Studio Air.Rachel Lee (788401) | Semester 1, 2016 | Tutor: Finn

CONTENTS

03INTRODUCTION

05A.1 DESIGN FUTURING

Hoshakuji Station by Kengo Kuma & AssociatesLINK Series by Ray Power

11A.2 DESIGN COMPUTATION

Dunescape at MoMA PS1 by SHoP ArchitectsWinnipeg Skating Shelters by Patkau Architects

15A.3 COMPOSITION / GENERATION

Cliff House by Roland Snooks, KokkugiaArabesque Wall by Michael Hansmeyer & Benjamin Dillenburger

21A.4 CONCLUSION

A.5 LEARNING OUTCOMES

22A.6 APPENDIX - ALGORITHMIC SKETCHES

INTRODUCTION

My name is Rachel Lee, and I’m a third year student in University of Melbourne, Bachelor in Environments (Architecture). I was born and raised in Singapore and first started my journey in Architecture at Singapore Polytechnic in 2012. There I learnt to design small to large residential and commercial projects, using software such as Revit, SketchUp, Photoshop, InDesign and AutoCAD to aid my design.

After graduating in 2015, I started searching for the right university to continue my studies, and finally decided on University of Melbourne. Due to my background knowledge of Architecture from Singapore Polytechnic, I was very lucky to have been offered 2 years credit from the usual 3 year long course.

In the 6 months before arriving in Melbourne, I worked at a small interior design firm and was introduced to a different aspect of design in buildings. Through this work experience, I had the opportunity to use the various software I had learnt in school for presenting designs and drawings to clients and contractors.

Digital architecture had always played one of the largest roles in my design process both in school and at work. I had to come to rely on it heavily to communicate my ideas effectively. I believe that through digital architecture, we can break boundaries to explore and create the forms and structures we could never achieve with just pen and paper.

Introduction | 04

PART A.

Fig. 1.1

HOSHAKUJI STATIONTakanezawa, Japan

by Kengo Kuma & AssociatesInspired by a system of oya stones from a nearby building, Kengo Kuma replicated its ‘pore’-like facade on the ceiling of the Hoshakuji Station. Instead of stone, he created a lauan-made plywood structure, imitating ‘pores’ that extend to connect the east and west ends of the station.

Upon research of this project, I noticed how Kengo Kuma’s use of timber planes had contributed a great deal to the original site. It turned an otherwise dull and grey station, into a warm and interesting place, an atmosphere which wood has the capability to exude.

Suspended on steel hangers, the complex topography of lightweight plywood diamonds form a coffered canopy which simultaneously improves the acoustics of the space. Additionally, Kengo also incorporated lighting within parts of the structure, illuminating through the gaps of the vertical planes.

This project introduced new theories for sophisticated 3 dimensional designs. Although he used geometrical shapes, he had managed to create an organic form out of them by varying the points on each end of the diamond, either laterally or vertically. Consequently, each diamond produced is unique to its location.

Fig. 1.2

Fig. 1.3

Fig. 1.4 Fig. 1.5

A.1 Design Futuring | 06

Fig. 1.6

LINK SERIESLZF Lamps

by Ray Power

Known for his trademark style which relies heavily on form and geometry, I was intrigued by Ray Power’s ability to produce 3-dimensional forms from flat materials. In the Link Series, his creation of modular lampshades was an interesting study between the use of wood veneer

strips, light and shadow play. By constructing organic shapes, it also explores the maximum potential of veneer.

Fig. 2.1

A.1 Design Futuring | 09

Being modular, the idea to stack each lampshade on top of one another not only increases illumination, as a lamp should, but also produces a sculptural art piece. Which, depending on the veneer colour, brings out a different kind of ambience.

The pattern in which the veneer strip was arranged is the Möbius strip. A non-orientable surface that consists of a half twist in a closed band.

The Link lampshade also demonstrates the flexibility of wood veneer and how it can be bent into something more complex and organic. However, I noticed that although an organic form, it is somewhat regular as a single piece of veneer is bent into curves that pile on top of one another in a repetitive pattern.

Similar to the Hoshakuji Station by Kengo Kuma, one is able to maintain a regularity among complexity in organic forms.

The shadows from the light are forged by the gaps that the curved veneer strips produce. As veneer is a thin layer of wood, it is not fully opaque, and a small amount of light is able to pass through to make the lampshade appear to be glowing.

The Link lamp proves to be a great study of how light can enhance fluidity and be included as part of a single component to produce a simple yet elegant form. It also contributes possibilities to inspire and develop future projects, not limited to wood veneer.

Fig. 2.3

Fig. 2.4

Fig. 2.2

A.1 Design Futuring | 10

Fig. 3.1

Fig. 3.3Fig. 3.2

DUNESCAPEMoMA PS1, New York

by SHoP Architects

SHoP Architect’s philosophy is guided by performance-based design, in which form maximizes the capabilities of a building. Every building looks different and each has its own function.

