Studio Air - Alison Fong 830833 Part A by Alison Fong

STUDIO AIR Alison Fong I 830833 Semester 2, 2017 Tutor: Julius Egan

Table of Contents Introduction...........................................................................................................i

Part A. Conceptualization......................................................................................01 A. 1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches

Introduction

y name is Alison, and I am studying Bachelor of Environments majoring in Architecture at the University of Melbourne.

My introduction too digital design tools was with Rhino3D. Although I am still a novice in terms of my digital modelling skills, I have explored the tool through the subject â&#x20AC;&#x2DC;Digital Design and Fabricationâ&#x20AC;&#x2122; last semester, where I was involved with using the tool to create a wearable piece to reflect our personal space. Through the same course, I have also approached digital design theories. Exploring the way we fabricate and approach design as we move towards a new age of technology and focus on designing for the distinct, where machinery has allowed us to not only mass produce but also to customise. Our relationship between technology and design is continuously blurring and can also influence the design process as well as the design itself. Projects such as the ICD Research Pavilions are created using digital tools, creating pieces of precision and relying heavily on prefabrication materials. However, despite reliance on digital tools for production, it looks to the human/natural world for inspiration. To me, architecture is form-finding; how we approach different design ideas to achieve a certain form as our end product (though not necessarily limited to the physical realm).As such, I believe it is important that we utilise and incorporate digital technology in our architectural education, as through experimenting in person will we be able to understand and find the optimal balance in the relationship between technology and architectural design.

Figure A - Rhino model of Exploration of Personal Space - Digital Design and Fabrication, Semester 1, 2017

Figure B - Close up image of Exploration of Personal Space - Digital Design and Fabrication, Semester 1, 2017

Figure C - Final product of Exploration of Personal Space - Digital Design and Fabrication, Semester 1, 2017

PART A. CONCEPTUALIZATION A. 1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches

A.1 Design Futuring

esign in culture has witnessed a revolution with the introduction of digital tools. From the specialist that call themselves ‘designers’ or ‘architects’, now the majority of society are able to access digital tools, which enable them to take charge of the design process, for example online interior design software, that allows users to trial different wallpaper colours to trial and ‘design their own room’. However, is this truly ‘design’ ? How is it justified that it is not a conning system, in which it is simply selecting from a variety of set options, rather than an actual action of engaging in an active design process ? “Design ethics is massively underdeveloped and even in its crudest forms remains marginal within design education.” 1 Design technologies are linked to conditions of unsustainability as we try to keep up with the demands of our growing supply chain. The argument, is that there is a lack of education and ethics on the use of designing digitally, and the exploitation of our design powers is reflected on our diminishing resources. There is a need for a clearly defined model and to explore the ideas of ‘critical design’, where speculation and alteratives are explored. There is a not only a need for redirection, but also the change in the user’s attitude and values.

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.3.

CONCEPTUALIZATION

Precedent 01

Project: Whale House Architect: Vittorio Giorgini Date: 1961 Location: Baratti, Italy

iorgini’s ‘Whale House’ in Baratti Italy was built by Florentine architect Vottorio Giorgini in 1961. Though highly radical at the time due to its’ unusual design and concern for stability. He was largely interested in exploring the relationships between nature and architecture, a theme which was explored during the 1950s and 1960s under the name of “Florence School”. In this design, he took inspiration from whales, hence literally translating to the name of the house. Its’ curving concrete walls represent the body of the whale, as well as the organic features of the waves and ripples of the ocean.

Figure 1. Whale House (1961) - Vittorio Giorgini

CONCEPTUALIZATION

This project was far ahead of its time, not only in its form, but also in its’ fabrication method, where it is the first building in the world to be constructed based on an iso-elastic membrane and fabricated from concrete and wire netting. Giorgini’s exploration of structural properties in concrete and behaviours of forces was a process that is required in design making. Rather than considering the economical profits of buildings, design should be steered towards sustainability and how it can harmonize with the surrounding environment. This also allowed for the integration with engineering designs, as the hybrid of sculptural expression was explored. This design theory was not popular until recently with the increasing active roles of engineering in the design of buildings and utilisation of digital design.

