5 Ways Computational Design Will Change the Way You Work


Adapted from an image © hanss via Shutterstock

Adapted from an image © hanss via Shutterstock

This article was originally published on ArchSmarter.

These days, nearly every architect uses a computer. Whether it’s for 3D modeling, documentation or even creating a program spreadsheet, computers are well entrenched within the profession. Architects now need to know almost as much about software as they do about structures, building codes, and design.

As our tools become more powerful and sophisticated, we need to evolve and develop our working methods in order to stay competitive. I’ve written previously about how architects should learn to code. A lot of the problems we need to solve don’t fall within the capabilities of off-the-shelf software. We need to tweak and customize our tools to work the way we work. Creating our own tools and software is one way to do this.

That said, the reality is that not everyone has the time or the inclination to learn how to code. It’s time-consuming and you’ve got projects to run, show drawings to review, and buildings to design. Fortunately there are new tools available that deliver the power of programming without the need for all that typing.

Enter computational design and visual programming.

What is Computational Design?

Computational design is the application of computational strategies to the design process. While designers traditionally rely on intuition and experience to solve design problems, computational design aims to enhance that process by encoding design decisions using a computer language. The goal isn’t to document the final result necessarily, but rather the steps required to create that result.


Courtesy of ArchSmarter

Courtesy of ArchSmarter

Most computational design environments rely on visual programming as opposed to traditional text-based programming. With visual programming, you assemble programs graphically rather than writing code. Outputs from one node are connected to inputs on another. A program or “graph” flows from node to node along a network of connectors. The result is a graphic representation of the steps required to achieve the end design.

Computational Design Tools

There are a number of computational design tools on the market. Most of these tools work on top of other software platforms, such as Microstation, Rhino or Revit. Here’s a breakdown of the five most popular computational design tools.

Generative Components is the grand-daddy of computational design tools. It was first introduced in 2003 and commercially released in 2007. Generative Components works with Microstation software though a stand-alone version is available.

While Generative Components is the oldest, Grasshopper is arguably the most popular computational design tool. Grasshopper is an algorithmic modeling tool for Rhino, the 3D modeling software by Robert McNeel and Associates. Grasshopper has been around for over eight years and has a rabid following. It’s a very mature product with an extensive library of nodes.

Dynamo is Autodesk’s visual programming tool. It’s available in a free version that links directly to Revit as well as a paid, stand-alone version. Dynamo is growing in popularity and has an active community developing nodes to support a range of uses.

Marionette is a new product from Vectorworks. It’s built directly into Vectorworks 2016. Marionette is cross-platform so it works on both Mac and Windows.

Flux is a spin-off from Google[x], Google’s research lab. Flux is unique in that it works across platforms using a web-based interface. Using Flux, you can share data between applications. For example, a conceptual model created in Rhino can be imported into Revit, walls and doors can be added then the area exported to Excel, all using Flux plugins and its web interface.

How computational design will change the way you work

Computational design is a broad term that encompasses many activities, ranging from design generation to task automation. The common thread is the use of a visual programming tool. Here are five ways you can benefit from computational design.

1. Explore multiple design options

By encoding design rules in a computational framework, it’s very easy to generate hundreds, if not thousands of options using those rules. What’s more, each option can be evaluated using specific criteria to determine the best solution.


Courtesy of ArchSmarter

Courtesy of ArchSmarter

We’re not just talking about creating twisting towers or crazy geometry either. You could easily create a tool that generates restroom designs based on a series of four walls. Let’s be honest, most restrooms are pretty similar. If you encode your firm’s standard design into a visual program, you can easily generate a number of options, all of which meet your firm’s specified criteria. You can then spend your design time on the parts of the building that are more interesting.

2. Get under the hood and access your data

As much as the software companies would like us to do all of our work in their software, it’s still necessary (and often preferred) to use whatever tool is best for the job. Unfortunately this means transferring data from one format to another. And since all software doesn’t play well together, this often involves exporting data to Excel.


