Journal studio part B

S T U D I O AIRJOURNAL

2015, SEMESTER 1, ALESSANDRO

CHRISTOPHER DUNKLEY

II CONCEPTUALISATION

CONCEPTUALISATION III

TABLE OF CONTENTS

1 INTRODUCTION

PART A: CONCEPTUALISATION

4 A1.0 DESIGN FUTURING4 A1.1 DISCUSSION5 A1.2 PRECEDENT PROJECT 1 - SPANISH PAVILION9 A1.3 PRECEDENT PROJECT 2 - ONE MAIN STREET

12 A2.0 DESIGN COMPUTATION12 A2.1 DISCUSSION13 A2.2 PRECEDENT PROJECT 1 - SERPENTINE PAVILION15 A2.3 PRECEDENT PROJECT 2 - GANTENBEIN VINEYARD

18 A3.0 COMPOSITION / GENERATION18 A3.1 DISCUSSION19 A3.2 PRECEDENT PROJECT 1 - BARCELONA FISH21 A3.3 PRECEDENT PROJECT 2 - THE ABSOLUTE TOWERS

23 A4.0 CONCLUSION24 A5.0 LEARNING OUTCOMES25 A6.0 APPENDIX - ALGORITHMIC SKETCHES

PART B: CRITERIA DESIGN

B1.0 RESEARCH FIELD

B2.0 CASE STUDY 1 - GREEN LAVA VOID B2.1 DESIGN EXPERIMENTATION

B3.0 CASE STUDY 2 B3.1 REVERSE ENGINEER DESIGN

B4.0 TECHNIQUE: DEVELOPMENT B5.0 TECHNIQUE: PROTOTYPES B6.0 TECHNIQUE: PROPOSAL B7.0 LEARNING OBJECTIVES & OUTCOMES B8.0 APPENDIX - ALGORITHMIC SKETCHES

PART C: DETAILED DESIGN C1.0 DESIGN CONCEPT C2.0 TECTONIC ELEMENTS & PROTOTYPES C3.0 FINAL DETAIL MODEL C4.0 LEARNING OBJECTIVES & OUTCOMES

27 REFERENCES

1 CONCEPTUALISATION

Hi, my name is Christopher Dunkley I am currently a third year student studying Bachelor of Environments at the University of Melbourne. Currently, I am also working as a draftsman at Rudds Engineering to further extend my expertise in the building industry while studying.

I was born and raised in Canberra, Australia where I attained an Advanced Diploma of Building Design at the Canberra Institute of Technology (CIT) in 2013. Through this study as well as others I am capable in many drafting and 3D modelling soft wears such as Auto CAD, Revit, ArchiCAD, Vectorworks and others. This has allowed me to be involved in some of my very first building design plans with small scale projects.

Digital Architecture is something that is new for me to be learning. I am not completely familiar with Rhino and it is my first time using Grasshopper however I am hoping my previous skills and quick learning will help me to overcome the challenges and learn to take full advantage of digital designing.

Introduction

The only way to make sense out of change is to plunge into it, move with it, and join the dance.

- Allan Watts

FIG.3 REVIT PROJECT BOAT HOUSE- COURT YARD

FIG.1 REVIT PROJECT OF 2013

CONCEPTUALISATION 2

FIG.3 REVIT PROJECT BOAT HOUSE- COURT YARD

FIG.1 REVIT PROJECT OF 2013 FIG.2 REVIT PROJECT BOAT HOUSE

3 CONCEPTUALISATION

Part A -Conceptualisation

CONCEPTUALISATION 4

A1.0 Design Futuring A1.1 Discussion

Design has always been an on going, transforming tool for man-kind and helping us shaping our perfect world, however is it time for us to re-invent our way thinking and bring in the new era of tools for our world? Tony Fry’s book, ’Design futuring sustainability, ethics and new practice’ suggest that design must be changed in order to overcome the issues of global warming and create not only a sustainable future for our natural environment, but also for our biodiversity and wellbeing (1).

