ARCHITECTURE DESIGN STUDIO AIR 2013
PART A EOI I CASE FOR INNOVATION YINING SHE 382808
CONTENTS
INTRODUCTION...................................02
A.1. ARCHITECTURE AS A DISCOURSE...............03
A.2. COMPUTATIONAL ARCHITECTURE................11
A.3. PARAMETRIC MODELLING......................14
A.4. CONCLUSION................................19
A.5. LEARNING OUTCOMES.........................20
A.6. APPENDIX - ALGORITHMIC EXPLORATIONS.......21
NOTES & REFERENCE..............................22
make a multiple designing system
Hi, my name is Yining She, and I am also glad to be called Darren. I’m an oversea student from China, and this is my first semester, third year in architecture major as I entered Melbourne Uni by the mid-year intake. In past designing studios, I have basically done most of my design studio models with hand drawings or some physical techniques under the subject needs. Meanwhile I’ve also done some works by computer, basically with Sketchup & Autocad. Although I did the “lantern” design by Rhino and Fablab fabrication in Virtual Environments at my first year, but that was kind of an introduction and fundamental practice about Rhino, which is actually such a complex and helpful programme, so I’m really looking forward to this Air Studio for its more advanced Rhino designing practice, and different architectural ideas.
INTRODUCTION 01
In Virtual Environments subject at my first year, I started to organize some of my designing ideas in a digital way with Rhino. The initial natural process of this lantern model I looked at was the track drew by the moving arm when the violinist plays the violin. In the view of relationship between the music and the concept of lantern, I was trying to make a multiple designing system that contains both visual and verbal fields. Rhino did help me a lot during the whole digitization. That was the first time I found a designing process could be much more efficient on computers rather than hand drawings.
Digital designing will allow more complex calculations which delimit designers and will allow a diverse range of complex forms to be created with great ease using digital techniques. Digital architecture also plays a vital and significant role in this industry. Using Rhino as an example, it analyses the changing data and parametric factors that can be hardly dealt with any other ways without computing calculations. More accurate details consist of a better design for the calculations brings almost no errors that might take place during hand designing.
INTRODUCTION 02
A.1. ARCHITECTURE AS A DISCOURSE Two brilliant architectural projects located in different countries designed be two great architects that have different cultural backgrounds will be introduced and analysed to explore the significance of architectural ideas and its influence on our lives.
1. 4x4 House by Tadao Ando. 2. Seattle Central Library by Rem Koolhaas and Joshua Prince-Ramus of OMA/LMN.
We live in a time of renaissance... cities are coming back to life, after a long neglect.[1] - Daniel Libeskind
ARCHITECTURE AS A DISCOURSE 03
ARCHITECTURE AS A DISCOURSE 04
4x4 House Architect: Tadao Ando Year of construction: 2003 Land Area: 117.19 m2 Floor Area: 22.56 m2 Location: Tarumi-ku, Kobe, Hyogo, Japan Materials: Concrete, wood and glass Structure: Reinforced concrete
This project was asked to be built at an extremely small size site, which is approximately 4m x 4m, and Tadao Ando named it so. The site is just close to the beach, having a great view of the sea in front of it. The first house also addresses the necessities of the occupants in height, with a basement, ground floor and three other floors above this. However, the second one nearby has a different vertical access system. Instead of the staircase, the second one has an elevator. Another difference is the first one uses all concrete while the second one replaces some concrete by wood. Every level has its own specific function.
4x4 House should be regarded as a well done example showing how the idea of sustainability and space-organization could be achieved in limited areas. This condition becomes common in nowaday urban planning for the city development. Cilent now has an opportunity to feel a living sapce that has been highly planned and accurately calculated. The construction process could also be seen as an experiment indicates how to keep the aesthetic needs under strict spatial restrictions.
