AIRARCHITECTURE DESIGN STUDIO

TALIA FILECCIA 539 432

 

Introduction

Part A: Expression of InterestCase for InnovationA.1. Architecture as a DiclosureA.2. Computational ArchitectureA.3. Parametric ModellingA.4. Algorithmic ExplorationsA.5. ConclusionA.6. Learning Outcomes

Part B: Expression of InterestDesign ApproachB.1. Design FocusB.2. Case Study 1.0B.3. Case Study 2.0B.4. Technique - DevelopmentB.5. Technique - PrototypesB.6. Technique ProposalB.7. Algorithmic SketchesB.8. Learning Objectives & Outcomes

Part C:Project ProposalC.1. Gateway Project - Design ConceptC.2. Gateway Project - Tectonic ElementsC.3. Gateway Project - Final ModelC.4. Algorithmic SketchesC.5. Learning Objectives and Outcomes

References

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CONTENTS

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I am the type of person who never knew what career to persue. I have always been creative and organised though was unware

of how to turn this into an occupation. Up until about four years ago, in my 11th year of secondary school, I discovered my passion for architecture. I suppose sometimes I feel disadvantaged as my knowldge of building design may not be at the level of others who have wanted to be an architect most of their life. However, focus-

sing on the point ‘quality not quantiy’ tends to reassure these insecurites and remind me that no-one person is the same, were

design is a form of art, not a measurment of experience.

INTRODUCTION

My understanding of Digital Design within architecture is a new age tool that aids the formation of concepts into a form. It is malluable and far more advanced then

any previous methodology.

Digital Architecture has allowed design to become a reactive process as oppose to a process of evolution. It has been implied that if chosen to incorporate digital design

throughout your development, you are allowing the computer to do the work for you. I strongly disagree with this statement.

While the computer may assist the process in which you produce the design, without the architect, how would the design be created? Design stems from an idea and the designer controls the computer much like a person controls a car. The vechile is a

tool that aids a person’s transportation just like digital design software is a tool that aids the designer. This forms the basis of my understanding regarding the purpose

of digital design software.

TALIA STELLA FILECCIA

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The Technical Knowledge I have obtained in terms of digital design was during my first semester of university, 2011, when I studied the subject, Virtual Environments. The basis of this revolved around the modelling software Rhino where it was required

to produce a paper latern that can be worn on the body and included a panellised surface with cuvrelinear geometries. The design had to link to a natural process of which, mine was honeycombs and the way bees formed this hexagonal structure.

Due to this being the first time I was exposed to digital design, I struggled with the concepts and functions required to produce a digital model. With the assistance

from my tutor, David Lister, I succeeded in completing a latern that wrapped around the arm and reached to the neck. The concept behind this positioning on the body was drawn to points were a person’s pulse resided, the neck and wrist. At these

areas, the lights of the latern would remain, symbolising life and the beating of the human heart.

Included on below are images of the Rhino design, demonstrating the basic outline of the structure and how it developed into the final model, with the inclusion of the

panelled hexagonal surface.

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CASE FOR INNOVATION

PART AEXPRESSION OF INTEREST

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A.1.ARCHITECTURE AS A DISCOURSE

Architecture as a Discourse can be similarly thought of as communication through architecture. Thinking of building design as a form that speaks to you rather than a structure for protection from the elements allows an alternative perspective to be

considered.

I believe architecture can deliver a Philosophical, Social, Professional & Material

message, as mentioned by Williams, 2005.1 However, I don’t agree that design is limited to communicating those messages alone.

Architecture not only contains aesthetic appeal, it also works to both enclose and open spaces. Additionally, it can draw attention to spaces that would otherwise be

overlooked or ignored, much like public art. Although the two designs can be consid-ered as incrediably different, they can also be seen as serving similar purposes, even

though architecture is capable or serving many.

This is better understood when thinking of an empty piece of land, rarely will you get someone stopping and taking notice of empty space. However, placing a building or sculpture on the empty space draws attention to the area and acts as a form of

discourse.

Furthermore, this is not to limit architecture to simply communicating an empty space. There is also the reaction to what exists in general knowledge and how this goes beyond drawing attention to vacant land. It is the many complex ideas that

architecture addresses that is the format in which it communicates.

Therefore, I believe Architecture to be Influential.

While it is also space, form, surface, shelter and art, all these concepts allow the for-mation of inspiration. This is why the U-House and the Walt Disney Concert Hall are later explored. Personally, they grasp this idea of architecture. I see these buildings

and feel motivated - I become influenced.

1 Williams, Richard. 2005. ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 103.

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Influencial Architectual Project #01

The U-House by Jeorge Costa is a residential project that meets energy efficient design prin-ciples as well as look aesthetically compelling. The compacted box effect it embodies sets

this building aside from other ‘typical’ housing designs.