To achieve this there needs to be a push to advance the design and development of constructional products, not only the way in which they are constructed, but also by creating interdisciplinary solutions. Suggested by Fry is the idea of design intelligence, which he believes can be the solution, and from that potential, the design style of the current era (2). This can bring great advantage towards future design by creating ground breaking solutions to the current problems, or limitations of design. As well as this, the idea of design intelligence can allow designers to take a further leap into research, experimentation and advancement towards securing human advancement and survival.

To further this, I have offered two built projects that that in some ways reflects the purpose of what is preached in this discussion and show potential in design intelligence.

5 CONCEPTUALISATION

The Spanish Pavilion project is one of the most striking architectural designs in my opinion. There is no one spot where the eye is focused to directly but rather draws the eye to capture the design as a ’whole’ object.

This design has been set to focus on the idea of the future and moving towards a low and high tech combined process of building as well as looking at sustainable applications(3). It draws on the idea of studying the old traditional methods of Spanish basket making and applies them to a modern, new, creative building form through computational design to allow the structure and form to be a reality. By this concept the design actually won the prize for the top future project at the world architecture festival in 2010.

Tagliabue has created the design from using a simple and sustainable material called wicker, a type of willow wood, and forms them into woven panels that then clad the steel structural frame and shape of the building. This technique aims to bridge both traditional eras of design as well as connections between the involved countries, Spain (the designer), Germany (the producer) and China (the host) and many others which give connection between all (4).

FIG.4 SPANISH PAVILION

A1.2 Precedent Project 1

CONCEPTUALISATION 6

The Spanish PavilionBendetta Tagilabue- Miralles Tagliabue Architects 2010

These ideas behind the pavilion has allowed the design to be appreciated well into the future by capturing the theme of traditional culture, something that has always been appreciated world-wide, and allowing to form into modern sustainable design.

With the steel frame acting as the bones of the design Tagialbue used the wicker panels not only as an international, traditional and sustainable design style, but also to allow great flexibility and creativity on which to make the virtual/ digital drawing designs become an easy-to-build reality while also having a lighter impact in material use and embodied energy (5).

FIG.5 MATERIAL WICKER PANELS

FIG.6 INTERNAL VIEW LOBBY AREA

FIG.7 SPANISH PAVILION INTERNAL ROOF DESIGN

FIG.9 RECEPTION AREA OF OFFICE- NOTE ROOF

9 CONCEPTUALISATION

This Architectural design tends to focus more on the interior designing, however is still very successful in expressing and promoting the exploration of design intelligence and computational architecture. The architect, Mark Goulthorpe of dECOi Architects is a part of a small company that is highly focused towards new design technologies and strategies. As well as this he is also a teacher at the Massachusetts Institute of Technology (MIT) where he spends a lot of time in small scale projects that redefine todays common materials e.g. the Hypersurface wall (a physically dynamic wall structure)(6).

The design of One Main Street offers an aesthetic customised fabrication of a space digitally created and cut from using a sustainable and carbon-absorbing raw material; which is translated efficiently into refined and functional elements via dexterous low-energy digital tooling (7). This highly efficient way of designing allows digital design to be further promoted as a future resource by exampling the benefits of eco-friendly solutions as well as low embodied energy methods.

Furthermore the space not only consisted of ply wood design in the walls, roof and floor but also in the furniture and accessories apart from windows. All the designs are produced from a 3D numeric command milling machine that adds to ergonomic function and comfort based from computer design (8). This digital and milling process creates almost no waste in timber offcuts and amazingly built the project in as little as 1200 planks (9). The vents between the wood allow for continuous air flow for the office work space, while also partially covering up the building services. This example shows a small but very impressive step towards future design and possibilities.

FIG.8 WOODEN FURNITURE IN DESIGN


CONCEPTUALISATION 10

One Main StreetMark Goulthorpe, dECOi Architects

2010

FIG.10 WINDOW MATERIAL & COLUMN DESIGN

11 CONCEPTUALISATION


A2.0 Design Computation A2.1 Discussion

Design has been a continually adapting process to over-come problems and to provide the most efficient solutions to the requirements of a brief or client. This process, as out lined by Kalay in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, was a style that was first relevant for the occupation of an architect in the 1400s where-by efficient problem solving, analysing, synthesising, evaluation and communication was need to design a strategy that provided the most effective solution (10).

