Part B Design Approach

ARCHITECTURE DESIGN STUDIO: AIR 2013

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CONTENTS Introduction

A0. - About Me 3 - 4

Architecture as a Discourse

A1.1 - Architecture as a Discourse A1.2 - Case Study 1 - CIRRIFORM A1.3 - Case Study 2 - Museo Soumaya

Computational Architecture

A2.1 - Computational Architecture A2.2 - Case Study 1 - Kinetic Rain A2.3 - Case Study 2 - Signal Box

5- 6 7- 8 9 -10 11- 12 13 -14 15 -16

Parametric Modelling

A3.1 - Parametric Modelling A3.2 - Case Study 1 - Foyn-Johanson House A3.3 - Case Study 2 - London Aquatics Centre

Algorithmic Exploration

A4.1 - Algorithmic Exploration 1 A4.2 - Algorithmic Exploration 2 A4.3 - Algorithmic Exploration 3

17 - 20 21 - 22 23 - 24 27 - 28 29 - 30 31 - 32

Conclusion

A5.1 - Closing Remarks

References

A6.1 - Images A6.2 - References

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A Personal Discourse MynameisTommyHengandIamcurrentlyathirdyeararchitecture studentstudyingattheUniversityofMelborune.Architectureisapassionofmine.Havingbeenexposedtotheartsataveryyoungage,I wasfortunateenoughtohavediscoveredmydeepdesiretobecome anarchitect.Duringmyyearsinhighschool,Iundertooka4yearfine artsapprenticeshipwhichequippedmewiththeskillstopursuemy degreeinarchitecture.Collectively,myinterestintechnology,thearts andcrafthasledmetopursueadesignbasedprofession.However,it isalsopartyduetomydesiretosearchforacareerwhichincorporates ideasandinformationacrossmultipledisciplinesthatinspiredmetodo architecture.

AlthoughIhaveyettodiscovermyownarchitecturaldesignphilosophy, Iamgreatlyinterestedindesignsandarchitecturewhicharecritical anduniqueinthesensethattheyrespondtothecontextthroughtechnology,sustainability,cultureandform/morphology.Itisfundamental forarchitecturetobefunctional,however,itisalsoofgreaterimportanceforittopossessitsownuniquecharacterandidentity-soul.It isoftenthesmallthingsandtheattentiontodetailsthatdistinguishes agreatandamazingpieceofarchitecturefromthosethataresimply forgettable.

Apartfromarchitecture,Ialsoshareagreatpassionfortheartswhere Ioccasionallydosketches,paintings,graphicsandphotographyin mysparetime.Inthisnewageofdigitalmediaandtechnology,Istill stronglyfeelthatitisimportanttomaintainandenjoythetraditionsand conventions of hand drawing and rendering.

Thereisnootherwayofdescribingmyinterestinlearningnewcomputationaldesignsoftwaresandtechnologies.DesignsoftwarethatI haveknowledgeofinclude-Rhinoceros,AutoCAD,Revit,SketchUp, Atlantis,Vray,InDesign,PhotoShop,Illustratorandrecentlysomebasic Grasshopper.AlthoughIhavehadtheopportunitytolearnanduse quiteafewCADandotherdigitaldesigntools,IwouldsaythatIhave onlyhadthechancetousetheminaveryconstrainedmanner.Virtual Environmentsbackin2011wasprobablythemostrewardingstudio subjectIwentthroughasitintroducedmealotofnewconceptswith regardtotheapplicationsofdigitaldesignandfabricationtools.Since then,Ihaveattemptedtoapplysomeofthesetechniquestomyother studiosubjects.LearningGrasshopperhasdefinitelyinfluencedmy perspectiveondigitaldesigntheoriesthroughitsabilityoftranslating conventional design processes much more efficiently.

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1.PhotographyexperimenttakenonBerkeleyStreetin2011.

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ArchitectureasaDiscourse Often,whenyouasksomeoneoutsideoftheofthearchitectural professionaboutwhatarchitecturemeanstothem,yougetthe response: “Oh,architecture...architectureisaboutdesigninggreatbuildings, interesting structures and beautiful icons...”

Thoughtheword“discourse”oftenslipsourmindwheneverwe engageinaphilosophicaldebateonwhatarchitectureis,itis difficulttovieworseeitassolelybeingaphysicalstructure.

Architectureisaprofessionwhichutilisesandincorporatesideas andinformationacrossmultiplediciplines.Anythingandeverythingisapplicable.Nothingisirrelevantwhenitcomestotangible architecturesuchasabuiltenvironmentortheintangibleideas and concepts architecture consists of.

ReferringtoDuttoninReconstructingArchitecture:Critical Discourses and Social Practices (1996), architecture is a socialconstructandaproductofourpolitical,social,cultural andeconomicvaluesmediatedbyourbuiltenvironment.Just asapainting,sculptureorcontemporaryartinstallationmay communicateandexpressthemesandideasoftheirrespectivecontexts,architectureasadiscoursedoessosimilarlyinthe grandestofscales.Agoodpieceofarchitectureshouldn’tjust becommendedfoitsphysicalattributesandattentiontovisual details.Instead,itshouldbevaluedandappreciatedfortheideas andpositiveimpactsitcontributestosocietyandthecommunity.Takeforinstancetheabsolutelystunningandbeautifulnew apartmentblockaroundthecornerandtheseeminglyabsurd paperarchitectureof“WalkingCities”byArchigram(Fig1.)that had never been realised.

Comparitively,theworkofArchigram’swouldbeconsideredto possessmorevalueinitscontributiontothediscourseofarchitecture.Conceptssuchasthe“Plug-InCity”and“WalkingCity” stimulateideas,reconditionthewaywethinkaboutarchitecture andultimatelycontributestothediscoursethroughmeansof innovationasopposedtothemereproductionofabuiltfabric.

Unlikewhathasbeengoingonforthepast4to5milleniain architecturalhistory,societyinthe21stcenturyfindsitselfinan ageofdigitaltechnologyandcommunicationwherearchitects havetodealwithanunprecedentednetworkofdataandinformation.Justasourproblemshavebecomealotmorecomplex andsophisticated,themethodsofanalysingandresolvingthem must also be of equal callibre.

Asaresult,thinkingaboutarchitectureasadiscoursebecomes increasinglyimportant.Architectureshouldalwaysbeexamined formorethanitsfacevaluebyengagingwiththephilosophical,culturalandsocialrealmsitembodies.Often,it’stheideas thatresultfromtheintermediaryprocessesofdesignandthe dialogueweundertakewheninterrogatingadesignissuethat allowstocontributetothediscourseininnovativeways.Itisonly throughourconsiderationofarchitectureasadiscoursethatwe maytrulyengage,interactandappreciatearchitectureinamore wholistic manner.

Despitebeingagreatadditiontothelocalneighbourhoodthrough itsmeansofgentrificationaswellasfosteringthedevleopment ofbetterinfrastructureandservices,whatimpactsdoesithave onthegreatercommunityandhowdoesitencouragethegeneration of better architecture?

1. Walking City by Ron Herron 1964

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CIRRIFORM by Future Cities Lab TheprojectCirriformisasitespecificarchitecturalinstallation whichexplorestheapplicationsofperformancearchitecture inaveryrealandpracticalmanner.Itrepresentsanewlevel ofinteractionbetweentheuserandarchitecturewherethe experiencebecomestheprimarymodeofcommunication.

Despitebeingrelativelysimpleinconcept,theprojectserves asanexcellentexampleofnewdigitalandcomputationaldesignsarecontributingtothediscoursearoundarchitecture.

Asperformanceandinteractivearchitectureisstillinitsinfancy,muchoftheexperimentation,proposalsandconceptsare generatingpublicdiscussionabouttheapplicationsofdigitaltechnologyandcomputationinarchitectureanddesign.

Thishasledtotheemergenceofnewstrainsofarchitectural explorationsinproducingbuildingsandstructureswhichare dynamic,interactive,kineticandresponsive.Thispresentsalmostinifinitepossibilitiesandapplicationsinwhicharchitecture can be used in the future.

TheflexibiltyandadaptabilityofarchitecturesuchasCIRRIFORMseemsfittingandappropriateinavolatileanddynamic social,economical,environmentalandpolitcalclimateasthe onewefindourselvesintoday.Anearlygenerationofresponsiveandkineticarchitecturehasalreadybeenrealised withtheexampleoftheMilwaukeeArtMuseuminWisconsin.

1.CIRRIFORMbyFutureCitiesLabinteractivefacadeinstallation proposal.

2.CIRRIFORMbyFutureCitiesLabconceptualandtechnicaldiagram.

3.Calatrava,Santiago,MilwaukeeArtMuseumresponsiveandretractable roof system, Wisconsin, 2001 4.MilwaukeeArtMuseuminterioroftheroofsystemclosedasa sun shading device, Wisconsin, 2001.

