Air journal with part b

DESIGN JOURNALBILAL HALLAK

641720

STUDIO AIRABPL30048

2015SEMESTER 1

TUTOR - GEOFF KIMMUNIVERSITY OF MELBOURNE

Table of Contents

6 Introduction

Part A: Case for Innovation

10 A.1 Design Futuring

- BanQ Restaurant

- The Center for Ideas

12 A.2 Design Computation

- Beijing Aquatics Center

- The Orquideorama

14 A.3 Composition/Generation

16 A.4 Conclusion

A.5 Learning outcomes

18 A.6 Algorithmic sketches

20 A.7 Part A References

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Status: 3rd year undergraduate in the Architecture Major

My name is Bilal Hallak, but most people call me Bill for short. Growing up as a kid, I never really knew what I wanted to do after I finished my schooling. However, I did take interest into designing and sketching throughout my schooling career. It was only when I wanted to take things seriously did I begin looking into the field of Architecture. Architecture to me is a knowledge we can apply to the real world through our ideas, where there is so much to offer. It feels as if you can never stop learning as an Architect because there are always new ideas and skills that can be developed over time.

Most of the work I’ve created usually consisted of hand drawn images, as digital modelling was never my forte. It was only recently that I was given the opportunity to learn a new design program and took matters into my own hands and tackled the struggles of digital design. Over the summer break of 2014-15, I undertook a 3 week internship at King Abdullah University of Science and Technology, also known as KAUST. This productive experience engage me not only in digital architecture, but also put me in real life scenarios of an architect, where I would be given tasks with specific deadlines, or meeting with other members of the team to discuss iterations of plans. I would say my strength in digital design is only beginning to develop, with AutoCAD being the first design tool I managed to understand during the internship in KAUST. Although it may be basic skills, I have been able to grasp the tools of AutoCAD and create scaled floor plans. It may only be basic, but I think its part of what is known as digital architecture.

Another form of digital architecture I tried to understand was the Rhino5 program. During my 1st year, I studied Virtual environments, where I found it difficult to create 3D objects as it had been the first time I attempted at such design. I managed to get the basics of the program when I attempted at recreating a floating device as part of the inflatable exercise. (fig 2)

When I think of digital architecture, I automatically think of designs that have been created using technology. That would only be my broad understanding of this concept, however, there is so much more to digital architecture.

To me, digital architecture includes a variety of technologies for us to design, which has enabled architects to free themselves from the constraints of drafting. By adapting to these new forms of technologies, it enables designers to explore a wider range of ideas, with the notion of parametric design. The digital designs we create potentially have the power to make a positive impact on our environment. How? I believe with digital architecture at our fingertips, we are able to expand our opportunities with biomimicry and challenge the sustainable problems we are facing in the built world. All of this can be made possible with the use of new programs, which can be easily accessible, and by doing so, the power to decelerate the defuturing process is in the hands of our designs. [Defuturing paper]

I do wish to continue my studies in sustainable design, and perhaps one day work in a firm that follow my career path. In order to do so, I must fully grasp the idea of digital architecture and the applications needed to make it possible. Hence why I believe that this studio will be one of the most important classes I take throughout my studies, as my design approach for this semester will revolve around a design that mimics a biological process that can achieve a sustainable project.

INTRODUCTIONAbout Bilal Hallak

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IMAGES 2,3,4 - ABOVE: ATTEMPTS AT INFLATABLE OBJECTS IN RHINO

IMAGE 1 - ABOVE: PANEL AND FOLD SPIKES

PART A:CASE FOR INNOVATION

A.1DESIGN FUTURINGBanQ Restaurant vs Centre for Ideas

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The BanQ restaurant have expanded future possibilities with their design, by incorporating intrinsic algorithmic processes into the internal spaces of the structure. This process allows for the design to create flexible spaces for different functions, in which the ceiling plays a role in setting the environment for different occasions.

