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KENNETH G H O 385987

A 20 SURREALITY 12

STUDIO AIR ABPL30048


“AND IT IS THROUGH THE CONSIDERATION OF ARCHITECTURE AS A DISCOURSE THAT ONE CAN ENGAGE IT WITH IT AS VISUAL CULTURE” RICHARD WILLIAMS 2005

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CONTENTS


ARCHITECTURE AS A

DISCOURSE THE THRESHOLD BETWEEN DREAMS AND REALITY How can we translate something as complex as an idea into a reality? The natural laws that govern us limit the forms that architects can create. The numerous amounts of factors such as materiality, fabrication techniques etc. has limit us architects to settle for something simpler. In dreams we are unlimited, The complexities of the human mind have no restraint on how or what we can produce. Digital tools are like a dreamscape, we may not have the ability to create paradoxes structures but technological advancement has enabled us architects to create forms that were deemed impossible in the past time. Like the domino effect the advancement in other areas of knowledge increase the range of forms an architect can make.

Such innovation has made architecture a trend, a discourse. Ever exposed to many systems and subsystems, architecture will be constantly changing and developing. Through this, new forms of architecture are being appreciated among society as a visual culture. Continuously expanding and optimizing forms that were made accessible through the development of architectural tools. Striving for for optimisation, and intertwined between complexities of functionality and form. “Form follows function� or vice versa, It seems that one has submit to one another, but why settles for one or another? A performance driven architecture tries to relate the interconnection between different factors and optimized their features. This result is such a sublime play between form and function touching a new generation of architecture. I want to express my interest on how building can performs at the threshold between ideals and realities.

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The Body Space is a course structured on a practical project that explores existing precedent that underlines the concepts of digital design. This project was a creative way of exploring creative thinking in reference with ourselves. There was a throughout process of research, design and fabrication techniques that gives us architecture student grasp the syntax of the virtual environment.

“IT IS GENERALLY ACCEPTED THAT ARCHITECTURAL CHALLENGES BECOME INCREASINGLY INTERDISCIPLINARY AND DESIGN TASK REQUIRE INTEGRATION OF MULTIPLE CONCERN. AN INABILITY TO CREATE AN ENVIRONMENT THAT FOSTERS SUCH INTEGRATION IS A RECURRING CRITICISM OF STUDIO CULMy design is based on the idea of refraction TURE.” STANISLAV ROUDAVSKI 2011 and the human eye. The exploration of the notion of how light converges at an infinite point allowing us to reconstruct the relative distance of two or more objects. Using digital tools has allowed me to renovate this process in an abstract form, At federation square this project has also been displayed as a major cultural event-Light in Winter festival 2011.

BODY

SPACE

PERSONAL PROJECT:

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MIKE TONKIN & ANNA LIU

THE RINGING SINGING TREE This sculpture won the national award of the Royal Institute of British Architects for architecture excellence. This tree is constructed with stacking pipes of varying lengths. Each layer turns at 15 degree that retorts to wind patterns. Flowing from one end to another each layer plays a chord that harmonizes with another reacting differently with the changing environment. Tonkin and Liu plays not only with the form of the building but demonstrates how the building interacts with the environment to enhance the overall performance. The sculpture captivatingly plays between its aesthetic and functionality.

“STORIES OF ITS SONG WOULD PASS FROM MOUTH TO EAR. IN CARS AND ON FOOT PEOPLE WOULD MAKE THEIR WAY FROM CITY UP THE HILL. JOURNEY WOULD BE MADE TO HEAR THE WIND MAKE MUSIC WITH THE SINGING TREE.” TONKIN & LIU 2006 STUDIO AIR

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From the exciting trend of digital manipulated architecture, Heatherwick Studio explores the other factors that would provide a more unique look among other pavilions of the Shanghai 2010 Expo. The design, focuses on the how to exhibit the seed that were provided by the collaboration of the the Kew’s seed bank. Not only it became the top 5 visited pavilion it won the 2010 RIBA Lubetkin Prize. Provoking discussion and bridges the gap between cultures. This pavilion was even nickname the ‘pu gong ying’ meaning the dandelion in Chinese. The optic fibre filaments are arranged in a cube like structure place in a direction that exports light from the sun. This unique play between light and materiality illuminates the seeds within the pavilion. The fibre optics is also responsive to the light condition, so unseen movement of shadows from clouds give of a fluctuating luminosity. The idea of the building being able to perform a certain task is explored in this architecture. Not only had it let people interact with building but the building manifest light in an innovative way. The Seed Cathedral timber, steel and 60,000 optic fibres which are pass through drilled precise holes in the steel frames.

correct light intensity inside the pavilion. Also the using performance driven architecture the Seed Cathedral explores the factors such as wind and light to its structure, letting the wind ripple through the structure affecting the luminosity of the fibres. Digital fabrication is such an innovative tool that helps create precise structure that excludes human error. This means the performance will be optimized through the accuracy of computers. digital design not only enhances the form of the building but it also can enhance the functionality and the overall performance of the building. This idea of optimization will be explored in the gateways project. The optimization of a factor to enhance the overall performance of a building can seen as an architectural discourse. it enforces a particular outlook to which a building would want to express. absoulute optimization may not exist but optimal driven building offers a more unique play between form and functionality of the building. performance base architecture offers such exclusiveness that I hope to present this case through the gateway project.