Today this design process now has not only the coordination of architects but also tools to aid architects, engineers, designers and other involved disciplines to reach dynamic solutions in a more sustainable and reliable process.

Design computation is becoming a major asset towards design by re-defining a new form of design logic through approaches such as parametric designing, which allows a variation of outcomes to be created depending on pre-developed values of geometric relations (11). This allows designers to create a variety of solutions from one virtual design, therefor allowing greater capabilities in scales, elements, materials and structure, in a more creative ethic.

Computing for design has also allowed for designers more recently (last 30 years) to be capable in creating biological forms as well as fractal design concepts, which was of great interest for leading designers such as Louis Sullivan and Frank Lloyd Wright (12). Computation design can expand and explore, what were then, un-creatable geometries such as morphological simulations.

More recently, in the early 2000s, computational design allowed further styles to be born. Many European and Asian design and research companies explored the efforts of computational geometry which lead to the creation of design environments in which form is driven by performance (13). This process was done through the ability to model and research into material systems and structural design that created greater results toward sustainable design solutions.

Computation can be the solution towards future designing to overcome the problems, from project brief specifications to globally effected problems (global warming). The tools computers offer for designing can create greater understanding for multiple involved disciplines through the innovations of BIM soft wear by creating a virtual product that can be understood and added to by all (14).

Digital materiality created within computer design also contributes to evidence and performance based designing methods by allowing new virtual materials to not only be applied but also researched and tested on in a digital design. Furthermore, virtual designing has allowed greater efficiency for the design to go from the concept stage though to the built stage by application and fabrication technologies (15).

Provided are two examples that explore some of the many possibilities of computational design.

FIG.12 INTERNAL OF PAVILION, VIEW TO NATURE

FIG.11 DESIGN PROCESS, SQUARE REPEATED


Prior to the computational design era, structure and architectural form were considered separately. The initial design process was not always fulfilled and often compromised. In Toyo Ito’s Serpentine Pavilion, the design of the building was considered from all aspects (engineering, designing, building, occupancy) with the aid of computational design. This was achieved by both Toyo Ito (architect) and Cecil Balmond (structural engineer) when they coined the idea of creating a pavilion that does not portray traditional structural methods. Instead the pair chose to integrate the structure into the design aesthetic by geometric re-configurations of a square that was algorithmically repeated and offset continuously (16).

The result provided both a pleasing design and an approved structural form. Not only this, but the design also uses the algorithmic structure to create a more organic and creative design rather than a harsh and heavy square look (17). The material elements of sporadic glass windows help to focus more on the natural aspects and surroundings in the building and help to provide context for the pavilion and its location in nature.


FIG.15 PAVILION, NO DIRCET COLUMN VISABLE

FIG.13 DESIGN PROCESS APPLICATION FIG.14 SURPENTINE PAVILION


Serpentine PavilionToyo Ito & Cecil Balmond

2002


Gantenbein Vineyard Gramazio & Kohler of Bearth& Deplazes Architekten

2006

FIG.16 INTERNAL VIEW, SHOWING DAPELLED LIGHT FIG.17 BRICK STACKING FROM COMPUTATION

FIG.18 EXTRENAL, NOTE WINE GRAPES ON WALLFIG.19 DIGITAL DESIGN SIMULATION


A second example is shown in a more conserved project, hidden up in the mountains of Switzerland. Designed by architects Gramazio & Kohler of Bearth & Deplazes Architekten, the Gantenbein Vineyard design takes a further step than the previous example by applying the design to not only through digital computation but also fabrication technology.

