ART

IN P

ROG

RESS

DHANIKA KUMAHERI

ADSAIR

We live in a very exciting time of change.

As a young architecture student developing design thinking and design skills , this period in time offers us fantastic adventures, oppor-tunities, dreams, visions and ideals. Essential-ly, the revolution of computational and digital

tools has lured us down the rabbit hole, to the magnificent Wonderland, full of untapped resources and unexplored possibilities. It is also the cocaine of the self-proclained avant-

garde architecture, so far pleasing only a significantly small portion of the international

stage, but causing an ongoing addiction for research and progress for its cause. It is

the purpose of this semesters design studio to focus on, and contribute to, this ongoing

architectural discourse, and to do so not only through meaningless form-finding, but more

importantly in developing mastery in design-ing with these new tools where creaitivity is not instant but traceable and runs through

the whole project.

What this studio will not be, essentially, is

...an onanistic self indulgence in a cozy graphic environment. Endless repetition and

variation on elaborate geometrical schemata with no apparent social environmental and

technical purpose whatsoever.

-John Frazer, in M.Burrys Scripting Cultures-

DOWNTHE RABBIT HOLE

CA

SE F

OR

IN

NO

VA

TIO

N:A

RC

HIT

EC

TU

RE

AS

A D

IS-

CO

UR

SEd

ef

inin

g a

rc

hit

ec

tu

re a

S a

diS

cO

ur

Sea

rc

hit

ec

tu

re a

S a

rt, S

ign

an

d u

rB

an

eX

Per

ien

ce

ar

ch

ite

ct

ur

e a

S Si

gn

ca

Se S

tu

die

S a

nd

Pe

rSO

na

L P

rO

Jec

tin

te

gr

at

iOn

in

tO

eO

i

oNt

ent s

week

EO

I: C

ASE

FO

R I

NN

OV

AT

ION

: CO

MPU

TAT

ION

IN

AR

-C

HIT

EC

TU

RE

CA

SE S

TU

DY

1IN

TE

GR

AT

ION

IN

TO

EO

IC

ASE

ST

UD

Y 2

INT

EG

RA

TIO

N I

NT

O E

OI

CO

NC

LU

SIO

N

CA

SE F

OR

IN

NO

VA

TIO

N: P

AR

AM

ET

RIC

DE

SIG

N

03

RE

SEA

RC

H P

RO

JEC

T: C

UT:

DE

VE

LO

P

05

RE

SEA

RC

H P

RO

JEC

T: C

UT:

DE

VE

LO

P

06 0701

C02

sRE

SEA

RC

H P

RO

JEC

T: C

UT:

DE

VE

LO

P

07

1WEEK

DEFINING ARCHITECTUREAS A DISCOURSE

wk01.01 case for innovation

Defining architecture has been a focus and rather, a hobby for many architects since it is so open ended and hard to define

It is the true aim of this design studio, in the use of new computational tools and design thinking, the Expression of Interest Document, and also the Wyndham City gateway project, that whatever results spring in the end - will contribute to the great and ongoing architec-tural discourse. A step forward.

the goal

Ian McDougal, AND Lecture series 2012a synthesis of

revolutionary ideas attracts scholarly at-

tention and/or the gen-eral public

attracts discussions on all levels

challenging of existing ideas

challenging of existing

practices in design or fabrication

methods

research on new design or fabrication

methods

something that offers something new and

exciting possi-bilities

incorporation of meth-

ods ortools from other disciplines

attracts debates from the ongoing dis-

cussions

contribute to the ongoing

architectural story in history by contibuting as idea bridges between one significant work and

another

replicable as a study by other people also interested

in the same interest

contribute sto the

proliferation of folllow-ers under their influ-

ence

D I S C O U R S E

diagram 1 &2 summarized from lecture 1 : Un-derstanding the Course : Architecture as DiscourseWilliams, Richard (2005). Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. 8 Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116

diagram 2. The strife to advance architecure as a discourse: to push boundaries forward

with individuals performing as a whole.

diagram 2. A summary of what it means to

advance architectural discourse.

a synthesis of

revolutionary ideas attracts scholarly at-

tention and/or the gen-eral public

attracts discussions on all levels

challenging of existing ideas

challenging of existing

practices in design or fabrication

methods

research on new design or fabrication

methods

something that offers something new and

exciting possi-bilities

incorporation of meth-

ods ortools from other disciplines

attracts debates from the ongoing dis-

cussions

contribute to the ongoing

architectural story in history by contibuting as idea bridges between one significant work and

another

replicable as a study by other people also interested

in the same interest

contribute sto the

proliferation of folllow-ers under their influ-

ence

D I S C O U R S E

ARCHITECTURE AS ART

How architecture as art has advanced the architectural discourse

Architecture as art, in this case - as an expression of a design intent that have the power to evoke a feeling, emotion or as-sociation, and produce significant effects to its consumers, has been an ongoing contribution to the architectural discourse.

