AIR JOURNAL
Isabella Ascenzo 2016 Studio 14 Tutor - Chen
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CONTENTS:
PART A:
1. INTRODUCTION 3 2. PART A 4 Design Futuring 5 Design Computation 8 Composition/Generation 12 Conclusion 16 Learning Outcomes 17 Appendix 18 Footnotes + References 20 3. PART B 4. PART C
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INTRODUCTION:
About Me:
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’m Isabella and I’m a third-year architecture major at the University of Melbourne. My passion for architecture started at a young age due to the fact that my father is a builder and that I’ve always grown up in an environment surrounded by architectural plans and drawings. My hobbies outside of architecture are mainly creative hobbies such as sewing and crafting. I’ve always been very creative and even enjoy playing guitar and making a bit of music for fun. For me architecture has always effected me greatly as I’ve always noted the experiential and historical aspects in every building I’ve walked into or even walked past. I have this great fascination with dwellings and the range of different dwellings all around Melbourne, especially the one’s built in the early 1900’s. I love hand drawn perspectives and plans as I favour the earlier periods of architecture as opposed to ultra modern styles. This being so I’m quite intrigued to know how I’ll cope with the computer programing but I’m eager to learn and hopefully I can develop a whole new love for parametric design as it is very appealing to the eye due to its complexity. 3
DESIGN FUTURING: NASA Sustainability Base
William McDonough | California, U.S.A | 2012
Fig. 1.2
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illiam McDonough is a well known architect in the world of sustainable housing and structures. His NASA base was seen as revolutionary due to the fact that it was built in harmony with its environment, utilising natural air and heat to regulate the building, thus reducing the need for man made temperature control.¹ As Tony Fry discusses in his book Design Futuring: Sustainability, Ethics and New Practice², our world is developing at a rapid pace and we’re beginning to care less and less about our environmental impacts, yet I believe that William McDonough is a great example of someone who has noticed that we need to make a change and create buildings that connect with the environment rather than destroying it. McDonough’s use of solar panels, high performance building envelope and intelligent materials as shown in Fig. 1.2 allow his building to continue to be appreciated for its attention to detail and consideration of energy consumption and pollution. This building definitely expands future possibilities as it stands as a great example of a structure that can continue to minimise human impact on the world and create a better future, especially through its use of BloomEnergy motors which are 55% efficient in converting natural gas into electricity.³ Lastly, as shown in Fig. 1.4 McDonough’s sustainable base water flows for the building shows how he aims to not only reduce the use of energy consumption but also collect and utilise rainwater, thus minimising water wastage. McDonough’s NASA base is impeccably sustainable and will continue to stand as an example for future designs due its ingenious use of sustainable systems. 4
Fig. 1.3
Fig. 1.4 5
Hearst Tower
Norman Foster | New York City, U.S.A | 2006
Fig. 1.5- Air flow/ventilation/heat transfers
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orman Foster was one of the first to create the sustainable sky scraper. His innovative designs in high rise buildings allowed him to become a revolutionary figure in terms of sustainable structures. I believe his Hearst Tower stands as a great precedent for design futuring in terms of sustainable structures due to the fact that it uses 26% less energy than skyscrapers who use a regular design code as oppose to Foster’s.⁴ Foster’s main objective for the Tower was to create a thermal efficient diagrid design which thus allows ventilation and heating to flow efficiently throughout the building in a sustainable manner as shown in Fig. 1.5. The thermal efficiency comes from Foster’s use of shading and dynamic window system which allows 30% less energy used. Norman Foster expanded future possibilities through his use of recycled materials in design. The Hearst Tower was made of 90% recycled steal⁴ which was seen as quite revolutionary at the time, especially in high rise building design. Lastly, Foster’s building much like William McDonough’s building, utilised rain water, by collecting it from the rooftop to supplement cooling systems, control temperatures and humidity and water plant life within.⁴ The Hearst Tower still continues to be used as an office building which was its intended purpose and due to his sustainable innovative design, his building functions extremely well and is able to manage temperatures and humidity better than most buildings. This building will continue to stand as an example for future sky scrapers that intend on creating a building which functions well without costing the earth in doing so. 6
Fig. 1.6
Fig. 1.7- Air flow
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DESIGN COMPUTATION: ICD Pavilion 2011
University of Stuttgart | Stuttgart, Germany | 2011
T
Fig. 1.8
he students at the University of Stuttgart chose to use computer programs to create this pavilion for the Institute of Computational Design showcase in 2011. Due to the structures harsh geometries the sole use of computer programs enabled the students and teachers to find the correct mathematics to create a structural and bionic assembled design. Computation is great in how it fills the gap of human error as it runs a series of tests by manipulating the structure to find the best suited geometries for the design and material chosen. The way computing affects the design process is that it manipulates the design to an extent where you’re unsure of the outcome. Computation as learnt from this week’s readings, is when you entirely base your design through computer modelling and therefore there is no set design or drawing in which you work on beforehand. This slightly affects the traditional design process as there is no clear structural design placed on paper or modelled first. Computational designs are clearly created through their mathematical and structural boundaries as shown in Fig. 2.1. Furthermore, the ICD Pavilion design clearly falls into the computational category as the design was integrated with a biological structure and the spatial areas were tested in order to create something that could be built in a full scale⠾. Furthermore computation allowed this structure to be manufactured mechanically and bolted together through a simple connection process which was tested through computation to achieve the best possible outcome. Computation in this instance has made assembling the structure much easier and it has allowed the structure to have no interfering structural elements that ruin the design. 8
Fig. 1.9
Fig. 2.1- The technical and mathematical side of the structure- found through computation.
