Rchitecture Design Studio: Air

Design Journal Monique Patsalis |537801| ABPL30048_2012_SM1 | Bachelor

of Environments,| University Of Melbourne

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Understanding architecture discourse we often ask, What is architecture? Our architectural designs are what we experience in our daily life. Design forms our way of living by the way one navigates through a certain space. It is a philosophical social and professional realm that everyone can engage in on a social as well as a global scale. Architecture can be defined as an art because of its aesthetic appeal, it is important to engage with the viewer and the inhabitant. The key is to design something that gives a positive outlook on all viewers with out without a background design knowledge, as we expect them to be " unique expressions of a single creative mind” The design of a building should be an expression of the time it was built, and c communicate with the location it is based in because architecture should be considered as an experience. Understanding the architectural discourse between different architects, although they may be completely different, there is a similar working method that can be established through influence of different disciplines.

||Week 1: Architecture as a Discourse ||

A designer that explores the complexity across architectural disciplines and is potential to discover humanness, body,

psyche and spirit is Gregory Burgess. He believes architecture is a creative science or mathematical art that can be

looked at from an environmental and healing perspective. His approach is rather unique as he lays out spaces by pre

modern cosmic geometries from the Christian Buddhist and indigenous thought system which is evident in the Uluru

cultural Centre. Burgess also has been the forefront of the community architecture, a practice of involving local

communities as he lets new possibilities for a social life and social identity. He is an architect that puts himself INTO

the site and draws/ designs for the community that defines the place they are in and the materialization. Although his

target of cultural difference with surveillance and border control is not new, he considers the surveillance and border

control of the first people in Australia. the imposition of another layer of new technology imported in the mindset of

the thematic universe and of modernism progress and land ownership is short cultural colonialism. He tries to put the

past into the present with his designs with an autopoiesis way of communication which can be seen as Architecture’s

Place within Society.

Quote: "Architecture that can bring the senses to life or awaken our senses, awaken our souls, if you like, is very important."

Architect: Greg Burgess Project: Uluru Aboriginal Cultural Centre Location: Uluru-Kata Tjuta National Park, Northern Territory Uluru Aboriginal Cultural Centre is one of his organic works using natural forms and materials, as well as natural light. His work of the Centre is not a slick and predictable design, but a building of rough edges, bumps and distortions and natural forms..

||Week 1: Architecture as a Discourse ||

Approach to Design.. fines the meaning of aboriginal architecture within the building with his design process being a goal he wanted to achieve. His approach to the design to the design is that he wanted indigenous people to be allowed to define who they are as a collective identity and how they wish to be portrayed through architecture and the environmental statements to the wider society and the outside the world. It was Gregory’s role as an architect to take these representations of identity to be express in its architectural form. He wanted this project to be of regional significance and national significance. The use of symbols are used to communicate to some level across groups. This monumental building was completely out of context with a vernacular matrix, so they provided historical and cultural context as an integral part of the whole while not distracting from the statement of the design brief. This building was known to be one of the best architectural practise to date because of its indigenous practise in arch design in project control. it represented the indigenous stakeholders. It is a place that gives experience and an emotional response to indigenous people and non-indigenous people in a respectful and spiritual way in terms of the place and design itself. with its maximum natural lighting and simulated natural environments. Why is it good? There is a set route through the centre to provide a variety of experiences. By entering through the Tjukurpa Tunnel visitors learn about the traditional and ancient culture of the area. Joint management and othertopics of interest within the national park are presented in the Nintiringkupai Room (information desk). The aspirations of Anangu are presented in owned and operated businesses including Maruku Arts, Anangu Tours, Walkatjara Art and Ininti Cafe and Souvenirs.Beneficial in understanding the Werribee design brief because of its method of design and its way of approach towards the brief they had to follow is rather similar. Understanding the challenges of designing something cultural in Australia were identified and explored with those with knowledge and understanding of the culture itself and its limits to what can be conveyed throughout the design and what they wanted to achieve. Gregory Burjess understood that the plan recommended that a cultural centre be established for the following purposes: presentation of interpretive material relating to traditional culture, traditional song and dance display and sale of contemporary Aboriginal art and crafts display of historical contact t and park history, and the conduct of other appropriate Anangu controlle d cultural and commercial activities.