Courtesy of ArchSmarter

Courtesy of ArchSmarter

Computational design tools make this process much easier. For example, using Dynamo it’s possible to create a two-way link with your Revit model to export all your Revit room data to Excel. Once this data is in Excel, you can modify it then import it back in the model or use it to create a project dashboard. All of this can be accomplished from a fairly simple Dynamo graph.

3. Automate repetitive tasks

A lot of what you see from computational design involves complex geometry and advanced design. However, these tools can do a lot more than that. Since they work with the software’s API or application programming interface, most computational design tools can be used to automate tedious tasks, like renaming or copying elements or views.


Courtesy of ArchSmarter

Courtesy of ArchSmarter

In fact, a lot of the tools I’ve created for the ArchSmarter Toolbox could be replicated in Dynamo. Dynamo provides an easier way to access the Revit API.  To me, this is one of the greatest promises of computational design. Having the ability to create your own tools that work the way you work is the best way to work smarter, not harder.

4. Test what your design is REALLY doing

How do you know your design is going to perform like you think it will? You can either wait until the building is built or you can test it during the design stage, when it’s a lot easier (and cheaper) to make changes. Computational design tools make it easier to simulate building performance through the design process. Want to know how much daylight you can expect on a partially cloudy day in March? Create a tool that measures this.


Courtesy of ArchSmarter

Courtesy of ArchSmarter

While simulation data is no substitute for actual, real-life data, it does provide a means to evaluate designs based on similar criteria. Quickly determining which design performs measurably better than the others gives you more time to perform detailed simulations on that optimized design. Computational design tools give you a way to make this determination as the design progress, not just at the end of the process.

5. Think algorithmically

Lastly, computational design requires you to think logically and in a step-by-step manner. Most architects rely on intuition and creativity to solve problems. This kind of thinking doesn’t always fit into a left-brained logical process. But what if you could encode this intuition? You could look at each step and really understand what makes it work. Even better, you could reuse that design logic and improve it over time.


Courtesy of ArchSmarter

Courtesy of ArchSmarter

By using a computational design process, you are encoding the design. Each step in the design becomes a series of instructions that can be evaluated, revised, and improved. Likewise, each step requires specific parameters. By thinking through through all the steps of the design problem and considers all the inputs and outputs, you effectively create a process that can be understood and repeated.

Conclusion

Computational design tools provide an easy way to harness the power of computation in a design process without having to learn how to write code. These tools let architects and designers create their own tools. Let’s face it, each project we work on is unique with its own challenges. There’s no one piece of software that can do everything we need it to. However, by creating our own tools, we can tailor our software to work for us.

Feature image via Shutterstock.com

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EF House / GRND82


© Pol Viladoms

© Pol Viladoms
  • Architects: GRND82
  • Location: Arenys de Mar, Barcelona, Spain
  • Author Architects: Sergi Serrat + Roberto González
  • Area: 260.0 sqm
  • Project Year: 2015
  • Photographs: Pol Viladoms


© Pol Viladoms


© Pol Viladoms


© Pol Viladoms


© Pol Viladoms

  • Design Team: Berta Fuster + Iago Pineda | GRND82
  • Structural Engineer: Xavier Aguado
  • Services Engineer: Ecoinstec S.L

© Pol Viladoms

© Pol Viladoms

The uneven topography of the site, the good orientation and the views to the Mediterranean sea are the game rules. The difficult nature of the site is used as an opportunity to define the nature of the house. As if it was a chain of causes and consequences, minimizing the resources needed for the intervention.


© Pol Viladoms

© Pol Viladoms

The house is presented in one only floor, placed above the garden, staring at the sea, avoiding the neighbor’s shadow and dealing with the sun impact thru intermediate spaces. An object that slightly touches the ground, timidly, respecting the natural slope avoiding huge ground interventions.


