Air.
Part . A
Bio. A.1 A.2 A.3
Bio. A brief introdution of me and my architectural journy.
Design Futuring Reference to week one lectures and tutorials. Explores two architectural projects and their role in future and current design.
Design Computation Reference to week two lectures and tutorials. Explores the evolution of design and computer aided design software, with assistant of two architectural precedents.
Composition/ Generation Reference to week three lectures and tutorials. Explores the development of algorithms to engage in design.
A.4 A.5 A.6
Conclusion A brief summart of Part A.
Learning outcomes A brief summary of learning outcomes of the first three weeks of semester.
Appendix - Algorithmic sketches Most interesting examples of my Rhino/Grasshopper experimentation.
Contents.
Bio.
I’m Toni Pringle, a second year Bachelor of Architecture student, originally from Perth, WA, now living in Melbourne. I have previously studied one year of Building design after completing high school, then transferred to Deakin University to study first year architecture, and now at Melbourne University to complete my degree. I discovered a love and interest for architecture at ten whilst studying art and architecture in school. I especially became intrigued by the lack of architecture in the homes that were, and still are being mass produced in my home town of Perth, a house with four beds, two bath, one living and a home theatre room, all set out the same but with a different “façade”. Fortunately growing up my neighbors were architects that ran a business from home, I would make little models of houses out of balsa wood and bring them to their house for constructive feedback. I explored how a house functioned and what we required in a home to live comfortably. Now in my third year studying architecture and building design, I find an interest in materiality of a building and sustainable design, not only in homes but urban areas too. Recently I have discovered an interest in public open space and its function, and how it can be transformed into an inner city haven for people and nature to connect, creating small escapes from the chaos of the city. In my studio last year I designed a viewing platform of the edge of a waterfront (model pictured to the right), this platform was a place of reflection and tranquility where one can come and dangle their feel over the water and feel connected with nature through their senses, hearing and touching the water. The triangular geometry enclosed the space from the outside world and created strong acoustics of the crashing waves and beautiful reflective patterns of the water on the roof. In studio Air I hope to gain a greater appreciation and knowledge of computer aided design. I tend to stick to hand drawing as I often feel threatened by the difficulty of learning new computer programs; however I am up to the challenge and look forward to learning both Rhino and Grasshopper.
A. 1
Tony Fry explored the concept of design and how it can shape the future in his novel Design Futuring: Sustainability, Ethics and New Practice. Early into the writing Fry posed the question “How can the future actually be secured by design?” Many architects throughout history have answered this question, design not only captures a moment in time, but pushes endless boundaries to create something unexplored in the foreseeable future. Design always has a future, as the future always needs to be designed. Two architects, both revolutionary in their time created turning points of architectural thinking; both Anthony Gaudi and Frank Gehry individually influenced and revolutionised the design world as we know it. Anthony Gaudi (1852-1926) constructed an accomplished career as an Art nouveau architect with natural form, combined with modern and traditional Moorish qualities. Sagrada Família, Gaudi’s final work was incomplete by his death and is still being built today, 132 years on. This extraordinary church encompasses Gaudi’s rich structural understanding of natural elements resulting in an organic aesthetic which most of his works possess.1 Temple like in form the Church towers are erected more than 40 metres high, these like most of the façade were mapped out mathematically with consideration to studies of the natural world. So organic in form the structure is built with no flying buttresses to support the towers. Gaudi’s revolutionary thinking of structural techniques from the end of the nineteenth century inspired building and design styles in future architectural works, including Felix Candela’s ‘Los Manantiales Restaurant’ in Mexico.2 Still revolutionary today, Gaudi’s futuristic combination of structural rethinking with Gothic and Byzantine architecture enabled him to secure his architecture in the future and capture a moment in history with his personal aesthetic. Summed up in a quote by Anthony Gaudi himself, his design will always be a part of the future:
