STUDIO AIR2015, SEMESTER 1, TUTORS - SONYANICK VORICH

Hi, My name is Nick and am a third year student studying a Bachelor of Environments and majoring in Architecture at the Universty of Melbourne.

I’ve been interested in the field of design since the early days of primary school, but only after undertaking a visual communications subject in highschool did I realise a passion for architecture.Growing up in the Melbourne suburbs I was always fascinated when making trips into town, at the scope of architectural styles that lay amongst this relatively young city. Consequently, my love for building design stemmed from my love of history and the enjoyment I got from witnessing gothic revival buildings on one corner and contemporary masterpieces on the next.

My background from school was occupied by science and humanities subjects largely, so my design experience upon entering environments was limited. Although the architecture major was always in the back of my mind, the urban planning and construction majors were interesting areas and I’m glad was able to touch on them in my first year.

My technical skills when it comes to design is limited as I haven’t formally used much of it within my subjects. Traditionally, I prefer to draw my designs which is what I did in the Earth studio as I find it easier to keep track of and develop my ideas. While my formal use of Rhino and autocad has been lacking, over the last year or so I’ve made a conscious effort to learn the programs at a basic level and look forward to furthering tht skill set.

My experience with parametrics is effectively none before this subject. I have always looked at algorithmic projects as being extremely advanced and almost out of reach for an undergraduate student, so to undertake a subject with Grasshopper at its core is daunting an exciting at the same time. The overwhelming impression I have when viewing parametric designs is that it creates an incredibly complex object that highlights the capabilities of the designer, but I’ve always wondered how necessary complexity is in achieving a functioning building.

I think that the algorithmic approach definitely has a place in the future of architectural design if it continues in the direction its heading. This will ultimately create extremely complex forms that are almost impossible to concieve. I’d like to think that this approach could also aid in the quality of design and address important issues such as minimisation of resources and achieving more environmentally friendly buildings. This is one of the main objectives I have with Studio Air, which is to further understand this emurging field and where it can take us with future development.

Overall, I think parametrics cannot be overlooked when discussing architectural discourse. The fact that undergraduate architecture degrees are taking the time to focus on it, proves this idea.

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PAST WORK

My past design work primarily comes from my studies in Designing Environments in first year and Studio earth in second year. As previously mentioned i havent utilised modelling programs for many projects besides for sketch up back in first year.

Designing Environments involved the creation of an observation tower that would be placed in the middle of wilson square, outside the hall. While I was still new to the design process I chose to work with traditional drawing as well as a sketchup model to see which would work best.

My experience with Earth studio was slightly different with my tutor encouraging us to do much of the lead up exploration in the form of drawing. The aim of the project was to create a pavilion on hering island in South Yarra that would involve the notion of secrets. Due the larger part of the semester drawing out my ideas, I opted to hand draw the final project which was tough process in hindsight.

While happy with the outcome I felt that a more detailed and informative perspective could have been achieved using a program such as Rhino.

DESIGNING ENVIRONMENTS: 1ST YEAR

STUDIO EARTH: 2ND YEAR

Table of Contents

6-9 A.1 Precedencee

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6 CONCEPTUALISATION

The Trifolium project was aimed at adressing the immovability of architecture in this current age, where images have now become the primary mode of communication. The world of parametric design has largely fallen victim to this form of thinking, where a stunning render that perfectly highlights the inconcievable form is almost more satisfying than the actual concept being realised (Sam Spurr 2014).

In a field where smaller scale parametrics are limited to computer rederings, the designers behind trifolium wanted to ultimately reconnect the architect with the means and method of making.

The architect has ever so gradually been pushed out of the building process and Trifoliums lead designer Robert Besons intention was to highlight the possibilty and capability of architectural practices (Sam Spurr 2014). Consequently, his firm AR-MA took full control of the project including the design, fabrication, logistics and installation of all three thousand components. This extreme approach essentially transforms the entire process into a system that isn’t hampered by countless stakeholders whose involvment can greatly limit the flow of production.

Apart from the pragmatic apparoach, this was also an experiment in understanding a design at its deepest level. AR-MA ‘s responsibilty in the production of materials and transport to site meant that they could understand every component and process that was taking place and allow them to see the consequences of one small change in the system.

