8 (Accessed via University of Melbourne LMS, Lecture Notes)
Ornamentation has now become more of an aesthetic of the building, with the help of parametics becoming more easily available. In the BANQ Restuarant, the ceiling typology not only acts as an Ornament but also performs. The wood ceiling encases and hides the mechanical, structural and acoustic systems whice offering a large canopy to dine under. The ceiling typology not only adds to the aestheics of the restaurant but also conceals the various systems thus redefining the space. When one looks straight up through the ribs of the ceiling, the mechanical systems can be seen. The wine storage in within the contours which drip down to form a ‘tree trunk’, which also acts as a point of support. Lighting features and exit signs are recognized by the ‘dripping’ and ‘slumping’ of the ceiling contours.
E X P E R I M E N TAT I O N W I T H I N F L U E N C E O F A I R Considering the BANQ Restaurant contours are static, to experiment the influence of Air on the model, the contours were simplified and fabricated again. Mixing the form with movement gave a dynamic structure which responds to influence of air and helped in identifying the main focus for the EOI for the Wynham Gateway Project.
EXPRESSION OF INTEREST DOCUMENT WESTERN GATEWAY DESIGN PROJECT
ARCHITECTURE ~Architecture arouses sentiments in man. The Architect’s task therefore, is to make those sentiments more precise. Adolf Loos ~Architecture should speak of its time and place, but yearn for timelessness Frank Gehry
HOW CAN ARCHITECTURE CONTRIBUTE In the designing and fabrication of the Gateway Project, Architectural insight would be used. As the gateway brief specifies, “the installation should provide an experience. The installation should create a focal point of iconic scale and presence and encourage a sense of pride”. Using computational designs(technology), architecture can reach a level of futuristic designs which could create a “new discourse” for the Western Gateway with new, inspiring ideas. Evidence of such innovative designs formed on the basis of unique Architecture will be illustrated in this Expression of Interest Document.
PRECEDENTS Technology driven pavilions Designed by Heatherwick Studio’s, the Seed cathedral is a technology driven pavilion which uses Performance Driven architecture and digital fabarication, providing a unique pavilion which exhibits seeds. “The design process evolved to produce two interlinked and experiential elements: an architecturally iconic Seed Cathedral, and a multi-layered landscape treatment of the 6,000m2 site.” (Sebastian J, Arch Daily, 2010)
U.K. PAVILION “SEED C AT H E D R A L” 2010
The Seed Cathedral acts as an important precedent in the design process of the Gateway project due to its use of digital technology as well as performance driven architecture. The Cathedral uses optical fibres which responds to light conditions, which shows the unseen movements from the shadows and light to illuminate the pavilion. During the day, the optic fibres illuminate the interior and ad night light sources inside each rod allows the whole structure to glow. This structure creates a “dynamic” effect as the wind passes by causing the optic fibres to move along with it. The Seed Cathedral also uses the ‘Moire Effect’ which is quite interesting.
