s t u d i o a i r

t a b l e o f c o n t e n t s

Introduction

A.1 Design FuturingA.2 Design ComputationA.3 Composition/Generation A.4 ConclusionA.5 Learning OutcomesA.6 Appendix – Algorythmic ScetchesReference List

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C.1

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i n t r o d u c t i o n

My name is Louis Wyatt, and I am a third year Bachelor of Environments student, with a major in Architecture. My current experience with digital design, is limited to the common tolls of Sketchup, Archi-Cad and AutoCad. All of these tools only allow you to depict your design in a three dimensional realm, rather than provide ways of formulating the design from the onset. My existing knowledge of digital design is limited to the work of major architects such as Zaha Hadid and Frank Gehry, who use it to model and develop designs for their more organic and fluid projects. As far as I am aware, they do not use digital software to create and experi-ment with potential forms within given parameters, but rather use it to sculpt forms that they have created in the phys-ical world. My previous use of Rhino, has been rather limited, and resulted in only basic modelling. I hope that through this process I will have a better understand-ing of the potential for digital and algo-rithmic design, as well as its current and potential future uses. Similarly, I hope that my own ability to work with Rhino and indeed Grasshopper will also be de-veloped to a fuller degree.

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Trained as sculptor, Thomas Heather-wick has used parametric design to expand the realm of architecture, par-ticularly through his design for the Seed Cathedral, and installation at Expo 2010, held in Shanghai.1 The work consisted of 60,000 clear acrylic rods, which held a total of 250,000 seeds. During the day, the rods glowed in the sunlight, while at night, they funnelled the light down, creating a halo around the inner seeds.2

The Cathedral was designed as a tempo-rary space, one which existed only for the length of the expo. The buildings aimed to establish a connection between na-ture and the built environment, par-ticularly in large urban environments as London and Shanghai. Similarly, the de-sign helped to expand the architectural

typology of the pavilion. Rather than being a grandiose structure, the Seed Cathedral used a more refined design to express solidity, and permanence in an otherwise temporary structure.3

With the building situated in a large recessed terrace, visitors to Expo 2010 were able to sit, relax, and appreciate the building's exterior as it transformed throughout the day, and under different light conditions. By designing not just the pavilion itself, but also the surround-ing landscape, Thomas Heatherwick and his team insured that the sight was ap-pealed to visitors. Indeed, by designing the space around the pavilion, the archi-tect further explored the correlation be-tween nature and the built environment within urban centres.

2010 Expo 2010, Shanghai, ChinaThomas Heatherwick

A . 1 s e e d c a t h e d r a l

1. Paul Cattermole. Architects from A to Z (New York: Prestel, 2013), p.77.2. Paul Cattermole. Architects from A to Z (New York: Prestel, 2013), p.77.3. http://www.heatherwick.com/uk-pavilion

An Iraqi born, female, Muslim architect, Zaha Hadid has helped transcend the otherwise male, anglo dominated cul-ture which is the world of architecture. In 2004 she won the internationally ac-claimed Pritzker Prize, largely due to her work expanding parametric modeling and design within the architectural pro-fession.4 While most of her works incor-porate parametric design qualities, her series of Nordpark Railway Stations, epit-omise the technique on a smaller scale.

Hadid explored ‘an overall language of fluidity’ within the design, having stud-ied ‘natural phenomena, such as glacial moraines and ice movements’ to inform the overall form of the design.5 Double-curvature frosted glass was set on top of concrete plinths to form the overall form

of the design. By using techniques which had previously been limited to the au-tomobile industry, Hadid expanded ar-chitectural construction opportunities, developing the profession broadly, and expanding its potential in the twenty-first century.

Each of the five stations within the de-sign is unique, responding to the natural landscape, as well as the functional re-quirement of the brief. The use of para-metric modelling allowed the architec-tural team to resolve these differences while simultaneously ensuring the de-signs would be possible to construct. The stations are now a vital part of the Innsbruck railway service, and continue to be used commuters on a daily basis.6

2004-2007Zaha Hadid Innsbruck, Austria

A . 1 n o r d p a r k r a i l w a y s t a t i o n s

4. Philip Jodidio. Hadid (New York: Taschen, 2013), p.96. 5. Philip Jodidio. Hadid (New York: Taschen, 2013), p.57.6. http://www.zaha-hadid.com/architecture/nordpark-railway-stations/