The original brief created was to design a wine fermentation room for processing grapes as well as storage and tasting. The specifications of these requirements meant that there was more consideration need towards not only sheltering the wine and those tasting, but also to allow precise treatment of the wine to the natural elements (18). With this in mind the design was digitally created to replicate a basket that, through digital simulation of gravitational effects, portrayed the look of various sized grapes falling into a basket (19). The digital computation that created this theme had also worked out the angles on which to place each individual brick (20,000 in total) so as to allow precise dappled sunlight and required amounts of air flow into the building. Once simulated the computational design was scripted into robotic fabrication lab at ETH Zürich were a robotic brick layer would place each brick precisely in the correct position, the design was considered to be too impossible and/or expensive to do via manual labour (20). The end result created a very rare brick design that shows and works perfectly in terms of aesthetics, building requirements, costs and timeframe and provides a look of natural contexts through the ’basket look’.

This design shows how computational design can explore and solve design problems from initial concepts and building requirements through to fabrication and natural aesthetic.

FIG.20 INTERNAL DESIGN LAYOUT, NOTE EACH BRICK ANGLE DIFFERENCE




A3.0 Composition/ Generation A3.1 Discussion

The shift from composition to generation is a necessary shift that all designers must adopt. If a designer is not up-to-date (broadly) then they will not be able to systematically interact with resources, other designers (engineers) or be able to produce the trending designs of the modern times. Digital design was first brought into architecture in the 1980s through Computer Aided Design (CAD) (21). From there generational design has brought in capabilities such as parametric modelling, algorithmic design, 3D printing and fabrication technologies and much more. The capabilities of parametric design emerged further in the late 1990-00s where the logic of parametric design was in the values of parameters between different forms, allowing the boundaries to be variable (22)

From this growing shift of digital design, architectural focus was towards ’procedural design and scripting and away from compositional and representational theorizing’ (23), which gave many benefits to design researching.

The shift towards the new age of design has had many positive adoptions and critical judgments over its lifetime. Originally, and like most things related to technology, it took time for the industry to completely accept digital generation as the way of design, however even still today there are architects who don’t use computer design, such as Santiago Calatrava and Herman Hertzberger (24) as well as a few I personally know. At the start of the digital era architects such as these often questioned if CAD actually limits the design opportunity and dulls it down to a well-documented but non creative design (25). CAD has been suggested, even recently to have a restraint to a designer’s imagination through rationalistic determinism and quantitative design (26).

By the time that computers were actually affordable to have a personal computer (PC) there was a wider variety of digital design tools available to architects. Although the question of whether these tools added or subtracted to the creativity of designers was still a question being asked, it allowed a connection between a rivalled engineer and architect to work collaboratively using parametric models rather than having to create one (through a back and forward process) known as Building Information and Modelling (BIM) (27). Furthermore digital design has led to allow designers to do much more than just creativity; designers are now able to experiment with materials, environments and structural techniques to simulate the response to a question or problem, thus forming ’computation’ (28).


FIG.21 FISH FROM FRANK GEHRY

FIG.22 MATERIAL OF PERFORATED STEEL



Barcelona FishFrank Gehry

1992Frank Gehry’s Barcelona fish is an iconic landmark in Barcelona’s seafront, built for the 1992 Olympic games. Made out of a perforated, gold tinted stainless steel form, it is one of Gehry’s most favoured designs throughout his carrier (29). It is also one of his first designs that was created though use of computer design and fabrication, when the digital world was starting to have an influence on early designers (30). Through his firm’s research they were able to create the design through computer aided three-dimensional interactive application (CATIA) and then process the fabrication straight out of the 3D model (31). This is a great example of one of the first designs to ever undergo a complete digital process and was thereafter seen as an iconic inspiration towards the potential creativity within the generational process.

FIG.23 DIGITAL DESIGN AND FABRICATION PROCESS


The absolute towers are a recently completed project by MAD architects in 2012 that is a residential twin tower skyscraper complex. Recently it has won the best tall building Americas award 2012. The design of the towers is an algorithmic repetition of oval shapes that are offset at certain degrees continuously so as to allow all residents a different view of the city (32). The design was heavily controversial in terms of it structural performance however with the help of engineering and digital technologies and simulation the design was approved for the city and was such a success that the designers built a second one that runs parallel to the original tower, however has slight differences in terms of materials, rotation and height (33).

These towers show an example of how the digital design today can be used to take creativity and structural performance further beyond what has previously been done, giving great confidence towards this shift from composition to generation.

