Monday, April 1, 2013

RECENT WORK

I just want to share some of the Revit-based work that has been coming out of our office recently.  At GAJ we have been using Revit since release 7, installing our first copies 8 years ago.  The journey has been quite challenging, with more than a few twists & turns, but over the past couple of years BIM has become the dominant methodology in the office.


The images are taken from 3 quite different projects.  One is an art gallery which re-interprets a heritage area in a modern manner.  Construction drawings were done using Revit, and the project is now on complete and ready for occupation.  This is a type of work for which we are well known in the region.


There is a perception that Revit is a documentation tool & other softwares are more effective during the early phases of the design process.  Wise warriors choose their battles, so I kept my protests down to a token mumble.  The first priority was to build a strong core of experienced users.


Of late though we have been using Revit much earlier in the process & the second project here is a competition submission put together in a few days by a small team.  This work has made quite a splash in the office and has gone a long way towards convincing the remaining sceptics.



The third project is the only one where I was directly involved.  It's more of a bread & butter project: a concept design report for a complex of 9 buildings produced by a small team working under a tight programme.  The client has already remarked that he is impressed with the amount & quality of work produced.


We used a couple of techniques here that I will discuss in a separate post: attempts to use BIM in a "diagrammatic" mode.  This allowed us to resolve basic space-planning issues before embarking full-blown BIM, using  "real building elements" (walls, doors, rooms)  But what I want to show here is just the end product.


We were able to show that Revit can produce attractive imagery, appropriate to the stage of work & effective in it's ability to convey our design intent to the client.


Along the way I also revisited our furniture library & produced some simple, "generic" families that help to keep the presentation style clean & focussed.  We don't want to distract the client with irrelevant detail.  That's one of the reasons that architects go for a minimalistic style of drawing.


Far too often BIM looks clunky because users haven't figured out how to achieve that lean & hungry look.  That's what we were aiming at here, and I think we have made good progress.  But at the same time (and with very little extra effort) the appendix to the report is packed with conventional drawing sheets: fully coordinated plans, elevations & sections that match the simper representation shown earlier.



Tuesday, March 26, 2013

PULL THAT LEVER

This weekend I was continuing my preparations for RTC Auckland, revisiting the work I did on Lever House quite a long time ago.  My presentation aims to make comparisons between Lever House, Casa del Fascio & the Gherkin.  In the process I hope to demonstrate the value of a BIM approach to the research & teaching of architectural subjects (history, technology, design theory etc etc)


By coincidence I received a request a few days ago from Vincent, (a French student) asking me to share my files for Lever House.  They are doing a project of some kind.


So I've decided to upload some work-in-progress files for whoever is interested, but especially for young students of architecture & other construction disciplines who may want to gain a deeper understanding of some of the key moments in our history than can be gained from the usual slide lecture approach that we experienced in our university days.


The images are snapshots from these files and represent the state of play as of last night. 


A word of warning here.  It's all a bit rough at the edges.  Need another weekend at least to have this model ready for Auckland.  Also I am working from incomplete data and one brief site visit a few years ago.  I have had to make many assumptions and some judicious simplifications.  The aim here is to understand principles and generate useful ideas, not to create a dusty museum specimen of some arbitrary moment of frozen time.


I firmly believe that BIM software opens up the possibility of an exchange of ideas and information about our built past. far beyond anything currently available.  Think google earth/street view, but with the ability to walk inside listed buildings and access analytical diagrams, learn about the people involved, see exploded diagrams of construction details.


I have uploaded 2 pdf files with several sheets each, & two 3d dwf files.  One of the whole building and the other a deconstructed portion of the external skin.  The work is incomplete, but I hope it will be useful.  You can find the files  HERE  Lever House

Sunday, March 24, 2013

CURVE THAT SCREEN

Thanks to Dave Baldacchino for pointing out my blind spot.  (see comments on previous post)  My take on the Voysey style stair screen is much more easily achieved using a curtain wall & edit wall profile.


Which got me to thinking if there were any advantages to the adaptive component approach.  What if you wanted to curve the screen.  Not possible to edit profile on a curved wall.


But of course you could make an in-place mass & do a "curtain system by face".  But now we are approaching a situation where it's almost as much effort as making an adaptive family.  And once you have made the family it's easy to play with different parameter values.  Design by flexing ... appropriate if you have a vague concept and want to explore the possibilities.


Once I got started on "S" curves I couldn't resist setting up an alternating pattern.  Now we are entering territory where curtain walls struggle.  I'm not going to do a step-by-step on this.  It's an extension of the principles from the previous post, but with a bit of "host by intersection" thrown into the mix.


The possibilities are pretty much endless.  Not sure what the application would be, starting to feel more like Calatrava than Voysey now.  Also looks like some kind of drunken bar code.


It's difficult to grasp the geometry fully based on single frames.  It could be a screen or a ceiling baffle in an up-market food court perhaps.  I've seen crazier forms.  The excitement would be in the changing patterns as you walk past. 


Using a different colour and size for the two repeaters makes it easier to understand, which is why I did that.  Then I realised that alternating mullion types would be another justification for  the adaptive approach, even on a straight screen.  You could do it with a curtain wall, but it starts to get messy, especially if you want to go through several design iterations.


I'm going to finish up with a little GIF to simulate the effect of movement. And thanks again to Dave for making me think harder about what I am doing and why I might want to do it in a certain way.