Edey julia 586120

STUDIO AIR2015, SEMESTER 1, CAITLYN PARRYJULIA EDEY

PART A CONCEPTUALISATIONA.0 Introduction

A.1 Design Computation

A.2 Composition/Generation

A.3 Conclusion

A.4 Learning Outcomes

A.5 Appendix- Algorithmic Sketches

CONTENTS

4 CONCEPTUALISATION

I’m Julia, a third year environments student majoring in Architecture at the University of Melbourne.

My interests involve a love for other aspects of design such a fashion and interiors. I’ve always had a firm interest in craft and design from a young age and have found that architecture is way to harness this creativity in a practical sense.

Personally, my interest specifically in Architecture is the importance and use of interiors of a space. These are the areas where it allows you as a designer to connect to the users and get them to experience the building.

I have found through my study in Architecture that you learn so many layers of knowledge in so many disciplines that is constantly built upon right through your learning experience and I would imagine in the workforce also and I like that aspect of architecture,

that you’re constantly engaging and learning new things.

My first introduction to digital design was in Virtual Environments in first year where I was briefly introduced to Rhino although as it was group work it wasn’t highly needed for all of us to model on Rhino. I’ve also had experience in the use of the Adobe Creative Suite which I have found highly useful to my studies. I’m interesting in furthering my Rhino skills with the use of grasshopper in order to advance my design skills.

In terms of digital architecture, since knowing Rhino and collaborative plug-ins such as Grasshopper I am much more aware of buildings who have implemented these skills in their designs. For example, the geometric patterns and shapes of Federation Square you can see are parametrically designed with the help of digital aid.

About Me

CONCEPTUALISATION 5

The first year subject virtual environments, introduced me to parametric modelling and digital fabrication in the world of architecture. We had look conceptually into the idea of a second skin and how we could protect it using a dynamic process such as a skin and bone system.

This subject opened my eyes to the idea of parametric modelling and other digital terminology such as NURBS, algorithms, panelling etc.

Also the connection between digital design and digital fabrication was realised as we designed our pieces for our model on Rhino and printed them at the Fabrication Lab allowing for consistency and efficiency throughout our design. I found this opened my eyes to the simplified and efficient way to making models.

I am intrigued to learn more in Rhino to further my designing capabilities.

Previous work

FIg.1: SECOND SKIN PROJECT , VIRTUAL ENVIRONMENTS

6 CONCEPTUALISATION

used to be; undulating sand dunes of a rural community.

Clever design and materiality contribute to this structure resisting the harsh sand storms and weather conditions of the area. Also effective design planning allow the design to fit in well with the current urban landscape, helping transform a formally rural area into a functioning urban community through the use of pedestrian bridges through the structure and public space around it. As Ordos has been through a recent urban transformation, there is conflict between years old traditions and the new idea of the future1, which I believe this structure, pushes towards the boundaries of the new urban landscape of Ordos and creates a place for the community to reunite. This building addresses the idea brought about by Design Futuring of implementing a sustainable approach to design through use of natural ventilation and exterior cladding that repels solar heat gain2. There’s an opportunity for this building to become a part of the new local culture.

1 Amy Frearson, ‘Ordos Museum By MAD - Dezeen’, Dezeen, 2011 <http://www.dezeen.com/2011/12/13/ordos-museum-by-mad/> [accessed 10 March 2015].2 ArchDaily, ‘Ordos Art & City Museum / MAD Architects’, 2012 <http://www.archdaily.com/211597/ordos-art-city-museum-mad-architects/> [accessed 14 March 2015].

Architectural design as a whole is vital in its contribution to culture in a large-scale sense. Paris wouldn’t be as romanticized if it weren’t for its romantic buildings and landmarks, or Rome wouldn’t be known for its historically important buildings and ruins. Architecture in current and past days is integral to culture and in terms of digital futuring, this allows this connection between culture and design to be more greatly developed through the use of new technologies and software. It also pushed the issue of sustainability in design to be addressed and design strategies implemented to move towards a resolution.

By purely looking at this building, you can see it has used parametric computer design and through that you can draw a conclusion that the firm is in a technologically advanced position. MAD Architects is just that, technologically advanced. Just by visiting their website, you can see that their designs are innovative and futuristic. Specifically, the Ordos Museum located on the edge of the Gobi desert in China, is an ode to what

a.0 Design futuring

OrdoS museum | mad architects | 2011

CONCEPTUALISATION 7

FIg 2: ORDOS MUSEUM NEPAL, MAD ARChITECTS

FIg 3: ThE SUSTAINAbLE SySTEMS OF LALI gURANS

8 CONCEPTUALISATION

around the world. Once this building is complete there will be a huge contribution to the lives of Nepalese children and their community and the way they live. In terms of Design Futuring, Lali Gurans has been designed to encompass the four different perspectives harnessed by this, by incorporating the community and their culture as well as the ethics of the community into the design1. Ultimately this attributes to a successful design for the future. Additionally, in 2013 they won an AIA New York State Design Award for Citation for Design exemplifying an innovative approach to design that is edge that can be used to instigate change in the industry.

