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CONTENTS 4-5: IT’S ME
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I believe it is my family’s fault for my love of architecture- for the better or for the worse. I can specifically remember my father acting as come sort of architectural tour guide when we visited the iconic buildings that shaped Hong Kong’s skyline. And since then, I have been keen on building and design, except for 2005 when I wanted to be a cat. Architecture to me is a physical statement of one’s own flare. Whether it is a small house, or a famed skyscraper, they are all testament to an architects’ sense of beauty and dimension. On a selfish note, I want to become an architect so that my flare and my perceptions of beauty can be built so that everyone else can see and understand my mind- I suppose that is the major reason why I like architecture so much. As I am sure I am able to produce designs by hand, this new journey of digital design, however, leads me into a realm of apprehensiveness and curiosity. Let us see how I would fare.
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leap away from conventional modernist architecture in the early 20th century was that of Antoni Gaudi’s works. Whilst others designed by style and perhaps geometry; Gaudi’s works were at times, concentrated on mathematics. Although the method of suspending chains was not his invention, it was his execution of the elaborate systems of hanging chains in order to determine the correct and elegant curves and angles of his works (fig.2), which bore his name into the realm of haute architecture.
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The practice of catenary was a wellestablished method for mathematicians and physicists as a way of
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determining the parabolic arc in order to determine angles of stress and compression. In Gaudi’s case, he applied this method into his architecture (fig. 3, fig. 4). His catenary models were both models of design, but also a mathematical blackboard that which enabled to him to refine, perfect, rid errors and construct; physically. This was a huge breakthrough, as the construction of large arches and domes were conventionally designed from ground-up. However Gaudi’s employ of such system allowed him to analyse the stress and tension points of his buildings-to-be in a topto-ground manner, which not only allowed for mathematical testing, but also gave birth to something entirely new.
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he ICD/ ITKE Pavilion (fig. 7) is a breakthrough not only in digital design, but also in the production of the installation. In our contemporary fascination (although I am sure it will last) of parametric digital design, the pavilion was a project that was purely designed computationally. Not to reveal an unknown revelation in the design industry, the pavilion was purely a testament to the current mode of technology in computational design, which the University considered
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it suitable as a piece that showed off the possibility of biomimetic design and computational technology. However, apart from the design element of this project, the creation of the pavilion itself, primarily made up of winding and weaving carbon fibre and fibreglass filaments into a fabric-like surface (fig.5), was completely executed by robots (fig.6). This further proves the accessibility and flexibility of digital design in both the design process and in production.
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In
many ways, computational design is on one hand a blessing to the imaginative, but also a lie to the unnoticing eye. In the contemporary climate of computational design, it is often heralded for its endless possibilities, flexibility, and approachability, and without a doubt, digital design in the 21st century has been able to challenge the way one designs anything. However, the debate is suspended over the use of computational designwhether it is to be a tool to the imaginative, or a brain for the interested; as both these concepts are not akin.
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fig.9
The former, where computational design is merely a tool to aesthetically enhance a piece of architecture, or where computational technology has been applied to realise of predetermined human conceptualised form (fig. 10), has been a popular choice with many Contemporary architects. Famous architect Zaha Hadid, is a prominent individual who has been able to convey many of her ideas of design through computational devices. And surprisingly, many of her designs are actually executed and built (fig.9), proving that computational aided design is not only a novel invention, but also applicable to the ‘real’ world. Furthermore, Herzog and de Meuron, also applies parametrically designed
fig.10
facades to enhance the design of their structures (fig. 13, fig.14).