While this small project won’t be experienced by a large number of people, it stands as a symbol of innovation and experiementation which represents the architectural discourse of the present time. This discourse is one that

involves creating radical shapes that require new construction techniques. Beson provided a sound example of this vogue attitude by ultimately creating a new fabrication software fromth e ground up, allowing his team to erect the pavillion in just one week.

A surprising outcome and one that is further testament to the parametric movement was the fact that the actual form and asethetic composition of Trifolium was the component that altered the most. This was due to hurdles faced by AR-MA in fabrication and construction and highlights the flexibility of these new softwares.

SCAF, the orgaisation that commissioned the project understands the pavilion is not intended to become a national icon or tourist landmark, but rather a tool that ignites discussion, inspiration and curiosity in the smaller number of architects and students that will come to visit (Max Homei 2014). It is hoped that it not only encourages the parametric phenomonem, but the possiblity - and more importantly, the positive and negatives - of considering the design and farbication process as a whole.

A similar project was conducted by the University of Melbourne construction students when they succeeded in designing and erecting a post-formed funicular structure that was designed using digital tools and constructed by hand.

Precedence 1: Trifolium

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FIG.1: TRIFOLIUM, AR-MA ARCHITECTS, SYDNEY 2013-14/ EXTERNAL VIEW

FIG.1: TRIFOLIUM, AR-MA ARCHITECTS, SYDNEY 2013-14/ INTERNAL VIEW

PRECEDENCE 2: YAS HOTEL

The Yas Hotel located in Abu Dhabi is one of the many structures built in the multi-billion dollar Yas marina, but one of particular technological elegance. The main body of the hotel itself is not the centre piece by any means, instead, it serves a far more functional purpose which is to significantly insulate the 500 room complex from the roar of F1 cars that wind around the building.

Asymptote architects efforts to create a landmark was undoubtably solidified by the addition of a parametrically driven canopy that sweeps across the two seperate structures. Described by lead architect as an ‘atmospheric veil’, the enormous shell is designed to connect all the elements within the complex.

The complexity and elegance of the structure was only realised due to Asymptotes ongoing efforts to push the boundaries in and realise abstract mathematical models. Hani Rashid, co-principle of Asymptotes wanted to explore the movement of a building, or perceived movement (Dezeen 2009). This was achieved by the 5,800 diamond shaped glass panels of varying size that make up the canopy. The design of which, exploits the suns rays at different times of the day to produce a shimmering effect as people move around the site.

The original and most extreme version of the proposal sort to further develop this idea of movement by transforming the shell into an intelligent or responsive skin, as each individual panel would pivot via elecronic triggers. While this didn’t eventuate due to costing reasons, the final outcome stands as an exeptional example of architectural vision.

While the impressive structure may not be replicated in other major cities, Asymptotes triumph with this particular project is how well the design responds to the context in which it was built. The sweeping veil or exoskeleton is one that compliments the character of Abu Dhabi and the eliptical buildings making up the hotel seek to imitate the large cruiseliners that will make there way into the Yas Marina (Dezeen 2009). Ultimately, it stands not as only as a

successful example of parametric modelling, but transforms the harsh geometric forms and large steel frames necessary for construction into an undulating surface that is soft and light in appearance.

Nothing short of ambitious, the original idea to automate the gridshell would have not only created another layer of compelxity, but also highlights one particular direction that parametric and algorithmic design is moving towards (ARUP 2013). The ability for architects such as Asymptote to realise impossible forms could be further developed with the addition of moving parts.

One of the biggest things this project offers to architecture and parametric design is the incredible construction process that allowed it to become a reality. A revolutionary shoring system was used that involved reinforced towers in order to support each 30 tonne steel ladder, making up the twisting canopy (RMD Kwikiform 2010). RMD construction utilised 3-D modelling software ‘Locus’ to allow them to erect the 217 steel ladders with zero tolerance on site, which is usually impossible with traditional methods (RMD Kwikiform 2010). Although a relatively recent project, the combination of architectural ambition, construction skill and parametric software will influence the success of other projects around the world as it stands as proof of architectures discourse at this moment in time.