Precedent 02

Project: Walking City Architect: Archigram (Ron Herron) Date: 1964 Location: London, United Kingdom

rchigram was a group formed by architects such as Peter Cook and Ron Herron in Britain during the 1950s to 1960s. They were heavily influenced by Futurism and although was only realized through paper architecture, they were greatly influential, later being a huge influence on the High Tech architectural projects in the 1970s, such as Renzo Piano and Richard Roger’s Centre Georges Pompidou in Paris (1971-7) (Figure 3) and Richard Roger’s Lloyd Building in London (1979). Archigram’s projects promoted the city as a living organism and focused on the idea of creating a whole new reality. This was a response to the increasingly popularized idea of pro-consumerism as well as technological innovations of the time. Ron Herron’s ‘Walking City’ features a city that incorporates residence, transport, business and all essential utilities and services, all situated on moving robotic megastructure. He proposed that cities were also similar to living matter, in which it functions like one; stimulating the way cities were viewed as simply a static hub with multi-infrastructure building and residents - the way transport networks or technological networks act as a biological system or how the different networks integrate between each other in order for it to move smoothly.

From top to bottom: Figure 2. Walking City (1964) - Ron Herron Figure 3. Centre Georges Pompidou (1971-7) - Richard Rogers and Renzo Piano

CONCEPTUALIZATION

A.2 Design Computation

echnological innovation has enabled designers to be able to synthesize material culture and form generation, as well as explore complex parametric designs and formalize biomimetic principles, producing a second nature.2 Through the use of digital technology, as designers we are empowered and given the ability to ‘craft’, re-visiting the age where architects were once known as the master builder and held understanding of the construction process.3 Computers hone a spectacular amount of memory and technologies that are only enabled when a ‘human’ user is controlling it. It has allowed for low risk experimentation and also extreme designs, allowing robots to take over the hand of the craftsman. However, to achieve the optimized balanced relationship between computer and designer, it is required to communicate shared information between each other and interpret the information to solve and analysis further design problems 4, furthermore also noting the importance of circular communication, which allows for inspiration to aid in problem analysis. Design is a process that we experience as we attempt to make a current situation, potentially better than its’ current state, or either becoming a more desired state. Analyzing the problem, setting aims and constraints, evaluating the solutions are all steps within the design process. As an architect, this design process is crucial to realizing projects. With the use of computers, it has become possible to explore open-ended designs, not simply restricting to solving the problem itself and expand the possibility for more people to become involved.

2 3 4

Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.8. Oxman and Oxman, Theories of the Digital in Architecture, p.6. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge: MIT Press, 2004), p.3.

CONCEPTUALIZATION

Precedent 01

Project: ICD/ITKE Research Pavilion Architect: Institute for Computational Design and Institute of Building Structures and Structural Design, University of Stuttgart Date: 2016 Location: Stuttgart, Germany

research pavilion created between students and researchers, the University of Stuttgart produced a research pavilion that displays robotic textile fabrication techniques and industrial sewing of wood on an architectural scale, creating a segmented timber shell. Producing projects based off natural elements or ecological systems has seemingly become the trend or quintessential thing to do in design, in particularly architecture. It is also arguably one of the most grandest moment in scientific history - rather than just imitation, we are able to learn from nature and “produce form in response to the conditions of the environmental context”. 5 Through several scans and pictures, they were able to understand the intricate internal structures. By humanizing these characteristics, what is achieved is the re-defining of our relationship with the natural world, empowering our knowledge.