Plan

Plan

The constructed volume is formed by a prism of 16,80 x 16,80 x 3,75 m that takes maximum profit of the municipal regulations. The program of the house and the orientation of the different areas states the base for the perforation of the four corners of the prism. As as result four terraces with four different characteristics and conditions appear. Each terrace is associated to an interior space and to a different function of living: eating, cooking, being, sleeping… One big central patio finishes the duty of organizing the house as well as constitutes the main entrance to the house.


© Pol Viladoms

© Pol Viladoms

© Pol Viladoms

© Pol Viladoms

Taking advantage of the profession of the client (blacksmith) the materiality and techtonics of the house are linked to industrialization, lightness, quick execution and assembly. One big metallic cage held by 4 points forms a rigid superior slab of 70cm height that holds as well the inferior slab thanks to a net of suspenders placed every 60cm around the perimeter of the slab. These suspenders are as well the base structure for the façades.


© Pol Viladoms

© Pol Viladoms

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Schematic Design of St. Petersburg Pier Wins City Council Approval


Courtesy of ROGERS PARTNERS Architects+Urban Designers

Courtesy of ROGERS PARTNERS Architects+Urban Designers

The St. Petersburg City Council has approved the schematic design for the new St. Pete Pier. First awarded in a competition in 2015, the new site was designed by a team composed of three firms: Rogers Partners Architects+Urban Designers (lead designer); ASD (executive architect); and WORKSHOP: Ken Smith Landscape Architect (landscape architect). Although the final design was updated based on city and public requests, the core programming of the original scheme was maintained.


Courtesy of ROGERS PARTNERS Architects+Urban Designers

Courtesy of ROGERS PARTNERS Architects+Urban Designers

The goal of the pier is to create an extension of the city through a variety of public spaces and new programs. The pier will contain a multitude of programs including a public fishing area, a large lawn area, an observation deck, a restaurant, and a café area, among others.


Courtesy of ROGERS PARTNERS Architects+Urban Designers

Courtesy of ROGERS PARTNERS Architects+Urban Designers

Some of the existing pier areas such as the retail front and bait shop will remain. The new pier will serve as a central hub of activity for both visiting tourists and the local community.


Courtesy of ROGERS PARTNERS Architects+Urban Designers

Courtesy of ROGERS PARTNERS Architects+Urban Designers

Construction is scheduled to begin as early as October.

Rogers Partners and ASD Chosen to Redesign St. Petersburg’s Pier
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Comic Break: “Sexism in Architecture”





Since Zaha Hadid’s death two weeks ago, we’ve been thinking a lot about her legacy. Hadid’s accomplishments in architecture are impressive not only because of her innovative designs, but because she succeeded in a male-dominated profession, and undoubtedly experienced sexism along the way. In our webcomic, Architexts, we use humor to cope with various aspects and stereotypes of the architectural profession, including negative ones. With our forthcoming book, Architects, LOL, we hope to share the stories–your stories–that paint a more realistic picture of the profession, rather than an idealistic one that most of us can only dream of.

Sometimes, that reality sucks. In our comic, the fictional office of Franklin + Newbury Architects has two women on the architectural staff, both of whom have experienced sexism while there, and sometimes the way they have dealt with it has produced humorous results.

Zaha Hadid said earlier this year, “I am judged a lot more harshly because I am a woman.” In an interview last year, she said: “sexist comments are made in my industry all the time.” This week, we encourage our female readers to sign up to participate in our new book, so they can share with us how they’ve experienced sexism and how they’ve handled themselves.

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Stone Sculptures Reveal Monumental Architecture at a Micro Scale


One of Simmonds' miniature spaces carved from stone (Corona). Image © Matthew Simmonds

One of Simmonds' miniature spaces carved from stone (Corona). Image © Matthew Simmonds

Matthew Simmonds, an art historian and architectural stone carver based in Copenhagen, is known as the creator of exceptionally beautiful miniature spaces hewn from stone – a number of which have been previously featured on ArchDaily. Drawing on the formal language and philosophy of architecture, his work “explores themes of positive and negative form, the significance of light and darkness and the relationship between nature and human endeavour.” Here he shares four recent projects: Ringrone (Faxe Limestone, 2016, 61cm tall), Corona (Faxe Limestone, 2016, 30cm tall), Ararat: Study II (Faxe Limestone, 2016, 20cm tall), and Tetraconch (Limestone, 2015, 31cm tall).


Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds


Ararat: Study II (Faxe Limestone, 2016, 20cm tall). Image © Matthew Simmonds


Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds


Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

It is always a challenge to visualise how a piece will look before starting, particularly as I am working with natural boulders in which the sculpture is defined by the interaction between the worked surfaces and the natural form of the rock.


Ararat: Study II (Faxe Limestone, 2016, 20cm tall). Image © Matthew Simmonds

Ararat: Study II (Faxe Limestone, 2016, 20cm tall). Image © Matthew Simmonds

How do you select the spaces that you will carve?

Most of the spaces I carve in my sculptures are not actual existing buildings. The exceptions are the elevations of real buildings in my “Elevation” series. When deciding which architectural style to be influenced by, a certain type of stone may suggest a certain style. For example, marble is suited to Classical Greek or Roman, limestone to Romanesque or Gothic.

Also, the form of a stone can influence the structural space I want to create, and this can suggest a particular type of historical building, as with Chapter House III. Generally though, at the beginning of the process I am thinking more about the volumes I want to create than the architectural detailing. After removing the first bulk of stone I can often see things more clearly and make a decision about how to proceed.

What are the biggest challenges that arise when completing these pieces?

Carving into small internal spaces is obviously very challenging, and has necessitated developing specialised techniques and carving tools. Also, carving internal spaces means that in a way I am working with space more than with solid stone. This can be confusing when it comes to the process of removing stone, and there is a high risk of making a mistake. It is always a challenge to visualise how a piece will look before starting, particularly as I am working with natural boulders in which the sculpture is defined by the interaction between the worked surfaces and the natural form of the rock.


Corona (Faxe Limestone, 2016, 30cm tall). Image © Matthew Simmonds

Corona (Faxe Limestone, 2016, 30cm tall). Image © Matthew Simmonds

Corona (Faxe Limestone, 2016, 30cm tall). Image © Matthew Simmonds

Corona (Faxe Limestone, 2016, 30cm tall). Image © Matthew Simmonds

Corona (Faxe Limestone, 2016, 30cm tall). Image © Matthew Simmonds

Corona (Faxe Limestone, 2016, 30cm tall). Image © Matthew Simmonds

Tetraconch (Limestone, 2015, 31cm tall). Image © Matthew Simmonds

Tetraconch (Limestone, 2015, 31cm tall). Image © Matthew Simmonds

Tetraconch (Limestone, 2015, 31cm tall). Image © Matthew Simmonds

Tetraconch (Limestone, 2015, 31cm tall). Image © Matthew Simmonds

Tetraconch (Limestone, 2015, 31cm tall). Image © Matthew Simmonds

Tetraconch (Limestone, 2015, 31cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

Ringrone (Faxe Limestone, 2016, 61cm tall). Image © Matthew Simmonds

About Matthew Simmonds

Simmonds graduated in the History of Art from the University of East Anglia in 1984, specialising in the art and architecture of the medieval period. After working for several years as an illustrator, he then studied architectural stone carving at Weymouth technical college. Having worked on the restoration of several major English national monuments, including Westminster Abbey and the cathedrals of Salisbury and Ely, he moved to Pietrasanta in 1997 where he learnt skills allowing him to specialise in fine classical ornament in marble. He gained his first recognition as a sculptor in 1999, after winning first prize at the second international sculpture symposium of Verona.

Miniature Spaces Carved From Stone
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You can see more of Matthew Simmonds’ work here.