The pylons of the Karnak temple (figure 1.1)are seen as a canvas for artwork. It is adorned in hieroglyphs and represent a barier, a gate to the inside of the temple,which is a representation of the realm of the gods. The reason why they are so tall inheight is to intimidate the unworthy. The same idea of decoration to achieve an elevated state of being, and the manipulation of height is later used, more than 1500 years later, by a British architect called Sir John Soane, in the adorning of the walls in his home. The towering height and the chaos of artworks were conceived to be a trick to overwhelm, and to cause a sense of reverity and vertigo. One can see that even though Sir John Soane borrowed a piece of an idea from Karnak temple, that he also duly added his own intake to it.

And this is what it means to contribute to an architectural discourse. It is to look back upon what has already been done, reflect upon it, and reproduce it in a way that both reflects the zeitgeist of the time as well as offering some-thing new that will broaden the meaning of architecture and give the opportunity for someone else in other parts of the architectural profession to replay the process.

fig 1.1 (top). Karnak Temple, Egypt.

fig 1.2 (bottom). Sir John Soanes House in London. (now Sir John Soanes Mu-seum).

wk01.02 case for innovation

The previous works shown earlier were great works of art. However, it is undeniable that they are also out of date. It is mandatory that architec-ture as art reflect the zeitgeist, the soul of the current age. And right now, the age demands for something contemporary, dy-namic, a parametric manifesto.

ARCHITECTURE AS SIGNHow architecture as sign has advanced the architectural discourse

Once we have established that architecture could be an artform, the question that follows is Beacuse it is subjective, then how do we interpret it?

It is precisely this quality in architecture that allows it to be defined also as a sign.

Architecture is the most dominant and prevalent form of art. However, there is something slightly problematic with this view. Reading architecture merely as a conception of a genius artist, an offspring of ideas that are aesthetically grand and pleasing is nothing but an incomplete view of ar-chitecture, even though this is the most common view of ar-chitecture from the general public. Architecture seen in this way also neglects the needs of the masses and becomes no more than a visually aesthetic privilege for a select people in the top architectural hierarchy (Williams, 2005: 105-107)

And like them, we are certain that architecture ought to function on the level of a sign, as well as anything, and actu-ally- that as signs, they are open to multiple in-terpretatons. The mean-ing of architecture was therefore not single, authoritarian and closed, but multiple, democratic and open.;

-Richard Williams, 2004-

wk01.02 case for innovation

Architecture as a sign is highly related to its asso-ciative powers. Throughout history architecture has been used to show power, represent a politi-cal stance, represent a particular social groups presence, ethnical identity, or cultural identity.

For example, skyscrapers have long since broke through from its initial meeting its space-cost efficiency. Different from its earliest predeces-sors of proto-skyscrapers like the Life Insur-ance Building in New York, built in the 1870s. They are now architectural signs of modern civilizations, a proof of technological and en-gineering superiority, financial power, design and cultural prowess and stature of a nation.

This is what it means to look at architecture as signs. Looking at architecture as a sign means looking at architecture and its mean-ing and impact in the publics eye. In order to properly interpret architecture and the mean-ings behind it, one must look at its context, its predecessors, its design drivers and con-straints, and its designers and consumers.

This is how looking at architecture as a sign con-tributes to the architectural discourse. Interpre-tation of a single architectural entity will not be achieved without extensive discussion that will touch upon other ares in teh subject. It contributes to the discourse because interpretations of ar-chitecture rely on archietctural symbols and ges-tures, which have different meanings over time. Therefore, looking at architecture as a sign con-tributes to teh architectural disocurse because it is equivalent to iuterpretinga constantly changing language, that are influneced by the changing so-ciall, political, cultural, nd historical environment

Architecture has to have that capacity for people to project their own understand-ings and beliefs into them , in a sense, the public must be allowed to appropriate a bit of the interpretattive aspect of archi-tecture. If not, architecture is meaningless, if not architecture cannot communicate and therefore is deatched from its main consumers, rendering it disfunctional and unloved.

ARCHITECTURE AS URBAN EXPERIENCE

Looking at architecture as an urban experienc does not subject buildings or any other architectural elements below the power of urban planners, or the city as a whole. It is mereley acknowledging the fact that architecture dissolves into nothing more but an accumulation of ex-periences, emotions, memories, activities, and necessities within an urban fabric.

It is interesting to explore the situations when an indi-vidual stops perceiving the city as an agglommeration of buildigs, but instead as a series of experiences shaped and made by these precise arrangementm styles, ad design of buildings or other archietctural elements.

it describes the point at which debate cxpands from consideration of buildings alone, to consider the psychological (and indeed other) ef-fects that an ac-cumulation ofbuild-ings might have.

INTEGRATION TO EOI AND WYNDHAM CITY GATEWAY PROJECT

With the interest of contributing to the architectural discourse, the proposal EOI and the final pro-posal for the Wyndham city gateway project should encompass all three defintions of architecture. The final proposal will present the gateway as art, sign, and urban experience. It must have a pleasing artistic appeal, be s vessel or machine of Wyndham city identity that people can interpret and ap-propriate with thir own interpretations and understandings, and most importantly stress the urban experience of driving through it.