1 Tony Fry, Design Futuring (Oxford: Berg, 2009).

A quirky yet ambitious architecture firm in New York show some highly innovative designs that are agreeable to the idea of Design Futuring. Specifically to the awareness of the need for sustainable and autonomous building types. In this particular case they have hit a home run with their orphanage at the foot of the Nepali Himalayas, Lali Gurans, which is still currently under construction. The design is built to be self-sustainable in all senses of the word. It will produce its own food, produce its own energy through solar panels, it harnesses rain water and its been built seismic proof. They have set an example for further implementation of similar sorts of orphanages and libraries in remote communities all

a.0 Design futuring

Lali Gurans orphanage + Library| MOS Architects | incomplete

FIg 4: ThE UNFINIShED CONTRUCTION OF LALI gURANS

CONCEPTUALISATION 9

FIg 5: RESEARCh PAVILLION AT ThE UNIVERSITy OF STUTTgART

10 CONCEPTUALISATION

a.1 Design COMPUTATION

CONCEPTUALISATION 11

Design Computation in Architecture is creating movement and innovation in the design industry. Computation has many benefits and edges over traditional design methods that allow for higher levels of efficiency and innovation. As brought up in the lecture addressing computation in design, it can be said that “a designer’s creativity is limited by the very programs that are supposed to free their imagination” 1. I agree with this statement to a degree, firstly the idea of computation inhibiting creativity I feel is true in the sense that the design process has changed through the use of computation as it extracts the hands on work that is associated with sketching and brainstorming. Although it also allows for more innovative use of algorithms to create complex geometries, that are not comprehensible with the use of computation. The use of computation creates an edge in the architectural design industry which is exemplified through the ICD | ITKE Research Pavilion 2011, created at the university of Stuttgart. This pavilion shows how computational design and fabrication can be advantageous in terms of sustainable materiality, innovative design and construction. It has used bio mimicry of a sea urchin to create the panels and structural ideas and a set of geometries that would not have been created without the use of digital fabrication. Digital fabrication has allowed an innovative morphology of the geometry by using thin sheeting of plywood, which allows this performance2. Structural calculations were tested on this project which creates a structural sound building before it has been built allowing the confirmation that basic structural connections wont’ fail.

1 Terzidis, Kostas (2009). Algorithms for Visual Design Usingthe Processing Language (Indianapolis, IN: Wiley), p. xx2 ArchDaily, ‘ICD | ITKE Research Pavilion 2011’, 2012 <http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> [accessed 15 March 2015].

RESEARCH PAVILLION| ICD / ITKE University of Stuttgart | 2011

a.1 Design COMPUTATIONa.1 Design COMPUTATION

METROPOL PARASOL| J.Mayer.H | 2011


The second structure that engages well with computational design is the Metropol Parasol in Seville, Spain. Known as the largest wooden structure in the world, it’s obvious this structure has used the aid of computational design and digital fabrication with its large spanning wooden pieces and parametric design. This project would be highly complex if not impossible to complete the latticed of wooden pieces. The efficiency of the digital fabrication of each wooden piece has been designed to eliminate large amounts of waste material in the fabrication process. This structure was used to reengage an unused archaeological excavation in the medieval urban centre of Seville and contrast the relationship between the historical and modern urban expanse.

It is one of the largest timber structures built from a network of timber beams with the aid of digital design and fabrication.- Mignon O’Young

“”

FIg 6: METROPOL PARASOL IN ThE URbAN CENTRE OF SEVILLE


a.2 composition/generation

Sagrada Familia| antoni gaudi | Incomplete

FIg 7:: SAgRADA FAMILIA ‘FOREST’


It’s only been in the last 20 years or so that computational design has become a thing, before that it just didn’t exist. A relevant precedent to discuss is Antoni Gaudi and the Sagrada Familia. This a good example of how architecture has made a shift from composition to generation. The highly complex project was created by Gaudi in 1892 with use of hundreds of models and plenty of intricate parametrically designed and detailed sketches is how the design was realised. Gaudi designed the church like this in order for future workers to continue his work the way he planned despite the difficulties. Parametric design has now been implemented for work on the Sagrada Familia allowing for efficiency in the building process. Although we currently believe that digital computation and algorithms is accepted as a part of architecture, this wont be the case until it has stopped being discussed and it just accepted1.

1 Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Archi-tectural Design, 83 (2013), 8-15 <http://dx.doi.org/10.1002/ad.1545>.

a.2 composition/generation

Barcelona fish pavillion| frank gehry | 1992

FIg 8::bARCELONA FISh PAVILLION’


This particular projects sits in Barcelona’s beachfront for everyone to see. Although not many people realise how momentous this structure was to Frank Gehry and the world of architecture. In 1992, this project marked the firms first use of computational design and fabrication, a turning point for Gehry. Now, generation

of design through digitisation in highly common although to reiterate the point as stated by Peters, “when architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture”1.

