design studio: air

brendan josey 506 657semester 1 2013

gwyll jahn + angela woda

contents1 introduction

2 architecture as discourse i. architecture as discourse

ii. parc de la villette

iii. arab world institute

3 computational architecture i. computational architecture

ii. arnhem station

iii. cirriform

4 parametric design i. parametric design

ii. bao'an terminal 3

5 conclusion

6 references

ruin academy, ground floor, casagrande

My name is Brendan Josey, I am in third year Architectural

Design. I have recently transferred from the University of

Queensland where I was also studying architecture. Last year

I studied part time so as to focus on my interests in music,

this year I hope to finalise my undergrad and continue to do

masters. I find the approach of Air Studio to be fascinating

and unlike anything I encountered at UQ, which as a far more

traditional approach to building design. I think I will find the

course challenging in two ways: firstly, while I have significant

experience with Archicad and Autocad I have never before

used Rhino or Grasshopper, so that in itself will be challenging;

secondly, I have some foreboding regarding the approach to

digital and parametric design. I find it incredibly interesting

and the possibilities seem endless, however, I believe there are

some shortcomings with the way it is employed and perhaps

it is not as all-inclusive as is being initially suggested in this

course. I cannot wait to submerge myself and come up with

some real opinions and idea regarding this.

introduction

ruin academy, first floor, casagrande

architectureasdiscourse

ruin academy, conceptual section, casagrande

In understanding architecture as discourse, it is important to

consider that fundamentally architecture is more than pure

aesthetic or function. It is, by nature, a reflection of societal

values and needs as seen, interpreted or deemed relevant

at the time of its conception. Architecture transcends rudi-

mentary functionality. It is a vehicle with which to challenge

conventions, politics and ideals. It is demonstrative of a chang-

ing zeitgeist and as such it is a direct reflection on certain

elements of the society in which it is situated. It is, in its very

essence, part of the public realm. Architecture emotes, func-

tions and imposes itself upon its landscape and the people it

interacts with, and as such it enters into heavy dialogue with

its surroundings, its admirers, its critics, and its users.

With this in mind, one must ask: what is architecture? This

question is not easily answered. Architecture is a multi-faceted

medium dependent on many factors: functionality, individual

expression, politics, and societal values to name a few. The

Oxford dictionary claims architecture to be "the style in which

a building is designed and constructed, especially with regard

to a specific period, place, or culture" (The Oxford Diction-

ary, 11th Edition, Print). In this sense, architecture is consid-

ered purely for its physicality, its temporal placement and its

context; consequently, this is representative of typology, not

necessarily architecture as a whole.

Architecture influences human interaction by gathering to-

gether participants for specific reasons; it segregates and dis-

tinguishes spaces and acts as a framework for communications

(Schumacher, 2011). Resultantly, it is to be seen as a system of

semiotics, making overarching definitions elusive. Put simply,

architecture can be viewed as a complex communication be-

tween epochal styles, typology, philosophy and societal values.

It is a discourse of ideas intrinsic to the human condition ex-

pressed via the vehicle of the built environment, which in turn,

impacts social behaviour and ethics.

In an esoteric sense, architecture not only reveals itself as a

function of societal needs, but also draws out underlying cur-

rents, tensions, societal trends, and desires. It has capacity to

effect real change in terms of government, lifestyle, values and

social awareness. This is achieved through the application of

principles, intention and approach towards traditional societal

constructs. The idea is further examined in the

evolution of a functional society. The built environment is in

a constant state of flux. It is developed and refined from a

traditional vernacular that is continually reinterpreted and thus

advanced through a specialized and complex function. From

this the valued principles of architecture are delineated.

Architecture, then, not only can be seen as discourse, but it

must be engaged and approached as discourse.

A theme throughout architectural history that must be noted is

the challenging of established systems and models. An ongo-

ing project of interest is Marco Casagrande's Ruin Academy

(Taipei, Taiwan, 2010 -). This is a subversive project aiming to

deconstruct the urban tradition and re-approach architecture

by re-thinking the industrial city and the "modern man in a

box" (Casagrande, 2010). It is an educational and academic fa-

cility at one with nature and dilapidation, focused on research.

The entire academy will ultimately be devoured by the envi-

ronment in which is it situated, becoming the compost of the

modern city (Casagrande). It is in these varied approaches that

architectural discourse is nurtured. Ideas challenging the norm

and the expectations of the architect's role establish more and

more footholds in terms of innovation and freethinking.

