1

1

Studio Air Stephanie Clark 640181Tutorial 2 - Canhui Chen

Part A

1

2

3

Table of Content NTRODUCTION A.1 Design FuturingA.2 Design ComputationA.3 Composition/ GenerationA.4 ConclustionA.5 Learning OutcomeA.6 AppendixBIBLIOGRAPHY

48-11

12-1516-19

2021

22-2324-25

4

My name is Stephanie Clark, I am a third year architecture student at the University of Melbourne. I was born and raised in Vietnam. It was not until I was 11 years old that my family decided to move to Australia. Ever since I was a little kid, I have had a passion for Art. I loved draw-ing and often turned the walls at home into my own canvas. Over the past few years, I’ve developed a new hobby of drawing photorealistic people using pencils and prismacolours. Architecture was something I’ve always wanted to pursuit; with a dream that one day I would be able to design my own home. I see architecture as art in a solid form, which might explain the organic and somewhat fluid forms of my past projects in design studios. I am particularly in-terested in the relationship between built forms and nature, and how forms and materials can be utilised in a way that integrates the building and its natural environment into a unified composition. All of my designs up until this point have been done manually, which means that I have very little knowledge of digital design. I have previ-ously used Rhino in Virtual Environment, but from memories it was not a pleasant experience. Studio air would therefore be a challenge for me. However, despite its difficulties, I am hoping to take what I learn in this studio and apply to my future design approaches, to create more complex and creative outcomes.

Introduction

1

5

1

6

7

PART A.CONCEPTUALISATION

8

1

The Hy-Fi Summer Pavilion by the Living

9

Figure 1.2: the recycling nature of the structure is solidified into its form, a cluster of adjoining towers with no end- representing the natural carbon cycle, a model of sustainability

Figure 1.3: Cornstalk and mushroom are placed in a formwork where they are allowed to bined chemically to form construction blocks.

As Fry has suggested in ‘Design futurin, for many de-cades, we human beings have been using more of our planet’s resources than we can reproduce to sustain the excess of the present [1]. This has effectively contributed to the accelerating defuturing condition of unsustainabil-ity. Therefore, redirective practices in design are needed in order to counter the unsustainable state of being while preserving the possibility of a future. Along with this line of thinking, David Benjamin designed and constructed the Hi-Fi Pavilion that aim to inspire and educate people.The Hy-Fi Pavilion is constructed using biological technol-ogies alongside advanced computer-based engineering to design a structure that has zero impact on the environment [2]. The pavilion is made of organic blocks, a combination of discarded corn stalks and mushroom which acts as a natural binding agent. At the top of the tower, the blocks are coated with a light-refracting film (developed by mate-rials firm 3M) that bounces light down inside, eliminating the need for artificial lighting and thus carbon emission. Even though the concept of a ‘green’ building is nothing new, the pavilion is revolutionary in that it has an end of life plan; once the degradable material is done serving its pur-pose in the structure, it can return back to earth as fertiliz-ers, nurturing new growth. By diverting the natural carbon cycle, the structure requires no energy and no ecological footprint, proving that things don’t necessarily need to be brought into existence at the cost of out planet’s resourc-es and health.With its design intelligence, the pavilion provides a ‘futur-ist’ experience, showing an alternative future that is pro-voking, yet full of optimism. It surprises the visitors into questioning the current practice and way of living, con-tributing to changing perspective and culture towards recycling resources [3]. Even though the pavilion is only a temporal structure, it introduced a new technology and ideology that has the potential to expand future’s possi-bilities of using our planets resources more efficiently. It will contribute to the ongoing architectural practices and more importantly sustainable living, that will no doubt en-sure the health of our planet and our future.

Figure 1.1 (left): The Hy-fi Pavilion, with blocked coated with light-retracting film at the top.

A.ONE. Design Futuring

1. Fry. Tony, Design Futuring: Sustainable, Ethics and New Practive (Oxford: Berg, 2008), p.2.2. Perrin. Drumm, Mold Hy-Fi Bricks, http://www.alldayeveryday.com/articles/summer-pavilion-bio-hyfi-bricks-david-benjamin.3. Dunne. Anthony & Raby. Raby, Speculative Everything: Design Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.3.

