Air wk 5 journal

Page 1

DESIGN AS

DISCOURSE AS DESIGN

ADS3 Alexandra Gower 201443

Part One

Discourse as Design:

-Wyndham City Council brainstorm -Herzog and DeMeuron; Ornament -Callum Morton; Art interpreting architecture -Scripting Culture and emotion -R&Sie(n), dunamism and emotion -computerisation, mass customisation Part Two

Design Devices

-Brainstorm - Zoo: Camoflague - Rose: Fractal seqence - Scripting: Butterfly effect - break form: colour Part Three

Parametric Design

Contents

- Solution Development - Matrix - Case Study: Cut

Society is changing. The continuing growth of the population on the limited surface of the world and the reduction of distance within the world through fast methods of travel and instant communication has resulted in a shift in society’s relation to space. Space is becoming a valuable comodity. Advances in design tools and construction techniques has also altered how and what space is defined. Architecture is also changing. The introduction of parametric modeling allows designers to respond factually to site factors and removes many assumptions to allow a new freedom in design. Parametric design therefore enables the designer a fresh appraisal of their project, site and context and the ability to respond to the issues in a directly cause and effect manner. As a suburb in flux, Wynham is moving through these issues of space and it’s new meaning in 2012. In many ways this rapid change of a community can be periless. Community identiy can either be revitalised and strengthened when guided in the right direction or completely broken down by the disturbance. It is therefore important for Wyndham to create an icon that engages with contemporary notion of space exploration and encourages discourse. As only through discourse can a positive direction be discovered.

Whyndham City council

Great Australian Dream of the detatched house = Urban sprawl Fastest growing municipality in Australia by % Per week: 60 babies born and 120 new rubbish bins requested

Rose Garden, fibonacci sequence

Site for filming one of the car chases from Mad Max, great Australian cultural icon with comments of the sustainability of our preoccupation with cars, petrol and speed.

Former orchard farming area, mostly family run. Only pockets now remaining

The Country Suburb

Werribee Mansion: -Historyic landmark -former nationwide recognised art competition, suspended due to financial difficulties

Melbourne’s outer west suburb

Werribee open range zoo, African animals with strong fur patterning

Yarra river referred to the spine of the country by local indigenous population

Werribee Races; former cultural event appreciated by general population, suspended due to track reorientated as quarentine for Melbourne Cup horses.

innovation in Architecture

Herzog and de Meuron - Ornament

Ornament has consistently been a point of contention in architecture. Semper proposed that it SOMETHING ABOUT SEMPER< RUSKIN PERHAPS. The Art Nouveau and Art deco styles illustrated with ornament, the new dynamism and energy of the modern period. These previous explorations in ornament predominantly focus ed upon ornament as an applied fixture, very separate from the mass of the building. As a result, ornament was rejected by the International style as a extraneous trapping of past styles and not to be included in a new rational architecture based on the economy of industry. Architecture materializes an extensive range of elements, some pragmatic but also many arbitrary, interrelated but often contradictory idealizations. These conceptions, while not entirely related to function, are what differentiates humanity from the animal kingdom and are a vital inclusion in our built form. It is due to these competing factions that successfully balanced architecture, is by nature complex and cannot be comprised of a singular element. Nor can

elements exist in isolation, as highlighted by the International style, as units such as ornament consequently loose all significance without context. It is only when individual units are in dialogue as a whole that the distinction between them dissolves and each alters the conception of the next to create an entirely new architectural expression. Herzog and DeMeuron reframe ornament, form and structure to investigate how ornament in this manner shifts the conception of space to something transitory. The two dominant walls of the Ricola-Europe SA, Production and Storage building are constructed with translucent poly carbonate panels which have been printed with a repetitive plant motif. Although weight bearing, the effect of the patterned panels is more like a curtain or robe. Light filtered through the patterning transforms the appearance of the internal space during the day, as the volume seems to shift and recede. At night, the facade material dominates, closing and sealing the volume within the confines of the form and becoming more akin to the concrete capping ends. Australia’s current insistence upon separated space such as the detached family home with specific room designation and private but often underutilized backyard space and consequent unmitigated sprawl is no longer sustainable. This new conception of space as transitory and flexible is an important consideration for the future society of Australia and in particular Wyndham as our fastest growing suburb. Notes 1. Ching, Jarzombek, Prakash, A global history of Architecture, New Jersy; Wiley and sons, 2011 2. Jean-Francois Chevrier, Ornament, Structure, Space. A conversation with Jacques Herzog, Basel, Winter 20063. Herzog deMeuron, Ricola Europe Storage Building, www.herzogdemeuron.com/index/projects/completeworks/076-100/094-ricola-europe-production-and-storage-building.html 4. Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012

He defined Featurism as not simply a decorative technique, it starts in concepts and extends upwards through the parts of the numerous trimmings. It may be defined as the subordination of the essential whole and the accentuation of selected separate features. Boyd, Australian Ugliness, pp. 22-23.