FIG.25 EACH OVAL FLOOR OFFSET & REPEATED

FIG.24 ABSOLUTE TOWERS CREATED IN GRASSHOPPER



The Absolute TowersMAD Architects

2012

FIG.27 COMPUTATION PROCESS TO ACHIVE DESIGN

FIG.26 THE ABSOLUTE TOWERS


People often think of architects as the person that adds the creative detail to a building, which is by all means true, however not limited to. An architect is a person who must understand the principal functions of a building whilst integrating a form that creatively suits, in other words create the function over the form. An architect must also do this whilst understanding the boundaries of the client’s needs and costs, whilst thinking about the materials, the ergonomic layout and the environment in which the building is set. An architect must think and work with others to solve issues of structure and building associated compliance standards. They should aim to create an example for the future to step forward in terms of sustainability and wellbeing in design. They should evoke creative stimulation with design.

Design computation is an invaluable resource that helps provide all of these answers in some way. Through the research shown it is clear that parametric designing can lead to new ideas of creativity; algorithmic modelling and scripting can produce quick and cost saving outputs to fabrication methods or environmental problems. Over the last few decades’ digital design has influenced many designers into a new style of creativity, although controversial at first it is clear that the digital design capabilities allow the greater role of the architect to be at its full potential. All of these tools are not a step back but a step forward into the new age of design and possibly the new architect.

A4.0 Conclusion


A5.0 Learning Outcomes

The knowledge gained from the past few research topics has given me a concise introduction to the world of computation. I believe that this design style is a completely new way of thinking and creating to that of traditional methods, which is very promising aspect that design could lead towards. Previously I wouldn’t have known much, if any, of the terminology and practical skills that we have covered recently and I feel with further exploring and knowledge the topic will start to make more sense.

I would have enjoyed applying the skills and knowledge gained into my previous works, particularly the studies and studio modelling classes focusing on Toy Ito and Kazuyo Sejima, because of their focus and appreciation towards algorithmic design and computational methods.


A6.0 Appendix

Over the past few weeks learning this brand new program of grasshopper has been very heavey and intense with wrapping your head around the basic functions. I feel after a few weeks I have a beginers understanding of the interface and tools, however I am very much still learning exactly what all the tools mean and do. I am very much looking forward to exploring the options in grasshopper for my design and keen to see the result.

The binging works I have completed in my sketchbook have helped me to understand the basic creations used to make forms in grasshopper, which I can see how it might relate to some of the precedent projects that have been studied in this journal. It is clearer how materials can be formulated or how structrual desgins can be made to be applied to a building or researched further through simulation.

My examples shown, I think show my varetiy of what I have learnt ofver the last few weeks

Week 1


Week 2

Week 3


(1) Tony Fry, Design Futuring: Sustainability, Ethics and new practice (New York, Berg, 2009), P. 4

(2) Ibid, P. 12

(3) Rodolphe el- Khoury and Andrew Payne, States of Architecture in the twenty-first century (UK, Thames & Hudson Ltd, 2010), p.51

(4) Architype, Spanish pavilion (Unknown location, Architype, 2015) <http://architype.org/project/spanish-pavilion/?issue_id=684#> [accessed on 8 March]

(5) Vania, Braided marble by Benedetta Tagliabue and Decormarmi fo Marmomacc (Unknown location, Interior line, Sept 2014) < http://interiorzine.com/2014/09/25/braided-marble-by-benedetta-tagliabue-and-decormarmi-for-marmomacc/> [accessed on 8 March]

(6) Eric Markowsky, Rethinking Architecture (Massachusetts, MIT, July 2014) <http://newsoffice.mit.edu/2014/re-thinking-architecture> [accessed on 8 March]

(7) dECOi Architects, One Main Street, dECOi Architects (2008-09) http://tomorrowawards.com/uploads_showcase_document/1347/1600.pdf [acessed on 10 March] (p.3).

(8) Ibid, P. 4

(9) Ibid, P. 34

(10) Kalay Yehuda, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p6

(11) Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.3

(12) AIACC, Parametric Design: A brief history (California, AIACC.org, 2012) <http://www.aiacc.org/2012/06/25/parametric-design-a-brief-history/> [accessed on 10 March]


References - Text


(14) Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design (UK, John Wiley & Sons, 2013) 83, 2, pp. 08-15 (p.14).


