Architecture Design Studio: Air ABPL _ 30048

JOURNALJEFFREY TING _ 380929

TABLE OF CONTENTS:

WEEK 1: ADVANCEMENT OF ARCHITECTURAL DISCOURSE STATE OF THE ART PROJECTS................................................................................................................... 1 PERSONAL PROJECT................................................................................................................................. 4

WEEK 2: CONTEMPORARY COMPUTATIONAL DESIGN TECHNIQUES........................................................................ 5

WEEK 3: CONTEMPORARY PROGRAMMING/SCRIPTING CULTURES........................................................................ 8

Week 1:

Advancement of Architectural Discourse

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STATE OF THE ART PROJECTS[C]SPACE DRL TEN PAVILION, LondonBy Alan Dempsey and Alvin Huang

[C]SPACE pavilion was the winning competition entry in the ‘AADRLTenPointZero’ Pavilion project. The design and construction of the pavilion made radical use of digital modelling and fabrication techniques to manage over 850 uniquely shaped pieces and 3000 joints of varying angles. This had advanced the architectural discourse in terms of its complex geometry and rather uncommon application of fiber reinforced concrete as a construction material. It took the materials to new technical limit by creating a discontinuous shell structure spanning over 10m using highly parametrized digital modelling skill with advanced structural calculations based on non-linear analysis and state-of-the-art manufacturing processes.

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The pavilion is formed by a discontinu-ous shell structure spanning over 10m made of thin fibre reinforced concrete elements which perform as structure and skin, floor walls and furniture. The concrete is manufactured by the Austrian company Rieder, and the design of the pavilion takes the mate-rial to new technical limits, which required extensive prototyping and material testing during the design development process. The jointing of discrete con-crete profiles exploits the tensile strength of Fibre-C and a simple intersecting notch joint which is locked together using a bespoke rubber gasket assembly. The angle of intersection at each joint continuously varies across the structure.

http://www.nex-architecture.com/#/work/projects/c_space_drl10_pavilion/http://cspacepavilion.blogspot.com.au/

The striking presence of the pavilion invites inspection from a distance and upon closer interaction reveals its ambiguity through the merging of sinuous curves, structural performance, and programmatic functions into a single continuous form. As you move around, the surface varies from opaque to transparent, producing a stunning three-dimensional effect. The enclosure of the surface also provides a route through for passing pedestrians. In order to have the best outcome, the design and construction made radical use of digital modelling and fabrication techniques. The entire design process was conducted using 3D digital and physical modelling, and the design development was completed using rigorous constraint modelling and scripting to control over 850 individually different profiles and 2000 joints. Finally, the elements were manufactured directly from digital models on CNC cutting equipment using standard sized 13mm thick flat sheets of Fibre-C concrete and 15mm thick mild steel plate.

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Manchester Art Gallery Concert Hall, Manchester

Zaha Hadid Architects have devised a concert space for the Manchester Art Gallery. It is a single strip of fabric surrounds both the pianist and the audience like a cocoon, which helps to create the perfect conditions for the music to be heard. The dynamics of the concept are also applied to the furniture - with the use of Panton Chairs.

The design of the music hall enhances the multiplicity of Bach’s work through a coherent integration of formal and structural logic. ZHA and Sandy Brown Associates worked together to perfect the acoustics using CAD models that were imported into acoustic modelling software that tested the different finishes and shapes of the curving form. Through this collaboration, ZHA’s curving ribbon creates both a strong architectural statement and a great acoustic environment as the form helps scatter the sound reflections to eliminate flutter echoes and enhance the acoustic experience of the concert. This kind of streamline structure could never be created without using digital modelling softwares.

http://www.archdaily.com/28250/chamber-music-hall-zaha-hadid-architects/http://www.guardian.co.uk/artanddesign/2009/jul/01/zaha-hadid-bach-salon-architecture 3

PERSONAL PROJECTDESIGNING ENVIRONMENTS : SHELTER

This was a structure that I designed in my first year. My design intent was to isolate the users from the noisy, so I came up with a structure that grew out from the ground to create a private space. It has an irregular surface with apertures on it for the penetration of sunlight.

The scale model that was shown in the picture beside was actually a bit different from what I’d thought. I was thinking of having really smooth curves as the structure growing out from the ground.Without using digital software like Rhino or AutoCAD, it is very hard to communicate one’s idea and the model is not that accurate too.

I believe that these parametric design softwares will create more possibilities in terms of forms and shapes in the future. The advancement of architectural discourses will never end as these softwares get more developed and we incorporate in new different ideas.

