studio air journal part a glen george

STUDIO AIR2015, SEMESTER 1, PHILIP BELESKYGLEN GEORGE, 638042

FIG.1: MELBOURNE CITY

JOUR

NAL

Table of Contents

Introduction p.4

PART A

A.1: Design Futuring p.5

A.2: Design Computation p.10

A.3: Composition & Generation p.16

A.4: Conclusion p.22

A.5: Learning outcomes p.23

A.6: Algorithmic sketches p.24

References p.26

4 CONCEPTUALISATION

ABOUT ME:

My name is Glen, I am currently 20 years old studying architecture, in my third year at the University of Melbourne. I was born in the Dandenong Rangers and have lived in Emerald my whole life, I love the natural setting and beautiful landscapes that surround my home. In turn I tend to find myself heavily influenced and inspired by the natural environment. I have a few hobbies and activities that I enjoy in my spare time. Sports play a huge part in my hobbies, they allow me to free my mind and express myself. Martial arts, outdoor activities such as running, walking, swimming and bike riding as well as gym are my favourite ways to exeresis. I also love music and play guitar, bass and a bit of singing in my spare time as well as for a little bit of extra work on the side. The last of my hobbies would be drawing, I find it therapeutic and relaxing to just sit and draw, often human figures, buildings or landscapes but I generally don’t restrict myself to a particular subject matter as I often like to change things up.

My interest in architecture came quite early in high school when my parents took me to a few display homes for the sake of interest; there was nothing fancy or overly creative as the houses we very generic and stereotypical suburban, however I found myself emerged in the idea of altering and designing spaces for living. This was further intensified when I attempted my first architectural project in year 12 Visual communications and design and found it extremely enjoyable. I tend to find myself more drawn to residential buildings as well as buildings that have a unique form and relation to material or context; the idea or high rise and generic commercial projects don’t seem to relate to me as intensely as I like to react and respond to a brief or building in a manor that isn’t only aesthetically driven but also encouraged by the nostalgic, emotive and experiential qualities.

I tend to struggle with computer design and conceptualizing ideas in such space; I feel this is due to my need to engage with a work through drawing and hand building, however I am not deterred by the concept and idea of computation as I find it fascinating and engaging in a different way. I hope that throughout the duration of the semester I can improve my computer designing skills and open up a new avenue for my designs; giving me new ways to explore and engage with the world of design.

INTRODUCTION

PART

A

CONCEPTUALISATION 5

PART

A A1DESIGN FUTURING

Creating buildings and designs that define a new era and show new methods of thinking and working. To be innovative and clever in our creation of designs, working towards shaping a new world, one which we aren’t destroying but one that we can live in harmony with, as appose to against.

I feel these are the important things to take from design futuring. We need to attempt to look forward in an attempt to progress and improve, make our impact on the world in the most positive and beneficial way possible. Through design and the use of new computing methods we have new means and methods in which we can go about this, new ways to think, new ways to develop. By following a progressive process and leading the world in the right direction, design can have a strong and positive impact on the world we live in now, as well as the one we will occupy in the future.

6 CONCEPTUALISATION

A1: PRECEDENTS 01

EUREKA TOWER, MELBOURNE

Eureka tower, designed by Nonda and Fender Katsalisis was completed in 20061. Standing at 297 meters it is Melbourne’s largest building; it dominates the cities skyline with elegance and aesthetic beauty as it seemingly protrudes into the clouds above the city. It’s use of gold, blues and tint of red offset the grey tonal qualities that envelop much of the cities context. The reflective surface of the tinted class and metallic gold react in a stunning manor to the Melbourne weather, reflecting clear skies, streaming sunlight and foggy mist, all adding to it’s mystical appearance and charm.

The building revolutionised the cities skyline and has in turn prompted a move to a taller city with more dominant and demanding architecture, removing the constraint and desire to be ‘safe’ with Melbourne’s skyline aesthetic. With the introduction of new structures set to overshadow Eureka in height and dominance, the building will be sure to lose some of its commanding qualities as it becomes emerged in a taller world; despite this, it will still remain revolutionary in its design as it was the first of its kind in this beautiful Australian city.

The building has offered many attractions and brought in a lot of publicity to the city. The Sky deck and glass viewing platforms are extremely popular and prove excellent ways to see Melbourne in a new and exciting way. The buildings function has remained the same throughout its life-span and I would assume it will continue to remain the same for many years to come; until bigger and greater things befouled it and take over as Melbourne dominant feature.

