Alicia Chan SEM 1/2013 Daniel & Kirilly
01 INTRODUCTION
PART A 03 07 14 18 19
1.1 1.2 1.3 1.4 1.5
20
1.6
CASE FOR INNOVATION ARCHITECTURE AS A DISCOURSE COMPUTATIONAL ARCHITECTURE PARAMETRIC MODELLING ALGORITHMIC EXPLORATIONS CONCLUSION LEARNING OUTCOMES
My name is Alicia Chan and I am currently in my final year of Architecture. Throughout my 2 years in this course, I had learnt to use Rhino and Autodesk Revit. In the first year, I was introduced to Rhino in Virtual Environments in which I had to design a ‘Body Lamp’using parametric design. However, I did not have the time to explore Grasshopper; so, I hope to experiment with this plug-in as much as I possibly can.I then carried on to use Rhino in designing and modeling buildings for studio projects. Constructing a building model on Rhino was tough and I had to watch many tutorials. Till today, I find rendering to be a difficult technique to handle as lighting and material appearance has to be adjusted exceptionally well in order to obtain a good render. The overall experience was an eye-opener with the multitude of possibilities in generating new forms as I was introduced to Paneling Tools, a beginner tool for parametric design. As for Revit, I am familiar with the basics of constructing a building and have yet to explore further. Other tools I had used include AutoCAD, Adobe Photoshop and Indesign.
INTRODUCTION | 01
PART A: case for innovation
In Schumacher’s, ‘The Autopoiesis of Architecture’, he theorized that architecture is an autonomous network of communications, involving artefacts, knowledge and practices, which sparks a discourse within the society1. Similarly, Richard Williams describes architecture as a ‘field which is better regarded as a network of practices and debates about the building.’ For a building to be a topic of discussion, it must possess a significant or unique quality that piques the interest and curiosity of the viewer’s mind; causing them to question the relationship of the building with art, history, culture, landscape, etc2. It is an inherent characteristic of architects to constantly revolutionise architecture; and what more with 3D modelling creating even greater opportunities for them to churn extraordinary designs. Two case studies will be explored in-depth based on their crucial role as a type of architectural communication.
1) Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), p. 1. 2) Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 105
1.1 architecture as a discourse | 02
Designed by J. Mayer H. Architects, Metropol Parasol is the largest wooden structure situated at Plaza de la Ercarnacion, Seville, Spain. It was completed in April 2011 as part of a redevelopment project of the Plaza. The structure consists of an array of sequential undulating parasols which form a waffle-like canopy. The wooden panels intersect at two perpendicular axis, rising high from a concrete base reinforced with steel. The design approach for the Metropol Parasol utilized contemporary digital software in the generation of a form enveloping a space within a built environment. Mayer was very interested in how technology shapes the design process and the people’s understanding of the built environment. Hence, he proposed the parametric form created by digital software as an innovative solution to a new, iconic landmark for Seville. “the form of this building was inspired by the vaults of Seville expansive cathedral -I wanted to create a “cathedral without walls”that
would be “democratic”and also by the handsome tree already in the square.” -Jurgen Mayer H.
1,700 visitors roa around, within the every day, making and more a part o
Mayer’s vision was to create an ‘urban, democratic, open cathedral that is held together by the people and the life in the center of the city.’
The Metropol Paraso museums, a market, a plaza and a restaura also a hot-spot for p gain media coverag aesthetic notoriety. viewed as a work architecture, inspiring for change in inf ‘a brave experime potential for a to catalyze a h sense of a
Sustainability was also another fundamental concern in Mayer’s design for the Metropol. Not only does sustainability do good for the environment and the community, it focuses architecture towards designing for a better future. Hope and idealism is thus created, and the Metropol serves an inspiration for all designers to get on the right track and think forward. Jurgen encourages to move away from Post-Modernism and Deconstructivism, styles that will always anchor buildings in the past, like a tradition that repeats itself endlessly. Initially, the project was wellreceived by the public; yet, some were sceptical as a different architectural language was used. Nevertheless, its popularity was remarkable since its opening. An estimated
Besides acting a new landmark, the Parasol functions as urban space am dense city center w congregation and activities take plac walking below th or along the wal treated to amazing the surrounding c those looking at th from far are intrigu unique relationship contemporary land the historical and me Metropol Parasol is su case study for the de
metropol parasol | 03
am below, e structure g it more of the city.