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School in Vila Nova da Barquinha / Aires Mateus


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG
  • Architects: Aires Mateus
  • Location: 2260 Vila Nova da Barquinha, Portugal
  • Architect In Charge: Manuel Aires Mateus, Francisco Aires Mateus
  • Area: 4600.0 sqm
  • Project Year: 2009
  • Photographs: Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG

  • Coordination: Humberto Silva
  • Colaborators: Miguel Valério Francisco Caseiro João Caria Humberto Fonseca
  • Consultants: Betar / Joule
  • Landscaping: Proap
  • Client: Câmara Municipal de Vila Nova da Barquinha

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

From the architect. The universes we attend in childhood tend to linger in our memories. It’s the time when we interact with architecture in a more free and genuine way. It is when we settle appropriations and intuitively hierarchize values ​​of architecture. We are interested in identifying the assets that are esteemed by all, and design the memories that will be formed.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

In a not conformed territory a squared perimeter is set: autonomous and clear. The need for different functions in school is the pretext for establishing distinct spaces. Each compartment is a separate experience in terms of scale, proportion and identity. The aggregation of all volumes defines its external iconographic value. Inside, a protected interstitial space is defined, infinite by not disclosing its beginning or end, and used as a recreational venue.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Technical Plan

Technical Plan

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

It is the structure of void and occupation that mimics the principles that have always been part of urban agglomerations.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

A replicable opening, suited for all purposes is chosen, and a wall and ceiling finishing is defined for all spaces. The judicious economy of these elements brings out the diversity of spaces.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The intensity of this new universe is proposed by the peaceful succession of moments.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

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Marseilles Docks / 5+1AA


© Luc Boegly

© Luc Boegly
  • Architects: 5+1AA
  • Location: Marseille, France
  • Architects In Charge: Alfonso Femia, Gianluca Peluffo, Simonetta Cenci, Nicola Spinetto
  • Area: 21000.0 ft2
  • Project Year: 2015
  • Photographs: Luc Boegly, Ernesta Caviola


© Luc Boegly


© Luc Boegly


© Luc Boegly


© Luc Boegly

  • Client: JPMorgan
  • Appointed Contracting Authority: Constructa Urban Systems
  • Structural Engineering: Secmo, Marseille
  • Services Engineering: Garcia Ingenierie, Marseille
  • Economy Control Office: R2M, Marseilles
  • Building Control Officer: Bureau Veritas, Marseilles
  • Enterprise: Dumez Méditerranée (compagny of VINCI Construction France)
  • Project Director: Nicola Spinetto
  • Project Leader : Sara Traverso
  • Design Team: Alfonso Femia, Gianluca Peluffo, Simonetta Cenci, Sara Gottardo, Nicola Spinetto, Sara Traverso, Fanélie Pardon, Valeria Parodi, Sara Massa, Luca Bonsignorio, Carola Picasso, Lorenza Barabino.
  • Collaborators: Alessandro Bellus, Francesco Busto, Suzanne Jubert, Etienne Bourdais, Gabriele Filippi, M. Cristina Giordani, Valentina Grimaldi, Roberto Mancini, Aude Rasson, Giulia Tubelli.
  • Artist: Danilo Trogu

© Luc Boegly

© Luc Boegly

The Marseilles Docks as a place of reflexion and meeting between territory and city, past and future, users and inhabitants of the place. The Marseilles Docks as a place of architecture which is an answer to a specific context: an intervention on sensitivity and place specificity, Marseilles in relation to the Docks, the city and the sea. An intervention on the Docks ground level to create an opened system connected to penetration, transparencies and new relations extending to the sea. An intervention on people flow to give different intensities to the place. 


© Luc Boegly

© Luc Boegly

Elevation

Elevation

We have been particularly attentive to how things are perceived, visual apertures, pathways and other features: light to create original atmospheres, the sun and wind as architectural/energy devices.


© Luc Boegly

© Luc Boegly

Elevation

Elevation

Reveal the beauty of a place so that it can be shared.