Why contribute to the architectural discourse in the Wyndham city gateway project?

It enriches your project. Its the most effective way to make your project be discussed and remembered. It gives your project a timeless quality. It gives your project life beyond its intended time.

We are taking a step to advance and influence the ideas and practice of others in the field of archi-tecture, which in time, or in the future also may inform our work in return.

Contributing to the ongoing 'idea machine' that has been a tradition for as long as architecture existed.

2

3

1

conclusion

The Blur Building

The Blur Building by Diller + Scofidio, is almost liter-ally no building at all. It was a temporary pavilion for the 2002 Swiss exposition, in the 3 lakes region of Switzerland. It was unique in that the primary mate-rial used in the building was water vapor, pumped up from its site, in the middle of Lake Neuchatel and shot out of 31500 water vaporizers so that the entire struc-ture appeared as fog lifting off the lake or an impos-sibly low cloud. A smart weather system reads the shifting climactic conditions of temperature, humidity, wind speed and direction, and processes the data in a central computer that regulates water pressure.

Upon entering the fog mass, visual and acoustic refer-ences are erased, leaving only an optical white-out and the white-noise of pulsing nozzles. Blur is an anti-spectacle. Contrary to immersive environments that strive for high-definition visual fidelity with ever-greater technical virtuosity, Blur is decidedly low-def-inition: there is nothing to see but our dependence on vision itself.

This whole orchestrated effect creates architecture that fully and wholly immerses you. So much, in fact, that you forget where you are, what you are doing, and everything dissolves into emotions and feelings of ap-prehension and excitement.

Diller + ScofidioYverdon-les-Bains, Switzerland - 2002Progressive Architecture Design AwardFeatured in: Ted Talks http://www.ted.com/talks/liz_diller_plays_with_architec-ture.html

This building advances architectural discourse

in art because it chal-lenges the notion of

immateriality and form-lessness, something not

discussed in architec-ture, but mostly in other

forms of artworks, and challenges the basic

concept of what can be seen as an architectural MASS. It made the real

(the building) appear unreal.

case study #1

"

"

Probably the single most compelling aspect of the project is its role as a changeling, and also the weightless aspect of it. The Building also provokes the consideration of the role of gravity, the weight of our buildings in teh distant future that begin to escape the bounds of the earth.

""perhaps one of the really interesting things about the building Is that it makes people think about environmental experiences and strategies, and maybe those sort of strategies will become fashionable.

B.W. Parker, pRACTICING ARCHITECT IN NEW YORK

"MARY HANCOCK, COURSE CHAIR FROM OXFORD BROOKES UNIVERSITYTHE BUILDING DOESN'T SUGGEST NEW CONSTRUCTION TECHNIQUES. IT PROPOSES NEW WAYS OF THINKING ABOUT ARCHITECTURE, OPENING UP OUR MINDS TO WHAT ARCHITECTURE CAN BE. MORE AND MORE, PEOPLE ARE REALIZING THAT ARCHITECTURAL DESIGN DOESN'T JUST INVOLVE JUST BRICKS AND STICKS AND STATIC FORMS, THAT IT DOESN'T NEED TO HAVE SPECIFIC BOUNDARIES.

"USMAN HAQUE. PRACTICING ARCHITECT, BRITISH ARCHITECTURAL INTERACTION DESIGN FIRM

"

""

"

IT ALSO MAKES US QUESTION WHERE LIES THE DIFFERENCE BETWEEN ARCHITECTURE AND NON ARCHITECTURE. IT GIVES YOU THE FEELING OF BEING PART OF A CONSTANT METAMORPHOSIS.

EVA AFUHS, ARTISTIC DIRECTOR OF THE 2002 SWISS EXPO "

integration into EOI

One aspect that makes the blur building very forward-leaning and contribute im-mensely to the architectural discourse is that it CHAL-LENGES a widely held idea that have been taken for granted: what a normal building looks like and what constitutes an acceptable architectural mass. The EOI will note this idea of chal-lenging and redefining a simple and widely known idea. I aim to redefine what can be architecture and what cannot be architecture into a simple gesture of what can lie in-between these widely understood labels: The con-cept of a built piece of archi-tecture that does not look like a built piece of architecture.

A more important design logic from the blur building is the notion of ARCHITEC-TURE AS AN EXPERIENCE that is immersive and domi-nant, and is strong enough to wipe out all preconcep-tions of space and common understandings of architec-ture. Like the blur building, this intention will have to be achieved visually, and also will employ materiality and theatricality that will be best achieved through the use of computational means.