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Museo Soumaya by FREE TheMuseoSoumayaisaninterestingpieceofarchitecture whichcontributestothediscussionofarchitectureasadiscoursethroughitsaplplicationsofparametricdesignanddigital fabricativetechnologyandthewayinwhichitdealswithcultural andsocialfactors.Withthedesignedintentofbeinganiconic structure,themuseumfulfilledtwoobjectivesassetbytheclient-(1)tohostoneoftheworld’slargestprivateartcollection and(2)remodelanoldindustrialareaofMexicoCity.Initself,the briefexplicitlydrawsinterestintothewayarchitectureasabuilt environmentimpactsthesocialandculturalcontextofacity/ regionofalargepopulace.Itisinterestingtonotehowabuilding suchasthiscanquicklyreshapethereputationandatmosphere of what used to be a suburban/industrial backwater.

DrawingmanysimilaritiestotherenownedSelfridgesBuildingin Birmingham,themuseumfindsitselfclassifiedaspartofanew styleofcontemporaryarchitectureknownas‘blobitecture’.First coinedbyGregLynnin1996,blobarchitecturereferstoan emergingformalandgeometricfieldofparamertricdesignwhich describesbuildingswhichhaveanorganic,amoebashaped formsandhypocontinuoussurfacetopologies.Composedofa doublecurvlinearsurface/shell,themuseumdemonstrateshow parametricismisabletotranslatesubjectiveandexperientialcriteriaintoaphysicalmodeofexpression.Itillustrates,withtheaid ofcomputationaldesign,howarchitecturaldesigncancontribute andcommentondiscourse.However,furtherdiscussiononthe viabilityofparametricismbeingconsideredasastylecanbe found in A3 - Parametric Modelling.

1.FutureSystemsarchitects,SelfridgesBuilding,Birmingham,2003anexampleofblobarchitecturethroughitscurvlinearexteriorfacade/ cladding system.

2.FREEarchitects,MueseoSoumaya,MexicoCity,2011-during construction with its structural systems visible 3.FREEarchitects,MuseoSoumaya,MexicoCity,2011-structural diagramshowingtheinnercolumns,structuralsystemsandcorethat takes the gravitational load.

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Computational Architecture Beforetheinventionofthemoderncomputer,designershadlittle opportunitytostrayawayfromlogicalandsequentialprocessofdesignwhichrequiredtheAnalysisofagivenproblem,theSynthesisofpossiblesolutionsandfinallytheEvaluationofthechosen solutionagainstobjectivesandperformancecriteria.Thefactorsof timeandcosthavebeenandstillremainstobetwoofthebiggest concernsforarchitects.Theyoftendeterminetheoutcomeofany designsolutionorprojectintherealworld.Asaresult,muchofthe emphasishasalwaysbeenplacedonthedecisionsandoutcomes producedduringtheinitialstagesofthedesignprocess.However, withthenewcapabilitiesofcomputationaldesignanddigitaltechnology,designershavenowbeenabletoshiftandrestructurethe designprocessastoprovideamoreflexiblemodel/systemindealingwiththeeverincreasingcomplexnatureofproblemsrelated todesign.Thehassleandcostlytaskofhavingtoredrawalineor perhapsremodelaportionofabuildingbyhandisathingofthe past.Alloftheinconveniencesofmanualandanalogousmethods ofdesigncannowberesolvedwithafewmouseclicksandbuttons on the keyboard.

Withallthiscomputingpowerandcomputationaltechnologies,how andwhyisitthatarchtiectsanddesignersarestillneededinarchitecture?Whyhasn’tthepenandpaperbecomeobsolete?AsYehudaexplainsin“Architecture’sNewMedia”,problemsaredefined aswhattheyarebecausetheydon’tcontainsufficientinformation thatcanberesolvedrationallyandtheyconfrontthedesignerwith uncertaintiesthatmustberesolved.Although,computersserveas superbanalyticalsystemscapableoffunctioningindefinitelyandfollowinginstructionspreciselyandfaultlessly,theylackthecreativity, innovationandintuitionhumansposesswhichultimatelyprovides architecturewithasenseofcharacter.DelvingintoabitofHumean philosophy,Itendtoagreethatcreativitycanonlyexistasaproduct ofrationalandempiricalknowledge.Tryvisualising/picturingatotally speciesofanimalandyouwilloftenfindthatwhatresultsissimply apiecingtogetheroffeaturesofanimalpartsthatyoualreadyhave knowledge of.

Theintroductionofcomputationalarchitecturehashadasignificant impactinthewayarchitectsarethoughtofintermsoftheirrole andprofessionintheglobalandpublicrealms.Oneofthemany areassurroundstheconceptofnewconceivableformsandgeometries.Althoughthemindiscapableofimaginingandconceiving morecomplexgeometriesotherthanthatofeuclideanorplatonic, traditionalmeansofrepresentingtheminspacehasalwaysbeen problematic.Withtheaidofdigitalandcomputationaldesigntools, topologiessuchasblobs1,metaballs2orkleinbottles3cannowbe expressed,definedanddescribedaccuratelywithrelativeease.This isprimarilymadepossibleduetothelevelanddegreeofcontrol weareabletohaveovercomplexgeometriesthroughthecareful manipulationofcontrolpointsandmathematicalparameterswhich definethem.Theresultofthisistheabilityforarchitectstodesign moreefficientlybyrapidlyexploringandexhaustingallpotentialdesignsolutionssothatthebestcandidatemaybechosenforfurtherdevelopment.ReferringtoWoodburyandBurrow’sWhither DesignSpace,morefocusandemphasisshouldbeplacedon theresearchanddevelopmentincomputationaldesign,particularly withintheareaofdesignspaceexplorationintheeffortofproducing amoreeffectiveandefficientmeansofcipheringthroughtheinnumerablepermutationsandcombinationsofdesignsolutions.

Asaresultofthegreaterlevelofefficiency,computationalarchitecturehasalsobeenseentohaveanimpactontherolearchitects haveasaprofession.Theuseof3Dmodellingsoftwareandother CADprogramshasnotonlyprovidedarchitectswiththecapacityofdescribingandproducingmuchmorecomplexgeometries,it hasalsoredefinedthewayformsaregenerated.Wherepreviously form-makingwasusedtogeneratedesignsolutionsthatbestfita setofparametersandconstraints,architectscannowengagein “form-finding” techniques.

Withtheinexhaustibleapplicationsofcomputationalarchitecture, communicationthenbecomesparamountthroughoutarchitectural designtheoryandpractice.Itiswiththiscaseinpointthatarchitectureasadiscoursebecomesmorerelevantandappropriatethan everinthecontextofthe21stcenturywherecomputationand digitaltechnologyhasbecomeinherentlyimbuedintosocietyand culture.

Whilstcomputationprovidesuswiththelogicandanalyticalmeans ofprocessingandproducingarchitecture,itistheinvaluableand practicalknowledgegainedfromhumanexperiencethatbreathes lifetoaworkofarchitecture.Togethertheyformwhatisoftenknown as a symbiotic system of design.

1.

- Lynn,Greg(1998)“WhyTectonicsisSquareandTopologyisGroovy”,inFold,BodiesandBlobs:CollectedEssaysed.byGregLynn(Bruxelles:LaLettrevolée),pp.169-182.

2.

- Geiss, Ryan, (200), “Metaballs (also known as blobs)”, http://www.geisswerks.com/ryan/BLOBS/blobs.html 3.

-Kleinbottle.(2013,March18).InWikipedia,TheFreeEncyclopedia.Retrieved04:02,April4,2013,fromhttp://en.wikipedia.org/w/index.php?title=Klein_bottle&oldid=545239236

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KINETIC RAIN

by Art+Com

“KineticRain”isaninstallationconsists1216dropletsmadefromcoppercoatedaluminiumspanningacrossafieldofover75squaremeters.

Thedesignillusratesarelativelynewconceptinarchitectureknownas kineticarchitectureonlymadepossiblewiththeaidofcomputationaldesignthroughtheemergenceofscriptingandprogramming.Inthiscase, thewaves,patternsandgesturesthecolelctionofraindropsproducesis controlledanddeterminedbyascriptedprogramthatmostprobablyconsistsofsomesortofparametricdefinitioninthewaytheyunitsrespond andinteractwithoneanotherinanorderlymanner.Aninterestingconcept whichcomputationhasrecentlyattemptedtomimicis’emergence’;1a complex system of organicism and biomimicry .

Itisafineexampleoftheapplicationsofcomputationalarchitecturein producingapieceofsculpture/architecturethatisnotonlyfunctionally andaestheticallyappealingbutalsoonethatisperformanceorientedinits designinthesensethatitisabletorespondintelligentlytoitscontextand environmentalconditions.Althoughitservesmerelyasavisualspectaclein theairportterminal,thecomputationalsystemsemployedcanbeadopted andmadeapplicabletobuildingenvironmentalmanagementsystems such as sun shading devices.

Anotherfascinatingcasestudyrelevanttotherealmofperformance orientedarchitectureistheconceptof“Metamorphosis”2.Designedby Philips,theprojectexploreshumanlivingconditionsandhowwehave becomeseparatedfromthenaturalworldinthroughthespacesweinteractwithonadailybasis.Usingcomputationaldesign,itisnowpossibletoredefineflexiblespaceinproducingarchitecturethatgoesbeyond movementtodealwiththenotionsofgrowth,expansionandcontraction.

