Educational Morphology and Versioning a Future in Architecture

Project 1C Readings.


Marc Angélil postulates in his writing "Inchoate: An Experiment in Architectural Education" that we have embarked on a period in time in which we must challenge the way we proceed in architectural education. Is there a scenario that we can perhaps unlearn what we have learned about classical approaches to education. "Every presumed totality, including architecture, is also formed by what it excludes." Architecture is a discipline in which we fail to include a wealth of knowledge from other fields that could begin to evolve a way of thinking. The "unexpectedness" of a new, unfamiliar way to generate creativity could lead to a whole new era of architectural education. 


There's merit in stepping out of tendency and begin to think more freely. The potential for growth spawned from this free thinking is exciting and will allow for growth. This is a unique approach but perhaps not totally unheard of previously. The renaissance architects of old had much more range to explore various ways to dissect and analyze ways of thinking. There wasn't a set template on how to "properly" design. They were establishing a base by which we have generally remained true to through the 20th century. However, as technology has progressed rapidly, our approaches have not. Why is that? If we are so forward thinking in a design sense, trying to innovate in designs, why can't we innovate in our approach to design? 


This article led well into the introduction written by SHoP Architects "Versioning: Evolutionary Techniques in Architecture." SHoP has taken much of what Marc Angélil argues and applies it in a professional practice of architecture. 2D, image based projections of space creation are no longer valid. We need to start focusing on technologies that are vector based in nature and much more prescribing of the various intricacies of the forms we create. Perhaps, also, streamlining a manufacturing process during construction. 


My only worry about such a process is this: if so many building materials and specs will be project-specific, how will this affect productivity of manufactured goods? If most new construction becomes one-off designs, it will slow projects down and make most materials difficult to fabricate and yield a higher end cost. We often compare the new design/build process with the use of modeling to car production. However, car production is highly different in the sense that a specific model is replicated repeatedly, thus yielding a higher benefit for one-off materials. In a building, the designs we generate are very much project specific and most likely will not be replicated beyond the project. So, as architects, I believe it is our duty to utilize the modeling tools we have to perfect the system of construction today by not prescribing unnecessarily convoluted design components, but perhaps design with a mind towards efficiency of materials and eliminating waste. Maybe we can model so precisely that we can accurately determine gypsum board counts, sheathing count, cladding pallets, etc... 

Project 1c - Leaf Morphology

Leaf Morphology - Experimental Generative Geometries to Mimic Natural Formations

In exploring my segment of my vehicle model, I saw that the form that was being created as I began to distort the original form resembled that of a leaf. I sought to look at the morphology of a lead through the seasons and the way they begin to cup and distort themselves. In order to create a pattern of some sort, I began to look at the way leaves could ideally orient themselves as they gather in fall. 

http://www.dias.kvl.dk/plantvirology/esymptoms/symp-morph.html

I only distorted the original figure three different times in order to gain a kit of parts by which I could create my martix tile to create a dynamic pattern. My goal was to create a pattern that would make the original shape indiscernible. In the images below, I highlighted the original portion of the car and the geometric distortions that created my kit of parts. I simply rotated the original shape to start the series of distortions. 

From there, I began to arrange the parts in a way that would resemble leaf collection in a more idealized sense. I tried to range the orientations from the repetitive to the more, amorphous arrangements. Some of the shapes intersected each other to become new ways to view the forms. Instead of individualized pieces, they began to resemble a sort of cladding. It was interesting to see the various ways of which to organize the shapes, especially since I only dictated that I'd use four different variations on the original shape. 

Tile Scheme 1 - Plan

Tile Scheme 1 - Perspective

Tile Scheme 2 - Plan

Tile Scheme 2 - Perspective

Tile Scheme 3 - Plan

Tile Scheme 3 - Perspective

Tile Scheme 4 - Plan

Tile Scheme 4 - Perspective

Roller Coaster Construction - A Step in the Confusing Direction?

Roller Coaster Construction

The essence of this reading was summarized in the sentence "processes are far less constraining than ideas, which are inherently linked to extant codes that operate critically or in alignment with preexisting etymologies." Alejandro Zaera-Polo describes a design process that, by exploring the construction and engineering process, can influence the form on the building greatly. By simulating the various ways to build a project and modeling them, inputting more and more integral information, a design can continue to enhance and refine throughout the process. Instead of a metaphorical or symbolic design goal driving design of a structure, we instead explore the manufacturing processes and construction method to directly inform the form. With the various technologies available to use today, we can take advantage of their prescriptive nature and begin to model buildings down to the very detail to enhance the final end-user experience.

In hearing Zaera-Polo describe this process, I couldn't help but think of the old adage "form follows function or function follows form". I think the function and methods of the construction process, in this instance, directly influenced the evolution of the final form. This is a valuable tool, however it perhaps can take away from the artistic and poetic nature to architectural design if not handled in delicate balance. Virtual modeling should work to help define the manufacturing simplicity but I believe there should always be a remnant of the original design intent. 

Variable Alterations Through a Matrix Study

Exploration 1

In this study, I chose the back left corner of my "car" model (although the model doesn't appear to resemble much of a car, yet). I began to explore the relationship of scaling the values in the X and Y plane. The matrix starts in the bottom left corners of both images, as my original shape. I took that shape and, through the channel box, I changed the scale value in the X plane by -0.2. By doing this, the NURBS surface appears to shorten with each matrix shift away from the original. In the other direction, I scaled the value in the Y plane in the same fashion, -0.2. In this change, the object almost flattens to become more of an acute shape. 



The end product in the far corner, as expected, became short and collapsed, yet still somewhat reminiscent of the original nurbs surface. In the second exploration...