The BanQ restaurant has provided a new and improved venue for social gatherings, in which the spaces built make it seem as if they’re in a natural setting. The selection of material allows people to escape from the industrialised city of Boston, to a more relaxed environment which brings forth a modern appearance. By doing so, several social functions can be held within the spaces provided for inhabitants to utilize.

The BanQ restaurant creates a seamless landscape through the use of geometries that form a relationship between structural systems and services along the longitudinal axis. For example, the wooden striated slats conceal the systems used within the building, such as lighting and plumbing, creating a virtual realm that draws people away from traditional design to parametric design. [1]

The BanQ restaurant is somewhat revolutionary in terms of services being partially viewed. Lateral views of the wood slats that form the basis of the interior allow people to observe striated glimpses of the building services. This unravels the illusion the interior has casts.

The BanQ restaurant will continue to be appreciated in terms of its modern design. The ‘virtual canopy’ which has been implemented help to create the seamless landscape, where people may dine under. [2] The design seems to have been inspired and conceptualized around the idea of division, in which there is a focus on placing certain elements between the ceiling and ground, otherwise known as the z axis.

IMAGE 5 - ABOVE: INTERIOR OF THE BANQ RESTAURANT

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The centre for ideas can somewhat be seen as radical design due to the usage of material. The building’s façade mainly consists of reflective stainless steel, which may appear compelling; however, the light it would reflect on its surroundings may cause a disturbance.

The centre for ideas building followed an algorithmic process by utilizing the voronoi tessellation of a plane. [3] This algorithm created the basis of the form, which also shows the transition from a virtual model to an actual structure. Digital architecture was an influence in this design, as the voronoi tessellation can be generated on computer programs such as Rhino and grasshopper. The Centre for ideas expands future possibilities of digital architecture, as it is one of its kind to develop a form through the use of an algorithmic processes.

IMAGE 6, 7 - ABOVE/RIGHT: THE CENTER FOR IDEAS

A.2DESIGN COMPUTATIONBeijing National Aquatics center

vs The Orquideorama

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Computers have become a large part of our lives and modern society. Without the use of computers in our lives, human civilization would not have progressed this far in terms of modernity and in architectural terms, designing. Computers have affected our designs in a positive way, as the process has become much simpler in terms of determining accuracy and ease of creating. With computers at our fingertips, a huge shift in the design world has taken place, where we are now experiencing ways of creating complex structures as part of parametric design. We can benefit from parametric design, as it develops a new form of design logic and thinking, in which multiple variations of design can be created. [4]

How can one say digital architecture is not beneficial for the design process? One may believe it conspires against creative thought, such as Lawson Bryan. He’s belief underlies the statement that computer design encourages fake creativity, which may fundamentally interfere with the process of formulating new ideas from refined sketches. Although some may believe in this thought, I would agree with John H. Freezer , who sees design computation as a mere tool for creative design. Design computation doesn’t interfere with the design process, it only allows the user to create and process to a more accurate and finer degree, opening up opportunities for new ideas.

Engaging with contemporary computational design techniques allows designers to develop structures that have a positive impact on the environment. With biomimicry becoming widely accepted, buildings such as the Beijing National Aquatics center allow for a greater extent in the area of sustainability. This can be made possible by incorporating design computation and biomimicry together. With this, designers can explore an endless amount of possibilities to create buildings that can help slow the process of defuturing.

When looking at the Aquatics center, it can be first noted that the structure represents bubbles, in which is the case, as the bubbles have been formulated to help create a resistance to seismic activity. [5] The design itself also appears to have been derived from computational design programs, as this structure resembles the Voronoi function used on Grasshopper. By using design computation, architects can benefit from this in the pursuit of creating a sustainable environment, as this process allows designers to incorporate other ideas such as Biomimicry.