A very crucial aspect of the blur building, which is directly relevant to the Wyndham Gateway Project Brief is the fact that it suc-cesfully created an archi-tectural effect that ripples even years after its com-pletion date, where aca-demics, the public, profes-sional architects alike still continue to discuss these atmospherical achieve-ments of the blur building. This is a true measure of contribution to the archi-tectural discourse. , and also a design goal for both the Wyndham city coun-cil: to have a monument of their own which will be remembered as a sig-nificant contributor to teh architectural discourse, that will be remembered and discussed. The Blur building manifests that yearn from an archietc-tural piece that wants to be remembered forever, as a piece that has success-fully pushed the boundar-ies of architecture forward.

connection to wynd-ham gateway broject

brief

Brod / The Ship / La nave: A Floating Pavillion for Croatia at the Venice Biennale

a project of the Ministry of Culture, republic of Croatia

Architects: Saa Begovi Marko daBrovi igor Frani Tanja grozdanipeTar Mikovi SiLvije novak veLjko oLui heLena paver njiri Lea peLivan ToMa pLeji goran rako Saa randi idiS TuraTo pero vukovi Toni arni

Exhibited at : 12th international architecture exhibition, Venice Bienalle 2010. People Meet in Archi-tecture, August 29 - November 2010, directed by Kazuyo Sejima

Publications: An interview with Leo Modcrin, project comissioner http://www.domusweb.it/en/video/leo-modrcin-croatian-pavilion-arsenale/

Videos of The Ships details, elements and constructionhttp://www.veengle.com/s/Croatia%20Pavilion.html

Official websitehttp://www.pavilion.hr/index.php

Official Publication:http://www.pavilion.hr/download/book.pdf

case study #2

This architectural piece ad-vances architectural discourse because it challenges the idea of whats unreal by taking the concept of an illusion, that does not have mass or form, and translating it into actual built space. This approach, in a way is opposite to the Blur Building, but still has that same power to critique our mundane, everyday concepts. Again the meaning of archi-tecture is pushed even further as these space-less concepts of illusion becomes an actual 3 dimensional space.

Croatian par-ticipation at the 12th International architecture Exhi-bition at The Venice Bienalle were made up of three com-ponents, a floating pavillion sailing all the way across the Adriatic sea from Croatia to Ven-ice, an exhibition detailing the design process of the col-laboration between 15 internationally recognized Croa-tian archietects who designed it, and a oublication of the project distributed to visitors at the venue.

+015

+030

+045

+060

+075

+090

+105

+120

+135

+150

+165

+180

image above. cad drawings of wire meshes that form the croatian pavillion, later on stacked on top of each other to create the illusion of a building.

background image. interior view with a mesmerizing opti-cal effect of the Croatian Pavillion

I wanted an exhibition and was proven wrong, I wanted the project to be named the ship, and was proven wrong. tis not about the ship, it is about the cargo. In every single step of this project I was proven wrong, and I think this is why this project is a complete success in the end.

IT SHOULD NOT BE READ AS A BUILDING, IT HAS NO SCALE. THE PROJECT AT-TEMPTS TO AVOID THE TERROR OF THE VISUAL, TO INCLUDE OTHER SENSES AND IN THAT WAY BRING ARCHITECTURAL SPACE TO RECOGNITION. SENSORY PROPERTIES LIKE THE SHARPNESS OF THE ELEMENTS THAT EMERGE BY CUTTING, THE WIND THAT YOU FEEL PENETRATING THE STRUCTURE ALL THAT INTRODUCES YOU TO SOME FORM OF TOPOGRAPHY THAT IS NOT CREATED THROUGH THREE SPATIAL DIMENSIONS, BUT EMERGES ON THE COMPLEX SCALE OF WELDED WIRE MESH.

T O N C I A R N I C- CROATIAN PAVILLION ARCHI-TECT

leo modrcin

"

"

""

integration into EOI

This effect of materializing the immaterial (the concept of il-lusion) could only be achieved by fabricating some form of VISUAL or OPTICAL effect. The Croatian pavillion is made from cheap building substance, it is accesible to everybody, and yet still manipulates the percep-tion and world of the viewer into a new world where every-thing falls short of their expec-tations.Views will be altered, and unexpected experience will be made possible.

A very crucial aspect of the blur building, which is directly relevant to the Wyndham Gateway Project Brief is the fact that it suc-cesfully created an archi-tectural effect that ripples even years after its com-pletion date, where aca-demics, the public, profes-sional architects alike still continue to discuss these atmospherical achieve-ments of the blur building. This is a true measure of contribution to the archi-tectural discourse. , and also a design goal for both the Wyndham city coun-cil: to have a monument of their own which will be remembered as a sig-nificant contributor to teh architectural discourse, that will be remembered and discussed. The Blur building manifests that yearn from an archietc-tural piece that wants to be remembered forever, as a piece that has success-fully pushed the boundar-ies of architecture forward.

