AIR JOURNAL
CONTENTS
How I Got Here 5
PART A Conceptualisation 6
PART B x
PART C x
How I Got Here. When I was 15, I started doodling on the back of exam papers and dancing in front of my mom’s full-length mirror, and from there, my interest in the arts slowly grew. The idea of creating something new and original really appealed to me and when I moved to Melbourne, and was presented the options to do art-based subjects in high school, I quickly grabbed hold of this opportunity. Registering into the architecture course was a rash decision at the end of Year 12 but in two years, tertiary education has greatly shaped my mind and made me perceive architecture, art and design in a new light. I now understand the interdisciplinary nature of systems, am aware of the contradictions that somehow complement each other, and recognise the potential of integrating digital means to design. Studying architecture has made me passionate about combining my creative interests with real-life issues in search of effective solutions that do not simply solve a problem, but also instigate a new form or concept. I realise that having a good command of digital tools is essential in achieving this as our world is becoming more tuned in towards digital means. The digital world also now serves as a platform for getting ideas out there, not just in terms of generating a design but in sharing them with others too. In saying that, I have been experimenting with various softwares since starting school here, such as the Adobe Creative Suite programs, Photoshop, InDesign, and Illustrator, the 3D modelling program, Rhinoceros, and am now looking forward to add the Grasshopper plug-in to the list.
DESIGN FUTURING. A1 DESIGN COMPUTATION. A2 COMPOSITION / GENERATION. A3 CONCLUSION. A4 LEARNING OUTCOMES. A5 APPENDIX. A6
A
C O N C E P T U A L I S A T I O N
A1. DESIGN FUTURING Contemporary architecture is very much about breaking conventions. There are many ways this is achieved, for example, through collaborative efforts, allowing the flow and implementation of ideas from different fields, or, through research and experimental projects, exploring the possibilities of art, science and technology in form-making. These actions are not only reflected in the methodology of design, but also in the aesthetic values and outcome of the architecture. For example, there is an increased focus on connectivity and fluidity within designs. Not just in form but within the concept too. This is just representative of where our society is currently heading, as what architecture does, is give form to the values we live by.1 In saying that, architectural design now also has a high focus on sustainability. Be it ecological, economical or social, as we become more aware that creating something leads to destroying another, there is profound interest in finding ways to tackle the consequences of building.2 With two selected precedents, the values of our current society will be further highlighted and how these, alongside technological innovations, allow for a new form of architecture to be realised.
1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3. 2 Ibid., p. 4.
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A1
DESIGN FUTURING
Figure 1. A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed 12 March 2016].
DESIGN FUTURING
A1
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Figure 2. A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed 12 March 2016].
The renovated interior of the Barbarian Groupâ&#x20AC;&#x2122;s office is a clear example of fluidity and connectivity being highlighted within a design form and concept. The traditional layout of an office with separated blocks is replaced with a single-surfaced table, materialising the theme of collaboration and connection.1 The conventional perception of an office desk is also challenged in this case, showing the imaginative strides taken by designers today. The architect not only created a flexible system that enhances the companyâ&#x20AC;&#x2122;s current working environment, but also aimed to bring forth the potential for growth by making it an open structure.2 Speculation is yet another key aspect within design fields today and contemporary works of architecture are used to prompt discussions regarding what is ideal and preferable for the future.3 The desk structure is made out of individual pieces of laser-cut plywood panels, and with multiple joints, it was easily transported and assembled on site.4 With the use of 3D modelling softwares, the unconventional geometry is effectively represented and each customised panel was accurately fabricated. The unique desk form, although connective in nature, has archways and other spatial features that create separate spaces. This sort of complementing contrasts is highly seen within works of architecture now as we seek to find a balance between contradicting aspects. In this case, the architect effectively created a unifying structure that encompasses a variety of spaces.
THE BARBARIAN GROUP New York, New York by Cleve Wilkinson Architects
[1] A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/ clive-wilkinson-architects-makes-a-superdesk/#. Vuawc4x941i>, [acccessed 12 March 2016]. [2] Elaine Louie, Table Manners at Work, (New York: The New York Times, 2014), <http://www. nytimes.com/2014/02/13/garden/table-mannersat-work.html?partner=rssnyt&emc=rss&_r=2>, [accessed 12 March 2016]. [3] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Massachussetts: MIT Press, 2013), p. 6. [4] A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/ clive-wilkinson-architects-makes-a-superdesk/#. Vuawc4x941i>, [acccessed 12 March 2016].