[C]SPACE DRL TEN PAVILION: It has advanced architectural discources by giving impetus to architectural convention, structural engineering and the building materials industry. It shows that architecture is not only about designing, but also incorporating in new elements in order to develop what we’ve already known.

Manchester Art Gallery Concert Hall:The idea of a single continuous ribbon of fabric swirls around itself, creating layered spaces to cocoon the performers and audience with in an intimate fluid space is already amazing and looks even stronger through the presentation of parametric design softwares. I think it offers a new way of designing by experimenting the fluidity of the structures.

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Week 2:

Contemporary Computational Design Techniques

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Week 2:

Contemporary Computational Design Techniques

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The New York Korean Presbyterian Church By Greg Lynn, Doug Garofalo, and Michael McInturf

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This is Greg Lynn’s first built project showcased early digital fabrication techniques and the application of his animate form ideas of the 90s.

The interior of the church continues the dynamic form of the exterior. Lynn also tries to play with “dynamic lightings” of the interior as the lights become brighter and brighter from the middle of the ceiling to the sides.

Sources: http://www.indexmagazine.com/interviews/greg_lynn.shtml

In conclusion, the Presbyterian Church shows that the complex geometry required ofmany contemporary designs can beachieved economically with the assistanceof today’s sophisticated computersoftware, adaptive reuse ofmaterials and close dialogue betweenthe architect and engineers.

The figure beside shows the view from the inside of the church. I guess it will be an amazing experience walking along the stairs as you see the building starts “moving” and views changing at the same time. Personally, I think it is a great way for the users to interact with building through these dynamic movements.

He thinks that buildings should communicate in a more dynamic way in order to react to the people moving within it. It was a notion during the 90s when a building should be a rectilinear box.

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Week 3:

Contemporary Programming/Scripting Cultures

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Scripting cultures are seen as powerful driving forces for 21st century architectural thinking. They help to increase productivity, experiment on different things and create new possibilities in architecture. However, many argued that there might be risk of misleading in architecture since scripted outcomes could be simply amazing but lost of their richness in terms of design intents, functions and originalities. In my opinion, we don’t have to concern about such risk as long as we see these scripting cultures as tools to develop our orinigal ideas and design intents rather than simply scripting something which we had already known.

In 2010, the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) designed a temporary research pavilion by using scripting tools. Their design intents are to explore a geometry that would allow the potential of the plywood to be exploited in an optimal manner and challenge its structural and physical limitations at the same time. Its approach of experimenting and developing ideas of forms by pushing out the physical boudaries of materials demonstrates how scripting tools should be used.

ICD/ITKE RESEARCH PAVILIONBy ACHIM MENGES & JAN KNIPPERS

The computational design model was based on the bending behaviour and a script with roughly 6,500 lines of code. Based on these codes, all relevant geometric information is derived and directly outputs the data required for both the structural analysis model and the manufacturing with a 6-axis industrial robot. Every manufactured timber strips has its own geometry which may cause difficulties during the connection. Moreover, ICD/ITKE made the design process even harder and more complex by joining all of the plywood strips with just simple socket connections and bolts instead of the elaborate steel nodes that were commonly found in timber construction. From here, we can see that they are trying to achieve something incredibaly hard to be built and maximize the functions of scripting tools.

The structural analysis model was based on a finite element analysis (FEA) simulation. This simulation calculates the stress and tension of the plywood strips of the overall structure to assure its load bearing capacity. The extremely thin strips are robotically manufactured as planar elements and , and subsequently connected so that elastically bent and tensioned regions alternate along their length. The force that

is locally stored in each bent region of the strip, and maintained by the corresponding tensioned region of the neighboring strip, greatly increases the structural capacity of the system The idea of lightweight fabrication which can be elastically bent might be the key that guides to the final form of the model.

The relaxation behaviour in the finished pavilion like the slackening of the innate tension of plywood needs to be measured as a result of ageing. The results can be used as data for future virtual 3D models. This shows that scripting tools are able to anticipate possible issues and appearance of a building in the future. It can also be a precedent of timber strip construction for reference.

In architecture, digital design processes are rarely able to reflect intricate relations such as pressure and physical forms. Whereas in the physical world material form is always inseparably connected to external forces, in the virtual processes of computational design form and force are usually treated as separate entities, as they are divided into processes of geometric form generation and subsequent simulation based on specific material properties.

Comparing the generative computational design process with the FEA simulation and the exact measurement of the geometry that the material computed on site demonstrates that the suggested integration of design computation and materialization is a feasible proposition.

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