DESIGN STUDIO: AIRSEMESTER ONE 2015

JOURNALKEVIN L HUYNH

DESIGN STUDIO: AIRSEMESTER ONE 2015

KEVIN L HUYNH #639492STUDIO: 13TUTOR: BRAD ELIAS

CONTENTS

INTRODUCTION

PART A. CONCEPTUALISATION

A.0 DESIGN FUTURINGA.1 DESIGN COMPUTATION A.2 COMPOSITION/GENERATIONA.3 CONCLUSION A.4 LEARNING OUTCOMESA.5 ALGORITHMIC SKETCHES

PART B. CRITERIA DESIGN B.1 RESEARCH FIELD B.2 CASE STUDY 1.0B.3 CASE STUDY 2.0B.4 TECHNIQUE: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPESB.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES AND OUTCOMES B.8 APPENDIX - ALGORITHMIC SKETCHES

PART C. DETAILED DESIGN

C.1 DESIGN CONCEPTC.2 TECTONIC ELEMENTS & PROTOTYPES C.3 FINAL DETAIL MODEL C.4 LEARNING OBJECTIVES AND OUTCOMES

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INTRODUCTION

KEVIN LEE HUYNH

Institution: The University of Melbourne Degree Program: Bachelor of Environments Major: ArchitectureCurrent Statue: Third Year Undergraduate

I was born and raised in Melbourne and after 20 years on this earth I am still confused with the world around me, I can understand the simple. I know why that human is crying, I know why trees grow vertically instead horizontally. It is the complex things in life that confuse me. Essentially architecture is a middle ground between the arts and the science, where the science is understood, however the arts is confusing. Architecture allows me to break down the fast pace, changing world around me into smaller understandable blocks, which I use to reconstruct the surrounding world.

My first architecturally fond memory was lived in 2000, at the age of five my brother and I built structures out of mighty blocks, we couldn’t use the genuine Lego blocks since my mother thought I was going to swallow and choke on one so we made do with the mighty blocks. Ever since then, I have grown up on genuine Lego. Around the same time I was drawing and sketching the world around me. I guess you can say it drove me towards architecture.

Architecture and digital architecture together exist in one universe; however exist in different realms of this universe, as a collective both seek to change the future through the integration of elements into the present. To me digital architecture stems from the technology we use today, the technology pushing architecture to new levels beyond what was possible in the past. The game hasn’t change, just the players playing the game.

With new techniques of architectural design comes different methods of creating it. The theory behind digital architecture seems to be how fast and effectively can I design this without spending too much money and time. Additionally there is an idea of complexity around the notion of digital architecture, digital architecture is “complex.” Not everyone can use digital architecture to its full extent; there is a steep learning curve when it comes to the programs you will be using and a mentality that must be had to fully engage with the archetype. Digital architecture may be the future of architecture, however architecture as we have come to know it will always remain.

My experience with digital architecture is still developing at this point of time. I have taught myself Rhinoceros and Grasshopper and have experience with Google Sketchup, archiCAD and basic Java script. I was first introduced to Rhinoceros during Virtual Environments in 2013 and since then it has been my first preference when

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Design Studio: Earth (above)

The concept is sight lines and the way first sight lead you on a journey, this design is about the journey through spaces and finally leading to a perceived endpoint.

The sight lines are small objects placed along the landscape that suggest to the individual a general direction to approach. These small objects serve as landmarks, marking a journey and finally leading to the “time capsule.” I have put quotation marks on the time capsule, as this may not be the endpoint but a starting point of another journey. My pavilion is the combination of all objects acting as one.

digitally designing. Digital architecture has always been the second step of design coming from sketching and drawing out ideas, my projects have never started with digital architecture. i hope to change this.

Design Studio: Water (below)

The design is based on the relationship between Richards Meier iconic early work and his more recent work. By contrasting and highlight characteristics of both time periods, some common design themes are repeated and implemented in this design.

With these design themes in mind, I set out to explore architecture through the eyes of Meier. Revisiting early work and diagraming these gave me a general layout of the boathouse. The design is influenced by Meier design themes as well as his inspiration. Most importantly the relationship between public and private. Additionally the way the boathouse sits on the site is drawn from Meier work, and how he uses the surround environment to landscape his architecture. The use of white as a texture and tone highlights the form and contrast of light and dark.

The design is highly reminiscent of Richard Meier’s work.