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A1
DESIGN FUTURING
DESIGN FUTURING
A1
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PARAMOUNT ALMA
The connection established by the architecture of Paramount Alma is with the surrounding landscape. Although this is not a new concept within the discipline, architects are constantly finding new ways to integrate context and structure so as to maximise the complementation of landscape and building, as well as to minimise the impact of building within the environment.
South Tyrol, Italy by Plasma Studio
Plasma Studios has used parametric modelling to create an angular geometry, resulting in a sculpture-like structure that appears to be emerging from the hillsides.1 Parametric modelling has again allowed for the prefabrication of each component, allowing for easy and efficient assemblage. The connectivity aspect is also further explored with the circulation planning. The living spaces are connected by a core circulation route where each route illustrates the natural topography. Furthermore, they all lead to external terraces or gardens, further establishing the connection with nature.2 In terms of aesthetics, the angular approach highlights the asymmetrical form adopted by many contemporary architects. The abstracted nature of composition allows for other design features such as lighting, shadows, views and play on spatial volumes to be enhanced. Here, the timber skin reflects the interior spatial volumes, where walls and windows were skewed to optimise direct sunlight and to frame desired views.3
[1] Plasma Studio, Paramount Alma Residence, <http://www.plasmastudio.com/work/Paramount_ Residence.html>, [accessed 13 March 2016]. [2] Ibid. [3 Ibid.
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DESIGN COMPUTATION
A2
DESIGN COMPUTATION
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â&#x20AC;&#x153; With the use of digital technologies, the design information is the construction information. â&#x20AC;? Kolarevic, 2003.
Design Computation. With the precedents discussed before, it is evident that computers play an inevitable role in realising the final designs. In most cases, computers are not just used to document and fabricate final products, they are also used in the early stages of idea generation and development. Scripting is comparable to initial sketching, and this clearly shows the shift within the paradigm of design thinking.1 Following up on hybridity being a key value in society these days, the collaboration of creative thinking and rational computation has allowed for the boundaries of architecture and design to be pushed. Complex geometries are now easier to generate with the use of parametric modelling, and as these information can be extracted or transferred to other softwares or machines, producing them has become more achievable too.2 Computation was essential in executing the Canopy pavilion where nArchitects was able to find the middle ground between geometric precision and natural variables. Using parametric means, they created a digital model where the length and intersections points of every arc were depicted. This enabled them to determine the orientation and splicing method of the bamboo pole whilst constructing the pavilion.3
MOMA/P.S.1 CANOPY Queens, New York by nArchitects
[1] Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p. 7. [2] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 7. [3] nArchitects, MOMA/P.S.1 Canopy, <http:// narchitects.com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].
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DESIGN COMPUTATION
DESIGN COMPUTATION
The accessibility of design computation is also a factor that builds collaboration between different disciplines where the computer facilitates communication during the design process. Computation is definitely changing the execution of a design, from the initial idea generation to the final assemblage of modules.1 This is causing a shift in culture and therefore, design computation is ultimately paving the way for a new form of architecture.
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EXOTIQUE
With EXOtique, the hexagonal modules were achieved via Grasshopper algorithms. Fabricating the modules with tabs, labels and connections, enabled for a product that is easily assembled, selfsupporting and free of hardware connections.4 This resulted in a final product that truly celebrates its material properties, and it also suggests that digital fabrication is expanding the potential of reciprocal structures. Another key outcome of design computation is performative designs. Architects are using means of computation to simulate structural and material performances as a methodology of design, and this is especially useful in simulating user experience.5 There is also what is known as the emergent form, where the multiplicity of algorithmic scripting enables different forms to be explored and adopted for optimum performance.6
A2
Muncie, Indiana by PROJECTiONE
[4] Archdaily, EXOtique / PROJECTiONE, <http:// www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016]. [5] Brady Peters, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2 (2013) pp. 8-15, (p. 13). [6[ Kolarevic, p. 26.