“It is not a disappointment that I will not be able to finish the temple. I will grow old, but others will come after me. What must be always preserved is the spirit of the work; its life will depend on the generations that transmit this spirit and bring it to life.”- A. Gaudi
Leland Roth and Amanda Roth Clark, Understanding Architecture: Its elements, History, and Meaning (Colorado: Westview Press, 2014), p. 558 Leland Roth and Amanda Roth Clark, Understanding Architecture: Its elements, History, and Meaning (Colorado: Westview Press, 2014), p. 56 Fig 3. Sagrada Família façade, by Pep Daudé, retrieved from: http://www.sagradafamilia.org/en/photo-gallery/ Fig 4. Sagrada Família interior, by Pep Daudé, retrieved from: http://www.sagradafamilia.org/en/photo-gallery/ 1 2
Similarly to Anthony Gaudi, architect Frank Gehry introduced a new form of design thinking and developmental methods, promoting futuristic ways to design and construct. Gehry’s works have a quality of being alive, they portray the motion of the materials used and give a sculptural aesthetic to their placement. The Walt Disney Concert Hall (2003) at a glance seems like it could be impossible, yet with the aid of computer programing Gehry was able to make his design a reality. Gehry’s complex geometric designs often start with a small scribbled sketch followed by a model made with cardboard or other malleable materials where Frank can test the laws of physics. Once a model is created Frank and his team would develop working drawings to match, a costly and time-consuming process. As the scale of the design progressed Gehry team introduced computer aided programs such as CATIA3 to generate three dimensional digital models. Without computer programs to assist the final design would never have existed. Despite not personally liking computers to start Frank did admit the assistance dramatically reduced cost and time of reworking any drawings. Like Anthony Gaudi, Frank Gehry has imprinted his individual architectural aesthetic of materiality and complex geometry into history. He has revolutionised the efficiency of design with his ability to create three dimensional forms through the use of computer aided design. He has promoted the industry, transforming the way designers use and connect with the design technologies.
“Architecture should speak of its time and place, but yearn for timelessness.” -F. Gehry4
Leland Roth and Amanda Roth Clark, Understanding Architecture: Its elements, History, and Meaning (Colorado: Westview Press, 2014), p. 640-44 Design Futuring: Sustainability, Ethics and New Practice. By Tony Fry (Oxford: Berg, 2008), pp. 1–16 Fig 5. Disney hall sketch, by F. Gehry, retrieved from: <http://wdch10.laphil.com/wdch10/wdch/process.html> Fig 6. Disney Hall façade, by P. Rümmele, retrieved from: http://www.archdaily.com/441358/ad-classics-walt-disney-concert-hall-frank-gehry Fig 7. Disney Hall interior, by Los Angeles Philharmonic Association, retrieved from: http://www.archdaily.com/441358/ad-classics-walt-disney-concert-hall3 4
A. 2
Fig 8. Pavilion materiality, by ICD/ITKE, retrieved from: http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgartfaculty-of-architecture-and-urban-planning Fig 9. Pavilion making, by ICD/ITKE, retrieved from: http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgartfaculty-of-architecture-and-urban-planning
Computer aided design simplifies the design process; it allows one to input a three dimensional model and have it printed out, it allows adjustments to be done quickly with no waste and reduces the time to design and build. However, is our ability to design being lost in the simplicity of it? The Institute of Computational Design creates a new pavilion each year. The pavilion from 2012 takes a biological sequence and attaches it to a material. Computational resources and a robot create the exoskeleton of a lobster, depicting through architectural form the relationship of the built world and biology. The use of the robot arm and a controlled spinner allows carbon fibre to be tightly and perfectly spun to create the biological form, a result that would take a great amount of time and skill if man power was used. Despite the positives of the robot, the trialling of its function used up a large amount of time to get to a stage where it was ready to create the final pavilion. Although the use of computer aided design could take away some design flair in the developmental stages, this would only be a small factor as this design is dependent on the biological sequence of the lobster.
