S E M E S T E R O N E 2 0 1 5N I C O L E T A N

AIRS T U D I O

J O U R N A L

table of contents

INTRODUCTION

PART A: CONCEPTUALISATION

A.0 DESIGN FUTURING

A.1 DESIGN COMPUTATION

A.2 COMPOSITION AND GENERATION

A.3 CONCLUSION

A.4 LEARNING OUTCOMES

A.5 APPENDIX - ALGORITHMIC SKETCHES

BIBLIOGRAPHY

introduction

I am currently studying the Bachelor of Environments (majoring in Architecture) at the University of Melbourne. I love going out for brunch, sleeping in, walking in the city and reading magazines. Design studios have been my favourite subjects however prior to Air I have not engaged with digital design theory before (I have taken Virtual Environments however that is not a pleasurable experience I’d like to recall).

I am hoping that Air will provide me with a fresh start in working with generative software like Rhino and Grasshopper.

From what I have researched, digital architecture seems like something birthed from a futuristic utopia. Their designs are beautiful in a very rational, organised way and created through the very systematic, deliberate thought process of algothmic thinking. This is something which will challenge my learning as I am definitely not used to working that way but I am more than excited to give it a shot!

N I C O L E T A N

PART AC O N C E P T U A L I S A T I O N

design futuringA.0

B L U R P A V I L I O NLAKE NEUCHATEL, SWITZERLAND

design futuring

Through the Blur Pavilion, Diller and Scofidio push boundaries in the very conceptualisation and nature of

architectural spaces. The vast, artificially created fog creates a habitable space which is formless, dimensionless, scale-less and massless, pushing the ways we conceive ideas of spatial and temporal boundaries (or lack thereof) (See Figure 2). It is also exciting to see the project empowering users with the opportunity to challenge the use of senses other than sight and to negotiate new ways to relate to other ‘bodies’ around them (through the Braincoat, see Figure 4). This form of radical design contributes to a new, emerging design intelligence and is paradigmatic of design futuring as it creates valuable pluralism in design ideologies and approaches[1].

The successful construction of the pavilion demonstrates the ability and future potential of information technology and electronic mediation to modify and create habitable spaces (see Figure 3).

In this case, the space employs computerised climate control to create a smart weather system that adapts to changes in the environment[2]. This tech-empowered architecture explores the concept of a governing virtual presence within the micro-scale of everyday life and this idea holds potential to create sustainable spaces which tailors responses to occupancy loads and demands.

FIG 2 (ABOVE): The pavilion introduces a new way of perceiving space and rejects architecture as a static entity. It also extends the conventions of everyday life by putting the outside world

out of perspective to focus on the individual journey of entering this eerie, devoid space.

FIG.1 (PREVIOUS PAGE): The Blur Pavilion seen from above: the solid tensegrity structure encased in a amorphous, soft fog which sweeps across the lake.

BLUR PAVILION

1. Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.9.2. Diller Scofidio & Renfo, Blur Pavilion (2002) http://www.dsrny.com/#/projects/blur-building [accessed 8th March 2015].

Thus, the pavilion strongly engages with the concept of critical design, offering an alternative to the current state of being. It uses design to open up new possibilities[3] of both technological capabilities as well as other ways of experiencing and negotiating a space. The Blur Pavilion is no longer just an exhibition arena but has become a symbol of meaningful architecture. It has

FIG 3 (ABOVE): Juxtaposing its interior, the exterior of the pavilion seems almost magical and enticing. The fog is created through computer controlled jets of water in response to a range of environmental parameters like wind direction, speed and atmospheric humidity.

FIG 4 (ABOVE): Braincoats display a light based on affinity or antipathy to others around you, demonstrating the ability of technology to profile consumer preferences and shape relationships.

contributed to the ongoing architectural discourse predominantly through exploring new ways a space can be physically constructed (through computational approaches with adaptive capabilities) but also how new spaces can be designed to challenge and surprise users in the experiences they bring to create alternative ‘worlds’ and realities.

1. Dunne & Raby, p.6.

time is something everyone can relate to, and we should appreciate energy as much as we appreciate time....

- Santiago Muros Cortes“ ”

As Fry suggests, the concept of design futuring is concerned with how design can contribute to prolonging

and improving humanity, and instigating this change lies with design, not by chance[1]. Engaging with this challenge is the Solar Hourglass project (designed by Santiago Muros Cortes) as it provides a step towards the future realisation of a sustainable community.

1. Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.6.

FIG.5 (ABOVE): The Solar Hourglass set within Copenhagen’s industrial backdrop.