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4x4 House is one of the best examples expressing the architect Tadao Ando’s thoughts in modern architecture. Tadao Ando always believes three basic points. Firstly, any building must be designed and built based on reliable materials, such as concrete, and unpainted wood. This is a fundamental statement to guarantee the building provides secure, safe, and solid environment for the people living inside. Secondly, he loves obvious and pure geometric shapes in design. Geometries will give out the strongest security for users, furthermore, this method placed a firm foundation in the designing process, sending messages all about keeping clients safe and comfortable in their private space. When the geometries appears, the boundaries would be quite visible, meanwhile location, orientation, and such properties could be easily seen and determined. The nature and the building interact with each other, the building turns to a huge screen reflecting all the human activities on it, so does the lighting, which will be presented frequently and completely as well.
The third point is the nature. Tadao projects unique spaces, which change constantly, because the sun and wind play in their confines.[2] Besides that, he loves to re-arrange the natural surroundings around the building, to create a unique type of artificial nature, which means an environment after accurately organized and planned. Tadao Ando is a minimalist architect and he has been strongly influenced by the Japanese traditional design and architecture, which which focuses on the simplicity and elegance of the shapes. I think 4x4 House successfully represents Tadao Ando’s idea that how human needs to plan our future, especially the living space. It renews people’s thoughts of seeing and thinking, as well as the designing approaches. This is also referring to the role of digitization in modern architecture. His works are mostly always related to accurate arrangement, which is the best thing could be done with advanced computing techniques.
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Seattle Central Library Architect: Rem Koolhaas and Joshua Prince-Ramus of OMA/LMN Open Date: May 23, 2004 Building Area: 34000 m2 Floor number: 11 Location: Downtown Seattle, Washington, America Surface Materials: Glass and Steel
Dutch architect Rem Koohass has described the steel, glass, and aluminum library as “large but not monumental.� Aluminum mesh sandwiched between glass panels reduces heat and glare on the interior, and the glass grid provides seismic stability. The view from the soaring atrium changes with each movement of the sun and clouds. The building garnered a 2005 national AIA Honor Award for Architecture.[3]
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ARCHITECTURE AS A DISCOURSE 08
The Seattle Public Library’s Central Library is the flagship library of The Seattle Public Library system. The library has a unique, striking appearance, consisting of several discrete “floating platforms” seemingly wrapped in a large steel net around glass skin. In the designing process, Rem Koolhaas and his team put the function on the most important place. Although the library has an uncommon outfit from the outside, the vital concept was to let the building’s required functions dictate what it should look like, rather than imposing a structure and making the functions conform to that.
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The impressive surface is not just a skin done by techniques. The whole outlook expresses some new ideas about how to establish a 3D space for public. Rem Koolhaas strongly believes Deconstructivism Architecture. He loves this approach to building design that attempts to view architecture in bits and pieces. Most of their works may seem to have no visual logic, on the other side, they may appear to be made up of unrelated, disharmonious abstract forms. This type of architecture pays more attention on the relationships between different parts in the building as well as the spatial arrangement and surface design.
In Seattle Central Library project, the ideas of architectural critics and the general public has been combined and mixed. Nowadays, many architects start to organize different thoughts from both urban planning and architecture into a co-existing system and make it work for advanced architectural designing. Rem Koolhaas himself is a Deconstructivist architect, therefore a lot of postmodern elements could be easily found in his works, such like fragmentation, manipulating a structure’s surface or skin, and non-rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit deconstructivist “styles” is characterized by unpredictability and controlled chaos.[5] Deconstructivist architects have been enjoying dealing with complex relationships between different parts, and finally give out a surface or whole style fulfilled with “cells”, which will be the most fundamental unit to make up a complete surface or space design. Deconstructivism is a big step in human history. People start to feel the strong visual messages sent from the works. Users in this Seattle Central Library would be satisfied by the unusual but efficient layout and vertical arrangement.
Architecture is expected to be solid, stable and reassuring – physically, socially and psychologically. Bound to each other, the architectural and the material are considered inseparable. But the immaterial is as important to architecture as the material and has as long a history.[4] -Jonathan Hill
Another key point is that constructivist architecture will be quite easily related to computational, digital, and parametric architectural designing. Digital designing is now an essential tool in most aspects of contemporary architecture. However, the particular nature of deconstructivism makes the use of computers especially pertinent. Though the computer has made the designing of complex shapes much easier and more accruate, and not everything that looks odd is “deconstructivist.”[6]
ARCHITECTURE AS A DISCOURSE 10
A.2. COMPUTATIONAL ARCHITECTURE
COMPUTATIONAL ARCHITECTURE 11
ICD/ITKE
Research
University of ty of Architecture
Pavilion
Stuttgart, and Urban
FaculPlanning.
