journal studio week2

S T U D I O AIR

2015, SEMESTER 1, TUTORS

CHRISTOPHER DUNKLEY

II CONCEPTUALISATION CONCEPTUALISATION III

Table of Contents

Introduction Part A- Conceptualisation A1 Design Futuring A1.0 Reading Discussion (find actual name) A1.1 Building Example 1 A1.2 Building Example 2 A2 Design Computation A2.0 ?? A2.1 ?? A2.2 ?? A3 Composition/ Generation A3.0 ?? A3.1 ?? A3.2 ?? A4.0 Conclusion A5.0 Learning Outcomes A6.0 Appendix- Algorithmic Sketches Part B- Criteria Design B1. Research Field B2. Case Study 1 B3. Case Study 2 B4. Technique: Development B5. Technique: Prototypes B6. Technique: Proposal B7. Leaning Objectives & Outcomes B8. Appendix- Algorithmic Sketches Part C- Detailed Design C1. Design Concept C2. Tectonic Elements & Prototypes C3. Final Detail Model C4. Learning Objectives and Outcomes

CONCEPTUALISATION 21 CONCEPTUALISATION

Hi, my name is Christopher Dunkley I am currently a third year student studying Bachelor of Environments at the University of Melbourne. Currently, I am also working as a draftsman at Rudds Engineering to further extend my expertise in the building industry while studying.

I was born and raised in Canberra, Australia where I attained an Advanced Diploma of Building Design at the Canberra Institute of Technology (CIT) in 2013. Through this study as well as others I am capable in many drafting and 3D modelling soft wears such as Auto CAD, Revit, ArchiCAD, Vectorworks and others. This has allowed me to be involved in some of my very first building design plans with small scale projects.

Digital Architecture is something that is new for me to be learning. I am not completely familiar with Rhino and it is my first time using Grasshopper however I am hoping my previous skills and quick learning will help me to

Intoduction

The only way to make sense out of change is to plunge into it, move with it, and join the dance.

- Allan Watts

3 CONCEPTUALISATION CONCEPTUALISATION 4

Part A - Conceptualisation

A1- Design Futuring A1.0 Design Discussion (reading)

Design has always been an on going, transforming tool for man-kind and helping us shaping our perfect world, however is it time for us to re-invent our way thinking and bring in the new era of tools for our world? Tony Fry’s book, ’Design futuring sustainability, ethics and new practice’ suggest that design must be changed in order to overcome the issues of global warming and create not only a sustainable future for our natural environment, but also for our biodiversity and wellbeing (1).

To achieve this there needs to be a push to advance the design and development of constructional products, not only the way in which they are constructed, but also by creating interdisciplinary solutions. Suggested by Fry is the idea of design intelligence, which he believes can be the solution, and from that potential, the design style of the current era (2). This can bring great advantage towards future design by creating ground breaking solutions to the current problems, or limitations of design. As well as this, the idea of design intelligence can allow designers to take a further leap into research, experimentation and advancement towards securing human advancement and survival.

To further this, I have offered two built projects that that in some ways reflects the purpose of what is preached in this discussion and show potential in design intelligence.


The Spanish Pavilion project is one of the most striking architectural designs in my opinion. There is no one spot where the eye is focused to directly but rather draws the eye to capture the design as a ’whole’ object.

This design has been set to focus on the idea of the future and moving towards a low and high tech combined process of building as well as looking at sustainable applications(3). It draws on the idea of studying the old traditional methods of Spanish basket making and applies them to a modern, new, creative building form through computational design to allow the structure and form to be a reality. By this concept the design actually won the prize for the top future project at the world architecture festival in 2009.

Tagliabue has created the design from using a simple and sustainable material called wicker, a type of willow wood, and forms them into woven panels that then clad the steel structural frame and shape of the building. This technique aims to bridge both traditional eras of design as well as connections between the involved countries, Spain (the designer), Germany (the producer) and China (the host) and many others which give connection between all (4).

Fig.2

The Spanish PavilionBendetta Tagilabue- Miralles Tagliabue Architects

These ideas behind the pavilion has allowed the design to be appreciated well into the future by capturing the theme of traditional culture, something that has always been appreciated world-wide, and allowing to form into modern sustainable design.

With the steel frame acting as the bones of the design Tagialbue used the wicker panels not only as an international, traditional and sustainable design style, but also to allow great flexibility and creativity on which to make the virtual/ digital drawing designs become an easy-to-build reality while also having a lighter impact in material use and embodied energy (5).

The buildings use and function is predominantly for that of international exhibitions however also includes a wide range other private and public spaces such as a bar, office receptions and work spaces, reception area, conference room and a 150 seat auditorium (ref). Thus giving many uses to the design of the building while also allowing general public, workers, designers, representatives to all have a use and appreciation for this building.

A1.1 Building Example 1

Architecture should speak of its time and place, but yearn for timelessness - Frank Gehry

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This Architectural design tends to focus more on the interior designing, however is still very successful in expressing and promoting the exploration of design intelligence and computational architecture. The architect, Mark Goulthorpe of dECOi Architects is a part of a small company that is highly focused towards new design technologies and strategies. As well as this he is also a teacher at the Massachusetts Institute of Technology (MIT) where he spends a lot of time in small scale projects that redefine todays common materials e.g. the Hypersurface wall (a physically dynamic wall structure)(6).

The design of One Main Street offers an aesthetic customised fabrication of a space digitally created and cut from using a sustainable and carbon-absorbing raw material translated efficiently into refined and functional elements via dexterous low-energy digital tooling (7). This highly efficient way of designing allows digital design to be further promoted as a future resource by exampling the benefits of eco-friendly solutions as well low embodied energy methods.