REFSHALEOEN, COPENHAGENS O L A R H O U R G L A S S

design futuring

SOLAR HOURGLASS

Although it has not been constructed, the project introduces very strong ideas

about renewable resources- how the image of the power plant can be redesigned into something which reminds and encourages inhabitants of a city to want to care about sustainability and the health of our planet. This is cleverly and thoughtfully achieved through the successful exploration of what Dunne calls ‘dark design’[2] – the Solar Hourglass, though a beautiful installation, exposes the destructive and unrelenting nature of time o encourage positive action towards climate change.

Furthermore, the project not only introduces a new way of thinking about renewable

resources but also provides a viable method of obtaining solar power – one which has the potential to be realised across cities. It utilises mirrors called “heliostats” (designed by Abengoa Solar) to concentrate energy into a receiving power bank which can generate electricity for more than 1000 homes[3] (see Figure 2). This technology has the potential to expand future possibilities of harnessing solar power and it is the brainchild of an interdisciplinary conversation between an architect and renewable energy experts – reiterating the power of collaboration between multiple disciplines to create a new design intelligence for the future[4].

2. Dunne & Raby, p.38.3. Karissa Rosenfield, Winning Proposals transform Power Plants into Public Art (2014) http://www.archdaily.com/553875/winning-proposals-transform-power-plants-into-public-art/ [accessed 8th March 2015].4.Fry, p.12-13.

The Solar Hourglass concept already contributes to changing the perspective and culture towards renewable energies but its impact after construction will make even more of a global statement. It would further emphasise Copenhagen as the world’s green capital and its success ideally would not only act as a symbol to inspire and educate the local community but communities worldwide on the ability of solar power slow the rising effects of climate change.

FIG.6 (ABOVE): Diagram of the Solar Hourglass utilising Heliostats on the upper dish to collect solar energy.

design computationA.1

C E N T R E P O M P I D O U - M E T ZLORRAINE, FRANCE

design is a process of discovery....- Yehuda Kalay“ ”

CENTRE POMPIDOU-METZ

According to Kalay, there are 5 main stages of the design

process: problem analysis, solution synthesis, evaluation, communication and fabrication[1]. The positive effects of design computation can be seen to resonate the strongest in stages of solution synthesis, communication and fabrication.

1.Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge: MIT Press, 2004), p 9-12.

FIG.7 (PREVIOUS PAGE): The magnificent timber roof forms a shell-like structure by overlapping members rather than utilising mechanical joints.

FIG.8 (ABOVE): The museum forms a sculptural yet functional space, leaving a deep impression with its visitors.

design computation

Solution synthesis is not a rational process

and requires intuition and creativity[2], thus the integration of computation and parametric algorithms can assist in creating outcomes and iterations which we, as designers, may fail to conceive.

An example of this is the Centre Pompidou-Metz by Shigeru Ban. The roof’s complex geometry was inspired by the woven structure of a Chinese straw hat but developed through defining a series of parameters (like the roof’s edge, position and angle of column connections) within a generative modelling software[3] (see Figure 9 and 10). A series of permutations then arises from this script and the various models were then tested and evaluated against a set of performance criteria.

Increase in experimentation and designer’s embracing

complexity in forms

Using computers are also redefining design

practice by expanding the communication network to international and cross-cultural teams. The project team for Centre Pompidou-Metz consisted of an interdisciplinary team based in various locations across the globe with a shared computer network. This allowed designers to work on the 3D computer model at any time with immediate updates on changes to the model [4].

Potential for more cross border projects and increased shared

interdisciplinary design intelligence world-wide

2. Kalay, p.11.3. Centre Pompidou-Metz, The Architecture-Roofing http://www.centrepompidou-metz.com/en/roofing, [accessed 13th March 2015].4. Allplan, Art Under A Straw Hat http://www.allplan.com/fileadmin/user_upload/germany/Casestudies/Centre_Pompidou_Metz/Allplan_Case_Study_FR_Centre_Pompidou_Metz.pdf, [accessed 13th March 2015]

FIG.9 (ABOVE lEFT): The NURBS parametric model.

FIG.10 (ABOVE RIGHT): Digital model of the timber framework developed from the NURBS model consisting of 1800 beam segments in a hexagonal grid projected onto a curvelinear surface.

K E R F P A V I L I O NBOSTON, UNITED STATES

design computation

Design computation is also remaking the fabrication

process by introducing emergent properties to traditional materials. Both the Centre Pompidou Metz and the Kerf Pavilion utilised the CNC Mill to accurately test prototypes and produce the final timber members (see Figure 12 and 13). This is an example of digital materiality where the CNC Mill has allowed the

Computation pioneers digital materiality

harmonisation of the digital and physical world to create an “informed” material[5]. The Kerf Pavilion utilises a timber which has undergone specific kerfing patterns to create bending without compromising structural integrity[6]. Thus, the physical material can be understood to have been enriched with information in the form of parametric data during its manufacturing process.