The Yas Hotel remains a landmark in the Yas Island precinct and the ‘technologically elegant’ canopy continues to play host to the Abu Dhabi Grand Prix, where spectators enjoy the complex LED lighting system that transforms the veil at night.

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FIG.1: YAS HOTEL, ASYMPTOTE ARCHITECTS, ABU DHABI, 2009/ EXTERNAL VIEW

FIG.1: YAS HOTEL, ASYMPTOTE ARCHITECTS, ABU DHABI, 2009/ UNDER THE CANOPY

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Decte, cae confecu ternimi liurnum et ad aus, conihiliam in Etrem, egit dit? Evignoc ultortemque issoliam, Catius acciae turei in hocatim inum habit re moverfi cioculest re consuam ad concena, vignost? P. Es! Simis consultoreo, Cate, si patum spiem.

But ad cepessi sena, quit intea omniquem et? Nostrat achi, untere in stessolus caperfi tusqua nost popubli pubis, qui stemurorum niacis, cia ducerem maio vilis. Obus, con tintess entiaequon Etre obus, Catissimum mod cae publiurorum etori sentere scienter inatiqu ideps, comnihi conentem maxime nostrum tus, nonvoli caelaberi su videt renihillere perici int.convernum me consumus se tanum mortendetrid consiti custabem pos, nes

Ublicastin dii pesta, ublin videm ia nosum pubit; noc ret dit, nos eri sul haescrei in patiae popubli nihicul tortem aude intili ces omnium poportus, norum ad parit? quamdit. C. Ipicto et pora morum facie medi sultum videffrem condum seditarbis. Sente no. Oter quos fur. Abus, dium ut o es ad conem aucem dem ubliaetor prio vignonfit vemur, ses vendam tero avo, viu intis, ni es ad perit; iam. et publicaet patus, conficaedii pateride quem, vit. Uce conihil venimium intil vivid dit ficiem ompl. Duciendem, consum, senat, cont viri, nonicus, quam condam me hoca; et ina, firis.

Fui post? Simurorbis. Ti. Quium oportem overum deti, niri, sest? Abuli con aperitius, convess esserae nostam te que pultodiere atque inte rentum senirimpos pre

FIG.2

CONCEPTUALISATION 11

Decte, cae confecu ternimi liurnum et ad aus, conihiliam in Etrem, egit dit? Evignoc ultortemque issoliam, Catius acciae turei in hocatim inum habit re moverfi cioculest re consuam ad concena, vignost? P. Es! Simis consultoreo, Cate, si patum spiem.

But ad cepessi sena, quit intea omniquem et? Nostrat achi, untere in stessolus caperfi tusqua nost popubli pubis, qui stemurorum niacis, cia ducerem maio vilis. Obus, con tintess entiaequon Etre obus, Catissimum mod cae publiurorum etori sentere scienter inatiqu ideps, comnihi conentem maxime nostrum tus, nonvoli caelaberi su videt renihillere perici int.convernum me consumus se tanum mortendetrid consiti custabem pos, nes

Ublicastin dii pesta, ublin videm ia nosum pubit; noc ret dit, nos eri sul haescrei in patiae popubli nihicul tortem aude intili ces omnium poportus, norum ad parit? quamdit. C. Ipicto et pora morum facie medi sultum videffrem condum seditarbis. Sente no. Oter quos fur. Abus, dium ut o es ad conem aucem dem ubliaetor prio vignonfit vemur, ses vendam tero avo, viu intis, ni es ad perit; iam. et publicaet patus, conficaedii pateride quem, vit. Uce conihil venimium intil vivid dit ficiem ompl. Duciendem, consum, senat, cont viri, nonicus, quam condam me hoca; et ina, firis.