Making the “un-conventional”, “conventional” Thomas Heatherwick, articulating his vision for the pavilion, said: “The Expo in Shanghai will be an amazing event. Our task is to make the UK pavilion stand out. We decided to do this by making one extraordinary object; not recognisable in conventional terms, set in a calm open site. Each visitor will be able to explore both in their own way. Rather than making a straightforward advert for the UK, we want our pavilion to give each person a more profound understanding of the richness of contemporary UK culture.” (Dezeen Magazine, 2009)
Technology driven façades Designed by Studio Gang Architects, the Aqua Tower uses a series of contours which define the outdoor terraces, extending away from the face of the tower structure to provide views between neighbouring buildings. These outdoor terraces differ in shape from different floors. The terraces are based on criteria’s such as the view, sun shading, and size and type of dwelling. When viewed together, these terraces make the building appear to undulate, which presents a highly sculptured appearance that is rooted in function, giving it a dynamic form. “Aqua Tower is one of few high-rises in the world that creates a community on its façade. With a hotel, apartments, condominiums, parking, offices, and one of Chicago’s largest green roofs, this multi-use tower demonstrates both architectural and technical achievements.” (Studio Gang Architects)
AQUA TOWER, 2010
Technology driven interiors Designed by Greek Architects, Mal-Vi, the ORL Clinic creates an illusion of an acoustic wave traveling through the surface of the partition created. The wooden slats wrap around the reception area, forming a desk using contour lines which is left untreated, to allow the simplicity of material being contrasted with the intricasy of the shape it creates. The change in perspective acts as a strong point in the designing of this partition wall. The illusion of an acoustic wave performs in way, that it creates a swaying effect when one changes their perspective. (Victoria King, Arch Daily, 2011)
ORL CLINIC, 2011
Technology driven buildings “The form of the building was inspired by the vaults of Seville’s expansive cathedral- I wanted to create a ‘cathedral without walls’ that would be ‘dramatic’- and also by the handsome trees already in the square” (J Mayer H) J Mayer contains elements of art and sculpture in his architecture. He notices art and architecture as similar, both about the interrelation of human and space. His buildings are complex- sculpture like forms, with non repeating elements which can be achieved by digital designs. This project is a redevelopment of Plaza de la Encarnacion in Sevilla, which is designed by J Mayer H Architects. This project has become an icon and articulates Sevilla’s role as one of Spain’s most fascinating cultural destinations. The parasols provide shade, and light and grab the attention through the design. When viewed from different angles, the design has a creative, inventive sculpture like plan which makes the contours sway with ones movement. “Metropol Parasols” mix-used character initiates a dynamic development for culture.
METROPOL PARASOL 2011
Technology driven parks “Rather than replacing the existing landscape with a new circus building – we propose to turn the natural topography into a circus landscape.” “We propose a new form of architecture native to the natural features of the Bayu region, harmoniously integrated in the natural topography of the steep slopes of the river banks. An artificial landscape rather than a manmade object. We propose an architecture that combines a rigorous functional layout with a poetic natural aesthetic. On the outside a sensuous landscape of terraces, caves and canopies for the public visitors. A symbiosis of visual and practical aesthetics.” (BIG Architects) This design of turning the Chongqing circus city into a public park is designed by BIG Architects group. The contours of this design form a landscape of terraces, caves, and canopies for the public visitors. The way the building is planned performs in its functions with spaces integrated with it. The caves and canopies add to the elegancy of the design. The use of digital technology to create this effect is amazing.
CHONGQING CIRCUS CITY 2009/2010
The Research focus of this document is: Technology/Digital/Parametric Designs/ which change in perspective.
The Design focus for the Western Gateway Project is: Performance/Perspective/Optical Illusion/
CUT/DEVELOP
MATRIX COMBINATIONS
matrix definitions--form/perception
27
From the 90 definitions produced for the matrix per group, a few were selected which according to us created a unique form and changed with change in perspective. The group of definiton results shown fit this criteria which is futher explored in order to achieve an EOI. 30
Case Study Precedent
“BANQ Restaurant capatilizes on the spatial and functional peculiarities of the space as a ground for speculation and invention, requiring maximum flexibity on the ground for the re-organization of seating arrangements, in contrast the ceiling is encumbered by the myriad of mechanical, structural, and acoustic limits inherited from the building. Thus, the entire ceiling is covered by a wood-slatted system that encases and conceals the inhertited systems. The wood slates are designed as a landscape, undulating in relation to the very equipment that conceal over-head, while encasing the columns in the main hall.� (Office dA)
The architect of the BANQ Restaurant, NADER TEHRANI used the weakness of the building, to convert it into its strength. According to the architect, the weakness of the restaurant lies in the ceiling which showed the mechanical stuff and columns which the architect intended to hide away, thus using contours to enhance the form of the ceiling, giving it topography. The BANQ Restaurant makes the unconventional conventional, it enhances the form by making the contour lines visible. The most interesting thing in this case study is the contours formed which imitate a topography on the ceiling. This inspired us to create a detail physical model of them same and further explore.