KERF PAVILION

5. Fabio Gramazio & Matthias Kohler, Digital Materiality in Architecture (Lars Muller Publishers, 2008), p.2-4.6. Futures+Design, Kerf Pavilion-MIT (2012) http://futuresplus.net/2012/07/18/kerf-pavilion-mit/, [accessed 14th March 2015].

FIG.12 (FAR lEFT): Kerfing on the CNC milled plywood used to construct the Kerf Pavilion.

FIG.13 (lEFT): Timber glu-lam members of the Centre Pompidou Metz also manufactured using the CNC Mill and brought prefabricated to the site.

FIG.11 (PREVIOUS PAGE): The pavilion demonstrates that parametrically controlled kerfing produces timber with a more ergonomic form.

design computationThe beginning of performance

oriented design

Reinventing the 20th century modernist idea of ‘form follows function’, 21st

century digitally informed design now focuses on ‘formation preceding form’. This is about architecture derived from the logic of the algorithm which then results in the parameterisation of a ‘second nature’[7], replicating the less wasteful, efficient performance of natural systems. For example, many structures now mimic the regularity in cell packing structures found in natural world (see Figures 14 and 15) although the range of geometries are nowhere as diverse.

This second nature is the overarching concept of performance oriented design where parametric algorithms create more coherent structural forms which integrate the building into its local ecology[8]. Computational methods also consider the wider context of processes by responding to a series of matrices of data-driven operations and feedbacks. This provides unique opportunities to optimise performative capacities of a building and allows designers to overcome the superficial dichotomy between form and function[9].

7. Rivka Oxman & Robert Oxman, Theories of the Digital Architecture (New York: Routledge, 2014), p.3-8.8. Michael U. Hensel, ‘Performance-oriented Architecture. Towards a Biological Paradigm for Architectural Design and the Built Environment’, FORMakademisk, 3(2010), 36-56.9. Michael U. Hensel & Soren S. Sorensen, ‘Intersecting Knowledge Fields and Integrating Data-Driven Computational Design en Route to Performance-Oriented and Intensely Local Architecture’, Dynamics of Data-Driven Design, 1(2014), pp.59-74 (p.60).

FIG.15 (RIGHT): Generation of a hex

mesh similar to Centre Pompidou-Metz (top),

The mesh is rotated to form equilateral

triangular nodes (middle) which forms

the hexagonal roof beam cell-packing

structure (bottom).

FIG 14 (ABOVE): Repeated tetrahedral

surfaces of the Kerf Pavilion on Grasshopper.

composition/generationA.2

In 1999, Greg Lynn emphasised the need for designing in response to

an animate environment, where architectural forms are the result of changing ambient forces[1]. In modern architecture discourse, this can be primarily achieved through the integration of contextual data to create an innate responsiveness in the building. The success of this performance oriented design lies with the flexibility and dynamism of parametric modelling.

1.Greg Lynn, Animate Form (Princeton Architectural Press, 1999).

FIG 16 (lEFT): Design outcome for the Seaside Second Homes project.

FIG 17 (ABOVE): Form generation based on coastal airflow conditions at the three different sites.

composition/generation

The Seaside Second Homes projects aimed to

demonstrate how contextual data can become the main drives of design for digitally conceiving and fabricating houses[2]. Three sites were chosen for this project where terrain and airflow data for each site was retrieved (see Figure 17) in the form of point clouds which served as a data input into the generative design process[3]. Extrinsic data shaped the outer and inner layer of the building envelope (see Figure 18) whereby the custom configured designs of each of the three houses were driven by the variations in the integrated data

sets. Parametric modelling allowed the mapping the complex system (interactions between airflow, wind, terrain and the effects on the house) through visualising various system elements in relation to one another or in relation to a set of criteria. A fundamental benefit from this shift from drawing composition to algorithmic generation is the ability for increased in accuracy to design in our complex human and natural environment.

2. The RIBA President’s Medal Student Awards, http://www.presidentsmedals.com/Entry-31261, [accessed 17th March 2015].3. Hense; & Sorensen p. 66-68.

FIG 18 (ABOVE): Two layers of the building, each shaped by data

on airflow, terrain and wind loads.