This temporary installation in New York was their conception of an “urban beach”. Designed for MoMA PS1’s summer music event, and with added features like spraying water mist and a small wading pool, the structure provided a communal lounging space for people to take shelter from the summer heat.

Built by manually cutting, stacking and assembling over 6000 specific lengths of cedar strips, this form would have taken longer to create if it were not for the digital simulation and animation design they had used to aid them in translating their ideas into something real.

SHoP Architects believed that when encountered with a more theoretical design, one would need an equal balance of technology and artistry to be able to push the boundaries and challenge the potential of sophisticated 3 dimensional forms.

I agree that it was their use of digital software that allowed them to have the potential to develop such a form in a short period of time as they were able to experiment and refine their design to produce an ergonomic and well thought out geometry for their target user. Computation had expanded the range of achievable and concievable geometries for architects to present innovative concepts and has redefined the industry in a way that we are now able to have a visual idea of the final product before it is built.

Fig. 3.4

A.2 Design Computation | 12

WINNIPEG SKATING SHELTERSWinnipeg, Canada

by Patkau Architects

Like a herd of buffaloes, this cluster of strategically angled shelters were designed to protect users from the harsh wind and temperature conditions in winter. Although they appear fragile, its structure seem to engulf the visitor to convey a sense of warmth and comfort, with the inclusion of a timber floor and plywood seats.

Each cone shape is achieved by bending and deforming 2 layers of thin, flexible plywood and attaching them to a timber frame and which consists of a triangular base and a wedge-shaped spine. During the design process, in order to experiment with the structure and spatial character of the shelter, Patkau Architects made full scale prototypes to map the stresses of bending to eventually create the final form.

Another interesting aspect of this collective was the deliberated positioning, which takes into account the size and accessibility of each shelter. Each pair had been rotated to precisely 120 degrees from one another, and in 3 pairs they were rotated 90 degrees to create a centre space in between the shelters.

This form would not have been produced without the help of digital aid. From the bending of plywood to the angles of the shelters, computer programmes played a large part in calculating the precise dimensions in curves and planes to achieve this unique shape.

Today, it has become the norm to use computing tools in design and construction processes. Because of its capability to conceive a far wider range of geometries, I believe that instead of limiting architectural theory, it has opened up a world of unique and innovative techniques, opportunities and results.

Fig. 4.1

Fig. 4.2

A.2 Design Computation | 13

Fig. 4.3

Fig. 4.5

Fig. 4.7Fig. 4.6

Fig. 4.4

CLIFF HOUSEby Roland Snooks, Kokkugia

The Cliff House is an experiment to push the possibilities of composite fibre material in architecture, by generating an aesthetically pleasing form which is also structural at the same time. The site at which this project is located is on top of a cliff in Nevada. The reason for this site

was to test the extents of the cantilevered fibrous formation in extreme climate conditions and gravitational forces.

Fig. 5.1

A.3 Composition / Generation | 15

We are in the era in which computation has become a defining role in our field and it has since grown to instigate conceptual changes in emerging designs. This form was developed through the constant fluctuation of line-work and meshing, methods that would have been difficult to achieve without technology. The implementation of a self-organizing system which takes into account the cohesion, alignment an separation of elements showcased the extent of the fluidity and expressive nature of composite fibre. With these algorithms used, the process lead to a complex network of hierarchy and relations, which was revealed through the transparency of the outer layer. Atop the cliff it seems to merge with the rock, with veins extending within the cracks.

Although generation is becoming more popular, due to the extent of unique forms we are able to create from this technique, it is still not considered an efficient method in built architecture. Attributable to the impracticality of these organic structures, it is not often we see generated buildings. However, I believe that for now, it is taken to be a form of research, in which the information we learn from experiments such as these can be applied to our design processes and push the limits of our design potential, and eventually develop into built architecture in the future.

Fig. 5.4

Fig. 5.2

Fig. 5.5

Fig. 5.6

Fig. 5.3

Fig. 6.1

ARABESQUE WALLby Michael Hansmeyer & Benjamin Dillenburger

The first impression of the Arabesque wall is its amazing intricacy. Through this precedence, it became clear that algorithmic design has the ability to transform 2 dimensional surfaces into a complexity that challenges human perception. Generation is the integration of human and technology abilities.

Despite its abstract shape, the wall’s beginning was geometrical and mathematical. With 200 million surfaces, this sculpture is detailed down to every last millimetre. The algorithm folds a surface over and over again, dividing, tiling and repeating. This level of detail would not have been possible without computer aid during the design process and conceptualisation.

Today’s technology advancement has led to radical changes in architectural design, freeing designers from the limitations of fabrication. In tandem with the recent introduction of 3D printing, the Arabesque Wall was fabricated with sand granules and silicate. With no constraints to a designer’s level of imagination and visualisation, the once impossible can now be materialized.