However, as pointed out, the issue is disputed whether architects are to design buildings which only uses computational design as a tool/ carrier to convey their ideas in a workable manner; or whether the designer is to rely on computational software to develop a design that is entirely based on computational algorithms. The debate is trying to weigh up the true prospect of computational design, whether it is to be a tool, or to be the mastermind. Alternatively, when computational design is the based predominantly on
algorithms, it has two particular effects. Firstly, without any analysis, computers are able to navigate complex sums and figures in striking speed and precision. When design is to be based entirely on algorithms, it may create some of the most complex and sophisticated designs that humans are not only unable to imagine in the first place, but would take a immeasurable amount of time if they were able to come define such complex algorithm in the first place. Many firms such as Digital Grotesque have been successful in creating sophisticated shapes and forms (fig. 8, fig. 12), which are entirely created by a series of algorithms. These forms are not only complex, but in many ways,
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confusingly beautiful. However, in many cases, due to the sheer complexity of these forms, the concept of algorithmic based design is a concept that is hard to grasp and undesirable, thus putting the efforts of ‘pure’ algorithmic design in a level of research, experimentation, and as pure example, but not applicable as a desirable architectural system.
A chord is needed to be struck between these very different, very distinct, and very theoretical concepts of design, whether the real mastermind of design is to be computational technology, or the human brain.
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Fortunately, the idea of applying computational design is not ‘one or the other’, both can be able to complement each other. This middle ground is achieved by mixing the best of both fields, thus redefining the design industry in the manner of its algorithmic precision, accuracy, responsiveness, reliability (keeping record of every movement), yet allowing the designer to have full control over the direction of the entire design.
As a loose example, computational design is able to help set limitations of certain elements concerning architecture (e.g., space constraints, stress levels, restrictions, etc.), whilst working with n the boundaries of the designer in the
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most flexible and complementary manner. Further more, concepts such as Superformula, enables designers, and in many cases, architects, to parametrically designs forms that navigates around generated algorithms (following equations, parabolic functions, vectors, trigonometry, etc.).
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This process is achieved by firstly generating a 2D form that is based on a superformula to certain algorithmic parameters determined by the designer. Then in increments, the formula changes slightly as it produces the next form, until a whole series of forms that that differs from the previous is produced progressively.
This system allows computational design to flow freely according the designers’ will, where the initial shape maybe conceptualised by the said designer, but progressive alterations into forming a piece of architecture to be executed by algorithms which may also be predetermined by the designer. A related example would include MAD architect’s Absolute Towers (fig. 11), where the concept is carried out, resulting in a sculptural piece of architecture.
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A As suggested by Oxman, the contrast of traditional design practices (that of pen to paper) and that of computational digital design is the contestation of ‘formation preceding form’. This basic theory is more in line of those of computational aided design, where the formation of the design principle, that of computer generated/ aided algorithms and mathematics, would become the basis of the design. Adversely, in traditional pen-to-paper design, the form precedes formation in the way that an architect or designer realises a form, before solving the problem of how to execute the desired design.
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In regards to ‘the industry’, the contemporary climate for computational design is strong in architecture, but limited to a tool in enhancing design, thus only playing second fiddle. Renowned firms such as Fosters + Partners and Herzog and de Meuron are well known for their use of computational design in many of their architecture. However, for Foster, computational design is limited to aiding structural purposes of the general design; as for Herzog and de Meuron, the use if computational design is usually nothing more than as a decoration on facades of their design, as could be seen in their De Young Museum (fig.14, 15). Furthermore, as suggested earlier, architects such as Zaha Hadid seems to place form/ parametric aesthetics before and over functionality, thus rendering her approach seemingly unre-
3 sponsive to the potential of parametric design in regards to its ability to generate according to algorithmic limitations.
Contemporarily, computational design is limited to the ambitious and academic. As cited in A1.02, pure computational design is usually still in its infancy of being recognized as a viable, aesthetically acceptable method of design, thus, when concerning the industry, it is viewed as rather apprehensive and too complex for appreciation, and currently is usually seen as research installations. However, this is not to suggest that the ambitious and the academic are useless, in fact firms such as Digital Grotesque have tried to “create an architecture that defies classification and reductionism” in order to “create a form that appears at once synthetic and organic”. This is testament that, although not sought after in the professional field, is nonetheless established as an art form/ design itself that many may find appealing (fig.12).