“HOW DO YOU STANDOUT IN THIS CHAOS? VISUAL STIMULUS, SO WE Such techniques can be trace to the help SENSE WE HAVE TO DO ONE THING of digital design. The tedious placement of AND ONLY ONE THING.” THOMAS optic fibres must be place with great accu- HETHERWICK 2010 racy and precision that it may display the

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HETHERWICK STUDIO

SEED CATHEDRAL STUDIO AIR

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O PERFORMANCE T TO POLOGY M IN O V A T I O N Z A T I O N

MARK Mark Burry the director of RMIT’s Spatial Information Architecture Laboratory (SIAL), has been establishing an interdisciplinary research in broadening out the environment devoted to contemporary spatial design. He seeks innovation with computational design by introducing rapid prototyping of ideas. In 2006 Mark was granted an Austra-

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lian Research Council Federation Fellowship and also recieved USA Association for Computer Aided Design in Architecture (ACADIA) Award for Innovative Research.


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K BURRY “THOSE 3-D MODELS HAVE BEEN VITAL TO GAUDI’S SUCCESSORS TO CARRY ON HIS VISION.” MIKE BURRY 2010 STUDIO AIR

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FROM NEW TO OLD

COMPLETION

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OF

THE

S A G R A D A F A M I L I A

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THE PROJECT The Sagrada Familia Church in Barcelona has become one of prominent piece of architecture in the modern times. Designed by Antonio Gaudi, it procured 43 years of his life and yet it still hasn’t been completed. Left unfinished the works of Antonio Gaudi is passed on to its successor Mark Burry who uses digital practices to complete the Sagrada Familia. By using parametrics design, Mark Burry is able to construct the designs which are consistent with available material left by Antonio Gaudi in a much faster rate. Through the use of new technology, topology optimization has allowed Mark Burry to complete the Sagrada Familia with Antonio Gaudi’s design intent.

“IF ANYBODY GOES TO THE SAGRADA DE FAMILIA AND ADMIRES ON WHAT IS BEING BUILT SINCE HE DIED (ANTONIO GAUDI). THEY ARE LOOKING AT A MANIFESTATION OF SOMETHING HE NEVER EVER SAW FROM HIMSELF AND BECAUSE OF THAT HE NEVER IMPARTED WHAT HIS INTENSION WERE IN TERMS OF MAKING SCALE MODELS INTO WAYS OF BUILDING.” MARK BURRY 2009

TOPOLOGY OPTIMIZATION The complex structure of the Sagrada Familia needed a much more advance designing environment that can allow factors associated with the design thus optimizing it’s form ergo topology optimization. Antonio Gaudi did not have such factors to be explored in a smaller scale. He can never grasp a variety of options that can allow him to build the building without the problematic issues that appeared in the construction of the Sagrada Familia. Materials are hidden with construction information; through digital environment; materials can be exposed to a more integrated environment; narrowing the process of trial and error and hence toplogy optimization can be achieved. EXPRESSION OF INTEREST In architecture, some factors suppress form, architects have settle for a simpler form just to allow accommodate its function. However like how Burry optimized Antonoio Gaudi’s Sagrada Familia form with the use of parametric design I would want to optimize the Gateway Project form. By rapid prototyping, topology optimization can be achieved in a much quicker rate. STUDIO AIR

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S C R I P T I N G

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CULTURES


SHIZUKU

SOFTlab created by Mike Szivos and Jose Gonzalez is a company that allows people from everywhere to experiment with their ideas in the virtual environment. being able to produse a form that can be fabricated or rendered. they argue thst scripting a design is best way to test an idea, if it doesnt work they can change one aspect of parameter that generates a new idea. they want to ex-

S O F T l a b

plore an uncontaminated idea. the fact that coporation of other factors may distort their ideas, that why it could way that their idea’s are always performative, at the point of optimization. however it can be argue how can their idea’s translated to a bussiness mind set. How can generated forms without a practicle funtion drive the demand for scripting cultures?.

SOME OF IT CROSSES OVER AND WHEN IT DOES, IT IS GREAT BECAUSE IT USUALLY PRODUCES NEW AND EXCITING RESULTS. YOU PROVE THAT IDEAS YOU HAD HERE WORK IN ANOTHER ENVIRONMENT. MIKE SZIVOS 2010

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CHROMA esthesiae

S O F T l a b By scripting rapid prototyping can be achieved and therefore many ideas can be explored and critic in a faster rate. This implies to the business world too, “time is money” and that what scripting saves, it plays around different interesting ideas and see what works and what doesn’t ,how Szivoz would put it ‘if it doesn’t work move on to the next’. SHIZUKU and CHRO-

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MAeathesiae are example of ideas that were fabricatied through computational design. these experiments were created by exposing different techniques to different materials. Exploiting different techniques at a much more faster rate thus optimization can be easily achieved through computational design.