SEASIDE SECOND HOMES

PROJECT

Evolutionary Structural Optimisation (ESO)

Evolutionary Structural Optimisation is also another innovative generative design process based on an idea that

‘structure evolves towards an optimum by slowly removing elements with lowest stress’[4]. ESO has become a useful tool in design practice to optimise structural integrity of a building as the algorithm uses real world loads and forces to implement ongoing performance analysis on the material and tectonics of the building’s form.

FIG 19 (ABOVE): The topology of the building

can be seen to evolve as material form low stress

areas were added to areas with high stress.

An example of this would be the Akutagawa Office Building project

where extended ESO methods were applied it its south, west and north walls. Figure 19 shows the modification of the configuration of the wall from the process of the extended ESO algorithmic method based on vertical, horizontal and earthquake loads[5]. Previous design practice typically conceptualises performance in the view of building function, aesthetics and cost. However, modern architectural discourse is slowly moving towards context and environmentally-aware designs, hence shift to generative technologies like ESOs allows for the optimisation of structural elements to improve the building’s life cycle, increase efficiency of material use and reduce cost.

AKUTAGAWA OFFICE BUILDING

4. Yi Min Xie & Xiaodong Huang, ‘Recent Developments in Evolutionary structural optimisation for continuum structures’, IOP Conference Series: Materials Science and Engineering, 10(2010), pp 1-8 (p.2).5. Hiroshi Ohmori, ‘Computational Morphogenesis’, IASS-IACM, (2008), pp1- 4 (p.3).

FIG 20 (OPPOSITE PAGE): 3D printed

version of a model of a lightweight bridge

based on the concept of a perforated bridge.

composition/generation

Experimental designs for a pedestrian bridge by BKK architects also

utilised the generative ESO techniques to create structurally efficient yet elegant forms[6]. The technique was used to explore the use of perforated tubes in designing lightweight bridges with different cross sectional shapes (see Figure 20) but at the same time adhering to geometric constraints including: ramp slope of 1:20, height of 5.7m and a 6.5m width[7].

With the shift from composition to generation, modern

architectural discourse is also transitioning from form-finding to form-improving. Hence, the topology of the building system becomes an optimisation process which creates a more integrated experience for future users and an architecture of meaning[8].

However, despite the influential impact of generative tools on architecture, in reality this method is still subject to the limiting effects of a capitalist economy. It is still an emerging technique which has not been accepted as

the status-quo and might not be a popular design approach. Fry’s concept of a democratic design is an ideology yet to be realised and as a result, many will choose to turn to conventional homogenous design rather than an emerging technology.

6. Sam Fragomeni & Srikanth Venkatesan, Incorporating Sustainable Practice in Mechanics and Structures of Materials (CRC Press, 2010), p. 42. 7. Fragomeni & Venkatesan, p. 43.8. Brady Peters, ‘Computation Works: The Buildng of Algorithmic Thought’, Architectural Design, 83 (2013), pp.08-15.

Generative architecture is also encouraging the emergence of algorithmic thinking which involves taking an interpretive role to understand the results of generating a code[9]. Success in algorithmic thinking can lead to the production of complex and interesting design forms like ‘Dermoid’. Similar to the Kerf Pavilion, this project was about designing for material performance and pushing the boundaries of traditional material use through generative mediums like Grasshopper. In this case, a parametric modelling and algorithmic thinking was able to create a doubly-curved surface using timber elements of the same size, which would not have been possible using conventional 2D approaches[11]. As Peters discusses, unlike Modernism which focussed on the perfection of a single detail[10], generative thinking involves understanding parametric families and controlling relationships between parts. This allows for innovation of materials and creation of unique forms.

Currently however, a major shortcoming of this approach to design is the difficulty in developing algorithmic thinking. In most cases, parametric modelling pedagogy involves learning specific algorithms rather than encouraging algorithmic, ‘puzzle-making’ thought[12]. This lack of knowledge undermines the creative potential of generative approaches to design in the industry.

DERMOID

9. Peters, pp.8-9.10. Centre for Information Technology and Architecture, http://cita.karch.dk/Menu/Research+Projects/Digital+Formations/Dermoid+Australia+(2013) [accessed 19th March 2015]11.Peters, pp. 11.12.Gerald Futschek & Julia Moschitz, ‘Developing Algorithmic Thinking by Inventing and Playing Algorithms’, Constructionism (2010), pp. 1-10.

conclusionA.3

Conceptualising design has evolved from typical pen to paper approach to a more sophisticated creativity involving generative design. My intended design approach is to utilise this technology predominantly through Grasshopper to modify and create unique iterations with innovative structural integrity and intelligence. Similar to the Blur Pavilion, I want to focus on creating a design which challenges our normal every day paradigm and confront users with another more interesting reality for the senses.