IMAGE 9 - ABOVE: EXTERIOR OF AQUATICS CENTER

IMAGE 8 - BELOW: DETAIL OF BUBBLE FORMATION

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Architects are beginning to embrace the idea of biomimicry and incorporating digital design technologies as part of the framework for new structures. The Orquideorama, by Camilo Restrepo, is another example of how computational design was beneficial for the design process. The design follows a series hexagonal panels that help create a canopy over the sites environment. These organic shapes can be understood in two different scales, the microscopic scale and the visual scale. By digitally designing these concepts, Camilo was able to define geometrical patterns in his works by forming relations with the virtual world to the natural world. [6] This idea of his was to unite both natural and artificial, and wanted to allow architecture to be conceived as a material, spatial, environmental organization that is deeply related to the processes of life. [7]

So how does this show benefit of design computation in the design process? By having accessing to digital design, Camilo was able to formulate his structure and incorporate biological processes into modules that he would later put together to develop a canopy which helped develop a sustainable environment.

IMAGE 10 - ABOVE: THE ORQUIDEORAMA AND ITS INTRINSIC DESIGNIMAGE 11 - RIGHT: COMPUTER MODEL

IMAGE 12 - LEFT: INTERIOR

A.3COMPOSITION/GENERATIONGenerative approaches in technology and sustainability

IMAGES 13, 14 - ABOVE: HOW HAND DRAWN IMAGES ARE TRANSLATED INTO 3D DESIGN

ABOVE: HOW HAND DRAWN IMAGES ARE TRANSLATED INTO 3D DESIGN

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Over time, the architectural literature has been developing and changing throughout its course of design. Designers are rapidly shifting from the traditional methods of hand drawn images to the technological innovations of computer applications. Any of these two methods are fundamental for a design outcome; however, the way the design approach is generated is different.

Traditional methods of design, which included design by freehand drawing, was the first form design generation and composition used by architects. Through this process, it is believed a design is able to re-illustrate the image through visual cognition, which may trigger an unexpected design outcome. [8] Generally this method is highly regarded by some; however, the more profound method of design comes from the use of technology. Generating a design approach based a computer will disregard the need for sketches and allow for 2D sketches on programs such autocad. This method means it will no longer use the traditional way of approaching a design, as it may not be needed. But what if these two methods were to be combined?

It is believed that the combination of the two methods, hand drawn and autocad, will widen the forms a designer can achieve, as the computer can further develop ideas based on what was sketched in the beginning. [9] This generative process does inspire designs to tackle parametric forms, which is gradually becoming the medium of architectural design. The parametric technique can be understood thoroughly through this process, as it had been mentioned previously, the human mind is able to develop ideas through visual cognition, which can then be translated into 3D modelling and inevitably the final design outcome.

In terms of sustainable architecture, the generative approach in the design process is looked at differently. According to Terri Peters, the way in which architects can tackle sustainability is by looking at the local aspects of the site, which include the ecological, social and climate perspective. [10] This approach to sustainability challenges other generative processes, as takes things to a smaller scale in terms of what should be looked at. All three aspects of this approach are equally important, as the local context addresses the community and how it affects the building life-cycle. The Hy-Fi pavilion is an example of this approach, in which it responds to the local criteria, with the use of biodegradable materials and the way it positively impacted the large ecological system in the area.

Through the use of technological aid and efficient sustainable design approaches, architects are able to progress into the design world with a positive impact on the world itself. My challenge would be to take lessons from all of this and produce in my own works.

IMAGE 15 - ABOVE: HY-FI PAVILION

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A.4/ A.5CONCLUSIONLEARNING OUTCOMES

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A.4

“Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designers intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.”

- Brady Peters [11]

To me, this quote summarizes Part A: Conceptualization, as this part of the project discusses how designers are shifting from traditional methods of design and basic thinking to more complex matters with the introduction of algorithms and parametric design. A key aspect I took from this was the idea of integrating digital architecture and sustainability, and how this can be a process of reducing the defuturing affect we have across the globe. From this notion, I intend to continue my design with the aspect of biomimicry, as I believe this approach of design can have a significant impact in our designs and how it can create sustainable structures. By doing so, the general populous can benefit from these buildings, as they will provide a greener and healthier environment in the way they have been formed.

