Yun Yun Ling (512032)

ARCHITECTURE DESIGN STUDIO AIR

“Architecture needs to be thought of less as a set of special material products and rather more as range of social and professional practices that sometimes, but by no means always, lead to buildings.”

-Richard Williams, Architecture and Visual Culture

INTRODUCTIONYun Yun Ling (512032) Studio 1(2)

My name is Yun Yun and I am currently in my third year of the Bachelor of Environ-ments (Architecture) degree. I am 20 years old and originally from Kuching, Malaysia.

To be honest, digital design in architecture has never been a favourite of mine. I prefer the simplicity and clarity of a design rather than the complex patterns digital technol-ogy seems to produce. However, I am open to new ideas and can’t wait to see what this subject has in store.

My first encounter with digital design the-ory and tools was through the BodySpace project in the subject, Virtual Environments, which I took during my first year. We were required to use Rhino and the panelling tools plug- in as a tool to produce 3d mod-els of our design. The final model was then sent to the fabrication lab to produce our wearable model.

Since then, I have utilized Rhino in all of my design studio subjects. However, I have only used it in the early stages of my design work when I run out of ideas and when I want to send my site plans to the fabrica-tion lab. I still find it quite a challenge to transfer my ideas to the computer. Besides Rhino, I use AutoCAD for drafting and also attempted rendering with 3ds Max.

ARCHITECTURE AS A DISCOURSE

There is a growing trend in the field of architecture where the aim of

the architect is to build an ‘’iconic ‘’ building. A building that will supposedly

benefit tourism and bring fame to the city it is located in. However, do these

sort of buildings have the right intentions or is this trend getting out of control? Iconic architecture is at risk of looking

self centred and alienated from the city’s fabric as it tries to stand out and prove a point. Sometimes, we think that design-

ing an ‘’iconic’’ building is tough and only architects with great skills are capable of

designing such buildings. However, it is actually the opposite as these buildings usually only deal with one issue, which

is, ‘’how to make the building stand out of the crowd of other structures?’’ On

the other hand, other issues like space, lighting, urban coherance and etc will be

secondary and usually neglected.

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E Le Cobusier’s famously remarked that “a house is a machine for living in”. This re-duces buildings and spaces to something cold and mechanical for human habita-tion1. It may sound absurd but it is quite true in some literal sense. However, no one would want to think that they are living in an emotionless space. Because of this, we need to rediscover the impor-tant aspects of architecture and what we could do to improve it

One way we could bring back the goodness of architecture is by going back to basics and to think of the end users of the buildings. Ultimately, bring-ing back the connection to humans. .

1 Christopher Hume, Architecture as argument for creating better world, (The Star, 2009) <http://www.thestar.com/life/homes/2009/01/23/ar-chitecture_as_argument_for_creating_better_world.html> [accessed 15 March 2013]

EMP, Seattle An example of a building that (I feel) does not connect to its users is the EMP in Seattle which was designed by Frank Gehry. Many locals have pointed out that the structure ressembles crushed tin cans. With that, it has already failed to connect to the users and passer-bys, aestheti-cally. The building fails to aid the exhibits and instead creates a bad environment for people to be in with its huge proportion and lack of light-ing. (Do not take this as insult to Gehry)

Some may argue that it is impossible as architects are usually hired by a corporate body who does not necessarily care about the users when money and fame are involved. However, there have been good examples where a build-ing is able to connect to its users emotionally and physically

http://lh6.ggpht.com/_dlkAw43cLC0/SS1GnY4vwbI/AAAAAAAABEg/rW1K-SqC0QNM/s800/Experience-Music-Project-Seattle-WA-USA-2.jp

One such example is Peter Zumthor’s Kolumba Museum. The museum houses a collection of reli-gious art on the site of the ruins of St Kolumba. The choice of organic material and warm colours on its exterior is part of the reason why it is able to join seamlessly with the ruins and the urban context. However, it is in the interior that we can experience Zumthor’s vision. He brilliantly uses light to capture the user’s emotion and creates a sense of serinity in the building. Visitor’s are also able to manouveor around the ruins as part of the musuem’s exhibits. Zumthor adds that he was fully aware of the ‘Bilbao ef-fect’ and designed the Kolomba Museum in counter to it.

