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CIARA 03

A.1 DESIGN FUTURING

SITE ANALYSIS & EXPLORING THE BRIEF 04

PROJECT 1 06

PROJECT 2 08

A.2 DESIGN COMPUTATION 10

PROJECT 1 12

PROJECT 2 14

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C I A R A //

C I A R A D ’ A L B E R T O

Third year Architecture student that lives in Melbourne’s inner city suburb of Brunswick, and has constantly been exposed to the ever so fast pace of city life.

Over the years of growing up in such a diversly multicultural and eclectic suburb, and being surrounded by the prospect of change, I have been able to experience the notion of an ‘evolving city’ and urbanisation within Melbourne. Along with the ideas that come with an evolving city, there has also been a will to want to preserve what remains, and maintain a sense of identity. This is something that we all experience throughout our lifetime in the cities that surround us.

From as far back as i could remember, and although it may sound cliché, i have always wanted to persue a career in architecture. In a sense, i feel as if i made this decision based on my upbringing, and the way in which i was constantly exposed to the world of architecture and construction, which can be traced back as far as my ancestors. For me, it was also a will to want to contribute to the world in which i live, and create buildings and spaces that people can experience and not just enter. This idea of evoking feelings within a space or environment, is what makes the architetcural world so intriguing and immersive.

Form is what makes a building, and after studying the master Le Corbusier in my previous studio subject, i have grown an appreciation when it comes to the thought of simplistic forms that are fueled by an immersive and intriguing journey. This is where my appreciation for minimalistic, monochromatic and simplistic forms evolved from.It is through the complex and qualitative construction systems that this category of buildings employ, that aids the form to speak for itself, instead of sacrificing the integrity of the building by exposing intrusive elements.

I hope that Studio AIR will expose me to the world of parametric design, as well as the notion of sculptural architecture. i feel that this will expose me to a different dimension of form, and enhance my knowledge for the future as an all around designer and architect.

// A . 1 D E S I G N F U T U R I N G

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P A R T A // C O N C E P T U A L I S A T I O N - W E E K 0 1 -

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S I T E D E S C R I P T I O N

The site located within the Danish city of Copenhagen, and also known as ‘‘Refshaleøen’, encompasses an array of scenic views which overlook the water and force one to explore the horizon line which lays in the background.

The sites rich heritage and past historical placement as a Shipyard, gives the site a sense of rich context, which can further me adapted into potential design proposals, and inform any future decisions for preservation and redevelopment.

The mermaid statue which lies in the foreground of the panoramic shot [02], clearly juxtaposes with the former use of the site, yet at the same time creates a canvas at which one can start to draw ideas from.

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SITE PHOTO LMS > Melbourne University > Studio AirSITE PHOTO LMS > Melbourne University > Studio AirSITE PHOTO LMS > Melbourne University > Studio Air

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D I S E C T I N G T H E B R I E F

One of the main points to respect whilst designing for this site, is to make sure that you understand the significant history of the site and its geograohy. This will, in some way or another, inform the way in which the design proposal comes about. The design must be pragmatic, to a degree, as well as constructable, and its height must not exceed 125 metres in height.

R e f s h a l e ø e n C O P E N H A G E ND E N M A R K

The site response requires a Three-Dimensional Sculptural Form, that is, in some way or another, able to stimulate and challange the mind. It must capture energy from nature and somehow convert it into electricity.

STORE, TRANSFORM, TRANSMIT.

Lastly, it must not create Green house gas emissions, and be sensitive to its surrounding, as o not pollute them.

All in all, the design must be innovative, parametric and unlike anything witnessed in design history. I look forward to exploring the way in which technologies and design can simultaneously collaborate.

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SITE PHOTO LMS > Melbourne University > Studio AirSITE PHOTO LMS > Melbourne University > Studio AirSITE PHOTO LMS > Melbourne University > Studio Air

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ARIEL VIEW LMS > Melbourne University > Studio AirARIEL VIEW LMS > Melbourne University > Studio Air

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S O L A R B A T H S F R E S H K I L L S P A R K

“ The main aim of this project, is to promote this idea of ‘Retain and Reuse’, whilst embracing this idea of the bathing culture ”.

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SOLAR BATHS http://landartgenerator.org/LAGI-2012/LT388DF2/#PERSPECTIVE http://landartgenerator.org/LAGI-2012/LT388DF2/#SLOPE http://landartgenerator.org/LAGI-2012/LT388DF2/#

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S O L A R B A T H S F R E S H K I L L S P A R K

I was primarily drawn to analyse this particular project from the 2012 LAGI (Land Art Generator Initiative), as i was interested in the notion of incorprating modern technologies, such as Solar, to a site of waste deposition and decomposition.

This project stood out to me, as throughout my time as an architecture student, we have constantly been reminded to explore notions and ideas of ‘SUSTAINABILITY’ , and in doing that, adapting it to the built environment. The innovative quality of this project, along with the fact that it has been designed for people to interact and experience by literally ‘immersing’ themself within the Solar Bath, has prompted me reconsider and re-evaluate my stance on the limits of interactiveness that one may have with architetcure as a whole [02].