Although computational technology has been accepted in the wider design industry and has been widely applied to constructed forms, script writing has a story of its own. Software designers have loosely applied basic and fundamental applications for the user to flexibly adapt algorithms to their own design approach. However, since computational design is gaining popularity due to its responsiveness in problem solving and adaptability, computational technology
is being tested in more and more different realms and types of design. This leads to designers having to write algorithmic scripts of their own to fulfill their set requirements for whatever task they are to accomplish. This suggests that, although computational technology is ‘up to date’, it is obviously unable to cater for every designer/ architect in the world, thus allowing designers the flexibility in writing their own algorithmic scripts in order to fulfill their requirements, is another example of the flexibility, adaptability and user-friendliness of computational technology.
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A S
o, the debate stands fast: whether computational design is a mere tool, or is it to become the ‘leader’ of design? ¿Por que no los dos? In the course of research and discovery, I came to the conclusion that the cooperation of both extremes of the spectrum in regards to the prospects to computational design would be most appropriate for addressing the brief. Through parts A1, A2, and A3, I have become keenly interested by the process of replicating and alternation in the approach of the superformula. From my research, I believe that superformula based structures are natural, striking, and expansive, making the whole approach deeply interesting and flexible to suit my own likings. Furthermore, its simplistic nature that is governed by algorithms proves logical and acceptable.
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Personally I believe this is especially innovative in the way that it bridges over the contentions of the debate. On one hand, it is able to respond to the design of the architect (in other words, it is able to retain a ‘human’ touch to the design, thus eliminating alienation and discomfort); on the other, it is able to introduce the mathematical precision, flexibility, sustainability, and logic into parametric design, thus addressing the problems in the ‘smartest’ way possible, eliminating the occasional and overlooked possibilities humans tend to make.
4 As can be seen in the examples provided, designs that are made when combining the human designed principles then expanded and developed by logical and precise computational technology, can result in striking, practical and ‘useable’ pieces of architecture. In reference to the beneficiaries of this new technique of design, the groups that may gain from this practice includes architects, designers, landscape architects and engineers. Subsidiary beneficiaries may include the occupants of architecture (being able to use space that may be mathematically and scientifically designed to meet safety and comfort standards).
In analysis, the list of direct and indirect beneficiaries of computational technology is in fact rather limited, simply due to the small impact, both positively and negatively, on society as a whole. Certainly, with the advancement of computational technology in the foreseeable future, it may give rise for other industries (perhaps in production, or software developing) or even create industries that will benefit for servicing computational design. However, currently, as these said beneficiaries are yet to mature or to exist, it is therefore difficult to comment on the effects of computational design as if it were a huge revelation to realms beyond that of design.
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5 Throughout these several weeks
of research, discovery and further exploration into the topic of computational design, I have been able to take a fresh perspective to the possibilities of computati0onal design. Originally, being very sceptical and apprehensive on the potential of computational design, I considered it to be a mere tool as to conveying the more interesting design of some individuals. However, through research and a huge learning curve, I have come to the conclusion that, although my original pretentions remain, I have also been able to understand the benefits of computational design in its ability to navigate around parameters in the fastest and most logical way. Although it has the be said that I believe in the true value of human design in architecture, as opposed to forms built completely by set computational algorithms, I have learnt that, it is possible to incorporate the qualities of computational design in order to enhance side by side to conventional, desirable, pleasing, feasible, and functional pieces of architecture.
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Following Week 2 exercise, the ‘basket’ I became more adventurous in ap-
plying it to the twisting form that I had made for the previous week. The twisting effect is especially interesting. In making the latticed form, I recognised the shape and structure of the form to be remarkably similar to those of the Guangzhou TV tower, and Zaha Hadid’s proposed hotel design in Macau. Furthermore, I applied the exercise to a more simple shape with more lines to create a three-way weave of pipes. The outcome reminded me of Norman Foster’s British Museum Canopy, and the lattice shell design for the French Pavilion for the Shanghai Expo in 2010.
