taylor thomas 538575 journal

introduction

a1: conceptualisation

a2: design computation

a3: composition/generation

a4: conclusion

a5: learning outcomes

4 CONCEPTUALISATION CONCEPTUALISATION 5

IM THOMAS, IM A THIRD YEAR ENVIRONMENTS STUDENT, MAJORING IN ARCHITECTURE.

I GREW UP ON THE GOLD COAST AND HAVE BEEN IN

MELBOURNE NOW FOR 5 YEARS.

MY INTEREST IN ARCHITECTURE FOCUSES ON SUSTAINABILITY THROUGH NEW TECHNOLOGIES AND MATERIALS, I AM VERY

INTERESTED IN HOW TECHNOLOGY IS EXPONENTIALLY EXPANDING

AND OBSERVING ITS EFFECT ON THE WORLD IN WHICH WE LIVE.

THROUGHOUT MY STUDIES I AM BECOMING INCREASINGLY

AWARE THAT THIS DEGREE IS NOTHING LIKE I COULD HAVE

ANTICIPATED. MY FORMER NOTIONS OF A PEN AND PAPER

APPROACH HAS BEEN BLOWN OUT OF THE WATER WITH ADDITION OF GRASSHOPPER. I DO, HOWEVER,

WELCOME THE NEW TECHNIQUE OF COMPUTATIONAL DESIGN AND AM

EXCITED TO SEE WHAT I CAN DO WITH IT AS A DESIGN PROCESS.

A1CONCEPUTUALISATION


OverviewTHE FUTURE OF DESIGN, IN OUR CURRENT ENVIRONMENTAL SITUATION, MUST EMBODY PASSIVE IDEALS TO FIT THE UTOPIC NOTION OF A SMART, CONSCIOUS FUTURE SOCIETY. PUBLIC PERCEPTION OF GRANDEUR AT THE EXPENSE OF RESOURCES HAS SHIFTED, AND A ‘GREEN’ AMBITION HAS TAKEN ITS PLACE. IT IS COMMON KNOWLEDGE OF OUR PLANETS GROWING DEMISE, AND SO, NEW TECHNOLOGIES AND PASSIVE DESIGNS ARE NOW THE MOST HIGHLY ESTEEMED DESIGNS.

TOM TURNER STATES, “SINGLE-PURPOSIM, AS WE HAVE SEEN, TENDS TO CREATE PROJECTS THAT HARM THE ENVIRONMENT. INSTEAD WE SHOULD DESIGN PROJECTS WITH AS FAVORABLE AN ENVIRONMENTAL IMPACT AS POSSIBLE” (LANDSCAPE PLANNING AND ENVIRONMENTAL DESIGN, 2014).

HOUSe iN MUKO FUJiwArAMUrO ArCHiTeCTSJAPANESE ARCHITECTS FUJIWARAMURO’S HOUSE IN KYOTO, JAPAN EMBODIES MANY PASSIVE DESIGN PRINCIPLES THAT SUPPORTS THESE NOTIONS. WITH CONSIDERATION OF ITS SURROUNDING CONTEXT, THE HOUSE UTILISES PASSIVE HEATING AND LIGHTING WITH ITS STRIKING SOUTHERN FAçADE OF LOUVERED PANELS. ALTHOUGH NOT A UNIQUE APPROACH, THIS DESIGN DOES DISPLAY THE PASSIVE TREND IN MODERN ARCHITECTURE, AND CONTRIBUTE TO A NEW PATTERN OF LIVING AND RELATIONSHIP TO THE BUILDING ITSELF. FIGURE: MICHAEL HANSMEYER COLUMN MODEL