This advancement in architectural thought is linked directly to

the ever-growing discipline of Parametricism and digital de-

sign. These methods explore new possibilities within the archi-

tectural profession, casting further queries on the traditional

role of the Architect, blurring the lines between artistry and

engineering. This follows on from the early progressive visions

of Archigram's Walking Cities, The Situationists' Psychogeo-

graphic Maps, and Metabolism's view to organic and techno-

logical futures with The Metabolism Manifesto.

Through such projects, architectural discourse is explored and

broadened, schemes like Ruin Academy, which aim to disman-

tle traditional architectural approaches, add to this and richen

debate across schools of thought. Again: regardless of method,

true architecture works with and towards the evolution of a

functional society.

deconstruction of parc de la villette, tschumi

The Parc de la Villette is located in the North-East of Paris

in a populated semi-industrial area on what was once the site

of a slaughterhouse. Suisse-French architect Bernard Tschumi

designed the park in 1982 after winning a commission from

the French government. The driving idea behind the creation

of this 'Urban Park for the 21st Century' was to influence soci-

ety as a whole, to effect change and attempt to fuse concepts

of the economic, the scientific and the cultural. The general

circumstance of the project was to find an "organising struc-

ture that could exist independent of use" (Tschumi). that is, a

structure that did not have centre or hierarchy, and would

remove the simplistic assumption of a "casual relationship be-

tween a program and the resulting architecture." (Tschumi)

From the outset, Tschumi rejected the idea of introducing

an additional mass to the site, even in a linear format. He

proposed a simple structural solution that distributed the

programmatic requirements over the total site in a regular

arrangement of points of intensity designated as Folies. The

park incorporates thirty-five of these unique red Folies over its

span, each beginning as an identical red cube. They were then

deconstructed and elaborated. The set out of the signature

red Folies is a clear symbol to La Villette and is essential to

the park's identity. Each is an "autonomous sign that indicates

its independent programmatic concerns" (Tschumi) and pos-

sibilities, however, they suggest a unity, a structural core and

a system.

In order to determine the placement of these points of inten-

sity, Tschumi used a technique known as abstract mediation

in which he employed the idea of a point-grid system. The

important thing to note from this is that the ordinance grid

acted as a mediator between the two exclusive systems of the

physical and the metaphysical. This is underpins a core phi-

losophy of the project which was to prove that it was possible

to construct a complex architectural organisation without re-

sorting to traditional rules of composition, hierarchy and order.

(Tschumi). This proposed architecture was independent of a

conventional design language and aimed to achieve a structure

in which its concept becomes the architecture itself (Tschumi).

This implies that the creation

or invention of new, increasingly abstract shapes or build-

ings is unnecessary as meaning is derived from everything.

Tschumi believed this approach to be a bridge between the

present day contemporary theory and its predecessor, post-

structuralism.

Further analysis suggests that by deconstructing any given pro-

gram Tschumi could prove that his own program challenges the

very ideology that it implied. This would achieve a "reversal

of the classical oppositions and a general displacement of the

system," (Tschumi) which was, of course, the ultimate aim of the

park. The park not only rejected context, but "encourag[ed]

intertextuality and the dispersion of meaning"(Tschumi).

La Villette challenges all contexts. It has no profound rela-

tion to its surroundings. It aims to be the signifier, rather than

the signified, it moves towards interpretive infinity. This allows

a great deal of freedom for the prospective viewer, as they

are free from any hindrance of authorial intention and are

thus free from bias - hypothetically. To each viewer the park

can represent something entirely different and untainted, as a

result, his or her interpretation will become analysed and so

forth, this is called homeostatic architecture. It is interesting

to note, however, that although Tschumi's scheme recoils at

the idea of meaning or context, it is, ironically, creating yet

another paradox for itself because in the and the absolute

rejection of style becomes itself a form of style.

parc de la villette.bernard tschumi.1987

expression of parc de la villette, tschumi

arab world institute facade system, nouvel

arab world institute internal view, nouvel

When discussing the role of architecture as dis-

course it is important to assess the implications

and influence a certain building has on its con-

text, both in the perceived and the implied sense.

