STUDIO AIR | JOURNAL
Alicia Chan 526115 Daniel & Kirilly studio air semester 1/2013
CONTENTS 01 INTRODUCTION
PART A
CASE FOR INNOVATION
03 1.1 ARCHITECTURE AS A DISCOURSE 09 1.2 COMPUTATIONAL ARCHITECTURE 13 1.3 PARAMETRIC MODELLING 1.4 ALGORITHMIC EXPLORATIONS 1.5 CONCLUSION 1.6
LEARNING OUTCOMES
INTRODUCTION 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.
< BodyLamp project created in Rhino
Studio Earth. Proposed building design on Herring Island modelled in Rhino. v
I then carried on to use Rhino in designing and modeling buildings for studio projects. The overall experience was an eye-opener with the multitude of possibilities in generating new forms, playing with light and shade, and rendering materials/structures. 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.
PART a: case for innovation
1.1 architecture as a discourse 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 indepth based on their crucial role as a type of architectural communication.
CASE 1: METROPOL PARASOL
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 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. The Metropol has now become a hot-spot for protestors to gain media coverage due to its aesthetic notoriety. It has been reviewed as a work of art and architecture, inspiring new ideas for change in infrastructure; ‘a brave experiment in the potential for architecture to catalyse a heightened sense of awareness.’3 Metropol Parasol’s design considers shade and retaining the presence of the Roman ruins. Columns were thus positioned carefully within the site while still capably supporting the enormous canopy. A high performance polyurethane resin was used to coat the timber for heat resistance4.
Besides acting as Sevilleâ&#x20AC;&#x2122;s new landmark, the Metropol Parasol functions as an organic urban space amongst the dense city center where public congregation and various activities take place. People walking below the canopy or along the walkways are treated to amazing views of the surrounding city, while those looking at the structure from far are intrigued by the unique relationship of this contemporary landmark with the historical and medieval city. Metropol Parasol is suitable as a case study for the design 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. Jurgen Mayer H. married art and sculpture to produce a relationship between human and space. An interesting point to note is that he, too, utilizes 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.
CASE 2: HARPA CONCERT CONFERENCE CENTRE
Isolated at the harbour of Reykjavik, Iceland, the Harpa Concert Conference Centre of 28 000 m2 was completed in 2011 by Henning Larsenn Architects, Batteriid Architects and artist Olafur Eliasson. (Wood 2013)
The South facade features 823 individually crafted 12-sided quasi-brick units, inspired by crsytallized basalt columns, that are huge enough to fit a human inside while the remaining facades and the roof consist of sectionalized two dimensional variants of the 12-sided geometric system, producing a flat surface of five- and six-sided polygonal structural frames. The fabrication and assembly of the quasi-bricks were realised through 3D computer modeling, finite element modeling, various digital visualization techniques, maquettes, models, and mock-ups. The design team even designed each joint connecting the North and East facades, and because these sides are structurally dissimilar, every corner were hand-drawn to fit perfectly5.
The 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. During sunset the lights come on and drop in intensity during twilight as daylight fades. Hence, viewers see each facade constantly changing in appearance. The building displays dynamism and gives an impression that it is ‘alive’.
The façade, however, was incomplete due to construction delay and perhaps, cost which led the community thinking that the building was opened when it was unfinished. Nevertheless, the building has been established a symbol of ‘a new, reborn Iceland or of the same old island that suffered from financial hubris’5 The Baroque theatricality and cinematic architecture of sequence and frame is a key feature of Harpa’s role as an iconic building to catch the public eye. Harpa proves to be moot as, 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 answer. In regards to the Western Gateway design, this precedent promotes the idea of colour and transparency, light and nature-inspired 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’6.
REFERENCE 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 3) Lucy Humphrey 2011, ‘Metropol Parasol’, Australian Design Review, published 1 December 2011, <http://www.australiandesignreview.com/architecture/14290-metropolparasol> 4) Marcia Argyriades, ‘Metropol Parasol - The World’s Largest Wooden Structure”, in Architecture (28 April 2011), <http://www.yatzer.com/Metropol-Parasol-The-World-sLargest-Wooden-Structure-J-MAYER-H-Architects> 5) Adrian Welch & Isabelle Iomholt 2011, ‘Harpa -Award News’, Harpa: Reykjavik Building Iceland, accessed 20 March 2013, < http://www.e-architect.co.uk/iceland/harpa_ reykjavik_concert_hall.htm> 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/> Photos of Metropol Parasol: Fernando Alda in Marcia Argyriades’, ‘Metropol Parasol - The World’s Largest Wooden Structure’, <http://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-WoodenStructure-J-MAYER-H-Architects> Photos of Harpa Concert Hall and Conference Centre: ‘Harpa Concert and Conference Centre Reykjavik by Henning Larsen Architects’, in De Zeen Magazine (25 August 2011), <http://www.dezeen.com/2011/08/25/harpaconcert-and-conference-centre-reykjavik-by-henning-larsen-architects/>
1.2 computational architecture “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 Peters. Two school of thoughts exists in response to the traditional and modern methods of the design process in architecture. The first suggests that the introduction of the computer as a working method would lead to the demise of the more traditional methods of sketching and physical modeling. The second recognizes the potential of technology but maintains that the computer as a device for abstraction is less effective than traditional systems of representation. Both methods have their own advantages. The traditional method ‘opens up’ the designer’s thought process in which he is able to conceive ideas and produce solutions with the nature and power of conceptual ‘tools’in his disposal. Heath argued, ‘The student who cannot draw freely will design within the limits of his power of representation. He is the victim of analogue take-over.’ In contrast, the digital approach invites the designer into a realm based on logic, mathematics, precision and artificial intelligence. When the designer’s cognition interacts with the computer a dialogue begins between two systems of thought: the ‘artificial’ and the ‘biological’. Through this interactions, design cognition -receiving, manipulating and processing information -is bound to experience a change in the way it deals with design problems. This change can take many forms, for instance in designer’s creativity domains -ideation fluency and variety -in his new attitude towards the design process ‘before’ and ‘after’ using the computer, in his ability to test design ideas in an objective sense. Above all there would be a change in the designers ‘visuality’ and the way he sees and perceives images and the way the physical world is experienced through ‘simulated’ reality. Computer-aided design is perceived as either a medium for conceptual design, or a production tool with little impact on design thinking. I disagree with the latter statement. Digital design has produced a new line of futuristic curve-linear buildings that divert from the conventional style of buildings before post-modernism. Eisenman acknowledges the creative potential of computers as they give designers the possibility of constructing objects that would never have been done directly from the mind to the hand. Models are constantly produced after conceptualisation throught digital softwares, a process of constant refinement. Performance analysis of design alternatives conducted later on supercedes physically modelling in terms of accuracy, speed and representation4.