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Sectioning is a popular mode of
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parametric design due to its simplicity in construction and in the effect it could achieve. Successful constructed examples of the use of sectioning can be found from indoor installations, furniture, art, and in architectural pieces. Though the way a sectioned design is formed may vary from designer to designer, piece to piece, it nonetheless follows a basic rule, whereby individual pieces, or layers, are simply based off the previous layer, but only altered ever so slightly, so that the overall form is achieved in a gentle, subtle, but interesting and logical manner that the viewer and user may warm to.
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Focusing on the lines and the edges of the form, I began exploring the possiibilities
of sectioning from that point of view. Apart from the interesting effect that is achieved, breaks away from the monotony of generic and basic sectioning methods used by various designers..
This is a simple extrusion from a set of sectioned curves that is controlled by an 32
attractor line. The curves were responsive to the the height and direction of the line. This allows for greater flexibility in the way sections could be manipulated and therefore, provide more flexibility to the deisgn.
By changing the form of the individual extrusions into differing shapes, I am able to experiment the differing shapes and allow for more felxibility in my attempt to creat a dynamic and sculptural piece whilst being able to generate/ collect the
This experiment is to test the structural qualities if the inidividual sections and how I am able to manipulate it to find a viable, logical and interesting method of creating structure to help support the whole general form.
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Completed in 2005, Denton Cork-
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er Marshall’s and Robert Owen’s iconic Webb Bridge utilizes a sectioning method of faming the main structure of the design. Inspired by the shape and the weaving structure of eel traps first used by aborigines, the designers have created a sectioning method of initially framing the bridge’s shape with an ovoid hoops made of steel arranged along the length of the bridge in a dividing manner (Fig. 19). The connecting filigree lattice arrangement (Fig. 17) which makes up the bridge sculptural element is arranged by a logical but seemingly irrational manner as to suggest the pattern of basket weaving.
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he main objective of reversing engineering the Webb Bridge is to create a overall hoops that acts as the main frame of the structure. Then, it is a matter of adding the a lattice shaped element onto the main frame. It is without doubt that in the designer’s attempt to create this design, a similar process was made in the or
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ganisation of the steel hoops and the corresponding lattice work. Furthermore, in the construction process, it would also be logical for the main vertical hoops to be erected first before the supporting lattice framework. By following this simple logic, I have tried to recreate the sectioning element of the Webb Bridge with relative success.
Base lines
draw curved lines accordingly
Match points
divide lines, then match lines to points fig.18
Add arc
create arcs accros each point
Add mesh
add desired Grid using LunchBox
Change thickness add thickness to add weight
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B3.02 .A1 fig.20
The One Main Street project is an
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example of parametric sectioning system that was successfully conducted on a large-scale basis, creating an internal space that was subtly formed a fluid and dramatic topographic sculpture like installation. Decoi Architects’s large-scale office interior remodel was created by parametric sectioning a form that was comprised of the ceiling plane and the floor plane (Fig. 19, 20). Constructed entirely of sustainable plywood sheeting, the design had to include conventional office interior design, such as lighting, partitioning, structural elements, and thus, certain appointments had to be made to accommodate for
these obstacles. Furthermore, specific details to the whole office space, including door handles, computer vents, ventilation grilles, table texture, etc. (Fig. 16, 19) were taken into account in the parametric designing process, thus making the whole project into a realm of precise and bespoke design. Much of the final product was owed to the precision and the sophistication of the machinery that helped to manufacture these individual sectioning pieces. The precision and the digital process of manufacturing allowed for minimal waste and errors, which allowed the project to run smoothly.
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B3.02 .A2 Create surface
create any desired surface
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divide into various points ready for extrusion
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create linear frame for longitudal sectioning
Insert image
create appropriate image that is dependent on black and white
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change vector definitions for various heights/ angles of extrusion
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I
n this form , I have started to use differing angles of sectioning to see wether the form woulf be any different from the previous iterations, and it has created an interesting wavy form with some ‘natural’ waffeling.