MetamorphosisShimmerpresentsadirectionwithincomputationaldesign andarchitecturetowardscreatingintelligentarchitecturethatcanrespond andquanitfyperformancebasedcriteriathattransformsandadaptstothe dynamicnatureofenvironmentalconditionsweexperienceeveryday.

Figure1-Art+Com,KineticRain,2012,ChangiAirport,Singapore,performance/ kinetic architecture.

Figure2-Philips,Metamorphosis,ShimmerWall,2010,interactiveandresponsive wall sun shading device/wall.

Figure 3,4 - Philips, Metamorphosis, Wave Daybed concept, 2010.

-Emergence.(2013,March18).InWikipedia,TheFreeEncyclopedia.Retrieved04:38,April4,2013, from http://en.wikipedia.org/w/index.php?title=Emergence&oldid=545094605

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-Philips,(20May2010),PhilipsDesign-Metamorphosis,http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page

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SIGNAL BOX by Herzog & de Meuron SignalBox1994inBaselisabuildingdesignedtocontainelectronicequipmentandapparatustoregulatesignalsfortrainsarrivinganddepartingthe station.Itisanexcellentprecedentdemonstratingtheuseofcomputational architectureinarealisedproject.Theimplementationofcomputationaldesign isevidentlynoticeablethroughthegeometryofthebuilding.Containedbetweenabridgeandthestreet,thebuilding’sgroundfloorplanhasatrapezoidalconfigurationdefinedbytherailroadtracks.Theoverallformiscompleted ingradationwherethetrapezoidterminatesintoarectangleatthetopas toimprovevisibilityforitshigherfloors.Thestripsofcoppercladdingwhich makeuptheexteriorarespcificallytwistedanddistortedincertainareasasto admit daylight as well as give the building its aesthetic appeal.

Asawhole,theSignalBoxisapieceofperformanceorientedarchitecture whichutilisescomputationaldesignincomingupwithadesignsolutionby processingtheconstraintsandparameterssetbythearchitectinproducing aformandsunshadingsystemmostappropriateinitsgivenenvironment.

WithouttheaidofCAD,theaccuracyandprecisemanipulationofdistortion inthelouvresystemaswellasthemanufacture/fabricationofthesecomponentswouldnothavebeenpossible.Unlikemanyconventionalbuildings,the SignalBoxisuniqueinthatitcriticallyrespondstoitscontextbypresentinga relationship with the adjacent railway tracks.

ExplainedbyKaiStrehlkeintheAD1,theDigitalTechnologyGroupatHerzog deMeuronusecomputationaldesignexplicitlyasatoolordesignaidto generatetheirestablisheddesignedintentasopposedtousingcomputation toinformtheirdesign.Justaseachbuildingdesignisspecifictoitssiteand context,soisthestrategyanduseofeachcomputationaltool.Viewedin thismanner,HerzogdeMeuronisapracticethatembracesandaddresses architectureasadiscourseintheiruseofcomputationaldesign.Theydo notsuperfluouslycopy,recycleandabuseawelldefinedalgorithm,scriptor parametricmodelacrosstheirdesigns.WiththeexampleoftheSignalBox, aspecificscriptwasproducedbythedesignteamtodevelopthelouvreson thefacadewhichrespondedtoasetofperformancedrivencriteriaswhich considered light, views, insulation and so on.

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Figure 1 - Herzog de Meuron, Signal Box, Basel, 1994, front facade.

Figure 2 - Herzog de Meuron, Signal Box, Basel, 1994, copper facade loucre system.

- Furuto , Alison. “Flashback: Signal Box / Herzog & de Meuron” 24 Jul 2012. ArchDaily. Accessed 04 Apr 2013. <http://www.archdaily.com/256766> - Peter Brady, Architecture Design Journal vol 83, “Computation Works - The Building of Algorithmic Thought”, John Wiley & Sons, Ltd.

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Parametric Modelling Therehasbeengreatdealofdebateandcontroversyrecently surroundingtheideasofparametricdesignwithinthearchitecturaldiscourse.However,uponcloserinspection,engagementandcriticaldiscussion,theproblemwiththeconcept ofparametricdesignorparametricismappearstobeoneof definition.Thisishardlyasurpriseconsideringthatwearestill atthestageofinfancywhenitcomestoourunderstanding ofwhatparametricismtrulyembodiesintermsofitsideas andconcepts.Asarchitectsanddesigners,itisreasonable tosaythatourknowledgeofparametricsisindeedshallow anduntilwebecomemastersofdiscoursesurroundingparametricdesign,wecanonlyspeculateitsvalueandpotential.

Nevertheless,letusshedsomelightonwhatparametricarchitecturecouldpossiblymeanforusinthispointintime.

AccordingtoDanielDavis’definition,parametricdesignis simplyadesignprocessorawayofformfindingthatproducesgeometricmodels(designsolutions)whosegeometry isafunctionorresultoffinitesetofparameters/constraints definedbytheauthororuser.Withthisbeingsaid,itcan bearguedthatthefundamentalideasofparametricsaren’t somethingnewatall.Infact,theyaresocommonplace thatwehavebeenemployingthesystemthroughouthistoryforcenturiesandifnotmillennia.Inanydesignsolution, whetheritmaybeapieceoffurnitureoranentirehouse, theinvisibleforcesofperceivedconstraintsandparameters arealwaysactiveintheformofcommonknowledgeand conventions.However,whathasmadeparametricdesigna sensationoflateisitssymbioticrelationshipwithcomputationalanddigitaltechnologieswithinthepastfewdecades.

Figure1-Etienne-LouisBoullee,BibliothequeduRoi,1785

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Withtheaidofcomputationaldesign,parametricarchitecturehasenableddesignerstoexponentiallyincreasethenumberofpossibledesignsolutionsthrough theefficientandprecisenatureofmanagingandmanipulatingmorecomplexparametersandconstraints.

Thishasprovideddesignerswiththelibertyofbeing moreopenorflexiblewithintheconventionsofthedesignprocess.Complexmorphologiesandtopologies suchastheblobandmetaballhavebeenenvisioned alongtimeago,butitisonlywiththeintroductionof computationalarchitecturethattheradicaldesignsof Boullee’sBibliothequeorTatlin’stowercanberealised.

ReferringtoWoodbury,computationhasundoubtedly expandedwhatwerefertoasthedesignspace.With suchavastspaceforexplorationcontainingaseeminglyinfinitenumberofsolutions,itisimportantthatwe alsoshiftourfocustothefieldofparametricsindevising bettermeansandmethodsofsearchwithinthedesign space.Thus,fromhereon,itwouldbemoreappropriatetoconsiderreworkingthetitle/topicofparametric designtoincorporatetheideasofcomputationaldesign orcomputationalarchitecture.Perhapsweshouldreallybecallingitcomputationalparametricarchitecture.

Figure2-VladimirTatlin,Tatlin’sTower-TheMonument to the Third International, 1917

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Parametric Modelling Havingestablishedthatparametricarchitectureisamethod ofapproach,asystemordesignprocessandanewwayof thinkingaboutarchitecture,isitalsofairtosuggestthatit embodiesorexpressesanew‘style’?ReferringtoSchumacher’sarticlefortheAJ1,shouldparametricismbeallowed tocompletelyreplacemodernistandpost-modernistideals?

IfyouagreewithDavisandMayerthentheanswerisan obviousanddefiniteno.Parametricismcan’tandshouldn’t bethoughtofasastyle.Stylesareaformoflensthatwe putonthatenablesustopassudgementorcommenton somethingwhichinthecaseisarchitecture.Itprovidesus withameansofcomparisonandawaytoidentifyingwith thesubject.AsAdamMayerexplains,classifyingarchitecture bytypeofstyleispoorandpathetic.Itreallyistheantithesis ofarchitecturalculture,moralsandethicsespeciallywhenit onlytakesintoaccounttheformalandaestheticqualitiesof abuilding.Thisfurtherenforcesourneedtoregardarchitectureasadiscourseasitembodiessomuchmorethan thesymbolismfoundinitsphysicalandoutwardexpression.

Takingthemodernistsasacaseinpoint,whenLeCorbusier establishedthe“Fivepointsofarchitecture”2,hedidn’tuse themasameanstodefineaparticularstyle.Instead,thepioneersofmodernismsuchasCorb,Loos,GropiusandMies, sawtheircontributionsasmoreofanattemptormovement torealiseanideathatsoughttocurethepoorpost-war livingconditionsinEurope.Asaresult,itisaninjusticeto talkaboutarchitectureasastylewithoutfullyunderstanding thebroaderdiscourseinwhichcultural,political,economicalandsocialfactorsarerespondedto.Ithasbeenproven throughoutthecourseofhistorywiththelikesandsuccess ofmovementssuchastheArtsandCrafts,ArtNouveauand Moderniststhattheideaservesasamuchmorepowerful driverforchangeasopposedtomereaestheticsandthe desire to produce visual spectacles.

Fortheideaofparametricsorparametricismtoevolveinto a‘true’style,alotmoregroundworkhastobeestablished.