The way in which this project works, is that the Salt Water Ponds, situated on the southern end of the site, capture and store heat that has radiated directly from the sun and the surrounding landfill area. Each pond is coupled with a tall solar chimeny [01,03] that then extracts the heat from the ponds, and converts it into electricity, thus fueling the temperature control of the Solar Baths.

In a project like this, there needs to be a specific focus on ‘Strategic Production’ [05] , as in order for the baths to store water from rainfall, the base of the structure must be slanted and slightly offset from one another, depending on the natural slope of the site [03]. This attention to detail shows us that the enironment and site plays a huge role in the way in which the prospect of this project would perform.

This idea is inventive, yet at the same time it is somewhat mocking the lifestyle of their proposed demographic of New Yorkers, as the project invites them to “...stew in the own heat of their trash”. In a sense, it forces the potential visitors of the site to realize their own agency and actively engage in the problems of energy production, which can seem daunting.

For me, the prospect of this project takes the idea of Sustainability to a whole new level, by exhausting the mere thought of trash as a way of fueling the electricity of the world in the future.

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SOLAR BATHS http://landartgenerator.org/LAGI-2012/LT388DF2/#PERSPECTIVE http://landartgenerator.org/LAGI-2012/LT388DF2/#SLOPE http://landartgenerator.org/LAGI-2012/LT388DF2/#

COMPONENTS http://landartgenerator.org/LAGI-2012/LT388DF2/#STRATEGIC http://landartgenerator.org/LAGI-2012/LT388DF2/#

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E N E R G Y

K I N E T I C E N E R G Y

Kinetic energy is the energy which something encompasses, and it is generally created by nearby motion. As all moving things possess a degree of Kinetic Energy, there is a possibility that it can be easily generated, whether it be through the movement of nature, organisms or merely the superficial movements of man made creations.

As motion is found in almost anyhting, there is definately a prospect in being able to create energy to power a small project, sculpture or building. Although it is the pace and speed of motion, that will ultimately filter the way in which the potential project will perform.

There are complicated algorithmic expressions, which are able to explain these notions in a more in depth way... but for us average people and creative tinking architects, all we needto remember is that Motion causes power, which ultimately turns that into energy, which we can then store and use in the future to power our masterpieces.

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P O T E N T I A L D I R E C T I O N

In conjunction with the brief, and as a way of incorporating Kinetic energy in the proposal for the 2014 LAGI competition in Copenhagen, a prospect or direction of thought may be to consider the past use of the site as a shipyard, and potentially draw energy from the ripple created in the water, through the motion of a ship... food for thought i suppose!

H U M A N P U M PP R E C E D E N T

An innovative designer known as Gunwook Nam, explored the notion of creating kinetic Energy through the concept of Human Foot traffic to power a system of water pumps.

The way it works, is that when people walk in close proximity to the structure, energy will be created and stored, and in the future, water will be pumped to the surface.

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WATER RIPPLE http://landartgenerator.org/LAGI-2012/LT388DF2/#HUMAN PUMP http://www.tuvie.com/human-pump-using-kinetic-ener-

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K I N E T I C E N E R G Y A R C H I T E C T U R E

The use of generating energy through architecture is an upcoming obsession, that is taking the architectural world to a whole new level. In a sense,

To a degree, there is a high demand for creating sustainable architecture whilst maintaining aesthetical properties, and this building seeks to minimise the negative environmental impact of buildings by enhancing efficiency and moderation though the materials chosen.

This particular project combines the ideologies of Kinetic energy, by absoring the motion of the soundwaves, and converting it into usable energy [02].

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WATER RIPPLE http://landartgenerator.org/LAGI-2012/LT388DF2/#HUMAN PUMP http://www.tuvie.com/human-pump-using-kinetic-ener-

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EVOLO ENTRY http://www.evolo.us/competition/soundscraper-cap-ENERGY http://www.evolo.us/competition/soundscraper-cap-

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P A R T A // C O M P O S I T I O N & G E N E R A T I O N - W E E K 0 2

“IT IS POSSIBLE TO CLAIM THAT A DESIGNER’S CREATIVITY IS LIMITED BY THE VERY PORGRAMS THAT ARE SUPPOSED TO FREE THEIR IMAGINATION.”

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

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P A R T A // C O M P O S I T I O N & G E N E R A T I O N - W E E K 0 2

C O M P U T A T I O N D E S I G NN E W W O R L D A R C H I T E C T U R E

As computation deisgn is becoming more and more common in the architectural world, it is begining to expand, and architects are becoming dependant on these software methods to influence their designs.

Referring to the image above, which looks at the interior and structural quality of the

Research Pavilion, there is a clear difference to what is computational design and what is not. There is a clear sense of curvilinear form, compared to the static quality of the rectilinear built form that we are used to.

This particular precedent (above), interests me through its geometric and explorative quality, that encompasses an array of dynamic experience for a user.