Fig 10. Broad gallery faรงade detail, by I. Baan, retrieved from http://www.dezeen.com/2015/09/03/diller-scofidio-renfro-releases-first-officialphotos-of-the-broad-museum-los-angeles-iwan-baan-hufton-crow/ Fig 11. Broad gallery interior roof detail, by Hufton and Crow, retrieved from http://www.dezeen.com/2015/09/03/diller-scofidio-renfroreleases-first-official-photos-of-the-broad-museum-los-angeles-iwan-baan-hufton-crow/
Diller Scofidio + Renfro (DS+R) created a concrete and fibreglass box that sits juxtaposed to the shining sails of Frank Gehryâ&#x20AC;&#x2122;s Disney Concert Hall. The Broad Gallery is separated into two major components, the veil and the vault, transforming the simple aesthetic of the exterior to a breathtaking interior view. The building itself pays homage to the Brutalist style buildings throughout LA City however with a modern adaptation bringing light, pattern and geometry to the design through computer aided modelling. DS+R have carefully crafted this building allowing it to make the most of its location, the orientation of the building and careful geometry allowing the perfect amount of light to be filtered into the building through the external veil. In this example of architecture, computer aided modelling was not as heavily relied upon although still used. The complex external form would have been assisted with a computer programs to speed up the documentation process, allowing quicker adjustments to be carried out and light shadows to be experimented with. The introduction of technology into the design process and its continuous development has sped up the design process as a whole. Designers are now able to work collaboratively with robots and computer aided software, defining a new relationship between designers and their tools. The introduction of these systems has allowed science, design and technology to collide, resulting in incredible works like the biologically inspired pavilion above.
A. 3
Using digital algorithms as a form of sketching has allowed designers to explore new lineal and three dimensional design techniques, resulting in unthought-of concepts commonly mimicking natures structural and growth patterns. An algorithm is a set of instructions in the form of a code, the code can be shared, re developed or designed. The assistance of computer systems allows architects and designers alike to reconstruct these codes and create sculptural masterpieces; a developmental process rapidly transforming into a popular method of design. EcologicStudio’s ‘METAfoly’ for the FRAC Centre constructs an architectural experience at a small scale through use of materiality, observable natural patterns, and sound. The designers have created an abstract yet mathematical approach to ‘new naturalness’ using nature’s codes as a reference. A sensory relation to the work is formed as each visitor inhabits the space, each visitor responds to the echoing sounds of swarming crickets around the work, purposely coded to emphasise the nature of the work. Custom materials made from recycled objects are individually coded to the sculpture, creating slow architecture as a result, an intended design method by the designers. The architect has carefully crafted a space where elements of sound combine with organic acoustics to produce an algorithmic sculpture. Design computation has assisted in this virtual craftsmanship, making it a feasible design concept and developmental process. Skidmore, Owings & Merrill (SOM), combine algorithmic techniques with Indian design traditions to create Chhatrapati Shivaji International Airport. The mushrooming columns form the main feature of the airports aesthetic, mimicking the flaring feathers of India’s national bird, the peacock. Embedded in the building are nods to traditional India, including materiality and patterned elements, like mosaic works. This example of architecture is an example of how algorithmic techniques can combine natural elements (such as bird patterns) and traditional architecture to create a new form.