B A N Q RESTAURANT, 2008
BANQ--computation
‘ S TAT I C ’ C O N TO U R R S
BANQ--fabrication
‘ S TAT I C ’ C O N TO U R R S
TESTING MOVEMENT
‘DYNAMIC’ CONTOURRS
E X P L O R AT I O N
MODEL ONE The use of contours as topography in a design, such as the ceieling of the BANQ Restaurant, acts differently from different perspectives. During the fabrication of the model, our group saw a “swaying and undulating” effect created by the contours when the camera was moved across from birds-eye view. Another effect was noticed, while moving the camera across the model, the part being focused on disappeared. This effect was different and needed further exploration. MODEL TWO Seeing the contours as static, we decided to add a “movement” to the contours and made our second model, which dealt with the same. This created Dynamic Contours wihich moved with the affect of force. However, this model did not work for us as we wanted to use “natural” methods or affects of air to cause the change; or use the already provided change in perspective to enhance the model (the site is on a highway, which automatically causes change in perception)
Further explorations were done for model one, the effects that contours created were stunning, although, it was not affective enough. We needed something more along with the undulating effect of contours to make our design different. Along with the swaying effect, the idea of seeing structural parts of the BANQ Restruarnt through the contour ceiling topography when looking straight up, was meant to be integrated. The lines made by the contours is something we would like to use further, however, what is behind that is what interests us more. The idea of Double Layering would be the theme of the final design for the Gateway Project. Where, the lines are in front, and there would be something behind it--something behind which would create an “Optical Illusion”
E X P L O R AT I O N --optical
illusion
Layer 1
Layer 2
DETAIL
GRASSHOPPER DEFINITION
1
ROUGH SITE PLAN LAYOUT EXPLAINING WHERE WHICH LAYER WOULD BE PUT
2
Layer 1
3
Lay er
1
er 2 Lay
To create an optical illusion by layering, we came across Moire Effect, which is a visual perception that occurs when viewing a set of lines or dots that are either superimposed on another set of lines or dots, or where the sets differ in relative size, angle or spacing. These contours create somewhat an optical illusion we are trying to achieve. The idea behind having an optical illusion is that, when cars would be passing by the three roads on site, they would get a different view from each road. On passing from roads 1 and 3, the whole change in perception effect would be seen, whereas, when passing by road 2, only the different layers would be visible, without the optical illusion. An innovative and creative design which meets the requirements of the competition brief (iconic, innovative design) would be futher developed following this idea for the design. This design will enhance the phycial enviornment with the introduction of a different, yet unique piece of art incorportation an illusion which will encourage an interest beyong first glance.
Since the site has an existing location with a flat and wide landscape, the layering installations would fit perfectly and increase the unique-ness of Werribee. Such effects have been previously used in building facade designs, whereas, using it on an installtion for a Gateway Project would be the first, making it different and stunning in its appeal. The peple passing by would love to see something which, along with an optical illusion, creates a different effect on different sides of the roads, therefore, giving three different kinds of views from one installation. An ongoing interest in the Western suburbs of Melbourne would be maintained via this design proposal. Keeping in mind the surrounding landscape, the design installtion will act as a contrast. With the landscape being wide and flat, the design will be complex, creating a moire effect with layering, creating an Iconic feature for the Western Gateway. The Selection Panel for the Western Gateway Design Project should choose our team as the Architects of the Art Installation as the design ideas we have are unique and different and offer something other Architects may not. We offer an Iconic design installation which keeps in mind the high speed cars and bikes who will be the audience of our masterpiece, the surrounding landsacpe and the fact that our design would put Werribee and Western Gateway on the map and create a new discourse. The use of such optical illusions has never been done before on a gateway installtion, and our work would prove to be creative and inspire other architects. We have great ideas and creative minds which would produce anything the client dreams of.
We can change your dreams into reality.
