STUDIO

AIRDESIGN JOURNAL

CATHERINE DEMETRIOU 641497

Hello! My name is Catherine Demetriou and I am a third year student

completeing a Bachelor of Environments and majoring in architecture.

When I was first applying for course after having finished year 12, studying architecture was

something that I only slightly consdered. Nevertheless, choosing architecture not only to study

but also as a career path is a decision that I am very sure about, despite the long hours and hard work.

Coming into first year environments, I had practially no knowledge of computational skills as

I had not undertaken visual communication or any design subjects during school. It was for

this reason that, when I took virtual environments as a subject, I found it very challenging

to come to terms with programs such as Rhino, Autocad and Adobe Creative Suite. Throughout

virtual environments, I was primarily taught panneling skills through Rhino and furthermore,

my presentation skills improved immensley over the semester. This is something that I carried

throughout my second semsester of first year and furthermore, the entirety of the second year.

Throughout my third year of majoring in architecture I aim to improve these computational

skills that I often find very daunting. I enjoy the fact that studio air forces

us to become familiar with Rhino and grasshopper and although it may be a challenge,

I know that it will become very useful to know these programs throughout the future.

Introduction about me + past experience

-INTRODUCTION-

A1 -PRECDENT 1-

(BANQ/OFFICE DA)

-PRECDENT 2-

(center for ideas/minifie van shaik)

-TUTORIAL TASK 1-

A2 -DESIGN COMPUTATION-

-PRECEDENT 3-

(The Scarcity and Creativity Studio)

-TUTORIAL TASK 2-

A3 -COMPOSITION/GENERATION-

A4 -CONCLUSION-

A5 -learning outcomes-

A6 -Algorithmic sketches-

CONTENTS

For this weeks precedents, we were given two buildings whose architectural beauty was

derived not only from interesting design but also with the aid of computational workflows.

The first precedent that was provided was BanQ/ Office DA, a resteraunt built during 2006-2008

that, today, is known as a reseraunt located in Boston USA. The reseraunt is renound for its

unusual interior where both the roof and columns, made from a slatted wood system, create the

illusion of a “slumping” or “dripping” effect. This system, like any ceiling and roof system

structures, is utilised to contain all mechanical, plumbing and lighting systems however does

not entirely conceal them with the gaps between the slats exposing all the electrical wiring (1).

It is through the expertise of digitial imaging, however, that has granted this roofing

system with its organic and free-flowing nature. This is ultimately due to the experience

of achitect Nader Tehrani who found inspiration while travelling through the Neverlands

Schiphol airport where the buildings slatted ceiling exposes yet filters the mechanical

systems of the roof in a very intruiguing way (2). Tehrani, pushing for the digital

revolution within the architectural industry, designed the ceiling system using geometries

that enabled the wood slats to not only conform to the equipment above but also to create a

somewhat adjoining relationship between each material in order to create a unified effect.

I believe that this building has been continually appreciated as it seemingly takes

a different approach to design as it is one that granted its users freedom with its

large rooms and open space, however, still encapsulates the idea of good design.

A.1 BANQ/OFFICE DA precedent 1

(1)Photos by: John Horner

(1)Photos by: John Horner

The Center for ideas by Minfie Van Schaik Architects was the second precedent

provided for week one of studio air. The center was built as an extension of

Melbourne University’s Victorian College of the Arts and was built in 2001 (2).

The building itself is one that has infact been the cause of debate concerning

the future of architectural design as it is was one of few of its time that was

designed using digital fabircation.

Minfie Van Schaik Architects designed the building based on the algorithmic

development of “vornoi diagrams” which essentially partitons planes into various

areas based on specific distances to different points. The building itsels is

realised in a stainless steel and aims to convey a sense of movement not only in

the real world but also in the virtual.

It is this relationship with movement that I believe sets the building a part

from many within Melbourne city. The combination of the stainless steel and

the geometric shapes allows light to reflect differently from varying angles.

Furthermore, each side of the building has been created to be physically and

aesthetically different, thus creating a sense of movement and keeping users

intruiged as they orientate themselves around the building (2).

