leah edwards design journal

Design Journal

Leah Edwards541937

Contents1. A case for innovation - 1.1 Introduction - 1.2 Architecture as a discourse - 1.3 Computational Architecture - 1.4 Parametric Modelling - 1. 5 Algorithmic Explorations - 1.6 Conclusion

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My name is Leah Edwards and I am 20 and currently in my third year of Environ-ments majoring in Architecture at Melbourne University. I have lived in Melbourne most of my life though I was born in Birmingham, England and have parents of Irish and Iranian decent. Coming from a mixed cultured background I have travelled a lot from a young age and in all the things I’ve seen I’ve always had a passion for art. This is where I found architecture, a public form of art which I came to learn was made up of so much more that a decorative display. It incorporates a variety of fields such as engineering, science, maths, philosophy, history and of course art which come together to form a solution, the perfect building for a desired pro-

posal matching its landscape in an intricate way.

I have little knowledge when it comes to the use of modelling programs, besides my brief experimentation with Rhino, and AutoCAD over the past two years. Due to this I feel as if I’m being deprived of a tool, and the skills to use such tools, that can enhance my designing capabilities on such an advanced scale. I’m looking forward to developing my skills in Rhino and extending those abilities with grass-

hopper to electronically create forms of high detail and elasticity.

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1.1 Introduction

In my first year as a student in Environments I was able to explore the basics of Rhino through the subject Virtual Environments and adopt such techniques. A lantern capable of being at-tached to the human body through a natural process was required to be designed. From this brief my lantern was based on the process by which a snake sheds its skin, I then applied this to the way in which a human may shed their skin, if capable of such a function, and how this would resemble the properties of a snakes. It would be starting from our finger tips as an open-ing point, then tearing and peeling up towards the shoulder, developing a gathering of skin in this area. After moulding my ideas with clay Rhino was able to traces individual contours and

loft my idea into a complete form which could then be printed and built.

I was particularly fascinated by the capabilities of this program as it allowed me to physically craft this underdeveloped idea I had in my mind with a few simple steps. I believe such a pro-cedure were to be done by hand it would take a vast amount of time in comparison, with many trial runs before perfecting its form. It was here I could recognise what computer aided soft-ware can do for us in the architectural world as it solves and constructs the layouts to unusual

and abstract structures.

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1.1 Introduction

Previous work &Experiences with computer aided software

A discourse is verbal expression; it is the way in which a language is used socially to convey historical meanings on a broad scale. It is de-fined by the social conditions of its use, in this case Architecture as a discourse explores its meaning on a macro level, not simply reading theories but analysing them discussing them and arguing opinions. Which brings me to this language of Architecture, generally known only in relation to built structures but in real-

ity it has become so much more than that.

Architecture can be expressed not only through buildings but through writing, mod-elling, and the uprising of technological ad-vances in parametric software such as Rhino, AutoCAD and Autodesk Revit. Such programs allow designs to evolve into fluid forms yet adaptable and versatile in their geometry, these days we can mould and create struc-

tures to fit any one of our abstract desires.

Digital technology, this software of today and furthermore our future, has opened up a new realm of architecture. Paper, plastic, wood, metal and materials of all kinds can be sculpt-ed into an architectural form not restricted by function or defined as a built construction but rather the idea of designing a practical struc-ture such as a house or museum is merely a

preference.

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Architecture is no longer restricted; it is an eternally adapting field, reconstructing within itself as a system of communications, self-producing, also known as ‘auto-poetic’.

Built forms are negligible, no longer a re-quirement because architecture can still make contributions to society through con-ceptual and virtual representations. Pic-tures, renderings and virtual models con-tain so much detailing and information that they themselves can serve as architectural

discourses allowing us to explore further.

As architects we are encouraged to think ‘why’ not ‘how’, why have structures come to exist not how and from this we are able to think outside the box and find the reason for a design. This is more productive, as ca-sual explanations only allow us to reproduce events and designs whereas functional ex-planations encourage designers to tackle new and radical perspectives and challenge pre-established concepts, leading to inno-

vative results.

1.2 Architecture as Discourse

Architecture as a Discourse

Precedent One

Solomon R. Guggenheim Museum BilbaoFrank Gehry

Located alongside the Nervion River running through the city of Bilbao to the Atlantic Coast the Guggenheim Museum was established in 1997 by the Solomon R. Guggenheim Foundation as one of their several museums. Home to a collection of modern and con-temporary art and those of Spanish and international artists the museum lies in Abando, Bilbao, Spain. Designed by Frank Gehry a Canadian-American architect, the building is one of the most admired works of contemporary architecture as it represents a united

decision by critics, academics and the general public.

