rommel julia 735077 partb

studiodesign

air

Julia Rommel

2015

“Designers are not driven by their knowledge but by their curiosity.”

Gregory Missingham

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DESIGN STUDIO AIR

Contents

INTRODUCTUON 4

PART A CONCEPTUALISATION

A.1. Design Futuring 5 - 8 A.2. Design Computation 9 - 12 A.3. Composition/Generation 13 - 16 A.4. Conclusion 17 A.5. Learning outcomes 18 A.6. Algorithmic sketchbook 19 - 20

PART B CRITERIA DESIGN

B.1. Research Field 23 - 24 B.2. Case Study 1.0 B.3. Case Study 2.0 25 - 26 B.4. Technique - Development B.5. Technique - Prototypes 27 - 28 B.6. Technique - Proposal 29 - 37 B.7. Learning Objectives and Outcomes 38

REFERENCES 39

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DESIGN STUDIO AIR

DESIGN STUDIO AIR INTRODUCTION

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I’m Julia, a 21years old exchange student from Germany, and finished five semester of Architecture at the University of Stuttgart. This semester, I’m in my second one at the University of Melbourne, and I’m curious to see how architecture is taught in Australia and learn new knowledge and experienc-es. At my home university I’ve already learned 3D programs like Rhino since semester one, but I never got the chance to use ‘Grashopper’ or any other parametric de-sign tools. So, with the ‘Design Studio AIr’, I finally saw my opportunity to work with digital design and to gain this new skill which is nowadays inevitable in the wide world of architecture. With this digital design skill, I hope to enter a new area of realizing architecture.

DESIGN STUDIO AIR INTRODUCTION

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DESIGN STUDIO AIR A1: DESIGN FUTURING

ABOUTINTELLIGENT ARCHITECTURE.

When I am thinking about ‘Design futuring’, I think about something really intelligent, regarding energy efficiency and sustainability. And when I first saw this building, I was wondering why the shape looks like it is. But actually, there is a well thought-out idea behind that extraordinary form. So, basically, with my wide spread knowledge of the past, one could refer to the famous phrase ‘form follows function’ (Le Corbusier).

The Bionic Tower in Abu Dhabi, designed by LAVA, is the creation of a “fully integrated intelligent façade that responds to its surrounding environment to create maximum energy efficiency and user comfort. The tower proposes a naturally occurring system of structural organisation that gen-erates a building embodying efficiencies found within natural structures and architectures.Just as nature organically regenerates, so the building proposes a natural system of organic re-structuring and reorganisation.

Bionic Tower, LAVA, Abu Dhabi, Feasibility Stage 2007

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“Architecture has to perform as an ecosystem within the organic tissue of the city.”

There is a unity in the structure, space and architectural expression, similar to cathedrals, and any natural system.”Regarding future buildings, I would imagine that architects will ‘copy’ and reconstruct the nature even more.Nature is intelligent, adaptable to the environment and efficient, just as architecture strives for these characteristics. Using nature combined with advanced computing, enables LAVA to create structures of incredible lightness, efficiency and elegance.Technology makes that phenomenon possible: By parametric modelling of the behavioural logic the system is constantly optimised. The tower’s systems and skin depart from tradition and are controlled and responsive to external influences like air pressure, temperature, humidity, air pollution and solar radiation.

A1: DESIGN FUTURING DESIGN STUDIO AIR

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DESIGN STUDIO AIR A1: DESIGN FUTURING

ABOUTSELF CLEANING. The corporate pavilion for Vanke China explores key issues related to the theme of the Expo Mi-lano 2015, “Feeding the Planet, Energy for Life”. The concept for the Vanke Pavilion incorporates three ideas drawn from Chinese culture related to food: the shi-tang, a traditional Chinese dining hall; the landscape, the fundamental element to life; and the dragon, which is metaphorically relat-ed to farming and sustenance. All three of these concepts are incorporated in the Vanke Pavilion’s exhibition, architecture and program.

The design features a sinuous geometrical pattern that flows between inside and outside. A grand staircase, clad in warm grey concrete, carves through the red serpentine form and guides visitors to the upper level. A roof-top observation deck with a planted garden will provide stunning views of the lake and near-by Italian pavilion.

Pavillion, Daniel Libeskind, Italy 2015

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The pavilion is clad in more than 4,000 red metalized tiles that Libeskind designed with the Italian company Casalgrande Padana. The geometric ceramic panels not only create an expressive pat-tern that is evocative of a dragon-like skin, but also possess highly sustainable self-cleaning and air purification properties. The three-dimensional surface is coated with a metallic coloration that changes as light and viewpoints shift. At times it will appear as deep crimson, then a dazzling gold, and even, at certain angles, a brilliant white. The tiles are installed with a state-of-the-art cladding support system that gives a rhythmic pattern and mathematical form to an otherwise supple, torqu-ing shape. Two spiraling stairs, echoing the form, ascend the pavilion to the south, and to the north from the Lake Arena entrance, serving both as circulation and seating..