In November 2012 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed a research pavilion that is entirely robotically fabricated from carbon and glass fibre composites.[7] This pavilioon basically uses the same material concept as my project in Studio Air. Composite material is a huge range with almost every type of materials in this range. At the core of the project is the development of an innovative robotic fabrication process within the context of the building industry based on filament winding of carbon and glass fibres and the related computational design tools and simulation methods.[8] How to deal with the relationship between different materials will be a key point. COMPUTATIONAL ARCHITECTURE 12
From my works, spiring impact
previous designing experiences and I found it is important and inapplying with different media to on creative design development.
People have been creating designing approaches for centuries. From the earliest time, people use paintings and hand sketches to express their own thoughts. As time goes by, the photos became the most direct way to catch and keep the shapes and appearance of objects, which brought a revolution to designing world. It is much easier to keep ideas and inspirations when people see or feel anything wherever they are, and whenever it is. Photography also shorten the distance between common people to design works. Keeping ideas and expressing thoughts are not that professional than years before. For decades lately, digital designing has become the center role in the creative design stage. Digitization shows highest accuracy compared to hand works meanwhile builds the actual communications with engineering. The concept and production have been associated to each other in a efficient way. As a result, different media will contribute to the development of creative design in a increasing trend, and at the same time, the connections between every single way are going to be established efficiently and helpfully.
Just like what Kalay mentioned, computer, by their nature, are superb analytical engines. If correctly program m ed, they can follow a line of reasoning to its logical conclusion. They will never tire, never make silly arithm etical mistakes, and will gladly search through and correlate facts buried in the endless heaps of inform ation they can store.[9] Most things those digital techniques could help with are calculation and repeating, which seems quite simple and non-creative. However, hum ans that possess both rational and creative abilities, are easily bored, and tend to make mistakes. What programmes could archieve is highly helpful for types of works like calculation and repeating, and additionally, they do it in a high speed that people could save time for creativity. Another important point is that computers would not make any mistakes if we ask them to go for the right direction, which improves accuracy significantly. Kalay also stated that design, accordingly, is a purposeful activity, aimed at achieving some welldefined goals.[10] Therefore, the essential point in designing is to solve problems, and computational tools could largely reduce the chance that unexpected problems appear. Now we are at a stage that architecture industry might be facing revolutions. The processes of constructing a design can be now more direct and more complex because the information can be easily extracted, exchanged, and utilized with far greater facility and speed. The digital information is exactly the construction information with the help of digital techniques.[11]
COMPUTATIONAL ARCHITECTURE 13
A.3. PARAMETRIC MODELLING
We might be passing a period that modernism designing is fading away, and post-modernism and deconstructivism were mere transitional for us currently, and finally, parametricism needs to be discussed for its new way seeing and thinking about designing. Patrik Schumacher has talked about the future of parametricism. He mentioned that many people might be worrying about if The admixture of a post-modernist, deconstructivist or minimalist design can only disrupt the penetrating and far-reaching parametricist continuity, and the reverse does not hold, because there is no equivalent degree of continuity in post-modernist, deconstructivist or minimalist urbanism. However, in fact, parametricism can take up vernacular, classical, modernist, post-modernist, deconstructivist and minimalist urban conditions, and forge a new network of affiliations and continuities between and beyond any number of urban fragments and conditions.[12]
Paremetric designing should not be just focusing on creating shapes and curves, or archieving some difficult constructions with a huge number of calculations and experiments. However, instead of classical and modern reliance on rigid geometrical figures – rectangles, cubes, cylinders, pyramids and spheres – the new primitives of parametricism are animate geometrical entities – splines, nurbs and subdivs. [13] From parametricist architects’ eyes, the buildings could be seen as organic bodies. They could be designed from each little cell, to a entire whole. After understanding all those thoughts and ideas, the paramatric designing then makes a lot sense, not just computational analysis and calculation. Schumacher also has his own idea about the whole picture of parametric design. It aims to establish a complex variegated spatial order, using scripting to differentiate and correlate all elements and subsystems of a design. The goal is to intensify the internal interdependencies within an architectural design, as well as the external affiliations and continuities within complex, urban contexts.[14]