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The Walt Disney Concert Hall is a pioneer in the world of computer architecture. Buildings of complex forms were initially very difficult and expensive to 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 shape5.
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Today, architects are challenged to innovate ways of making the best use of space and location. Better control of the interior climate of the space is preferable, less airconditioning equipment will be needed and less energy will be consumed. Parametric design can be used for making sure that the space within a building is being used at it’s maximum capacity. The new category of buildings that have their structure working as the facade include Jacques Herzog, de Meuron and Li Xinggang‘s The Bird’s Nest. To achieve the optimum design, the design team relied heavily on parametric design software. This helped to work out the sightlines, the bowl geometry, airflow to keep the grass in good condition, seismic studies and to design the external envelope. While the surface of the structure is simple, the geometry is complex - the calculations were so numerous and complicated that they could not be solved manually. Software was needed to make sure that the web of twisting steel sections fitted together, as they have to twist and bend to follow the surface accurately. The “nest” structure, however random it might look, follows the rules of geometry and contains 36km of unwrapped steel6.
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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 evolution7. 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 to explore the vast sea of possibilities design forms can take on, while still being structurally stable.
REFERENCE 4) 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. 5) 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-disneyconcert-hall/ 6) Munsey & Suppes 2013, 2008 Chinese Olympic Stadium, accessed on 18 March 2013, http://olympics.ballparks.com/2008China/index.htm 7) Adel Zakout 2011, ‘Top 10 Buildings: Parametric Design’, The Blog, accessed on 18 March 2013, http://www.huffingtonpost.com/adel-zakout/top-10-buildingsparametr_b_838268.html#s256708&title=Walt_Disney_Concert Photos of Walt Disney Concert Hall: 1 & 3) 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-disneyconcert-hall/ 2) The Economist 2008, From blueprint to database, accessed on 18 March 2013, http:// www.economist.com/node/11482536 Photos of the Beijing National Stadium: 1) Alex Olivas 2012, ‘National Stadium in Beijing, Beijing, China’, accessed on 19 March 2013, http://moreaedesign.wordpress.com/author/olivas1591/ 2) Munsey & Suppes 2013, 2008 Chinese Olympic Stadium, accessed on 18 March 2013, http://olympics.ballparks.com/2008China/index.htm
1.3 PARAMETRIC MODELLING
“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.
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.8 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. 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 -as is the case with traditional software approaches. Hence, a change in one parameter can be adjusted and incorporated within the system as a whole (refer to Fig.2). 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.9
The figures (from left to right) 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. Data related to the dimensions, position and joint angles of each designated element was exported to a master document for fabrication while each member was described with a scripted labelling system that allowed easy identification during manufacturing and assembly.9
‘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 form10.
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. â&#x20AC;&#x153;Vous soir Cloud attempts to defamiliarize both structure and the wood material to create conflicted readings of normative architectural typologies. It is a light, porous surface made of compressive elements that creates atmosphere with these luminous wood pieces, and uses this to gain sensorial effects.â&#x20AC;?10
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.11 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.
REFERENCE 8) Tim Culvahouse 2012, ‘Parametric Voices’, accessed on 25 March 2013, <http:// aiacc.org/2012/06/26/parametric-voices/> 9) 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> 10) Triangulation Blog 2011, ‘Voussoir Cloud’, accessed 26 March 2013, <http://www. triangulationblog.com/2011/06/voussoir-cloud.html> 11) American Institute of Architects California Council 2012, ‘Parametric Design: A Brief History’, accessed 26 March 2013, <http://aiacc.org/2012/06/25/parametricdesign-a-brief-history/> Photo of Membrane Canopy: 1, 3) AA EmTech 2012, ‘Membrane Canopy’, accessed on 27 March 2013, <http://emtech.aaschool.ac.uk/2010/10/24/membrane-canopy-2007/> 2, 4) 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> 5) Achim Menges, AA Component Membrane, accessed on 25 March 2013, http:// www.achimmenges.net/?p=4445 Photos of Voussoir Cloud: 1) Triangulation Blog 2011, ‘Voussoir Cloud’, accessed 26 March 2013, <http://www. triangulationblog.com/2011/06/voussoir-cloud.html>
1.4 algorithmic explorations
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.
1.5 conclusion
1.6 learning outcomes