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Heydar Aliyev Center
Zaha Hadid | Baku, Azerbaijan | 2012
Z
Fig. 2.2
aha Hadid is well known for her building designs due to their insanely different shapes and how they push the boundaries in structural engineering. Although some of her buildings have a parametric feel and shape to them, they are not an example of computation. Hadid’s Heydar Aliyev Center in Baku, is a great example as it’s fluidity and organic shape would suggest that it was created through computation although it was quite the opposite as the design process connects much with the traditional design process in which we would label as computerization. Computerization is when the design of the building is initially created through hand drawing or computer modelling and it is then placed onto certain programs which aid in finding a way to make the model into a real life structure. The computer programs work with the given shape and try and find certain structural materials and members that will allow it to stand in real term. As this building is not part of computation its design innovation does not alter during the computer programing stage, it is merely fixed at the initial design phase. In preceding architectural theory this design style was seen as the most innovative as it allows the architect to do most of the design work and it brings the architect back in touch with the site and the structure. Yet computation is seen as something that distances the architect from the built process as computers do most of the work whilst the architect types in the commands. Yet this view is beginning to change the more we use computation in designs and the more this designs become a success in innovation. 10
Fig. 2.3
Fig. 2.4 11
COMPOSITION/GENERATION: Pleated Inflation
Marc Fornes | Argeles, France | 2015
Fig. 2.6 Fig. 2.5
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Fig. 2.7
ark Fornes is a well known designer for his use of computation. I chose his Pleated Inflation structure in Argeles France as I believe it is a really interesting example of Generative design. Fornes’ structure is an example of Generation design due to the fact that it was computed to find the best possible outcome and in doing so the structure had a distinct growing and morphing process. Fig. 2.8, Images 1 to 8 show Fornes’ process changing from one structure to another in order to show the best possible outcome. His design was initially inspired by an idea of a self supported shell with pleated details.⁶ Generation is great in terms of this design project because as shown in Fig 2.8, the process of constant morphing allowed Fornes to opt for the best possible outcome in terms of structure for the light weight aluminium plates. His Generative approach also allowed him to successfully create a structure that was self supporting and unify structure, skin, ornamentation and spacial experience.⁶ As mentioned in Brady Peters “The Building of Algorithmic Thought”, the architectural industry is changing and shifting towards a design approach considered Generative. Compositional approaches are still used but as technology develops more firms are shifting towards a computational structure within.⁷ The use of computation is allowing architects to use these ever growing design tools that are linking the virtual design environment with the physical environment⁷, much like Fornes’ work. 12
Fig. 2.8- Images 1 to 8.
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RMIT Mace
Kokkugia | Melbourne, Australia | 2015 Fig. 2.9
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Fig. 3.1
okkugia, a group of designers and architects at RMIT in Melbourne, experiment with Generation design through advanced computation and are quite successful in producing intelligently structured computational designs. Much like Mark Forne, this design group, often directed by Roland Snooks, create a model that undergoes many computational manipulations and variations. Fig, 3.2, images 1 to 6 show the flow and movement of the parametric design, taking all different shapes through manipulation and generation. The project was inspired by old style maces and combines multi-agent algorithmic design, which is then 3D printed.â ¸ The use of computation in this instance has enabled the designers to generate an intricate project which structurally supports each fine detail and also emulates its inspiration. The design process would have required many hours of computational manipulation allowing the program to create a series of lines that are able to be produced in a real life scale. The advantages for using computation and thus creating generative design in this case, is that the fine details and series of lines could have been produced and mathematically calculated much quicker and more accurately than if it were to be calculated by hand. Such designs were not created before computation and therefore this new generation of design is opening the world of architecture up to new styles and ways of thinking. 14
Fig. 3.2- Images 1 to 6. 1
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CONCLUSION:
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fter all the precedent study I have conducted,I have found that sustainability and computation can work hand in hand when it comes to design approaches and for me this was very important as I wanted to create something that minimized waste in terms of materials and computational programs can aid in achieving that. For my intended design I’m probably inspired most by the University of Stuttgart’s ICD Pavilion as the geometric shapes have a really interesting structure to them in which I’d wish to explore more on Grasshopper and Rhino. I found that it was really beneficial to design in a generative approach through computation as it allows you to create intricate structures that can be manipulated in millions of ways until the best possible outcome is found. It’s also beneficial in how it can take economical materials and create something structural and innovative, along with minimizing wastage.
