Ben Galea I grew up in Melbourne creating buildings, towns and cities whilst playing with Lego with my younger brother. The idea of creating, designing and building and the joy that came with it must have stuck because here I am studying my third year of architecture. My current experience with digital design tools extends as far as Google Sketchup and stops there. I have never used Rhino, Grasshopper, Photoshop, InDesign or even Illustrator and this course looks to be a steep learning curve for me as I attempt to get my head around these various programs. However, Parametric Design intrigues me and the use of computer aided design opens a whole new world of possibilities in spatial creation and experimental design outcomes.
Case For Innovation
A
s digital architecture continues to grow in prominence in our cities, so do the questions about reliance on digital tools and what real capacity we as humans have to create, when so much is reliant on computer programs. Innovation in architectural form has been largely digitised in the new millenium due to the ability to expedite experiments. This is because of digital models and their capacity to be altered at the click of a button. The ease with which a model can be redesigned, reinspected and eventually replaced creates a need for the digital environment to encourage continued innovation. However, form is only one cog in the architectural machine. It is the responsibility of architects to ensure the final designs remain relevant to the target audience and do not ostracise themselves due experiment for experiment’s sake. Although difficult to define, architecture is essentially the creation of space for people to inhabit and this should not be lost. When buildings are built as a means to themselves, this human aspect and social relevance of architecture is lost and the structures risk becoming large, ineffective sculptures awaiting demolishing. Contrasting these potential pitfalls in over-experimentation, digital modelling tools create the the environment to enhance the social significance already prominent in architecture. Redifining space to maximise efficiency and qaulity of life can be achieved through intuitive use of computer aided design. Effective data analysis alongside continued discourse between the architectural profession and public needs are requirements to achieve this. The Gateway Design Proposal asks for cohesion between archituctural design and public interface. Creating ‘forward-looking’ symbolism that is both stimulating and relevant relies not only the specifics of the design but how well they are aimed at the target audience, predominanlty visitors. __________________________________________________ terzidis, Kostas (2009). Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley), p. xx
Building external http://farm5.static.flickr. com/4145/5018446312_12582fea15.jpg
Paper Experimentation http://people.brunel.ac.uk/dap/machuma.html
A.1 Architecture as a Discourse Son-O-House
Stimulating both tactile and aural senses, the SonO-House by NOX was built around the extrapolation of human movement and algorithmic design based around the resulting data. The overlapping forms encourage movement throughtout the strucuture, which in turn transforms these movements into digitised sound. This creates a new concept of dynamism within a structure that behaves differently depending on how the individual interacts with the space. The theory behind the design of Son-O-House was derived from the typical motions of the human body. Analysing the movements of the limbs, joints and extremities of people (similar to data points in Grasshopper). This project references non-digital parametric design by using paper strips cut in areas corresponding with the different bodily movements (below) then connected, resulting in intertwining lines and curves. The way the building reacts to people is a reflection of the way in which the building was first conceived, giving it a ‘natural’ and ‘human’ element. This method of design would be useful in relation to the Wyndham Gateway Project through the use of data point input and ensuing parametric modelling techniques.
Libeskind’s similar stelae http://farm3.staticflickr.com/2215/2240 561192_84655c85ed_z. jpg
View from inside memorial Photo taken by self
A.1 Architecture as a Discourse Memorial to the Murdered Jews of Europe
Eisenman’s Memorial to the Murdered Jews of Europe in Berlin is a distinctive peice of place-making architecture. It was commisioned to symbolise the Jewish victims of WWII but uses no symbols or signage. space is divided by concrete stelae creating the feeling of isolation and dizzying disorientation. However what is particularly interesting to this studio is the use of dual sets of statistical data to create the contoured effect of both ground level and the tops of the concrete stealae. Through manipulation of meaningful input data relating to statistical evidence during WWII, the design was able to take shape by creating a flowing undulation from the edges of the memorial site. Similar to Libeskind’s Jewish Museum, also in Berlin, the use of undulation can create signs of physical nausea through the manipulation of gradient on site and disorentation of the senses. The data input was not arbitrary for this project and related to the statistical recordings of Jewish deaths in Europe. This aspect of the project gives meaning and unsigned symbolism. It is of interest to this studio as examples can be directly referenced to Grasshopper. Differing results can be obtained through manipulation of algorithms and the same data overlay techniques can be utilised to experiment with different outcomes. __________________________________________________
Rauterberg, Hanno. (2012) Talking Architecture, ed. Prestel Publishing
A.2 Computation & Architecture