10

4. Fry. Tony, p.6.5. CTPUH, Al Bahar Tower- Abu Dhabi, http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowersAbuDhabi/tabid/3845/lan-guage/en-US/Default.aspx.

Today, we’re living in an era when designs are becom-ing increasingly trivialised, concerning with only elabo-rate and ostentatious appearances while remaining igno-rant towards their environmental impacts [4]. Through the Al Bahar Tower, architect Aedas redefined the fundamen-tal notion of architecture, demonstrating the possibilities of buildings to extend beyond mere aesthetic and super-ficial, and towards sustainability. The Al Bahar Tower em-ployed an intelligent façade, with geometrical patterns that folds and unfolds (controlled using the building man-agement system) according to the sun’s path, effectively response to the climatic condition of the site [5]. In doing so, the shading screen successfully reduced solar gain by up to 50%, minimising the need for mechanical air con-ditioning and artificial lighting, thus reducing its carbon footprints significantly. This radical design is the work of architects and digital technologies, whose collaborative effort give rise to a new design intelligence for the future. it redirects our ways of thinking about the impacts we have on the environments and at the same time opens up possibilities of engaging with computation resources for sustainable practices in the future. This idea conforms to the concept of design futuring of Fry, where design facilitates speculations and means for countering the still accelerating defuturing condition while creating a far more viable future.

Al Bahar Towersby Aedas

A.ONE. Design Futuring

Figure 1.4: The geometrical pattterns of the shading screen, which open and close ac-cording to the sun’s path.

Figure 1.5 (right): The Al Bahar Towers with their shading screens.

11

1

12

6. Yehuda. Kalay, Architecture’s New Media: Principles, The Theories and Methods of Computer Aided Design (Cambridge: MIT Pess, 2004), p.10.7. Ghaffarian. Mahdiar, Paskan Tower, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx.8. Oxman. Rivka & Robert Oxman, Theories of the Digital Architecture (Newyork: Routledge, 2014), p.3.

Within the last decade, architects have begun to adopt digital technologies as a tool to enhance their cre-ativity, shifting away from the linguistic analogue and man-ual methods of design and presentation. Software script-ing algorithms such as Rhino and grasshopper are often used during the design process and fabrication which widen the possibilities of problem solving in architecture. According to Kalay, there are four processes in design: problem analysis, solution synthesis, evaluation and com-munication, most of which can be benefitted with the em-ployment of computation [6]. Solution synthesis is phase in which ideas are generated to achieve a designed goal, requirement both human’s creativity and the analytical ca-pability of computers. Therefore, by integrating the para-metric algorithms, it can potentially enable the production of design responses that are complex, creative and simply could not be achieved by human alone. This is clearly demonstrated in the Paskan Tower, a para-metric design by Design Dot Studio. With the help of script-ing algorithms, the designers are able to break free from the strict geometrical forms of the past and explore the possibilities of forms that are more dynamic and free flow-ing [7]. Parametric design, as a new form of design logic focuses on the associative and dependency relationships between the overall structural form and their parts-and-whole relationship [8]. This means that by manipulating the variable of the parameters, other elements of the form will become mutually adaptive, allowing variable outcomes to be produced without compromising the entity and integrity of the structure. This also allows the form to be optimised according to the physical properties of its structural mem-bers which makes these free- form buildings structurally feasible, turning an ideology into reality.

Paskan Towerby Design Dot Studio

Figure 2.1: The parametric modelling process of the Paskan Tower.Figure 2.2 (right): The complex and fluid form of the Tower.

13

1

A.TWO. Design Computation

14

9. Oxman, pp 5-6. 10. Menges. Achim, ICD/ ITKE Research Pavilion 2010, http://icd.uni-stuttgart.de/?p=4458.

ICD/ ITKE Research Pavilion

Parametric design also enables a digital continuum from design to fabrication. This means that components that were traditionally independent, such as material de-sign become an integral part of the digital architectural design process continuum [9]. An example of which is the ICD/ IKE Research pavilion, constructed in 2010. The pavil-ion is a material oriented computational design where its overall physical form is dictated by its material properties [10]. The structure is made entirely of thin and elastically

by Institude for Computational DesignFigure 2.3: The constructed pavilion, with bend birch plywoof strips as the embedded material.