The house sits upon a hill overlooking the surrounding landscape and includes the social spaces on the first level, associating with the pool, and the private sections on the top floor.

I find the spatial organization compelling in the sense that the design is thought out and organized in a logical format, which only adds to the appeal in my opinion.

Prior to the implementation of the U-House, the site was a boring, empty hill. Costa has not only given the space a house, but also an intriguing and interesting building that draws at-

tention and compels you to explore and understand it. He uses plain, sharp forms as well as a unique composition to individualize what a generic house would look like.

The U-House shows what it is like to push the boundaries by thinking ‘inside the box’ in an unexpected way. Instead of continuing with the known and creating historically influenced

architectural design, Costa becomes innovative and lets his imagination produce an exquisite and simple building - one which inspires me to be different in my designs and be confident

when choosing to stray from the norm and not follow what is expected or safe.

U-HOUSEJORGE COSTA

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WALT DISNEY CONCERT HALL

FRANK GEHRY

Influencial Architectual Project #02

The Walt Disney Concert Hall by Frank Gehry was designed to be one of the most sophisti-cated melodic spaces that provides an unparalleled musical experience, as well as a visual one. The building contains a sharp, angled, swooping facade that completely fits with the

environment, yet stands out from its surroundings.

Gehry is an incredibly influential architect, as his building ideas mostly stem from simple yet composed scribble on a page. He turns the shape of this scribble into a form and eventu-

ally develops buildings so aesthetically pleasing that they cast shade onto anything around them. This design process, workflow and way of thinking is unique when compared to other

patterns and techniques.

This approach to modern architecture through sculptural design and reflective surfaces is a defining factor that separates Gehry from your typical architect. Gehry’s style instills appre-

ciation for the bravery he shows when producing buildings that are completely left of center. His work inflicts a positive change in the world, one that is difficult to forget.

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A.2.COMPUTATIONAL ARCHITECTURE

Computational Architecture is a topic a lot of people feel strongly about. From my understanding, you are either for or against the evolution of digital design. Simply

put, using computers in the design process is not only faster, but also more accurate and adaptable. The opposing groups who see digital architecture as an ‘excuse’, due to their belief that the computer formulates the design rather than the architect, are

naive. In my opinion, they don’t understand, so they judge. They neglect change.

If people can adapt to the changes in design, they can adapt to the changes in de-sign technique.

Computational Architecture has a significant affect on the process of design. Simply put, it alters architectural design from the “making of form” to the “finding of form” (Kolarevic, 2003).2 This relates to the capabilities computer-aided architecture al-lows - capabilities that may not have been considered if left to the old mechanical process. For example, testing the compatibility of certain materials for a design

normally would require extensive research, with digital design, the time required to do this is almost halved by the efficiency provided by computational architecture. Hence, this also highlights how technology impacts design and construction indus-

tries - it improves them.

The range of conceivable and achievable geometries is severely impacted by com-putation. Digital modeling alone opens up an entire concept to design that was previ-ously neglected or unimagined. The way in which surfaces and curves can move, link, collide and exchange with one another in itself is influential. The opportunities these concepts provide bring design to a whole new level. One that is far more advanced

then anyone may have predicted.

Furthermore, Computational Architecture establishes unique opportunities and in-novations that were previously inconceivable. Buildings of the past were mostly

generic, repetitive and of uncomplicated forms. The most advanced designs revolved around height - how tall a building could be as well as integrate stability. Now, it has

changed, we see a new ideology forming. Gradually, the entire idea of design will shift further to include forms, which are individualized, complicated and distinctive.

2 Kolarevic, Branko. 2003. Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press), pp. 3 - 4.

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A.3.PARAMETRIC MODELING

Parametric Modeling has been touched upon in the previous pages in terms of com-putational and digital architecture. To further explore specificities in this area, re-search involving the communication of parametric modeling along with scripting

cultures in Architecture must be explored.

In my opinion, Parametric Modeling is project simulation. This simulation is achieved through the use of mathematical and analytical methods. However, in saying this, we

are limiting the extent of complexity involved in this design process. Similarly, the algorithms can define scripting cultures and definitive processes behind the paramet-

ric programs.

It is my understanding that the scripting cultures are of those plug in’s such as Grasshopper and the parametric modeling software are of those programs such as Rhino. As mentioned previously on numerous occasions, these elements that pro-duce parametric modeling communicate Architecture in a more complex and time

efficient way. This is supported by Woodbury (2010) who states, “parametric sys-tems bring fresh and needed new capabilities in adapting to context and contingency

and exploring the possibilities inherent in an idea”.3

The influence Parametric Modeling has had and will continue to have on the architec-tural design process is evident. Not only has it allowed more efficient and sophisti-cated outputs, it has created a possibility of producing works far beyond anything

previously imagined.