A. 1 center for ideas/minifie van shaik precedent 2f

(2)Photos by: Derek Swalell

Over decades, the precense of technology has changed the way in which we live our

lives and altered the face of society in numerous ways. For the architectural

world, technology or , design computation, has seemingly granted designers and

architects an innovative and creative freedom that was not once present throughout

earlier years. For many within the design world, the precense of digital design

has seemed to not only provide a sense of efficency during the design process

but has also, according to Kalay Yehundas “Architecture’s New Media”, given

architects the chance to identify and frame problems in a way that will always

lead to a reachable solution. It this sense, the computational precense within

the architectural world forces designers to become familiar and somewhat rely on

algorithmic patterns and geometries (3). This is evidently seen throughout the

making of Toyo Ito’s “Serpentine Pavilion” where the base design of the pavilion

was based on the algorithm of a cube that was expanded in shape as users rotated

around it.

However, although design computation is widely utilised and accepted, its precense

is still widely debated throughout the architectural world. As discussed within

Yehundas reading, many believe that while it is easy for humans to communicate

with computers, the ability for computers to communicate to humans is virtually

impossible- thus blocking the creative process. Furthermore, while digital design

is somehwat aimed to solve problems, it cannot deal with externally imposed

constraints that architects may face later in the design process (4).

Nevertheless, for younger generations and students such as myself, I believe

that the precense of digital design provides opportunities that were not once

provided throughout previous years. It gives us he chance to physically envision

our designs from a three-dimensional perspective which in my opinion, grants both

designers and architects a sense of realism during the processes of their design.

a.2 design computation

(4)Photos by: Sylvain Deleu

For this week’s algorithmic task, my tutor provided us with the challenge of

becoming familiar with the movement of the area and this could vary from the

movement of the surrounding community or even the movement of the natural and

unatural environment around the area. It was for this reason, that for this weeks

precedent I chose a project constructed by Scarcity and Creativity Studios, that

focused heavily on the movement and patterns of its surrounding environment.

The project itself is located on a sandy dunal landscape, located on the coast of

Ritpque in Chile. Within the project there are two main areas: Hospederia de Las

Alas (a bird observation shelter situated on the top of a dune that faces a bird

sancutary) and Las Piedras del Cielo (a commmunity area that contains a small

kitchen for preparation of food). Of the two structures, I found Las Piedras del

Cielo the most aesthetically and structurally interesting as it was logistically

designed in order to cope with the harsh weather conditions of coastal Chile.

Due to the North Atlantic weather, local architecture is often severly effected

and was thus, heavily consdiered during the design process of the structure.

This is primarily seen in the making of the deck surrounding the project that is

not permanently fixated to the substructure of the pier so panels that may be

removed by coastal waves can be simply replaced (5). Furthermore, the canopy of

the building was designed withstand loads that derive from earthquakes and wind

by utilising a series of different knots tied using ropes and it is this sequence

of knots used in the ropes can also been seen as a non-digital way of creating an

algorithm (5).

While the materiality and the texture of the structure stands out from its

surroundings, the tones and materials that are somehwat natural and do not deter

from the beauty of the landscape. This is something I strive to do in Merri Creek.

a.2 The Scarcity and Creativity Studio precedent 3

(5)Photos by: Scarcity and Creativity Studio

a.3 Composition/Generation

The coming of didgital computaion within design has changed the face of

architecture immensley over numerous decades. Througout our modern day society,

architecture has slowly transofrmed from a physical drawing based proffession to

one that uses digitial computation as a virtual drawing and designing board that

essentially increases the physical qualities of design in terms of presicion,

efficency and even scale.

This is seen within large scale projects such as the Foster and Parteners

International Airport in Beijing. With the aid of digital design the airport

extends for more than 3km and covers over 735 000 square meters.

Throughout the reading “The building of algorithmic thought” it states that this

relationship between digital technology and architecture has seemingly increased

knowledge of designers as the computer themselves have more knowledge than the

computers themsleves (6). However is this necessarily true? I am not one to

believe that computers or machines have more intellect than humans as they are

merely taught a series of rules yet I do believe their precense has enhanced the

a different sort of knowledge within architects. For example, we no longer need

to rely on the skill of hand drawings however, now, we must rely on computational

skills. It has created a new genre of architecture where organic forms have

become more and more organic and abstract as parametric modeling infiltrates into

society. For example, the Khan entertainment center utilised parametric modeling

to create an algorithm that defined the shape and structure of the building.

Without the precense of digitial computaion the shape of the Center would vary

immensley.