PREVIOUS WORK

PART A.CONCEPTUALISATION

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DESIGN FUTURING

We as a human race, as individuals are ‘awake,’ we live, breathe and do it all again the next day, and the day after that if we make it to then. We have a interval drive, we are conscious living souls living on this earth, free thinking individuals whom are curious about the world we construct and live in. Instinct human behaviour is to want survive, however survival at the cost of the environment and the ecologies within such environments. We are living a unsustainable present, only recently we realised our immediate actions affect the future, this cause and affect model, is a spilling loop to the eventual death of our race and the planet in which we inhabit.

The future is constructed from the present, a future isn’t just handed to us, rather we earn it through sustainability, by realising that our immediate actions have a affect on the future, we rethink such actions and act accordingly. However the model which is created is a constructed future, and this begs the question should we continue on the current path where our auto-destructive nature to sustain the current and sacrifice the future, or should we aim for this ‘designed future?’

The ways in which we conduct and produce a design has more depth than some realise. A design has the ability to change the future; a good design sets the tone for all future design hence it changes the future. Once we realise this design will be more critical, we engage in the world around us more efficiently. Architecturally speaking, one great design, has the ability to alter the course of the future, now knowing this, design something,

this is design futuring.

Challenging the ways we currently design is at the forefront of design futuring. By doing so we extend the longevity of the future. Challenging the process in which we design redirect the future on a different path. If a designed future that embraces new technologies, imagination and alters the design process as we know it, we have the moral cause to do so. Instead of living in a capsule leading to the inevitable doom of this planet of unsustained architecture and design, we should live in the present free of such things that aims for a better future beyond our horizon.

Above: Parametric Panneling, Thomas Diewald

A.0

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Above: Le Corbusier, Villa Savoye (1931)

DESIGN FUTURINGPRECEDENT PROJECT 1: LE CORBUSIER, VILLA SAVOYE

Le Corbusier’s Villa Savoye (1931) is a monumental piece of architecture that changed the course of architecture forever. What he left behind after his death can be seen as timeless masterpieces of architecture and design. The ideals and philosophies he envisioned and believed in, still remain with us today.

Le Corbusier and other great architects are all said to be ‘before their time.’ Le Corbusier was seen as futuristic as his ideas, values and style.1 He practiced in a time where no such thing has ever existed before. His work alienated from the others, it was so different. Le Corbusier created his own future; he designed in a manner that was so capturing that his concepts of design wedged itself into architectural history.

The Villa Savoye suggested an alternative means of designing, by thinking in this manner, Le Corbusier generated a ‘program of design’ his five points of a new architecture set out the characteristics of his architecture that is continually used today.2 The idea was modernity and Le Corbusier achieved this through architecture that was all about health and improving the human condition.3 Instead of architecture acting is a vessel of human inhabitation, Le Corbusier’s architecture sought to influence and change individuals much like today’s architecture that seeks to constantly change the way we live and behave in the world around us.

The Villa Savoye is a revolutionary piece of architecture conceived in a time where this form of architecture was seen as too radical and too different. However the Villa Savoye stood the test of time, it now serves as a teaching aid, and design inspiration for many. Elements of the Villa Savoye are still present in today’s society, with many modern buildings taking the form of what was once too radical. The Villa Savoye itself serves as a machine that drove change through the five points of architecture.

1. Pilotis 2. Free Plan 3. Free Façade 4. Horizontal Windows 5. Roof Garden

Le Corbusier architecture demonstrates that architecture doesn’t need to follow a form or function it just needs to be different. The Villa Savoye expanded the possibilities of the future, inspiring others to think radically and different.

The Villa Savoye expanded the future, as it was the first building of its kind to question the statue quo. Going against the current Le Corbusier ideas about the possibilities of architecture was years ahead of what was happening. Additionally the form of architecture sought to change the human condition, extending human life through good health. Le Corbusier Villa Savoye changed the future and shaped the present we are currently living within.

A.0

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DESIGN FUTURINGPRECEDENT PROJECT 2: FOSTER + PARTNERS HEARST TOWER

Above: Foster + Partners, Hearst Tower (2006)

Hearst Tower was a dream, a dream commissioned in the 1920’s as a skyscraper that was cut short due to the Great Depression. The dream lived on in the hopes that one day a skyscraper would be built upon it. Almost a decade after its completion architects of Foster + Partners accomplished the dream.5 The glass and steel structure sits lightly upon the original six story cast stone façade designed in a art deco style. The contrast between material, style and geometry seek to redefine architecture with the pleasant contrast between the old and new, mass and weightlessness and hopes and reality.