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LEARNING OUTCOMES:
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verall I’ve learnt a lot about computation and how it is becoming more common in architectural practice. I came into the semester with absolutely no knowledge of computational design and I had no idea how to create anything using Grasshopper. I’ve learnt a lot about the benefits of computational design and how it is helpful in creating digital projects into real life realms. I look forward to learning a lot more about scripts and Grasshopper commands as I’m still a beginner, but I hope to create something somewhat like the ICD Pavilion. I think that if I knew about computation sooner I could have created much more fluid and intricate computer designs for my past studios and it would have saved me a lot of time in computer modelling.
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APPENDIX:
A lg or it hm ic Sketchbook
SURFACES:
When experimenting with surfaces I found that the shape took whole new form from every angle it was looked at. I also found that when moving one pull point it took on a whole new form. I was then able to break apart elements and re arrange them to create entirely new figures. I enjoyed using the loft technique as it really brought my shapes to life. I went from really fluid shapes at the begging of week one and then progressed to harsher and more rectilinear shapes near the end and I’m not quite sure which one I prefer. I’m probably leaning towards more triangular and rectangular style projects due to their clean geometries.
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This curve was then stripped back to its original plane and each curve within the plane was then moved and lofted to create these thin bars. I manipulated the distance between them with a number slider tool. This was probably the most interesting exercise in my sketchbook and I really like this approach as it got me thinking about materials and I wanted to play around with it a bit more further along the track,
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FOOTNOTES:
1. Matthew Helt and others, Sustainable Base (California, NASA, 2015) <http://www.nasa.gov/ames/ facilities/sustainabilitybase> [Accessed 13 March, 2016]. 2. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1–16. 3. Moffet Field, NASA Sustainability Base (California, William McDonough and Partners, 2016) < http:// www.mcdonoughpartners.com/projects/nasa-sustainability-base/> [Accessed 13 March, 2016]. 4. CTBUH, 2007 Best Sustainable Tall Building (2007) < http://www.ctbuh.org/Awards/AllPastWinners/07_HearstTower/tabid/1049/language/en-US/Default.aspx> [Accessed 13 March, 2016]. 5. University of Stuttgart, ICD/ITKE Research Pavilion 2011 (Stutgartt, 2011), <http://icd.uni-stuttgart. de/?p=6553> [Accessed 13 March, 2016]. 6. De Zeen Magazine, Marc Fornes Creates Sculptural Installation in France Using Perforated Metal Shingles (De Zeen Magazine, 2015) < http://www.dezeen.com/2015/11/02/pleated-inflation-installationmarc-fornes-the-very-many-argeles-france-digital-design-aluminium/> [Accessed 16 March, 2016]. 7. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p. 08-15. 8. Kokkugia, RMIT Mace (Kokkugia: Melbourne, 2015) < http://www.kokkugia.com/RMIT-Mace> [Accessed 16 Mach, 2016].
REFERENCES:
- CTBUH, 2007 Best Sustainable Tall Building (2007) < http://www.ctbuh.org/Awards/AllPastW inners/07_HearstTower/tabid/1049/language/en-US/Default.aspx> [Accessed 13 March, 2016]. - De Zeen Magazine, Marc Fornes Creates Sculptural Installation in France Using Perforated Metal Shingles (De Zeen Magazine, 2015) < http://www.dezeen.com/2015/11/02/pleated-inflation-installationmarc-fornes-the-very-many-argeles-france-digital-design-aluminium/> [Accessed 16 March, 2016]. - Kokkugia, RMIT Mace (Kokkugia: Melbourne, 2015) < http://www.kokkugia.com/RMIT-Mace> [Accessed 16 Mach, 2016]. - Matthew Helt and others, Sustainable Base (California, NASA, 2015) <http://www.nasa.gov/ames/facilities/sustainabilitybase> [Accessed 13 March, 2016]. - Moffet Field, NASA Sustainability Base (California, William McDonough and Partners, 2016) < http:// www.mcdonoughpartners.com/projects/nasa-sustainability-base/> [Accessed 13 March, 2016]. - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p. 08-15. - Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 1–16. - University of Stuttgart, ICD/ITKE Research Pavilion 2011, (Stutgartt, 2011), <http://icd.uni-stuttgart. de/?p=6553> [Accessed 13 March, 2016].