Fig 12 â&#x20AC;&#x201C; 14. METAfolly, by ecoLogicStudio, retrieved from: http://www.ecologicstudio.com/v2/project.php?i dcat=3&idsubcat=4&idproj=120 Fig 15. Colum detail, by SOM, retrieved from: http://www.archdaily.com/477107/chhatrapati-shivaji-international-airport-terminal-2-som
A. 4 - 5
“How can the future actually be secured by design?” - Tony Fry
Fig 16. Pavilion final, by ICD/ITKE, retrieved from: http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning Fig 17. Broad gallery façade, by I. Baan, retrieved from http://www.dezeen.com/2015/09/03/diller-scofidio-renfro-releases-first-official-photosof-the-broad-museum-los-angeles-iwan-baan-hufton-crow/
Conclusion The implementation of technology into design has no doubt improved efficiency in the design field. Computer programs allow designers to solve complex architectural obstacles, and create geometry and patters, all assisting in the design process. As touched on in A.1 looking back at architects that excelled during their career through understanding new structural forms or implementing technology into their artistic process it proves that the ways architecture is developed is constantly changing and more often than not, itâ&#x20AC;&#x2122;s for the better. I feel honoured that I am a part of a new breed of architects, where technology has re shaped the design process and reduced the limitations of our imagination. I like to see the development of technology as something that aids and simplifies the design process. However much like Frank Gehry I believe it is still important to continue hand sketching and model making, to understand form and constriction techniques without a computer constantly giving the answers. In my own design approach I will continue to sketch and work on my computer aided design program skills. Thus far I have enjoyed the challenge of learning Rhino and Grasshopper and am looking forward to see what I can produce by the end of this semester.
Learning outcomes Tony Fryâ&#x20AC;&#x2122;s theory of how the future can be secured by design is a main element of the past three weeks of learning that has stuck with me, although looking into it through journal exploration, over the rest of semester I aim to have an in depth conclusion to the statement. So far my experience with computer aided software has been challenging and confronting however I am proud of what I have achieved only learning both programs this semester. Having three dimensional modelling skills would have improved past designs immensely, not only helping me create my 1:10 model (pictured on page 7) but also understanding construction methods and creating interesting surfaces through grasshopper inputs.
A. 6
My first attempt at both Grasshopper and Rhino. The first screenshot captures a Voroni sequence in the Grasshopper plug in. I made a simple three-dimensional rectangular geometry with a Voroni input. I then baked the surface and explored subtracting elements. For a first ever attempt at both programs I was extremely impressed and excited with the outcome of taking a simple form and creating something that mimics famous architecture, like Federation square. After my initial attempt of Voroni sequences I went to the same tutorial (01.01 Course Overview)5 and played with different rectangular shapes, depicted in the second and third images. Looking at what I had created in different perspectives was amazing, only being familiar with 2D working drawings thus far in my Architectural learnings I feel excited as to the future of 3D exploration.
EXLAB.ORG, 01.01 Course Overview, retrieve from: https://vimeo.com/60546140 EXLAB.ORG, 01.02 Lofting and State Capture, retrieved from: https://vimeo.com/60546141
5 6
In this first image I was exploring lofted surfaces. I had already played with this function after watching the 01.02 Lofting and State Capture tutorials6 but wanted to look into it further after being set an algorithmic sketch book task to design a desk that one could stand at, sit at, and present at. I designed this slay like â&#x20AC;&#x2DC;deskâ&#x20AC;&#x2122; that a chair can slide behind, or be stood behind and a flat surface at the rear that presentations could be done at, the gap between both areas also functions as a book/ storage space. The below screen capture looks somewhat like a shark however I was initially attempting to create a bridge. The shark like fins developed after tried to bake what I had already made but ended up pulling a lofted surface up. I played with the surfaces moving in all directions which ended in me not creating a bridge but a form I was still pleased with. I found experimenting with the program is exciting when it ends unexpectedly.