Hearst Tower and other examples of design futuring are always different from there surroundings. The architectural style itself is unique and different from the norm, however it’s not unique only for this reason. Hearst Tower is currently at the cusp of changing the future of design, young architects are being inspired by its form and design, it serves as a beacon to aim towards. Hearst Tower is currently changing the future through the way we think of design. design is no longer constraint by the limitation of our minds. Design is being projected into the future through the use of technology, parametric modelling and design. This form of modelling consisting of design designing another designs. Hearst Tower set the example that architecture can be done successfully using parametric modelling. Hearst tower is instigating change.

The design showcases sympathy to the building’s history. Fosters’ design doesn’t over shadow the existing structure, rather he amplifies it. The design manages to create a juxtaposition between the old and new yet harmonising them together in unity.6 This careful design symbolises a respect for the past, this is shown by the way Foster lightly places the new addition on the old, the weightless feeling that is portrayed through the materiality and shape positively contrast with existing structure, increasing the effect of the overall structure.

Design Futuring core belief is to sustain the future through good design in the present. The design of the Hearst Tower is the first of its kind in New York City awarded with the LEED gold certified through its environmental consideration.7 The tower was designed to sustain the future, the geometry reducing the materiality, heat conductive limestone acting as a thermal heat sink, large glass façade to reduce the need for lighting and the circulation of water around the building to control ambient temperatures.8 All these designed characteristic sustaining the present, and unlocking brighter futures where other designs wish to reflect the same elements of environmental consideration.

For a design to change the world it must be appreciated. Given the chance, all architecture in some way or another will inspire change. However it is more important what we inspire rather than if we inspire.

A.0

“Dreams seem to be hope-hopes that we will not allow ourselves to become extinct.” 4

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DESIGN COMPUTATION A.1

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DESIGN COMPUTATION A. 1

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COMPOSITION/GENERATIONA.2

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COMPOSITION/GENERATIONA.2

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CONCLUSION A.3

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LEARNING OUTCOMESA.4

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ALGORITHMIC SKETCHES 001- OCTREE

A.5

Above: Foster + Partners, City Hall(2002)

The Octree component is used to partition three-dimensional space by subdividing according to a set input or into eight octants. In this case the Octree component was used to approximate curvilinear geometry, by fitting boxes on the surface of geometries that lead to interesting patters on the original geometry.

The pattern could be manipulated by changing the seed values, either increasing/ decreasing the number of points generated on the surface or increasing/ decreasing the group value on the Octree component. The most successful variation is an increase of points generated and decrease in-group size, this lead to large amounts of boxes, however small in size, that resulted in a approximated surface where the original geometry could be depicted.

Points: 100 Group Size: 4 Points: 100 Group Size: 2 Points: 1000 Group Size: 4 Points: 1000 Group Size: 2

Points: 5000 Group Size: 2

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ALGORITHMIC SKETCHES 002 -

A.5

REFERENCE LIST:

1. William J.R Curtis, Modern architecture since 1900 (987) (London: Phaidon Press Limited), 165.

2. William J.R Curtis, Modern architecture since 1900 (1987) (London: Phaidon Press Limited), 163.

3. John R. Gold, “A world of organized ease: the role of leisure in Le Corbusier’s La Ville Radieuse,” Leisure Studies 4, no. 1 (1985): 107.

4. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1.

5. Redboxmedia.com, redbox, ‘Hearst Tower | Projects | Foster + Partners’, Fosterandpartners.com, 2000 <http://www.fosterandpartners.com/projects/hearst-tower/> [accessed 11 March 2015]

6. Megan Sveiven, Flashback: Hearst Tower / Foster and Partners (February 3, 2012) <http://www.archdaily.com/204701/flash-back-hearst-tower-foster-and-partners/> [accessed 7 March 2015].

7. Arcspace.com, Hearst Tower Norman, Foster & Partners (December 19, 2013) <http://www.arcspace.com/features/norman-foster--partners/hearst-tower/> [accessed 7 March 2015].

8. Abigail Alderman , 10 Years of Hearst Tower: Q&A with Architect Lord Norman Foster (January 15, 2015) <http://www.hearst.com/newsroom/10-years-of-hearst-tower-q-a-with-architect-lord-norman-foster> [accessed 7 March 2015].

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PART B.CRITERIA DESIGN

PART C.DETAILED DESIGN