innovation in Architecture

Callum Morton - Art interpreting Architecture Design as Discourse Design has always involved discourse. Subjective elements such as aesthetics traditionally compose a large portion of architectural composition. Innovation depends upon discourse for stimulus and refinement. Discourse as the final desired product of design however is a new phenomenon. To present ideas and stimulate discussion as ultimate purpose is a conceptual and luxurious notion. Poignant only to the first world, this form of architecture is concerned with the moral elevation of a society not their physical situation. Discourse as design is contrary to the object prized architecture. It is common for architecture to be described purely as an aesthetic object, without critical reference to function, site or context Although aesthetic objects do engage in the general discourse of architecture, they refer to ideas only familiar to those initiated and often use jargon to further alienate general society from reflection or input. However as stated by Williams, when discourse is the aspired to product, it purposefully seeks participation from all members of society. This egalitarian approach is a core objective of Wyndham for this project. One method of materializing discoursed based design is replacing the focus upon the creation of an object with the creation of an emotional response. More subjective than aesthetics, this primal response cannot be validated by nor requires previous knowledge or specific language in order to participate. The psychological effect of architecture has been acknowledged since the C19th with the overwhelming affect of the new building typology of the soaring skyscraper in the 1880‘s and the more recent; depression encouraged by the sameness of suburbia as has been stated as prevalent in Wyndham. The purposefully provocation of an emotional

response, while popular in cathedrals of the gothic period and contemporary art is underutilized in current architecture. The art of Callum Morton works to highlight our relationship to and interaction with the built environment. Public and private space are explored, with a focus upon how ‘we encounter, perceive or experience personal or communal space often unconsciously.’ Valhalla was Australia’s inclusion in the Venice Biennial and is 1/3 scale model of the Morton family home which Morton’s architect father aspired to provide. In its representation for the biennial, the building is not idealized as an object of perfect Australian Modernist architecture. Instead the badges of habitation and time are celebrated as Morton presents both personal and general stories of childhood, family and the society of the time, highlighting the positive as well as the not so. Morton hoped that viewers would respond, either sympathetically or critically, to the notions of life presented in this physical form and in this way the building becomes a ‘stage for the unpredictable passions and inevitable foibles of humankind.’ The design serves as a prompt for an emotional response and as a consequence, encourage discussion. Emotional response orientated design is therefore an appropriate device to encourage egalitarian discourse for the betterment of the Wyndham community. Notes Williams, ‘Architecture and Visual Culture,’ in Rampley, Exploring Visual Culture, 2005 Perkins, ‘Health Fear on estates,’ in The Age, Melbourne, 2012 3. (Morton, ‘Babylonia,’ in ACCA Education kit, Melbourne; ACCA, 2005)

scripting culture & emotion

R&Sie(n); dynamism and emotional response Parametric design offers architecture, as a profession, the opportunity to reconsider the role of computers in design. Predominantly, computers have simply been approached as alternative drawing implement to the pen and not to be involved in the conception stage at the risk of thwarting inspiration. Parametric design places focus primarily upon the process of creation in scripting instead of the final object. When object driven, architects often limit the design focus through initial impressions and preconceived ideas even before the site analysis and research for the project has been undertaken. Alternatively, parametric design can be a design tool whose determined focus upon the process enables systematic analysis of the site/brief and even concepts previously considered as ridiculous. Historical applications of this design mechanism include Lewis Carrol’s use of mathematics in his fiction, applying mathematics principles of symmetry and proportion to his writing in order to rationally consider the absurd. R&Sie(n) scripted a code for the FRAC Center project which continues to grow and change from past performed iterations and further add to it’s own future script. A machine controlled by the script was to adjust the location and extension of glass rods which projected into the courtyard space to form the circula-

tion spaces for the building. The final outcome of the courtyard space is not a static object which can be idealized by the architects but rather a space which is informed by the history of the action of the machine. Although this is impractical for a programme space such as the intended circulation space for FRAC, the idea of dynamism in both conception and manifestation is something sadly lost in architecture today. The progressive script also prevents the architect from manipulating the script in order to achieve a certain preconceived notion of form. This fraudulent approach to parametric design is at risk of becoming commonplace, as designers aim for the parametric aesthetic without comprehending the motivations and possibilities of the tool. As an ever unfinished space, almost alien in appearance as the rods protrude out to invade the private space of the occupant, R&Sie(n) believe people will respond strongly to the unique nature of the space. Whether this emotion is positive, negative, curiosity or apprehension is not important. The shock of the different and unapologetic change of conventional approach to space is intended to shatter the indifference with which many people view their built environment. Habits and conforming dull the senses of observation and reflection, so that subtle changes are not perceived. This is particularly prevalent in commuting driving where boredom and habit slowly reduces the alertness of the driver to external stimulus other than the road. The potential for a unique, unprecedented response to the Wyndham gateway project as provided by latest technology in Parametric design, would reawaken many people to the project, encourage them to engage emotionally and reflect upon the concepts provoked by the piece. Notes 1. Inaba, Clouette, Unfinished Business, Franรงois Roche Interviewed, C-Lab Columbia laboratory for architectural broadcasting, 2006, http://c-lab. columbia.edu/0063.html 2. R&Sie(n), Olzweg, Paris, 2006 www.new-territories.com/welostit.htm 3. Fornes, Scripted by purpose, Philadelphia; Fuel Gallery, 2007. http://scriptedbypurpose.wordpress.com/participants/rsie-francois-roche/