Reveal the beauty of a place so that it can be shared. The redevelopment of Marseilles docks will re-establish bonds between the site and city, users and local inhabitants. The architecture is a carefully targeted response to a very specific setting: the project weaves relations between the docks, city and seaside; the site of the old structure will become an open system extending to the sea through penetrations, transparencies and new relations; the arrangement of the internal courtyards is designed in relation to the various flows and their intensity with respect to the various locations. We have been particularly attentive to how things are perceived, visual apertures, pathways and other features: light to create original atmospheres, the sun and wind as architectural/energy devices.


© Luc Boegly

© Luc Boegly

Plan

Plan

© Luc Boegly

© Luc Boegly

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Mzamba Bridge / CUAS + buildCollective NPO


© Marlene Wagner

© Marlene Wagner


© Hadrien Clair


© Marlene Wagner


© Marlene Wagner


© Hadrien Clair

  • Project Management And Implementation: buildCollective NPO
  • Structural Engineers: Dr. Lüchinger und Meyer Bauingenieure AG
  • Consultants: Rudi Keudel-Schaffer, Bruce Plumbly, Wolfgang Steiner, Nonhle Mbuthuma, Felicity Swanepoel
  • Main Sponsors: Friedrich Bauer, Gunter Weisbrod, Birgit Werner, Bank Austria, Pfeifer Seil und Hebetechnik, GEA,Teufelberger, ATE, Haslinger Stahlbau, HSG, Nuquip, Land Kärnten, Land Salzburg, Land Niederösterreich,
  • Supporters: Mbizana Local Municipality, Eastern Cape Department of Economic Development, UNESCO
  • Community Steering Committee: Nonhle Mbuthuma, Mashono Dlamini, Nkhulwani Mnyamane, Macube Mathembu, Mavis Dlamini, Thandazile Gampe, Sajini Dlamini, Stera Ndovela, Mdumiseni Dlamini, Madoyisi Dimane, Ntlahla Hlebo, Portia Ogle, Xolani Zindela, Simon Nzimakhwe, Nhindelwa Dlamini
  • Construction Team: Melan Juta, Pakhamini Ngeleka, Siyabonga Khuzwayo, Siyabonga Mxunjini, Aiysha Dlamini, Khona Gampe, Ntombizethu Mnyamana, Ntobeko Dlamini, Zenzile Chiya, Andile Dlamini, Siphiwe Dlamini, Ntomsetu Dlamini, Monde Mdunyelwa, Mjo Bhele, Mbongeni Dlamini, Xolani Mnyamana, Lizwe Dlamini, Yandisa Dlamini, Sithole Dlamini, Mthokozizi Ndlovu, Moses Mbuthuma, Richman Ntuli, David Mbuthuma, Lonwabo Dlamini, Abraham Ngeleka, Jesko von Jeney, Virginia Clasen, Sebastian Schweinberger, Christoph Jach, Laura Stock, Lukas Hofbauer, Anna Weisbrod, Hadrien Clair, Valentin Kandler, Tobias Lackner, Simon Spenrath, Günther Egger, Reinhard Stundner

© Hadrien Clair

© Hadrien Clair

From the architect. The community driven project ´bridgingMzamba` originated in the urgent need of and request by surrounding inhabitants for a safe crossing of the Mzamba River and included design and implementation of a 140 Meter long suspension bridge in a collaborative manner.


© Marlene Wagner

© Marlene Wagner

As Nonhle Mbuthuma, chairperson of the Community Committee points out: “Our community is used to not getting anything from government but in contrast to other places we are not burning cars or riot. We rather reach out and try to find new ways because we know government is not able to provide service for all. We can meet them half way to provide infrastructure.


© Hadrien Clair

© Hadrien Clair

The Austria based NPO build Collective teamed up with two thesis students of the Carinthia University of Applied Science for the design and planning phase.


Detail

Detail

A Steering Committee representing the local community and client guided the process and carried on negotiations with necessary entities. The driving force of tribal authority, ward committee and local stakeholders ensured a successful public participation and sustainable development.