IN THE STUDIO WHEN WE SIT DOWN EVERYONE HAS IDEAS AND THERE NEEDS TO BE CRITERIA. WE NEED TO QUICKLY TEST IDEAS. THE RENDERING IS ONE FORM OF TESTING AND GIVEN A SHORT TIMEFRAME THAT MAY THE BEST WAY, BUT IT IS JUST ONE WAY TO TEST IT. YOU DON’TKNOW IF IT WORKS UNTIL YOU BUILD A PROTOYPE. MIKE SZIVOS 2010


S C R I P T I N G

DISCOURSE THE DESIGNER GIVES THE POTENTIAL TOWARDS THE PRODUCT THE USER LIMITS IT THROUGH IGNORANCE

Scripting cultures allows us to manipulate form in a more rapid way. It decreases tedious work by integrating such factors into the design. However a designer must be fully aware of the tools in order to completely in control of their design or else they face the consequences of being influence by the programmer. However that may be scripting culture is a very innovative tool that can be used in the Gateway project. It allows rapid analysis of different forms and gives complex designs with different types of fabricating techniques. Time is a great factor in terms of business and scripting cultures allow the exploration and manipulation of form in smaller time frame. Such forms can be seen in these two examples by SOFTlab, the way the materials are operated are bases on precise calculation thus minimizing the risk of failing. Such geometry can be achieved just because of scripting cultures.

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INVENTING

& DISCOVERING

THIS PROCESS REPEATS ITSELF UNTIL THE CONSIDERED SOLUTION IS DEEMED SATIFACTORY IN ALL RELVANT MANNERS. YEHUDA E. KALAY 2004

In correspondent with Kalay 2004, the process of computational design requires some sort of trial and error. You can explore one particular solution and manipulate it to its logical conclu-

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sion ’depth first’, or explore the different solution and come up with a logical solution ‘breadth first’ these are some experiments showing the techniques and manipulation of parametric design.


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2. Using surface grids, mathematical function The effect it has on the size of the polygons and data driven extrusion this form was created. The effects of the mathematical function on the extrusion cannot be as distinguish as the effects of it in the size of the polygons. 3. Using multiplyer on the math function,

can be clearly seen . This component enhances the effect of the mathematical funtion and gives a sense of drama towards the form. 4. Similar to the last definition , instead of the size of the polygons the effect was place on the extrusion size. the change in linear activity gave a sense of contouring. 5. This type of exploring is base of the axis in which the extrution takes place. Using a surface attractor the extrution , the form has more movement than the previous candidate STUDIO AIR

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2D SURFACE TOR +

GRIDS DATA

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SURFACE TEXTS

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+

+ CURVE ATTRACDRIVEN DIMENTIONS

GRIDS + POLYGON

STREAMING COMPONENT

SURFACE POINT +

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GRIDS DATA

+ DRIVEN

OVERLAPPING PATTERNS + ING TEXTS + DATA DRIVEN

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ATTRACTOR ROTATION

STREAMROTATION

SURFACE TOR +

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GRIDS + DATA

G R A D I E N T

BOOLEANING FUNCTIONS +

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CURVE ATTRACDRIVEN ROTATION

PATTERNING + MATHS DATA DRIVEN ROTATION

E C H O

SURFACE NORMALS + IMAGE SAMPLER POINT + DATA DRIVEN COMPONENTS

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SURFACE GRIDS + FUNCTIONS + DATA

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SURFACE TOR POINT

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MULTIPLE MATHS BOOLEANING DRIVEN SHADING AGE SAMPLER

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NORMALS + DATA

+

+ DRIVEN

ATTRACROTATION

BOOLEANING PATTERNING + IMAGE SAMPLER+ DATA DATA DRIVEN DIMENTIONS

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PATTERNING + IM- SURFACE DATA DRIVEN SHADING PLER +

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O R G A N I C GRIDS DATA

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IMAGE SAMDRIVEN SHADING

C O L O U R

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SURFACE GRIDS + FUNCTIONS + DATA

C A N D I D A T E

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CIRCLE

D

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MULTIPLE MATHS DRIVEN EXTRUSION

RADIUS

SURFACE MULTIPLE

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NORMALS MATHS

+ SURFACE FUNCTIONS STREAMING

3D + TEXTS

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AMPLIFIED

DIFFERENT

GEOMETRY

AMPLIFIED

DIFFERENT

GEOMETRY DATA

AMPLIAMPLIFIED

DATA

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GRIDS

DIFFERENT

GEOMETRY

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E P T H 1 EXTRUSION

D

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HEIGHT

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DRIVEN

EXTRUSION

E P T H 2 EXTRUSION FIED +

D

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CIRCLE

HEIGHT RADIUS

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DRIVEN

SHADING

DIFFERENT

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GEOMETRY

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Studio Air Journal-Kenneth Gho 1.1