‘The first thing that an Architect must do is to sense that every building you build is a world of its owns, and that world of its own serves an institution’ - Louis I. Kahn

A1.2 Building Example 2

One Main StreetMark Goulthorpe dECOi Architects

Furthermore the space not only consisted of ply wood design in the walls, roof and floor but also in the furniture and accessories apart from windows. All the designs are produced from a 3D numeric command milling machine that adds to ergonomic function and comfort based from computer design (8). This digital and milling process creates almost no waste in timber offcuts and amazingly built the project in as little as 1200 planks (9). The vents between the wood allow for continuous air flow for the office work space, while also partially covering up the building services. This example shows a small but very impressive step towards future design and possibilities.


A2- Design Computation A2.0 Discussion

Design has been a continually adapting process to over-come problems and to provide the most efficient solutions to the requirements of a brief or client. This process, as out lined by Kalay in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, was a style that was first relevant for the occupation of an architect in the 1400s where-by efficient problem solving, analysing, synthesising, evaluation and communication was need to design a strategy that provided the most effective solution (10).

Today this design process now has not only the coordination of architects but also tools to aid architects, engineers, designers and other involved disciplines to reach dynamic solutions in a more sustainable and reliable process.

Design computation is becoming a major asset towards design by re-defining a new form of design logic through approaches such as parametric designing, which allows a variation of outcomes to be created depending on pre-developed values of geometric relations (11). This allows designers to create a variety of solutions from one virtual design, therefor allowing greater capabilities in scales, elements, materials and structure, in a more creative ethic.

Computing for design has also allowed for designers more recently (last 30 years) to be capable in creating biological forms as well as fractal design concepts, which was of great interest for leading designers such as Louis Sullivan and Frank Lloyd Wright (12). Computation design can expand and explore, what were then, un-creatable geometries such as morphological simulations.

More recently, in the early 2000s, computational design allowed further styles to be born. Many European and Asian design and research companies explored the efforts of computational geometry which lead to the creation of design environments in which form is driven by performance (13). This process was done through the ability to model and research into material systems and structural design that created greater results toward sustainable design solutions.

Computation can be the solution towards future designing to overcome the problems, from project brief specifications to globally effected problems (global warming). The tools computers offer for designing can create greater understanding for multiple involved disciplines through the innovations of BIM soft wear by creating a virtual product the can be understood and added to by all (14).

Digital materiality created within computer design also contributes to evidence and performance based designing methods by allowing new virtual materials to not only be applied but also researched and tested on in a digital design. Furthermore, virtual designing has allowed greater efficiency for the design to go from the concept stage though to the built stage by application and fabrication technologies (15).

Provided are two examples that explore some of the many possibilities of computational design.


A2- Design Computation A2.1 Precedent Project 1Serpentine PavilionToyo Ito & Cecil Balmond

Prior to the computational design era, structure and architectural form were considered separately (ref). The initial design process was not always fore filled and often compromised. In Toyo Ito’s Serpentine Pavilion, the design of the building was considered from all aspects (engineering, designing, building, occupancy) with the aid of computational design. This was achieved by both Toyo Ito (architect) and Cecil Balmond (structural engineer) when they coined the idea of creating a pavilion that does not portray traditional structural methods. Instead the pair chose to integrate the structure into the design aesthetic by geometric re-configurations of a square that was algorithmically repeated and offset continuously (16).

The result provided both a pleasing design and an approved structural form. Not only this, but the design also uses the algorithmic structure to create a more organic and creative design rather than a harsh and heavy square look (17). The material elements of sporadic glass windows help to focus more on the natural aspects and surroundings in the building and help to provide context for the pavilion and its location in nature.

It is not the beauty of a building you should look at; its the construction of the foundation that will stand the test of time - David Allan Coe


A2- Design Computation A2.1 Precedent Project 1Gantenbein Vineyard Gramazio & Kohler of Bearth& Deplazes Architekten

A second example is shown in a more conserved project, hidden up in the mountains of Switzerland. Designed by architects Gramazio & Kohler of Bearth & Deplazes Architekten, the Gantenbein Vineyard design takes a further step than the previous example by applying the design to not only digital computation but also fabrication technology.

The original brief created was to design a wine fermentation room for processing grapes as well as storage and tasting. The specifications of these requirements meant that there was more consideration need towards not only sheltering the wine and those tasting, but also to allow precise treatment of the wine to the natural elements (18). With this in mind the design was digitally created to replicate a basket that, through digital simulation of gravitational effects, portrayed the look of various sized grapes falling into a basket (19). The digital computation that created this theme had also worked out the angles on which to place each individual brick (20,000 in total) so as to allow precise dappled sunlight and required amounts of air flow into the building. Once simulated the computational design was scripted into robotic fabrication lab at ETH Zürich were a robotic brick layer would place each brick precisely in the correct position, the design was considered to be too impossible and/or expensive to do via manual labour (20). The end result created a very rare brick design that shows and works perfectly in terms of aesthetics, building requirements, costs and timeframe and provides a look of natural contexts through the ’basket look’.

This design shows how computational design can explore and solve design problems from initial concepts and building requirements through to fabrication and natural aesthetic.

It is not the beauty of a building you should look at; its the construction of the foundation that will stand the test of time - David Allan Coe


A3- Composition/ Generation A3.0 Discussion


A3- Composition/ Generation A3.1 Precedent Project 1

Serpentine PavilionToyo Ito & Cecil Balmond

CONCEPTUALISATION 2221 CONCEPTUALISATION

Serpentine PavilionToyo Ito & Cecil Balmond

A3- Composition/ Generation A3.2 Precedent Project 2


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25 CONCEPTUALISATION

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