2 Debra Moffit, Kolumba Art Museum, (Architecture Week, 2009) <http://www.architectureweek.com/2009/0218/de-sign_4-2.html> [accessed 16 March 2013]

“We’ve become used to museums as a marketing strategy for cities where art plays a secondary role,” he commented. “Authorities are interested in archi-tects who create sensational shapes that will attract people for one or two or maybe five or seven years.” “This place is the opposite,” said the Zumthor of the Kolum-ba. “Here, people still believe in the art as more than just a good investment. They believe in the inner values of art, its ability to make us think and feel, its spiritual values. This project emerged from the inside out, and from the place.”2

Kolumba Museum, Cologne, Germany by Peter Zumthor

“ This project emerged from the inside out, and from the place

This project emerged from the inside out, and from the place

By incorporating all these social factors (spiritual, values, emotions etc) into his designs, Zumthor has successfully man-aged to increase the number of visitors to the museum.This building is solid proof that a ‘’unique’’sensational shape or use of advanced technological materials in a building need not necessary bring fame or benefit a city. The Kolomba museum can be said to be timeless but not necessarily looking back. By visually connecting to its surroundings and its users, the museum has managed to contribute to a broader sense of place. It does not confuse users nor does it intimidate them. It welcomes them to its well-thought spaces and creates the best atmosphere it can for users to appreciate the artworks.

http://25.media.tumblr.com/tumblr_m1zgzhtskZ1qat99uo1_1280.jpg

http://architecturalmoleskine.blogspot.com.au/2012/04/peter-zumthor-kolumba-museum-cologne.html

Almost half a century later, Alvaro Siza’s Leca Swimming Pools is still internationally recognized and admired for its beauty and seamless integration with the sea. The pools were designed for the working class of Oporto, Portugal.Siza disconnects the city and the pools by sinking the main building into the ground. This disconnection is important for users to truly experience the pools and surroundings as the it becomes a barrier in between the busy city and the pools. There is also a magnificent sensory experience as users slowly make their way to the pools. With no views of the ocean yet, users are led through a passage where they are able to hear the sound of the crash-ing waves of the ocean while the roadway becomes less audible. This is a fantastic lead up to the spectacu-lar view of the pools and ocean that is to come in conjuction with the subtle play of senses he has created.

Leca Swimming Pools, Oporto, Portugalby Alvaro Siza

http://ad009cdnb.archdaily.net/wp-content/uploads/2011/07/1310657660-5734944512-ef2b715bcb-o-1000x961.jpg

It is important to note that the ocean is dirty and polluted as it is used as a shipping lane. Hence, the pools were really deisgned to take advantage of the beautiful scenes without having to actually be immerse in the ocean.

We are engulfed by mass globalisation and the effects it has on almost every aspect of the world, including architecture. The Leca Swimming Pools prove to defy problems from the result of globalisation and has stood the test of time in terms on aesthet-ics and durability. It is a building that has a strong connection to its site, culture, con-text and most importantly, its end users.

http://openhousebcn.files.wordpress.com/2012/07/ope`nhouse-barcelona-shop-gallery-architecture-lec3a7a-swimming-pools-alvaro-siza-4.jpg

COMPUTATIONAL

quote

ARCHITECTUREComputers today are used as an agent and tool for most designers. Computers are also known to have contributed in the ‘’Bilbao effect’’ when Frank Gehry utilized it to create the Guggenheim. Since then,

computers have been used im almost every aspect of an architectural design process from concept sketches to creating building forms.

quote

However, some debate that these tech-nologies take away the creative element from designers and insists that machines would take over the deisgners role. This is not the case as there are many benefits of using computers in the architectural design process and it will never take over a designer’s creativity. As computers require the knowledge, expertise and most importantly, the creativity of its user to churn out problem solving designs.

