BENV7813 Jordon Blanket

Archigram Cities Moving

KEY CONCEPT:

Cities Moving, is a paper architecture work from the mind of Ron Herron, resolved within the Arcigram group. Raised onto telescopic legs, these cities venture across territories and borders depicted either singularly or in pods, they deeply investigate Archigram’s concern with mobility, flexibility, transitoriness, indeterminacy and technology as a tool to maximise spatial and resource efficiency, intern providing a response to humanities deep social connections as to which the idea of a city is testament to.

The most famous of imagery produced in the Archigram 5 publication in 1964 is the black and white elevation of these forms roaming through the harbour just off from Manhattan. No indication is given to whether these structures are coming or going, their intent, do they come in peace, to connect or for something more sinister? Drawn from this perspective they take on the appearance of giant insects. In others they appear more like the bastardised offspring of industrial structures and military machines such as tanks. There was a whole family of these vehicles, containing all the elements you would find in a functioning city: business quarter, offices, housing, public and private services. Some had detachable auxiliary units, such as hospitals and disaster units. As cities are one of the most complex systems designers could encounter, comprised of a myriad of stakeholders, each with individual needs and desires. Currently, the city of Sydney is outgrowing its bonds, resulting in urban renewal on an unprecedented scale, with the release of Sustainable Sydney 2030: Community Strategic Plan (2013), Lord Mayor Clover Moore established the foundations not only for development but for discussion, centric to urban development governance.

“Think of what it means for the population of a country to double in 25 years. In order just to keep living standards at the present inadequate level, the food availabilities for the people must be doubled. Every structure and road must be duplicated. The amount of power must be doubled. The capacity of the transport system must be doubled. The number of trained doctor, nurses, teachers, and administrators must be doubled.”

Paul Ehrlich, The population Bomb (revisited) 1975.

Ehrlich claims, cities cannot accommodate expected population grown in their current guise. Written some forty years ago, and in comparison to Herron’s approach to a new typology of city, these principles are still relevant today as the population has exceeded and continues to develop at substantial rates. This alludes to the question; how can architects and designers reshape the urban footprint in a manner that capitalises on space, provides equitable opportunity, meets developer and communal ideals, and yet provides a standard of living that has equal or greater urban amenity?

SELECTED DESIGN ELEMENT:

For this model, I have chosen to model one city vehicle in its itinerary. Breaking down the object into four key elements: The façade, the roof, the legs and the ancillaries. The façade comprises of a ship-like hull structure with regular horizontal window relief patterns in various sizes. Larger apertures at the top six stories divided by a singular row of larger elements, reflecting the public use behind. Then a set of six bands of windows at a slightly smaller apertures getting smaller as you go down to the belly of the ship. These clearly reflect a social hierarchy of tenancy housed within the city much like a cruise ship having balcony suites on the uppermost levels and small portholes on the lower.

The roof form as a morphogenetic element growing like a tumour between observation decks, antennas, and sky bridges. It reads in some depictions as a fully glazed “sun room” most likely housing the most public functions of the city and in others it’s an open mesh providing security and wind relief to the functions housed below.

Protruding proudly from the lower third of the hull are the eight telescopic legs with enormous ball pivot joints allowing each to move in an independent motion to the rest. They provide the structure with the ability to move not as a machine but as a living object, able to supress harsh motion and to navigate complex material terrain without upsetting the running’s of the city. They seem to move with such control and synchronicity, like a chicken keeping its head stable as you move the body.

Lastly, I will model the most prominent ancillaries, notably the antenna that stick out like stalactites and stalagmites from the hull.

CONCEPT INTEGRATION INTO THE DESIGN STUDIO

Being a person who does not see the value in modelling architecture in an age where we can model digitally and rapidly test, alter and re-assess our design and concepts within a computer that provides a multitude of display outputs whether that be on a screen, in virtual reality, renders or rapid prototypes (among other processes). The resolution of these techniques vastly outperform (in my view) the ability for a physical model to convey the same resolution of intent. However, to attempt to change my own mind I have thought to use Cities Moving’s theoretical approach to urbanism and an efficient use of natural resources to parallel my own thesis into effective use of city space and the use of kinetic adaptable structures that are efficient to the programs they house. These theories have driven almost every project I have ever undertaken in my short architectural career and by modelling one vehicle, I hope to create a tangible element to reinforce and investigate how such a radical proposal has broken down the city and the human’s use for a city.

PROPOSED SCALE, MATERIAL, & TECHNIQUE

As the project doesn’t have any scaled documentation, I will endeavour to assess the proportions of each element as noted above in relation to each other. The model will be sized around a 500mm length as to be manageable to model out of metal shaping techniques where panel beating will form the hull with embossed detail elements. Braised telescopic metal work for the legs and antenna. I’m aiming to use found material from around the workshop and my own collection at home keeping costs to a minimum and encouraging fabrication techniques to accommodate irregularities in the materials.

HOURS & BUDGET:

I will be giving myself a strict budget of $30 for this model. I feel it is realistic as the only components that will need to be purchased may be the material for the ball joints.

This will be a time intensive work, I estimate 20 hours will be needed to complete this model.

Key Concept:

Jorn Utzon’s design for the interior of the Sydney Opera House was developed through an iterative design process, where form was not penned, but discovered through acoustic and visual fitness. Here Utzon (in collaboration with Ove Arup and Partners) used software to calculate the reverberation time and geometric constructions of reflections within the constraints of a 2:3:5 (height: width: depth) ratio.