Part . A
Notes: • • • • • • • • • • • • • •
Archdaily, ICD/ITKE Research Pavilion / University of Stuttgart, Faculty of Architecture and Urban Planning <http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning> Archdaily, Chhatrapati Shivaji International Airport, retrieved from: http://www.archdaily. com/477107/chhatrapati-shivaji-international-airport-terminal-2-som Computation Works: The Building of Algorithmic Thought, by Peters, Brady. (Architectural Design, 83, 2, 2013) pp. 08-15 Design Futuring: Sustainability, Ethics and New Practice. By Tony Fry (Oxford: Berg, 2008), pp. 1–16 ecoLogicStudio, METAfolly, retrieved from: http://www.ecologicstudio.com/v2/project.php ?idcat=3&idsubcat=4&idproj=120 EXLAB.ORG, 01.02 Lofting and State Capture, retrieved from: https://vimeo.com/60546141 EXLAB.ORG, 01.01 Course Overview, retrieve from: https://vimeo.com/60546140 Fred S. Kleiner, Art throughout the Ages, (Boston: Cenage Learning, 2014), pp. 874-5 J. Giovannini, Inside Diller Scofidio + Renfro’s Broad Museum, (2015), retrieved from: <http://www.architectmagazine.com/design/inside-diller-scofidio-renfros-broad-museum_ o> Leland Roth and Amanda Roth Clark, Understanding Architecture: Its elements, History, and Meaning (Colorado: Westview Press, 2014), p. 56, 558, 640-44 Sagrada Familian, History and Architecture, <http://www.sagradafamilia.org/en > The Broad, The Building, retrieved from: <http://www.thebroad.org/about/building> Theories of the Digital in Architecture, by Oxman, Rivka and Robert Oxman (London; New York: Routledge, 2014), pp. 1–10 University Stuttgart, ICD/ITKE Research Pavilion 2012, retrieved from: http://icd.unistuttgart.de/?p=8807
Images: • • • • • • • • • • • • • •
Fig 1, 2 taken by T. Pringle Fig 3. Sagrada Família façade, by Pep Daudé, retrieved from: http://www.sagradafamilia.org/en/ photo-gallery/ Fig 4. Sagrada Família interior, by Pep Daudé, retrieved from: http://www.sagradafamilia.org/en/ photo-gallery/ Fig 5. Disney hall sketch, by F. Gehry, retrieved from: <http://wdch10.laphil.com/wdch10/wdch/ process.html> Fig 6. Disney Hall façade, by P. Rümmele, retrieved from: http://www.archdaily.com/441358/adclassics-walt-disney-concert-hall-frank-gehry Fig 7. Disney Hall façade, by Los Angeles Philharmonic Association, retrieved from: http://www. archdaily.com/441358/ad-classics-walt-disney-concert-hall-frank-gehry Fig 8. Pavilion materiality, by ICD/ITKE, retrieved from: http://www.archdaily.com/340374/ icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning Fig 9. Pavilion making, by ICD/ITKE, retrieved from: http://www.archdaily.com/340374/icditkeresearch-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning Fig 10. Broad gallery façade detail, by I. Baan, retrieved from http://www.dezeen.com/2015/09/03/ diller-scofidio-renfro-releases-first-official-photos-of-the-broad-museum-los-angeles-iwan-baanhufton-crow/ Fig 11. Broad gallery interior roof detail, by Hufton and Crow, retrieved from http://www.dezeen. com/2015/09/03/diller-scofidio-renfro-releases-first-official-photos-of-the-broad-museum-losangeles-iwan-baan-hufton-crow/ Fig 12 – 14. METAfolly, by ecoLogicStudio, retrieved from: http://www.ecologicstudio.com/v2/ project.php?idcat=3&idsubcat=4&idproj=120Fig 15. Colum detail, by SOM, retrieved from: http:// www.archdaily.com/477107/chhatrapati-shivaji-international-airport-terminal-2-som Fig 15. Colum detail, by SOM, retrieved from: http://www.archdaily.com/477107/chhatrapatishivaji-international-airport-terminal-2-som Fig 16. Pavilion final, by ICD/ITKE, retrieved from: http://www.archdaily.com/340374/icditkeresearch-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning Fig 17. Broad gallery façade, by I. Baan, retrieved from http://www.dezeen.com/2015/09/03/ diller-scofidio-renfro-releases-first-official-photos-of-the-broad-museum-los-angeles-iwan-baanhufton-crow/
References.
End of Part A. Studio Air Toni Pringle 837644