1 Sourced from: Design build network.com, Eureka Tower, <http://www.designbuild-network.com/projects/eureka/>

FIG.2: EUREKA SKYDECK, INTERIOR

FIG.3: EUREKA TOWER

FIG.4: EUREKA TOWER IN CONTEXT

CONCEPTUALISATION 7FIG.2: EUREKA TOWER , MELBOURNE

FIG.5: EUREKA TOWER, HAND SKETCH

8 CONCEPTUALISATION

A1: PRECEDENTS 02

AUSTRALIAN CENTRE FOR CONTEMPORARY ART, MELBOURNE

The Australian Centre for Contemporary Art also known as ‘Acca’ sits deep in Melbourne’s art precinct, within the Southbank area. It was built in 2006 and designed by Wood March1. In contrast to Eureka this building sits low and tucks into the landscape. Despite its low profile the building goes far from lacking impact and vision. Its bold use or Corten steel to encase the entire facade makes a strong statement and sets the building apart from its urban concrete surroundings. It’s sharp and attentive form sits beautifully within the context as the building nestles into the space.

Acca was created as a gallery and continues to function for this purpose. More so the building itself reflects as an artwork from the exterior, displaying its unique materials, textures and forms which contrast to the norm within the city. Its uncompromising, contemporary design make quite a statement and truly redefines what types of buildings can be created within an inner city space.

I feel as though as a building it will continue to function and be admired as it currently does for a long time; due to its location in the ‘arty’ area of Melbourne it conforms to the ideas of pushing design and truly expressing form and textures in a raw and uncompromising state. This reflects the ideas of art in a visual and experiential manor which makes it perfect for function and context.

1 Sourced from: ACCA Online, About The Building <https://www.accaonline.org.au/about/building>

FIG.6: AUSTRALIAN CENTRE FOR CONTEMPORARY ART, MELBOURNE

CONCEPTUALISATION 9FIG.7: AUSTRALIAN CENTRE FOR CONTEMPORARY ART, HAND SKETCH

FIG.6: FIG.6:

10 CONCEPTUALISATION

PART

A A2DESIGN COMPUTATION

New technology has allowed us to harness computational abilities that remove the limitations of practical and restricted geometries in design. We can now generate and develop buildings options which otherwise wouldn’t exist. Computation is slowly redefining the practice of architecture allowing multidisciplinary workings across faculties, forethought and organisation of performance orientated issues as well as redefining the parameters and possibilities of what we are able to create with design. It is allowing us to move forward into a new age of design and thinking.

CONCEPTUALISATION 11

FIG.8:


A2: PRECEDENTS 01

Endesa Pavilion, Barcelona, Spain

Endesa pavilion by IAAC is an exceptional space, both externally and internally. Its use of irregular geometry and form give it a strong presence in its context. Generating its own power through solar panels and allowing light to stream in through large masses of glass light up the structure giving it and open feel all while blurring the lines between the inside and the out.

Computation has allowed a structure such as this to be carefully planned and organised in such a way that it functions efficiently and without issue. By using informations such as light path, and human transit, an ideal form is created to maximise the desired qualities in relation to the buildings function1. Generating such information through more traditional methods would be possible but hardly as accurate, as the use of algorithmic thinking allows designers to factor for and combat a wide range of factors and issues the structure may face.

1 Sourced from: Co.Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>

FIG.9: ENDESA PAVILION, SPAIN

FIG.9:


The interior and elevations clearly show the complexity and planning that defines the pavilion. Computation can allow the designer as well as others involved to assess materials, forms, services and functions to a precise measure, allowing the most efficient and viable solutions to be put into practice. This ability is unique to computer programming and truly shows how far we have come as well as how much we are yet to achieve in this new era of design2.

2 Sourced from: Co.Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays <http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>

FIG.9:

FIG.9:

FIG.9:


A2: PRECEDENTS 02

Orquideorama, Medellin, Colombia

Orquideorama is located at the Botanical gardens in Colombia. It was designed by Plan B and JPRCR architects and completed in 2006. It is a fascinating and beautiful piece of design that not only sits within and harmonises with its natural surroundings but also adds a quality and presence to the space around it.

Through the use of computer aided design the structure is quite simply generated with the repetition of a hexagon for the shading which is at points extruded down while twisting to suggest a natural tree element elevating form the ground. The extrusions also act as the structural support as well as an aesthetic and attractive piece of design.

FIG.10: ORQUIDEORAMA, COLOMBIA

FIG.10:


The pavilion protrudes over the existing building as well as the canopy of the gardens. Plotting this structure, deciding its form and orientation would have been made far more achievable through computer aided design. Information can be gathered and put into the programs to calculate a measured and best fit plan for the pavilion to take shape within1.

Creating the structural system and conveying it between the parties involved in the project would have also being achieved through computation. Generating the repetition of a structural system across the repeated forms becomes a simple and in turn design savvy task, as freedom is created through the use of materials and simplification of the structural systems. With this ability to aesthetically plan for the structure as a whole means that is doesn’t have to be entirely covered up and forgotten. Instead the opportunity arises for the designer to incorporate this structure, developing a unique and beautiful design aesthetic which would otherwise would have been much more difficult to visualise and manage through conventional methods.

