DESIGN STUDIO:AIR

JOURNAL

JENNIFER OZER (391609)

Seattle Central LibraryThe Seattle Central Library is an innovative design as it is distin-

guished from other Libraries. Its highly flexible form, using bookcases to define space within an area, allows one to discover an entirely

new atmosphere within a public space. The Libraries unique appear-ance consists of ‘floating platforms’, divided into 8 horizontal layers,

specifically designed in consistency with its function. A glass cover is beneath a detailed steal wrapping, making for an attractive con-

trast of materials as well as formally defining public spaces.

A key ‘state of the art’ feature within this building is the ‘Dewey Ramp’. This is a four-story ramp, allowing visitors to views books in a

continuous sequence. The innovative design of the library maximises the publics engagement with resources, as well as establishing a

connection with the outside world with fact, fiction and resourceful-ness.

“The stacks, arranged along a continuous spiral ramp contained within

a four-story slab, reinforce a sense of a world organized with ma-chinelike precision.”

(Nicolai Ouroussoff, Los Angeles Times). This link of the outside world with fact and fiction is similar to that of proposed in the Gateway

project, with the ambition of linking nature with people.

AD on The Streets: M2 Building by Kengo Kuma

This bizaree piece of architecture is soley an expression of choas, with ideas derived for post-modern Amer-ica. The architectural language of this building is highly chaotic, and shows the effect of mixed, oversized elements within a construction. This building speaks of true diversity, and represents the endless restrictions within design. Elements used are dervied from classic architecture, however when combined in such a mixed and disproportionate fashion, appears far from elegant and clas-sical, but rather conjested and dis-orderly. A truly heavy design, both physically and aesthetically.

Personal Project

My project of designing a discovery centre for ‘Herring Island’ allowed me to explore the nature of organic and curvaceous forms in architecture. Conveying this type of lan-guage through a building allows its visitors to embrace movement within a buidling and experiance a sense of guidance through the curves of the spaces, thus creating a sense of continuity. This sense of continuity creates a sense of security, making the design more welcoming and inhabitable, which I believe to be an integral ingrediant in architectural design.

ADVANCING ARCHITECHTURAL DISCOURSE ADVANCING ARCHITECHTURAL DISCOURSE

Contemporary computational design allows for the transformation of forms in a continuous manner, allowing for digital experimenta-tion. Digital design allows conception to transform into product. Some unique innovations include concepts of ‘key shape animation’, para-metric design’ and ‘topological space’.

Computational design offers the possibility for a consistent and dy-namic transformation of forms, as opposed to conventional methods. It is through digital modelling software the ‘finding of form’ can be achieved in addition to the ‘making of form.

-‘Topological’ geometry consists of continuous curves and surfaces, which are mathematically referred to as NURBS.

-‘Parametric’ design defines parameters of an object, rather than its shape. Various objects can be created with different assigned values. Parametric design is evident in ‘The International Terminal’ at Water-loo Station in London, by Nicholas Grimshaw and Partners.

-Through the use of ‘Animated form’, Greg Lynn studies object motion and forces with

keyframe animation. He was one of the first architects to use animation software as a

form of generation.

-Morphing is another innovative digital de-sign technic which blends different forms and shapes in order to create a ‘hybrid’

form with unique formal elements and prin-ciples.

-Ruled Surfaces is a technique allowing for forms to be unfolded into shapes, then digitally fabricated. Frank Ghery uses this principle to address building and budget

constraints within his designs.

The ship building and aerospace industry prove to be highly influential on architects and builders through 3D digital modelling. Through the curves and complex geometries in a car or a plane, this allows for many opportunities in the architecture and building industry. Frank Gehry’s ‘Guggenheim Museum’ in Bilbao, reflects principles of design in the shipping industry. Local steel is what produced this fine masterpiece.

CONTEMPORARY

COPUTATIONAL DESIGN Topological Transformation Sequence

Unique innovations presented by contemporary computational design tech-niquesNationale-Nederlanden Building created- Frank Gehry

The fluidity and complexity of Frank Gehry’s Nationale-Nederlanden Building, could not have been achieved without the use of three dimensional computer modelling. The building was erected between 1992 and 1996 in Prague. Ad-vances in technology and computer design have allowed Ghery to explore and refine forms in glass, steel and stone, as can be reflected in the Nationale-Nederlanden building through a glass tower constructed of a double layered steel supported glass curtain wall. This project used computer modelling to aid in methods of project documentation, which created a more direct link to the design process as well as fabrication and construction technologies. Ghery is more closely involved with the fabrication process as the geometric information is extracted from the digital model, and inserted into the ‘control data’ which enables the digital fabrication equipment. The use of this modern technology also allows Ghery to control construction costs of the buildings and ensure the budget of the project is not exceeded. These advantages of parametric modelling allowed the National-Nederlanden building to successfully incorporate complex interlocking curves. Gehry uses a software called CATIA, a French Jet aircraft design programme. The curvature in the building does indeed reflect the fluidity of the form of an aeroplane and incorporates the use of irregularshaped glass panels. These panels were cut with digital cutting machines, assist-ing in thedesign of an irregular and jagged composition. The state of the art technology used by Ghery contributes to the compelling nature of the building. The Wyndham City Gateway project will relate closely in terms of innovation and visual creativity compelling and surprising viewers. Like the National Ned-erlanden building, the project will encourage reflection through its non-literal ambiguity and will be achieved through similar abstract representation of form.

King’s Cross West Gateway, John McAslan and PartnersKing’s Cross station seves approximately 45 million people a year. Architects John McAslan and Partner define the lattice roof work structure as the largest single span sta-tion structure in Europe.

The crossing web like steel structure wraps itself around the the roof and front eleva-tion, then leads down into the public area. The eye is drawn to the top of the structure and follows the unravelling of web to the ground floor.