Gehry was chosen for this project to design a structure with a daring and innovative form, one which he decided to base around the use of curves. The building’s exterior presents itself as if the curves were formed at random, catching the light of the incoming sun as it is wrapped around a large light-filled atrium lining the views of Bilbao’s estuary and the neighbouring hills. The building uses a style of Deconstructivism as it appears to fold from the inside out as if being deconstructed from a whole, coated in titanium its reflective panels imitate the scales of a fish. Integrated into the surrounding urban context the building unfolds into interconnecting shapes using materials of stone, glass

and titanium.

I originally learnt of this building in my first year of architecture and from having previ-ously visited the Guggenheim museum in New York. While it may be a typical choice of building to speak about I feel that it is a perfect reflection of what I would like to explore as an architect as I remember thinking to myself, this is a style that excites me. The idea of abstract forms seems to be one that is lost in our current building modes, though through the uprising of digital software such as rhino such innovative shapes are made possible. I really enjoy this particular structure because of its unusual scattered design, it isn’t plain but rather holds separate elements which look as if they’ve been merged into

a whole.

Every corner is different, interesting and on top of that the use of glass and titanium add to its dispersed organisation, the light reflects off the titanium extenuating each curve and illuminating the overall form. Furthermore while the use of metallic material may appear futuristic and that of machinery it also has an organic composition due to the curves and horizontal layout thus generating a sense of being a part of its surrounding

landscape.


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Precedent Two

Viipuri LibraryAlvar Aalto

Located in Viipuri (now Vyborg), Russia, the Viipuri Library was built in 1933-35 and is considered a manifestation of regional modernism. Designed by Finnish architect Alvar Aalto who practised in a modernist style and had a fondness for natural materials, the building features many unique elements. Each room and the layout of entire spaces was carefully mapped out to best benefit the user, consisting of reading and learning areas with a centre and control, which form the high point above different levels. The design is actually a lot more complex than it appears with a variation of storeys though Aalto is able to design a very fluid path as there is a circulation desk which oversees both the

reading room to the east and the book stacks to the west.

One of its more famous features is the undulating wood ceiling in the auditorium, it was considered of great historical importance as he chose a method peculiar to his period. The use of irrational curves along the ceiling which glide through the space, allow for sound to reach the human ear more perfectly. This acoustic technique combined the use of scientific reasoning and artistic imagination to form a unique piece of architecture, by using influences from outside his field Aalto was able to strengthen his work and create rigid forms. Furthermore the way he captured natural light through the use of cylindrical openings/ skylights was a very well thought out method as the sunlight did not stream in directly but was rather reflected. Thousands of reflection lines came to form this coni-cal skylight so as the light was diffused without the use of diffuse glass and readers were

able to access such light from any part of the room, devoid of shadows.

What particularly interested me about this building is not so much the exterior but the interior and in that Aalto’s attention to detail. While the design form is important for an aesthetic appeal amongst other things, Aalto seems to take architecture to another level as he considered every single aspect of the user to ensure they felt as comfortable as possible. Even where solutions had not yet been discovered he took that step forward and created them, he resolving many issues within spaces such as acoustics, lighting, warmth, and comfort and resolved them at a high standard. The idea of considering the user and nature alongside high attention to detail is something I wish to employ into my

design techniques.

“Nature not the machine should serve as the model for architecture.” Alvar Aalto


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In our current society the use of computa-tional architecture is an ever growing one as we become more in touch with the sci-ence and engineering aspects involved. While it can be argued that computa-tion supresses architectural design capa-bilities and creativity as it can be seen to complete a lot of steps for the user, it is in

fact a tool.

Such software does not deprive archi-tects of their designing capabilities but rather expands their techniques, open-ing up a new world of contemporary and modern forms. This particular discourse of architecture allows for us to form de-signs which do not have to be resolved in their outcome but rather focuses on form instead of function and finding a definite

end result.

This therefore allows for a broader level of experimentation leading to architec-ture becoming of a more complex nature due to the representations that computa-tional programs allow us to accomplish.

Originally when coming into this course I was weary of how much this computer aided software seemed to be relied on, I would have much preferred to do every-

thing by hand.

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Though it is clear now that such meth-ods are not a tool to be leaned on in order to ease the work load but rather they open up a new world of possibilities

Humans are not perfect, and neither are our architectural methods, though with computational devices we are able to perfect forms while translating our own ideas and visions into a plausible reality.

While digital architecture also has its limitations it is forever expanding and adapting, as is architecture as it does not rely on physical material but rather a combination of equations and algo-rithms to create an extension of our imagination in an electromagnetic form.

Furthermore we are able to create out-side the box and consider imperceptible influences such as light, sound and grav-ity which we can then discuss and anal-

yse to ensure a perfect built form.