It is always important to analyse and embrace positive aspects of new technologies (in this case, generative approaches) in order to develop new ways to contribute to the growing architectural discourse. I have been inspired by the generative approach and final fabrication of ‘Dermoid’ which utilises a parametric weaving technique to stretch the traditional properties of timber. Hence, for my own design conceptualisation, I would like to look into this concept of parametric weaving and in doing so, how different iterations of geometric patterns and forms can be created.

I am also interested in how these patterns and forms can be influenced by existing site characteristics. From my research in Part A, I have realised the importance of performance-oriented design and this will also be an integral aspect in my design at Merri Creek. In doing so, my design becomes a medium from which users can form relationships and understand their surrounding environment rather than become detached from it. It also allows my design to be responsive to specific conditions like sunlight or views that is prevalent on the site, benefiting both users and the local ecology.

conclusionA.4

It was interesting learning about design generation and computation and its ability to improve and revolutionise the way we think about and design spaces. The precedents I have researched have really demonstrated the effectiveness of utilising computation in architecture, something that I have definitely underestimated, and its ability to produce extremely complex and creative forms. I could have used my new knowledge on parametric modelling to definitely extend the tectonics of materials like timber, a material I enjoy incorporating into my designs, and possibly created a new, more innovative, form.

appendixA.5

Using the Octree command on the NURBS surface of the Sydney Opera House, three different iterations could be produced. This demonstrates the creative ability of generative programs like Grasshopper to develop forms that the designer could not normally conceive or relate to. They represent that creativity is about pushing boundaries and suprising youself with the unusual, unique forms developed through computer generation.

bibliographyAllplan, Art Under A Straw Hat http://www.allplan.com/fileadmin/user_upload/germany/Casestudies/Centre_Pompidou_Metz/Allplan_Case_Study_FR_Centre_Pompidou_Metz.pdf, [accessed 13th March 2015] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.9.Diller Scofidio & Renfo, Blur Pavilion (2002) http://www.dsrny.com/#/projects/blur-building [accessed 8th March 2015].Brady Peters, ‘Computation Works: The Buildng of Algorithmic Thought’, Architectural Design, 83 (2013), pp.08-15.Centre for Information Technology and Architecture, http://cita.karch.dk/Menu/Research+Projects/Digital+Formations/Dermoid+Australia+(2013) [accessed 19th March 2015] Centre Pompidou-Metz, The Architecture-Roofing http://www.centrepompidou-metz.com/en/roofing, [accessed 13th March 2015].Fabio Gramazio & Matthias Kohler, Digital Materiality in Architecture (Lars Muller Publishers, 2008), p.2-4.Futures+Design, Kerf Pavilion-MIT (2012) http://futuresplus.net/2012/07/18/kerf-pavilion-mit/, [accessed 14th March 2015].Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.6.Gerald Futschek & Julia Moschitz, ‘Developing Algorithmic Thinking by Inventing and Playing Algorithms’, Constructionism (2010), pp. 1-10. Greg Lynn, Animate Form (Princeton Architectural Press, 1999).Karissa Rosenfield, Winning Proposals transform Power Plants into Public Art (2014) http://www.archdaily.com/553875/winning-proposals-transform-power-plants-into-public-art/ [accessed 8th March 2015].Hiroshi Ohmori, ‘Computational Morphogenesis’, IASS-IACM, (2008), pp1- 4 (p.3).Michael U. Hensel, ‘Performance-oriented Architecture. Towards a Biological Paradigm for Architectural Design and the Built Environment’, FORMakademisk, 3(2010), 36-56.Michael U. Hensel & Soren S. Sorensen, ‘Intersecting Knowledge Fields and Integrating Data-Driven Computational Design en Route to Performance-Oriented and Intensely Local Architecture’, Dynamics of Data-Driven Design, 1(2014), pp.59-74 (p.60).Rivka Oxman & Robert Oxman, Theories of the Digital Architecture (New York: Routledge, 2014), p.3-8.Sam Fragomeni & Srikanth Venkatesan, Incorporating Sustainable Practice in Mechanics and Structures of Materials (CRC Press, 2010), p. 42. The RIBA President’s Medal Student Awards, http://www.presidentsmedals.com/Entry-31261, [accessed 17th March 2015].Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cambridge: MIT Press, 2004), Yi Min Xie & Xiaodong Huang, ‘Recent Developments in Evolutionary structural optimisation for continuum structures’, IOP Conference Series: Materials Science and Engineering, 10(2010), pp 1-8 (p.2).