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STUDIO:AIR

ABPL 30048 ARCHITECTURE STUDIO: AIR 2015 | STUDIO 15 SONYA PARTON LEE KUANG LOONG GARETH - 617119

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Contents

Introduction 01

Part A. Conceptualisation 02

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My name is Gareth. I was born and raised in Malaysia, a country above Singapore and below Thailand. I can speak 3 different languages which are Malay, Mandarin, and English.

I have a strong belief in the idea of equivalent trade. There are consequences for every action one takes, be it positive

or negative. One cannot make a house without a set of materials. One cannot obtain materials such as timber without

chopping down trees. That’s the philosophy I adopted and have been following for quite some time now.

Parametric design is something that I am not very familiar with. It is one of those cases which a person knows but does not know at the same time. I know of parametric but I do not know it. However, I do

like the idea of parametrics in design as it opens up many new possibilities and approaches. Based on my very restricted knowledge, I believe parametric

design can, if not have the potential to, make a design that is static into a design that is more organic.

Despite all that I have written above, it would be wise to say that I know nothing about parametric design, let alone design itself. By undertaking this subject, I intend

to expand my knowledge on the idea of ‘Design’.

Introduction

Lee Kuang Loong Gareth

1 Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 12.

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Based on the two words, ‘design’ and ‘futuring’. one would have thought that it would be a decent and neutral topic. However, the topic begins with the idea of individuals, communities, race, or nations being wiped out. As daunting as it is, that is a fact. To move towards the future, one has to sustain in a way in which there will be enough left.

One particular idea which resonates throughout the introduction of Design Futuring by Tony Fry is the idea of not having a future should we, humans, have a ‘larger-than-life’ attitude. That very arrogant and self-important characteristic that people might have has a very deadly potential to destroy more than it can create and this ties in greatly with design. Thus, it would be more viable to come up with change despite the topic of change being an everlasting one. It can be argued that it is essential to continually adjust according to the conditions humans face be it the the issue of the lack of resources, social problems, cultural issues, or political strife. 1

Perhaps it would be wise to rethink the meaning of ‘Design’ and the purpose of designing.

A0Design Futuring

YAS Hotel 2009

The Yas Hotel is a magnificent work in terms of its aesthetics, the sheer size of the building, and the ideas that led to its realisation. It can be said that the aim of the architectural firm to create a design that would be a significant landmark in Abu Dhabi succeeded greatly, The magnitude of the scale of the building would put one in constant awe but that is not all there is to it. The building is not only significant in the morning but more so at night as it is covered by a complex geometric veil made of steel and glass panels which can be lighted up at night and creates a very crystal-like spectacle at night. The artistic veil, known as the Grid-Shell, was inspired by the artistry and geometries of ancient Islamic art and craft tradition which makes it more suitable as it is located in Abu Dhabi, UAE, an Islamic city. 2

PRECEDENT Asymptote

YAS Hotel 2009

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2ArchDaily.(2009)The Yas Hotel / Asymptote [website]. <http://www.archdaily.com/?p=43336>, accessed 20 Mar 2015.

3 ArchDaily.

FIGURE 1: Overlapping facade of the Yas Hotel. 3

YAS Hotel 2009

The pivoting diamond-shaped glass panels create a juxtaposition of jagged edges along a very smooth curvilinear envelope. The idea of juxtaposition can also be applied to the very location of the building. The Yas Hotel is located on two sides, one is the side of the Formula 1 circuit, the other, the Yas Marina. Formula 1 races are very fast paced and full of adrenaline and that is juxtaposed by the marina which is more tranquil and calm.

Aside from that, the building can also be said to be a catalyst for Abu Dhabi and for UAE on the international stage, Its size and magnificence is one worthy of praise and the very notion of having the funds to build this piece of architecture shows political and economic power.

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4ArchDaily.(2009)The Yas Hotel / Asymptote [website]. <http://www.archdaily.com/?p=43336>, accessed 20 Mar 2015.

5 ArchDaily.

FIGURE 2: The Yas Hotel at night. 5

Bird’s Nest 2009

The Beijing Bird’s Nest can be said to be a major contribution to the ideas of Design Futuring. The design process started in 2002 and the process to realise the design was throughout 2004 to 2008. This was the point in time when computer-aided design (CAD) technology played a huge role in design, especially for the structural design of the envelop that is shaped like a bird’s nest, which gives the iconic stadium its name. 6 This was designed at the start of the century and that was when CAD technology was speeding up. Armed with CAD programmes and with the collapse of the roof structure of a new airport roof structure in France, they were able to

However, it should be mentioned that this stadium, as is the case with many other Olympic stadiums around the world, has an expensive upkeep and is rarely in proper use except as a tourist attraction, which has its limits as well. It has, according to the artist who helped design it, Ai Weiwei, become divorced from ordinary folks of China. It can be argued that this is a case of the image of humankind and the desire to showcase the ability to build superstructures. It can also be argued that this might prove human’s inability to be frugal.

