ARCHITECTURE DESIGN STUDIO 3

Progress Journal

Tim Nguyen

tutors: David Lister, Marcus Fajl

AIR

TABLE OF CONTENTS

page 4 BEIJING NATIONAL AQUATIC CENTER

page 5 NITEROI CONTEMPORARY ART MUSEUM

page 6 STUDLEY PARK BOATHOUSE

page 7 PARAMETRIC DESIGN

page 8 THE EFFECT OF DIGITAL MODELLING ON THE DESIGN PROCESS

page 10 FRANK GEHRY

page 11 SCRIPTING AND PROGRAMMING

page 12 IIDABASHI SUBWAY STATION

SON-O-HOUSENOXA house where sound lives. This structure provides an architectural environ-ment whilst being an interactive sound installation, allowing individual participation in the composition of the sounds being played within the musical structure. It appears as an arabesque array of intertwining curves generated into a three dimension-al structure. It was based on a set of rules revolving around combing and curling, resulting in this complex design which includes interlacing vaults which lean on or cut into each other. A range of sensors within the structure detect the movements of visitors, and allow continuous generation of new sound patterns based on the readings of the 23 sensors. The intent of the sound within the structure is to influence and interfere with the perception and movement of visitors, and provokes visitors to re-interpret their understanding and rela-tionship with their immediate environment. The movement of visitors from one place to another, measured by these sensors, results in data maps being created, mapping the activity across the structure. The greater the movement in one location, the faster the sounds are able to transform in that area. The sys-tem has been designed to be able to attract or repel visitors from certain points dependant on the data fed into the system. The 20 speakers within the structure can be used to facilitate two differing approaches. They can produce sound which can be heard individually from each speaker, or create 'sound fields' which comprise of 4 speakers. The sound inter-ferences can be static or dynamic dependant on the movement

A house where sound lives. This structure provides an architectural environ-ment whilst being an interactive sound installation, allowing individual participation in the composition of the sounds being played within the musical structure. It appears as an arabesque array of intertwining curves generated into a three dimension-al structure. It was based on a set of rules revolving around combing and curling, resulting in this complex design which includes interlacing vaults which lean on or cut into each other. A range of sensors within the structure detect the movements of visitors, and allow continuous generation of new sound patterns based on the readings of the 23 sensors. The intent of the sound within the structure is to influence and interfere with the perception and movement of visitors, and provokes visitors to re-interpret their understanding and rela-tionship with their immediate environment. The movement of visitors from one place to another, measured by these sensors, results in data maps being created, mapping the activity across the structure. The greater the movement in one location, the faster the sounds are able to transform in that area. The sys-tem has been designed to be able to attract or repel visitors from certain points dependant on the data fed into the system. The 20 speakers within the structure can be used to facilitate two differing approaches. They can produce sound which can be heard individually from each speaker, or create 'sound fields' which comprise of 4 speakers. The sound inter-ferences can be static or dynamic dependant on the movement

WEEK 1

STUDLEY PARK B O A T H O U S E

T I M N G U Y E N

This design for the Studley Park Boathouse was a design influenced by the works of architect Mario Botta, but not designed in his style. This design took some of Bottas favoured design concepts - that of sunlighting, of the materialism and of geometry, before implement-ing them into a new concept which was suitable for the chosen site.

The process of studying the concepts and ideas of another is a common fea-ture throughout history. Taking ideas and understanding how a previous style or design was successful can be a positive influence on design process.

Progression or improvement is often based on the analysis of the past. The past or existing are the benchmarks for which improvement must be made on. Discussing and developing ideas based on previous designs is a pathway for progression, and it certainly furthers the architectural dis-course in discovering and advancing ideas of form, function and conception.

Then again, it may not be the opinion of the professional or a direct evolution from a existing idea that determines progression. The untrained have the purest and most uninfluenced view - a completely new design might also be the key.

The National Aquatic Centre, known also as the 'Water Cube', was constructed for use at the 2008 Summer Olympic Games and afterwards as a multi-purpose leisure and elite swimming centre.

The design was based around a common natural three-dimensional pattern, that being the way in which soap bubbles form and interconnect in order to fill a space in the most efficient manner.