PARAMETRIC MODELLING 14
COMPUTATIONAL ARCHITECTURE 15
PARAMETRIC MODELLING 16
Beijing National Aquatics Center Location: Beijing, China Architect(s): PTW Architects, CSCEC, CCDI, and Arup Built Time: 2004 - 2007
COMPUTATIONAL ARCHITECTURE 17
Burnham Pavilions Location: Chicago, Illinois, USA Architect(s): Berkel
Zaha Hadid and Ben van
A temporary pavilion designed and erected in Chicago’s Millennium Park as part of the Burnham Plan celebrations reflecting the Chicago’s long tradition for embracing cutting edge architecture in an in intricate but fluid structure that incorporates hidden traces of Burnham and Bennett’s original 1909 plans to redevelop the city. [15]
Their purpose was to commemorate the 100th anniversary of Daniel Burnham’s Plan of Chicago,[16] and symbolize the city’s continued pursuit of the Plan’s architectural vision with contemporary architecture and planning.[17] The sculptures were privately funded and reside in Millennium Park. The pavilions were designed to be temporary structures.[18] This is a tensioned fabric shell fitted over a curving aluminum framework inside, then decorated outside.
Parametric techniques help us to step onto the next level that imagination becomes the first and the most important element in designing process. Digital tools describe every detail accurately and turn those almost impoossible fabrication parts into reality. Take background into consideration, the Water Cube will be more like a experiment to test how the natural elements and structures works and how much human can manipulate from these reasonable stories given by the nature.
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A.4. CONCLUSION
In conclusion, contemporary digital and computational designing is now in a state of rapid evolution. From the beginning of human race history, architecture was born and kept developing during every historical period. People need to earn a comfortable living environment, private space, the architetcure satisfies those needs and provides artistic works with aesthetic elements. From the earliest time, people use paintings and hand sketches to express their own thoughts. As time goes by, the photos became the most direct way to catch and keep the shapes and appearance of objects, which brought a revolution to designing world. It is much easier to keep ideas and inspirations when people see or feel anything wherever they are, and whenever it is. For decades lately, digital designing has become the center role in the creative design stage. Computers take over all the monotonous work for us. They are able to present the results “in textual reports, tables of numbers, charts, graphical constructions — even in dynamically changing images and sounds“[19]. Therefore the user of computers for the process of design, will be asked to requires both rational and creative abilities. Architects have been learning and using some typical programmes for a long time, such like AutoCAD and Rhinoceros. But the nature of architecture is still and will always be creativity. Ideas could be expressed and operated by digital techiniques, but nothing can be built up without a strong, firm, attractive and impressive foundation, which is exactly, the idea.
CONCLUSION 19
In fact, the amount of things that I have learned in this subject so far already could not be condensed into just these pages. During all those researches when doing this report, I have been thinking not only the major project in Studio Air this semester, but also the nature of architectural designing. From now on, it will be far more sophisticated than using computer instead of drawing board. Once my idea is done, I will need to find a proper way to fit my ideas into some programmes to make them visible for both myself and others. When the transit happens, I follow certain operations which are monotone and repetitive, but through all these, I will get myself a satisfying result. Grasshopper is a graphical algorithm editor tightly integrated with Rhino’s 3-D modeling tools. I had tried once using Grasshopper when I was at Year 1, in the Virtual Environments subject. I was struggling with the fabrication of my unusual model. I have been trying all digital tools to make it easier to control but failed. Then I found Grasshopper, which was really useful for my situation at that time. Grasshopper requires much less knowledge of programming or scripting, but still allows designers to build form generators from the simple to the awe-inspiring. I have also been doing my material selection and testing. Composite material is a more flexible concept but also difficult to define. I am looking forward to the project coming after.