Thereneedstobeanelementofpracticabilitybesidesthe designingtheone-percentersofmulti-milliondollartheatres andconventioncentres.Itneedstobefullyexploitedand understoodandmadeintoaneconomically,sociallyandculturallyviableoption.Althoughparametricdesigns(modelling) hasitsdistinctadvantageswhenitcomestoitsflexibility, efficiency,speedandaccuracy.Hence,thenotionofparametricism,whenthoughofasaprocessratherthanastyle,is notinherentlyabadthing.Infact,itisbeneficialinservingas atoolforamplifyingandenhancingdesigncapabilities.However,ithasyettobereallybeabletoquantifyexperiential, emotionalandintuitivefactorswhichforinstanceminimalism andmodernismhasbeenabletoachieve.Furthermore,it isirrefutablyadifficultlanguagetolearnandcommunicate withothers.Oftenitisthecasewhereitisonlytheauthorof analgorithmicdefinitionthatpossessestheknowledgeand capabilityofmanipulatingparametersandproperties.Until thelanguageofscriptingandknowledgeofalgorithmicdefinitionsisproperlyunderstoodandknowntoalargercommunityofpeople,parametricarchitecturewillcontinuetobe viewedasanexclusiveorelitebranchofarchitecturewhich will remain inaccessible to the masses.

Inaworldfilledwithmultiplicitiesandpluralismssuchasthe oneweliveintoday,itisbecomingincreasinglydifficultfor architectstocomeupwithadefinitivestyleofarchitecture.

Withinaglobalcommunityandsuchavastdiscourseitmay perhapsbethatthenewstyleistonothaveoneatallandinsteadembracethepluralisticandindividualisticthatis.There maybenouniversalsolutionorstyle.Perhapsweshould returntoideasofcriticalregionalismwhereuniversalityisto be a summation of locality – think local act global.

1.

-Schumacher,Patrick,2010,ArchitecturalJournal,“Parametricism-letthestylewarsbegin”,lastmodified6May2010,http://www.architectsjournal.co.uk/the-critics/patrikschumacher-on-parametricism-let-the-style-wars-begin/5217211.article

-LeCorbusier.(2013,March31).InWikipedia,TheFreeEncyclopedia.Retrieved05:46,April4,2013,fromhttp://en.wikipedia.org/w/index.php?title=Le_Corbusier&oldid=548062894

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Foyn-Johanson House by Harrison and White ThearchitectsHarrisonandWhitewererecentlyawardedbytheAustralian InstituteofArchitectsVictoriaforthedesignofthishouseinNorthcotein 2011.SituatedinatypicalVictoriansuburb,theFoyn-JohansonHouse providedthearchitectswithachallengetomaintainandintegratesome sortofrelationshipbetweenthelivingspaceandnaturalamenitiesofthe siteaswellastotakeintoconsiderationthekeyissueofutilisingsunlightto improveboththenewandexistingconstructionofthehome.Withlimited space,theprojectalsomakesanevidentattempttoaddresstheideaof preservinglightintothesmallgardenspacewheretheusers/ownershave the opportunity to enjoy a well-lit garden throughout the day.

Inthecontextofanddiscussionofparametricdesign,thehouseillustrates thebenefitsandadvantagesparametricmodellinginthewayitisableto resolvecomplexdesignissues.Intheprocessofgeneratinganappropriateformforthehouse,theconstraintsandparametersweredefinedby thecriteriafoundwithinthedesignbriefsetbytheownersâ&#x20AC;&#x201C;alargerliving spaceandthedesiretomaintaingoodsolaraccesstothegarden.Having establishedtheparameters,thedesignprocessutilisedtheapplicationof aparametricsubtractivesolartechnique(Subtracto-Sun)1thatwasableto generateaformdefinedbysunpathanalysistoprovidemaximumlight penetration.Theresultisadesignsolutionthatisabletoaddressandsynthesiseanumberofsitespecificandperformancebasedissuesthatcould nothavebeenachievedthroughconventionalmeansofdesign.

AsopposedtotheflamboyanceandexuberanceofZHAparametricdesigns,theFoyn-JohansonHousebyHarrisonandWhiteservesasafine exampleofhowitcanbeappliedtoacommonandbroadercontextof institutions.Intelligentandparametricdesigndoesnotnecessarilyhaveto resultinblobsorhyposurfacesallthetime.Italsoneednotrespondto abstractandarbitraryfieldsandattractorstoproducegoodandvisually interesting structures.

Figure1-HarrisonandWhite,2011,Foyn-JohansonHouse, Northcote, rear sun path deduction facade.

Figure2-HarrisonandWhite,2011,Foyn-JohansonHouse, Northcote, stairwell and lighting treatment.

Figure3-HarrisonandWhite,2011,Foyn-JohansonHouse, Northcote, axonometric diagram of rear facade

-White,Marcus,2011,MUSSE,Foyn-JohansonHouseNorthcote,http://musse.unimelb.edu.au/august-11-67/ marcus-white

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LondonAquaticsCentrebyZahaHadid TheLondonAquaticsCentrecompletedin2011isagoodrepresentationofthe parametricmodelinganditsabilitytogeneratecomplexformsandgeometries.

ServingasthemainvenuefortheswimmingeventsoftherecentOlympicsin 2012,thefacilityhousestwo50mswimmingpoolsanda25mdivingpool.As describedintheZHAwebsite,theoverallconceptofthebuildingwasinspired bythe“fluidgeometryofwaterinmotion”.Thesingleandcontinuousundulating roofsurfaceenclosesthepoolsinaunifyinggesturethatrespondstothesurroundingenvironmentandthelandscapeoftheriverofOlympicPark.Undoubtedly,withouttheaidofcomputationaldesign,theconstructionofastructureof thismagnitudeandscaleconsistingofsuchacomplexsurfacetopologywould nothavebeenpossible.Thesheeramountofcomponentswouldhavecaused anorganizationalnightmare,nottomentionthedegreeofprecisionthatisrequiredtofabricatethesteelframesandprecastpanelsfortheroof.However,this onlyfurtheraccentuatesparametricismasanexcellenttoolordesignprocess for producing architecture.

Beyondthescopeofaniconiclandmarkandavisuallybreath-takingpieceof architecture,theworksanddesignsofZHA(ZahaHadidArchitects)hascome underfireandhasbeenheavilycriticizedbythemediaandthelikesofindividualssuchasMayerandDavis12.Isitsufficeorappropriatetoclaimthatabuildingisparametricallydesignsimplybecauseitwasconceived/generatedwitha parametricsoftware?Apartfromitsfluidsymbolismanditsphysicalconstraints withregardtositeparameters,thereisn’tanyevidencetosuggestthatitinherentlyrespondstothecontextastheFoyn-JohansonHousehas.Itmayverywell havefulfilledorsurpassedperformance-basedcriteriaintermsofitsstructural integrity,whichmayhavealsobeenparametricallydetermined,however,itlacks asite-specificcontextualresponseandconsiderationofdiscourseespecially when you place all of ZHA’s work side by side.

TherepercussionsofaworldrenownedandiconicpracticesuchasZaha’sis particularlyevidentintheattentiontodetail.WiththeLondonAquaticsCentre criticshaveaccusedthecurvaceousroofasadesignblunderthathasobstructedviewsfrommanyofthetoprowsfromviewingcertainevents.Another examplecanbefoundinthedesignfortheGuangzhouOperaHouse.Despite beingawardedbytheTopArchitecturalRecord,thebuildingshowsmanyflaws intermsoffinishesandpanelswhichdon’tquitefittogetherincertainareas.

Thisillustrateshowblindambitionanddesigningfordesignsakecanleadtothe ignorance of the small things that matter.

Figure1-ZHA,LondonAquaticsCentre,London, 2012, Diving Platform render Figure2-ZHA,LondonAquaticsCentre,London, 2012, parametric roof structure Figure3-ZHA,LondonAquaticsCentre,London, 2012, building under construction

- Mayer, Adam, 2010, “Style and the Pretense of ‘Parametric’ Architecture”, Adam Nathaniel Mayer_ Style and the Pretense of ‘Parametric’ Architecture.pdf -Davis,Daniel,2010,DigitalMorphosis,“PatrikSchumacher-Parametricism”,http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/

1.

2.

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AlgorithmicExplorations 25

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Algorithmic Exploration - 1 Thissectionofthealgorithmisresponsibleforoverlayingthe geometricalsurfacepatternsontotheloftedsurface.Acull sequenceisusedtoprovidedanalternatinggridarrangementfor the 2 different geometries.

Thedefinitioncreatedhereisagoodexample howcomputationandparametricmodellingcan producecomplexformsandgeometriesvery quickly,efficientlyandprecisely.Justfromthe onealgorithm,Iwasabletoproducemanyvariationsofthesamebasicmodel/vase.Asopposed totheconventionsofhavingtoengageinform making,theparametricmodelallowedmeto explorethedesignspacethroughform-findingor form generating processes.

Therepeatedgroupofdefintionswhichisresponsibleforoffseting andduplicatingeachlayerofcontour.Slidersareusedtocontrolthe degree of rotation and offset distance.

Extendingmyresearchfromthetutorialsmade availableonloftingandbasiccurvegeneration, Iwasabletodevelopanextensiontothebasic algorithmwhichenablespatternsandgeometriestobeoverlayedontothesurface.Bythen applyingittothemodel,Igotabetterinsightas tohowparticularpracticessuchasGehryorZHA mighthavegoneaboutmodellingtheirorganic forms and buildings.