ol now offers an elevated ant on it. It is protestors to ge due to its It has been of art and g new ideas frastructure; ent in the architecture heightened awareness.’3
as Seville’s e Metropol an organic mongst the where public d various ce. People he canopy lkways are g views of city, while he structure ued by the p of this dmark with edieval city. uitable as a esign of the
Wyndham gateway because the architecture of the structure commands discourse on its role as a contemporary sculpture and the spatial experience of users who perform activities below and around it. Mayer married art and sculpture to produce a relationship between human and space. And he utilized computerized design to create complex forms with non-repeating elements. Similarly, algorithms can be used in the design of the gateway to enhance its complexity that either reflects or stands out from the urban development around the site3.
1) Lucy Humphrey 2011, ‘Metropol Parasol’, Australian Design Review, published 1 December 2011, <http:// www.australiandesignreview.com/ architecture/14290-metropol-parasol> 2) Marcia Argyriades, ‘Metropol Parasol - The World’s Largest Wooden Structure”, in Architecture (28 April 2011), <http://www.yatzer.com/MetropolParasol-The-World-s-Largest-WoodenStructure-J-MAYER-H-Architects> 3) Diane Pham 2012, Video: Inhabitat Interviews Metropol Parasol Architect Juergen Mayer H., accessed 2 April, <http://inhabitat. com/video-inhabitat-interviews-metropolparasol-architect-juergen-mayer-h/2/> All photos are taken from: Fernando Alda in Marcia Argyriades’, ‘Metropol Parasol - The World’s Largest Wooden Structure’, <http://www.yatzer. com/Metropol-Parasol-The-World-s-LargestWooden-Structure-J-MAYER-H-Architects>
metropol parasol | 04
The Harpa Concert Hall and Conference Centre, designed by Danish architectural firm Henning Larsen Architects and Icelandic architectural firm Batteríið Architects in collaboration with artist Ólafur Elíasson, is part of an extensive harbour development project in Reykjavik, Iceland. The building’s role is to revitalise the city’s historical eastern harbour; to generate life and connect the city centre with the harbour. Harpa is also designed to be a significant icon of Reykjavik that is visually attractive to visitors4. With the capacity to fit 1,800 people, the city hopes that the new hall will become a symbol of renewed dynamism that will energize and strengthen the capital with its mix of concerts, exhibition, conventions, public programs and receptions5. Located at the waterfront, Harpa’s faceted glass scatters reflections of the dramatic Icelandic scenery of the sea and mountains, the changing harbour sky in kaleidoscope and the vibrant city life, similar to the northern lights. At night, more than 700 LED strip lights embedded in the building’s facade are lit to create a glittering
effect. The lights are programmed on a 75-second loop, so the intensity fluctuates to achieve different optical effects on the facades. Viewers see each facade constantly changing in appearance. The building displays dynamism and gives an impression that it is ‘alive’. The Baroque theatricality and cinematic architecture of sequence and frame is a key visual feature of the concert hall. In the words of Henning Larsen’s principal architect, “The building itself poses a...question: What is art and what is architecture?”-a question that the city of Reykjavik hopes visitors will come to Harpa to answer6. The architect-artist collaboration stirs up confusion in the façade features as the design aspect seems to be the artist, Eliasson’s own rather than the architects’. Is the facade considered a work or art or architecture when the architects contributed significantly lesser than the artist? However, this question applies to the building façade exclusively. The concert hall is not only a major contribution to Reykjavik’s cultural scene,
View of Harpa at the harbour front and the city in the background
View of Harpa at the harbour front
harpa concert conference centre | 05
5
it is showcasing a new architectural language in which technology was used to find solutions for the building’s design. The team encountered a challenge of designing a modular structure in a way never seen before. The façade’s vertical span exceeds 30m and the lateral wind loads are very strong. Due to the artist’s vision, the structure is highly unconventional; it was a combination of a beam, a truss, a grid, and a vierendeel beam. The structural analysis was conducted using the most sophisticated software available, allowing the whole steel structure to be designed as solid components. Further, in order to achieve a fully coordinated design and ensure all geometric interfaces were well managed, all disciplines were designed in one 3D model, which resulted in the largest 3D model ever developed for a building at that time. Therefore, Harpa’s design was made successful with the help of technology, and it is proudly telling that to the world7. In regards to the Western Gateway design, this precedent promotes the idea of colour and transparency, light and natureinspired geometry to not solely enhance
visual attractiveness and prominence, but to form a dialogue between the building, city and the surrounding landscape. The organic approach dematerialises the building as a static entity by responding to its surroundings and giving it life.
