02: Practice, Learning & Me....

The initial lectures and discussions ignited my own passion for the subject study and direction, while also considering professionals I have read about independently.

The practitioners in Figure 2, over the years, have influenced my own practice through their projects, discussions, lectures, and exhibitions. I have considered their methodology, research, development, conceptual direction and realisation. Anish Kapoor’s iconic ‘Cloud Gate’ is a sculptural realisation through the use of NURBS (Non-uniform rational B-Spline), overlay processing modelling and a stainless steel structure. He realised his conception through the use of geometric form, deploying the reflection and refraction of light using mirrors and lenses.

It was a controversial and debated project of its time, in 2004. I was inspired by the fact that other creators had used the NURBS method for the creation of unusual organic, undulating forms. I have used examples of Kapoor’s use of NURBS and that of other practitioners such as Thomas Heatherwick at Longchamp, USA; Bombay Sapphire Distillery, UK and Temple Kagoshima, Japan.  In each space, Heatherwick deploys undulating organic formations in his work. Analytically, from observation and study, he pushes the envelope of vertical and horizontal plains.  

Thomas Heatherwick; Bombay Sapphire Distillery has a deeper functionality purpose. The two curbing glass greenhouses channel hot air through the pipes of metal strips from the distillation process.

These examples in practice have not only supported my own professional practice and while also supporting students using unique process and produces while exploring the methodology. One example I have given here the use of NURBS in creating unique surfaces through applied CAD (Computer Aided Design) software NURBS Surface (2020). 

For example, when creating organic shapes and forms using undulating surfaces. Creating three-dimensional dropped ceiling structures.  The advantages of creating such forms on CAD application allows practices to quickly note how the surface might appear, consider the costing and dimensions, while also quickly make alterations to the shape and form. While also giving designers and clients quick overview of the given design intent. This is particularly true for Bombay Sapphire Distillery, were computational mapping was applied in processing material requirement, construction methodology and engineering, and following the step by step process through to the build. 

Upon reflection another of my most memorable trips was to the London Design Museum to see an exhibition by the architect Zaha Hadid. Through reading her biography and studying her work, I was moved by her remarkable ground-breaking conceptual narratives and realisation. The Baghdad-born Iraqi architect configured her stamp on the world, becoming a ground-breaking trailblazer as one of the first architects from her background within male dominated landscape.  I was impressed with how she defined a radical new approach to architecture with multiple perspective points and fragmented geometry evoked both disorder and order in modern structures. Hadid’s earlier work explored through more geometric distorted plains of construction and deconstruction as realised in the BMW Central building in Leipzig, Germany (2005), contrasting with more recent work, the acquit centre for Olympic Park, London (2012) where the forms are more fluid.

There is no irony in the work: the concept is driven from the droplets of water and observing the rippling motion and movement of liquid. From a distance, it almost starts to look like the beginning of wave. Certainly, there is a shift in her design expression through applied design parametric approaches and computational algorithmic topology.

Figure 10 BINET, H. (2020). Architecture Projects | London Aquatic Centre. [Image]. Arch2O.com. Available at: <https://www.arch2o.com/category/architecture/> [Accessed 15 January 2021].

These two practitioners and many others have influenced my own passion for forging and exploring design direction through exploration and experimentation.  There are so many designers and artists that have inspired me over the years and I hope to tap in to their work while on this continued reflective journey.

In my own work, I explore and experiment with geometric shapes and forms and start to look at organic form in the Voronoi Structure.

References 

BAAN, I. (2014). Bombay Sapphire Distillery. [Image]. Available at: <https://www.dezeen.com/2014/09/22/thomas-heatherwicks-gin-distillery-bombay-sapphire-opens/> [Accessed 15 January 2021].

BINET, H. (2020). Architecture Projects | London Aquatic Centre. [Online]. Arch2O.com. Available at: <https://www.arch2o.com/category/architecture/> [Accessed 15 January 2021].

HEATHERWICK, T. (2001). Heatherwick Studio | Design & Architecture | Temple. [Online]. Heatherwick Studio | Design & Architecture. Available at: <http://www.hatherwick.com/project/temple/> [Accessed 15 January 2021].

HEATHERWICK STUDIO | DESIGN & ARCHITECTURE. (2010). Bombay-Sapphire-Distillery [Image]. Available at: <http://www.heatherwick.com/project/bombay-sapphire-distillery/> [Accessed 15 January 2021].

HEATHERWICK STUDIO | DESIGN & ARCHITECTURE (2010). Heatherwick Studio | Design & Architecture | Bombay Sapphire Distillery. [Online]. Available at: <http://www.heatherwick.com/project/bombay-sapphire-distillery/> [Accessed 15 January 2021].

KAPOOR, A. (2006). Cloud Gate. [Video]. Available at: <http://anishkapoor.com/210/cloud-gate> [Accessed 15 January 2021].

RAJINDERPAL, S. R. (2020). Artists Names. [Image]. London: Own Private Collection.

RAJINDERPAL, S. R. (2020). NURBS Voronoi Structure. [Image]. London: Own Private Collection.

UNKNOWN. (2005). BMW Central Building – Zaha Hadid Architects. [Online]. Available at: <https://www.zaha-hadid.com/architecture/bmw-central-building/> [Accessed 15 January 2021].