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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 1. 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 2. 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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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
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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), 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 (Fig. 12) 3.
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) and Oleg Soroko’s Parametric Bench (Fig. 13) 4, where the concept is carried out, resulting in a sculptural piece of design.
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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.13, 14). Furthermore, as suggested earlier, architects such as Zaha Hadid seems to place form/ parametric aesthetics before and over functionality 5, 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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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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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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Fig. 11
http://www.danieldavis.com/wp-content/uploads/2013/08/ tragwerkslehre082_Page_3.jpeg
http://cooksipgo.com/wp-content/uploads/2014/06/Gaudi-LaPedrera-Hanging-Chains.jpg
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_ResearchPavilion-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
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Fig. 12 Fig. 13 Fig. 14 Fig. 10 Fig. 11 Fig. 12 Fig. 13 Fig. 14 Fig. 15
http://internet.henn.com/sites/default/files/styles/detail_landscape/public/research/superformula-tower/images/cc.henn. studyimagessuperformulatower1.jpg?itok=GlySuJUm http://www.iam-architect.com/wp-content/uploads/2014/08/ IA-vgre-1.jpg
http://www.caad.arch.ethz.ch/blog/wp-content/uploads/2013/09/installation4.jpg
http://piecedwork.files.wordpress.com/2011/10/080324-sanfrancisco-114.jpg http://zenandtheartoftravel.com/wp-content/uploads/2012/05/DSC_0104.jpg
http://eliinbar.files.wordpress.com/2012/05/1233_zaha_sketch8-edit.jpg http://www.peruarki.com/wp-content/uploads/importados/369/peruarki3.jpg
http://piecedwork.files.wordpress.com/2011/10/080324-sanfrancisco-114.jpg http://zenandtheartoftravel.com/wp-content/uploads/2012/05/DSC_0104.jpg
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REFERENCES 1 2 3 4 5
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“Gaudi: La Sagrada Familia Museum”, Adagio journal, last accessed 20th August 2014 at http://adagiojournal.wordpress. com/2011/11/15/gaudis-hanging-chain-models/
“ICD/ITKE Research Pavilion”, Institute for Computational Design, last accessed 18th August 2014 at http://icd.uni-stuttgart. de/?p=7653
“Superformula Tower”, HENN, last accessed 19th August 2014 at http://www.henn.com/en/research/superformula-tower “Parametric Bench”, Archello, last accessed 19th August 2014 at http://www.archello.com/en/product/parametric-bench
“‘Aggressive and banal’- Zaha Hadid’s Serpentine Sackler Gallery”, bdonline.co.uk, last accessed at 20th August 2014, http:// www.bdonline.co.uk/aggressive-and-banal-zaha-hadids-serpentine-sackler-gallery/5061185.article
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