ARCHITECTURE DESIGN STUDIO AIRJ A M I E K I M 3 9 0 1 5 0

N A M E : J A M I E K I MS T U D E N T N O : 3 9 0 1 5 0A D S : A I R S E M E S T E R 1T U T O R : L O R E N & C H R I S

J O U R N A LC O N T E N T P A G E

05 - 08 A R C H I T E C T U R E A S D I S C O U R S E 09 R H I N O - E X E R C I S E

10 - 11 C O M P U T A T I N G & T E C H N O L O G Y

12 - 13 G R A S S H O P P E R - E X E R C I S E

14 - 15 C U T - P R O J E C T

16 - 17 C U T - E X E R C I S E

18 - 31 E X P R E S S I O N O F I N T E R E S T

32 R E F E R E N C E

“We should work for simple, good, undecorated things, but things which are in harmony with the human being and

organically suited to the little man in the street.”

A l v a r A a l t o

J O U R N A L W E E K 1 : A R C H I T E C T U R E A S D I S C O U R S E

I have taken virtual environment as one of my environ-ment course. This subject got me to start developing ideas through 3D computer modelling. First I had to make a muck-up model with clay and bringing that clay model photos to Google SketchUp to develop into 3D model. This process was very interesting for me, how physical model can be re-formed in complex 3D modelling, Furthermore made into real size physical model with paper by unfolding 3D model. This was my fi rst experience on computational design.

My concept of the design was “fl uid wind” where I have gained this idea from combining both movement of water and wind. Then I used cloth to put over that ribs that I have created a form which i was satisfi ed with.

Then this from became my initial design of the whole proj-ect, which i developed this into physical clay model then sketchup model, which then became actual head piece that can be worn.

P E R S O N A L P R O J E C T

J O U R N A L W E E K 1 : A R C H I T E C T U R E A S D I S C O U R S E

The Seed Cathedral project was developed by Heatherwick Studio, who does really amazing architectural projects, their simple idea which develops into a form or structure is very innovative. Seed Cathedral was a project which attempts to showcase the natural roots of the United Kingdom. Underlying intension of this Pavilion is to advertise the region. Since the region was famous for collection of different seeds of trees and fl owers. He has decided to use seeds as fundamental object of this project, to integrate nature in to city. They have also decide locate a seed inside the rod – tip of it. Heatherwick Studio was interested in the idea of keeping something inside see through material. It gives ‘precious’ feeling towards object that is trapped within the object (like gem-stone from Jurassic Park). Pavilion is covered by 60 thousand acrylic rods which can be moveable through wind. Also each one of the rods has optics at the tip of the rod which brings arti-fi cial light in to the centre of the box, then the light is released at night. Through 3d modelling computation technology they were able to achieve an accurate result of precision in drilling a hole through the box

P R E C E D E N T

T H E S E E D C A T H E D R A L , 2 0 1 0 - H E A T H E R W I C K S T U D I O

This building is called Rotating Tower: it was name as “Rotating” tower because every single fl oor would be capable of rotating around a central axis, it will be continually in motion. it also prvide residents choose the views that they want to see. apparently the architect has said this building is highly resis-tive to earthquake due to each fl oor rotating inde-pendently. interestingly independent movements of each fl oor could create many different monumental looking of the building. In relation to Architectural discourse, ‘Rotating Tower’ demonstrates the pos-sibilities of mechnical kineticism this apporach of creating a dynamic and changing by over time

T H E S E E D C A T H E D R A L , 2 0 1 0 - H E A T H E R W I C K S T U D I O

J O U R N A L W E E K 1 : A R C H I T E C T U R E A S D I S C O U R S E

A E S T H E T I C I N A R C H I T E C T U R E

‘Aesthetic’ in architecture has been out there and developed through long history. In the history aesthetic part of building was expressed through details of building. Whereas, now these aesthetic features are expressed through façade and building form. Through technol-ogy enhancement, architects were able to achieve/design complex form and shape through computation. Creating a parametric design through computation may be strength in terms of having non-constraints form and design. However, this could also be a potential problem. Since parametric modelling is free and not limited in its form, this could be carried away to have disconnected design which seem to ignore the surrounding physical context and brief of the design. It is very important to, bear in mind with concept and design intension.

R H I N O - E X E R C I S E

J O U R N A L W E E K 2 : C O M P U T I N G & T E C H N O L O G Y

C O M P U T A T I N G & T E C H N O L O G Y

Parametric design itself uses parameters to defi ne a form. Therefore it is very easy to create a geometry and exploring a new form: everything could be generated through algorithms. Grasshopper is a program which allows you to create graphical algorithmic freely by combining 3d modelling tools called ‘Rhino’s 3D’. Parametric design offers anyone to ‘design’ a model in an interactive way. Development in technology of parametric has brought architecture to step up to another level of complexity and effi ciency in time and cost. Taking a look at the example of ‘ICD/ITKE Research Pavilion 2011’ In this pavilion project; both design and manufacturing methods were con-trolled through computation techniques. Research Pavilion 2011 is a clear example of advantage in using computation technology. Whole structure could be built in 6.5mm plywood sheets, and this could still be structurally stable. Computation is performing in a way that; which increases maximise in accuracy of manufacturing

G R A S S H O P P E R E X E R C I S E

J O U R N A L W E E K 2 : C O M P U T I N G & T E C H N O L O G Y

Creating Points and lofting surface using grasshopper

Creating two lines and connecting through bezzier durve.