© Marlene Wagner

© Marlene Wagner

Further support and authorisation could be established in liaison with engineers from South Africa and Switzerland (Dr. Lüchinger+Meyer), environmental experts, the Mbizana Municipality and Eastern Cape Department of Economic Development Environmental Affairs and Tourism to ensure technical accuracy and compliance.


© Hadrien Clair

© Hadrien Clair

Through this collective approach with users, students and experts the production of knowledge, cultural exchange, skills development and responsibility is achieved for all participants.

The design process had been very much guided by the information, data and meetings sourced on site and outcome sent to Austria.


Schema

Schema

The general geometry of the bridge was developed at the CUAS in collaboration with engineers from Dr. Lüchinger+Meyer for the top structure and adopted in action with new findings on site.


Walkway Diagram

Walkway Diagram

Main parameters were the reduction of material, a hardly accessible construction site, self-building process with community members, low maintenance, adaption with the natural landscape and of course span-width and forces of wind and usability. 


© Hadrien Clair

© Hadrien Clair

Foundations were calculated according to necessary force of connections and the diverse ground conditions of rock, swamp and sandy earth. In 3D Models geometry was developed, presented to the local community and adapted.


Calculations

Calculations

Continuous feedback from user, engineers and the construction process itself guided the design with fine-tuning of details until completion.

Span-width between Pylons is 66 meters with the southern Pylon of 15 meters grounded on pile foundation on the river bank and the northern pylon with 13,2 meter is grounded on a rock. 174 hangers connect the 133,85 meter carrying ropes with the two 131,9 meter guy ropes. The hangers are connected to 87 binders which carry 96 walkway-elements between a concrete bridgehead and a steel bridgehead.


© Hadrien Clair

© Hadrien Clair

Overall project costs of 200 000 Euros have been carried solely by sponsors, donations and personal contribution. In several phases of negotiations, fundraising, design and construction since 2012, this extraordinary infrastructure could be realized with October 2015 as a self-build project of community members and volunteers.


© Hadrien Clair

© Hadrien Clair

The Mzamba Bridge is now connecting residents of a catchment area of 30km to necessary infrastructure such as educational facilities, health care, jobs and general food supply. Further it serves as a landmark and potential tourist attraction in the area to enable socio-economic development.


© Hadrien Clair

© Hadrien Clair

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Rural Engineering Building / ThomsonAdsett


© Alicia Taylor

© Alicia Taylor
  • Architects: ThomsonAdsett
  • Location: Panorama Ave, Bathurst NSW 2795, Australia
  • Area: 2366.0 sqm
  • Project Year: 2016
  • Photographs: Alicia Taylor


© Alicia Taylor


© Alicia Taylor


© Alicia Taylor


© Alicia Taylor

  • Construction Manager: Joss Constructions
  • Project Manager: Savills Project Management
  • Quantity Surveyor: Wilde & Woollard
  • Structural/Civil Engineers: MPN Consulting
  • Consultant: JHA Consulting Engineers
  • Landscape Architects: Taylor Brammer Landscape Architects
  • Building Certifier/Access/ Dda Consultant: McKenzie Group Consulting
  • Town Planner/Statement Of Environmental Effects: JBA
  • Certification: Bathurst City Council
  • Cost : $14.3M

© Alicia Taylor

© Alicia Taylor

From the architect. ThomsonAdsett has designed a new Engineering Building for Charles Sturt University, with views of Bathurst’s iconic Mount Panorama race circuit.


© Alicia Taylor

© Alicia Taylor

The building accommodates the regional university’s unique new degree, which is designed to leave students equipped with both engineering and business skills. ThomsonAdsett’s design meets both needs, by providing a pitching space for business activity and maker studio, which embraces the ‘Maker Movement’ – a trend where discarded or broken goods are reimagined and marketed.