A.5. LEARNING OUTCOMES
LEARNING OUTCOMES 20
A.6. APPENDIX - ALGORITHMIC EXPLORATIONS
APPENDIX - ALGORITHMIC EXPLORATIONS 21
A.7. NOTES & REFERENCE Image: 1. http://goodbysanfrancisco.blogspot.com.au/2011/03/arquitectura-4x4-house-tadaoando.html 2. http://addfiuspring2010.blogspot.com.au/2010_03_01_archive.html 3. http://www.flickr.com/photos/jonhefel/6727825259/ 4. http://bevsbitsandbites.blogspot.com.au/2010/09/september-in-seattle.html 5. http://www.archdaily.com/11651/seattle-central-library-oma-lmn/1685363506_splfacade-detail-rualt/ 6. http://www.archdaily.com/11651/seattle-central-library-oma-lmn/a301-model-1/ 7. http://www.archdaily.com/11651/seattle-central-library-oma-lmn/a304-model-1/ 8. http://www.archdaily.com/11651/seattle-central-library-oma-lmn/a302-model-1/ 9. http://www.archdaily.com/11651/seattle-central-library-oma-lmn/a303-model-1/ 10. http://ad009cdnb.archdaily.net/wp-content/uploads/2009/01/1364604415_spl-bookspiral-diagram-rex.jpg 11. http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a9dfb3fc4ba663000235_icd-itkeresearch-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning_icd-itke_rp12_image18-jpg/ 12. http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a95ab3fc4bf0a800022e_icd-itkeresearch-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning_icd-itke_rp12_image10-jpg/ 13. http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a894b3fc4b32a4000226_icd-itkeresearch-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning_icd-itke_rp12_image02-jpg/ 14. http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a9ffb3fc4b32a4000237_icd-itkeresearch-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning_icd-itke_rp12_image20-jpg/ 15. http://onlyhdwallpapers.com/wallpaper/architecture_beijing_water_cube_ desktop_3000x2000_hd-wallpaper-2727.jpg 16. http://blog.chinatravel.net/wp-content/uploads/2010/10/Steven-Song-Water-SkyCube.jpg 17. http://upload.wikimedia.org/wikipedia/commons/1/19/Construction_beijing_2008_ water_cube_2.jpg 18. http://www.arup.com/Projects/Chinese_National_Aquatics_Center/WaterCube_overview_1.aspx 19. http://www.zaha-hadid.com/architecture/burnham-pavillion/# 20. http://www.zaha-hadid.com/architecture/burnham-pavillion/# 21. http://www.zaha-hadid.com/architecture/burnham-pavillion/# 22. http://static1.evermotion.org/files/EVRprfolio/ff3a44b44a512c065c37d782b19583604a2cdf05.jpg NOTES & REFERENCE 22
A.7. NOTES & REFERENCE
Text: 1. http://www.ilikearchitecture.net/2013/06/quote-69-daniel-libeskind/ 2. http://www.minimalisti.com/architecture/01/minimalist-architect-tadao-ando.html 3. http://blog.aia.org/favorites/2007/02/108_seattle_public_library_200.html 4. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 54 5. http://en.wikipedia.org/wiki/Deconstructivism 6. http://en.wikipedia.org/wiki/Deconstructivism 7. http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/ 8. http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/ 9. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 2 10. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 11. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 7 12. http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article 13. http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article 14. http://www.architectsjournal.co.uk/the-critics/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article 15. http://www.zaha-hadid.com/architecture/burnham-pavillion/# 16. Cohen, Patricia (2008-06-24). “Footnotes”. The New York Times. The New York Times Company. Retrieved 2008-07-02. 17. Howard, Hilary (2009-07-19). “Comings & Goings; Chicago Celebrates An Urban Dream”. The New York Times. The New York Times Company. Retrieved 2009-07-29. 18. Kamin, Blair (2008-06-22). “2 architects to design Burnham pavilions”. Chicago Tribune. Newsbank. Retrieved 2008-07-25. 19. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 2
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