J O U R N A L W E E K 3 : P A R A M E T R I C M O D E L L I N G

G R A S S H O P P E R E X E R C I S E

Association Curves reference to octagon hatch.

Image Smapling technique

J O U R N A L : C U T P R O J E C T

Children’s Museum of Pittsburgh has very interesting facade; which is also known as ‘Articulated Clouds.’. Big facade consists of small acrylic panel which could be fl uttered by the wind. This creats an image through kinetic movement of panels attached by the facade.

Key element of ‘Articulated Cloud’ is ‘organic movemet’, in which movement of wind (kinetic) is projected on the facade by many geometric element that are able to fl utter by the wind.

In relation to Wyndham Gateway project, this idea of kinetic movement of element by natural source could be an intresting idea. this could also bring a monumenttal mass into a live form

C H I L D R E N ‘ S M U S E U M O F P I T T S B U R G H - N E D K A H NC H I L D R E N ‘ S M U S E U M O F P I T T S B U R G H - N E D K A H N

C U T - P R O J E C T

M A T H - A S S O C I A T I O N

M A T H - A S S O C I A T I O N

A S S O C I A T I O N - A T T R A C T O R

E X P R E S S I O N O F I N T E R E S T

State of Art Project

E X P R S S I O N O F

I N T E R E S T

E O I

G A T E W A Y P R O J E C T

Wyndham City is already home to a number of publicartworks, including the notable “Seeds of Change”(2003) at the Eastern Interchange of the Princes

Freeway. The city is hoping for a successful additionto their repertoire, with a new artwork planned for theWestern Interchange. This artwork is to indicate arrivalinto metropolitan Melbourne and should cater to all

audiences. In this EOI we hope to put forward a strong

The main objective of the UK Pavilion design was to create a structure whose architecture was directly related to the content it exhibited, through a simple idea that was strong enough to attract attention and stand out amongst the other competing pavilions at the Shanghai Expo. The Seed Cathedral show-cased the Millenium Seedbank work as undertaken by the Royal Botanical Gardens at Kew, by means of 60000 transparent optical fibre strands, with each tip embedded with a seed.

Schumacher stated that “the built architectural works that architecture releases into the wider social world... circulate within the architectural discourse as examples and evidence.” (1) In such a way was the Seed Cathedral released into the world, generating discourse and being pinpointed as an example of innovation and creative use of technology and structure. This project is relevant to architecture as a discourse as it generated much public and academic interest, just by being com-pleted (2). It was consistently ranked by visitors at the Expo as one of the most popular pavilions and was visited by more than 50000 people each day (according to Heatherwick Studios official website) (3).In architectural circles, the project shot to credibility when it received the prestigious Lubetkin Prizei 2010, awarded annually by the Royal institute of British Architects (RIBA).

“Thestrongvisualandformaljuxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and theirperceptionofbeingexception-aland marvellous”. Described by the RIBA president as “an outstanding emblem for Britain” (4),

the project was a representation of Britain that was openly portrayed to the rest of the world. “The strong visual and formal juxtaposition created between ‘blobs’ and ‘boxes’ in traditional urban contexts, as is often the case, add to their ‘iconic’ status, and their perception of being excep-

tional and marvellous”. (5) If this is the case, then the exterior structure was truly innovative and thus it is a prime example of a project that generated discourse. An underlying purpose of the

cathedral was to create an architecture that was a direct manifestation of the content it exhibited. This was achieved, and relevance to the Gateway Project can be drawn from this success. If the

Gateway is to be a success it could be worth drawing on the ideas of successful projects and ap-plying a similar school of thought and innovation to the design of the Gateway Project.

J O U R N A L W E E K 1

“Thestrongvisualandformaljuxtaposition created between ‘blobs’ and boxes’ in tradi-tional urban contexts, as is often the case, add to their ‘iconic’ status, and theirpercep-tionofbeingexceptionaland marvellous”.

The ability of computational design to recreate natural forms was put in the world spotlight shortly before the Beijing Olympic Games in 2008, when Australian fi rm PTW architects used computational techniques to create the Water Cube, the National Aquatics Centre at Beijing. The form of the building was based on the formation of soap bubbles. The use of computation allowed a strict geometric pattern to be created under-neath a seemingly random arrangement of “bubbles”. The concept combines the symbolism of the square in Chinese culture, with the natural structure of soap bubbles as translated into an architectural form (6) to create the atmospheric aquatics centre.