connection to wynd-ham gateway broject

brief

- a resilient urban creature for Tongzhou -

The pur-pose of this experimental work is to inves-tigate alternatives to substantiate the capabilities and potentials of computational design into more meaningful levels through experimentation on high density redevelopment for transforming Tongzhou, a new suburban district in outside the 5th ring road of Beijing, into a new city center in order to release some of teh population burdens of the old city cenetr. The brief aims to challenge current urban design typologies are fre-quently conceived of as autonomous and static modules for living within the city, that are incapable of allowing change and adapting to change, dialogue, and response to shifting relaities and conditions over time. These models quickly become obsolete and ineffective. In contrast, cities not planned as one-offs, but rather which grow organically in response to varying needs and invisble forces, demonstrate a richer urban out-come. Yet many of these systems still lack a level of organization, flexibility and adaptiveness. Cities, especially in China seem to be designed to continually become less valuable up until the time of demo-lition and rebuilding. By focusing on alternatives for high-density residential design this studio questions whether urban design methodology can become 5-dimensional and address multiple parallel solutions evolving over time. MethodologyThrough IRRESOLUTE DIAGRAMMING, invisible and visible forces or parameters occuring on the site through irresolute, intentional dia-grams. These open ended, dynamic diagrams fluctuate in time and sdisplay ranges of possibilities, Their digital / parametric set-ups allow for interactive and responsive indexing of open-ended parameters by using varying, imprecise, undetermined, input parameters.

- a resilient urban creature for Tongzhou -

The pur-pose of this experimental work is to inves-tigate alternatives to substantiate the capabilities and potentials of computational design into more meaningful levels through experimentation on high density redevelopment for transforming Tongzhou, a new suburban district in outside the 5th ring road of Beijing, into a new city center in order to release some of teh population burdens of the old city cenetr. The brief aims to challenge current urban design typologies are fre-quently conceived of as autonomous and static modules for living within the city, that are incapable of allowing change and adapting to change, dialogue, and response to shifting relaities and conditions over time. These models quickly become obsolete and ineffective. In contrast, cities not planned as one-offs, but rather which grow organically in response to varying needs and invisble forces, demonstrate a richer urban out-come. Yet many of these systems still lack a level of organization, flexibility and adaptiveness. Cities, especially in China seem to be designed to continually become less valuable up until the time of demo-lition and rebuilding. By focusing on alternatives for high-density residential design this studio questions whether urban design methodology can become 5-dimensional and address multiple parallel solutions evolving over time. MethodologyThrough IRRESOLUTE DIAGRAMMING, invisible and visible forces or parameters occuring on the site through irresolute, intentional dia-grams. These open ended, dynamic diagrams fluctuate in time and sdisplay ranges of possibilities, Their digital / parametric set-ups allow for interactive and responsive indexing of open-ended parameters by using varying, imprecise, undetermined, input parameters.

a personal group project for aa beijing

winter school 2012

integration into EOI

In this project where the outcome of the parametric model is not a built entity, but more like a designed system that is open ended and adapts to change, the interest that is relevant to be implemented to EOI would be the same use of computational tools to create a system of designing that is more resillient to different changes through time and will not be quickly rendered obsolete in comparison to other projects that will spring up in the future. This will be done in using computational tools to design an architectur-al spectacle that focuses more on the experience of driving through it, and not so much on the form on the outside.

CONNECTION TO THE WYNDHAM GATEWAY PROJECT

Most of the comissioned built monuments that belong in the same category in Melbourne are sculptural pieces that are dependant on the impression of its exterior form. These outward getsure froim teh monument, relying much on its form and scultptural ges-ture quickly makes them ob-solete and out of date within a short period of time. In rela-tion to our EOI, it is therefore in our agenda and our goal to challenge what has already been done, and repackage the delivery of the proposal in a newer and provoking way that has never been done before: the committee will not get another monument. There are already so many monu-ments around Melbourne, they will get AN UNFORGET-TABLE EXPERIENCE as their new gateway.

2WEEK

We pursue the parametric design paradigm all the way... systematic, adaptive variation, and dynamic parametric figuration cocnerns all design tasks from urbanism to the level of tectonic detail, interior furnishings and the world of products... addressing the demand for an increased level of articulated complexity... parametricism is the great new style after modern-ism. Postmodernism and Deconstructivism have been transitional episodes that ushered in this new, long wave of research and innovation.

-Patrik Schumacher-Parametricism as Style: Parametricist Manifesto

week.02week.02

COMPUTATIONAL INNOVATIONS

BAROQUE DETAILING: REDEFINED

A SEARCH FOR PURE ORNAMENTATION

Michael Hansmeyer. A New Order. neo-baroque collumn prototype.

2010

Official Website: http://www.michael-hans-

meyer.com/projects/columns.html?screenSize=1&color=1

Exhibitions:featured in Gwangju Design Bien-

alle, Gwangju, 2.9 - 23.10.2011 Self-Structure: Column

Protoype at Le Lieu du Design, Paris, 30.9 - 17.12.2011

We are familiar with the use of generative grammars, L-sys-tems or other recursive procedural frameworks, such as Roland Snooks swarm based models that references natural processes or organic structures. What is extraordinary about the work of Michael Hansmeyer is the fact that Hansmeyer does not seek to reference the same processes as analytical tools to investi-gate nature. Instead, Hansmeyer is directly interested in creat-ing an outcome purely for the purpose of synthesizing and producing ornamentation. One can argue that Hansmeyer is in fact taking a geometrical ornamentation path much like that of Islamic religious ornaments that defy any references back to nature, and derive its insipiration, beauty and complexity purely from geometrical forms. In his latest, and most famous work, his structures make reference to the foundational dis-course of the architectural order of columns, in which systems of dealing with issues of articulation and junction have been negotiated from antiquity through to the architetcure of the early 20th century. And not just in Western cultures and archi-tecture, but also seen in ither architecture cultures around the world. And yet, his approach is not intended to add criticisim or to expand or modulate this discourse in any way - he does not intend to seek a modified new order, but rather is inter-ested in something like the orderability, the ability to arrange particular orders out of all potential ways of doing so.