BANQ RESTAURANT
U.K. PAVILION
LEARNING OBJECTIVES AND OUTCOMES Computation designs, Paramteric techniques, Scripting cultures; all of these are computer based designs which take the help of computers for prototyping and use the creativity of the individual. Architectural designing is constrained by a number of problems, it relies on the analytical and the create sides to produce a feasible solution. Computers are amazing analytical engines, and can achieve solutions to design problems much faster and to finer details. Such methods provide rapid prototying through which an optimised form can be achieved. Humans can programme the computers in ways which can tell them to manipulate electrical impulses. These manipulations can be representated in the most suitable form required for its comprehension. (Yehuda E. Kalay, 2004, pp5-25)Computers can graphically illustrate solutions of a design problem. Scripting on the other hand uses mathematics and computers to create designs. Scripting engines include Rhino, Grasshopper etc. The use of Grasshopper has been very helpful and the use of such design tools provides a much easier and more effective way to produce designs faster. In computing, ‘scripting language’ is often the same as ‘programming language’, via which, the user gives instructions to the computer. (Burry Mark, 2011, pp8-71) A shift to digital technology is seen these days, mainly because such design engines allow mass production of designs, using minimal amount of time, and therefore allowing us to achieve much more than what we could without the help of digital technology. These design tools are easy to use as they are constrainted by certain parameters which can be changed according to the designs. These design softwares can create optimised form quicker than humans. The learning of such a tool like Grasshopper as a plugin in Rhino has been very helpful in being able to design using digital technology and has taught me how to use 3-D modelling softwares which include parametric modelling and scripting. Such design tools will be very helpful in future studies and career as an Architect.
SOURCES Ben Pell, ‘Spanish Pavilion, Expo 2005’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 162 - 165 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 Christine Killory, and René Davids, ‘Children’s Museum of Pittsburgh’, in Detail in Process. 1st edn, Asbuilt (New York: Princeton Architectural Press, 2008), pp. 112 - 117 Ben Pell, ‘Restaurant Aoba-Tei’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 54 - 59 Schumacher Patrik, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 3-4 Kalay E. Yehuda, 2004, pp5-25) Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25) NADAA website. Accessed on April, 3, 2012 Retrieved from: http://www.nadaaa.com/#/projects/banq/ Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 17-19 Studio Gang Architects, Retrieved from: http://studiogang.net/work/2004/aqua J Mayer H Architects, Retrieved from: http://www.jmayerh.de/19-0-Metropol-Parasol.html
SOURCES Federation Square: A Future About Shatters, 1997 Retrieved from: http://www.architecturemedia.com/aa/aaissue.php?issueid=199711&articl e=23&typeon=3&highlight=federation+square (Accessed on April 8, 2012) Macarthur, John, ‘The Assthetics of Public Space’, Federation Square, 2003, Retrieved from: http://www.architecturemedia.com/aa/aaissue.php?issueid=200303&article=7&typeon=2 &highlight=federation+square (Accessed on April 8, 2012) Radar Awards, Victoria, 2003, Retrieved from: http://www.architecturemedia.com/aa/aaissue.php?issueid=200307&article=2&typeon=1&highlight=federation+square (Accessed on April 8, 2012) Professor Tristram Carfrae, ‘Engineering The Water Cube’, Practice, 2006, Retrieved from: http://www.architecturemedia.com/aa/aaissue.php?issueid=200607&article=18&typeon= 3&highlight=water+cube (Accessed on April 8, 2012) Moussavi, Farshid, and Daniel Lopez (2009). The function of Form (Barcelona: actar;new york), p. 8 Dezeen Magazine, 2009, Retrieved from: http://www.dezeen.com/2009/06/30/uk-pavilion-at-shanghai-expo-2010-by-thomasheatherwick/ Victoria King, Arch Daily, 2011, Retrieved from: http://www.archdaily.com/187595/orl-clinic-mal-vi-architects/
SOURCES Amanda Levete Architects, Accessed on April, 3, 2012 Retrieved from: http://www.amandalevetearchitects.com/news/hills-place-complete/ Archidose, Accessed on April, 3, 2012 Retrieved from :http://archidose.org/wp/2003/10/12/mccormick-tribune-campus-center/ Ben Pell, ‘Gantenbein Vineyard Facade’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 178 - 183 Ben Pell, ‘Andre de Gouveia Residence’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 68 - 73 Ben Pell, ‘De Young Muesum’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 74 - 79 Ben Pell, ‘Dior Ginza’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 104 - 109 Ben Pell, ‘Carabanchel Social Housing’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 166 - 169 Ben Pell, ‘John Lewis Department Store’, in The Articulate Surface : Ornament and Technology in Contemporary Architecture (Basel, London: Birkhäuser ; Springer distributor, 2010), pp. 96 - 99
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