As the image bellow shows, the construction and development of the design can be simplified and made far more understandable through the renderings of the computation. Things such as scale, form, colour and visual aesthetic are easy to generate and recalculate as the design process continues and alterations and decision changes can be made and trials with a single click.

1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge)

FIG.10:

FIG.10:

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PART

A A3COMPOSITION & GENERATION

The shift from composition to generation is something that has greatly affected the world of not only architecture but all forms of design. Inquisition and curiosity have come into play as people start to move into the new age of technology. This technological revolution which has so greatly affected our lives in every way, has developed and moved so fast that the industry struggles to keep up. New ideas and technologies are released regularly and in turn keeping up with this fast passed rate of progression becomes difficult and often confusing. Despite this, we adapt and look to these new developments in anticipation for how they can make our lives and work easier and more enjoyable. There is a fine line between those who are for and those who are against this revolution but in turn we all desire the same outcome; the most efficient and task free way to go about doing what we do, and even those who may currently stick to traditional methods of design will eventually fold into these new ways of working with computation, as it is the direction of the world and will soon become the unavoidable future of design.


FIG.11:


A3: PRECEDENTS 01

Birds Nest/Olympic Stadium, Beijing, China

The birds nest/Olympic stadium, completed in 2008 and designed by Herzog & De Meuron, is an architectural marvel in our world. It sits upon the landscape with such presence and power, truly dominating the land around it. Its aesthetic qualities are all part of its charm and marvel as its form is seemingly undefined and unrestricted by conventional ideals.

Through the use of parametric modelling structures such as this become possible, we are able to push limits and defy conventional boundaries as limitations and idea restraints are almost completely removed from the equation1.

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design

FIG.12: BIRDS NEST/OLYMPIC STADIUM, CHINA

FIG.12:


The birds nest would have utilised both compositional and generative design. A compositional set of rules is created defining the over all shape before the generative computerised modelling is used to semi-randomly define the rib structure of the building. The generative programming would create the geometries and possibly the structural possibilities, accompanying and assisting the architects set parameters2.

The use of generation to develop a form has but one vital limitation. That is the fact that whatever it is you create and design, needs to be translated into context; meaning it much act and function as a structural system in the built world, something that is not easy to achieve when the ideas are pushed so far out of proportion. Although computing techniques can make the process more refined and slightly easier it doesn’t remove the restriction of building materials and means, therefore great challenges and engineering problems can arise. If these factors can be nutted out and planned for such as within the Olympic stadium, then the world of architecture we can create will be of a whole new level; it will be unrestricted, free, emotive and in ways crazy, a new world of futuristic, undefined forms and structures for us to live in.

2 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cog-nitive Sciences (London: MIT Press)

FIG.12:

FIG.12:

FIG.12:


A3: PRECEDENTS 02

ICD/ITKE Research Pavilion

The research pavilion was constructed in 2011 and truly defines generative architecture in my opinion. It utilises a repetition of irregular shapes which progressively alter and change to fit their part in the structure as a whole. Evidently the pavilion is generated through computer modelling as its form is calculated and unrestricted by conventional means, something very difficult to achieve through conventional drawing methods. The slotted connection between each panel make its construction simple and unrestricted allowing the shapes to seemingly flow into one another to in turn develop the final structural form1.

1 Sourced from: Institute of computational design, research pavilion 2011 <http://icd.uni-stuttgart.de/?p=6553>

FIG.13: ICD/ITKE RESEARCH PAVILION

FIG.13:


The building as a whole creates a perfectly irregular shell like form that sits beautifully within its semi-urban context. It shows the ways in which limitations and restrictions regarding the translation of computer modelling from screen to built can be overcome. Through progressive and thoughtful thinking, materials can be found and/or manipulated to function in a way that allows you to create a desired form. Although these limitations exist between the generated and built forms there tends to be many ways for us to overcome the issue. With clever thinking and thoughtful planning, aided by computation methods that can break down the process into layers2 we are definitely making progress in moving forward and developing new architecture.

2 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge)

FIG.13:

FIG.13:


PART

A A4CONCLUSION

PART

A

Throughout this introduction into computation and new methods of design I have learnt that there are many ways to generate and overcome difficult design problems and limitations. It is often said that we are only limited by our imagination, but through utilising algorithmic thinking and parametric modelling it has become evident that even your imagination can be superseded by the capabilities of computer generation. These new ways of thinking through design and creating, opens up new doors and pathways for our ideas, and although they are tough concepts to grasp and understand, when used correctly and in the way intended we can really start to create something innovative and brilliant through design.