(16) Giles Worsley, Opening up a box of delights (UK, The Telegraph, 2002) <http://www.telegraph.co.uk/culture/art/3580220/Opening-up-a-box-of-delights.html> [accessed on 11 March]

(17) Balmond/studio, Serpentine Pavilion 2002 (UK, BAlmond/Studio, 2002) <http://www.balmondstudio.com/work/serpentine-pavilion-2002/> [accessed on 17 March]

(18) Gramazio Kohler Architects, Gantenbein Vineyard Facade, Fläsch, Switzerland, 2006

Non-Standardised Brick Façade (Zurich, Gramazio Kohler Architects, year unknown) <http://www.gramaziokohler.com/web/e/bauten/52.html> [accessed 18 March]

(19) Gramazio Kohler Architects, Gantenbein winery by Gramazio & Kohler Architects (Zurich, Gramazio Kohler Architects 2009) <http://travelwithfrankgehry.blogspot.com.au/2009/05/gantenbein-winery-by-gramazio-kohler.html> [accessed 18 March]

(20) Ibid

21- Daniel Davis, A history of Parametric (New York, Daniel Davis, 2013) <http://www.danieldavis.com/a-history-of-parametric/> [accessed on 19 March]

22- Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.3

23- Oxman, Rivka and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.4

References - Text


24 Bryan Lawson, CAD and Creativity: Does the computer really help? (England, White Rose University, 2002) <http://eprints.whiterose.ac.uk/1427/1/lawson.b1.pdf> [accessed on 19 March] p.327

25- Bryan Lawson, CAD and Creativity: Does the computer really help? (England, White Rose University, 2002) <http://eprints.whiterose.ac.uk/1427/1/lawson.b1.pdf> [accessed on 19 March] p.329

26- Kostas Terzidis, Algorithmic Architecture (UK Elseiver, 2006) p. 28

27 - Daniel Davis, A history of Parametric (New York, Daniel Davis, 2013) <http://www.danieldavis.com/a-history-of-parametric/> [accessed on 19 March]

28 - Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design (UK, John Wiley & Sons, 2013) 83, 2, pp. 08-15 (p.1)

29- Barcelona Low down, Frank Gehry’s golden fish sculpture (Barcelona, , Barcelona low done, 2014) <http://www.barcelonalowdown.com/frank-gehrys-golden-fish-sculpture/> [accessed on 19 March]

30- Mimoa, Fish - Gehry Partners (Barcelona, MI_moa 2015) <http://www.mimoa.eu/projects/Spain/Barcelona/Fish> [accessed on 19 March]

31 - Ibid

32- Mathew Allen, An empathetic twist (Mississauga, Domus, 2012) <http://www.domusweb.it/en/architecture/2012/11/07/an-empathetic-twist.html> [accessed on 19 March]

33- Bas Lagendijk, Anthony Pignetti and Sergo Vacilotto, Absolute world towers, Mississauga (Mississauga, CTBUH, 2012) <http://www.ctbuh.org/LinkClick.aspx?fileticket=C7pQ9leoTCc%3d&tabid=3840&language=en-US> p.14- 15

References - Text


Fig.1. Christopher Dunkley, Personal image reference



Fig.4. Zhonghai Shen / KDE, Spanish Pavilion, 2010, <http://architype.org/project/spanish-pavilion/?issue_id=684> [accessed 8 March]

Fig.5. Aguirre Bujedo Iñigo, Shanghai Expo, 2010, <http://www.dezeen.com/2010/04/26/spanish-pavilion-at-shanghai-expo-2010-by-embt/> [accessed 8 March]

Fig.6. Vania, Interior view Spanish pavilion, 2010, <http://interiorzine.com/2014/09/25/braided-marble-by-benedetta-tagliabue-and-decormarmi-for-marmomacc/> [accessed 8 March]

Fig.7. Design boom, Spanish Pavilion, 2010, <http://www.designboom.com/design/benedetta-tagliabue-rattan-tina-chair-for-expormim/> [accessed 8 March]