ThesourcenodewhichdefinesthebasegeometryfromRhino.

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Algorithmic Explorations - 2 Thisparticularalgorithmwassuccessfulinthesensethatitdemonstrateshow simpleandbasicformscanbeconstructedfromonesinglepointinRhino.ItintroducedmetotheconceptsofGrasshopperâ&#x20AC;&#x2122;slogicanddatastructure.Grasshopper isahighlymathematicalmodellingsystemthatsynthesisesandweavesbasic mathematicalexpressionstoproducecomplexdefinitionsandnodessuchasthe Voronoi.Theexercisealsodemonstratedthemutiplicitiesandmanydifferentways ofproducingthesameoutcome.Asquarecanbedefinedthroughasinglenode or a network of nodes which describe points, offsets and moves.

1.DescribingasimplerectanglebymanipulatingtheX and Y inputs about a specified plane.

2.MovingthebasegeometryintheZdirectionxunits ascontrolledbythenumberslider.Thecornersofthe geometryisthenextrapolatedaspointsandjoinedto form a cube.

3.Thesurfaceisthenextrudedfromthebasegeomtryto 4.Thegeometryisthenpopulartedwitharandomsetof form and solid cube. pointsandvoronoidtoproduceasetofarbitrarypoints and surfaces.

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5.Thewireframeisextractedtoillustratethealgorithms endresultofconverting/reinterpratingtheformproduced into simple curves and points.

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Algorithmic Explorations - 3

Toproduceagridshelloranothersimilartypeofform,theGrasshopperdefinition canbecomecomplexandchaotic.Althoughparametricmodellinghasitsbeneifts andadvantages,italsohasitsshortcomingsanissues.Thisparticularalgorithmisa goodexampleofhowthescriptingandalgorithmiclanguagecanmakeparametric modellinginaccessibletomany.Asmuchasitmakesthingseasiertodescribe formslikethis,itisalsojustasdifficulttolearnhowtodoit.Havinganextensive definitionmayallowyoutohaveagreaterdegreeofcontrolovertheform,anerror inthedatastructurecanhaveseriousrepurcussions.Itisverydifficulttotracethe errorbacktoitssourceandthenmakeappropriateadjustments.Nevertheless,the algorithmwassuccessfulinproducingahighlysophisticatedhexagonalgridshell.

ThisGrasshopperdefinitionsimpleoverlaysahexagonalgridpatternontotheloftedsurface.Ihadplentyofissuestryingtolayahexagonalor triangulatedgridontothesurface,henceIborrowedsomeoneelsesandattachedittothedefinitionihadcreatedearlier.ThebiggestissueIhad wastryingtofigureouthowIcoulddefineaplanetoallowthegridnodestofunction.However,itseemsthatyouwouldneedtocustomiseand generate your own algorithm to do this.

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Closing Remarks - Case for Innovation CONCLUSION

IntacklingtheCaseforInnovationwithregardtotheWyndhamCityGatewaydesigncompetition,itisfirstlyparamount thatthedesignsolutionshouldconsiderthebroaderdiscourseitembodies.Ratherthanproducingsomethingthat issolelyvisualandaestheticallyinteresting,theresponse shouldbeonethatissitespecificandcontextuallyoriented.WiththeexampleofHerzogdeMeuronâ&#x20AC;&#x2122;spractice, thecomputationalcomponentalongwithanyuseofdigital toolsandtechnologyshouldonlyaidthedesignprocess.

Theestablisheddesignintentshouldbekeyininformingthe tools,definitionsandalgorithms,notviceversa.Likewise, theuseofparametricmodellingtools,inthiscaseGrasshopper,shouldserveonlyasanextensiontothedesign intent.Withthisinmind,Iwouldliketoproposeadesign thatcontributestothearchitecturaldiscoursesurrounding theconceptofmobilityandkineticisminthecontextofa projectthatisexplicitlylinkedtothehighway.Thedesign solutionshouldbeperformancebasedwhereitssuccess shouldbemadequantifiableintermsofexperience.

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LEARNING OUTCOMES

ArchitectureDesignStudioAir,thusfar,hasservedasan invaluableextensiontotheexperienceIhadfromVirtual Environments.LearningGrasshopperhasbeenchallenging butrewardingasithasprovidedmewithapowerfultool todesignwithwhichIwillmostdefinitelyutiliseinfuture designprojects.Priortothestudio,parametricmodelling andcomputationalarchitecturetomewassomethingonly toenhancethecapabilitiesofwhatcouldbeproduced, however,itisnowclearthatthediscoursearounddesign baresalotmoreresponsibilityastohowarchitectureisto beperceivedandviewedbyothersoutsideoftheprofession.Itissomethingourgenerationofdesignerscannot escapefromandthusmustbeengagedwithcritically.In thelast4weeksofexposureanddiscussion,itisevident thatparametricismandcomputationaldesignwillbethe topic of debate in the years to come.

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SECTIONING

PART B EXPRESSION OF INTEREST:

DESIGNAPPROACH

25

26

SECTIONING

THE WHOLE

Any of the more or less distinct parts into which something is or may be divided or from which is made up.

BREATHES DISTINCT

COMPONENTS ORGANISATION

DIVIDES

FUNCTIONS

To divide into smaller parts or units.

A part that is cut off or separated.

A distinct part or portion of something written.

The plane figure resulting from the cutting of a solid by a plane.

LAYERS

A natural subdivision of a taxonomic group.

One segment of a fruit.

SCANWICH

JOINS/SEPARATES 2D PLANE

LOGIC

FILTERS

A basic military unit usually having a special function.

A part of a permanent railroad way under the care of a particular crew.

A division of an orchestra composed of one class of instrucments.

The process of drawing an object imagining it to be cut through by a cutting object. v

Image - Scanwich, Sandwich Sections, 12/5/13, http://scanwiches.com/ - Cafe Clementine: Smoked Turkey, Bacon, Lettuce, Tomato, Avocado Mayo, On Seven-Grain Bread

SECTIONING

STRUCTURE

PROGRAM

SOCIAL POLITCAL

As a group, we generally agreed upon pursuing sectioning as a design approach or system in developing a solution for the Wyndham City Gateway project. The approach seemed to be appropriate and appealing as it offered us with a pragmatic means of thinking about how certain geometries and forms can be fabricated and built. Of the multitude of other design approaches such as geometry, biomimicry, tasselation etc., we believed that sectioning was capable of generating forms that are both visually dynamic and structurally rational. There is also a great degree of versatility and flexibility in the approach in that patterning, folding and other techniques can be incorporated or overalyed onto contour models. As the design is targeted at an audience that will be viewing the structure at speeds of up to 100km/hr, a design which uses sections would serve as an interesting experience for drivers/passengers by considering the concept of viewing a design that deals with the notion of change in a span of space and time.

Despite the various advantages and benefits sectioning offers as a technique, there are several risks that are associated. As a design approach, sectioning is an area that has been thoroughly explored and manipulated as a fabricative tool. To produce something new that is authentic and perhaps provide a fresh perspective we’ve made an attempt to expand the concept and design parameters as a means to investigate what a section could potentially represent. The next few pages will interrogate the ideas of a “section” in terms of it being a structure, program andsocial/political informant.

STRUCTURE

SECTIONING

Figure 1. Bill Brand, New York 1980, Masstransiscope subway installation.

Figure 2. - (Left) Foster and Partners, 20042007, Kogod Courtyard SMithsonian Institution, Washington D.C.

As a structure, sectioning is an approach that is capable of producing large and wide spanning structures such as the renowned waffle roof structure (left) of the Kogod Courtyard Smithsonian Institution by Foster & Partners.

The structural integrity and its ability to resist large loads is attributed to the nature of the waffle grid as a strucutral system where the lateral bracing provided by the perpendicular intersection produces a very rigid structure.

Not only is the technique capable of producing structurally proficient structures, it is also efficient and economical in its use of materials and construction/fabrication. As ooposed to having to describe a single and continuous surface, the technique enables large and complex forms to be broken down into smaller components. This aids designers by making the construction and fabrication process through the organisation and management of components.

Furthermore, the types of structures the technique produces, possesses a unique aesthetic quality that delves into the essence of space and time. With the example of Bill Brand’s subway zoetrope “Masstransiscope”, sections are capable of capturing moments or instance of views/experiences which can be quite provocative and interesting in terms of visual expression.