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have taken the angling aspect to further limits in creating a shape that resembles a mesh, where each section is 90 degrees from each other.
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y moving the attractor line closer or further awy from the form, I have been able to create sections which responds to it by creating a varying density in its arrangemnt.
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have also taken extrusion of the sections and the number of sections into account of my form. However I believe a form like this with minimal sections loses its connection, or at least in regards to visual connection, to sectioning. But nonetheless, this ribbon-shapped form is quite interesting and could be further developed.
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particularly like a form that is similar to this, where there is a clear distinction between the differing angles of sectioning, yet having some sort of hegemonic form in the way that the different sections strips join as one. Furthermore, the shape creats lots of surface area, which is particularly beneficial when considering the aspect of solar energy absorbtion, where the larger the surface area, the more solar gain.
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The
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This simplistic prototype is based on conventional definitions of sectioning, as displayed in iterations 1-40. The somewhat mundane and uniform shape is distinctively recognizable in many precedents, and such, in my opinion, leaves little room for imagination for further explorations. Throughout the process of creating iterations in this form, the genuine lack of flexi-
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ability made the process quite difficult nd tedious, as little could be achieved from the small amount of changeable parametres. Furthermore, sectioning is heavily based on the movement (i.e. the rises and falls) of the shape or the surface of the shape, rather than any thing else. As a result, I tried to develop something which provided more flexibility and less dependent on simple, and very ‘boring’ sectioning system.
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The new model, compromising
of angled strips, is a simplified representation of the new form of sectioning I have challenged myself to discover. The main purpose of this prototype was to test the ability of correct alignment, structure, and my ability to construct the model, especially in the more complex overlapping and interconnected element of many of thesectioning details in the strips. As a major step away from the previous prototype, this form is able to provide more surface area, which in regards to solar energy collection is a major advantageHowever, I would like to further develop this by taking away some of the struc.
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waffleing in the simple sectioning devices first reverse-engineered and achieved in the previous prototype, making the overall structure and ‘skin’ a hybrid structure made out of more than one sectioning strategy. In regards to the actual construction of the design, I plan to use plywood for the main structure to keep in theme of Scandawegian carpentry, as for the main strips of the section, it could employ some sort of flexible solar film system.
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B
With a major aspect of my design focused
on logic and reasoning, I decided that the best way to respond to the solar energy generation aspect of the brief is by generating a form (that keeps in the theme of my research field of sectioning) that also maximizes surface area so that when solar energy collecting devices (solar film, PV cells, solar panels , etc.) could be generously applied to the form to generate the most solar energy. With the generic form of sectioning, the total surface area could in fact be optimal for maximum exposure to the sun, however, since the arrangement is tightly fitted together and where each section may cover the section previous, the form proves redundant and highly unsuitable to accomplish the task of solar collection.
Therefore as a response, the new design, where each section is extruded vertically, but arranged in a linear arrangement, enables the form to support long strips of surface, ready for the said devices to be attached. As a sculptural effect that is produced via Grasshopper, I have chosen the form where two sectioning systems are joined into the one form, but in differing angles, which provides a visual contrast from the monotony of regular sectioning. Furthermore, I have decided that the main structural element for the sectioned strips is to be formed by another type of sectioning; the original lineal flat sectioning, because despite its lack of flexibility as a design field, it provides strong and very rigid structural properties which would be ideal in aiding to keep the flowing strips in shape and in place. Or alternatively, a simple sectioned waffling structure could be employed as the structural element of the design, as exemplified by the Metropol Parasol in Seville, where a simple waffle structure provides very a strong 58 frame that would suit my design.
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Keeping in mind of the immediate cultural
surrounding of the site, I devised the inspiration of coastal ocean sprays and waves as the shape of my design. Not only does the shape keep in line of the design I wanted, but the shape could also be considered into attain the most solar energy absorption by shaping according to correct angles.