Fig.8. Crespin Raphael, Reception desk, 2010, < http://archinect.com/raphaelcrespin/project/one-main-decoi-architects > [accessed 8 March]

Fig.9. Unknown, Office reception, 2010, <http://radlabinc.com/projects/one-main> [accessed 8 March]

Fig.10. Crespin Raphael, One main, 2010, <http://archinect.com/raphaelcrespin/project/one-main-decoi-architects> [accessed 8 March]

Fig.11. Balmond Cecil, Design process, 2013, <http://www.thearchitect.lk/2010/07/creating-new-horizons-in-architecture-cecil-balmond/> [accessed 10 March]

Fig.12. Deleu Sylvain, Serpentine Gallery Pavilion, 2002, <http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/> [accessed 10 March]

Fig.13. Nataliealima, deep surface diagram explode, 2013, <http://www.iaacblog.com/maa2013-2014-advanced-architecture-concepts/2013/11/toyo-ito/> [accessed 10 March]

Fig.14. Balmond Studio, Serpentine Pavilion, 2002, <http://www.archello.com/en/project/serpentine-pavilion-2002#> [accessed 10 March]

References - Images


Fig.15. Unknown, Serpentine Gallery Pavilion, 2002, <http://openbuildings.com/buildings/serpentine-gallery-pavilion-2002-profile-45080> [accessed 10 March]

Fig.16. Degn Andreas, Gantenbein Vineyard Façade, 2015, <https://www.pinterest.com/pin/325385141803751163/> [accessed 11 March]

Fig.17. Gramazio & Kohler, baustelleohnegerust_DK_006, unknown, < http://www.archdaily.com/260612/winery-gantenbein-gramazio-kohler-bearth-deplazes-architekten/501f4a8228ba0d0242000059_winery-gantenbein-gramazio-kohler-bearth-deplazes-architekten_080701_036_innenaufnahmen_ralphfeiner_02_pr-jpg/ > [accessed 11 March]

Fig.18. Gramazio & Kohler, Winery_010, 2009, http://travelwithfrankgehry.blogspot.com.au/2009/05/gantenbein-winery-by-gramazio-kohler.html [accessed 11 March]



Fig.21. Shayan, The Frank Gehry fish and the Barcelona grand casino, Unknown, http://www.everystockphoto.com/photo.php?imageId=2768227 [accessed 19 March]

Fig.22. Unknown, Frank Gehry’s Fish, 2012, <http://been-seen.com/travel-blog/animal-houses> [accessed 19 March]

Fig.23. Mafana, Computer and built models for Gehry´s fish sculpture 1992 Barcelona, 1992, <https://mafana.wordpress.com/page/2/> [accessed 19 March]

Fig.24. Lee Sid, Absolute tower, 2011, < http://www.grasshopper3d.com/photo/absolute-tower-1?xg_source=activity> [accessed 19 March]

Fig.25. Baan Iwan, Absolute towers, 2012, < http://www.archdaily.com/306566/absolute-towers-mad-architects/50c8c96db3fc4b7062000009_absolute-towers-mad-architects_absolute_mad_1001_by_iwan_baan-jpg/> [accessed 19 March]

Fig.26. Arban Tom & Lum Morris, Absolute towers, 2012, <http://www.domusweb.it/en/architecture/2012/11/07/an-empathetic-twist.html> [accessed 19 March]

Fig.27. Arban Tom, 306569, 2012, <http://www.archdaily.com/306566/absolute-towers-mad-architects/> [accessed 19 March]

References - Images


33 CRITERIA DESIGN

Part B - Criteria Design

CRITERIA DESIGN 34

B1.0 Research Field Geometry

Geometric design is a technique that has been developed since ancient civilisations first built structures such as the Egyptian pyramids or the coffered dome ceiling of the pantheon in ancient Rome or Islamic art in architecture. It is at the core of architectural design and today, through computational development, provides solutions and innovations towards efficient creations of complex geometry for architecture. It is through the applied geometry of a building that humans can have a sense of understanding and proportion of a space as well as create an immediate response mentally to how one might perceive a building purely through its basic geometry (Ref1).