From top to bottom: Figure 4. ICD/ITKE Research Pavilion (2016) - University of Stuttgart Figure 5. Robotic Fabrication of ICD/ITKE Research Pavilion (2016) - University of Stuttgart

CONCEPTUALIZATION

“Parametric systems enable the writing of rules or algorithmic procedures, for the creation of variations.”6 Experimentation has evolved from being simply a trial-and-error search in the design process, to a form of critical analysis, allowing for further development of the to determine the product that satisfies the most constraints and goals. Digital technology has generated design methods that allow for complex analysis yet intricate designs. 5 6

Oxman and Oxman, Theories of the Digital in Architecture, p.8 Oxman and Oxman, Theories of the Digital in Architecture, p.3

Precedent 02

Project: Anna Meares Velodrome Architect: Cox Architects Date: 2016 Location: Brisbane, Australia

he newly built Anna Meares Velodrome will be hosting track cycling for the 2018 XXI Commonwealth Games in Brisbane. The velodrome’s hyperbolic paraboloid is tested in digital design software, before its’ final form is fabricated. Computation in this case has not necessarily impacted the conceivable geometries in design, but rather increased the boundaries of testing geometry in order to find its’ maximal structural performance. It has also shrunken production time and limited physical building waste, that would have occurred without the aid of digital technology, in addition at a scale of such, it would have been impossible to test the limits of the engineers to scale, and simply testing on a smaller scale may not result in the same conclusion to the right scale. Computation has significantly pushed the boundaries of performance-oriented designing, where designs are challenging not only form but the performance; the way humans are able to interact with the product and vice-versa. Digital calculations and simulations has allowed for architects to achieve user-friendly or higher interaction rates between user or environment and buildings, changing the way we approach design.

From top to bottom: Figure 6. Anna Meares Velodrome Tracks (2016) - Cox Architecture Figure 7. Exterior of Anna Meares Velodrome (2016) - Cox Architecture

CONCEPTUALIZATION

A.3 Composition/ Generation

rchitectural design and practice has shifted from composition to generation with algorithmic thinking and popularization of parametric design with digital design software. Computation is defined as processing of information and elements, allowing the generation of a framework for negotiating and influencing the data; thus generating complex order, form and structure.7 Computation in architecture firms have changed the patterns and flows in the working environment, either separating individuals with software skills to integrating them together in teams.8 The sharing of information has become more accessible and knowledge of algorithms has thus become more known. Algorithms are not meant to be seen as recipe, but rather “describes a collection of objects that does something”. 9 The move to computation design has meant that architects engage with algorithmic thinking, which allows the exploration of innovative ideas as well as increase in the capability to solve complex problems. Although it is arguable whether we are relying too much on digital design tools to fabricate products, as it seemingly interrupts with the traditional method of capturing our design from our mind directly on paper, it is also true that digital design has made design more realistic and meaningful, as we create more responsive designs and scripting becomes a more common language.

7 8 9

Brady Peters, ‘Computation Works: Building of Algorithmic Thought’, Architectural Design, 83.2 (2013), 8-15, (p.8). Peters, (p.11). Definition of ‘Algorithm’, in The MIT Encyclopedia of the Cognitive Sciences, ed. Robert A, Wilson and Frank C. Keil, (London: MIT Press), p.12.

CONCEPTUALIZATION

Precedent 01

Project: La Voute de LeFevre Architect: Matter Design Date: 2012 Location: Columbus, Ohio

a Voute de LeFevre is a hybridization of ancient techniques and modern fabrication methods. Matter Design investigated the application of ancient vault construction with contemporary computation investigations of the springing point. Through various simulations and calculations the pattern gradually transitions from concave to convex and is a compression-only structure. Computation in this project is used heavily during the design process, and has allowed for an integrated art form to appear. It has enabled new ways of thinking, particularly when applying old building methods, it engages with the old rather than demolishing it and is a true example of how computation makes possible the experience and creation of meaning.10 However, it is also arguable whether or not this design has relied too much on digital design tools and that the tools. Parametric modelling has enabled this structure to gain itâ&#x20AC;&#x2122;s shape and form, and is important to acknowledge that this process was not just simply done through computation but also through the balance of both human creativity and control of the script. 10

Peters, (p.13).