15

11. Oxman, p. 5.

bent birch plywood strips, which were digitally and physi-cally tested for their ultimate elasticity and bending ca-pacity (without compromising their integrity). This is what Oxman referred to as information modelling [11]. These material behavioural features are then embedded and simulated in parametric principles, giving rise to a form accordingly.Traditionally, the material solutions were often left to the engineers to decide which sometimes lead to errors or modifications that compromise the design intend. How-ever, by integrating the materials into the design process such as the case of the IDC/ IKE Research Pavilion, the architects take the job of the engineers into consideration. The design can also be communicated across other dis-ciplines with clarity through software such as BIM, mak-ing the process of designing more inclusive, where every-one’s inputs and outputs collectively shape a final design outcome. Therefore it can be said that digital technology strengthen the collaborative design relationships and at the same time redefine the role of architects within the

The introductions of the digital technologies into the de-sign processes can also eliminates errors in the end prod-ucts and ensure that their functionality as well as their per-formances are the same as the design intents. Architects and engineers are now able to study different behaviours of the buildings such as materials, structural systems and energy through rapid prototyping generated by CNC and performance simulations software. This enables buildings to be constructed more efficiently with higher quality. With the help of innovative digital technologies, we are wit-nessing an emergence of a new era of architecture, a new way of thinking and practice that defies the limitation of what can be manually designed and built. We are now able to explore endless possibilities of design solutions, with forms that no longer need to conform to strict geometrical shapes and with new ways of experimenting with materi-als. It is without a doubt that digital technologies hold the future to architecture, where the only limitation is the hu-man’s imagination.

A.TWO. Design Computation

Figure 2.4: The material is being tested for its physical proties: its ultimate elasticity and bending capacity.

Figure 2.5: the physical properties of the materials are then embedded using computation, which dictates the outcome of the form

1

16

A.THREE. Composition/Generation

Figure 3.1: The Gherkin with its round shap and tapered top.

17

12. MIT Encyclopedia of the Cognitive Sciences 2000, Algorithm Definition from Wilson, pp. 11-12.13. Freiberger. Marianne, Perfect Buildings:The Maths of Modern Architecture, https://plus.maths.org/content/perfect-buildings-maths-mod-ern-architecture.

The Gherkinby Foster and Partners

Many architectural firms today are shifting away from the conventional pens-and-paper composition and adopt-ing the emerging design method of computer generation. This method integrates computation into the design pro-cess, in which algorithmic thinking plays an important role- processing data and codes inputs, then produces outputs that are complex and innovative [12]. This effectively re-sults in the revolution of forms and their performances, leading architecture itself into a new era.With parametric modelling, contextual information such as topographical features as well as airflow can be incorpo-rated into the design in the form of parameters or algo-rithmic inputs, which collectively shape the geometrical outputs [13]. An example of this is the Gherkin, designed by Foster and Partners. The high-rise utilised computation to simulate the way the wind blows around its body as well as the sound waves which bounce around it. This

is a common problems faced by tall buildings, which often create spaces that are uncomfortable to be in. In order to mitigate these effects, the Gherkin uses the contextual in-puts to find and test an optimal solution to the form- round in shape and tapered at the top- that has the capability of reducing whirlwind. With the convenient performance feedbacks at various stages of the project, the architects can also modify the algorithm to explore the positions and angles of the building to maximise natural ventilation and sunlight. Thus reducing its energy usage to up to 50%.Evidently, parametric modelling can create designs that are more responsive, allowing architects to analyse their decisions during the design process and in turn generate optimum design responses. At the same time, it can also enhance the connection between the building and its natu-ral context as well as contributing to sustainable solutions as in the case of the Gherkin.

Figure 3.2: using computation to simulate its contextual features and test for an optimal form.

18

14. Peter. Brady, Computation Works: The Buildin of Algorithmic Thought, Architectural Design, 83 (2013), p.10.15. Foster and Partners, Smithsonian Institution, http://www.fosterandpartners.com/projects/smithsonian-institution/.

As Peter has suggested: “computation augments the intellect of the designer and increases capability to solve complex solution” [14]. Smithsonian Institute – another project by Foster and Partners- is an example of para-metric design, in which computation was utilised to tackle design issues: making its complex geometry structurally feasible [15]. The structure is composed of three intercon nected

The Smithsonian Institutionby Foster and Partners

Figure 3.3: The complex geometrical form is successfully constructed through the method of generative design.