Kogod Courtyard Smithsonian Institution Architect:

Foster + Partners

Location:

Washington DC, USA

1 2

35

- Brand, Bill,, Masstransiscope, 12/5/13, http://www.bboptics.com/masstransiscope.html - Foster and Partners, 2013, Simthsonian Instittion, 12/5/13, http://www.fosterandpartners.com/projects/smithsonian-institution/

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SECTIONING

PROGRAM

Figure1.(Top)Hejduk,John,Wallhouse2,Netherlands,1973diagram of functional spaces Figure2.-(Left)Hejduk,John,Wallhouse2,Netherlands,1973 Figure3.-(Above)-Hejduk,John,Wallhouse2,Netherlands, 1973 - 3D computer model of functional groups

As a physical approach and from a technical point view, sectioning simply refers to the idea of dividing a whole object or idea into smaller units or distinct parts. However, once we expand the conceptual parameters, sectioning could also be interpreted to emobdy ideas which relate to the ways in which information can be organised, managed and comparmentalised into layers. This essentialy refers to the functional program that determine the way in which space is designed or organised in a building. Take the work of Hejduk for instance. WallHouse 2 is an interrogation of architecture in terms its organisation of a building’s functional program where colours and dissimilar spatial forms outline different spaces of the house. What is also really interesting is the the way in which Hejduk makes use of a 2 dimensional planar wall that both disconnects and groups functions as to comment on the nature and spatial heirarchy of a home. This is particularly relelvant to the Wyndham City Gateway proposal in that it presents the idea of a physical threshold whilst heightening the momentary condition of passing through a space in an instance - “the moment of the present”. Considering this, it would be interesting to consider designing an object that interrogates or disrupts the conventional program of a gateway.

Wall House Architect: Location:

John Hedjuk

Groningen, Netherlands

- Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html - Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html 3 - Hejduk, John, 1973, akurkolova Wallhouse 2, 12/5/13, http://risddrawintar.wordpress.com/category/assignment-1/ 1 2

SECTIONING

SOCIAL POLITCAL

AsdiscussedinpartIoftheEOI,architectureisirrefutablyinformed,influencedandinconstantdialoguewith thesocial,political,economicalandculturalagendasof society.Formingthebuiltenvironmentandurbanfabricof cities,architecturecanbethoughtofbeingaâ&#x20AC;&#x153;sectionâ&#x20AC;?of our lives - the human condition.

Althoughdidgitaltechnologyandarchitecturehasbecomeincreasinglypopularandefficient,thevirtualworld isstillremainssubordinatetothephysicalone.AsLebbusWoodsexplains,althoughtheprimarymeansofcommunicationthesedaysmaybethroughsocialmediaand textmessaging,peoplestillhavetobephysicallypresent toclaimspaceastheirown.Hence,architectureandthe designofphysicalspacestillposessesanimportantrole to play. Thus, the intent

Figure1.(Top)Woods,Lebbus,PoliticalMachines,2009Freespacestructuresservingascommunicationcentresand personal spaces.

Figure2.-(Above)Woods,Lebbus,PoliticalMachines,2009 -

Political architecture (machines)

- Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html - Hejduk, John, 1973, Wallhouse by John Hejduk, 12/5/13, http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html 3 - Hejduk, John, 1973, akurkolova Wallhouse 2, 12/5/13, http://risddrawintar.wordpress.com/category/assignment-1/ 1 2

Fictional/ Paper Archiecture Architect:

Lebbus Woods

THE CONCEPT ONE WAY

ONE WAY GATE

City

country

The idea here is try and alter the program of a two way system and turn the highway into a one way gate out of the city. The site will be dealt with as if it were a border crossing or some sort of threshold in which commuters will have to go through.

The concept is likened to the way a traditional fish trap where it becomes easy for an object to enter from one way but difficult to exit/ escape from within.

CITY TO COUNTRY Serving as a one way gate out of the city, the architecture/design will seek to provide a commentary or generate thought or discussion about the norms of the city as being a better place to be. Why are we drawn to the CBD? What makes the City a better place to work and live?

FILTER/ FUNNEL Being a one way gate, the concept of a filter or a funnel naturally comes into play.

There is the notion of being fed through one end of a system or object and then spat out the other end. As we are dealing with sections, the design will consist of a series of thresholds or screens which essentially filters an experience as commuters leave the city and make their way into the country.

1.0

BANQ

2.0

URBAN A&O

CASE STUDY

Banq Wood Restaurant by Office

1.0

The Banq Restaurant by Office dA serves as an excellent example of parametric sectioning by transforming what is a relatively rectangular room into one that is vibrant and dynamic. Responding to the relationship between the functional dining spaces and the services located in the ceiling, the striated wooden panels system functions not only contributes to the interior design and fine dining experience but also acts as a canopy that conceals the equipment above. The system of sectioning here overcomes many concerns that come with fabrication. Instead of having to create moulds to produce a large monolithic surface, which would be both time consuming and costly, the contours and sections allow each of the panels to be milled by a CNC machine.

Figure 1. (Left) Office dA, 2008, Banq Restaurant, Boston - 3D model of the interioir and structural systems used to secure the timber panels.

Optional field attractors and point charges to produce variation in surface

Banq restaurant Architect:

Nader Tehrani - Office dA

Location:

Boston, MA, 2006-2008

1

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SURFACE

DIVISION

Referencegeometry from Rhino

Dividesurfaceinto X and Y points

BREP Brep surface

FIELDS

CONTOUR

EXTRUDE

Producecontour lines from brep surface

Extrudecontours toproducevertical planes

- Office dA, 2006-2008, Boston, MA, 12/5/13, http://supertacular.com/2011/01/banq-restaurant-by-office-da/

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Design Matrix TECH A VARI. 01

VARI. 02 VARI. 03

VARI. 04

VARI. 05 VARI. 06

VARI. 07

TECH B

TECH C

TECH D

TECH E

TECH F

TECH G

Design Matrix TECH H VARI. 01

VARI. 02 VARI. 03

VARI. 04

VARI. 05 VARI. 06

VARI. 07

TECH I

TECH J

TECH K

TECH L

TECH M

Design Matrix TECH N VARI. 01

VARI. 02

VARI. 03

VARI. 04

VARI. 05

VARI. 06 VARI. 07

TECH O

TECH P

Matrix Using the provided definition of the Banq Restaurant, I conducted a series of algorithmic explorations to produce a design matrix of various outcomes in relation to section as a technique. By playing around with the inputs which dealth with the number of divisions are made to the base geometry or the vectors in which the planes are extruded, a wide range of interesting forms and geometries began to emerge. To gain a greater degree of control within the geometries and forms that were being produced, I had added input sliders wherever possible.

Of the various outcomes produced, the most interesting variations of the definition include Technique H, J and L simply because they generated the most unexpected forms. However, as a group, we still remained dissatisfied as the results still lacked any sort of great variation between them. The definition is essentially only capable of generating iterations of the same basic model of planes and contours. As this is a form/technique that has been thoroughly explored, we felt that we had to move on to developing our own definition.

Method The definition used to generate the models was relatively straightforward. A base geometry/surface is first referenced in Rhino where it is then divided into a grid of points where lines are interpolated and extruded to produce the lofts and contours.

To produce the various variations of the base model, I added a number of controls so that vectors, points and lines could be controlled. Some of the inputs which be controlled include the direction/vector in which the contours are extruded towards, the number of grid divisions, point attractors, and scale. To further extend the degree of control of the surface geometry, I had attempted to produce a definition which defined a surface from a grid of vectors determined by point charges.

Urban A&O

2.0

Figure 1,2,3 . - Urban A&O in collaboration with WUSA, Ourdoor parametric sculputure.

CURVES Reference geometry from Rhino

urban A&o outdoor sculpture Architect:

Washington University School of Architecture Location:

Washington

1

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MOVE/ SCALE Manipulating and distorting curves to produce geometrical variations

This project was an innovative outdoor structure produced by the Washington University School of Architecture which focused primarily on the explorations of sectioning, divison, marking and assembly of a parametric design. It is particualrly useful as a precedent in illustrating the formal and compositional possibilities of sectioning as a design aprroach. The design is interesting as it consists of multiple layers of reticulated surfaces that differs from the conventional ribs and portal frames used in most architectural structures. It demonstrates the flexibility, and adaptibility of sectioning in incorporating other methods of subtraction, solid differentiation and field distortions. In my attempt to reverse engineer this particular model, a set of curves were firstly defined, distanced, scaled and then finally lofted. The distortions were controlled by a series of vectors at each curve. A possibly random set of points about the model was then used to define spheres and elipses which were then subtracted from the surface.

Evaluating the solid differential by cutting circles and ellipsoids from the loft

SUBTRACT

SHIFT

LOFT

BREP/ CONTOUR

Shifting curves along the X and Y axis

Loft between the curves to produce a form

Brepping and dividing surface into contours

- Urban A&O in collaboration with WUSA, Ourdoor parametric sculputure. http://www.archello.com/en/company/urban-ao

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Reverse Engineering

2.0

The Blob

The process of reverse engineering is a process of exploration whereby the technological principles of a devide, object or system is reproduced through the analysis of structure, function and operation. In this specific example, I produced a parametric definition which attempts to reproduce the Urban A&O sectioning sculpture. The process fundamentally follows an algorithm which transforms a set of curves step by step into a series of contours and sections and finally into a rib-like cylinder.

Adding a slider wherever possible, the definition was successful in having a great degree of control over the base geometry. This enabled me to produce a great variety of variations. A number of additonal supplementary definitions were plugged into the main definition for panelling, extrusions and other experiments.

The overall exercise was useful in informing the group about the possibilies and disadvantages of pursuing sectioning as a design approach. Contouring and extrapolating sections in a complex geometry isnâ&#x20AC;&#x2122;t as easy as it seems. There are often sequences and lists that need to be resolved for the model to actually work; such as the issue with regard to closed lofted surfaces before solid differentiation can be cpplied. However, the approach does provide flexibility in how we can treat surfaces and produce a wide range of forms. It proved to be a lot more successful as compared to Case Study 1.0.