A 20m high core ‘funnel’ supports the struc-ture with an additional 16 smaller columns, creating a weblike structure which contrib-utes to the structure both functionally and aesthetically.

This architectural tranformation is said to involve the use of three distinguished architectural styles; re-use, restoratio and new build. Elements of the station have been reused (train shed and range buildings). The building Grade I fa-cade is being restored, and a new ‘Western Concourse’ has been designed as a centrepiece for the project.

The philosophy behind this architecture is to create a new iconic landmark, reflecting London’s ongoing regeneration. This can be seen through the stru-tures ambiguous and modern architectual style as well as its functional new facilities.

This ambition proves to be successful as this new facility provides improved transportation links, meeting the demands of passangers and increasing con-veniance. The shell like steel and glass is said to provide three times more space as the previous structure as well as more shops/restaurants and clearer station announcements (Network rail spokesman). In addition to adding to travelers comfort, 15% of the roof cladding is glazed to ensure plenty of natu-ral light whilst passengers wait for their trains. The structure evidently is attempt-ing to connect with the outsd.de natural worl.

A critique of the new design philosophy is that users might find the change in the station confusing. It may take a great deal of time for some passenger to learn the new layout and location of facilities in the station and this new archi-tectural abstract cob web feature might prove daunting on some passengers who prefer their familiar and traditional surroundings,

The domed roof is a captivating ele-ment, made from 1,200 tonnes of steel

and is supported but column each weighing in at 1.5 tones. Physcially it is

evident it is a rather heavy structure, however aesthetically the architects

still maintain and sense of lightness and flexibility. The airness of the struc-

ture is a direct contrast to Cubitt’s solid building behind. This distinguishes the

web like structure further, as well as drawing visitors to admire the previous

older structure behind.

CASE STUDY CASE STUDY

RESEARCH PROJECT: CUTTRIANGULAR GEOMETRY- PATTERN ROTATION

ROTATION

OVERLAPPING PATTERN GRID

BOOLEAN PATTERNS

RESEARCH PROJECT: CUT

Surface Normals and Boolean Patterning

Overlapping Patterns and Data Driven Extrusion

CURVE INTERSECTIONS

SQUARE ROTATION

PATTERN-CIRCULAR OVERLAP

GRASSHOPPER EXPERIMENTATION GRASSHOPPER EXPERIMENTATION

CURVE ATTRACTOR

GRASSHOPPER EXPERIMENTATIONRESEARCH PROJECT: CUT

-Data Driven Rotation and Boolean Patterning

-Data Driven Rotation and multiple maths func-tions

HEXAGONAL GRID

HEXAGONAL GRID ROTATION

GRASSHOPPER EXPERIMENTATION RESEARCH PROJECT: CUTMATRIX and gateway project

The data driven rotation and boolean patterning reflects the circular shapes inspired by the Natinal Netherlanden building prevoiusly dis-cussed. It is composed of rotating forms within a circular pattern, re-flecting a sense of continuity, which can inturn represent the continous growth and progression of the Western Suburbs.

The circles create an ‘unfolding’ pattern, buring a path of discovery and exploration, which are key concepts to be developed further in the design of the Gateway.

The Wyndham City Gateway project will use architecture as a catalyst for change and innovation, through reflecting innovative advantages through its use of parametric design.

The new installation will inspire municipality whilst still maintaining a distinct connection between nature and humans. For consistency, the evolution of humans and nature must be matched with the representation of evolution in advanced parametric design. Visual creativity will enhance the surrounding natural environment, and this intriguing diversity within the design will em-brace onlookers, leaving them with heightened curiosity and interest in the Western interchange. The ever growing design innovations are to reflect the progressive evolution in the Western suburbs. Material choice will be affected by the high speed of movement surrounding the site, in terms of its practicality and costs.

The design will encourage reflection, through its non-literal ambiguity. This will be achieved through abstract representation throughout the form, combin-ing daring ideas with a courageous attempt at generating and identifying a new architectural language. Ultimately, this will result in a new aspirational face for Western Melbourne.

The Wyndham City Gateway project

personal eoi

FABRICATION

Idea of Sweeping Curves and shadowsGroup Member: Mia Willemsen

Idea of movement of shadows with the sun through repetivive patternsGroup Member:Samantha Yim

CUT: RESEARCH PROJECTSPANISH PAVILLION EXPO 2005

Composed of irregular hexagons and diverse vibrant colours, the Spanish Pavillion marks a captivat-ing and innovative piece of archi-tecture.

Hexagonal forms are placed within an orthagonal grid, creating ex-traordinary shadows through pass-ing light through hollow and solid forms.

Grasshopper reproduction of the Pavillion:The biggest issue in the replication process proved to be ‘puncturing’ the hex-agonal grid with smaller hexagon shapes in order to achieve hollow forms. This was resolved through the use of the polygon component within the hexagonal

grid, allowing for more freedom to create ‘shapes within shapes’. The extrude tool was used to give the model three dimentionality.

REFERENCES:

-Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 62

-Rem Koolhaas OMA, Seattle Public Library, http://www.arcspace.com/architects/kool-haas/Seattle/, accessed March 12 2012

-Arch Daily, http://www.archdaily.com/179653/ad-on-the-streets-m2-building-by-kengo-kuma/, accessed March 12 2012

-Ray Massay, 2012 ‘Criss-Cross King’s Cross, http://www.dailymail.co.uk/news/arti-cle-2114575/Kings-Cross-vest-structure-unveiled-London-railway-station-500m-revamp.html, accessed MArch 20 2012

-Galinsky, 2005, http://www.galinsky.com/buildings/spainaichi/index.htm, accessed April 10 2012