While some may argue that even without parametric modeling, further development of ideas would have eventually surfaced, the time and form of those ideas has been greatly improved by the use of parametrics. Mentioned above, architecture has been said to be influential. Parametric Modeling to an extent, allows the influence to blos-

som and grow beyond what is known. It allows a mix and confusion of curves and angles to form an advanced idea and possibly inspire the concepts behind a design.

3 Woodbury, Robert. 2010. Elements of Parametric Design (London: Routledge) pp. 7-48.

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While it has been noted that Parametric Modeling has greatly impacted the archi-tectural world, this approach to design has both advantages and shortcomings. It is my opinion that the advantages outshine the shortcomings as the main benefit to parametric programing includes the capability to create something that cannot be

formed or formed as efficiently by hand drawing.

For example, looking at the Walt Disney Concert Hall, previously explored, it is appar-ent that the interaction of forms would have produced a large amount of overlapping

output. Hence, this overlapping output can be produced much more accurately via parametric design as oppose to the conventional way.

In terms of shortcomings, the only negative to parametric modeling, in my eyes, is the difficulty in terms of learning something new and adjusting to the varied meth-

ods and techniques this comprises. However, as previously mentioned, this disadvan-tage is greatly outweighed as like all unknown techniques, once grasped, the advan-

tages to them are clearly comprehended.

This is further explored within the analysis of the following parametric projects.

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Parametric Project #01

The Burnham Pavilion by UNSTUDIO is a perfect example of a project, which fully grasps the concept of parametric modeling. It uses geometries in a floating and continuous form that

aim to highlight and reflect the surroundings.

The Pavilion successfully completes this agenda via the assistance of parametric modeling. This new design process allows the concept to be developed and explored in a more time

efficient manner, allowing forms and the interactions between them to be tested far more effectively.

Without Parametric Modeling, this structure may not have been completed to the extent it has, meaning the result produced may not have been achieved. Considering this and consid-

ering the context through the communication of architecture, the Burnham Pavilion would not have achieved the same result and finished design without parametric programming and this in itself highlights the importance and influence parametric modeling holds on architec-

ture.

This creation by UNSTUDIO is a prime example of a parametric project, which in its purest form, emphasizes the inspiration of curvilinear and geometrical objects interacting. Paramet-

ric modeling not only inspires this, it makes the idea of it a reality.

BURNHAM PAVILIONUNSTUDIO

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Parametric Project #02

The Snowflake Tower by LAVA is another example of a parametric project that not only grasps the concept of parametric modeling, but also takes it one step further. Exploring the

idea of movement and how parametric modeling assists the process of developing respon-sive structural systems. This is an advantage when considering the conventional method,

which in comparison would be long and tedious.

The design of the building was inspired by the geometry of a snowflake and the aerodynam-ics of a Formula 1 racing car. The idea was to draw inspiration from these concepts rather

then mimic them. Much like designs in parametric modeling draws inspiration from the soft-ware capabilities, not clone hand drawn ideas and reproduce them through computation.

Further addressing the concept of responsive structural systems, the reflective fins of the tower aim to track the sun and hence control solar shading. This movement not only

changes the facade of the building, it also requires a complex process to identify the timing and direction of movement. Therefore, highlighting the ineffectiveness of completing this

process by hand as oppose to using parametric modeling. The method is not only faster, but also more accurate and reactive.

Thus, the Snowflake Tower allows a context to be formulated in which, Architecture commu-nicates the idea of new possibilities – it communicates inspiration. This inspiration is possible through the process of using digital programming and this emphasizes the benefits of using

parametric architecture, were the Snowflake Tower is a prime example.

SNOWFLAKE TOWERLAVA

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A.4.ALGORITHMIC EXPLORATIONS

A.4.1 EXPLORING THE CURVE MENU

The images to the right represent explorations of the curve menu in Grasshopper.Initially I investigated the division of points along two curves and the formation of arcs between those adjoining points. This created a lofted surface, which had a soft and smooth appearance. Following on from this, I explored the geodesic component that creates a curve between two points of which this curve is of the shortest possible path. This can also be seen in the images to the right as the shape and structure of the curve has altered and become somewhat more complicated.

In the original tutorial for this exploration, the process for completing these func-tions was explained however, I altered the original shaping of these curves and pro-duced a form that looked no where near as neat or defined. After the geodesic com-ponent was added, I noticed that the arc’s formed in my object were vastly different in comparison, as they were more sparse in certain areas and congested in others. Therefore, the knowledge provided throughout the tutorial was extended through self-research and exploration.

These images were included above others as they clearly demonstrated the simple yet effective functions available through the curve menu in Grasshopper. They also highlight the production of arcs along a curve and the simplified process of creating them.