1.3 Computational Architecture

Contemporary Computational Design

Precedent One

Hygroscope: Meteorosensitive MorphologyMenges and Reichert2012

This particular project explores an innovative mode of responsive architecture as it bases itself on the behaviour of a material through the use of computational morphogenesis. The model acts in response to climate changes, as humidity increases the form’s wood based material works in relation to moisture content in the atmosphere, expanding and constricting accordingly. The material structure itself works as a machine as it requires no need for technical equipment or energy in its movement. It is work in the discourse of climate responsive architecture, its functions enabled by myriad mechanical and elec-tronic sensing as the biological systems responsive capacity is entrenched in the mate-

rial itself.

Climate responsive architecture bases itself around the comfort of operators; these ar-chitects have found a way to accomplish such a task without the use of energy, making it energy-efficient and environmentally friendly. It was due to computational design soft-ware that Menges and Reichert were able to use both the materials directional depen-dence and moisture absorbance capabilities and align its anisotropy, in a way in which it was able to take full gain of its change in form in response to surrounding humidity. The material therefore calculates form in feedback with the environment; here an inde-pendent yet passive surface has been created which provides a comfortable and unique

internal spatial experience.

Such a design could not be accomplished to such a high standard without the use of computational architecture. Its precise calculations laid out by the architects vision and a combination of external fields came together to create such advances in architectural design. What started as an idea and now a materialised form can furthermore be trans-lated into everyday use, and in saying that can be considered as an option for the West-

ern Gateway project.


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Precedent Two

3D Spacer Textile CompositesNico Reinhardt2006-7

This particular project explores the concept of a new materiality development using form-finding processes in order to create a 3D glass fibre of merged surfaces. The idea of creating a design technique in relation to the compilation of a material aims to use the materials own self-organising methods when inflicted with external forces or manipu-lated in a certain way. This makes it form-finding as the term refers to the way in which a material acts as it finds its form, this project aimed to explore local manipulations rather

than those on a global scale as generally employed.

Numerous tests in the form of manipulation techniques were used in order to define the vectors and distances of the fibres on a three dimensional spacer fabric. This was done by defining the mathematical geometry of 3D textile-glass fibre composite surfaces, with experiments to determine gathering and behavioural sequences and the materi-als overall morphology. Through the use of computational software and this cross over/ exploration into scientific and mathematical methods a physical prototype was able to be produced after all information was strategically mapped out and solved technically.

Specific points were gathered in areas of local manipulation which came to support an overall double curvature increasing structural stability and stiffness. The integration of glass fibre as a reinforced skin was furthermore added upon completion, resulting in an interlacing of material with calculated superior strength which can be advanced into ex-

ternal building practices.

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The nature of parametric modelling stems from mathematical concepts, it refers to a set of parameters coming together to form a sin-gle dimensional design. To go more in depth it is known as “a set of equations that express a set of quantities as explicit functions of a number of independent variables, known as

‘parameters’” (Weisstein, 2003).

From these ‘sets’ components of a scheme plugged into parametric design methods are able to be easily adjusted and accurately modified in order to produce a virtual im-age. Unlike most project management tools which tend to focus more so on automating features, those of a parametric nature help organise modelling procedures through a cal-culation of variables which are modified dur-

ing the simulation process.

Built from a set of mathematical equations, general standard equations across all fields, parametric models gain validity by being based on or proven through project data. The sophistication of such data analysis methods provided by parametric modelling deter-mines the effectiveness of a modelling solu-

tion. This is where this method becomes most useful as it is able to subject uncertainties in a situation due to its logical and solid pre-established mathematical equation and al-gorithms. It provides a new perspective and potential to designs by deciphering minor and major issues, and when paired with other software is capable of forming a whole struc-ture through these numerical expressions and algorithmic equations right up to the pro-

duction process.

It provides a new perspective and potential to designs by deciphering minor and major issues, and when paired with other soft-ware is capable of forming a whole struc-ture through these numerical expressions and algorithmic equations right up to the production process. Due to such assistance through parametric modelling architects are open to a new level of possibilities and possess the ability to correct mistakes from the very beginning of design processes. Ar-chitects are therefore encouraged to think ahead of time as they have all the resources available to calculate future possibilities, thus an increase in strategic thought pro-cessing of overall designs at an early stage and an eagerness to explore variables is

more likely.

Numerical information as found in para-metric modelling is a universal language, this allows for field such as engineers and contractors to be more actively involved in depth into design procedures containing

parametric software.

However human error is still possible within the programming process as variables pre-sented are only altered by those involved and with such a large amount of data being reverted, altered and processed minuscule errors would be difficult to detect. Despite this the algorithms of parametric modelling are flawless in its ability to expand archi-tectural capabilities. While the natural en-vironment can never be predicted it solves technical issues and acts as a tool to climb further into the world of architecture by en-compassing knowledge that would other-

wise be difficult to formulate.