||Week 1: Architecture as a Discourse ||

Frank Lloyd right is an organic architect who uses free special flow

as a method of planning. The way he composites a building such as the pi n wheel plan is a great example of how he designs as an architect. The Centre as the main “family” space, and everything else that is less important away from the centre, shows how he has meaning for every decision he makes. The rotation and movement with the way one navigates around the house with overlapping systems of geometry, makes one constantly move around the home. Each aspect of the house has a special meaning; his works act as a cell, so that all elements come together as a living organism. Like Gregory burgess, some of his inspiration is from a culture, a culture that is used in some of his works, for example the Japanese Imperial Hotel, Meiji Mura, near Nagoya. As you can see he’s a very horizontal designer and like burgess, he makes the landscape match with his building, he understands the surroundings and works well with it. Additionally, sometimes Frank Lloyd right uses materials from his surroundings in order to design such as stone and concrete which is also similar to Gregory. When observing and experiencing his domestic and institutional buildings, they are completely different. The institutional buildings are completely decentralized when comparing it to his pin wheel plan of a house; however he still makes it exciting for one to visit his works with a rather free navigation when wondering around. Furthermore Frank Lloyd right likes to use light as an important cultural tool in which I believe can connect with spirituality in a sense. He loves to make the interior of a structure to have a “wow factor” with the use of rich textures and other materials, making it completely different to the geometrical and plain outside. An architect such as Frank Lloyd Right, who seems to be a completely different architect compared to Gregory Burgess, still has some sort of similar architectural influences when it comes to designing in a way that they are both a way that they are both organic! They both have a spiritual religious cultural connection with the surroundings as well as their designs. Their work looks like it’s part of the landscape itself and matches with its surroundings in which I am truly inspired of.

Pinwheel plan

Architect: Frank

Lloyd Right

Project: Japanese

Imperial Hotel, Meiji

Mura, near Nagoya.

EOI: with observing the language of architecture and its disciplines, i believe that the autopoieses is a strong component when designing. Incorporating the landscape with the structure itself is what makes a building more meaningful and easier to communicate with its surroundings and the viewer. Researching the history of a particular area, understanding the culture and making a design in which one can experience and learn something from is a design that can be treasured and loved by those who experience the structure itself. With local materials used and with respecting the aboriginal cultures shows how great the architect went through a lot of depth and struggle to get this building right. I believe that this is a great example when designing for the weribee council because understanding what you are designing, who you are designing for, and how it is made and why, plays a dramatic role to the positive outcome of the design itself in the future.

A design focusing on culture and historic backrounds.. With comparing the methods other architects have used in order to design, one of my hand drawn first year designs are similar in a way that I have made my design shelter as part of the landscape itself as well as try and convey a meaning with the design, into the history of the location. With a chosen place of ‘Petra tou Romiou’ which is Aphrodite’s rock, the birth place of a goddess in Cyprus, i wanted to try and excavate the rock itself and build inside it. The floor plan was inspired by a shell in which the goddess came out of as part of the Greek mythology in historic times I wanted to design something that has meaning. Additionally one of the requirements of the projects was to understand the weather of the area itself, the amount of rainfall, friendly materials, and to make it environmentally friendly with no electricity whatsoever. I used a green roof, drainage system, and also solar windows. The photos below indicate the design progress. ( will get clearer photos)

||Week 2: Computational Design ||

What is computational design? Computational design is known to be the discipline of applying computational approaches to design problems, whether related to presentation, analysis or aesthetic expressions.^1 as we develop in technology, the relationship between computers and architects has intensified dramatically. The use of programming in modern day has changed the way in which we design things such as structures and even products for the marketing industry. It helps one try and make imagination into reality. However, with computational design, come limits to what can be done simply programmes such as AutoCad, ArchiCad, Rhino, Grasshopper and other programmes. It is easier to make accurate designs however it is limited in a sense that a programme can only do so much, which then makes our whole goal on the design approach change.