4) Harpa Reykjavik Concert Hall and Conference Centre 2013, About Harpa: The Project, accessed on 2 April 2013, <http:// en.harpa.is/about-harpa/the-building/the-project/> 5) Diane Pham 2010, Iceland’s Luminous New Harpa Concert Hall Nears Completion, accessed on 2 April 2013, <http://inhabitat.com/icelands-luminous-newharpa-concert-hall-nears-completion/facade/> 6) Hanley Wood 2013, ‘Harpa - Reykjavik Concert Hall and Conference Centre’, in Architect, accessed on 10 March 2013, <http://www.architectmagazine.com/projects/view/ harpareykjavik-concert-hall-and-conference-centre/594/> 7) World Architecture News 2012, HARPA - Reykjavik Concert Hall and Conference Centre, Reykjavik, Iceland, accessed on 2 April 2013, <http://www.worldarchitecturenews. com/index.php?fuseaction=wanappln. p r o j e c t v i e w & u p l o a d _ i d = 2 0 1 6 4 > The photos below are taken from: World Architecture News 2012, HARPA - Reykjavik Concert Hall and Conference Centre, Reykjavik, Iceland.
Reflective facade of Harpa inspired by the northern lights.
harpa concert conference centre | 06
“The term ‘computation’ means the use of the computer to process information through an understood model which can be expressed as an algorithm. This then allows the exploration of new ideas: computation augments the intellect of the designer and increases capability to solve complex problems.” -Brady Peters1 The digital approach invites the designer into a realm based on logic, mathematics, precision and artificial intelligence. The interaction with a computer compels the design cognition -the receiving, manipulating, and processing of information -to change in terms of addressing design issues. Such changes take place in the designer’s creativity domains in the new attitude towards the design process before and after using the computer. The designer is introduced to a design space where the exploration of ideas and solutions is infinite. Essentially, the designer experiences an all-new perspective of the physical world experienced in the virtual realm.2
construction technologies can now be achieved with the emergence of digital modelling software such as NURBS in Rhino, algorithm in Grasshopper, and CAD/CAM technologies that facilitate the designer’s search for new tectonics to create undulating, sinuous skins buildable within reasonable budgets. The processes of describing and constructing a design can be now more direct and more complex because the information can be extracted, exchanged, and utilized wit h far greater facility and speed; in short, with the use of digital technologies, the design information is the construction information.