1.4 Parametric Modelling

Parametric Modelling

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Case Study One

The “Gherkin” BuildingNorman Foster + Partners2001-2003

Located in the main financial district of London the Gherkin building takes full advan-tage of the strategic design methods provided by parametric modelling. Constructed in 2001-2003 the building was based on the previous design of Buckminster Fuller’s from the 1970’s and aimed to generate a more energy efficient form. Due to surrounding land-scape issues as it would be the only sky scraper of its size in the vicinity, various simula-tions were conducted in order to determine the amount of wind turbulence present on ground level for pedestrians. Regular skyscrapers of rectangular forms and flat surfaces generate a fair amount of wind distortions for passer byers due to their inability to direct

incoming winds from their surfaces in a smooth manner.

Parametric modelling techniques were able to digitally simulate various incoming wind behaviours of certain speed and velocity in relation to weight and surface area tension of the proposed building’s materiality and shape. Through a number of prototypes of different curvature directions and combinations such simulations were able to predict the least amount of turbulence impact and structure resistance. Not only was it able to provide solutions in terms of wind impact but in addition architects were capable of pro-ducing the appropriate curvature of the building in relation to sun exposure. Its overall form works with incoming light directions in order to allow an appropriate amount of light flow through the glass exterior and into middle offices, while limiting sun blockage

to surround structures.

Furthermore a similar process was used to predict internal ventilation which allowed for a decrease in heating and cooling costs due to more strategic circulations methods. It features a curved glass cap as opposed to the rest of the buildings flat glass sections allowing for less construction expenses, parametric modelling was able to convert origi-

nally curved sections into flat forms.


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Case Study Two

Strata TowerHani Rashid and Lise Anne Coulture

Located in Abu Dhabi this Forty-storey residential building was designed by Asymptote Ar-chitecture’s Hani Rashid and Lise Anne Coulture at a height of 160 meters. The abstract form of its design aims to reflect its surrounding cultural landscapes and dynamic forces. The as-sistance of parametric modelling in this design utilises its mathematical capabilities in order to achieve a form in order to accompany the cities ever growing influx in population. Right from the very end stages of design and first stages of construction parametric tools were able to be employed in order to solve issues of environmental sustainability and fabrication methods. The form features its curvature motion within a cantilevered exoskeleton struc-

ture as an environmentally responsive system known as the louver system.

Taking advantage of incoming light from sun exposure patterns across the area, the build-ings exoskeleton formation allows for light to be captured on its surface and reflected in an iridescent manner across its exterior. Its curvilinear form enhances this impact as it is set against the surrounding landscape of dessert and sea providing an overall elegance to its ar-rangement. Due to parametric modelling simulations of sunlight direction and its exposure

across certain sections was able to be predicted and attained.

This particular building shows a step in our future of modern architecture, the bracing of its exoskeleton design provides a unique machinery-like feel though it provides for an intelli-gent use of the vast surrounding terrain. While I was never a fan of mechanical robotic look-ing forms such as those proposed by the futurist movement, buildings such as these help me see the concept in a new light. As an admirer of gothic architecture I feel as though paramet-ric modelling takes this aspect of exposing the truth of a building, keeping it honest by being able to see the skeleton under its skin and what composes its structure, as can be seen within cathedrals. The exoskeleton uncovers its materialisation as you are able to experience every

aspect of its form, having all components visible from the inside out.

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1.5 Algorithmic Explorations

Algorithmic Explorations

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It is becoming more apparent that in our current day and age the method of sketch-ing with pen and paper is becoming an out-dated practice. This is not the approach we should be taking; all methods of designing are tools in the formulation of a pro-posal. Whether this be hand drawn sketches, computational design programs, para-metric modelling software or algorithmic exploration tactics, all are helpful in their own

unique way in providing a sufficient outcome.

It is true however that computer aided software such as our Rhino and Grasshopper combinations provide a much superior and sophisticated design process. They allow us to create and test proposed formations step by step throughout the compilation pro-cess, they allow for structures to be tested through simulations in parametric model-ling and most importantly they solve our predicaments resulting in a resolved structure

devoid of flaw.

This does not make pencil and paper methods extinct or useless but rather ideas can begin with the familiar method of hand drawing and then grow, evolve and transform through programming. As previously mentioned parametric software and those alike are tools, and with the tools of our future we are able to produce the high quality struc-tures of our future. Time and expenses can be saved, energy efficient buildings con-structed to the best of their ability and a sustainable future attainable. Furthermore we are able to design with more free will, creativity and innovation as are ever advancing

technology allows for this step in experimentation.

Conclusion

1.6 Conclusion

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1.6 Conclusion

Learning Outcome

1.6 Conclusion

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Still in progress.

Bibliography

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