Computation

The International Style, introduced by the Modernists, established a revolutionary way of living. Although conceived in Europe, this approach quickly spread to many different and often converse conditions to where it originated due to globalization. The typology did not perform well when applied to regions with high temperatures such as Australia due to the uniform approach to climate and conditions that the open plan championed. Heat and light streamed in and spread throughout and the stimulus of change and self regulation was removed entirely by the need for active systems. Conditions were treated as black/white, yes/no, light and hvac system on/off. Grey did not exist. A suggested alternative model is the camp fire. With a gradient of heat and light, the inhabitant is able to adjust their comfort by their proximity to the fire. Additionally external influences such as airflow, drafts experienced by the inhabitant, type/condition of wood use etc will change the experience to create a more threshold/dynamic experience and offer a more flexible solution. In order to convert this transient model into the conclusive mode of built form, a highly complex object must be created. Consideration must occur of both the unit scale and the whole, how each affects the other and is also affected by environmental factors. Computerisation allows Self organization within the built non organic world. Elements respond and adapt to external stimuli which in turn affects the configuration of the adjacent component and the whole until equilibrium is achieved.REF An entirely unique space is created by an entirely unique manifestation of the form. In the case of Daniel Coll I Capdevila’s, ‘Strip Morphologies; Design Study for Environmentally Differentiated Healing Environments’ a unique wall configuration creates a specialized variety of conditioned spaces in the aim of tailorisation to each hospital, ward (wall itself altered) and ultimately patient (choice of appropriate rooms). As stated by LAB; Industrialization in this case no longer equates to standardization but rather mass customisation. Like a renaissance sculpture, the Wyndham gateway project will be viewed from a multitude of different angles, in both directions on the freeway, the service station, the freeway overpass and the side road. It will also be viewed at a variety of different speeds and heights due to this. With parametric design it will be possible to account for each of these instances and create a work that will be successful from all vantage points while still maintaining it’s character as a whole. Notes 1. Hensel and Menges, ‘Differentiation and Performance: Multiperformance architectures and modulated environments,’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Architectural design, 2005 2. Banham, The Architecture of the Well-Tempered Environment,1Chicago, University of Chicago Press, 1973. 3. Hensel, ‘Computing self organisation: environmentally sensitive growth modelling’ in Hensel, Menges and Weinstock (eds), Techniques and Technologies in Morphogenetic design, London; Architectural design, 2005 4. LAB architecture, Federation Square Fractal Facade, www.labarchitecture.com

Mass Customisation

Brainstorming

Transitory Time Movement RAAF Cut: Build/destroy Momentary histori Legacy Sameness Shadow Witty Novely Inspiring Claustrophobi Reflect Wonder Unit Whole River as Spine Negative Space Community Cars Petrol Ornament Space Form Colour Mix primaries Monument Sound The country Suburb Art Community Commuter Holiday Freedom Materials Dynamic Kynetic 1950 Patterns Fur Engulged Anti - indifferent Invoke emmotional reaction positive change identity Great Australian Dream Reframe Car enabled Transform Meaning Innovative experience vs object refract

Innovation Novelty and Positive change Establishment in context, acceptance is vital Transforming meaning

camoflage

Countershading

Deer Compensative application of graded colour. Darker on area likely to be lit by light and lighter on darker areas so as to appear flat.

Dazzle

Zebra: To confuse lions in chase. Difficult to estimate speed and direction and discern individual animal from pack

Disruption

Leopard: high contrasting, unrepititious pattern to disrupt recognisable shape outline of animal

fractal

Self Similar pattern: Same near as far infinitely iterated reduced sizeed copy of whole irregularity in local and glabal

Butterfly effect

Chaos theory Sensitive dependent on inital conditions time travel: minor event = 2 significant different otucomes recurrance

Does the flap of a butterfly’s wings in Brazil set off a tornado in Texas? Philip Merilees 1972

colour

Colour spreading unit and whole: primaries to make secondaries

Solution Development

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personal development

This stage is something we are trying to improve on by making it well argued rather than arbitrary. Our Research Projects and case-studies will serve as arguments demonstrating the innovative characteristics of the chosen approach in contrast with the competition.

In the case of your previous work used as a case-study, of course it is OK to replace it with better examples now that you know better examples. On the other hand, if that part was interesting, it can be preserved or find new life on the Wiki, as a superseded version. You can also include it (possibly in the shortened form) into the section about your learning progress, as evidence of where you were at the beginning of the course. You could then compare that initial effort with your improved argument and explain your progress. Or, you could decide not to focus on this and spend your effort and pages somewhere, where you interest lies. The idea here is that thinking about this and doing this work will encourage you to appraise the content we are offering critically because you are considering your choices and trying to explain them. Which is a crucially useful ability to develop (in design or elsewhere).

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