STUDIO

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s t u d e n t j o u r n a l / / r i z a l a m b o t a n g 6 4 1 2 3 3

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2014, Studio Water - Alvaro Siza inspired proposal of Studley Park Boathouse, Kew.

Autodesk Revit & Rhino 5 for massing

2014, Studio Earth - Architectonic study for Herring Island Pavilion

Rhino 5 & Sketchup

2013 , Designing Environment - Proposal for South Lawn

Rhino 5 & Sketchup

Author’s own work. Digital sculpture - “Affection” , Grass-hopper scripting with Vray ren-dering

2014, Studio Water - Alvaro Siza inspired proposal of Studley Park Boathouse, Kew.

Digital sculpture - “My heart is frozen” , Grasshopper scripting with Vray rendering

Digital sculpture - “Glass toffee” , Grasshopper scripting with Vray rendering

I N T R O D U C T I O N

rt & Architecture has always been my passion. After working in engineering and computing for a while I decided to pursue my passion knowing that this would be my last opportunity to do so at my age.

I brought with me my maturity, established work ethics, experience in engineering and computing to this endeavour. Strong discipline and time management with razor sharp focus in my intention had helped me to explore architecture with vigour and enthusiasm.

My philosophy in architecture are to be critical and observant to the surrounding that gives us our inspiration, material and wisdom. Simplicity is paramount. Ornamentation is excess. Structural clarity is the holy grail.

Coming from the computing field, I understand the potential and possibilities of digital and generative design. I see design software as tool to enable exploration. Equally important for architecture students, manual drawing skills allows more expressive work to rather sterile computer generated images. A good balance of computer work couple with expressive drawings , in my opinion, will be able to explain the technical aspects of my design but also the emotive component which can relate better at the human level.

A In view of this balance, I have taken the initiative to self-learn major design tools such as Adobe Creative Suite (Photoshop, Illustrator and InDesign) as well as digital painting tools and software i.e. Corel Painter and Wacom digital tablet. As I also enjoys photography in my free time, I am able to include this as part of my overall creative offerings.

In addition, I am improving progressively in major 3D modeling and rendering tools such as Rhino 5, Autodesk Revit, 3DS Max, Maya and Vray/Keyshot/Maxwell for rendering. I am also exploring visual programming knowledge through Grasshopper, Processing 2 and Dynamo(+Vasari) however it’s a new frontier to me ,I look forward to finding opportunities to use some of these tools not just for form finding, performance analysis and generative art.

Digital and parametric design in architecture provides new and exciting area which I have vested interest in. In my opinion it’s the new style or ‘ism’ in architecture which is becoming more and more prevalent style post post-modernism. Computation work in architecture further extend the capability of comtemporary design to be more responsive to its context and environment thus contribute toward the overall sustainability of the planet.

“ I seek creative freedom, explore new possibilities and innovation in my second coming.

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d e s i g n f u t u r i n g

ur contemporary culture and how we design for our living is heading us towards destruc-tion. Tony Fry in his book “Design Futuring : Sustainability, ethics and new practice”

pose us, the design community, with a challenge; to change our mindset and our design values to support sustainable future [15].

As part of the larger design community, I propose the following broad ideas for our ‘design futuring’ :

1. Design is an agent of change and the community must be empowered to lead the transformation to-wards sustainability. [16]

2. Design must not hide behind the triviality of ap-pearance and ‘style’ [17]

3. Sustainable design must depend on combination of nature and man-made ecology and not each in isolation.

4. We must foster design intelligence that have the ability to analyze forms and its context and make im-portant decisions as part of the design process to im-prove futuring potential. [18]

5. We must support, participate and influence creation of design intelligence through design research and crit-ical designs [19].

In view of the above, I propose 2 case studies attached as my contribution to the design intelligence and overall architectural discourse. These designs provides inspiration and display the capability and techniques gained through design intelligence.

BACKGROUND

ps canopyferda KOLATAN+erich SCHOENENBERGER, partners[20]

Design Futuring : A manifesto towards a sustainable future.

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c a s e s t u d y 1

his pavilion was built for 2008 Expo Zaragoza in Spain to promote water conservation and sustainability. It was conceptualised from the

molecular structure of salt and strongly represented by the form as well as its conceptual implementation of the salt mountain. The architects, Cloud9 and Enric Ruiz Geli were inspired by the water droplets on top of the salt mountain represented by the transparent bubbles on the structure [10].

The thematic approach of sustainable design not only reflected in the form but also its functions, construction material, process and technology. The structure was realized using pre-fabricated steel components and assembled using common construction techniques and technology [10]. This was intended to be easily assembled and disassembled after completion of the expo.

The sustainability theme is further extended to its use of material. The external geotextile skin, pneumatic ETFE panels are recyclable. Additionally ETFE has various advantages in comparison to other common building material such as glass. Its super lightweight, controllable light transmission qualities and has good insulation properties. [7]

The ETFE panels coupled with brine watering system and a cooling system for the air-filled pneumatic panels allows the structure to offset the heat gains from visitors and equipment [10]. This improved the cost of operating the building and more sustainable than the traditional air conditioning

T system. This is the same approach implemented for the Beijing National Aquatic Centre at a larger and permanent scale. [7]

I have chosen this example to illustrate few observable trends in contemporary modern architecture. The field of architecture has progressed alongside computer technology as means of form finding and no longer isolated as tools for drafting and modelling.

Computation works in architecture allows for performance analysis and optimised form finding. New research and leading edge technology allows design to response to its surrounding context.

The outcome of such research and new technology brings about a new ‘ism’ in post-modern architecture ;

Performalism = Form + Performance. [4]

The convergences of engineering, architectural sciences , mathematics and art have generated new building style that are dynamic as well as environmentally responsive.