From top to bottom: Figure 8. La Voute de LeFevre (2012) - Matter Design Figure 9. Parametric modeling of La Voute de LeFevre(2016) - Matter Design

CONCEPTUALIZATION

Precedent 02

Project: FabLab House Architect: Fab lab Network Date: 2010 Location: Madrid, Spain

ablab House was built under a project featuring collaboration between several architects around the world and started off under the director of Neil Gershenfield from MIT. The FabLab House is a sustainable house containing efficient use of energy such as flexible solar panels, which wrap around the roof of the house. The house is made with timber structures that were parametrically designed and robotically fabricated with joints to fit together. The use of computation in the design of this house critics residential building and challenges the interaction of humans and housing, where the use of space was also investigated. This has sparked discussions on residential housing, from the form to the way it houses itâ&#x20AC;&#x2122;s residents - it is the use of computation that has allowed for constant redevelopment and critical analysis of our surrounding environment, bringing these developments more readily to the people. However, in regards to digital design, it also has its shortcomings in terms of design ethics. With the ability to produce not just unique products but also identical products at large quantities for less cost and risk, it is possible that these technologies are exploited and used for mass production, which could not only lead to depletion of resources, but also to urban planning issues such as gentrification and increasing inequalities in housing.

From top to bottom: Figure 10. FabLab House (2010) - Fab Lab Network Figure 11. Interior of FabLab House (2016) - Fab Lab Network

CONCEPTUALIZATION

A.4 Conclusion

onceptualization briefly went over how design ethics was beginning to become unsustainable and that there was a need for change in attitude towards design, and this was possible with the use of digital design tools.

Digital design revolutionized the design process, but also changed the way architectural practices work. These tools have brought along several benefits such as the exploration of new ideas and increase in ease of experimentation and prototyping at less costs and risks, for example the ICD Research Pavilion with the exploration of sand dollars and the hybridization of traditional building methods with Matter Designâ&#x20AC;&#x2122;s La Voute de LeFevre. This has also led to an increase in mass customization and mass production. However, digital design has also brought shortcomings, including the exploitation of mass production, for example in residential housing, the inequality of housing per population has increased in several countries, as well as over-popularization of certain design features that then lose their original charm and become almost over-rated. Digital technology empowered designers, but at the same time was also considered to be a limit, as they were constraint to the algorithmic designs that the computer could only generate. Though design is now risk-low, it is still not risk-free, and in order to fully claim a harmonious relationship between digital technology and design, it is true to say that we have to fully explore the unexpected that the tools enable us.

CONCEPTUALIZATION

A.5 Learning Outcomes

esign in the digital realm relies not only on the ability of scripting but also critical analysis abilities in order to achieve a balanced integration of parametric design and problem solving. As someone with fairly limited knowledge in digital design softwares, I find it interesting in approaching the digital design realm without really knowing what I am able to achieve. It is through the elements of the unknown, that I am able to discover and reveal unexpected results, and potentially through these productions am I able to experiment and explore different solutions, that perhaps may not even be parametrically related, or are literally ‘random’ creations that exist due to ‘random’ ordering of tools in Grasshopper. As it has been often commented in the readings and lectures about the reliability of digital technology in design, it is possible that perhaps I am not really designing, but rather simply manipulating Grasshopper’s units and only basing my designs on the visual qualities of these productions. As someone who is skilled in digital design tools, perhaps would have approached these softwares differently to how I would have, and would have based their design on what is already processed in their mind, then moving on to experimenting in Grasshopper. Whereas, I approached the design process from the very beginning through Grasshopper and Rhino, beginning the form and scripting process all digitally to begin with. However, it is also through these experimentations, accidental discoveries or randomization of choices in Grasshopper that I am only able to create these designs.