19

16. Peter, p15.

The Smithsonian Institutiongridded vaults that flows into one another, creating curves with various heights. Algorithm allows the architects to model and visualise the complex structure, enabling them to explore the design options, not only its appearances but also its physics- structural systems. They can modify the parameters (codes) according to these feedbacks, chang-ing the geometrical features such as the heights of the curves without affecting the nature of the design itself. This is one of the biggest advantage of generative designs, which allow architects to arrive at their design solutions more efficiently and in shorter time frames.Additionally, algorithmic thinking can tend to all the joiner-ies details with ease and higher accuracy (generating joints suitable for specific areas), which would almost be impossible with the compositional approach.

This facilitates strong connections and a dependent rela-tionship between the individual components. For this rea-son, the Smithsonian Institute was able to be successfully constructed and spanned across a great distance as a single entity without requiring any support of columns in the middle.

Despite its advantages, there are still short coming with this generative approach. According to Peter in ‘Compu-tation Works- the Building of Algorithmic Thought”, many designers have not quiet developed algorithmic think-ing, which results in the majority of today’s architectural firms treating computational design as a separate pro-cess[16]. On another hand, there are groups of designers (described as ‘lone guns’), who, despite their expertise in algorithm, allows their products to become an isolate craft rather than developing into an integrated art form. It is only when these two groups of designers merge to become one, where computation can be fully integrated into the practice and the actual design process that we can truly change and revolutionise architectural discourse.

A.THREE. Composition/Generation

Figure 3.4: The parametric design process of the Smithsonian Institution

1

20

Over the past few decades, computation have become the new representative of architectural practices, replacing the conventional methods of pens-and-paper drawings. We are now even moving past the point when computation is restricted as a mere tool for architectural documenta-tion, but have become a method of generating designs through scripting algorithmic softwares. A method which also conveniently governs our fabrication and construc-tion aspects, allowing buildings to be constructed more ef-ficiently with higher accuracy. It enables architects to ex-plore a much wider range of design possibilities, breaking away from all the restrictions of traditional conventions and turning many of the wildest, most innovative imagina-tions and ideologies into a reality. With this advancement in digital technology, the funda-mentality of architecture is also brought into question. Architecture is now much more than its built forms, much more than its appearances. it now exists in the form of re-search through design, testing for the optimum solutions of not

only the design itself, but the underlying intelligences which can potentially shape the relationship between hu-man and nature, and thus the outcome of our future. This notion is evident in some of the mentioned architectural projects such as The Al Bahar Tower, ICD/IKE Research pavilion and the Gherkin building. This new concept of architecture has inspired my design approach for the upcoming project at the Merri Creek. I am particularly interested in the relationship between the built and natural environment, how the natural aspects of the site such as the wind and the sunlight can inform and contribute to the outcome of the design. These contextual information will become parts of the inputs for my para-metric design, creating an outcome that will directly inter-act with the site, and hopefully allow people to experience and appreciate nature in a unique way.

A.FOUR. Conclusion

1

21

Prior to learning about algorithmic thinking of paramet-ric designs, I used to think the existence of computation in architectural practice generates a form of dependency where designers rely completely on this technology to do their thinking, producing design responses that they did not intent for. In my opinion, it limits our imagination and certainly devalue the art of architecture. In some ways, this is true. However, after three weeks of studying and ex-periencing with a scripted algorithmic software, I began to realize that these impacts don’t necessarily need to be negative and certainly does not make architects any less-er of designers. Instead, computation can enhance the architects’ creativity, turning them in to into a construct-ible form no matter how complex and out-of-this-world they may seem. I would definitely use the knowledge I’ve gained to assist me in my future design projects, to create many more organic and innovative forms.

A.FIVE. Learning Outcome

22

Appendix 1: Using the transformation menu on Grasshopper to explore different patterns and design outcomes on the same loft-ed surface.

Appendix 1 and 2 represent some of the advantages of incorporating algorithm scripting softwares into architec-tural designs. Appendix 1 includes parameters from the tranformation menu on Grasshopper. They allowed me to instantly model or modify the patterns of the loft surface, in relation to a plane or a point. As all components are able to become mutually adaptive, the relationship between the individual components is maintained, reserving its integ-rity. In Appendix 2, the points of nterception of the curves are detected. This makes it easier to faciliates joints that can connect all the members at once. The ideas of using computation for generative designs, fabrication and construction have been explored in A.TWO. and A.THREE, proving once again the benefit of this advance digital technoly.