FIGURE: LIGHTSCAPE

LigHTSCApe - LAgi eNTry 2012LIGHT SCAPE IS AN UNBUILT ENTRY BY BRISBANE ARTISTS BENJAMIN EMERTON, GEORGIE PRATTEN, MATTHEW FREDRICKSON. THE DESIGN IS SYMPATHETIC TO THE NATURAL FORM, USING GLASS LIKE BLADES OF PIEzOELECTRIC GENERATORS. ITS ENERGY CONDUCTION IS THUS CONSIDERED KINETIC, HOWEVER HARMONIzES WITH THE WIND AS WELL AS HUMAN ENERGY. I THINK THIS ENTRY IS AWE-FULL. TO BORROW A LINE FROM KEVIN MCCLOUD, AWESOME IS LOUD, BUT AWE IS QUITE. IT PROVIDES ATTRACTION IN ITS ORGANIC SPLENDOR AND IS PERSONIFIED IN ITS HUMANISTIC NEEDS; ITS CAN BE SEEN AS A BREATHING MACHINE IN THE WIND THAT ALSO THIRSTS FOR HUMAN INTERACTION FOR ITS ENERGY PRODUCTION. I BELIEVE THIS DESIGN IS A BEAUTIFUL SHIFT FROM OUR PRIMITIVE, SOLELY ENERGY PRODUCING TECHNOLOGY TOWARDS A MORE SENTIMENTAL NOTION THAT MACHINES ARE AS NATURAL AS US, AS THEY ARE A PRODUCT OF US, AND THE IDEA TO BREATHE LIFE INTO THEM. I THINK IS NOT ONLY A ELEGANT RESPONSE TO THE BRIEF BUT ALSO INDIRECTLY HIGHLIGHTS OUR CHANGING PERCEPTIONS OF HOW WE PERCEIVE MACHINES.

eDiTT TOwer SiNgApOre T.r. HAMzAH & yeANg ArCHiTeCTS (rigHT)

DUE FOR CONSTRUCTION IN SINGAPORE, THE EDITT TOWER IS AN ACCLAIMED DESIGN THAT BOASTS PHOTOVOLTAIC PANELS, NATURAL VENTILATION AND A BIOGAS GENERATION PLANT, ALL CONTAINED WITHIN A LIVING FAçADE OF NATIVE FLORA.

THIS DESIGN SETS OUT TO DEMONSTRATE THE ECOLOGICAL APPROACH TO TOWER DESIGN. ITS RESPONSE TO THE SITE IS SYMPATHETIC, AS ITS “zERO CULTURE” SITE IS ESSENTIALLY A DEVASTATED ECOSYSTEM. THE APPROACH IS TO RE-HABILITATE THIS WITH ORGANIC MASS TO ALLOW FOR ECOLOGICAL SUCCESSION AND TO BALANCE THE SURROUNDING IMPERVIOUS SURFACES; THIS FAçADE ADDITIONALLY PASSIVELY ACTS AS AN INSULATOR. IT IS A KEY EXAMPLE OF DESIGN FUTURING, AS THE NOTION OF A LIVING BREATHING BUILDING IS NOT ONLY SUSTAINABLE, BUT DYNAMIC AND SELF GENERATIVE, WITH PASSIVE QUALITIES SUCH AS EXPANDING AND CONTRACTING VEGETATIVE SHADE WITH THE SEASONS. THIS IDEA OF ORGANIC BUILDINGS THAT GROWS AND REACTS TO ITS ENVIRONMENT EPITOMISES A FUTURISTIC AND CONSCIOUS BUILDING.

A2DESIGN COMPUTATION


OverviewCOMPUTATIONAL DESIGN IS A PROCESS THAT ILLUSTRATES THE BENEFITS OF THE CONVERGENCE OF ALGORITHMIC DESIGN AND HUMAN INTELLECT. IT ULTIMATELY IMPROVES THE DESIGN PROCESS AS IT REDUCES THE NEGATIVE LIMITATIONS THAT WOULD HAVE ONCE EXISTED IN AN ‘ANALOG’ ENVIRONMENT, PUSHING THE DESIGN PROCESS INTO REALMS OF UNKNOWNS TO EXPLORE THE LIMITS OF ITS COMPUTATIONAL POTENTIAL.FURTHERMORE, 3D PRINTED MODELS AFFORDABLY AND QUICKLY DISPLAY THESE RESULTS FOR TANGIBLE FEEDBACK DURING THE DESIGN PROCESS.