PRECEDENT Herzog & de Meuron

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FIGURE 3: The Beijing Bird’s Nest 7

6Louisa Lim. (2012). China’s Post-Olympic Woe: How to Fill An Empty Nest [website]. <hhttp://www.npr.

org/2012/07/10/156368611/chinas-post-olympic-woe-how-to-fill-an-empty-nest>, accessed 20 Mar 2015.

7 LOUISA LIM.

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Computers have been playing a major role in not just architectural design, but in design as a whole. Chairs, tables, bicycles, clothes, cars, and many other objects that we use in our daily lives. It might be argued that we humans have slowly formed an extreme dependence on computers but whether that has a positive or negative outlook in the future is an argument that is something that would not be discussed here. What this section would argue is that computing has had a major effect on the design process. As humans, we have the ability to store massive amounts of information through our experiences. However, we have a very limited ability to retrieve these information at will. This is, as argued by Yahuda E. Kalay, where computers excel.8

Computation is the usage of computer programmes to aid the design process. The process involves people’s ability to identify the problems then use computers as their aide to help solve those problems. With computers’ ability to store and retrieve data easily, the process of analysing information, explore new and complex ideas, design intricate details, and opens new paths to conceiving complex geometries that are difficult without the help of computers.

With computational design comes the introduction of parametric design. Parametric design has grown to have an important role in architectural design especially for new generation designers.

This is because of the capabilities of modelers such as Rhino and its integrated parametric modeler Grasshopper. With 3-dimentional modelers at hand, the task of creating and modulating differentiation in “various scales such as the gradation of elements in building facades ... has begun to be exploited as a characteristic enabling facility of parametric design”.9

The following pages will show two precedents by Michael Hansmeyer that have been designed via computational design.

A1Design Computation

8 Yehuda E. Kalay. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), 8.

9 Rivka Oxman and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), 3.

PHENOMENA 2015

Phenomena is a project by Michael Hansmeyer with Benjamin Dillenburger and Demetris Shammas. The idea behind this was to create a form that evokes curiosity within people. It is a form which addresses all the senses we have and to get lost in it. As described in their website, it is a project that “defies classification and elicit individual interpretations”. By taking a closer look at the images, the details of the project look extremely intricate. It looks like a mess but at the same time, a very planned mess. The juxtaposition that was created may have been extremely dificult to create by design processes before computational design.

However, with computational design, the process is much easier. It is definitely not made easy, but rather made easier to execute. It is a language which need to be practised to become fluent.

From what can be seen, the project can be argued as successful, even if it is not realised yet and is still a concept. This is because it does evoke a sense of curiosity. What is it really? How does it feel? 10

PRECEDENT Michael HansmeyerComputational Architecture

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10 Michael Hansmeyer. (2015). ‘Phenomena’ [website] <http://www.michael-hansmeyer.com/

projects/phenomena.html?screenSize=1&color=1>, accessed on 18 March 2015.11 Michael Hansmeyer.

FIGURE 5: Phenomena impression 11

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FIGURE 6: PHENOMENA 12

12 Michael Hansmeyer.

GROWING OBJECTS2014

This project by Nervous System explores natural growth processes using simlations and 3D printers. These processes do not mimic any natural process but ‘grows’ in its own way via “open-ended explorations of the mathematics and logic behind” the way natural organisms such as zoetropes grow.This project is really interesting and would be very difficult, if not impossible, to recreate without the help of computational design. The idea of creating something that is printed or ‘grows’ based on mathematical inputs is a magnificent in its own way and is one of the wonders of algorithmic design. 13

PRECEDENT nervous system

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FIGURE 7: FLORESCENCE ORNATA 14

FIGURE 8: FLORESCENCE ORNATA 15

13nervous system. (2014) Growing Objects. [website]. < http://n-e-r-v-o-u-s.com/projects/albums/growing-objects/ > accessed on 10 March 2015.

14 nervous system

15nervous system

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Generative design is a morphogenetic process. It is a creative process that uses algorithms and can be realised via programmes that can simulate this process and generate all kinds of models. Its boundaries are the parameters set by people and those parameters are the limits of human creativity. The more colourful one’s creativity, the wider the parameters, the more forms the programme can create. 16

Being a creative process, generative design is a type that feeds of contribution. One after another, rules that are given to the algorithm allows it to create more complex forms. It is very much like nature. It is very organic as once there is an input, there will be an output, like a constantly evolving organism or an adaptive animal like a chameleon.

Generative design does not necessarily have to be computational. As argued by Renee Puusepp, generative design are “repetitive processes where the solution is developed during several iterations of design operations”. 17

Despite knowing the definitions of generative design, there is still much to be explored. The idea of generative design is still very recent and it would be wise to gain a more in-depth understanding of what it encompasses for more holistic outcomes.

A2Composition/Generation

16 Celestino Soddu. Generative Design: A Swimmer in a Natural Sea Frame [website]. <http://www.soddu.it/papers/soddu_GA2006.htm> accessed on 19 March 2015.