How far is Hansmeyers work advancing the architectural discourse is rather debatable. While it is true that it is a brilliant innovation from the mundane types of traditional ornamenta-tion, and offers a viewing experience and rich engagement with the viewers sense of touch in ways that could never have been achieved without computational tools, let us not forget the fact that it is, in fact, only a shell of fancy clothing wrapping around a rather simple and traditional architectural column. A full-scale, 2.7-meter high variant of the columns was fabricated as a layered model using 1mm sheet.

michael hansmeyer: a new order

week.02

COMPUTATIONAL INNOVATIONS

1. Michael Hansmeyer. A New Order. neo-baroque collumn prototype. 2010

2. Michael Hansmeyer. A New Order. neo-baroque collumn prototype. Close up zoom

9x. 2010.3. Michael Hansmeyer. A New Order. neo-baroque collumn prototype. Tangibility. 2010.4. Michael Hansmeyer. A New Order. neo-baroque collumn prototype, on display at

Gwangju design Bienalle, 2011.

1

2

3

Each sheet was individually cut using a laser cutter. Sheets are stacked and held together by poles that run through a common core. There is still an apparent disjunct between the columns traditionality of functioning as a supporting struc-tural element and its new state-of-the-art add-on ornamented function, and no effort, despite the advanced computational tool at hand, has been made to marry the two.

On this note, Hansmeyers columns have failed to launch itself at a more futuristic projection. To a certain extent it has suc-ceeded advancing the meaning, shape, form and feel of what architectural ornamentation in the digital age can potentially be in contrast with its Baroque predecessor. However, for it to really push the architectural discourse forward it needs to advance its attempt of merely ornamenting a structural entity and approach this high level of visual and textural complexity not merely from and aesthetics point of view but also from a structural standpoint.

"The shapes of Michael Hansmeyer present themselves, as ornamented columns, very self-confidently as the produces of artificiality - even though there is a strong touch of alien organicity proper to them.''- Vera Buhlmann

Comprehended like this, as genuinely procedural shapes that articulate a certain figurality of the of the form, evoke a certain alien-like feeling - they indeed share some key features of Baroque rationality - namely the radically abstract interest in aesthetics by calculation. Apart from that, the same love for curvilinear decoration and the same effect of theatricality are achieved.

4

The calculation of the cutting path for each sheet takes place in several steps. First, the six million faces of the 3D model are inter-sected with a plane representing the sheet. This step generates individual line segments that are tested for self-intersection and subsequently combined to form polygons. Next, a polygon-in-poly-gon test deletes interior polygons. A series of filters then ensures that convex polygons with peninsulas maintain a mininimum isthmus width. In a final step, an interior offset is calculated with the aim of hollowing out the slice to reduce weight.

While the mean diameter of the column is 50cm, the circumfer-ence as measured by the cutting path can reach up to 8 meters due to jaggedness and frequent reversals of curvature. The initial prototype uses 1mm grey board. Tests using ABS, wood, as well as metal are under way.

week.02

7 8

5 6

manufacturing

5. A new Order. Initial intersection with line segments

6. A new Order. Formation of Polygons7. A new Order. Polygon Filtering and

vertex adjustment8. A new Order. Interior offset/ hollowing

out

week.02

manufacturingCOMPUTATIONAL INNOVATIONS

conclusion

3WEEK

A FROZEN PIECE OF MUSIC

Anisotropia, the design for the new Busan Opera House

wk03

contemporary scripting design philosophy

This project started with an interesting notion of music and architecture, and how similar they are to each other. However, unlike his earlier predeces-sor Iannis Xenakis, who composed music for pre-ex-isting spaces and designed spaces to be integrated with specific music compositions and performances, Christoph Klemmt took this idea of merging archi-tecture and music into a further level. With his design for the Busan Opera House, Klemmt reconfigured a musical piece that he wrote and through the use of computational tools, translated it into a faade that wraps the entire opera house in a corresponding harmony of architectural and musical composition.

Klemmt has once, and for all, frozen music into architecture.

Klemmts initial design philosophy revolved around the differences similarities between architecture and music and how he could merge the two. One of the most ap-parent differences between the two is that architecture eventually manifests itself in form and mass, whereas music is without mass. Despite these differences, he was interested in similar experiential qualities that mu-sic and architecture share. At a fundamental level, both architecture and music are art forms that have the ca-pacity to evoke and express emotional response. From a technical perspective, they are both made up of tech-nical or individual components or members that join together to make a coherent composition of elements.

wk03

contemporary scripting design philosophy

(top left) Busan Opera House. rendering of great hall. Cristoph Klemmt, 2011.