The Arab World Institute in Paris by Jean Nouvel

(1987) is a reinterpretation of classic themes that

adds to architectural discourse through its ac-

tive involvement in the French community. It was

designed as a centre for art from across Arab

countries and blends traditional middle-eastern

lattice motifs with advanced technology.

Its mechanical facade demonstrates the effective

and practical implications of kinetic architecture

by limiting the amount of sunlight into the build-

ing and thereby controlling the internal condi-

tions. The facade is a system of light sensitive

diaphragms, much like camera lenses, that ex-

pand and contract depending on the sun's posi-

tion. As the lenses expand the geometric patterns

are altered in a subtle and fluid way.

arab world institute.jean nouvel.1987

computationalarchitecture

computationalarchitecture

arnhem central train station masterplan, UNStudio

The architectural discourse is fluid and evolutionary; it is in

a constant state of reinterpretation and re-imagination. It

is a medium that is affected rapidly by changes in culture,

technologies and societal opinions. This is evident across the

history of architecture; new styles and epochs are engaged

as technologies advance and society progresses. Take for ex-

ample Joseph Paxton's Crystal Palace, a structure that nota-

bly took advantage of newly mass-produced glass to embody

possibilities for the future of the Industrial Age. The Crystal

Palace was a building that until the time of its construction

was unable to be built due to material limitations, the advance

in manufacturing technologies and the technological mood of

the time, led directly to its realisation. This can be related

directly to the modern advent of digital design and computa-

tional architecture.

The term computational architecture refers to the relation-

ship and interaction between certain elements and datasets,

enabling the generation of complex geometries and forms. It

is a system that fosters and extends human capability; namely

mathematical, logical and analytical. Through this, computa-

tion aids in the resolution of complex problems. A notable

affect of computation on the modern architectural discourse

is the development of complex geometries and forms. Through

the carriage of modelling software, seemingly endless form

abstractions are possible. A criticism of this is that due the

random and highly adaptable nature of digital architecture,

it is difficult to determine a pervading architectural language

or philosophy. Modern architecture is at a stage where the

discourse of style is being re-established and architecture is

"characterised by its capacity to take advantage of the...the

innovations offered...by present-day science and technology."

(Morales)

With this in mind, a logical conclusion can be drawn that

such an interface influences not only design outcomes, but

design methods. Previously, CAD software was a platform that

increased the efficiency and convenience of modelling and

documentation, but by and large, did not sway design meth-

ods to a great extent. In the evolution of CAD, architecture

is entering an era where the design space is becoming an

experimental investigation and the software is becoming a "ki-

nematic sculpting space" (Kolarevic). Furthermore, specialised

program development is being unravelled and made far more

accessible, making the designer a script writing, catering to

their own specific needs for specific projects. This creates

a design method that is open ended and unpredictable, one

where form and spatial organisation adapts throughout the

design process in order to achieve a desired ultimate goal.

This can also be attributed to the collaborative aspect of

digital design. Digital design has generated a platform for

an advanced system of communication between architect

and engineer, influencing design choices early on in project

development. Computational architecture has fused elements

of sculpture, engineering and innovation. By viewing digital

technology in this way, it can be seen as an integration that

allows the conception of an idea to be directly linked to its

built outcome.

Through these methods, digital media has influenced architec-

ture in a way that allows all elements of a design to be con-

trolled. It allows designs to be adapted and developed through-

out the design process and allows for a complex and thorough

representation of structures, far beyond two-dimensional de-

pictions. This is further explored through the application of

performance analysis simulations. These simulations can be

used to determine spatial interactions, implied atmospheres,

functionality and efficiency. All of these elements contribute

to a whole where the architect is returning to the role of a

collaborative auteur.

computational architecture

arnhem central station.UNStudio.2014

The Arnhem Central Station masterplan project (1996-2014)

by UNStudio is an ongoing railway station project that has

been heavily influenced by computational design practices.

In this case, a computation system was used that allowed the

delineation of panel size for the complex roof system. A pat-

tern was determined through analysis of material manufactur-

ing constraints. In this way computation affects the design

directly as the parameters set by the restraints interact with

computational solution in order to achieve the desired design

effect. The determination of the panel design in Rhino directly

informed the manufacture of the roof panels through informa-

tion synthesis of the 3-D model. This demonstrates that one of

computational design's strongest advantages lies in collabora-

tion, communication and information sharing.

cirriform.future cities lab.2013

Cirriform (2012) by Jason Kelly Johnson for Future Cities Lab

is a prototypal instalment that integrates the interactive tech-

nology by use of Grasshopper plug-in Firefly. It is a mechani-

cal facade that responds to the proximity of visitors through

sensors, which activate small motors and an LED display. This

design further demonstrates future potential for computational

architecture and the influence it extends over design prac-

tice by incorporating computational technology in an active,

participatory way, blurring the lines between architecture and

physical computation.