COMPUTATIONAL DESIGN ALLOWS THE RANGE OF CONCEIVABLE GEOMETRIES TO INFINITELY EXPAND. THIS, IN CONJUNCTION WITH EXPONENTIAL INCREASES IN PRODUCTION TECHNOLOGIES, ALLOWS FOR COMPLEX ALGORITHMS TO BE REALISED. THIS NOTION IS EVIDENT IN THE WORK OF MICHAEL HANSMEYER.

DigiTAL grOTeSqUe MiCHAeL HANSMeyerHANSMEYER’S DESCRIBES HIS DIGITAL GROTESQUE PROJECT AS ONE THAT “STRIKES A DELICATE BALANCE BETWEEN THE EXPECTED AND UNEXPECTED, BETWEEN CONTROL AND RELINQUISHMENT. THE ALGORITHMS ARE DETERMINISTIC AS THEY DO NOT INCORPORATE RANDOMNESS, THE RESULTS ARE NOT NECESSARILY ENTIRELY FORESEEABLE.” ADDITIONALLY THE COMPLEXITY OF HIS PIECES ALLOWS THE USER TO CREATE THEIR OWN INTERPRETIVE MASTERPIECE WITHIN THE ARTWORK; THIS RESULTS IN A RANGE OF PERSONAL RESPONSES FOR EACH VIEWER WITHIN THE SAME PIECE. AN ADDITIONAL RESULT OF THIS APPROACH WAS AN EQUALLY STRIKING INTERNALSTRUCTURE.

WITH THE PRODUCTION OF COMPUTATIONAL DESIGNS LIKE DIGITAL GROTESQUE, THE RANGE OF CONCEIVABLE GEOMETRIES IS INFINITELY INCREASED, WHICH ULTIMATELY PUSHES DESIGN EVOLUTION FORWARD; THIS PROGRESSION INEVITABLY INFILTRATES ALL ASPECTS OF DESIGN AND HAS LED TO AN ENHANCED ACHIEVABILITY OF CONSTRUCTION.

MUSeO SOUMAyA FerNANDO rOMerOFERNANDO AND AMANDO ROMERO’S MUSEO SOUMAYA BUILDING IN MEXICO CITY REQUIRED COMPLEX COMPUTATION TECHNIQUES TO PRODUCE ITS ELEGANT FAçADE. THIS INTEGRATED AND HIGHLY COLLABORATIVE APPROACH TO DESIGN COMPRISES OF 16,000 HEXAGONAL, ALUMINIUM TILES. EACH TILE IS OF EQUAL SIzE TO THE NEXT AND ENVELOPES THE ENTIRE ORGANIC FORM, WITH EQUAL GAPS IN BETWEEN. THIS KID OF ACCURACY IS HEAVILY RELIANT ON COMPUTATIONAL TOOLS, AS ITS CONCEPTUALISATION WOULD BE EXTEMELY DIFFICULT WITHOUT. IN COMPARISON TO MICHAEL HANSMEYER’S WORK, THIS WORK DISPLAYS A PRAGMATIC DESIGN APPROACH THAT USES COMPUTATIONAL DESIGN TO ULTIMATELY CREATE A BUILDABLE STRUCTURE, OPPOSE TO AN ARTISTIC APPROACH.

FIGURE: MICHAEL HANSMEYER COLUMN MODEL

FIGURE: MUSEO SOUMAYA BUILDING



A3COMPOSITION/GENERATION

Overview

“COMPUTATION ALLOWS DESIGNERS TO EXTEND THEIR ABILITY TO DEAL WITH HIGHLY COMPLEX SITUATIONS” - BRADY PETERS. WITH TECHNOLOGY, GENERATIVE DESIGN HAS INCREASED RAPIDLY TO WHAT WE NOW USE TODAY. ADVANCED 3D PARAMETRIC DESIGN SOFTWARE SUCH AS GRASSHOPPER NOW ALLOWS ARCHITECTS THE ABILITY TO VISUALIzE QUICKLY AND WORK WITH THEIR FORMS IN REAL TIME. ITS UNIQUE PLUGIN APPROACH CREATES A NEW VISUAL LANGUAGE WITHOUT THE NEED FOR ADVANCED CODING SKILLS.