(6)

(6)

Although Part A of Studio Air proved to be quite challenging, my grasshopper and general

design computational skills have improved immensley over this three week period. While this

period of working on Grasshopper has not been one that particularly relates to the concepts

related to my future design, it has still enabled me to become familiar with the site and

at the same time, somehwat begin protoyping for the project to come. This understanding has

therefore, allowed me to recognise that the contrast between the urban and natural life is

something that I would like to heavily focus on throughout the rest of studio Air. However,

instead of assesing the ways in which urbanity may negatively impact the area I will asses

the ways in which it compliments the area and how it has completely altered the atmosphere

of the trail in a positive manner. This is something I intend on showing throughout both my

design process and my final design.

a.4 Conclusion a.5 Learning Outcomes

Before having started Studio air, my experiences with digital design was very limited.

Although I had spent a semester using Rhino for Virtual Environments, I had no knowledge

of grasshopper and the ways in which it worked. However, as I started watching tutorials

and actually undergoing some parametric tasks I began to realise the benefits of utilising

grasshopper as a modelling tool. While Rhino may technically be more simple, when modelling

something more complex it does not have much efficency and it makes the experience

alot more tedious. Furthermore, I find that when modelling using Grasshopper, it is

geometrically specific in terms of dimensions. As i develop my skills in Grasshopper, I aim

to create something that is not only complex in script and design but also something that

may enhance the area of Merri Creek.

a.6 tutorial task`

For this weeks tasks our tutor assigned us the task of three dimensionally

creating a bench that may be placed within Merri Creek using Rhino and

Grasshopper. Even after the tutorials, I found the task very challenging as it was

very difficult to get my head around the new softwares,

Although my tutor was very flexible in what he wanted with the task, he requested

that we used the concept of “lofting” in Grasshopper where various lines become

one entire surface.

I began the task by creating curves in Rhino and then in Grasshopper, extruding

them to different heights using the slider tool, then lofted the objects and this

turned what I wanted to be a feature wall that would sit behind the bench. For the

bench itself I conducted the same process, however, this time I put a cap on the

top of the two extruded lines in order to create the seat for the bench.

a.6 tutorial task`

For this weeks tasks our tutor assigned us the task of creating a sculpture that

would provide or change the movement around the Merri Creek area. I primarily

began this task by trying to understand the area itself. For example I began

identifying things such as:

- The users

- Climate

- Topography

- Natural Environment

After assesing these aspects of the area I decided I wanted my sculpture to be

something that would not only change the movememnt of the users but I also wanted

it to be something they could explore through. The main component of this weeks

three dimensional task was to be able to use the “Mesh” command and with the aid

of the online tutorials, I created a sculpture that took the form of an organic

spiral, the spiral was designed with the intention that users could move around

and explore through its interior. However, I realised that this did not meet the

requirement of creating a mesh surface. I then began creating another sculpture

that, unlike the spiral, was of a more horizontal manner but at the same time

induced a more complex pattern. Like the spiral, the sculpture was made for users

to walk through it as they walked through Merri Creek.

Referencing

1. GUEST, 17/2/15, 2009-last update, BanQ Resteraunt by Office DA [Homepage of

Yatzer], [Online]. Available: http://www.yatzer.com/BANQ-restaurant-by-Office-

dA2015].

2. BENNETTS, P., 2001, 2001-last update, Centre for Ideas [Homepage of Minifie Van

Schaik Architects], [Online]. Available: http://www.mvsarchitects.com.au/doku.

php?id=home:projects:victorian_college_of_the_arts [20/3/15, 2015]

3. YEHUNDA, K., 2004. Architecture’s New Media: Principles, Theories and Methods

of Computer-Aided Design. https://app.lms.unimelb.edu.au/bbcswebdav/pid-4660724-

dt-content-rid-16293380_2/courses/ABPL30048_2015_SM1/ABPL30048_2014_SM2_

4. ARCH DAILY, 2008-2015, 2002-last update, Serpentine Gallery Pavillion [Homepage

of Arch Daily], [Online]. Available: http://www.archdaily.com/344319/serpentine-

gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/2015].

5. HENSEL, MICHAEL AND CORDUA, CHRISTIAN, 2015. Scarcity and Creativity Studio.

http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1876/epdf

edn. Architectural Design.

6. PETERS, B., 2015. Computation Works: The Building of Algorithmic Thought.

https://app.lms.unimelb.edu.au/bbcswebdav/pid-4660708-dt-content-rid-16293382_2/

courses/ABPL30048_2015_SM1/ABPL30048_2014_SM2_ImportedContent_20140709012321/

Peters%20-%20Computation%20Works_The%20Building%20of%20Algorithmic%20Thought%2C%20

pp%208-13.pdf edn. Architectural Design.