Computers are able to enhance this cre-ativity and its methods and techniques are able to help in addressing site, com-plex building programme and related architectural issues. In this chapter, I would like to focus more on the different side of computational design that is more unfamiliar instead of the futuristic blobs many of us are so ac-customed to in this technological age.

Sagrada Familia, Barcelona, Spainby Antonio Gaudi

The use of computers in heritage architectural restoration projects.

People often relate computational designs to be outrageous but non-ornamental because most computational designs that we are so used to (example: works by Zaha Hadid) have unique and crazy forms but are often just clad in steel and other systems so that it would appear to look futuristic and modern. In the following ex-ample, we can see how computers really play an integral role in solving design problems.

The Sagrada Famila began construction in 1882 and is famously known as the greatest work of Antonio Gaudi. Unfortunately, the chuch is still under costruction for more than a century now as Gaudi’s brilliant mind has been hard to de-code. However, there has been a breakthrough with the use of the computer. Research teams have been investigating the church thoroughly through parametric design.

‘’By adapting a computer-aided design tech-nique known as parametric design to create designs that are consistent with all of the avail-able historical information on the church, new insights are gained into Gaudi’s own generative system. The results from these investigations are used to specify how the Church is actually being completed, thus making the church itself a statement of Gaudi’s design intent”3

3 Sagrada Familia, (SIAL RMIT, 2006) <http://www.sial.rmit.edu.au/Projects/Sagrada_

Familia.php> [accessed 22 March 2013]

http://fc08.deviantart.net/fs4/i/2004/242/2/e/Gaudi_Sagrada_Familia.jpg

http://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-at-the-University-of-Stuttgart-4.jpg

Material-oriented computational design in architecture

The computer does have some limits. Peo-ple often argue that the virtual world and the real world cannot be merged as there are so many factors in the real world that cannot be easily programmed into the com-puter. One such factor is the way certain materials react to environmental and exter-nal conditions.

“Any material construct can be considered as resulting from a system of internal and external pressures and constraints. Its physi-cal form is determined by these pressures. However, in architecture, digital design pro-cesses are rarely able to reflect these intri-cate relations. Whereas in the physical world material form is always inseparably connect-ed to external force’’4

This research pavillion is important as it sig-nifies a new technique where the computa-tional generation of form is influenced by the substantial bahaviour and material feature it possess. This is an incredible feat as material manipulation can be accurately calculated in the virtual world before constrcution com-mences. This saves much time and materials which are usually used on countless experi-mentation processes.

ICD/TKE Research Pavillion 2010, Stuttgartby Stuttgart Univeristy

4 Achim Menges, ICD/ITKE Research Pavilion 2010, (Stuttgart University, 2010) <http://www.achimmenges.net/?p=4443> [accessed 21 March 2013]

PARAMETRIC MODELLING

Google “parametric architecture’’ and a wide collection of the same looking images pop up. All these images have a lot in common. They all appear to be cool, funky and organic metal-like structures. Being an architecture stu-

dent who has some knowledge about parametric design, I wondered if parametric design has been reduced to shiny,.

unbuidable-looking structures that looks cool to the public who are unfamiliar with parametic design. As stated in the previous chapter, parametric design has helped in solving design related problems but many people are still clueless about that. In this chapter, I would like to break the stereotype of the image one has of the typical parametrical building. Paramet-ric design can also be found in many other simpler buildings . By using these examples, I would like to ensure others that parametric design in architec-ture is not always large scale and intimidating. Thus, providing a connection between the users and the building.