A.5

From the beginning up until the end of Part A, I can say that my view on computational design has changed dramatically. The way I view design computation, I now believe it is fundamental in attaining designs that can slow down the process of defuturing. My interest in design computation is significantly increased and I hope to further gain an understanding of architectural literature in terms of digital design.

IMAGE 16 - ABOVE: BEIJING AQUATICS CENTER AKA “THE WATER CUBE”

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A.6ALGORITHMIC SKETCHES

IMAGE 17 - ABOVE: MAKING SCULPTURE USING THE LOFT FUNCTION

IMAGE 18 - ABOVE: THE VORONOI FUNCTION

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IMAGE 19 - ABOVE: FIRST LOFT

IMAGE 20 - ABOVE: FURTHER EXPLORATION WITH LOFTS USING GRASSHOPPER

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A.7REFERENCES End of Part A: Conceptualization

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1. Arch Daily, BanQ / Office dA (2009) <http://www.archdaily.com/42581/banq-office-da/> [accessed 8 March 2015].

2. Ibid

3. Paul Minifie and Jan van Schaik, Centre for Ideas (2015) <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 8 March 2015].

4. RIVKA OXMAN AND ROBERT OXMAN, ‘Theories of the Digital in Architecture’, Routledge , , (2014), (p. 3).

5. Holly Giermann, Architectural Innovation Inspired by Nature(2015) <http://www.archdaily.com/604846/architectural-innovation-inspired-by-nature/> [accessed 13 March 2015].

6. Jardín Botánico de Medellín , Camilo Restrepo Arquitectos (2015) <http://www.architonic.com/aisht/orquideorama-camilo-restrepo-arquitectos/5100749> [accessed 14 March 2015].

7. Ibid

8. YING-SHIU HUANG and JAINYOU LEE , ‘’, The New Combination of Digital Sketching and Modelling Process in Idea-developing Stage , , (2004), , in<http://cumincad.scix.net.ezp.lib.unimelb.edu.au/data/works/att/314caadria2004.content.pdf> [accessed 16 March 2015].

9. Ibid

10. Terri Peters, An Alternative Approach to Sustainable Design (2015) <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1889/epdf> [accessed 15 March 2015].

11. Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10

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1. Authors own work Bilal Hallak




5. http://www.yatzer.com/BANQ-restaurant-by-Office-dA

6. http://www.peterbennetts.com/project/view/project/centre-for-ideas

7. http://2.bp.blogspot.com/_YhaIbCcptpw/S_Dwgk_xCgI/AAAAAAAADc8/yASWbaN9jYI/s1600/DSC_0618.JPG

8.http://ad009cdnb.archdaily.net/wp -content/uploads/2015/03/54ecd10fe58ece6e4c000015_ architectural- innovation-inspired-by-nature_4071364299_7eaf042b4b_o.jpg

9.http://ad009cdnb.archdaily.net/wp - content/uploads/2015/03/54ecc6f0e58ece5598000007_ architectural- innovation-inspired-by-nature_3633449081_b5fd34aed8_o.jpg

10. http://www.architonic.com/aisht/orquideorama-camilo-restrepo-arquitectos/5100749

11. Ibid

12. Ibid

13. http://cumincad.scix.net.ezp.lib.unimelb.edu.au/data/works/att/314caadria2004.content.pdf

14. Ibid

15. http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1889/epdf

16. http://wfiles.brothersoft.com/w/water_cube2_38407-1920x1080.jpg





IMAGE REFERENCES

PART B:CRITERIA DESIGN

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B.1RESEARCH FIELDBiomimicry

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For the remainder of the AIR studio course, the research field in which I have chosen and would like to focus my design on is Biomimicry. It was only recently that I took an interest into Biomimicry because of its relation to sustainability. I feel that Biomimicry is an essential in reducing the impact of defuturing in the build world, and by pursuing a further understanding in this research field, I believe I can be a part of the designers who wish to change the way in which we design buildings.