R E S E A R C H P A V I L I O N2 0 1 0 M E N G E S, A C H I M, I C D / I T K E

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01 RESEARCH PAVILION http://www.digitalcrafting.dk/?cat=9archi-

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METROPOL PARASOL http://archidose.blogspot.com.au/2006/02/half-METROPOL PARASOL http://en.wikipedia.org/wiki/Metropol_ParasolMETROPOL PARASOL http://www.yatzer.com/Metropol-Parasol-The-

M E T R O P O L P A R A S O L S E V I L L E, S P A I N

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METROPOL PARASOL http://archidose.blogspot.com.au/2006/02/half-METROPOL PARASOL http://en.wikipedia.org/wiki/Metropol_ParasolMETROPOL PARASOL http://www.yatzer.com/Metropol-Parasol-The- 1304

05METROPOL PARASOL (FORM)http://design-porteur.com/2012/05/14/j-may-KOLAREVIC

M E T R O P O L P A R A S O LC O M P U T A T I O N A L D E S I G N

The ‘Metropol Parasol’ located in Seville, Spain, resembles the form of giant mushrooms that were initially derived from the vaults of the Cathedral of Seville.

The architect Jürgen Mayer-Hermann, has created a structure that is very interactive, to the extent that people are encouraged to walk above the structure and on the roof. This is the main reason why this design interested me, as even though it appears as a structure the focuses on the idea of form and timber as its main material, it is a mode of architecture that forces people to interct with, through its intriguing visual display and juxtaposing qualities.

I was particularly eager to research this construction, as it is a clear indication of how computational design can somewhat drive the creativity of the architect, and as mentioned by Branko Kolarevic “The consequences of new digitally driven processes of design, fabrication and construction, are increasingly challanging the historic relationship between architecture and its means of production”, and in a sense, this is what gives a sense of ambiguity and excitement, when it comes to exploring with design. [5]

This design, to an extent, relates to oxman’s theologies regarding the limits and benefits which contribute to the computational design process. He states that ‘the growing method of digital architecture design is developing simultaneously with softwares for energy and structral solutions’, and at the same time increasing the depth of capacity that architects are exploring, as computational design is teaching architects to rely on algorithmic and research based experimental design processes’, in order to strenghten and give depth to their design. [6]

This particular design and method of construction, demonstrated through the Metropol Parasol, may further inspire the process and the need to respond to the LAGI project, as based on this example, i want to explore the limits which architecture has to offer. Creating and interactive and immerssive experience, is what makes a building so encompassing, whilst giving people a sense of intrigue, and i feel as if the computational design process will in a way, alter the conventional process which one may take when designing, but at the same time will inform stronger concepts and interesting forms.

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06 OXMAN ‘Therories of the digital architecture’

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BIRD’S NEST http://www.designbuild-network.com/projects/nation-BIRD’S NEST http://www.arup.com/projects/chinese_national_stadi-BIRD’S NEST http://www.chinadaily.com.cn/olympics/2008-07/25/

T H E B I R D ‘ S N E S T B E I J I N G, C H I N A

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BIRD’S NEST http://www.designbuild-network.com/projects/nation-BIRD’S NEST http://www.arup.com/projects/chinese_national_stadi-BIRD’S NEST http://www.chinadaily.com.cn/olympics/2008-07/25/ 1504

05BIRD’S NEST MODEL http://bimtroublemaker.blogspot.com.au/2011/01/KALAY LMS > Melbourne University > Studio Air

T H E B I R D ‘ S N E S T C O M P U T A T I O N A L D E S I G N

The Bird’s Nest building was designed for the 2008 Beijing Summer Olympic Games, and its form was derived using the method of computational design. The building comprises of a double skin, with the outer skin being made up of skeletal steel, and the inner ‘skin’ of double-layered plastic, which keeps out wind and rain and filters out UVA light.

I chose to explore this particular piece of architecture, it was is a building that everyone has seen, due to the public focus it pulled in 2008. I was world reknowned, especially at that time, due to its different and interesting form, not to mention the structural surface patterning, which was used not only for stability, but also for aesthetical purposes, when coupled with lighting.

In the reading by Kalay, he explores the notion that “It is relatively easy to communicate information from computers to humans, who posses the intelligence needed to understand textual, numerical, graphical, and auditory messages. But it is frustratingly difficult to communicate information from humans to computers, who lack the intelligence and the ability to interpret messages, unless they are coded in a completely unambiguous manner.” This point demonstrates the constrants put upon deisgners when they translate their design ideas into computational platforms.[5]

When designing the Bird’s Nest Stadium, Swiss architects Herzog & de Meuron chosen after a six month long international competition, and their revolutionary design was comissioned to be the new Olympic Stadium. The overall design is said to be based on Chinese Style crazed pottery, and Computational fluid dynamics , has been used to calculate airflow speed at each angle of the structure in order to optimise ventilation within the building.

This design and computational process may assist in forming our LAGI entry, as they have clearly used a series of data in order to calculate the location of certain members and adjust the form. This is something we should consider when designing and producing our entry, using computational platforms.

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