TOP - Lofted surface which have been previously manipulated by scaling and shifting each individual curve.

MIDDLE - Solid difference between the closed lofted surface and randomly generated spheres across the surface.

BOTTOM - The resultant geometry with the spheres subtracted from the base surface. The surface is then contoured, extruded and lofted once more to produce the outcome (opposite page).

Figure 1,2,3 . - Renders of the reverse engineering case study 2.0 1

47

- Urban A&O in collaboration with WUSA, Ourdoor parametric sculputure. http://www.archello.com/en/company/urban-ao

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Reverse Engineering

2.0

Fabrication

The process of fabricating the model was challenging as it required a certain degree of organisation in dealing with hundreds of dissimilar components. To replicate Urban A&O sculpture as closely as possible, we decided to fabricate the model using a combination of perspex and plywood as materials. To mimic the interesting undulations and intrusions of layers, a set of curves were selected and scaled down. This meant that the model consisted of alternating layers of perspex and plywood contours. Once the materials had been laser cut, we referred closely back to the digital model to attach the pieces together. The exercise was useful in allowing us to understand the fabricative process a lot better.

Lighting

The intent of using perspex as opposed to coloured acrylic was so that we could conduct ligthing experiments with the model. Inserting LED lights into model produced some very interesting effects and visuals. The images on the right illustrates the effects we expect to achieve using sectioning as a technique.

The rays and beams of light that are diffused between the ribs replciate the effect of night conditions when car headlights shine out from the object or structure.

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48

PROTOTYPING

WAFFLES

EXPERIMENTATION

39

HONEYCOMB

EXPLORATION

40

Prototype 1 WAFFLE

SURFACE

DIVIDE

RIBS

REFERENCE GEOMETRY FROM RHINO

DIVIDE SURFACE INTO A GRID

EXTURDE THE GRID LINES

This first prototype was fabricated based on the forms produced from the Banq Restaurant matrix. As illustrated with the parametric diagram above, an existing surface is first referenced in Rhino where it is then dividied into equal segments. A grid is overlayed on the surface and then extruded to produce the waffle structure. It is a relatively simple design to fabricate. However, it has the potential in becoming a complex object as the number of connections and strips increases. This was particularly evident in a second variation of the model we produced where the system was scaled up to a bigger size.The photograph on the left shows the connection problems we had with a bigger model. Just from producing a small scaled model such as this, we were able to demonstrate the integruty and rigidity of sectioning as a structural system. The model was self supporting fairly rigid.

- Scaled up version of prototype 1.

39

40

Prototype 2 HONEYCOMB

GRID

SCALE

LOFT

VERTICES

HEX GRID WITH ATTRACTOR

MOVE GRID UP AND SCALED SMALLER

CREATING THE SURFACE BETWEEN THE GIRD

MOVING TO RHINO TO FABRICATE

In the attempt to explore other techniques, we moved away from using contours and planar extrusions and turned to the use of grids, patterning and geometry. This second prototype is produced from a pair of hexagonal grids which are then scaled and lofted. The vertices of the cells are then extracted and connected with lines as to create a spoke and wheel-like geometry. The exercise was able to produce quite an interesting and unique pattern which we thought could be used as units to create a structure of sorts. However, there were many issues that were encountered during the process of fabrication. This particular prototype illustrates the importance of using the right material as it created a lot of conenction problems as each piece had to be manually joined together.

The final outcome was a rather messy model.

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40

Prototype 3 HONEYCOMB

GRID

SCALE

LINE

LOFT

HEX GRID

MOVE UP AND SCALED SMALLER

CONNECTION OF TWO GRIDS

SURFACE MADE OUT OF THE CONNECTUINS

Referring back to the concept of the filter and the one way gateway, we developed a variation of the honeycomb definition that expressed the idea of a funnel. From a single hexagonal grid, a single point attractor was used to establish a single vector in which all the vertices were extruded to. Although relatively simple, the outcome generated a very interesting geometry. The structure was successful in capturing vistas and views which defined moments or instances which the user can view from or towards. The test was also able to replicate the process of filtration which in this case was light.

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40

Prototype 4 HONEYCOMB

GRID HEX GRID

CENTERED SELECTING THE CENTER OF THE HEX

SCALE

RIB

MOVING THE GRID UP AND SCALING SMALLER

SLICING THE MODEL TO CREATE THE RIBS

Trying to maintain some form of contouring and sectioning, we made an effort to integrate the honeycomb definitions with layers of contouring. Utilising the same hexagonal grid, the base was copied and moved in the Z axis and scaled by a factor of 0.9. This process was repeated several times to generate an inverted pagoda like structure. This prototype produced quite a beautiful sculptural quality to it. However, it lacks the dynamism achieved with the other models. By adapting the contouring definition, we were able to fabricate quite easily a relatvely complex geometry if surfaces had to be unrolled.

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40

Prototype 5 WAFFLE

SURFACE

HONEYCOMB

EXTRUDE

REFERENCE SURFACE FROM RHINO

REFERENCE SURFACE FROM RHINO

CREATING A SURFACE FROM THE GRID

Determined to produce something that was dynamic, we returned to the waffle and attempted to replicate the Manifold Wall by Matsys. Ideally, we wanted to create a number of point charges that would push and pull different groups of points on a wall to give it an interesting wavy geometry, However, we were unable to achieve this and had to simply reference a NURBS surface in Rhino and overlay a honeycomb/ waffle grid into it. What was particularly fascinating with this prototype was the performance of the material and structure in its ability to flex, bend and stretch to produce interesting variations and effects.

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40

STRESS

39

INFLATION

40

STRESS

After receiving feedback from the mid-semester EOI presentation, we as a team decided to take our design approach a step further by considering stress as a driver and input for our design.

Our argument here is that the crossing will be filtering stress and congestion from the city towwards the country. We want to produce something that responds kinetically. The prototype above illustrates the test we conducted in the way our waffle wall and the choice of materials will react and respond to stresses of something inflatable that is plugged into the cells. The idea is that these membranes or pockets of air will inflate or deflate according the traffic flow at particular times of the day. This way the architecture is site specific and contextually responsive.

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40

WAFFLE

SURFACE

MESH

GRID

MOVE

EXTRUDE

REFERENCE SURFACE FROM RHINO

TURNING THE SURFACE INTO A MESH

CREATING A GRID FROM THE MESH

MOVING THE GRID POINTS

EXTRUDING THE GRID

Inhale

Hold

Exhale

PeakHour

Normal

Off-Peak 39

40

One Hundred and Eight by Nils Volker INFLATION/DEFLATION The installation One Hundred and Eight

by Nils Volker is an interactive installation which consists of a number of ordinary pastic bags which can be selectively inflated or deflated by cooling fans and vaccums. â&#x20AC;&#x153;Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal.

But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.â&#x20AC;?

Figure 1. (Above) Nils volker, One Hundred and Eight Interactive Architecture - Rear double fan inflation system.

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With regard to the concept of Stress, this precedent is informative as it is able to react and respond to site specific conditions and thus comment on the way viewers our in the case of Wyndham City, commuters may interact with architecture and roads.

As opposed to Kinetic Rain by Art+Com (pg.

13-14), this precedent interprets live data input, making it unique when experienced.

- Nils volker, One Hundred and Eight Interactive Architecture, 12/5/13, http://www.nilsvoelker.com/content/onehundredandeight/

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As demonstrated, Sectioning is a design approach that should be strongly considered for the design of the Wyndham City Gateway project. Not only has the system proven to be a viable option in terms of its economical efficiency and practical structural system, sectioning is also capable of providing Wyndham with a unique iconic identity in the way it “plugs” and “connects” the region to the network of the city. Employing this approach would hence identify Wyndham as being a new section of the greater and wider community; a threshold (border crossing) between the city and country. Furthermore it acts as a platform of expression which allows Wyndham to contribute and physically comment on the greater social community.

TECHNIQUE

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The proposed technique for further development and design from here on would be inclined towards the concept of the one way gate which would encourage users to question the norms and popular culture of the city. Incorporating the idea of congestion, population density and pollution, the architecture will mimic a breathing lung that inhales and exhales out towards the country. We would like to develop a series of screens that will interactively respond and react to the congestion of traffic during different times of the day. The explorations of waffles, contours and honeycomb structures will be integrated to produce a system that infaltes and deflates thus assimilating the concept of emotional and physical stress in terms of both structure and the everyday user.

PROPOSAL

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ALGORITHMICEXPLORATION2.0 39

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Algorithmic Explorations - 1

Definition - The Blob The definition above is the one developed for the reverse engineering task. The process of developing such an algorithm requires a break down of the object into its constituent parts and components. Once the object has been dissected into its respective sections, an analystical system of interrogating how they are made is required. The whole algorithm essentially operates with a central trunk of compnents which describe the overall form. Branches that diverge from the trunk are plug-ins or inputs which allow me to genereate interesting iterations from the base model. One such problem with sich a large definition is the management and organisation of the nodes. Once an error is made, it can often be very difficult to identify the exact problem within the entire definition. Grouping, labelling and naming groups of functions is the key to organising the algorithm.