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n regards to scale, I believe that the scale/ size of my design is not the most important aspect in the whole task, considering that surface area is the main goal. Certainly, the larger the scale equates to a larger surface area, and that would be optimal in my goal. But, if instead of mass, I establish numerous smaller scale models, which in sum would produce a larger overall surface area, and therefore obtain the most solar energy, it would be preferred over a large scale model (eg. pg. 64-65). Furthermore, to achieve optimal solar energy absorption, my designs would have to be correctly aligned to Copenhagen’s solar angle throughout the year, which further points out that scale is not a major detail for consideration, as the scale of my project could be applied flexibly in response to desire and not necessity.
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Throughout the course of Part B, (and through many many all-nighters!), the process from reaching from research and observation of theory, to the present stage of creating a form and design has been a valuable achievement to my belief. Though it has to be mentioned that throughout the weeks, many experiments have been fruitless and deeply challenging and confusing, especially with my initial inability to see past the flexibility of sectioning from its monotonous and ‘overly done’ forms shown by so many excellent examples, the challenges of creating numerous iterations has in fact deeply aided me in finding the limitations and the different avenues for further research and experimentations. One of the major reasons of creating so many iterations (I have created 100) is to fully experiment the possibilities in order to exhaust the limitations before I devise my final form. Originally I had little confidence in my work being up to an intellectually and visually stimulating design, considering that all the precedents were after all based on the similar approach of sectioning. However, especially for iterations 40-100, I have tried to explore beyond the basic
7 sectioning by creating something rather different. Furthermore, in the final stages of Part B, I reminded myself of others’ successful (though more laborious and repetitive) precedents of sectioning, and as such tried to combine both the forms into my design- one as the main exterior shape, and the other as the inner formwork, since both has its merits.
However, the project is still yet of finalization, especially in the consideration of scale and size. As mentioned, the sizes of the design is not a major fact of the overall design, but the number of installations still requires attention before final submission. I am currently considering the positive prospects and the logical feasibility of designing my form in three differing sizes and placing them in an interesting manner across the site, as opposed to constructing a very large, but poorly justified mass.
Taking the comments of the crit guests after presentation, I am going to further my research to the differing precedents of sectioned installations, as to understand the designers’ rationale behind the reasoning of the sections, and why
hey chose the specific system, since I believe focusing on the details of the qualities of the specific types of sectioning, and amalgamating them into the one form that I have devised would further justify my decisions of creating a hybrid structure employing only sectioning as a research field. Furthermore, I shall be carefully and exhaustibly considering the differing construction methods of my design and preparing for Part C.
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S O U R C E S IMAGES Fig. 1 Fig. 2 Fig. 3 Fig. 4 Fig. 5 Fig. 6 Fig. 7 Fig. 8 Fig. 9 Fig. 10
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http://www.danieldavis.com/wp-content/uploads/2013/08/tragwerkslehre082_Page_3.jpeg
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http://upload.wikimedia.org/wikipedia/commons/e/ee/Sagrada_Familia_01.jpg
http://upload.wikimedia.org/wikipedia/commons/b/ba/Sagrada_Familia_nave_roof_detail.jpg http://static.dezeen.com/uploads/2013/03/dezeen_Research-Pavilion-by-ICD-and-ITKE_6.jpg http://www.evolo.us/wp-content/uploads/2013/08/Stuttgart-ICD-ITKE-research-pavilion-04.jpg
http://fabricatedrealities.files.wordpress.com/2013/03/5136a95ab3fc4bf0a800022e_icd-itke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning_icd-itke_rp12_image1011.jpg http://designplaygrounds.com/wp-content/uploads/2013/09/digital-grotesque03.jpg http://static6.businessinsider.com/image/51e4638eeab8ea7840000000/the-otherworldly-architecture-of-zaha-hadid.jpg
http://buildipedia.com/images/masterformat/Channels/In_Studio/2011.09.13_edifici_torre_espiral/sketches_zaha_hadid_architects/ edifici_sketch_03.jpg http://www.peruarki.com/wp-content/uploads/importados/369/ peruarki3.jpg
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