1 Brady Peters, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 <http://dx.doi.org/10.1002/ad.1545>.


A.3 Conclusion

A.4 Learning Outcomes

As time goes by trends and styles change in most aspects of life including the architecture that surrounds us. The styles and aesthetics are changing constantly in the current days and this can be connected to the rise in the use of digital computation and fabrication in design. Ultimately this is a positive step in the right direction in terms of sustainability, as it allows for efficiency and breakthroughs in sustainable materials and fabrication. Despite these positives, it is still questioned as to whether through computer modelling you lose a sense of creativity.

Through the use of digital design and parametric modelling, I want to reflect a way I can create a space that interacts with the communal area and harness a sustainable outcome with the use of materials and positioning in the site. Through using parametric modelling to create a communal area, I can create an innovative outcome whilst benefitting the people who use the space.

Beginning this semester, my knowledge on architectural computing was quite brief, so completing the tutorials and readings allowed me to become acquainted with the idea of parametric modelling and computation in architecture. I was not surprised by the ideas brought up in week one on design futuring and the more common use of computation in design and how the focus needs to be more focused on the sustainable element of the design industry. The introduction of vectors and algorithms terrified me at first and I’m still not sure I completely understand them but I have grasped the idea of Grasshopper and the basics of Rhino and how they correlate. Specifically at the start of semester the thought of parametric modelling seemed incredibly difficult but with the practice gained through tutorials I am much more hopeful to become more fluent as I believe it will help my design abilities strengthen. The last project I did, I found incredibly difficult to create due to my lack of fluency in any computer aided design which led to what I believe was a poor design due to time spent learning programs instead of focusing on my design development. My new knowledge formed would have allowed me to innovate more in terms of designs and explore more experimental forms and geometries. Overall, it’s been a big learning curve and has been highly beneficial.


A.5 Appendix- algorithmic sketches

5.1 CREATING AN A MESH ON CURVES

By dividing lengths of curves and adding arcs allowed a tunnel like appearence. By changing the shape of the curves and dividing by different numbers or using different axis can alter the mesh.

5.2 TRIANGULATION

Using the populate 3D tool in grasshopper and attaching a slider gave you the option of how many geometries you wanted. Here I have 92, which created a more complex shape than the original example which had 40.

5.3 POPULATION ON A LOFTED CURVE

Using the populate to create geometries on a curved surface, you can change the number and complexity of boxes through altering the number of inputs.

I included these particular sketches because as a new user of grasshopper I was impressed by the minimal effort required to create such complex looking geometries and the ability to make slight changes that completely alter the look of the geometry. Rhino together with Grasshopper allow architects working on projects, more time to work on developing ideas than trying to hands on build model because with Rhino you can digitally fabricate the complex models you create. This is highly advantageous to the design industry allowing more efficiency and accuracy. These models can represent the added creativity that algorithmic modelling allows despite objection that it says the opposite through the interesting set of geometries shown.


references

Frearson, Amy, ‘Ordos Museum By MAD - Dezeen’, Dezeen, 2011 <http://www.dezeen.com/2011/12/13/ordos-museum-by-mad/> [accessed 10 March 2015]

ArchDaily, ‘Ordos Art & City Museum / MAD Architects’, 2012 <http://www.archdaily.com/211597/ordos-art-city-museum-mad-architects/> [accessed 14 March 2015]

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx

ArchDaily, ‘ICD | ITKE Research Pavilion 2011’, 2012 <http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> [accessed 15 March 2015]

Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 http://dx.doi.org/10.1002/ad.1545


Fig.1 Julia Edey, Second Skin, 2013

Fig 2. MAD Architects, Ordos Museuem, 2011 <http://www.i-mad.com/work/ordos-museum/?cid=5> [accessed 18 March 2015]

Fig 3. Seeds of Change Foundation, Lali Gurans Diagram, 2014 <http://www.lali-gurans.org/> [accessed 14 March 2015]

Fig 4. Afasia Archzine, Lali Gurans, 2015 <http://afasiaarq.blogspot.com/2014/11/mos-architects.html> [accessed 15 March 2015]

Fig 5. ICD/ITKE University of Stuttgart, Research Pavillion, 2012 <http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/> [accessed 16 March 2015]

Fig 6. Julia Edey, Metropol Parasol, 2012

Fig 7. Julia Edey, Sagrada Familia, 2012

Fig 8. Architectural Digest, Barcelona Fish Pavillion, 2015 <http://www.architecturaldigest.com/architecture/2014-10/best-of-frank-gehry-slideshow_slideshow_item5_6> [accessed 15 March 2015]

references

Edey julia 586120

Documents

Transcript of Edey julia 586120