I intend to approach design in a new manor, one which I have never tried and honestly don’t yet feel comfortable with; however it is due to my own limitations that I have decided to approach future design problems in such a manor. To use computer aided design tools such as rhino and grasshopper to generate and manipulate forms is a way that I feel will develop some new and exciting ideas and forms which could later be put into practice and function in the design process.

Creating something innovative is a very hard thing to do, but I feel my best chance at doing it will be to use these newly introduced technologies that are now readily available and see where they can lead my design. This is something I know I will benefit greatly from, learning new ways to design and generate will only broaden and enhance my own capabilities for future design projects.


PART

A A5LEARNING OUTCOMES

Over the past three weeks we have moved forward at a rapid place, learning about computation and generative design. Accompanied by the grasshopper tutorials and algorithmic sketches my understanding and opinion towards this method of design has changed greatly. I still have a long way to go and much more to learn before I can confidently design and create things fluid and generative but I can now appreciate and understand the place for computation in the world of design. I am still sceptical of whether or not this method of design is truly the way to design as we eradicate conceptual design ideas. The relationship and experiential qualities that architecture gets from its designer is slowly diminishing as computer generation starts to take control and move forward in the design world. We need to find a happy medium that utilised generative computation as well as the personal compositional design ideas of the more traditional methods of practice.


PART

A A6ALGORITHMIC SKETCHES

First test and workings within grasshopper. Not an easy thing to wrap your head around. I am personally quite unfamiliar with the program and certainly found it a challenge to generate forms using such a foreign method, despite this I found it extremely interesting and can see how useful such a tool can be.

In class we were shown how to simply create and loft an 8 point shape, from here we had to work out through research and video tutorials how to manipulate and alter the shape to create new and interesting forms. Again this was not easy but it was a fairly straight forward process once you got your head around it. Working out how to alter the plotted points in turn twisting and changing the original shape, stretching and compressing points to create unexpected forms was quite enjoyable. The four sketches I have chosen were due to the differences in their form from one another. Each one is unique and has a varied set of points that help to define their shape.

Through such a simple task we can already see the benefits of these modelling tools, the ability to change and shift forms in a irregular and often unpredictable manor is strongly resonated throughout Part A, and will become and important point across the workings of the semester.


ALGORITHMIC SKETCHESTo the right are the second set of algorithmic sketches. This set of drawing was far more complex than the previous as it involve far more connections and elements than the first set of forms we created.

I chose these four sketches because each one utilised a different alteration in the original ideas and materials provided to us in the tutorials. By randomly creating the number of circles, the height of the posts, their radius and the angles to which they sat on the surface; you could great many alterations of the same fundamental forms.

This task further extended my knowledge of the program as well as enhancing my interest for what capabilities these programs actually yield. I find it incredible just how much you can achieve and create using computer modelling.

Again the task further reiterated the ideas which have resonated across part A. The complexity of forms, and the alterations you can make really reflect the ideas of generative architecture and design. As my knowledge of the systems starts to broaden I hope my abilities and designs will follow suit and improve as the semester continues.

REFE

RENC

ES- ACCA Online, About The Building <https://www.accaonline.org.au/about/building>

- Co.Design, Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays <http://www.fast-codesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays>

- Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cogni-tive Sciences (London: MIT Press)

-Design build network.com, Eureka Tower, <http://www.designbuild-network.com/projects/eureka/>

- Institute of computational design, research pavilion 2011 <http://icd.uni-stuttgart.de/?p=6553>

- Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Rout-ledge)

- Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design

- Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge)

FIGURES:

Figure 1: http://mytourguide.com.au/sites/default/files/melbourne_city_australia.jpg

Figure 2: http://eurekaskydeck.com.au/the-edge.html

Figure 3: http://www.globeimages.net/img-melbourne-eureka-tower,-australia-14208.htm

Figure 4: http://www.panoramio.com/photo/46067061

Figure 5: Eureka Tower, Own image hand drawing

Figure 6: http://australia.tourismster.com/on/points-of-interest/australian-centre-for-contemporary-art

Figure 7: Australian Centre for Contemporary Art, Own image hand drawing

Figure 8: https://archaeologistsinresidence.wordpress.com/2014/02/27/papay-listskjul-maps/

Figure 9: http://www.inqmind.co/2012/09/endesa-pavilion-by-iaac/

Figure 10: http://www.archdaily.com/832/orquideorama-plan-b-architects-jprcr-architects/


Figure 12: http://www.visitourchina.com/beijing/attraction/beijing-national-stadium-birds-nest-olympic-stadium.html

Figure 13: http://www.ozartsetc.com/2012/01/25/icd-itke-research-pavilion-2011/



FIG.14:

studio air journal part a glen george

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