(bottom left) Busan Opera House Rendering of main theatre hall. Cristoph Klemmt. 2011.

(bottom right) Busan opera house floor plan. Cristoph Klemmt. 2011

They also share a similar way of design rep-resentation. Both of these disciplines rely on visual graphics, drawings and annota-tions to communicate, replicate, and visu-alize their design, and both have their own codes, systems and rules of representa-tion. The last, and probably most important similarity that Klemmt explored was time. Klemmt was interested in how both disci-plines occupy the dimension of time, and it was through this very method that he suc-cessfully translated sound into space. In a way, Klemmt transformed the time compo-nent in his music into an architectural space.

Having been successful with transforming something that is intangible into something that is spatially tangible, Klemmt was then faced with the most important question in parametrics and computational architecture : How does one incorporate ones compu-tational concept into built architecture?.

Klemmt does this in a sinuous, philosophi-cal way. By wrapping this frozen music around the building mass, Klemmt created a new symbol for art. He has managed to visualize music into built form, the equiva-lent to making ghosts visible to the naked eye before the age of computational tools. Klemmt hugged and dressed his building mass in this abstract, interweaving waves that not only just represented music, but embodies it. By doing this, he actually took the understanding and discourse of archi-tectural symbolism further. With the help of computational tools, it is now possible to literally manifest a concept that is previously never possible. Klemmt achieved a literal representation of an abstract concept, mu-sic, in an elegant and not so mundane way.

wk03

contemporary scripting design philosophy

However, architects still face a challenge in how architecture communicates to the general public. There has always been a gap between most buildings conceptual start-ing point, and the public apprehension of such concepts. The general public concen-sus is that architectural concept and the way public receives them are incongruent. While this incongruency is good in that it lets dif-ferent interpretations and meaning be pro-jected onto the built work, it also poses the question of whether or not an architectural concept behind the building needed to be communicated at all. Should it be an archi-tects job to make sure that his concept, his personal message be communicated to the world? Or should it not concern the archi-tect at all? Does it matter whether or not the public gets it? And most importantly, will the public getthis piece of architecture?

A building that is truly a work of art in its nature, essence, physical being an emotional expression. This being so, and I feel that this is so, it must have, almost literally, a life.

The theme of ornamentation is central to this design. And it is important to approach the intention of this ornamental facade criti-cally. The marriage between architecture and ornamentation has had its significant rise and falls. And the public view on how an ornamentation is received is always changing. Ornamentation also brings a central theme of identity, and with it, is-sues such as place making, or lack thereof.

-Robert Seyfarth

The musical piece that is behind the conception of Busan opera

house facade detail .

KLAVIERSTCK

wk03

contemporary scripting design philosophy

It is curious to note that the architect composed a musical piece in German that isnt an actual music for the ears. Instead, Klavierstck I is a piano composition writ-ten by Klemmt based on a twelve tone row which is repeated and altered, in or-der to create complex rhythmic patterns. One can say that this musical piece was created for the sake of how it is meant to appear as a the opera houses or-nament appearance. Once again, this feels unconvincing. Why not choose a musical piece related to Busan, South Korea, as an interdisciplinary twist on site-specificity? Why not take the won-derful concept and use it to enhance the cultural heritage, the cultural treasures and richness of the site and the people? Why not make this architectural concept a driver and beacon for cultural iden-tity of the place? At least then the rea-sons for the origins of the design would fit with the location of the structure.

Sure, beauty by itself can be wonderful to be-hold, but in the case of a purpose-built build-inga cultural center no lessbeauty with a reason is often more satisfying. This project manifests the very meaning of computational architecture and its power to visualize abstract concepts in a novel way. Through the use of computation, the design intent was carefully and beautifully executed: Translating and freezing music into built form. It is successful in pushing boundaries of architecture as a liter-al means of representation, but a question re-mains unanswered. Will computational design contribute to a further death of site specific identity and richness? Will it promote site-spe-cific solutions that are embedded within the heart and culture of the local people? Or will it simply be an empty cocoon of form, waiting for locals toi project a sense of identity to it?

Busan Opera house 3D rendering, perspective view, Cristoph Klemmt, 2011

contemporary scripting design philosophy

Busan Opera house 3D rendering, perspective view, Cristoph Klemmt, 2011

wk03

contemporary scripting design philosophy

4WEEK

CU

T D

EF

INIT

ION

S

Look-ing for various inter-esting and viable outcomes from these ut techniques is literally the same with Kalays puzzle makingapproach to design. Al-though at this stage, experimenting with cut techniques is more like trying to pick and choose some selective puzzle piec-es that might create a more suitable bigger picture in design solving. The big question that is related to this design method is how does one nd this search? What are the parameters affecting our choice of design solutions? A lot of factors have been identified: site, fabrication tech-nology, stakeholders, but most im-portantly, it should also utilize, train and sharpen the designers intu-ition of art, form and composition.