17 Rivka Oxman and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), 3.

PLATONIC SOLIDS2008

Platonic Solids is another of Michael Hansmeyer’s projects. This one, unlike ‘Phenomena’ which was a form to evoke the curiosity within people, is more of an exploration of geometric processes. Michael’s intentions were to see how purely operations based geometric processes could generate complex forms. It is but a mere primitive form which transform into many different complex forms which have similar characteristics but are wholly different in aesthetics at the same time. The form’s faces repeatedly undergo one single operation which is the division of the faces into smaller faces. This leads to certain parts to branch out and creates fractal geometries. 18

PRECEDENT Michael HansmeyerComputational Architecture

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FIGURE 7: PLATONIC SOLIDS 19

18 Michael Hansmeyer. (2015). ‘Phenomena’ [website] <http://www.michael-hansmeyer.com/

projects/platonic_solids.html?screenSize=1&color=1>, accessed on 18 March 2015.19 Michael Hansmeyer

KINEMATICS Nervous System created the system called ‘Kinematics’ that is able to 3D print modules that are the composition of foldable forms. It is called a 4D system as it prints the 3D modules and these modules can move around so they are not mere 3D objects. It combines ‘computational geometry techniques with rigid body physics and customisation. THe modules are composed of a number of components that interlock and this creates a dynamic movable structure. This is really unique as it uses one design for the single component which is then altered slightly in terms of size, shape, or angle so it can different form objects. ‘Each component is rigid but in aggregate they behave as a continuous fabric”. 20

PRECEDENT nervous system

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FIGURE 8: Kinematics close-up 21

20nervous system. (2013) Kinematics Concept. [website]. <http://n-e-r-v-o-u-s.com/projects/albums/kinematics-concept/> accessed on 10 March 2015.

21 nervous system

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FIGURE 9: nervous system’s Kinematics dress22

22nervous system.

18 nervous system

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Based on what I have learned over the past 3 weeks, it is safe to say that I have grasped the basic ideas of the direction this subject is heading towards. The ideas introduced to me are not entirely new but most of its contents are. It would not be wise to say that I have fully understood the concepts but without the readings and further research, coming close to understanding what has been discussed would have been an ordeal.

As daunting as the ideas in ‘Design Futuring’ are, my intended design approach would be to start off with trial-and-error first. It might not be very innovative but I believe that making mistakes, learning from then, and then strengthening my resolve and trying again would help me a lot. The very fact that I would be using computer programmes to aid me makes the trial-and-error process go more smoothly and efficiently as I would not need to waste much of precious time and physical materials. Instead, virtual adjustments of different parameters and.

A3Conclusion

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In terms of theoretical and practice of architectural computing and the concept of algorithms in design, I find that it is much more easy to act physically rather than read or listen. As a person who is more of a kinesthetic learner, it is more efficient for me to learn as I do something. It definitely helps by reading and listening to people discuss about the concepts surrounding the whole idea of computing design, parametrics, and algorithms but when making mistakes while I act and use programmes, I gain much more. My understanding of the topic has certainly increased since the first week but I am expecting much more from myself as it is certainly a very interesting yet challenging subject.

A4Learning Outcomes

The original model of a sea sponge.

By changing the height of one component of a branches of the sea sponge, it will affect the whole branch. This creates a

continuous change in the output.

This time, I experimented by changing the width of one component of a branch of the sea sponge. Again, it alters the whole shape

as one input affects the whole algorithm.

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A5AppendixAlgorithm Sketches

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ArchDaily.(2009)The Yas Hotel / Asymptote [website]. Accessed

20 Mar 2015 from <http://www.archdaily.com/?p=43336>.

Fry, Tony (2008). Design Futuring: Sustainability, Ethics

and New Practice (Oxford: Berg), pp. 1–16.

Hansmeyer, Michael. (2015). Phenomena [website]. Accessed

on 18 March 2015 from <http://www.michael-hansmeyer.

com/projects/phenomena.html?screenSize=1&color=1>.

Hansmeyer, Michael. (2015). Phenomena [website]. Accessed on 18

March 2015 from <http://www.michael-hansmeyer.com/projects/

platonic_solids.html?screenSize=1&color=1>.

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.

Lim, Louisa. (2012) China’s Post-Olympic Woe: How To Fill An Empty Nest [website]. Accessed 20 Mar 2015 from

<http://www.npr.org/2012/07/10/156368611/chinas-

post-olympic-woe-how-to-fill-an-empty-nest>.

Nervous System. (2013) Kinematics Concept [website]. Accessed on 10 March 2015 from <http://n-e-r-v-o-u-s.com/projects/albums/kinematics-concept/>

Nervous System. (2014) Growing Objects. [website]. Accessed on 10 March 2015 from <http://n-e-r-v-o-u-s.com/projects/albums/growing-objects/> .

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the

Digital in Architecture (London; New York: Routledge), pp. 1–10.

Soddu, Celestino. Generative Design: A Swimmer in a Natural Sea Frame [website]. Accessed on 19 March 2015 from <http://www.soddu.it/papers/soddu_GA2006.htm>

A6Bibliography

8 Yehuda E. Kalay. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), 8.

9 Rivka Oxman and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), 3.