Despite the structure of the building appearing organic and seemingly ran-dom, the geometries which are used in the design are highly repetitive and eas-ily built. The structure of the building is based on a geometric cell which is made up of twelve pentagons and two hexagons which are three-dimensionally repeat-able. Furthermore, the structure is ideal for the seismic conditions present in Beijing.

Ethylene Tetra Fluoro Ethylene (ETFE) foil cushions are used to form the cladding. There are three layers to the foil cushions, allowing thermal and acoustic insulation. The pres-sure within each of these bubbles requires maintenance with active pressure monitor-ing. The bubbles, fitted with LED lights, are able to glow during the evening and night. The cushions are able to resist wind forces, with outside wind loads are transmitted through to the internal layer by the internal air pressure, making use of the ETFE's strength in tension.

The National Aquatic Centre, known also as the 'Water Cube', was constructed for use at the 2008 Summer Olympic Games and afterwards as a multi-purpose leisure and elite swimming centre.

The design was based around a common natural three-dimensional pattern, that being the way in which soap bubbles form and interconnect in order to fill a space in the most efficient manner.

Despite the structure of the building appearing organic and seemingly ran-dom, the geometries which are used in the design are highly repetitive and eas-ily built. The structure of the building is based on a geometric cell which is made up of twelve pentagons and two hexagons which are three-dimensionally repeat-able. Furthermore, the structure is ideal for the seismic conditions present in Beijing.

Ethylene Tetra Fluoro Ethylene (ETFE) foil cushions are used to form the cladding. There are three layers to the foil cushions, allowing thermal and acoustic insulation. The pres-sure within each of these bubbles requires maintenance with active pressure monitor-ing. The bubbles, fitted with LED lights, are able to glow during the evening and night. The cushions are able to resist wind forces, with outside wind loads are transmitted through to the internal layer by the internal air pressure, making use of the ETFE's strength in tension.

BEIJING NATIONAL AQUATICS CENTREPTW ARCHITECTS It appears random and play-ful like a natural system, yet is

mathematically very rigorous and repetitious.

- Andrew Frost, Director, PTW Architects

WEEK 2

THE CASE FOR PARAMETRICSAND COMPUTA-TIONAL DESIGN

There is no precise definition for para-metric design. It is, however, about set-ting parameters, about having rules set to create a system. It must be remem-bered that parametric design is another tool for designers, just like any other.

Parametric design can be influenced by any formula given to it, be they complex al-gorithms applied to complex shapes or sur-faces, or simple repetition. It can be used to generate form from a small base or it could be used to avoid tasks such as individually de-signing floors or rooms at the same scale by hand or by regular computational techniques.

This new design technique provides a new way to generate forms, to modify components of a structure to find pre-

cise solutions. It allows greater efficiency.

put a new case study here or something

The growth of digital modelling and com-putational software has opened new terri-tories for formal exploration in architecture.

Generative processes can develop new shapes and forms based on various ideas and con-cepts such as topological space, dynamic sys-tems, parametric design and genetic algorithms.

The new forms being created or generated by these modelling programs influence not only the design process, but also the construction pro-cess. Digital technology has allowed convergence of the representation and production processes, it has changed the nature of design and construc-tion - digital technology allows the design infor-mation to become the construction information.

Most material products in the world today are created and produced through processes (involving design, analysis, representation, fabrication and assembly) which are solely dependent on digital technologies. Cars, aircraft and naval vehicles are generally digitally conceived and produced through digital processes. The building industry, however, is yet to join this process.

Complex designs, which are commonplace with digi-tal modelling, often require the architect to become more involved with the building process - allowing greater control of the building process. Digital pro-grams need to be developed to allow the fabrication of more complex elements. The ultimate goal, ac-cording to Kolarevic, is to be able to develop a digital model encoded with all qualitative and quantitative dimensional information for design analysis, fabri-cation and construction. This model should contain all the information required to have it constructed.

The ability to digitally generate and use that infor-mation for manufacturing redefines the relation-ship between conception and production. With increase in the performance of digital technology, there is not only just an increase in methods of digi-tal fabrication, but the entire process from design to construction becomes more efficient as well.