Computation programmes such as rhino can be beneficial in parametric designs in terms of monitoring the whole process ( image on the left instructed by Ezio Blasetti on-optiman Structural Optimization (noS0) ) and experimenting with It as a discourse. Using limits in order to move forward may be a solution to managing our whole outlook on the project in a different way. It can be known that Understanding programming and it is useful in handling information beyond our perceptual capabilities.

A unique innovation.... Ezio Blasetti is a registered architect that holds a masters of science in advanced architectural design. He

recently presented at RMIT University with a number of other architects demonstrating some projects from computational design. The exploration of computation within highly speculative approaches to architectural craft that creates consistency and precision within formal explorations. There is a conscious redefining of material constrains through pattern and code, which incubates a search for progressive manufacturing method. ^3

“Parametricism offers a new approach to architecture on the

basis of advanced computational design tools and

techniques…” and as a style is “marked by its aims, ambitions,

methodological principles, and evaluative criteria, as well as by

its characteristic formal repertoire.”^ 2

||Week 2: Computational Design ||

This design of on-optiman Structural Optimization (noS0) The design development shoes the palette of spatial conditions, formal languages and surface articulations

Reference: http://code.algorithmicdesign.net/filter/grasshopper/noSO 1- http://www.generatorx.no/category/computational-design/ 2- http://www.architecture-tech.com/2010/06/parametricist-manifesto.html

3- http://portfolio.ezioblasetti.net/#

Links: http://ezioblasetti.tumblr.com/post/15606450054

||Week 3: scripting/Programming cultures|| Scripting is part of a culture and can be seen as offering a different view and approach to creativity for architects. it opens a lot of doors for architecture as it can create a new opportunity for new scales and the taking up of new space. The understanding of maths gives a computational designer with conceptual and philosophic edge and better creative assistance a symbolic language to form abstractions of spatial and numerical relations in geometry. In other words, experimenting with scripting can extend design experimentation and may even be the key to lower production costs and a more sophisticated innovation to design. " the designer who wants to be completely in control of the results must be in control of the process" A great example of scripting and the use of mathematical equations to produce pointclouds, curves and surfaces. A basic construction of NURBS that explain parameters on curves and surfaces. We'll be using a series of scripting concepts from "introduction to scripting. as well as multiple rhino methods which was explained by enzio blasetti himself. The example below is .

||Week 3: Performance Based|| Scripting..

“The procedure behind this work involves writing an algorithm that allows point agents to interact with a mesh surface. A mesh is then created as a response to the dimensions and the temporal conditions of the site, The Bartlett's own Wates House. Particular agents are then selected fromthe mesh object, and then the script is engaged, allowing the agents and their pathways to become self-referential. The agents have an assigned attraction to the mesh object but they also have a flocking behavior of between themselves. Amongst themselves, they align, cohere and separate. Finally, the agents have a radious of their own, which effects all of these parameters independently. “

‘

Link to Video : http://code.algorithmicdesign.net/AgentSense

||Week 3: Performance Based||

GHATKOPAR INDIA _ SCHOOL FAÇADE Biothing for Sanjay Puri Architects

glass fibre-concrete panels designers: Alisa Andrasek ++ Jose facade design principal Sanchez

Design team: Bryan Oknyansky structure/fabrication/material consultants: Lawrence Friesen + Rieder Fibre C

This building may also be considered a performance based design because the skin of a building responds to the weather conditions as well as programmatic distribution in a building tailoring panels is generated using multi agent system which develops non linear patterns. The visual effect shows rapid phase changes in the pattern. The aperture are nested in the panel that allows different scales of openings to occur simultaneously on the facade in order to create mixed patterns responsive to different shading conditions. Apertures can be larger in areas where shading is needed relative to the analysis of the sun exposure or wind impact for cooling chimney effects.

EOI…

Extremely interesting to work with such ideas, a design that works with the weather conditions along the weribee highway would be eye-catching and also can be made in a green way. Just the idea

Reference List. http://www.biothing.org/?attachment_id=344

http://www.biothing.org/?cat=13

http://www.biothing.org/?cat=20

Great example and understanding of scripting and the mathematics used within it. http://code.algorithmicdesign.net/Parametrization-Equations