From completing this tutorial, it was found that inspiration was drawn from the shapes created by the arcs between juxtaposed curves. The forms that were gener-ated conjured ideas of a shell or igloo, which provides shelter for inhabitants. This developed thoughts of interesting building designs, including how curved forms could be created as architecture.

These algorithmic sketches demonstrate the arguments made previously - that parametric modeling could form project simulation, which in turn produces inspiration through architecture. Hence, parametric architecture is produced via the explora-tions undertaken in programs such as Grasshopper.

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A.4.2 EXPLORING TRIANGULATION ALGORITHMSThe images to the left represent explorations of triangulation algorithms in Grass-hopper. The algorithms that were closely investigated included the voronoi and octree components. In the original tutorial for this exploration, the process for com-pleting forms with these algorithms were initiated with a box and a curved plane, as can be seen in the images on the right. The voronoi component creates cells around points were the bounding lines of those cells are perpendicular to the point, while the octree component partitions space into a structured set of boxes.

Moving on from the basic structures used to demonstrate these components throughout the tutorial, I explored the use of the voronoi tool with a triangular ge-ometry. Much like the box, a cube like form was created of which the internal cells were visible. Removing the external cells from the shape, an interesting form was produced which was different to the forms created via the box geometry. Similarly, both triangular and cylinder geometries were explored with the octree component instead of the curved plane that was demonstrated with in the tutorial. As can be seen in the images on the right, these altered geometric forms produced a differ-ent structured set of boxes within the partitions of space when compared with the curved plane. Again, these boxes were removed in certain areas and varied shapes were created. Thus, the knowledge distributed throughout the tutorial was extended through self-research and exploration.

These images were included above others as they specifically demonstrated the exploration of the voronoi and octree components within Grasshopper. By complet-ing this exercise, inspiration was drawn from the unique and interesting forms that were produced. They are comparable to a style of linear architecture, which I per-sonally find the most influential. The forms produced remind me of the U-House by Jorge Costa, which was addressed earlier. This new knowledge that represents the link between parametric modeling and architecture is initiated via the components in Grasshopper and henceforth likened to architectural projects such as the U-House.

Similar to the previous exploration of curves, these algorithmic sketches demon-strate the argument that parametric modeling can form project simulation. This in turn produces inspiration through architecture and therefore, parametric architecture is produced through the explorations instigated in programs such as grasshopper.

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A.5.CONCLUSION

Throughout Part A- a Case for Innovation, many concepts were identified and explored. The idea of digital design being a reactive process rather then a process of evolution was ad-

dressed and this led to the contemplation of Architecture as a discourse. While it was found that Architecture communicates philosophical, social, professional and material aspects, it was noted that it is not limited to these. Architecture addresses many complex ideas along with drawing attention to empty space. Through this, an observation was articulated in that Architecture is influential - the space, form, surface, shelter and artistic aspects of design

expresses this inspiration.

Subsequently, Computational Architecture was analyzed in the way it has improved the process of design and the significance of this. It was stated that people adapt to changes in design over time and thus will adapt to changes in design technique. Thus following on from this, Parametric Modeling was also identified as improving design in that this technique is not only faster, but also capable of producing more sophisticated and accurate outputs. There-fore, this section has discussed how digital design has influenced Architecture in distinctive

ways, including the way in which it has become influential.

In identifying the impact of digital design and what Architecture communicates, there is clarity in discovering a design approach. Through summarizing the information analyzed, the important aspects of influential Architecture is found by the way forms interact with space. From this it can be understood that inspiration is subjective to personal opinions, however,

this subjectivity is what forms innovation. By delving into the way form interacts with space, like the U-House and the Walt Disney Concert Hall, the idea of influential design can be ex-

plored. It is an understanding that the majority of people are inspired by forms that push the boundaries of what is known and expected. By differentiating design, you are drawing atten-

tion to it and parametric modeling improves the ability to produce this.

Therefore, I have come to the conclusion that unique designs inspire me for the courage and appreciation they entail. This is what makes design significant. This is what makes design

influential.

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A.6.LEARNING OUTCOMES

By exploring computational architecture in theory and in practice, it is evident that my gen-eral knowledge of the topic has improved, as would be expected. The experience of evaluat-ing the effect of digital design as well as architecture as a discourse has beneficially altered

my mindset and identified what it is about architecture that entices me. However, I have found myself questioning design a lot more. There is more critique in my approach to archi-tecture in that I analyze how a form is produced and the effect it holds rather then simply

appreciating the design. By being forced to examine digital design and parametric modeling, my overall understanding has developed. Hence my new knowledge of past projects and the effect computational architecture entails has influenced and motivated me to participate in

the unknown and exciting new design process that is now architecture.