A1: DESIGN FUTURING DESIGN STUDIO AIR

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DESIGN STUDIO AIR A2: DESIGN COMPUTATION

ABOUTCONSTRUCTION

Thinking about design computation, a simi-lar form to the “Cellular Tessellation” pavil-ion for the 2014 Vivid Light Festival, Sydney, comes to my mind. I like the combined way between using the parametric structure as construction. It is not only intelligent but it also looks unique in its appearance. The complex structure, made of 380 unique cells that each perform a different function and make the surface curve in differ-ent directions.

“Cellular Tessellation” pavilion for the 2014 Vivid Light Festival, Abedian Architecture academic staff

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A2: DESIGN COMPUTATION DESIGN STUDIO AIR

COMPUTING.

Digital tools allow architects to let their ideas grow and complete specifically on a computer. Architecture as a digital output enables to create mathematically calculated patterns/forms. Some people argue that digital cre-ativity is a ‘fake’ one, because its not created by humans, but I disagree; Computation is a sufficient digital tool that works as a part-ner, for the human designer and fulfill his vi-sions.

“The building was analog in design and digital in production”

Rivka Oxman And Robert Oxman

“The project is designed using Rhino and Grasshopper, and is an exploration in geometric res-olution of a complex surface, subdivided using a variation of the Voronoi tessellation. The project employs alucobond sheeting, acrylic, and HDPE plastic to create 380 individual cells, all nested to create the overall pavilion.” Cellular Tesselation is a prototype that used comlexe geometries for future architecture, regarding the construction, with digital tools. 10

DESIGN STUDIO AIR A2: DESIGN COMPUTATION

ABOUT

“Voussoir Cloud explores spatial, material and experiential implications of questions of percep-tion, weight and structure.” The form is the output of the opportuniy to produce computational origamy to create curved folds, tested through both hands-on material prototyping and computationally optimized geometries.

The clever constructed design illuminates the space underneath in pleasant light with an unique atmosphere, by saving material at the same time.

Voussoir Cloud, IwamotoScott ArchitectureLos Angeles 2008

“For me, this architecture represents design of the 21st century.”

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A2: DESIGN COMPUTATION DESIGN STUDIO AIR

“The project investigates a lightweight minimum surface solution balancing structural forces and material aggregation through its vaulted geometry and gradient module porosity. The resulting space shifts the viewers perception between typological heavyness and material lightness, utiliz-ing a micro-laminated wood that itself shifts between opaque and translucent depending on the light fo day. The curvature of each petal is dependend upon its adjacent voids.”

Even if its an installation, I can imagine this structure being used in a building with more than one floor, made of timber, so that the columns run through ceveral floors and look different depending on what floor one stands. This represents a future convinient computation prototype.

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DESIGN STUDIO AIR A3: COMPOSITION/GENERATION

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Serpentine Pavillion, Toyo Ito and Balmond, 2002

A3: COMPOSITION/GENERATION DESIGN STUDIO AIR

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ABOUT COMPOSITION.

The Serpentine Pavillion by Toyo Ito and Bal-mond, is based on parametric composition to find its form. It is a form of Performance theorie and impresses with its generative approach in the design process.

The younger generation of architects rely on algo-rithms as a tool to invent research-based innovative design, whereas some people critic this new way of designing. However, the architect still give the computer the algotihms as well as the inputs, resulting the digital output. Regarding that this was in 2002, the software still is working on improvement to generate more and more complex future projects.

DESIGN STUDIO AIR A4: Conclusion

The future is all about experimenting with new forms, materials, structure by using a tool that designers didn’t have before: the Computer.

I learned so many things about the history in architecture, beginning from decorated Col-umns of ‘Palladio’ ending with ‘Frank Lloyd Wright’s’ so called ‘modern’ buidings.

But- I never gained knowledge about the era of architecture we are living NOW. I mean, what could be more important? The future. Because, the architecture stu-dents of today are the creators of our future.

“Either write something worth reading...

...or do something worth writing.”

Benjamin Franklin

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A5: LEARNING OUTCOMES DESIGN STUDIO AIR

Learning to handle parametric design tools is like entering a new dimension of architecture. That knowledge allows me to produce innovative, new and sufficient de-sign projects. The next step of this project will let me dive more into the wide world of parametric design and where I will focus on one topic that I will explore to create a future proto-type.

...or do something worth writing.”

Benjamin Franklin

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Producing PATTERN:- The attraction point

DESIGN STUDIO AIR A6: APPENDIX - ALGORITHMIC SKETCHES

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A6: APPENDIX - ALGORITHMIC SKETCHES DESIGN STUDIO AIR

by moving the point to different spots, the pattern changes from small circles near the point, to big-ger ones with growing distance.

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DESIGN STUDIO AIR A6: APPENDIX - ALGORITHMIC SKETCHES

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A6: APPENDIX - ALGORITHMIC SKETCHES DESIGN STUDIO AIR

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DESIGN STUDIO AIR B1: RESEARCH FIELD

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Geometry.