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Algorithmic Explorations - 2

Starling Plug-Ins Plug-Ins are features which contain preset clusters of algorithms which allow you to complete or produce a desired outcome without having to manually script or define the definition from the most basic commands or expressions. Of the many plug-ins available, Starling was very efficient in generating interesting hexagonal and triangulated geometries across mesh surfaces. The advantage here in working with mesh as opposed to nurbs is that grids and patterns can easily be mapped onto the surface as opposed to polysurfaces which often create problems.

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Learning Objectives and Outcomes Thedesignstudioforthisportionofthecoursesawthedevelopmentofworkfromagroupefforttoateameffort.As theweeksprogresseditwasevidentthatourideasgradually convergedtowardsaunanimousdecisionandanagreement uponthedirectionwewouldbetakingourdesign.Throughout thedesignprocess,themostchallengingtaskwastoreinvent thedesignapproachwehadtakenonearlythissemester.As parametricandcomputationalarchitecturehasbeenaround andexploredforatleastmorethanadecade,systemssuch assectioning,patterningandgeometryhavebeenthorougly researchedandexperimentedwith.Althoughcomputational toolsenableustoshiftandmanipulatetheconventionalorder ofthedesignprocess,thisflexibilitycannotbeachievedwithoutadequateunderstandingandtechnicalskillswiththeuse ofthedesigntoolssuchasGrasshopper,CATIAetc.Inother words,thelimitationsofwhatyoucanproduceisonlylimited toyourknowledgeofthetools.Idonotdisputetheusefulnessandpracticalityofcoputationaltools.Asdemonstrated throughthisstudio,parametricmodellinghasallowedusto develop,generateandtranslateverylooseandabstractideas into physical models.

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Withregardtofeedbackfromourpresentations,itwasclear thatwe,asagroup,wereplayingitrathersafewhenitcame tothedevelopmentofpossibledesignoutcomes.Iwasparticularlyconcernedwithourabilitytofabricate,manageand organisecomplexmodelsandgeometrieswithinthecapabilitiesandscopeofthecourse.Producingsomethinginterestingandworthwhiledoesnotnecessarilyhavetoresultina completelyextremeorradicalidea.Rather,itissimplyabout addinganextralayerofcomplexitytoanexistingsystemor modelorperhapsfindingnewwaysofreinterpretingthem.

Thatistheapproachwhichwehaveadopted.Inconsidering stressandthemundanefunctionofafilter,wehavedecided toapplythattheroutineofadrivebetweenpointAandpoint B;toinsertananomalyordisruptconventionsthatwould simplycausetheusertoreactorrespondandthusbecome awareoftheirenvironment.Theplacewherearchitecture thrives and exists.

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Images

References

-Herron,Ron,1964,Archigram,WalkingCities,http://thetricycles101.blogspot.com.au/2012/08/extra-research-walking-city. html -CIRRIFORMbyFutureCitiesLab,2011,interactivefacadeinstallationproposal,http://www.future-cities-lab.net/cirriform/ -CIRRIFORMbyFutureCitiesLab,2011conceptualandtechnicaldiagram,http://www.future-cities-lab.net/cirriform/ -Calatrava,Santiago,MilwaukeeArtMuseumresponsiveandretractableroofsystem,Wisconsin,200,http://en.wikipedia.org/ wiki/File:Milwaukee_Art_Museum_1_(Mulad).jpg -MilwaukeeArtMuseuminterioroftheroofsystemclosedasasunshadingdevice,Wisconsin,2001,http://en.wikipedia.org/ wiki/File:MilwaukeeArtMuseum_Interior.jpg -FutureSystemsarchitects,SelfridgesBuilding,Birmingham,2003-anexampleofblobarchitecturethroughitscurvlinear exteriorfacade/claddingsystem,http://en.wikipedia.org/wiki/File:Birmingham_Selfridges_building.jpg -FREEarchitects,MueseoSoumaya,MexicoCity,2011-duringconstructionwithitsstructuralsystemsvisible,http://unimelbedu-au-prod2.campuspack.net/Groups/Architecture_Design_Studio_Air_1/Course_Wiki/Group_08-09_Gwyll_and_Angela_0/Computation_Works_-_The_Building.pdf -FREEarchitects,MuseoSoumaya,MexicoCity,2011-structuraldiagramshowingtheinnercolumns,structuralsystems andcorethattakesthegravitationalload,http://unimelb-edu-au-prod2.campuspack.net/Groups/Architecture_Design_Studio_Air_1/Course_Wiki/Group_08-09_Gwyll_and_Angela_0/Computation_Works_-_The_Building.pdf -Art+Com,KineticRain,2012,ChangiAirport,Singapore,performance/kineticarchitecture,http://www.dezeen. com/2012/07/19/kinetic-rain-artcom/ -Philips,Metamorphosis,ShimmerWall,2010,interactiveandresponsivewallsunshadingdevice/wall,http://www.design. philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis.page -Philips,Metamorphosis,WaveDaybedconcept,2010,http://www.design.philips.com/sites/philipsdesign/about/design/ designportfolio/design_futures/design_probes/projects/metamorphosis.page -HerzogdeMeuron,SignalBox,Basel,1994,frontfacade,http://www.archdaily.com/256766/flashback-signal-box-herzogde-meuron/ -HerzogdeMeuron,SignalBox,Basel,1994,copperfacadeloucresystem,http://www.archdaily.com/256766/flashbacksignal-box-herzog-de-meuron/ -Etienne-LouisBoullee,BibliothequeduRoi,1785,http://www.flickr.com/photos/89776258@N00/favorites/page6/?view=lg -VladimirTatlin,Tatlin’sTower-TheMonumenttotheThirdInternational,1917,http://www.tumblr.com/tagged/vladimir%20 tatlin?before=19 -HarrisonandWhite,2011,Foyn-JohansonHouse,Northcote,rearsunpathdeductionfacade,http://www.archdaily. com/77852/foyn-johanson-house-harrison-and-white/ -HarrisonandWhite,2011,Foyn-JohansonHouse,Northcote,stairwellandlightingtreatment,http://www.archdaily. com/77852/foyn-johanson-house-harrison-and-white/ - Harrison and White, 2011, Foyn-Johanson House, Northcote, axonometric diagram of rear facade, http://www.archdaily.com/77852/foyn-johanson-house-harrison-and-white/ - http://scanwiches.com/image/22262787322 - http://www.fosterandpartners.com/projects/smithsonian-institution/ - http://www.bboptics.com/masstransiscope.html - http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html - http://risddrawintar.wordpress.com/category/assignment-1/ - http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html

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-Lynn,Greg(1998)“WhyTectonicsisSquareandTopologyisGroovy”,inFold,BodiesandBlobs:CollectedEssaysed.by Greg Lynn (Bruxelles: La Lettre volée), pp. 169-182.

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Images

References

- http://risddrawintar.wordpress.com/category/assignment-1/

- Lynn, Greg (1998) “Why Tectonics is Square and Topology is Groovy”, in Fold, Bodies and Blobs: Collected Essays ed. by Greg Lynn (Bruxelles: La Lettre volée), pp. 169-182.

- Geiss, Ryan, (200), “Metaballs (also known as blobs)”, http://www.geisswerks.com/ryan/BLOBS/blobs. html - Klein bottle. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:02, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Klein_bottle&oldid=545239236 - Emergence. (2013, March 18). In Wikipedia, The Free Encyclopedia. Retrieved 04:38, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Emergence&oldid=545094605 - Philips, (20 May 2010), Philips Design - Metamorphosis, http://www.design.philips.com/sites/philipsdesign/about/design/designportfolio/design_futures/design_probes/projects/metamorphosis. page - Furuto , Alison. “Flashback: Signal Box / Herzog & de Meuron” 24 Jul 2012. ArchDaily. Accessed 04 Apr 2013. <http://www.archdaily.com/256766> - Peter Brady, Architecture Design Journal vol 83, “Computation Works - The Building of Algorithmic Thought”, John Wiley & Sons, Ltd. - Schumacher, Patrick, 2010, Architectural Journal, “Parametricism - let the style wars begin”, last modified 6 May 2010, http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article - Le Corbusier. (2013, March 31). In Wikipedia, The Free Encyclopedia. Retrieved 05:46, April 4, 2013, from http://en.wikipedia.org/w/index.php?title=Le_Corbusier&oldid=548062894. - White, Marcus, 2011, MUSSE, Foyn-Johanson House Northcote, http://musse.unimelb.edu.au/august-11-67/marcuswhite - Mayer, Adam, 2010, “Style and the Pretense of ‘Parametric’ Architecture”, Adam Nathaniel Mayer_ Style and the Pretense of ‘Parametric’ Architecture.pdf - Davis, Daniel, 2010, Digital Morphosis, “Patrik Schumacher - Parametricism”, http://www.nzarchitecture.com/blog/index.php/2010/09/25/patrik-schumacher-parametricism/ - http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html - http://bartlettyear1architecture.blogspot.com.au/2011/04/wall-house-by-john-hejduk.html

- http://supertacular.com/2011/01/banq-restaurant-by-office-da/

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