Models can be capable of consistent, con-tinual and dynamic transformation, replac-ing the static nature of non-digital processes.

The design of highly curvilinear surfaces, a prominent feature in contemporary structures, raised the ques-tion of how they were to be designed. Certain spatial and tectonic complexities had to be overcome. Con-temporary computational techniques allow data to be formulated in order to make fabrication a reality. Whether a form can be made or not is still up to which instruments of practice can be used to take advan-tage of the ever improving digital mode of production.

The innovation of digital architecture is not just in the form-finding, or the design concept. It is also about the design and construction process, and de-veloping the computational ability to create a pro-cess which will allow complete digital fabrication.

F R A N K G E H R Y

THE GROWTH OF DIGITAL MODELLINGDESIGNING THE C O N S T R U C -TION PROCESS

In the constant digitisation of the architectural and design world, there are leaders and innovators. Frank Gehry was an innova-tor, one of those to integrate the design and construction pro-cesses together through the use of computer based modeling.

Innovation needs to come through the process, and not just from the programming. The idea of amalgamating the architect with the fabricators and holding shared responsibility is an innova-tion which has arisen from the advance of digital fabrication. In a digitally driven process of production, where design and con-struction are conjoined as one, builders and constructors can become involved at an earlier stage of the design process, while architects remain integral throughout the entire design process.

The Experience Music Project, Seattle (2000), by Frank Gehry. Designed using a paperless process, where the digital model was created, the wireframe model extracted and used bystructural engineers to develop framework, then digital model used to directly control production/assembly of components.

THE EXPERIENCE MUSIC P R O J E C T , S E A T T L E

FISH PAVILION,B A R C E L O N A

Gehrys Fish Sculpture at the entrace of Vila Olimpica in Barce-lona (1992), is one of the first examples of a digitally developed project. What was required for this design was; a program able to describe the complex geometry of the assignment, and sec-ond, a highly precise process to fabricate and assemble. This led to a process of solution finding. The answer: Computer Aided Three-dimensional Interactive Application (CATIA). This soft-ware, used for digital development and design of aeroplanes, was used to allow the three-dimensional digital design to be structur-ally analysed and be used as a source of construction information.

What this signified was a change in process, a new idea brought about from digital technologies already being used in other areas of manufacturing. One style of three-dimensional modelling has led to another, with programs such as Rhinoceros (allowing Non-Rational B-Splines) and AutoCAD providing new ways to digitally develop concepts and designs. Gehrys use of CATIA was symbolic of the rapid rate of development in computation design techniques.

BRIEF ARGUMENT FOR HOW TO EMPLOY INNOVATIVE APPROACH TO GATEWAY(POSSIBLY A NEW PRECEDENT WHICH FOLLOWS OUR CONCEPT)

WEEK 3

THE ATTRACTIONTO SCRIPTING

AND

PARAMETRICD E S I G NScripting is becoming increasingly attractive to design-ers, and is becoming more practical as well. Howev-er, the general approach to scripting in producing ef-fects of complexity is becoming slightly redundant with the growth of knowledge in the scripting community.

Scripting can be described as being about computer pro-gramming at various different levels. Its base attraction is its efficiency - compared with traditional means, a larger amount of outcomes can be made for the same duration of time.

While scripting likely arose from the idea of efficiency, its at-traction is also in that it constantly provides numerous new outcomes to explore in the world of designing. New principles can be explored and potentially implemented into design, generative processes can be explored, and ideas can be developed beyond the comprehension of the human brain.

Scripting allows the ability to work with large data sets, and work beyond human perceptual ability. Scripting al-lows forms to be generated in multiple directions, al-lows both simplification and complexification, as well as allowing easier access to eventual fabrication.Scripting can be generated from concepts such as nature, or could be about finding new and unique forms. 'New scripts can be created to service new design ideas and forms. In this age where digital technology is constantly de-veloping, more individuals are able to generate their own scripts, from the simple to the advanced. However. with the growing community of scripters and scripts, it is ex-tremely rare that a completely new script is ever created.