Unlike the Cliff house, this project proves generation to be influential, in terms of decorative ornamentation, in the design of certain elements in built architecture. And in time, there is the possibility of developing it into something more.

Fig. 6.2

Fig. 6.3

Fig. 6.4

Fig. 6.5

A.3 Composition / Generation | 19

Fig. 6.6

In this opportunity to delve deeper into computation design, an element young architects nowadays take for granted, it is clear that it has developed into a powerful tool that expanded the geometrical possibilities. And with the ability to tweak any element an infinite number of times, designing organic forms has become more efficient.

Despite its significant role in the architecture today, the link between human and technology should never be forgotten. Both correlate, and are involved in the design process. With further development of computation design in the future, using methods such as generation, the industry would benefit from the knowledge we learn in the innovations we create.

In the subsequent parts, I will be able to approach the design brief using what I learnt from the precedent projects and incorporate computation in my design process.

Through the lectures and tutorials, I’ve learnt how computation had impacted architectural theory and practice. I have also developed an understanding in it’s advantages and disadvantages when amalgamated with design processes.

After being introduced to Grasshopper and the precedent projects, I came to realize how constrained my past designs had been when I had used 3D programmes solely to model what I could visualize in my mind. Computation has truly opened doors to a universe of possibilities in design.

CONCLUSION LEARNING OUTCOMES

A.4 Conclusion | A.5 Learning Outcomes | 21

APPENDIX - ALGORITHMIC SKETCHBOOK

Week 1:

The introduction to basic Grasshopper techniques had already convinced me of the usefulness and potential of the software. Through exploring the different command options available, I realized the complexity of algorithms and how they could be used to efficiently create the form you want.

Week 2:

In this exercise, I took the liberty to investigate the abilities of the used commands. Pushing them to the extremes, I discovered that with the use of computation, I did not have to have a form in mind to be able to create this. But with the knowledge of what I’m varying with each iteration, I am still able to develop it into what I want.

Week 3:

Putting to use the various commands we had learnt, I created this with aesthetic in mind by being calculative of each variable’s value. I learnt that computation aids in the precision and the ability to experiment widely.

A.6 Appendix - Algorithmic Sketches | 22

REFERENCESFig. 1.1Arcspace [2009] Hoshakuji Station < http://www.arcspace.com/features/kengo-kuma--associates/hoshakuji-station/>Fig. 1.2, 1.3, 1.4, 1.5Architonic [2010] Hoshakuji Station < http://www.architonic.com/aisht/hoshakuji-station-kengo-kuma-associates/5100359>Fig. 1.6 The Architectural Review [2009] Hoshakuji Station <http://www.architectural-review.com/today/canopy-at-hoshakuji-station-by-kengo-kuma-and-associates-takanezawa-machi-toghigi-japan/8601294.fullarticle>

Fig. 2.1, 2.2, 2.3Luzifer Lamps, Link Modular Project <http://www.lzf-lamps.com/products/link-wall/#firstPage>Fig. 2.4Lumens, Link Suspension <http://www.lumens.com/link-suspension-by-lzf-uu141958.html>

Fig. 3.1, 3.2Y.E.O.W. [2010] Dunescape <http://yourenvironmentoftheweek.blogspot.com.au/2011/07/dunescape-shop-architects.html>Fig. 3.3Archdaily [2010] Dunescape < http://www.archdaily.com/769405/how-the-architectural-leagues-emerging-voices-award-predicted-30-years-of-architectural-development/55929279e58ece2c830001e1-how-the-architectural-leagues-emerging-voices-award-predicted-30-years-of-architectural-development-photo>Fig. 3.4Michael Robert Nelson [2010] Diagram <https://michaelrobertnelson.wordpress.com/2010/09/21/shop-architects/>

Fig. 4.1, 4.2World-Architects [2011] Elevation & Layout Plan <http://www.world-architects.com/en/projects/project-current-review/37236_winnipeg_skating_shelters>Fig. 4.3, 4.4, 4.5, 4.6, 4.7Designboom [2011] Winnipeg Skating Shelters <http://www.designboom.com/architecture/patkau-architects-winnipeg-skating-shelters/>

Fig. 5.1, 5.2, 5.3, 5.4, 5.5, 5.6Kokkugia [2012] Cliff House <http://www.kokkugia.com/filter/research/cliff-house>

Fig. 6.1, 6.4, 6.5Michael Hansmeyer [2015] Arabesque Wall <http://www.michael-hansmeyer.com/projects/arabesque_wall_info.html?screenSize=1&color=1#undefined>Fig. 6.2, 6.3Archdaily [2015] Arabesque Wall <http://www.archdaily.com/773012/3d-printed-arabesque-wall-features-200-million-individual-surfaces>Fig. 6.6Frame Magazine [2015] Arabesque Wall <http://www.frameweb.com/news/benjamin-dillenburger-x-michael-hansmeyer-s-ornate-sandstone-wall-has-200-million-surfaces>