Computational design is normally characterized as ‘dynamic, open-ended and unpredictable’ but constant formchanging of three-dimensional structures result in new architectonic possibilities. The production and construction of very complex forms that used to be very difficult and expensive to design, produce, and assemble using traditional
“What unites digital architects, designers and thinkers is not a desire to ‘blobify’ all and everything, but the use of digital technology as an enabling apparatus that directly integrates conception and production in ways that are unprecedented since the medieval times of master builders.”3
1) Porter & Hanna, ‘Methods for Investigating architecture: from the physical to the digital’, edited by Ali & Brebbia, Digital Architecture and Construction, WIT Press 2006. United Kingdom. 2) Porter & Hanna, ‘Methods for Investigating architecture: from the physical to the digital.’ 3) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp.4-7
1.2
computational architecture | 07
In architectural discourse, the question raised in terms of the use of digital technology is the identification of master of controlling information. The ultimate goal becomes to construct a four-dimensional model encoded with all qualitative and quantitative dimensional information necessary for design, analysis, fabrication and construction, plus time-based information necessary for assembly sequencing. The result is a single, cohesive, complete model that contains all the information necessary for designing and producing a building. This single source of information would enable the architects to become the coordinators (master builders) of information among various professions and trades involved in the production of buildings.4 The Walt Disney Concert Hall, proudly designed by Frank Gehry, shall be explored based on the architectâ&#x20AC;&#x2122;s level of contribution as the master builder equipped with digital modelling technology. Buildings of complex forms were initially very difficult and expensive to
Four dimensional model of the concert hall.5
design, produce and assemble using traditional construction technologies. Without the use of CATIA (Computer-Aided Three-Dimensional Interactive Application), construction of the concert hall would have been impossible. After a physical model is built, the model is scanned by a laser device that transmits coordinates to the CATIA program. CATIA then shows a 3D section of the model, which can be viewed as a movie that gives structural coordinates as well as a time schedule for project completion. These paperless plans are more easily understood by a contractor and construction crew and allow Gehryâ&#x20AC;&#x2122;s unconventional forms to take shape6. 4) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 8 5) The Economist 2008, From blueprint to database, accessed on 18 March 2013, <http://www.economist.com/node/11482536> 6) David Balian & Kristina Ferris 2004, University of Southern California, accessed on 18 March 2013, <http://illumin.usc.edu/177/ curves-of-steel-catia-and-the-walt-disney-concert-hall/>
WALT DISNEY CONCERT HALL | 08
WALT DISNEY CONCERT HALL | 09
“CATIA provides a way for me to get closer to the craft,” said Frank Gehry referring to the software that was implemented in his practice. “In the past, there were many layers between my rough sketch and the final building, and the feeling of the design could get lost before it reached the craftsman. It feels like I’ve been speaking a foreign language, and now, all of a sudden, the craftsman understands me. Flat drawings of curved surfaces can be beautiful, but they are deceptive; with CATIA you can see how to build it.”7 -Frank Gehry (May 2001)
7) Bianny Poueriet 2007, REJECTING MATERIALITY, accessed 3 April 2013, <http://iaac-digitalarchitecture.blogspot.com.au/ >
WALT DISNEY CONCERT HALL | 10
BEIJING NATIONAL STADIUM | 11
Computation softwares have been developed as generative tools for the derivation of forms and its transformation. This process is known as ‘digital morphogenesis’, and it has radically changed the range of achievable geometries compared to conventional design techniques of sketching and physical modeling. With digital design technology at hand, designers can now articulate an internal generative logic, which then produces a range of possibilities from which the designer can choose an appropriate formal proposition for further development. Complex curvelinear geometries can be generated easily by constant dynamic transformation of the surface shape. Indirectly, design methods have shifted to ‘form-finding’ rather than ‘form-making’ through manipulation. Generative design techniques are popular in the form-finding approach as in can deal with massive amounts of data to be programmed, using algorithms, for the customization of various designs and patterns.8 The Beijing National Stadium, a collaborative design effort by Jacques Herzog, de Meuron and Li Xinggang, fashions the ‘Bird Nest’ design produced by generative design. Algorithms were used to evaluate the design of the ‘bird nest’ framework capable of adapting within a set of specific parameters and hence, enhance the performance capabilities of the main structural members. Genetic algorithms were programmed to ‘choose’ a more desirable result, in which genetic evolution and the mutation process were emulated so that the algorithm could ‘evolve the solution over time as it runs through iterations to learn, grow, and adapt, while converging towards possible optimal solutions.’ The stadium’s framework, thus, consists primarily of an array of structural members organized in a uniform radial configuration, and a second layer of interweaving web pattern optimized to have a uniform opening distribution to minimize localized stresses on the structural framework.9 The figures on the left-hand side (clockwise-direction): 1) The framework of primary structural steel members.10 2) Control points of the roof.11 3) The addition of the roof onto the framework.12 4) Night view of the Beijing National Stadium.13
8) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 18 9) Kara & Georgoulias 2013, Interdisciplinary Design: Eroding Borders and Boundaries, ACTAR (2013), p.171 10) Alex Olivas 2012, ‘National Stadium in Beijing, Beijing, China’, accessed on 19 March 2013, <http://moreaedesign.wordpress. com/author/olivas1591/> 11) Ren, Wen, Chen & Shi, ‘Modeling of irregular structures for the construction simulation in virtual reality environments based on web,’ in Automation in Construction, Vol. 13 (5), September 2004, <http://dx.doi.org/10.1016/j.autcon.2004.04.007> 12) Ren, Wen, Chen. Shi, Automation in Construction. 13) Munsey & Suppes 2013, 2008 Chinese Olympic Stadium, accessed on 18 March 2013, <http://olympics.ballparks. com/2008China/index.htm>
BEIJING NATIONAL STADIUM | 12
“
Parametric design is, in a sense, a rather restricted
term; it implies the use of parameters to define a form when what is actually in play is the use of relations. –—Dr. Javier Monedero
”
“The form of the house is not amorphous, not a free for
all form. On the contrary, its construction has strict boundaries according to the scale of your living. Its shape and form are determined by inherent life processes.” —Frederick Kiesler.
“The computer did not invent parametric design, nor did it redefine architecture or the profession; it did provide a valuable tool that has since enabled architects to design and construct innovative buildings with more exacting qualitative and quantitative conditions.” —AIA California Council.
1.3
parametric modelling | 13
With the use of parametric software, architects are able to study relationships and incorporate basic aspects of the actual construction including material, manufacturing technologies and structural properties into the design process. It has allowed for architectural design to become an iterative, generative and reactive process rather than one of evolution1. During the design process of the Gateway, parametric designing software like Grasshopper can be heavily utilised to generate designs with varied and unique geometric designs. The human mind, though it is the main imaginative tool for designing, is still limited if not presented the opportunity
1) Tim Culvahouse 2012, â&#x20AC;&#x2DC;Parametric Voicesâ&#x20AC;&#x2122;, accessed on 25 March 2013, <http://aiacc.org/2012/06/26/parametric-voices/>
PARAMETRIC MODELLING | 14
Mark Anderson, Associate Professor in UC Berkeley emphasized the importance of parametric modeling as a potential tool to utilize the immensely resourceful environmental data. A particular precedent that exemplifies the practicality of parametric modeling in architectural design is the Architectural Association Component Membrane Canopy Project for the Architectural Association School of Architecture in London. The membrane canopy was designed for the Projects Review (an annual public showcase of excellent and innovative work) of the Architectural Association (AA) by the Emergent Technologies and Design MSc/MArch Programme in collaboration with Buro Happold, one of London’s leading engineering firms.2 The design intent of the canopy was a lifespan of 2 years, and to act as a shelter for the roof terrace of the school. The canopy’s main objective was to operate both as a design research exploration of material and construction experimentation, and as a project for the school’s interactive open space with a restricted design and manufacturing period of only seven weeks. The entire design process relied on the parametric software, GenerativeComponents which enabled a significant level of control over an intensely complex structure through a hierarchical build-up of parametric relationships in tandem with certain control mechanisms.3
2) Tim Culvahouse 2012, ‘Parametric Voices’, accessed on 25 March 2013, <http://aiacc.org/2012/06/26/parametric-voices/> 3) Bentley Systems 2009, ‘Case Study: AA Component Membrane Canopy for the Architectural Association School in London’, accessed on 25 March 2013, <http:// ftp2.bentley.com/dist/collateral/docs/case_studies/cs_ aa_component_membrane_canopy_for_architectural_ association_in_london.pdf>
AA MEMBRANE CANOPY | 13
The left figure4 above shows the design development GenerativeComponents. A component-based design approach was used for this project in which this software partakes in varying the design as iterated analyses were conducted to determine the best spatial and environmental adaptations. The final digital model was translated into manufacturing data so that the membranes could be laser-cut while the steel elements were fabricated manually by students. The establishment of the associative parametric framework proved to be highly indispensable for such a differentiated and precision-demanding structure. The model was continually updated using interpolated data from the engineering analyses regarding global geometric strategy, local and global population densities, force vector paths and structural depths. The changes in design were facilitated by the use of the parametric software which addresses as the basis of its operation the interrelation between elements rather than simply fixed measurements. Hence, a change in one parameter can be adjusted and incorporated within the system as a whole. This capability allowed the Emergent Technologies team to adjust the angles of the membranes in the structure and, as a result, the sun shading provided and the structure’s morphology.5 With high-tech computer-adied programs like GenerativeComponents in the educational environment, digital architecture may have a long live span as the society is moving forward to more complicated designs. However, there is an extent as to how long it will take architecture students to develop master skills ito produce complex avant-garde designs.