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEVELOP

1 2 3 4

sets and types + voronoi 3D with planar suraface manipulation

W K. 0 4R E S E A R C H P R O J E C T : CUT: DEVELOP matrix

opportunity

ARPBPCIEGOPSGSNATPCAISMFMMFSTUS

arbitrary points

boolean patterning

curve intersections

explicit grids

overlapping patterns

surface grids

surface normals

attractor point

curve attractor

image sampler

maths function

multiple maths function

streaming text

using sets

wk.04

ddcddrddeddsgmsmcrl

data driven components

data driven rotation

data driven extrusion

data driven shading

grid manipulation

surface manipulation

cross-reference list

data driven components

data driven rotation

data driven extrusion

data driven shading

grid manipulation

surface manipulation

cross-reference list

wk.04

matrix presentation style : based on Yyehuda kalays search process : depth first - and then breadth

In every graphic presentation, the most important question is how to communi-cate graphically, in the most succinct, effective, elaborate when needed too, and non-ambiguosly. In this case, where the computational design process churns out multiple and seemingly open ended outcomes of candidates for optimal design, it is therefore necessary to lay them out in a structured way - not just for the benefit of whomever designers will present their information to, but also for the designers own benefit.

Structuring the candidates of optimal design in a more structured way allows the designer to declutter his or her workspace and thinking space and allows him or her to see emerging patterns or values in his or her many, many different candidates. It allows designers to effectively compare, cross check with the different methods he or she used, and make more informed decisions.

The method of displaying information depth first was done as this was the primary method used when explor-ing grasshopper definitions. Each grasshopper defini-tion had its possibilities and candidates exhausted before moving on to another candidate.

Initially, all 49 possible options from the combinations of inputs and associations grasshopper definitions were ex-plored, and then a few were chosen to be explored further according to a set of criterias,

The pairs of inputs and associations that were chosen were chosen out of a pragmatic need to explore many multitudes of possibilities that can be generated from them. Selection of the 9 inputs and associations pairs were made by visual judgment. They were chosen for their eye-catching and dynamic composition, something that directly relates to the EOI and the Wyndham gateway project brief.

preliminary criteria for matrix of output

preliminary criteria for final wyndham gateway project design

Macro-scale instead of micro scale details

Parts have to be movable/ interchangable

All with same modular dimensions

Be able to be supported by kinetic joints

Arbitrary Points Boolean Patterning Curve Intersections

Attractor Points

Curve Attractor

Image Sampler

Maths Func-tions

Multiple Maths Functions

Streaming Text Files

Using Sets

AS

SO

CI

AT

IO

NS

I N P U T SOverlapping Patterns Surface Grids Using Surface Nor-

malsExplicit Grids

ARP ATP DDE

ARP ATP DDRCRL

ARP ATP DDR

ARP ATP DDc

Doing the matrix of outputs unearthed a few different rev-elations about the scripting and computational process.

C o m p u t a t i o n a l tools never tire. And could be creative if you script them the right way. It gets you the designer thinking in so many different ways and possibilities that would otherwise would be too ex-haustive for human brainwork to do.

The more param-eters you put in, the more possi-bilities you end up with. The more parameters yous consider in your script, the more di-verse your design outcomes could be.

It is easy to get lost in the fun. This means designers got to know his or her goals amd when to stop ex-ploring possibilities to make a decision

Doing the matrix of outputs unearthed a few different rev-elations about the scripting and computational process.

1C o m p u t a t i o n a l tools never tire. And could be creative if you script them the right way. It gets you the designer thinking in so many different ways and possibilities that would otherwise would be too ex-haustive for human brainwork to do.

The more param-eters you put in, the more possi-bilities you end up with. The more parameters yous consider in your script, the more di-verse your design outcomes could be.

It is easy to get lost in the fun. This means designers got to know his or her goals amd when to stop ex-ploring possibilities to make a decision

bpusddc

bpus

ddr

bpus

ddrcrl

bpus

dde

2

3

Maths function seem to be gener-ating the most out-come, especially if combined with the rotation function

4

ci mf dde ci mf dde sm ci mf ddr sg mf dde

sg mf ddrsg mf ddr

crlsg mf dde

gmsg nf ddc

sn st dde sm ddr

sn st ddr

5WEEK

De Young Museum [ Herzog & de Meuron ]

Overall form gives an impression of a prehistoric monolithic structure, especially against the backdrop of the landscape. But on a closer look at the details, it boasts a modern, computationally designed and enabled facades.

Technique: These facades were obviously designed with an image sampler as the as-sociation technique, and with circles as the outputs technique, which is then developed into perforations and bumps.

Performance: The weathered effect, which had been unforeseen proves a nice addition to the whole design. Having experienced this unplanned quality in their work, the architects who made this building will have gained an incredible insight to their next design and these emergent qualities that might come up. It is precisely this that highlights the importance of research in the design methodology.

Hills Place [Amanda Levette Architects]Overall form is pockets of lights. Having these openings ensures that light is, in fact, also a part of the building.

Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way

Performance:

Overall form is pockets of lights. Having these openings ensures that light is, in fact, also a part of the building.

Technique: A very successful technique would have to be in the way this cladding was fabricated. The joints between each cladding module are orchestrated in such a way

Performance: