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A I R Grace Winchester 661516 Semester 1/2015 Tutor: Alessandro

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Page 1: Winchester Grace 661516 PartA

A I R ! ! ! ! !Grace Winchester 661516

Semester 1/2015 Tutor: Alessandro

!! !! ! !

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Table of Contents

Introduction 01-02 Part A. Conceptualisation A.1 Precedents 03-06 A.2 Design Compuation 07-11 A.3 Composition/Generation 12-13 A.4 Conclusion 14-14 A.5 Learning Outcomes 15-15 A.6 Appendix – Algorithmic 16-17

Sketchbook References 18-18

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Part A 01  

Introduction    

Grace Winchester 3rd Year Architecture Major University of Melbourne I have always been very fond of structures – loving the mix of modern and old the best. I have pulled friends and family around countess open houses and snatch up issues of domain and AA. I’m inspired by old buildings and marvel in their confident design. Their stature and might is still seen as relevant in todays society echoing the power of design. They all have a story linked to them – even the small Victorian cottages.

One architect I really love from Melbourne is Fiona Winzar. Her plans embrace the old, yet her extensions are truly modern and fluid to draw the eye around the whole design. This class is one I have both dreaded and been curious about since I began my studies at Melbourne University. I have never been a natural at computer software and the experience I do have is limited to a few plans and elevation drawings from studios. Nevertheless I do enjoy challenges and am never one to give up. That being said I hope to learn a lot in a short period of time, furthering my knowledge of what you can actually achieve within Rhino and Grasshopper. I hope to explore the technology and to remain open minded about how digital design can be an invaluable tool for my future learning.

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Part A 02  

CONCEPTS%FROM%MASTER%%

NORTHERN ELEVATION 1:100

AS HOUSE DESCENDS DOWN THE SLOPE IT OPENS UP TO LANDSCAPE THE USE OF STRUCTURE AS SCULPTURE HORIZONTALITY AND THE DIFFERENT COMMANDS OF SPACE GLAZING TO ZONE & BREAK FAÇADE UP EQUALLY

REFLECTIVE & CLEAR%%%OPAQUE%%

This was one of the designs I created for Design Studio Water during the development phase. I then went on to draw the plans up in rhino and model the design in 3d but I found it lost some of its poetry in the simulation. In designing in Rhino I found it both freeing and restrictive. As once I modelled part of a design I could not go back and change it. However the parameters of the software allowed me explore and expand my capabilities.

Through my short experimentations with Rhino I taught myself some of the fundamentals. I also learnt to breath and keep exploring. I believe my biggest challenge for the class will be able to explore within the time constraints. And importantly to know why I am doing something. I hope to go beyond my novice abilities and produce a piece of work that reflects my character through computer modelling.

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03  Part A

A.1 Precedent Projects  

Saragossa Bridge Pavilion, Saragossa, Spain 2008 Patrik Schumacher & Zaha Hadid

This design is immediately captivating. Its form is original as it embraces the site and links to the innovation of computer modeling and to ways of designing[1]. At the heart of this design in how people move through the design and experience it differently[2]. This practice of creating experience is becoming common practice is how we design today. The pavilion is not formally based on aesthetics and decoration but refined patterns and limited materials to express the form more clearly. I would describe this design as fluid but not organic. Like most of Zaha’s work its is imaginative and explores and tests technology to create a seamless design. It depicts change, referring to current practice.

The forms of the design are celebrated due to their futuristic view and uniqueness. One may not like the building but there is no stepping away form the fact that it expresses a relationship with modernity. It moves away from the early modernists straight glassed cubes and chooses to have more expression and connection to the urban landscape.

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04  Part A

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Horyu-ji Temple, Nara, Japan 645-49CE Japanese Royal Family

We often think of old architecture as typically Western triumphs. Thinking firstly of the ruins of ancient Greece and Rome. However today many of the lines and open flexible living can be based on the ancient Japanese and Chinese architecture. The design of the temple is formed through the layering of walls, paying careful attention to axial layout and scale[3]. The structure is perched within the landscape creating a balance between structure, line and graceful beauty. From the words of Frank Lloyd Wright the temples are organic forms[4]. They use nature and the site through their plans. They also incorporate nature within the courtyards. The Horyu-ji Temple is minimalistic, comprised of only a few similar buildings that reference

the houses found around the site. It is repetitive and functional with rational spaces created through the controlled layout. In modern architecture their spatial planning is referenced time and time again - building a flexible space around a courtyard filled with greenery to create a peaceful and respectful retreat. Although many in architecture today are actively trying to dismiss the past from design. Yet they take inspection from Frank Lloyd Wright and Mies Van Der Rohe, people who revisited ancient design. In his own articles Wright references the Japanese temple and its form. Whilst the lines of Van Der Rohe and his cubic sectioning of buildings with its simple decoration can both be linked to ancient Japanese architecture.

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06  Part A

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A.2 Design Computation

“CAD might conspire against creative thought…” by encouraging “fake” creativity.” [5]

Bryan  Lawson  (1999).    

The evolution from drawing towards computer modeling on face value supersedes hand drafting. It is undoubtedly quicker, more accurate, less time consuming, intellectual, freeing, intelligent and. Yet, underneath this is the underlying line of how useful it can be to producing architecture that is able to be built in reality. Leading to the fact – computation is a tool that many can use to express, but being able to use this tool does not solve design problems which still must be solved by an inquisitive mind. Computation cannot be seen as a solution to design problems, rather its incorporation within the design process is what makes it a powerful tool[6]. By using it to show evidence of how a concept could work within a brief. Or through offering multiple ways of exploring a project computation gives an architect the

ability to better explore unusual and imaginative concepts through complex geometries and form. Additionally computation is not the solution to design problems with issues made through fully relying on computer generated design. In reality some designs cannot be within the constrains of modern materials but are able to be imagined using digital models. Unique opportunities are also becoming more accessible with the help of computation such as 3d printing again stretching the ability of older design and pushing for more initiative software and material in order to make what is designed using computers a physical possibility.

Part A 07  

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A.2.1 Precedent Project

JS Bach Chamber Music Hall, Manchester International Festival 2009 Zaha Hadid Architects Manchester, United Kingdom

This project was commissioned to fill a hall and encase people within the space without confining and restricting the area[7]. It was designed using computation technology flowing the design of a ribbon and embracing plasticity. It is a clear example of how it used with control computation can enhance the success of a form and explore its geometry. The design used modeling to explore “scale structure and environment”[7]. All these elements were selected for once the process of capturing a fluid form commenced that allowed a large series of possibilities to be formed. Out of the may possibilities this design that formed a floating focal point in space was selected. The design relies on tension between the fabric membranes. This gives it a sense of freedom and light.

Another element of the design is the railing that elegantly rolls over each end of the form creating the Illusion of an unraveling and moving structure that captivates due to its individuality. The final product can be described as effortless and resolved. These factors are in part due to the ability of the computations used to explore the space and the designers ability to select a form that would suite the brief. The modeling has allowed a space to be created that is tailored for its use and also a more simplistic and free form recognized through the communication of computation.

Part A 08  

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Part A 09  

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Part A

A.2.2 Precedent Project

Institute for Computational Design Research Pavilion 2012 ICD/ITKE Stuttgart, Germany

The personality of the combined equal geometries and the tensile form means that the pavilion speaks mostly of balance. It has a delicate form as the weave ties around each main frame component. What is also interesting is that the form and the model reads as one. This is largely due to the engagement with the initial design computation allowing the pavilions spatial feel to be communicated well leading to a coherent product. A task which although is achievable by older drawing conventions is more successfully conveyed through the medium of digital modeling and contemporary design exploration.

This projects was the ICD’s pavilion design for 2012. Fabricated using robotics and modeled through different layers of geometry and grid shells. The fiber glass materials along with the complex wired frame joints of the pavilion meant that without modeling the end result would not have been accomplished due to its multiple components[8].

Much like other projects the geometry was selected out of a plethora of option. It was selected to mimic nature hence its claw like appearance but more importantly had to be able to withstand the taught material used. This meant the structure was tensile allowing for a complex arrangement to be selected and also intertwined through multiple elements of the design to increase stability.

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Part A 11  

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A.3 Composition/Generation

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No matter what method is used to enable design projects the end result is a crafted space. The debate that has arisen around how best to design modern spaces using algorithmic thinking, parametric modeling and scripting highlights the complexity of these tools within the design process. Oxman and Oxman describe parametric modeling as giving control to the designer, allowing them to “write the rules”[9].

Furthermore that the growing number of architects able to intelligently use scripting software and algorithms is not only giving more control over design but more sophistication[9]. This catalyst has seen architectural design shift from composition (modeling the design) into a more generative method (modeling the design logic). The result being a higher level formulation for a design and its exploration[6]. Where specific algorithmic scripting and parametric modeling can be applied to any problem. This new ‘freedom’ however posses

challenges. As Peters notes a designer must have the acquired knowledge to firstly design the algorithms and also have the restraint and innate ability to design [10]. As the myriad of geometries and forms composed is “not the designer”[6] rather the emergence of a possible solution. Thus also altering the role of the architect too. Critically thinking these generative systems also need justification as to why they are being produced and if they are feasible. Kalay points out that these ‘rules’ need refinement and to be framed with[in]… context[11]. Despite these misgivings, parametric modeling allows design to progress much faster and with added flexibility. It allows for heightened levels of communication within members of the construction team (a reason for its initial creation) whilst also aids in expression[11]. A good piece of design, must still achieve creativity, technique and structure. One such design that achieves this is the Sendai

earthquake project[12]. Designed to withstand tremors and earthquakes, through parametric modeling plates could be designed and tested. Moving the design out of the realm of architecture and interacting its formation with other professionals. This resulted in a project not focused purely on aesthetics but on the integrity of the model and structure as a whole. Its job is to save lives made possible through computation. Additionally Melbourne Universities “The Spot” pattern was developed parametrically from a plethora of options [13]. The generation system produced patters based on the concept of leaves and additionally allowed the client to engage with the creative process. If taken into account the role of generation allows room for more engagement with the project from start to completion. Critically the misgivings surrounding the formation in my opinion have spurred on advances. Furthermore inspiring a design tool that overlaps into multiple disciplines if used wisely.