4) Bentley Systems 2009, ‘Case Study: AA Component Membrane Canopy for the Architectural Association School in London’ 5) Bentley Systems 2009, ‘Case Study: AA Component Membrane Canopy for the Architectural Association School in London’
AA MEMBRANE CANOPY | 14
‘Voussoir Cloud’ is another precedent that glorifies the use of parametric scripting to design an optimized geometrical pattern suitable for a lightweight material to withstand the compressive forces. Designed by Iwamotoscott Architecture and Buro Happold, this installation that ‘explores the structural paradigm of pure compression coupled with an ultra-light material system.’ Its design was derived from the works of Frei Otto and Antonio Gaudi, who experimented with the hanging chain models for an efficient form. Similarly, computational hanging chain models were used to refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes. The project started with the physical modeling of folded models to test geometric relationships of bending along a curved seam, the design and construction process that followed focused on calibrating the relationship of digital model to physical corollary through iterative empirical testing of four different cell types -with zero, one, two or three curved edges. Each cells had different behaviourial characteristics in terms of size, edge conditions, and position relative to the overall form6.
6) Triangulation Blog 2011, ‘Voussoir Cloud’, accessed 26 March 2013, <http://www. triangulationblog.com/2011/06/voussoir-cloud. html> All photos are taken from: 7) Triangulation Blog 2011, ‘Voussoir Cloud’
VOUS SOIR CLOUD | 15
A computational script was developed in Rhino to generate the unique curved petal geometry pattern. In order to achieve the curvature of each petal edge, a tangent offset function allowed for the adjustment of the curvature -the larger the offset, the bigger the curvature. The script is then programmed to proportionate the amount and size of petals to the plan curvature. In the design, the petals are defined with less offset, and are therefore flatter towards the base and edges where they gain density and connect to purely triangulated cells. They have greater offset, and more curvature at the top to create the dimpled effect on the interior. The Rhinoscript instantiated each of the 2,300 petals according to these criteria. After the 3D model of the petal geometries were made, a second batch process was developed to unfold each petal for laser cutting. Finally, the petals were pieced together by folding along the curved score lines, and simply zip tied together.7 Through this precedent, it is evident that with parametric design, the range of materials to choose from is broaden and the fabrication process is simplified for easier installation, and thus making the design more sustainable which is one of the current concerns of
8) Triangulation Blog 2011, ‘Voussoir Cloud’, accessed 26 March 2013, <http://www. triangulationblog.com/2011/06/voussoir-cloud. html> All photos are taken from: 9) Triangulation Blog 2011, ‘Voussoir Cloud’
VOUS SOIR CLOUD | 16
Corresponding to ‘architecture as a discourse’, parametric modelling has indeed stirred mixed reviews amongst the architectural society. Not everyone is inclined to accept the promises of computer design and parametric scripting. At the conference at the BAC in 1965, Christopher Alexander, then an assistant professor at UC Berkeley, expressed his concern that architects might “fatally distort the nature of design by restating design problems solely for the purpose of using the computer.” He did not believe that there were design problems—environmental or architectural— so complex that they required a computer to solve, and he was not convinced that architects would not oversimplify design complexity to meet the limited input and operational capacities of their computers. The computer could not keep pace with the facility of human intuition for inventing architectural forms and deriving design solutions for complex problems.10 I strongly think that parametric modeling tools are intrinsic for designing within the limits of certain specifications. The capability of the design to adapt to environmental, cultural, spatial, material, and budget conditions increases the potential for future building designs to possess logical yet absurdly wild and cool new types of spaces , forms and experiences. In essence, the future will always necessitate change; and parametric modelling appears to be the major innovative ‘change’ sweeping across the world today.