Typically shapes are used as the foundations for geometric design but to manipulate these shapes into a more refined 3D form it is applicable to apply mathematical expression to the design process (Ref2).

This design strategy creates many new opportunities for creativity through exploration of such techniques like ruled surfaces, paraboloids, icosahedron or geodesic forms and other mathematical expressions.

The algorithms that dictate the geometric design is often aided to the form of the design and by mathematical expression designers can search deeper into the world of geometric creativity. Through this creativity, applications of materials and fabrication techniques can also be explored and lead to creating new sustainable outcomes and create functional use to the building. Conversely the geometric form can be a precarious design strategy that can give a permeant and obvious negative effect on the look of a design if not correctly expressed or if the technique is over powering towards other features of a design.

Interestingly geometrical design can also reflect the perfection of natural formations such as bee hive hexagons, spider webs, sea shells and even some tree types all can reflect a geometrical repetition (Ref). This can offer development towards design strategies for encompassing a design and its surrounding context, for example at a specific location of the Meri creek site. It is argued that today’s architecture can, or should be leading towards the development of design influenced by the form to free up the structural and material outcome (Ref3) whilst obviously applying the function of the building. Geometric design often can bridge these elements of form to structure and material through it diverse range of simple to complex shapes and masses, as shown in the following examples.

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B1.1 Precedent Project 1

Focusing on the benefits of geometric design the Phyllotatic Greenhouse and Education Centre illustrates the potential of geometric formation within structure. The design built in 2001 houses one of the biggest collections of plants from around the world in a greenhouse like environment. The dome form is combined with a geodesic network of nodes that connect to map both hexagons and pentagons over the sphere that act as the structural skeleton. This in a way mimics the formation of natural objects thus giving benefit towards this particular designs inspiration, however through the computational algorithmic process as well as though the material fabrication, the design also employs a lower cost (ref PDF p4). The geometric formation also allows the building to be situated ideally into the site whilst lowering the weight of the structural frame, compared to traditional methods (ref PDF p4).

This example also shows how a geometric technique can allow for greater sunlight to be captured over longer periods of the day through the hexagonal networks laid over the sphere. This can then be explored further by easily applying materials such as inflatables to the simple geometric form, creating greater thermal comfort for the specific conditions of plants.

desgins can be made to be applied to a building or researched further through simulation.

My examples shown, I think show my varetiy of what I have learnt ofver the last few weeks

Phyllotactic Greenhouse &Education CentreNicholas Grimshaw2001

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B1.2 Precedent Project 2

A slightly more unusual and experimental example of geometric production can be seen in the nonLin/Lin Pavilion - 11 FRAC Centre by Marc Fornes and The Very Many. This prototype design is created through a geometrical technique known as form finding or relaxation, which is done through a computational process (ref1). The design also shows negative geometric form development through boolean extrusions within the surface.

The surface of the geometric form encompasses the use of patterning of different sized asterisk-shaped perforations which adds to the interest of the form and allows the technique of light penetration to be introduced (Ref2).

With the use of computational fabrication the structure has been applied to aluminium sheets that can be manipulated into the ideal design and perforated as shown.

I believe this shows the potential of geometric design with fabrication; both projects have given examples of how simple generic geometry can be applied with creative materials such as inflatable plastic, whilst this example can also show the material application being successful in more organic and fluid geometric structure.

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B2.0 Case Study 1.0 Geometry Green Lava Void

A slightly more unusual and experimental example of geometric production can be seen in the nonLin/Lin Pavilion - 11 FRAC Centre by Marc Fornes and The Very Many. This prototype design is created through a geometrical technique known as form finding or relaxation, which is done through a computational process (ref1). The design also shows negative geometric form development through boolean extrusions within the surface.

The surface of the geometric form encompasses the use of patterning of different sized asterisk-shaped perforations which adds to the interest of the form and allows the technique of light penetration to be introduced (Ref2).

Image of building

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B2.1 Design Experimentation Geometry Green Lava Void

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Documents

Journal studio part B