Facit Homes Bjorndal Family Home, Copenhagen

A . 2 . d e s i g n c o m p u t a t i o n

In the previous decades computing within the design field has been limited to the documentation, rather than generat-ing the design from its conception. In recent years however, there has been a greater push towards computer-generated design, whereby algorithms, bio-mimicry and other tools have helped shape the design from its conception. There are four ways in which computational design has been in-corporated into the architectural profession. Firstly, larger firms have an internal group of individuals who specialise in computational programing and algorithmic design.7 The second process is to integrate the design and computation-al teams from the start of the project.8 Thirdly, consultants can be brought in to help with certain projects, while the fourth option is limited to a small group of programmers, who also delve into the world of architecture, such as David Rutten, the designer of Grasshopper.9

Foster + Partners are a firm whose internal computational design team, have helped to develop some of their most fa-mous projects, including the internal courtyard at the Smith-sonian Institute in Washington.10 In contrast, the residential, English and Danish firm, Facit Homes, combine the use of computational services from the onset of their designs.11 While Foster + Partners use the algorithmic modelling to create an organic, flowing design, Facit Homes have created a mixture of spherical, rectilinear, and planar designs. This contrast between the two firms, demonstrates the plethora of possibilities that computational design has to offer in the architectural profession.

The rise of computational design within the industry will have a drastic effect on the design profession, as computers slowly replace the role of draughtsman and some contrac-tors. In turn this will allow the architect greater control in the crafting of their design, as they personally develop the ability (through the use of digital fabrication) to produce in-tricate and complex components of the building. Similarly, the use of computer based technologies will allow the de-signer to asses structural, physical, environmental, and per-formance criteria before the design is finalised, allowing for a greater understanding of the final outcomes, and creating a higher calibre of design broadly.

7 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,11.8 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,11.9 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,11.10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,14.11 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design,13.

Foster + Partners Smithsonian Institute, Washington 2008

Throughout architectural history, design practice and theory has de-veloped slowly but continuously, as new materials and ideas come into fruition. While Joseph Paxton’s Crys-tal Palace of 1851, demonstrated to the world how glass and steel could be used to create immense struc-tures, the development of computer aided design (CAD) and computer aided manufacturing (CAM) during the end the end of the twentieth cen-tury, signalled an equally significant change in architectural practice.12 Now architects and designers can in-vestigate non-Euclidian shapes, thus causing a dramatic shift in the forms available for construction.13 Indeed, this has further ramifications for how cities are considered broadly, with cities not laid out to incorpo-rate large scale organic facades, but rather planar facades. Similarly, un-like previous centuries, where his-toricism and overarching architec-tural movements had existed, the new computational architecture has no overarching design movement.14

While previous generations of archi-tects have tried to examine organic shapes thought their projects, such as Le Corbusier and his Chapel at Ronchamp, and Eero Saarinen’s de-sign for the TWA Terminal in New York, they did not have the modern technologies available to contem-

porary practitioners. By using para-metric design, architects define the problem and its parameters, before subsequent algorithms are used to define relationships with other ob-jects.15 Such techniques were used in the design of the International Ter-minal Waterloo Station, by Nicholas Grimshaw and partners in 1993.16

To design the building, the architects defined a generic parametric mod-el based on the underlying design rules, which then defined the cur-vature and span of each arch. Sub-sequently, further definitions were added to help define other structur-al elements, as well as cladding, and interlocking components.17 Thus, whereas previous architects, such as Le Corbusier and Saarinen had used conventional means to design organic forms, Grimshaw used com-putational and parametric methods to conceive a new non-Euclid shape altogether.

Designers however need realise that parametric design does have its limitations. The algorithm can only make rational decisions, rather than any aesthetic or emotional choices. Emotional and aesthetic decisions are crucial to successful architec-tural practice, and so computation-al design will only be successful in conjunction with human opinion.

A . 3 . c o m p o s i t i o n / g e n e r a t i o n

12 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 4.13 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 4.14 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 5.15 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 17.16 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 18.17 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p 19.