Algorithmic Sketches

23

A.SIX. Appendix

Appendix 2: Detailing joints at curves intersections.

24

CTPUH, Al Bahar Towers- Abu Dhabi, http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowers-AbuDhabi/tabid/3845/language/en-US/Default.aspx [ac-cessed 1st August 2015].

Drumm. Perrin, Mold Hy-Fi Bricks http://www.alldayevery-day.com/articles/summer-pavilion-bio-hyfi-bricks-david-benjamin [accessed 1 August 2015].

Dunne, Anthony & Raby. Raby, Speculative Everything: De-sign Fiction and Social Dreaming (Cambridge: MIT Press, 2013), p.3.

Foster and Partners, Smithsonian Institution, http://www.fosterandpartners.com/projects/smithsonian-institution/ [accessed 13 August 2015]

Freiberger. Marianne, Perfect Building: the Maths of Mod-ern Architecture, https://plus.maths.org/content/perfect-buildings-maths-modern-architecture [accessed 13th Au-gust 2015].

Fry. Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2,6

Ghaffarian. Mahdiar, Paskan Tower, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx [ accessed 8th August 2015].

Menges. Achim, ICD/ITKE Research Pavilion 2010, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015]

MIT Envyclopedia of the Cognitive Sciences 2000, Algo-rithm Definition from Wilson, pp. 11-12. Oxman. Rivka & Oxman. Robert, Theories of the Digital Ar-chitecture (New York: Routlegde, 2014), pp. 3, 5-6.

Peter. Brady, Computation Works: The Building of Algorith-mic Thought, Architectural Design, 83 (2013), pp10,15.

Yehuda. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer Aided Design (Cam-bridge: MIT Press, 2004), p. 10.

Bibliography

25

Figure 1. 1: Drumm. Perrin, http://www.alldayeveryday.com/articles/summer-pavilion-bio-hyfi-bricks-david-benja-min [accessed 1st August 2015].

Figure 1.2: Graves. Kris, http://www.designboom.com/architecture/hy-fi-the-living-david-benjamin-moma-ps1-young-architects-program-2014-07-01-2014/ [accessed 1st August 2015].

Figure 1.3: Graves. Kris, http://www.designboom.com/architecture/hy-fi-the-living-david-benjamin-moma-ps1-young-architects-program-2014-07-01-2014/ [accessed 1st August 2015].

Figure 1.4: CTPUH, http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/AlBaharTowersAbuDhabi/tab-id/3845/language/en-US/Default.aspx [ accessed 1st Au-gust, 2015].

Figure 1.5: Richters. Christian, http://www.designboom.com/architecture/aedas-clads-al-bahr-towers-with-dy-namic-shading-device-02-13-2014/ [ accessed 1st August, 2015].

Figure 2.1: Ghaffarian. Mahdiar, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx [ accessed 8th August 2015]. Figure 2.2: Ghaffarian. Mahdiar, http://www.ctbuh.org/TallBuildings/AcademicStudentWork/UniversityofCalgary/2012SinclairStudio/Fracture/tabid/6030/language/en-US/Default.aspx [ accessed 8th August 2015].

Figure 2.3: Menges. Achim, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015].

Figure 2.4: Menges. Achim, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015].

Figure 2.5: Menges. Achim, http://icd.uni-stuttgart.de/?p=4458 [ accessed 8th August, 2015].

Figure 3.1: Freiberger. Marianne, https://plus.maths.org/content/perfect-buildings-maths-modern-architecture [accessed 13th August 2015].

Figure 3.2: Freiberger. Marianne, https://plus.maths.org/content/perfect-buildings-maths-modern-architecture [accessed 13th August 2015].

Figure 3.3: Foster and Partners, http://www.fosterand-partners.com/projects/smithsonian-institution/ [accessed 13 August 2015]

Figure 3.4: Foster and Partners, http://www.fosterandpart-ners.com/projects/smithsonian-institution/ [accessed 13 August 2015]

Image Bibliography