Computation in Architecture P R O J E C T N A M E Watercube - Beijing Aquatics CentreARCHITECT/S PTW Architects

YEAR 2008AWARDS / RECOGNITION

2004 Venice Biennale – Award for most accomplished work Atmosphere section2004 BE Award Winner for BIM Building Information Model in Architecture and Engineering

P R O J E C T N A M E Watercube - Beijing Aquatics CentreARCHITECT/S PTW Architects

YEAR 2008AWARDS / RECOGNITION

2004 Venice Biennale – Award for most accomplished work Atmosphere section2004 BE Award Winner for BIM Building Information Model in Architecture and Engineering

“Th e structureappearsrandom and playful like a natu-ral system, yet it is mathematically very rigorous.”

-Andrew Frost (Director, PTW)

Digitalization gives us the ability to reproduce forms with forgotten geometries lost to us because of the difficulties of representation (7). For the Watercube project, it was possible for this structure be created thanks to the use of computation. The intricacies of the project were described by PTW Architect’s direc-tor, Andrew Frost as “appearing random and playful like a natural system, yet it is mathematically very rigorous” (8). The accuracy of each detail that was pinpointed using technological means to translate nature into design is outstanding, and an excellent reason as to why computation has a significant future in the field of architecture. The use of computation al-lowed the project to combine design with engineering seamlessly, a technique which will no doubt be called upon numerous times in the future in order to push the limits of architecture and create designs that are structurally sound.

As a winner of the Atmosphere category of the Venice Biennale, it is obvious that the space within the Watercube has succeeded in creat-ing a suitable atmosphere for its context. The jury of the award stated that “the project dem-onstrates in a stunning way, how the deliberate morphing of molecular science, architecture and phenomenology can create an airy and misty atmosphere for a personal experience of water leisure.” (9) In relation to the Gateway Project, creating an appropriate atmosphere for the viewers of the Gateway is tantamount to conveying the project’s message. The suc-cess of the Watercube’s atmospheric creation, due to its unqiue engineered structure, is proof of the extent to which computation can be manipulated to control a space and portray a certain feeling. The Gateway Project should take advantage of this function of computation by applying it to the design process.

This project by Melbourne firm Denton CorkerMarshall is located in Nanning, China, at thegateway to the city of Nanning via the freeway. Asvisitors emerge from the toll gates of the freeway,one of the scattered flowers delaminates intoseparate petals along the course of the road.Like the Gateway project, the Nanning Gateway has apurpose: to create a strong “green” statement for visitorsW(14). The Nanning Gateway has managed to convey thismessage through its dynamic, rather than static, design. Thedeconstruction of the flower petals along the road as visitorstravel along creates a space/time feeling as though they arecaught up in a motion of sorts. This feature draws in viewersand entices them for longer than the usual few seconds thana roadside artwork would usually. This extra time is vital in beingable to communicate a stronger message to the audiencethan would otherwise happen. In order for the Gateway to

P R O J E C T N A M E N a n n i n g G a t e w a yARCHITECT/S Denton Corker Marshall

YEAR 2002

Based on our explorations with the CUTdefinitions, we were able to developa few concept models from the moresuccessful combinations. The sketchmodels (left) demonstrate the conceptof density in different ways. The plywoodmodel (right & bottom) furthers thisconcept by making it more realistic as agateway concept.

(1) Patrik Schumacher, 'Introduction : Architecture as Autopoietic System', inThe Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28.(Page 3)(2) Kolarevic, Branko, Architecture in the Digital Age: Design andManufacturing (New York; London: Spon Press, 2003), pp. 3 - 62.(Page 4)(3) http://www.heatherwick.com/uk-pavilion/(4) http://www.bbc.co.uk/news/10447868(5) Kolarevic, Branko, Architecture in the Digital Age: Design andManufacturing (New York; London: Spon Press, 2003), pp. 3 - 62.(Page 7)(6) http://www.ptw.com.au/ptw.php(7) Kolarevic, Branko, Architecture in the Digital Age: Design andManufacturing (New York; London: Spon Press, 2003), pp. 3 - 62.(Page 4)(8) http://www.arcspace.com/architects/ptw/(9) http://www.dpr-barcelona.com/index.php?/projects/watercube-thebook/(10) Burry, Mark (2011). Scripting Cultures: Architectural Design andProgramming (Chichester: Wiley), pp. 8 – 71(Page 8)(11) Burry, Mark (2011). Scripting Cultures: Architectural Design andProgramming (Chichester: Wiley), pp. 8 – 71(pages 8 & 9)(12) Kolarevic, Branko, Architecture in the Digital Age: Design andManufacturing (New York; London: Spon Press, 2003), pp. 3 - 62.(Page 3)(13) Burry, Mark (2011). Scripting Cultures: Architectural Design andProgramming (Chichester: Wiley), pp. 8 - 71(page 16)(14) http://www.dentoncorkermarshall.com/projects.aspx?p=0&projectID=932&catID=2&f1=location&f2=asia&pg=1(15) http://www.archcairo.org/Department/ABT/ARCN106/LECTURES/4%20-Digital%20Design.pdf

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