IMAGE SOURCES:
Fig. 1.1: (COVER IMAGE) Christoph Hermann, Emergent Design (2016) <http://www.christoph-hermann.com/parametric-architectures/emergentdesign-barotic-interiors-2/> [Accessed 17 March, 2016]. Fig. 1.2: Ana Sayfa, NASA Sustainable Base/ William McDonough and Partners (Mimdaporg, 2012) < http://www.mimdap. org/?p=102051> [Accessed 13 March, 2017]. Fig. 1.3: Aecom, Nasa Ames Sustainability Base, Building N232, (2016) <http://www.aecom.ca/vgn-ext-templating/v/index.jsp?vgnext oid=9ca34c4b7ecc2210VgnVCM100000089e1bacRCRD> [Accessed 17 March,2016].
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Fig. 1.4: Moffet Field, NASA Sustainability Base (California, William McDonough and Partners, 2016) < http://www.mcdonoughpartners.com/projects/nasa-sustainability-base/> [Accessed 13 March, 2016]. Fig. 1.5: Word Press, Eco Building 101 (2009), <https://ecobuilding101.wordpress.com/category/uncategorized/> [Accessed 13 March, 2016]. Fig. 1.6: ArchDaily, Flashback: Hearst Tower/ Foster and Partners (2012), < http://www.archdaily.com/204701/flashback-hearst-towerfoster-and-partners> [Accessed 13 March, 2016]. Fig. 1.7: Word Press, Eco Building 101 (2009), <https://ecobuilding101.wordpress.com/category/uncategorized/> [Accessed 13 March, 2016]. Fig. 1.8: Ashley Nelson, ICD + ITKE Research Pavilion 2011 (Knstrct, 2011) < http://www.knstrct.com/art-blog/2011/12/20/icd-itkeresearch-pavilion-2011> [Accessed 13 March, 2016]. Fig. 1.9: University of Stuttgart, ICD/ITKE Research Pavilion 2011, (Stutgartt, 2011), <http://icd.uni-stuttgart.de/?p=6553> [Accessed 13 March, 2016]. Fig. 2.1: University of Stuttgart, ICD/ITKE Research Pavilion 2011, (Stutgartt, 2011), <http://icd.uni-stuttgart.de/?p=6553> [Accessed 13 March, 2016]. Fig. 2.2: Zaha Hadid Architects, Haydar Aliyev Center (Zaha Hadid Architects, 2012) < http://www.zaha-hadid.com/architecture/ heydar-aliyev-centre/#> [Accessed 13 March, 2016]. Fig. 2.3: Zaha Hadid Architects, Haydar Aliyev Center (Zaha Hadid Architects, 2012) < http://www.zaha-hadid.com/architecture/ heydar-aliyev-centre/#> [Accessed 13 March, 2016]. Fig. 2.4: CompetitionLine, Architecture (2014) < http://www.competitionline.com/de/ergebnisse/162407> [Accessed 13 March, 2016]. Fig. 2.5: De Zeen Magazine, Marc Fornes Creates Sculptural Installation in France Using Perforated Metal Shingles (De Zeen Magazine, 2015) < http://www.dezeen.com/2015/11/02/pleated-inflation-installation-marc-fornes-the-very-many-argeles-france-digital-design-aluminium/> [Accessed 16 March, 2016]. Fig. 2.6: De Zeen Magazine, Marc Fornes Creates Sculptural Installation in France Using Perforated Metal Shingles (De Zeen Magazine, 2015) < http://www.dezeen.com/2015/11/02/pleated-inflation-installation-marc-fornes-the-very-many-argeles-france-digital-design-aluminium/> [Accessed 16 March, 2016]. Fig. 2.7: Marc Fornes and TheVeryMany, 13 Argeles-Sur-Mer ( Marc Fornes: New York, 2015) <http://theverymany.com/public-art/ argeles-sur-mer/> [Accessed 16 March, 2016]. Fig. 2.8: Marc Fornes and TheVeryMany, 13 Argeles-Sur-Mer ( Marc Fornes: New York, 2015) <http://theverymany.com/public-art/ argeles-sur-mer/> [Accessed 16 March, 2016]. Fig. 2.9:
Kokkugia, RMIT Mace (Kokkugia: Melbourne, 2015) < http://www.kokkugia.com/RMIT-Mace> [Accessed 16 Mach, 2016]. Fig. 3.1:
Kokkugia, RMIT Mace (Kokkugia: Melbourne, 2015) < http://www.kokkugia.com/RMIT-Mace> [Accessed 16 Mach, 2016]. Fig. 3.2:
Kokkugia, RMIT Mace (Kokkugia: Melbourne, 2015) < http://www.kokkugia.com/RMIT-Mace> [Accessed 16 Mach, 2016]. 21
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