The technology provides a conduit for 'real world' information

to be relayed to the Grasshopper design space, which, in turn,

informs algorithmic processes, thereby creating an interactive

instalment. Through projects such as this, the digital medium is

furthering the architectural discourse and displaying the evo-

lutionary nature of the profession. Furthermore, it opens new

ways of envisioning and approaching architecture in terms of

innovation and communication.

sigmund freud pavillion, hermann

parametricdesign

parametric design

Parametric design is a method in which a geometric form is

created by manipulating a series of mathematic relations within

a pre-defined parameter. It is the application of a series of vari-

ables and algorithms that alter the geometry in order to achieve

certain design intents. It is a generative mathematical process,

and through this method, it is possible to explore a huge number

of possibilities within pre-defined parameters. In this way, it is a

flexible, efficient and freeing design method.

There are numerous advantages to parametric design. It limits

human error through the automation of calculations, increases

efficiency through programmatic repetition and allows for multi-

faceted design solutions. Parametric design is a fluid and adapt-

able process, allowing the architect to create a system of re-

lationships that contribute to the design as it is developed. This

enhances the continuity of the structure and improves capacity

to explore design options through varying elemental relation-

ships. Due to the inherent nature of the parametric process, the

architect is faced with the challenge of determining a logic that

will act as pre-defined parameter for the design. This is a limit-

ing aspect of parametric design as it forces an initial separation

between the designer and the design as complex relationships

are considered.

The parametric method is a design tool that has incredible po-

tential to realise complex geometries, streamline design process

and lead to a direct relationship between constructability and

design. It is a tool that has revolutionised architectural form. De-

spite the potential parametric design offers, it remains a limited

medium. It continues to be method for the representation of

structure, and while the form-defining role it plays lends itself

to a certain style of architecture it is important to note that

through this evolution, the form is open ended and somewhat

random. With this in mind, a conclusion can be drawn that a

certain architectural language and principle must be applied to

parametric design so as to avoid a syntax based solely on form

experimentation, one lacking ethics or a true sense of identity

or place in the architectural canon. Parametric design is not yet

a design movement of its own right, but a method with which

to achieve and realise complex geometry and innovations. This

being said, its potential for innovation and sustainable design

are limitless.

Massimiliano Fuksas+Knippers Helbig Advanced Engineering, Bao’an Airport Terminal 3, 2012

The Bao'an, Terminal 3 (2012) is a result of

a parametric design function. The scope of

the project demonstrates advantages of-

fered through computational and parametric

design. Projects of this scale and complexity

would be a virtual impossibility without the

computational accuracy and clarity of para-

metric modelling. The project is comprised

of over 400,000 steel members and 60,000

facade elements arranged in a complex,

double-curved geometry. Through use of

Rhino and Excel, the project was able to

maintain the intended aesthetic as well as

communicate specific design requirements,

overall form and complicated data between

the engineer and architect.

Massimiliano Fuksas+Knippers Helbig Advanced Engineering, Bao’an Airport Terminal 3, 2012

references

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http://www.tschumi.com/home.asp?flashver=9&res=1024x768&color=32

Casagrande M, Work Chronology, Date Accessed 20/03/2013

http://marcocasagrande.fi/

Cacciari M, Architecture and Nihilism: On the Philosophy of Modern Architecture,

Yale University Press, 1993

Kolarevic B, Architecture in the Digital Age: Design and Manufacturing, Taylor and Francis, 2003

St. John Wilson C, Architectural Reflections: Studies in the Philosophy and Practice of Architecture, Butterworth

Architecture, 1992

Tschumi B, Event Cities, MIT Press, Tschumi B, Event Cities 2, MIT Press, 2000

Tschumi B, Cinegramme Folie: Le Parc de la Villette, Princeton Architectural Press, 1987

Tschumi B, Architecture and Disjunction, MIT Press, 1994

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http://everything2.com/e2node/Parc%2520de%2520la%2520Villette%252C%2520Paris

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