Not only have I chosen this research field for the purpose of changing course of defuturing, but because I find it interesting in the fact that designers can be influenced by biological processes found from a variety of species, such as learning from humpback whales to improve efficiency on wind power. The influence is around us, we just have to challenge ourselves to learn. IMAGE 1 - ABOVE: WIND TURBINE ADOPTING WHALE FIN

IMAGE 2 - BELOW: CLOSE UP OF TUBERCLES ON FIN

B.2CASE STUDY 1.0

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The Morning Line

- Aranda Lasch

This piece of work, designed by Aranda Lasch and collaborated with artist Matthew Ritchie and structural designs from Arup AGU, exemplifies the architecture of innate objects through the use of its complex geometry. The 8m high, 20m long monument consists of fractal circular forms which are compiled together to create an abstract form of art in the landscape. The form of this frame has been built to create an open cellular structure, which can be noted as being an anti-pavilion, where there is no such thing as enclosure.(REF tba21)

The truncated tetrahedrons have been deconstructed to help create this complex structure, and were made possible by the use of parametric design. Each of the components used in the design were regular shapes being broken down in truncated forms, which helps create complex visual aesthetics. The complexity of designs is becoming much more prevalent in architecture, as the computation process allows for such geometries to be experimented with. In this process, the imagination of the designer is tested, as there is a wide range of forms to create with a variety of computational functions.

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The overall definition of this recursive process begins with a basic polygon as the main form. For each of different species created, the amount of segments and radius has been deliberately changed as part of the experimental process of identifying new forms of recursion. As shown to the left, each outcome generated undertook minor iterations, yet still created major differences in shape.

Following this process is similar to what Aranda Lasch conducted during her design process, as the truncated tetrahedrons follow a complex technique in which the original shapes could be amended with. Like the different polygons used in my exploration, the shapes created cast symmetry and an intrinsic pattern.

Based on what has been done, the design criterion in which I have decided on is the notion of representing patterns and symmetry. By combining these two aspects, the design can push towards an outcome that is visually appealing in a simple manner, veering away from the idea of complexity.

B.3CASE STUDY 2.0Waffle type 2

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For the purpose of the second case study, I have selected the Waffle type 3 project as part of my research for developing a new algorithm. This project is also interesting to look at in relation to the site I have chosen on Merri creek, as it holds some potential for further design. The Waffle type2 project consists of many different functions, such as brep wireframes, vector lines and path mapping. Each of these components is part of a large cluster that forms this waffle type. The functions in this cluster can be manipulated to form other types of slabs, such as the waffle type 3. This waffle slab begins with a series of other functions which are then connected to the same set of functions used to create the waffle type 2.

The design intent for this waffle type is quite extensive. This type of waffle may have been created as part of a cladding system used on buildings or as part of the interior design in the building, similar to the BanQ restaurant. It really depends on what scale this definition is being looked at. If the waffle is observed as a whole, it can be understood as being a simple design for a building, however, on a smaller scale, this waffle can be a part of many other small waffle components which form another sort of system.

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The reason why I have selected the waffle type 2 is because of its purpose on my site, which is the Labyrinth. The Labyrinth is a smaller, more enclosed area of the site where people gather to perform the labyrinth walk or simply to just add and gaze at the wishing tree the inhabitants have created. The way in which this waffle has been formed bests represents a sort of shelter or a dome for those on the site, as the area has potential for growth, especially with the area being flocked with school kids and families.

Reverse-Engineered Waffle Type2

1. Create sphere in Rhino and reference in Grasshopper

2. Add box corners with lines as part of setting up planes to find waffle section

3. Setting up the planes to find the section through extruding and number series

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6. FINAL PRODUCT

3. Setting up the planes to find the section through extruding and number series

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4. Making the final notches for the waffle by adding material thickness

5. Bake different planes to show connections of waffle

6. FINAL PRODUCT

B.4TECHNIQUE DEVELOPMENT

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Documents

Air journal with part b