Image Source: http://strictlypaper.com/blog/wp-content/uploads/2011/03/michael-hansmeyer-complex-cardboard-columns-through-computational-architecture7.jpeg

Parametric design offers new ways of controlling form and is being used by many architects to add a ‘’wow’’ factor into their buildings. ‘However, a number of experiential qualities (symbolic and phemenologi-cal) http://cargocollective.com/danielkbrown/Senso-ry-Parametric-Architecture has been lost due to this shift to parametricsm. We need to change our perception on parametric de-sign that it is also able to create intricate and detailed designs. Michael Hansmeyer’s columns have proved to be a good example.5

Hansmeyer has managed to create a new language of orders that expresses today’s modern age and culture. He shows a modern way of thinking by re-inventing the classical column that we all know into something beautiful and worthy of today. What’s wonderful about this project is the combination of old and modern. I like that Hansmeyer has ignored the notion that avant-garde architecture has to be non-ornamentaland fluid (in terms of parametric design). The extremely detailed column has 6 million faces and is only possible by using parametric technology. The combination of complexity and delicateness re-sembles works by Gaudi too.

Ornamental Columnsby Michael Hansmeyer

5 Michael Hansmeyer, Ornamental Columns, <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1> [accessed 21 March 2013]

http://payload.cargocollective.com/1/0/128/1121006/hansmeyer-columns1_905.jpg

http://1.bp.blogspot.com/-jJABt074iyk/Tm3ZcURHxJI/AAAAAAAAFhw/4vJLMRcvkc0/s1600/2.jpg

http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287175895-parametric-wall.jpg

The use of parametric tools in architecture has surely benefited the design and construction pro-cess. However, I am worried that it might be abused. Parametric designs often leave users intrigued and mystified. This results in a ‘barrier’between humans and the building. Parametric structures do attract people by its free form and interesting geometries but it stops there. I feel that it is dangerously close to becoming a ‘’one hit wonder’’ where designers are trying too hard to create the next best thing which then results in irrelevency in the design or structure through parametrics. The use of parametric design in surface treat-ment has resulted in many creative and unique fa-cades.

One good example is the AU Office and Exhi-bition Space by Archi Union Architects Inc. The main facade for this office is made out of hollow bricks. Through the use of parametric technology, they have managed to create curved walls that echo the “con-tours and definition of silk undulating in the wind’’. We normally associate concrete as a rough, rigid and dull material. However, once paired up with paramet-ric technology, can create a beautiful expression and even appear delicate. The walls create a new experience for users as light diffuses through it and is also different than the typical office typology.

AU Office and Exhibition Space, Shanghaiby AU Architects Inc

http://ad009cdnb.archdaily.net/wp-content/uploads/2010/10/1287175855-external.jpg

Christopher Hume, Architecture as argument for creating better world, (The Star, 2009) <http://www.thestar.com/life/homes/2009/01/23/architecture_as_argument_for_creating_better_world.html> [accessed 15 March 2013]

Debra Moffit, Kolumba Art Museum, (Architecture Week, 2009) <http://www.architectureweek.com/2009/0218/design_4-2.html> [accessed 16 March 2013]

Sagrada Familia, (SIAL RMIT, 2006) <http://www.sial.rmit.edu.au/Projects/Sagrada_Familia.php> [accessed 22 March 2013]

Michael Hansmeyer, Ornamental Columns, <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1> [accessed 21 March 2013]

Achim Menges, ICD/ITKE Research Pavilion 2010, (Stuttgart University, 2010) <http://www.achimmenges.net/?p=4443> [accessed 21 March 2013]

BIBLIOGRAPHY

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

Radius

Size of bottom column

Height of columns

Unary Force

Surface Treatment

Point Attractor

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

radius

-4.08

0.316

60

Unary Force

Size of bottom column

Height of columns

2.528

Surface treatment

Point Attractor

No. of points

(Still work in progress)

CASE STUDY 1.0IwamotoScott’s Voussair Cloud

EXPERIMENTING WITH RHINO + GRASSHOPPER