It is clear that computational design has now entered the architectural profession for the long term, and soon will be used widely by archi-tects in both large and small firms. In the next few years existing archi-tects can either attempt to contin-ue on without adopting these new technologies, or expand their design options into a wider array of forms, ideas, and technologies. Digitally based design processes have proved valuable in the design of both small scale temporary structures, such as the Seed Cathedral, as well as larger, permanent buildings, including the Waterloo International Terminal. It must be remembered though, that while it could be tempting to slowly remove the human aspect of archi-tecture from the design process, this would only be detrimental to the fi-nal outcome, an algorithm not able to consider the emotional response the designer and uses feel when en-countering a physical space. The research carried out above has

allowed me to formulate a proposal for my intended design. I hope to design a sculptural cable beam tun-nel, which pedestrians and cyclists would pass under, while travelling along an underutilised section of the Merri Creek bike path. By using com-putational design, I will be able to examine a variety of potential out-comes quickly, while simultaneously ensuring they are capable of being constructed, as well as meeting oth-er basic requirements. I also hope to examine how animals and wildlife may be attracted to the structure, as they seek shelter and sanctuary in Melbourne’s urban environment. While previous architects have used computational design for the con-struction of tunnel like structures (such as Grimshaw Architects,) they have not considered how the desires of native fauna could be included in the design. Thus this proposal will help to expand the boundaries of digital design, as well as creating a useable structure for all facets of ur-ban life.

Throughout the previous three weeks, my understanding of com-puter based design within the ar-chitectural profession has increased greatly. At first I only considered that computing enabled the record-ing and drafting of existing designs, rather than providing a tool from in-ception. This change, the ability to use algorithmic modeling to devel-op a design, could be used readily in my future projects, both at univer-sity and professionally. Questions will always remain how-

ever, about the true potential such software can offer, as it expands into the future. For while new soft-ware will ensure the architect has a greater ability to experiment and develop their ideas, it could also lim-it their creative output, as the soft-ware would only ever consider the problems in a rational, rather than experiential or emotive way. Simi-larly, such technology will cause the profession to evolve more broadly, as roles which have existed for cen-turies, such as the draughtsman, are superseded by digital technologies.

A . 5 l e a r n i n g o u t c o m e s

A . 4 . c o n c l u s i o n

Grimshaw Architects Waterloo International Terminal 1993

Grimshaw Architects Waterloo International Terminal 1993

A . 6 . a p p e n d i x - a l g o r i t h m i c s k e t c h e s

Throughout the previous weeks, I have experimented with a variety of simple algorithmic definitions, the results of which are visible above. The inherent idea within this experi-ment, was to understand how seem-ingly random sculptural forms, could be generated via a totally rational algorithm. The results demonstrate the true potential of Grasshopper and other software, as the final al-gorithmic sketches are forms hard to imagine, and indeed express, us-ing conventional digital design soft-ware.

As our tutorial is examining the use of drones and cable beam structures to create sculptural and architec-tural designs, we were encouraged

to experiment with physical model making as a mean of assessing the validity of our designs. On the ac-companying page are two examples of designs, with varied intent. The top is star shaped roof, consisting of a small number of interlocking cables, while the bottom image is of a simple bridge. While the physi-cal models do demonstrate design principles, having constructed the same designs digitally, would have been quicker, and allowed for al-terations within the design at a later stage, something the physical mod-els clearly prevent. Thus, all of the algorithmic sketches provided, dem-onstrate the clear potential for com-putational design within a variety of design disciplines.

Anthony Dunne & Fiona Raby. Speculative Everything: Design Fiction, and Social Dreaming (Massachusetts: MIT Press, 2013)

Brady Peters. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design. (2013)

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003).

Patrik Schumacher. The Autopoiesis of Architecture: A New Framework for Architecture (Chich-ester: Wiley, 2011).

Paul Cattermole. Architects from A to Z (New York: Prestel, 2013).

Philip Jodidio. Hadid (New York: Taschen, 2013), p.57.

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

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

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

http://www.heatherwick.com/uk-pavilion Retreived on the 4th of March 2016

http://www.zaha-hadid.com/architecture/nordpark-railway-stations/ Retreived on the 4th of March 2016

Photos: Figure 1 - Seed Cathedralhttp://www.heatherwick.com/uk-pavilion/

Figure 2 – Nordspark Railway Stationhttp://www.zaha-hadid.com/architecture/nordpark-railway-stations/

Figure 3 – Facit Homeshttp://facit-homes.com/clients/bjorndal-family

Figure 4 – Smithsonian Institute http://www.fosterandpartners.com/projects/smithsonian-institution/

Figure 5 – Waterloo International Terminalhttp://grimshaw-architects.com/project/international-terminal-waterloo/

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