A I R ! ! ! ! !Grace Winchester 661516

Semester 1/2015 Tutor: Alessandro

!! !! ! !

Table of Contents

Introduction 01-02 Part A. Conceptualisation A.1 Precedents 03-06 References 07

Part A 01  

Introduction    

Grace Winchester 3rd Year Architecture Major University of Melbourne I have always been very fond of structures – loving the mix of modern and old the best. I have pulled friends and family around countess open houses and snatch up issues of domain AA. I’m inspired by old buildings and marvel in their confident design. Their stature and might is still seen as relevant in todays society echoing the power of design. They all have a story linked to them – even the small Victorian cottages.

One architect I really love from Melbourne is Fiona Winzar. Her plans embrace the old, yet her extensions are truly modern and fluid to draw the eye upwards. This class is one I have both dreaded and been curious about since I began my studies at Melbourne University. I have never been a natural at computer software and the experience I do have is limited to a few plans and elevation drawings for studios. Nevertheless I do enjoy challenges and am never one to give up. That being said I hope to learn a lot in a short period of time and furthering my knowledge of what you can actually achieve within Rhino and Grasshopper. I hope to explore the technology and to remain open minded about how digital design can be an invaluable tool for my future learning.

Part A 02  

CONCEPTS%FROM%MASTER%%

NORTHERN ELEVATION 1:100

AS HOUSE DESCENDS DOWN THE SLOPE IT OPENS UP TO LANDSCAPE THE USE OF STRUCTURE AS SCULPTURE HORIZONTALITY AND THE DIFFERENT COMMANDS OF SPACE GLAZING TO ZONE & BREAK FAÇADE UP EQUALLY

REFLECTIVE & CLEAR%%%OPAQUE%%

This was one of the design I created for Design Studio Water during the development phase. I then went on to draw the plans up in rhino and model the design in 3d but I found it lost some of its poetry in the design. In designing in Rhino I found it both freeing and restrictive. As once I designed a part I could not go back and change it however the parameters of the software allowed me explore

and expand my capabilities. Through this development I taught myself some of the fundamentals of Rhino. I also learnt to breath and keep exploring and going. I think this will be my biggest challenge being able to explore but with time constraints. I hope to go beyond my novice abilities and produce a piece of work that reflects my character through computer modelling.

03  Part A

Part A. Precedent Projects  

Saragossa Bridge Pavilion, Saragossa, Spain 2008 Patrik Schumacher & Zaha Hadid

This design is immediately captivating. Its form is original as it embraces the site and links to the innovation of computer modeling and to ways of designing1. At the heart of this design in how people move through the design and experience it differently2. Which is becoming common practice is how we design today. It is not formally based on aesthetics and decoration but refined patterns and limited materials to express the form more clearly. I would describe this design as fluid but not organic. Like most of Zaha’s work its is imaginative and explores and tests technology to create a seamless design. It depicts change, referring to current practice. The forms of the design are celebrated due to their futuristic

view and uniqueness. One may not like the building bit there is no stepping away form the fact that it expresses a relationship with modernity. It move away from the early modernists straight glassed cubes and chooses to have more expression and connection to the urban landscape.

04  Part A

Galindo, Michelle (2009). Collection: European architecture. 1st edn. (Braun: Berlin)

 

Horyu-ji Temple, Nara, Japan 645-49CE Japanese Royal Family

We often think of old architecture as typically Western triumphs. Thinking firstly of the ruins of ancient Greece and Rome. However today many of the lines and open flexible living can be based on the Asian Temple. The design of the temple is formed through the layering of walls paying careful attention to axial layout and scale3. The structure is perched within the landscape creating a balance between structure, line and graceful beauty. From the words of Frank Lloyd Wright the temples are organic forms4. They use nature and the site through their plans. They also incorporate nature with the courtyards. The Horyu-ji Temple is minimalistic, comprised of only a few similar buildings that reference the houses found around the site.

It is repetitive and functional with rational spaces created through the controlled layout. In modern architecture their spatial planning is referenced time and time again. Creating a flexible space around a courtyard filled with greenery to create a peaceful and respectful retreat. Although used in different ways they have expanded thoughts and design in future structures. Although many in architecture today are actively trying to dismiss the past from design instead taking their inspection from Frank Lloyd Wright and Mies Van Der Rohe. Yet in his own articles Wright references the temple and its form. Whilst the lines of Van Der Rohe and his cubic sectioning of buildings with its simple decoration can both be linked to ancient Japanese architecture.

05  Part A

06  Part A

Ching, DK. Jarzombek, M. Prakash, A. (2011). A Global History of Architecture. 2nd edn. (New Jersey :John Wiley & Sons Inc)

 

References

1 – Galindo, Michelle (2009). Collection: European architecture. 1st edn. (Braun: Berlin) 2 -Galindo, Michelle (2009). Collection: European architecture. 1st edn. (Braun: Berlin) 3 -  Ching, DK. Jarzombek, M. Prakash, A. (2011). A Global History of Architecture. 2nd edn. (New Jersey :John Wiley & Sons Inc) 4 - Wright, Frank Lloyd (2005). In the Cause of Architecture. orig. publ. 1908 (London: Phaidon)

07