SMiTHSONiAN iNSiTUTiON FOSTer AND pArTNerSA KEY EXAMPLE OF THIS APPROACH IS FOSTER AND PARTNERS’ SMITHSONIAN INSITUTION. ITS JUXTAPOSITION OF A HERITAGE BUILDING AGAINST THE PARAMETRIC MODELING OF THE OPEN ATRIUM CREATES A UNIQUE AESTHETIC THAT HAS BEEN DESCRIBED AS ‘THE NOBLEST OF WASHINGTON’S BUILDINGS’. WITH AN ENTIRE TEAM ALLOCATED TO GENERATIVE DESIGN, ITS PARAMEDIC MODELING AND ALGORITHMIC STRUCTURE IS REFINED AND SOPHISTICATED. ITS ADVANCED METHOD OF DESIGN IS EVIDENT IN ITS MINIMAL LOAD BEARING COLUMNS; WITH ONLY 8 COLUMNS IN TOTAL, THE ATRIUM IS A FREE CANOPY, WHICH IS A TESTAMENT TO THIS NEW DESIGN PROCESS, ALLOWING FOR CONSIDERATION OF LOADS AND ELIMINATION OF THOSE UNNECESSARY .

NiNe BriDgeS gOLD CLUB SHigerU BAN’S HeASLey

THIS WORK COMPRISES OF 21 SLENDER TIMBER COLUMNS SUPPORTING 32 ROOF ELEMENTS, TO CREATE A SPECTACULAR ATRIUM SPACE WITHIN THE BUILDING, WHICH FUNNELS LIGHT DOWN THE SUPPORTING COLUMNS. THIS DESIGN IS A TESTAMENT TO THE ADVANCEMENT OF MATERIALITY IN DESIGN, WITH THE USE OF AGE-OLD WOOD TO CREATE AN ORGANIC AND ULTRAMODERN STRUCTURE. IT DRAWS MANY PARALLELS TO FOSTER AND PARTNER’S SMITHSONIAN INSTITUTE, AS PARAMETRIC MODELING IS OVERTLY EVIDENT IN ITS FORM.

FIGURE: SMITHSONIAN INSITUTION (EFFICENT USE OF MATERIALS)

FIGURE: NINE BRIDGES GOLF CLUB

CONCEPTUALISATION 17


A4CONCLUSION

A5LEARNINGOUTCOMES

CONCLUSiON

MY DESIGN WILL BE FOCUSED ON THE SECTION OF LAND AROUND ABBOTSFORD CONVENT. IT WILL BE A GENTLE INTERACTIVE WORK, DRAWING INSPIRATION FROM THE FEEL OF ‘LIGHTSCAPE,’ USING THE FLOW OF THE SURROUNDING RIVER GENERATE ENERGY ALLOWING FILTERING AND MISTING OF WATER OF THE FACADE. IT WILL ALSO LOOK TO HIGHLIGHT THE ADVANCEMENT OF FILTRATION SYSTEMS WHILE CHANGING CURRENT NEGATIVE PUBLIC PERCEPTION TO OUR WATER SOURCE, THE YARRA.

LeArNiNg OUTCOMeS

COMPUTATIONAL DESIGN IS A NEW FOREFRONT IN ARCHITECTURAL DESIGN. IT ALLOWS FOR AN EXPONENTIAL BREADTH OF NEW POSSIBILITIES AND FORMS, BOTH RADICAL IN DESIGN AND CONSERVATIVE IN USE OF MATERIALITY. THE USE OF THIS NEW MEDIAN FREES DESIGN FROM ITS OLD CONSTRAINTS AND PAVES THE WAY FOR FUTURE TECHNOLOGIES SUCH AS BIOMIMICRY TO ENTER THE CONSTRUCTION INDUSTRY.

FIGURE: MERRI CREEK, ABBOTSFORD


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