B1: RESEARCH FIELD DESIGN STUDIO AIR

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Serpentine Gallery, Alvaro Siza Vieira, 2005AlvaroSizaVieira.com

DESIGN STUDIO AIR B3: CASE STUDY 2

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The parametric constructed geometry melts with the surrounding nature. That creates a blurry effect, comparable to a tree or a cloud.

B3: CASE STUDY 2 DESIGN STUDIO AIR

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Fujimoto used a three-dimensonal grid of about 40 centimetres modules made of steel poles, to create a parametric constructed geometry that fits well into the surrounding environment. The result is a blurry shape that integrates with the nature. Walking through the design arises a space within both interior and exterior. Using the fragile steel pole elements to shape a design that kind of melts with the nature worked well. The research field is ‘Selforganising’ a struc-ture within a given space.

Serpentine Pavillion,Sou Fujimoto

DESIGN STUDIO AIR B5: TECHNIQUE - PROTOTYPES

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Using the selforganiz-ing method within a grid, I culled modules out of the grid using different charges.

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B5: TECHNIQUE - PROTOTYPES DESIGN STUDIO AIR

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There are three main layers including the first layer on the bot-tom that goes down the hill towards the creek, including a path and interactive areas, followed by the second one with the path and lookouts, and lastly, the finishing layer with integrated lookouts to-wards the ceiling.

Different layers27

DESIGN STUDIO AIR B6: TECHNIQUE - PROPOSAL

In the area around the Merry Creek a broad vari-ety of native vegetation and native wildlife can be experienced. The 21km long trail makes the creek accessable for the public - for people who wants to enjoy nature not far from their home, includ-ing kids, bikers, joggers, people who walk out their dog or people who just wants to relax in the nature.

But there is also a negative aspect of the creek. 2011, the Merri Creek was named as the most polluted waterway in Melbourne, caused not only by industrial pollution, but also by us individuals through waste pollution, especially plastic bottles.

From then on, a lot has been already changed in a positive direction but there are still opportunities to improve the situation.

With my design, I want to make the people aware of environmental pollution and encourage them to change that.

Merri Creek

Site analysis.

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B6: TECHNIQUE - PROPOSAL DESIGN STUDIO AIR

In the area around the Merry Creek a broad vari-ety of native vegetation and native wildlife can be experienced. The 21km long trail makes the creek accessable for the public - for people who wants to enjoy nature not far from their home, includ-ing kids, bikers, joggers, people who walk out their dog or people who just wants to relax in the nature.

But there is also a negative aspect of the creek. 2011, the Merri Creek was named as the most polluted waterway in Melbourne, caused not only by industrial pollution, but also by us individuals through waste pollution, especially plastic bottles.

From then on, a lot has been already changed in a positive direction but there are still opportunities to improve the situation.

With my design, I want to make the people aware of environmental pollution and encourage them to change that.

Julia Rommel

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Material: Plastic bottles + Joint

Put-it-in system

My design proposal

Problem: rubbish in the creekClient: local people, visitors, kids, dogs...Approach: to make people aware of environmental pollution (especially through waste)

For my design I am using a three-dimensional grid based on modules made of plastic bottles and a joining point. The sphere shaped joint has holes inside where the caps of six water bottles can easily be put in, whereas the ends are joined by another zylindrical shaped piece of a water bottle.

Some bottles are being culled parametricallyto open the view of special nature features like trees or the creek. The entrances and exits of the path through the grid are also based on that method, when walking out, the restisted bottles frame a view, just like a painting.

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plan

section


elevation

perspective

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With all that, I have created a transparent installation that fits well into the surrounding environment, even if it is made of artificial plastic, the material actually comes from the surroundings.

Another feature is the light, that creates an interest-ing pattern when the sun shines through.

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Inside the grid

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DESIGN STUDIO AIR B7: LEARNING OBJECTIVES AND OUTCOMES

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Working through this process, I have learned a lot about using parametric design, using grasshopper, However, I feel there is still so much to discover regarding computa-tional design. I am looking forward to go deeper into that process

REFERENCES DESIGN STUDIO AIR

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1. Gregory Missingham, Subject ‘Design Workshop’, ppt 1

2. Bionic Tower, LAVA, Abu Dhabi http://www.l-a-v-a.net/projects/bionic-tower/

3. Pavillion, Daniel Libeskind, Italy http://aasarchitecture.com/2014/05/vanke-pavilion-expo-2015-daniel- libeskind-2.html

4. Cellular Tessellation” pavilion for the 2014 Vivid Light Festival, Abedian Architecture academic staff, Sydney http://architecture.bond.edu.au/CELLULAR-TESSELLATION-VIVID-SYD NEY-2014

5. Rivka Oxman and Robert Oxman, Theoris of the Digital in Architecture p. 1

6. Voissoit Cloud, IwamotoScott Architecture, Los Angeles http://www.iwamotoscott.com/VOUSSOIR-CLOUD http://architizer.com/projects/voussoir-cloud/

7. http://www.serpentinegalleries.org/sites/default/files/images/2.VI_.14.SD__1. jpg

rommel julia 735077 partb

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