Exploration 2

In this study, the matrix starts with the original shape in the top left. Moving in the X plane, I offset the NURBS surface. I would then take that newly created offset surface and offset it again and again. Each time, this yielded a much more complex and amorphous surface. In the Y direction, I simply sheared the X plane by 0.4. 


This study yielded a FAR different product once the matrix study ran it's course. In contrast to the first matrix study, this one seemed to really explore how quickly a surface can change through a prescribed set of variables. 




Lessons Learned


Often in studio environments, form of a building is something we struggle with. Those unfamiliar with "blob" geometries and studies tend to rely on a limited set of forms and rules. Often time, we seek to precedent studies and tend to try to morph those buildings. Perhaps, through studies like these, we can take precedents we find and enter them into a matrix of form studies. Altering specific things in the building formally or functionally in a controlled setting can allow for documented studies as well as an alternative approach to design methods. 


Now, if only I could figure out this Maya program... Back to the virtual drawing board. 


TME

Continued 1a Modeling

After watching tutorial after tutorial of Maya UI explanations, I'm beginning to understand the program a little more. There are so many more modeling tools as compared to something as dumbed-down as SketchUp. For this iteration, I took profile curves based on orthographic drawings. I draped the curves in such a fashion that once I lofted a surface, it would have more curvature to it. The model previously was a simple extrusion in Rhino. I plan to continue to try to find new ways to model, perhaps consulting with some experts in the class. 

Project 1a - Digital Model (take 1)

Digital Model Views

Here is my first stab at Rhino 4.0... It's simple extrusions as defined by control point curves. I was trying to fillet edges and start to define points to edit the form, but alas I haven't found the trick yet. I want to explore working with the revolve tool and rebuilding surfaces to get far more precise on the modeling aspect. Maya has been down at the school, so I chose to use Rhino. 

Project 1a - Reading Post - February 5, 2012

"Warped Space, Art, Architecture and Anxiety in Modern Culture"

In Anthony Vidler's writing, he describes how mindset can be the very basis for how we design. He describes that there are two types of spacial warping, which are effected by our mindset. One being spatial warping derived from the psychological ideas of modernism and the second being the warping from the perspective of interweaving sets of medias. Symbolism weaved in the urban realm displayed architecturally is the connection of these two warped spaces.

This is where the article had me thinking I entered a new world. He describes "Death Cube K" which is a post-apocalyptic bar, a nightmarish space. Vidler basically paints the picture of a highly distorted and extreme idea of warped space onset by the fear of an unknown future both urbanistically and individually. 

From what I gather, Vidler attempts to define that warped space is the result of individual perceptions. These perceptions shape how we design and our overall outlook on the direction of architecture as a whole. I feel as though I will need to read this article a few more times to really digest his ideas and lessons. I found myself lost about 75% of the time, but perhaps as I move to more free-thinking, I may begin to analyze the process. 

Project 1 - Class Readings Synopsis/Reaction

"Probable Geometries: The Architecture of Writing in Bodies"

In Lynn's article, he argues about the history of architecture essentially relying on a set of defined rules and proportions about which most design is built from. Symmetry, proportion, scale, all these things define architecture and without it, architecture wouldn't be organized. These proportion systems are based off of the human body and have forever relied back to human form. Since the times of Vitruvius, pure geometric forms and proportions have been defined and repeated to maintain what is believed to be a pure design idea.

Lynn argues that the idea of "anexact" forms, which are neither exact or exact, have merit in design. Much like in writing, where there are no pure forms/geometries, we can allude to that concept to help shape the way design happens in contemporary architecture. Lynn also alludes to other disciplines that are fearlessly employing new technologies to diagram and analyze their subject fields. Geologists now can model much more exactly and readily have technology able to dissect their subject matters. The medical field use MRI technology to explore sectional views of the body that allow them to more accurately diagnose external pressures on the body. Now, more than ever we need to push our boundaries of exploration in architecture. He exclaims, "geometry has classically occupied a foundational position in architecture, and this tradition must certainly be overcome in order to exploit the effects of geometric possibilities."

I think Lynn has very good arguments in his approach to design. I think that the old ways of design and interpretation of classical proportions and "rules" should not be discarded, however. I think design can morph and change however, there is no "clean slate", so to speak, in which we wipe clean and start anew. I believe with modern technology and tools available to us, we can begin to incorporate new ideas and ways of thinking to expand our current knowledge base on design.

"Blob Tectonics, or Why Tectonics is Square and Topology is Groovy"

Lynn is aggressively trying to advocate for "blob architecture" as a viable form of design. He argues that while yes, blobs can be "alien" and all-together unique, they do conversely have the ability to accept context around. He defines three main ways to look at the blob: from a science-fiction view, the philosophical definition, and in context of the modern construction methods. Lynn goes on to define the various perspectives and how they can allow you to absorb the concept of the blob. 

He also begins to argue against those who advocate for the maintenance of the "upright oriented building". This leads to the creation of simple articulated volumes with hats, or roofs in other words. With the notion of upright orientation, one can lose the seemingly limitless possibilities of design. Instead of flat roof typology, blobs lend themselves to be more of a shed-roof form which can perhaps allow for things such as program within a roof form, thus unlocking more use in a building. 

Lynn focused much more in depth on a multitude of examples and expanded on some of the points I alluded to, however I find that blob architecture has it's merit. I also think it is also based on the situation. Some designs, programs, problems call for a certain design method. Not all architecture needs to be blob-based. I believe the blob can help to frame a way of thinking, but most certainly not govern a program to fit the needs of a philosophical approach to architecture. 

Project 1 - Precedent Image - February 5, 2012

I chose the Shelby Daytona Cobra Coupe because of it's elegant balance between sharp edges and smooth curvature. I am also partial to Shelby and it's rich history in automotive design, innovation and racing. Innovation, I believe, being the underlying tone to the course.