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The Mediatheque 2000 Toyo Ito Sendai, Japan

The Spot 2005 Metier 3 Melbourne, Australia

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A.4 Conclusion

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Architecture as a discourse is not simply about how a design looks within its surroundings or its aesthetic appeal. It is driven by a need to interact with creativity. To explore among other things materiality, history, composition, technique, enclosure, openness, imagination and sensuality. The application of computation to a design has the potential to enrich a design process by exploring new ideas from the commencement of the project. It can enhance the intellectual capability of a design through both simple and complex generations of multiple design possibilities. Therefore benefitting a team not only a designer. Parametric modeling is the ideal medium for allowing the exploration of the design logic. My design approach will focus on

exploring the landscape of Merri Creek through experimentation from parametric modeling done predominately through Grasshopper. The concepts of tension and weightlessness will also be exploring in the initial stages to start generation. This will control the design proposal too by creating something that firstly represents my brief and addresses the innovation discussed through the precincts included.

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A.5 Learning Outcomes

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The theory of architectural computation has helped solidify the need to have a grounded understanding of how to use software as a tool. Previously I thought of it purely as a way to style a design and was never very critical of its restrictions and infinite possibilities. My main view was the application of computational skills was a modern way to style which on reflection was slightly naïve. At the commencement of semester I knew little about the difference between generation and composition nor did I really have an opinion about using parametric modeling to spur creativity. Over the past few weeks I have learned how parametric techniques will be useful in aiding me explore complex ideas. And through the method of generation I can use the results for future refinement. I think

the main challenge for me will be understanding the methods used and justifing my decisions. As unlike conventional processes the ideas formed can be less relevant and loose their importance in the effort to try and find an aesthetic and complex parametric design. But I do believe that this is an important development in my learning. In reference to past designs I feel that they revolved around creativity and held substance that I hope will still be present in my project. Yet I feel I could have not only envisaged more ideas at the beginning of the design but also improved early communication and explanation of concepts. Something which will be quicker and easier to do using the power of computation if used intelligently and with restraint.

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A.6 Appendix

These examples not only illustrate some of the more interesting forms I’ve explored through my first few weeks using Grasshopper, but they also illustrate how my confidence with exploration has grown too. The main advantage to using the Grasshopper tool has been the quick generation of multiple forms, especially in the vase task. Although I found the task helpful, I did see the results as somewhat lacking due to their uniformity. I am starting to explore forms through different techniques, and as time has progressed the complexity of the algorithms has increased. Like in tutorials my exploration of each component has been the main task I have set myself so I can control the outcome of models. Thus I am beginning to use grasshopper as a tool to explore innovative design options.

Top frame – wire mesh created using a vector along two curves to form a pavilion within Merri Creek. Left- This was my favourite task, I found it was more creative and understood why the pattern was created. Pattern created using circles and the image of a flower on a grid. Middle – Vase formation, ‘folds’ surround a hollow well in the middle of the form to create a very abstract vase. Right – Pattern created using a mixture of circles, arcs and lines using lists to select points and then repeat certain commands.

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References

1 – Galindo, Michelle .’Collection: European architecture’. 1st edn. (Braun: Berlin) (2009). 2 -Galindo, Michelle. ‘Collection: European architecture’. 1st edn. (Braun: Berlin) (2009). 3 -  Ching, DK. Jarzombek, M. Prakash, A.. ‘A Global History of Architecture’. 2nd edn. (New Jersey :John Wiley & Sons Inc) (2011) 4 - Wright, Frank Lloyd. ‘In the Cause of Architecture’. orig. publ. 1908 (London: Phaidon) (2005) 5 – Bryan, Lawson. (1999 )‘’Fake’ and ‘Real’ Creativity using Computer Aided Design, [ABPL30048 Lecture 03 2015] 6- Dino, Gursell. ‘Creative Design Exploration by Parametric Generative Systems in Architecture’ Journal of the Faculty of Architecture vol.29, iss.1 (June 2012) 207-224 7- Zaha Hadid Architecture “BS Bach Chamber Music Hall” 2009 http://www.zaha-hadid.com/architecture/js-bach-chamber-music-hall/ 8- Institute for Computational Design ICD ‘Research Pavilion 2012’ i http://icd.uni-stuttgart.de/?p=8807 9 – Riivka Oxman & Robert Oxman. Eds (2014)“Theories of the Digital in Archiecture’  (London; New York: Routledge), pp. 1–10 10- Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 11- Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 12- Harvard Design Journal “The Mediatheque” Sendai, Japan By Toyo Ito 2000, http://www.harvarddesignmagazine.org%2Fissues%2F3%2Fwhat-goes-up-must-come-down 13 – GBCA “The Spot, The Univeristy of Melbourne” Melbourne, Australia. By Metier 3, 2005. https://www.gbca.org.au/gbc…TheSpotMelbourne_University.pdf

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