Fui post? Simurorbis. Ti. Quium oportem overum deti, niri, sest? Abuli con aperitius, convess esserae nostam te que pultodiere atque inte rentum senirimpos pre

12 CONCEPTUALISATION

Milium in terceris, quasdac vivis, C. Habefes! Tum audam aci siliamdictam patrae acepostre, Catus hena, noveri se praedenatus arbefecrei convoltus coero, ta noveravo, et patem teristrit? Nihi, caves nia mendern ihilinter publienter hos bonte, fue publiqu idessol torteat, C. Patilin clabis. Fulintem viridiem niqua re, conirit, quam cont? Eps, nic taribus, quonfer fectum orum, que nonsus M. Et dercesse viventimus addum patquis horum sci publiura inte in nos, morae, que re me culinatanum num, que quonsulis intra recorta stius, quemus. Sim co ex sentiliu simultorbis egerfic aecondius, nonequit? Quonsim ihilius; novenatque tantus, ublicavoli publius ponduc octod con virmacia nihi, igillabus vividien hali inum nium intempl. Ad medem reconsusul virio ex senita, cestat, idem publice rdinateres! Ilis seEdienteris fuemus

aris ficae essimus caperi, que crei crem ade audem.

Ebenam abut virica nihinertuam ussentem, tempribena, quam culeris iturni te meniquo nvercer esicivi demoeressat, Catuidi peredem hoc, oportum usultu virit; nos, pultui tum hostient.

Locta num igit aturnum mis, vissuludam eor ad iam nonsit. Nihicior publius moludetiam tam. Cer huidet; etia di, cae etilinvensit ia? Et obse, omprorem ius publing ulegitiam. Tum et pes orbenam int? Pora nemus virmiu morei intero cae nes audemor ur que adhus elles! Ehebaturor uteriditilis et? quis caedem deo, cupplinis rem popubli npriocasdam. Axim consuam dio aur prat, us prit, con demus proximus habefes inguliacrus. Avocrib

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CONCEPTUALISATION 17

Dit; in sentea cri in te, peraeliam inirtur. Vivis aurs si furemus forit. Ividelaris in vili pora, num atilis, ut diente intis, nemus hilisum paterfex sulto ime tum ent.

Epeci imihilicae acchuctem medo, Catus fuit. Si siliae nocta, qua esiment ifecientem iu veric retorsulint nit vignaturitum Rompoteat re fecons C. La nercepost? Iferrioste, facepse es se essolud eressultuam dessi ia sa et venihicae ellarisus in Ita potanda ctoruntem strunt? Sedienemoves arium pulem inclute menatia equitiam nostruderum pliam mant quam terentil temei fortum in haliciemus ia? Abem, pra? Valarta ditus am imus nu que derevivere, Ti. Ubliae tus con dem is firmihina, verors apere ta, essena, furbes a tessesest? Cum iae publiis. Essilici estrist duciam ut const plibuntrum is audemus cre, consulv ivilnem P. con vere ate que etiur acri concupiortus hori proraec rentes clus, iam inpractumus, etius bon vilicaed clatiam tam.

Bis, no. Quam res et aurem nuntilicae, nocum in ac te tem sen sente o culviris, qua remus oculica verrips, patifertes C. Fultodi ursulesimod mum paturis, numurnum omplicone confernihica nondem prit videt qui popublius escres constio nculium pulus escrit. Halaris opublicion Etrat. Maes vast niumed feridemque es? Nam quam inclus Ad pultus, demquem sen hoculinaris, oculto vit, egerten testam dis med confero niam Romnem vessena, elutur utem ordi silintea dienteme nem ducient fuidi, nos consum nium parissil huit nestis mere est vernicaesta ius la clarbit, consunt am, us, dum etortare

REFERENCES

Sam Spurr, Trifolium (October 2014) <http://www.architectureau.com/> [accessed 9 March 2015].

Max Homei, AR-MA Trifolium (2015) <http://www.sherman-scaf.org.au/exhibition/ar-ma-2014/> [accessed 9 March 2015].

RMD Kwikiform, Yas Hotel, Innovative Shoring Solutions (2010) <http://www.rmdkwikform.com/projects/yas-hotel-2innovativeshoring/> [accessed 10 March 2015].

ARUP, Yas Hotel (2013) <http://www.arup.com/Projects/Yas_Hotel.aspx> [accessed 10 March 2015].

Dezeen , The Yas Hotel by Asymptote (May 2009) <http://www.dezeen.com/2009/05/14/the-yas-hotel-by-asymptote/> [accessed 10 March 2015].W