The Thirst Pavilion, is one of many new breed of architecture testing and challenging the status quo by offering unique design that is responsive to

its environment, implementing a total sustainable solution through building material, construction method and reduction of energy usage. Innovative design like this provide critical design example for the broader architecture discourse that continues to improve upon itself moving forward.

c a s e s t u d y 1

P a b e l l ó n d e l a S e d

The Thirst Pavilion, the International Water Expo Zaragoza 2008, Zaragoza, Spain

Figure 1 : Salt watering system [11]

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Design

Cloud 9 : Enric Ruiz Gelli, Edouard Cabay, Patricio Levy, Miguel Carreiro, Andre Macedo, Rosa Duque Casas

Structural Engineers

Boma S.L. Augusti Obiol, Guillem Baraut, Antoni Orti

P E R F O R M A L I S MPritzker Architecture Prize winner Thom Mayne introduced the idea of performalism as separating the exterior skin of a building to response to the climate (form follow environment) [5] while the interior focuses on program/function. However, Neuman and Grobman [4 ] proposes the idea of computer based architecture that changes the idea of function to performance. Through computation, form in performative architecture is an outcome of performance analysis.

BACKGROUND

Figure 3 : Pabellón De La Sed [11]

Figure 2: Pabellón De La Sed in the evening. [9]

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idra tree, native to Qatar, a holy symbol to Islam and represent knowledge of the divine was the concept behind this entrance structure to the convention centre.

The architect, Arata Isozaki, uses the structural optimisation approach in arriving to the optimal form desired, mimicking the tree for the form desired.

Optimisation method known as extended evolutionary structural optimimization (EESO) allows for sets of criteria i.e. material, loading profile and sites to compute the best and most optimal performing shape with least amount of material use. The optimization algorithm using the finite-element analysis to progressively remove unnecessary material and add material to support loading at load bearing points in repetitive computation cycle.

Similar automated form finding and optimization algorithms are now being used in larger architecture firms such as SOM

S (Skidmore, Owings & Merill),Figure 8, as well as Foster + Partners. It’s no longer a novelty approach in form finding nor it’s reserved for structural analysis alone.

Through its origin from the engineering field, architects and structural engineers are now collaboratively workimng together in form finding. Collaboration between these groups is critical to jointly define parametric constraints and performative goals of the projects.

I have chosen this example to highlight new collaborative workflow in the quest for new design and form in architecture. In this example, architecture and engineering had to come together to come up with a nature inspired design out of an engineering based analysis tools. Similar collaborations in the fields of mathematics and arts for examples had came out with interesting solutions to design problems .

q a t a r e d u c a t i o n c i t y c o n v e n t i o n c e n t r e

Arata IsozakiDoha, Qatar

Figure 4 : Qatar Educational City Convention Center , in the evening .[13]

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Figure 5 : Sprawling steel columns mimicking the Sidra tree [11]

Figure 6 : Atrium [11]

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Figure 7 : The evolution of form in the EESO application [14]

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Figure 8 : SOM, Commercial development project in Shanghai using gradient based optimisation algorithm[12]

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R E F E R E N C E S

1 Jane Burry, and Mark Burry, The New Mathematics of Architecture (London : Thames & Hudson, c2010., 2010).2 Nelson Garrido, ‘Qatar National Convention Centre’, ed. by dezeen_Qatar-National-Convention-Centre-by-Arata-Isozaki_3.jpg (Dazeen, 2013).3 ———, ‘Qatar National Convention Centre’, ed. by dezeen_Qatar-National-Convention-Centre-by-Arata-Isozaki_5.jpg (Dazeen, 2013).4 Yasha Grobman, and Eran Neuman, Performalism : Form and Performance in Digital Architecture (London Routledge, 2012).5 Lance Hosey, ‘Performalism : A Budding Design Movement Asks: What Does It Mean for a Building to Perform?’, Architect, 06/2010 2010.6 Dimitris Kottas, Achitecture and Construction in Plastic (Barcelona : Linksbooks, [2012]. 2012).7 Annette LeCuyer, Efte : Technology and Design (Basel: Birkhäuser Basel, 2008).8 Brady Peters, and Xavier De Kestelier, Computation Works : The Building of Algorithmic Thought, Architectural Design: [V. 83, No. 2] (Chichester : John Wiley & Sons, [2013], 2013).9 Unknown photographer, ‘Pabellón De La Sed. Zaragoza’, ed. by 02_psed.zgz_.jpg (Madrid: Arenas&Asociados, 2008).10 Luis Ros, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 52.11 ———, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 54.12 Cameron Talishi and Lauren Stromberg, ‘Som, Commercial Development Project, Shanghai, China 2011’, (Chichester John Wiley & Sons, 2013). p5513 Alexey Sergeev, ‘Entrance of National Convention Centre (Qncc) at Dusk’, ed. by 20.jpg (Doha, Qatar: Alexey Sergeev, 2014).14 Jane Burry, and Mark Burry, The New Mathematics of Architecture (London : Thames & Hudson, c2010., 2010). p13015 Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1-316 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p617 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1018 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1219 Anthony Dunne, and Fiona Raby, Speculative Everything : Design, Fiction, and Social Dreaming (Cambridge, Massachusetts: The MIT Press, 2013).20 partners ferda KOLATAN+erich SCHOENENBERGER, ‘Ps Canopy’, ed. by PS_Canopy_lg.jpg (http://www.suckerpunchdaily.com/, 2014).

BACKGROUND

Author’s own work. Digital sculpture - “Green tubes” , Grasshopper scripting with Vray rendering