CONCEPTUALIZATION

A.6 Appendix - Algorithmic Sketches Task 1 - “CREATE BEFORE YOU THINK” Based on Beethoven’s First Movement of Pastorale, the task required us to analyze the piece and consider certain elements from the piece as a starting point for the design of a pavilion. The pavilion should be based off something deciphered from the music and should not be anything near architectural form. From the piece, I captured the constant change in volume and the light, cheerful melody. I interpreted this through an aerodynamic and weightless design, where the curved folds represent the continuities of the piece, despite the changes in volume. I titled this piece “Allegro”, which means of fast pace in music terminology, and this was what I wanted to illustrate through my design - within the light, airy steps of the sounds, it is harmonious in tune but different in volume.

Clcokwise: Figure 12-15: Front elevation, side elevation, aerial perspective, close-up perspective

CONCEPTUALIZATION

Task 2 - “EXAMINE AND INSPIRE” Again focusing on Beethoven’s Pastorale, we focused on portraying an element from the music in the drawing style of a certain architect/ architecture firm, in which case I chose the German architect firm Coop Himmelblau. Coop Himmelblau’s design motto is to “make architecture a blaze” and to offer more than what they are. This is reflected in their drawings, as the scribble of lines on the page seemly go in every direction, and create seemingly almost a ‘mess’. The second round listening to the piece, I found that I was more alert to the string instruments, and thought I would pay tribute to them. The creation of “Cocoon” was utterly an accident, and a remarkable ‘mess’. During my process of creating a brep surface and off-setting it, it created a spiral of lines that spewed out form the object in the middle. The strings seemingly become a literal translation of the strings from the instrument and I was able to envision it on sight, even as an installation, where when attached to the train tracks, would vibrate as the train approaches, becoming almost in sync with the surrounding nature.

Clockwise: Figure 16-18: Aerial perspective, elevation, plan

CONCEPTUALIZATION

References Definition of ‘Algorithm’, in The MIT Encyclopedia of the Cognitive Sciences, ed. Robert A, Wilson and Frank C. Keil, (London: MIT Press) Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Kalay, Yehuda E. , Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge: MIT Press, 2004) Oxman, Rivka and Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2014) Peters, Brady ‘Computation Works: Building of Algorithmic Thought’, Architectural Design, 83.2 (2013), 8-15

Figures Atlas Obscura, ‘Whale House’, Atlas Obscura (revised October 2009) <http://www.atlasobscura.com/places/casa-saldarini> [31 July 2017] Domus, ‘Biomimetic Pavilion’, Domus (revised 10 May 2016) <http://www.domusweb.it/en/news/2016/05/10/icd_itke_research_pavilion.html> [10 August 2017] FabLab House, ‘FabLab House’, FabLab House (revised 15 August 2010) <http://www.fablabhouse.com/en/la-fab-lab-house-gana-el-premio-del- publico-de-solar-decathlon-europe/> [10 August 2017] Matter Design, ‘Biomimetic Pavilion’, Matter Design (revised 14 July 2014) <http://www.matterdesignstudio.com/la-voute-de-lefevre/> [10 August 2017] McLeish, Katty. ‘Commonwealth Games 2018: $59m Anna Meares Velodrome opens, cycling star announced as new Games ambassador’, ABC News, 12 November 2016 ,<http://www.abc.net.au/news/2016-11-12/commonwealth-games-anna-meares-velodrome-officially- opens/8020024> [accessed 3 August 2017] Paris Convention and Visitors Bureau, ‘Walking City’, Paris Convention and Visitors Bureau (revised 4 July 2017) <https://en.parisinfo.com/what- to-do-in-paris/info/guides/exhibition-at-the-centre-pompidou> [10 August 2017] Pinterest, ‘Walking City’, Pinterest (revised date unknown) <https://au.pinterest.com/pin/110408628336347054/> [10 August 2017] Sleeman Sports Complex, ‘Anna Meares Velodrome’, Sleeman Sports Complex (revised 12 November 2016) <http://www.sleemansports.com.au/ What-s-On/Event.aspx?EventId=55655> [3 August 2017]

CONCEPTUALIZATION