The Iidabashi Subway Station truly is an expression of this statement. Its design begins with a tube extending out below the surface of the earth, intricately winding, self generating with the use of technology. Using this computer generated code to create the design, it is the first implementation of Program Generated Architecture in the physical world.

Development in architecture has seen an in-crease in computation, and for good reason. The scripting style of Watanabe in creating the Sub-way is just one way of expression using scripting.

The Induction Cities program is set to only generate good plans (not an endless number of random forms to pick from). Values are set in advance to someone restrict the generations. The plans proposed are plans which are set to meet the criteria set, or be as close as possible to them.This design uses computers as a design tool not just to re-place the hand, but to enhance the mind. Computers can be used as a tool for thinking - this design sees it as an exten-sion of the human brain. Furthermore, it can be seen as an

evolving design, just like a regular city or a living creature.

This design philosophy is unique, in that it uses genetic algo-rithm, yet still demands it to be tied to the human restrictions. It is a generative form still tied to human understanding. Ar-chitecture is more than just about finding form. It is about understanding the process and understanding the require-ments needed for a specific site. The design process that Watanabe uses addresses all these concerns, and presents a new understanding of scripting, and that it can be used as a tool to further the methods of design people can reach.Compared to other self generative processes, it is unique in that it allows greater control for the human mind. The form may be generated by computer, but the computer is being used as a tool to create a design to desired restrictions.

Scripting, while it can comprise of several levels of com-puterisation, should be controlled by the design con-cepts of the person using the technology. The Iida-bashi Subway Station had conditions which needed to be solved, and scripting used to solve those conditions.

IIDABASHI SUBWAY STATIONMAKOTO SEI WATANABE

A seed, given water and light, extends its roots, grows leaves and comes into flower. It spreads its roots in search of soft soil and places its leaves so they recieve as much sunlight as possible.

- Watanabe

W R I T E

WEEK 3

Arbitrary Points Boolean Patterning Curve Intersec-tions

Attractor Points

Curve At-tractor

Image Sam-pler

Maths Func-tions

Multiple Maths Func-

tions

Streaming Text Files

Using Sets

AS

SO

CIA

TIO

NS

I N P U T S

Overlapping Pat-terns

Surface Grids Using Surface Nor-mals

Explicit GridsArbitrary Points Boolean Patterning Curve Intersec-tions

Attractor Points

Curve At-tractor

Image Sam-pler

Maths Func-tions

Multiple Maths Func-

tions

Streaming Text Files

Using Sets

AS

SO

CIA

TIO

NS

I N P U T S

Overlapping Pat-terns

Surface Grids Using Surface Nor-mals

Explicit Grids

AS

SO

CIA

TIO

NS

I N P U T S

WEEK 5

The matrix was an opportunity to explore new definitions in a structured manner. However, in terms of our concept, that of designing an experience, it did not immediately produce any definitions that would certainly enhance that concept. As a result, exploration was performed across a range of various definitions in order to obtain a series of different ideas which we could then upon further review implement into any potential design.

D I O R B U I L D I N GOFFICE OF KUMIKO KUI

A I R -S P A C E T O K Y OF A U L D E R S S T U D I O

BANQ RESTAURANT O F F I C E d A

http://sanpicopirates.wordpress.com/2011/10/16/ghouls-just-want-to-have-fun/http://www.digitalfutures.info/1/lecture-fabrication-2%20/http://designplaygrounds.blogspot.com.au/http://www.fulcrum-design.com/challenge.htmlhttp://virtualmathmuseum.org/Surface/klein_bottle/klein_bottle.htmlhttp://en.wikipedia.org/wiki/File:Moebius_strip.svghttp://leandrosworld.blogspot.com.au/2008/06/un-studio-case-study.htmlhttp://www.euroartmagazine.com/new/?page=1&content=267http://rethinkarchitecture.blogspot.com.au/http://www.makoto-architect.com/subway/subway_2e.htmlhttp://neoarchbeta.wordpress.com/tag/makoto-sei-watanabe/http://ipm.comxa.com/alkva/pic/ul/737-300cw.jpghttp://severnpartnership.blogspot.com.au/2011/08/shipping-fore-cast.html

References