Utzon developed a calculated schema for his ceiling form to which he called “angles and radii”. This is a simple term for a complex system of 6 to 8ft section timber beams that span from the stage tower to the rear of the hall. Each beam is defined in space as each point of intersection on the radius is designated by a letter and number (i.e.: A1, B1...) Seen in the table below with then defines the X and Y axis. All Y co-ordinates are taken from the floor level of the stage, contributing to the rule-set of the whole space. On each rib, Utzon places multiple curves, defined by a subtractive cylindrical geometry in relation to the roof shells. Each surface has the same radii but is bisected at differing arcs.

Due to the nature of the site, Utzon had to squeeze more people into a constrained domain limiting the width of the hall and intern the viewing angles. As the ceiling system was defined by a point on the floor of the rear of the stage, the seating plan was defined by a radius extending out from the stage center point. This pushes out the side extremes of the plan without angling the seats towards an obstructed direction.

Selected Design element:

I have chosen to model Utzon’s proposed ceiling form for the opera hall starting at the top chord of the stage fanning out and terminating at the floor behind the rear most seats of the theatre. The beauty of the design will also be demonstrated as it is quite difficult to understand the nature of the structure not being a cylindrical regular section but a radial rib, and the reduction of a walling element that has been integrated into the roof structure. I will be investigating each rib section diagram and forming up each individually as how it was initially designed to be produced.

Concept integration into the design studio:

Understanding that Utzon’s approach to the formation for the ceiling form was not computationally derived, I do however feel that his approach to the schematic rigour of the control points and acoustic optimisation is a highly relevant approach to today’s computational design thinking. He deeply understood the fitness criteria and his method of approach to the iterative process of design as outlined in the letters between Utzon, and Arup. As a student with a background in computational design I have come to realise there is a distinction between the computer’s output and the architect’s idea. In our changing architectural enterprise we need to heavily cement the architect’s role as the schematic idealiser who is there to analyse and provide conceptual expertise armed with a computer to test and create what only the human mind can until now only attempt to resolve. Going forward I wish to use this as teaching exercise for myself to not let the computer create some form but for me as the designer to understand and curate the architecture so as to not end up with designs that are noted as “blobitecture” where form are created because they can, not because they should.

Geometric Description of the Shape:

Proposed Scale Material & Technique:

I propose to make a 1:100 scale of the ceiling structure, as at this scale I will be able to effectively steam bend the timber members without as much spring back as I would experience with a smaller scale. The model will be made out of timber that would be laser cut and bent.

Hours and Budget:

I have decided to introduce a less time intensive process for this model so I am able to balance hours with my other models. The time should take around 10 hours and I estimate it will cost $25 for the laser cutting session plus another $16 for the timber.

INDIGO SLAM

KEY CONCEPT:

The plasticity of the weaving concrete forms are breathed from a study of the interplay of light within the interior spaces. Pinned off the building, the façade is supported by the steel mullion elements used to house the glazing and mechanical elements. Smart Design Studio experimented with the idea of cutting, folding and stitching together flat planes to provide privacy and create dynamic space. In doing so, the building’s exterior not only serves as a sculptural piece, but also informs the manipulation of light for the building’s interiors. As an integral architectural element, light was an important function in the design of the house, as there was only one façade that could be glazed a reflection pool was placed below the sill of the ground floor entertaining space so as to reflect light up and into the spaces above. This language of weaving carries on through to the composition of interior spaces and how you meander up through the building. In addition, the building’s brief was to last over 100 years and to be as manual as possible as electronic technologies change rapidly over a few years and have a tendency to fail and need repair. These elements include, the oversized vertical timber blinds that turn and retract by means of hanging chains and awning windows operated by geared winders. The brass armatures for these moving parts lend finely grained detail to the interior and to the steel, glass and concrete of the building façade.

SELECTED DESIGN ELEMENT:

I have selected to create a sectional detail model of the front façade system cutting through the reflection pond that sits beneath the dining hall on the lower level, through the structural mullions that form the housing for the glazing system, support for the façade, and for the oversized timber louvers behind. This detail will reveal how each component intersects with the other, highlighting the main structural connection between them. In addition, the aim of the model is to create several concept models of scored and folder paper Marquettes to inform my study into the architectural techniques behind the design.

CONCEPT INTEGRATION INTO THE DESIGN STUDIO:

For the past couple of years, I have been interested in the use of a 30-45 degree curve as an architectural element that can be used in several ways throughout a project. In my last studio assignment it was employed in a similar function to Smart so as to provide visual privacy to residences and a strong visual frontage to the commercial tenancies. The interplay between the fins were of an overlapping nature like scales on a fish, as opposed to a manipulation of a single plane. By modelling this single plane method hope to gain an understanding of minimising conceptual and material complexity while being able to provide a solution to a design problem in an aligned manner, in the same way Utzon made use of the spherical geometric rigor in his approach to the opera house shells.

PROPOSED SCALE, MATERIAL & TECHNIQUE:

As mentioned above, I first want to create a series of concept models out of paper to effectively communicate how the peeling and stitching is achieved. Stemming on from this, the model scale will be at 1:50 and will make use of heat bent acrylic sheets for the façade form which will attach to aluminium vertical fins. These will be cast into a plaster base that will enable the detail model to stand on its own while providing a solid base to cast a relief of the pond into.

HOURS AND BUDGET:

I estimate that the model is going to take around 10 hours of man time plus another 24 hours for curing the cast base. I am hoping to ruse materials from my first model for the mullions along with $25 for laser cutting the acrylic, $16 for the acrylic and the plaster is also free.