10) American Institute of Architects California Council 2012, ‘Parametric Design: A Brief History’, accessed 26 March 2013, <http://aiacc. org/2012/06/25/parametric-design-a-briefhistory/>
PARAMETRIC MODELLING| 17
The driftwood surface is indeed a helpful method of sectioning which comes in handy for fabrication later in the design process. In my opinion, the more complex a model becomes, fabrication should be made as easy as possible to reduce cost of labour and material.
The spaceframe truss that was generated by a definition downloaded from the Grasshopper website had taught me on how to create my own definition. The most interesting part about it is that I can link similar functions together to others in order to generate a more complex yet controlled form. I believe that an architect should be well-equipped with sufficient knowledge on parametric scripting and techniques when using the software. In that sense, the architect has full control of his/her design; holding the power to vary form and function.
1.4 algorithmic explorations | 18
Architecture is a compelling language or style that defines how a particular building sits within its site context, as well as the former functional and aesthetics ambitions. These criteria cannot be solely achieved by the architect; other professions must be gathered to form the entire design team. In the two case studies, Metropol Parasol and Harpa Concert Hall & Convention Centre, it is apparent that in order to achieve such avantgarde buildings, construction engineers have to be brought in to provide insight and structural solutions. Digital technology in architecture is gaining lightning-speed momentum worldwide. All of the case studies had utilized computer software in one aspect or another but, mainly in the three-dimensional modelling of the building which includes the analysis of the structural capabilities, fabrication solutions, geometry optimization etc. However, if architecture is regarded as art; a building as an individualâ&#x20AC;&#x2122;s masterpiece, digital modelling can definitely achieve innovative and creative solutions that could not possibly exist with traditional design techniques. Referring to the precedents, Walt Disney Concert Hall and the Beijing National Stadium, they offered a revolutionary style for the 21st century. The former introduced Frank Gehryâ&#x20AC;&#x2122;s innovative use of CATIA technology to achieve the concert hallâ&#x20AC;&#x2122;s curvelinear facade. The latter, on the other hand, relied on computer softwares to construct an optimized nest of structural frames. As art, these buildings are aesthetically attractive and considered different than buildings of preceding centuries. Lastly, parametric modelling is currently an advanced design technique that does so much more than enhancing the visual aspect of a building. It forms a debate within the architectural community and the public about the suitability of parametric style in this era, the adaptability of form to spatial context, and the vast amount of opportunities for form exploration. It is questionable about the extent parametric design will develop over the century as it is currently implemented in architectural education.
1.5 conclusion | 19
Before this semester, I was not keen to explore digital modelling in terms of using Grasshopper and experimenting with algorithms. I had the idea that when I start working, I would be using AutoCAD and Revit for projects. That idea has now changed after my eyes were opened to the vast range of possibilities that parametric modelling can offer. Even the research process for precedents, especially the Metropol Parasol, increased my hunger to explore Rhino and Grasshopper. I admire how architecture is able to fit a modern-looking structure into a completely different urban context; and yet, it connects beautifully with the people moving around or within it. Unaware of how much architectural style has changed, I begin to question myself, â&#x20AC;&#x2DC;What is a modern building?â&#x20AC;&#x2122; There are numerous answers, to list a few -contemporary techniques (the use of computer software and parametric modelling) in the design approach for the building, or visually different from past architectural styles.
1.6 learning outcomes | 20