© Alicia Taylor

© Alicia Taylor

The building’s spatial diversity supports entrepreneurial thinking and the development of high-calibre engineers for employers. ThomsonAdsett developed a ‘Honeycomb of Learning’ – a spatial planning strategy which adds cohesion to the entire building. These clustered collaboration zones express the co-curricular and collaborative nature of the new learning cohort.


Plan 1

Plan 1

The existing facility has been transformed with a gallery, technological wall, Honeycomb of Learning, maker studio, pitch space and labs, which encourage experimentation, partnerships and enterprise. These spaces enable students to develop necessary skills and relationships, before undertaking the field study component of the innovative course.


© Alicia Taylor

© Alicia Taylor

ThomsonAdsett has created a character and sense of home for this new community, by using materials akin with regional farm and shed buildings. The form and re-use of the existing frames symbolises home, complements the rural shed aesthetic and maximises the use of embodied energy. This unique project illustrates the benefits of designing a curriculum and associated learning environment in parallel. Students and staff are already loving their new engineering home.


© Alicia Taylor

© Alicia Taylor

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Oeconomicum / Ingenhoven Architects


© H.G.Esch

© H.G.Esch


© H.G.Esch


© H.G.Esch


© Holger Knauf


© H.G.Esch

  • Green Building: Deutsche Gesellschaft für Nachhaltiges Bauen e.V. DGNB silver
  • Client: Schwarz-Schütte Foundation, Düsseldorf
  • Team Ingenhoven Architects: Christoph Ingenhoven, Martin Reuter, Peter Jan van Ouwerkerk, Roland Grube, Darko Cvetuljski, Dieter Henze, Anke Koch, Marco Lachmann, Volker Ritter, Ulrike Schmälter, Peter Georg Vahlhaus
  • Structural Engineering: Werner Sobek Ingenieure GmbH, Stuttgart
  • Facade Consultant: Werner Sobek Ingenieure GmbH, Stuttgart
  • Landscape Architecture: Ingenhoven architects, Düsseldorf with WKM Weber Klein Maas Landschaftsarchitekten, Meerbusch

© H.G.Esch

© H.G.Esch

The campus of Heinrich-Heine-University, Düsseldorf consists mostly of four- to six-storey concrete buildings, which had been built in the 1970s. The new “Oeconomicum – School of Economics”, centrally located between the university library and the medical school, next to the central pedestrian mall, marked the beginning of a general overhaul of the campus including renovation works and new constructions. It has become the new landmark of the campus.


© H.G.Esch

© H.G.Esch

The Oeconomicum frames one side of the Library Square and with one of its short elevations completes the Plaza. The three-storey building, which was raised on stilts, was built above the entry to an existing parking garage and as such did not require additional land use and provides sheltered bicycle stands as well as end of trip facilities.


Plan

Plan

The gently curved shape was informed by the existing lake next to the site that is used for the university cooling system. The lake, which had previously been inaccessible, is now nicely framed by a timber terrace deck that allows for outside working and studying. The terrace has become an intensively used meeting place for the entire campus.


© H.G.Esch

© H.G.Esch

The building itself has been designed to promote academic exchange and communication. Thus it is an expression of a new understanding of research and education.


Plan

Plan

The façades are the result of thermal considerations: open towards the south and more closed in the north. The layout of the offices allows for flexible work and meeting spots. The rooms are designed to create spaces for scientists and students that allow for cooperation as well as contemplation. Single and enclosed team offices have been located in the north with glass partitions towards the open plan areas in the middle – an office layout that enhances communication and also ensures free access to daylight and the panoramic view. The atrium along the south façade connects the common areas and ground floor classrooms with the offices of the particular chairs on the upper floors.


© H.G.Esch

© H.G.Esch

Maintenance costs as well as the energy consumption of the building are reduced to a minimum. The compact building exceeds the current energy saving standards by the use of geothermal energy, rain water harvesting and natural ventilation. Materials have been selected with regard to recycling, embedded energy and durability ensuring a robust and responsible building that will serve generations of students.

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