Rational and Irrational Design Computation in architecture has altered architectectural process by giving the designer a multitude of independant choices existing at the same time. A large breadth and depth of options is now available to be explored alongside each other to aid the search for the ‘right’ design solution to the ‘right’ problem. Through the use of manouverable data, instead of a commited line or point, design space can be altered to achieve a plethora of options before evaluating the possible outcomes. Kalay claims however, that computation can only provide the rational side of arhitecture, for example algorithms and analysis, and that the irrational understanding of human behaviour, aesthetics and ‘feel’ of a building must come from the designer. The trend of computation in architecture will go on to create a co-dependance between machine and human to create architecture that fits the contemporary mould. Whether this is progress or regress remains a widely debated issue in the global architectural community. __________________________________________________
Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004)
Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artificial Intelligence for Engineering Design, Analysis and Manufacturing
The Possibilities and Limitations of Computation As well as altering architectural process and design techniques, computation also has enabled projects to be created that used to be close to impossible. Computation allows the design space to visually reflect almost any form the designer has in mind through the mathematical simplificatin of extremely complex forms. Documentation and visual representation is no longer restriceted to what can be hand drawn through the mass digitization of architecture. New forms such as radical threedimensional undulataion curves can be represented just as easily as straight lines can. This, in turn widens the possibilites as to what can realistically be designed and constructed. However, as is a theme of this journal, we must ensure that the foundations of architectural representation is not lost. There is still much value in srawings and sketching with architecture. Computation is simply a tool to help develop the ideas that the designer has. Compuation can be used to generate form but should still be considered as just a tool in the design process. Mitchell proposes a ten-point checklist of ‘retired and rewired’ architectural terms. But, replacing Parti with Genome and Tectonics with Electronics, for example, provides a limiting scope to design and cannot fully encompass contemporary architecture. Although architecture is ever-changing, it is essential the techniques of the past are used to inform intelligent design, not replaced. __________________________________________________ Mitchell, William J. (1998). ‘Antitectonics: The poetics of virtuality’, in the Virtual Dimension: Architecture, Representation, and crash culture, ed. by John Beckmann (New York: princeton Architectural Press, pp. 204-217
G
alaxy Soho in Beijing (pictured), by Zaha Hadid Architects
uses horizontal sectional curves to create a three-dimensional undulating structure consisting of five volumetric spaces. Computational techniques and the easy visual explorations it creates, allowed each volume to gently flow into the other through progressively increased radial curves. The project has aesthetic similarities to Frank Lloyd Wright’s Guggenheim (1936) but shows how compuation allows the designer to alter and expand forms with relative ease.
A.3 Parametric Modelling ‘parametric’ by definition relates to parameters and involves working within given constraints, usually mathematical. By that loose definition, all architectural projects are parametric in nature, for example, a building cannot have a bigger footprint than its’ site or some kind of height restriction imposed on the building. However, this journal is primarily involved with computational parametric design, specifically projects designed using Catia, Generative Components or Grasshopper. Parametric design tools enable the exploration of new forms, material performance and overall structural techniques. Globally, the architectural trend seems to be moving toward ‘parametricism’ due to the speed at which experimentation can be carried out and alterations made. Using the computer to quickly perform algorithmic equations and data alteration, architects have been able to create unprecendented forms. Parametric design is also creating a global forum specifcally linking mathematics and design, which allows a literal abstraction of ideas and algorithmic uses into new projects and uses. The shortcomings with parametric design, however, lie within the specific functions programmed into the current and future design tools. Like all mediums used for design space, we are restricted by what we can do with them. if a function is envisioned by the architect but not programmed into software, then the design is limited and the designer needs to turn to other esign mediums. __________________________________________________ terzidis, Kostas (2009). Algorithms for Visual design using the processing Language (Indianapolis, In: Wiley), p. xx
Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48
“It is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free their imagination.” -Kostas Terzidis
One Main Street - dECOi Architects One Main Street, a project by dECOi Architects, is defined by its sectional undulating ceiling and only made possible through the use of paramtric design tools. Evident in the pictures below, the construciton is incredibly complex as each wooden section is unique in size and shape. There is a specific relationship between the dips in the ceiling in the rise in the flooring system and this is due to the possibilities of parametric design techiniques. constructing both the hung ceiling structure (below left) and undulating floor system out of ply sections was a decision based on form and function. dECOi claims that it was more suitable for the fabrication machine to cut the section pieces in long curving lines, rather than straight interlocking shapes. The material is relatively light and the parametric process allowed for the manipulation of form, which was able to optimise the use of the plywood and its structural performance around the columns. _________________________________________________________ dECOi website < http://www.decoi-architects.org/2011/10/onemain/>
Webb Bridge - DCM Continuing the theme of sectional design using parametric tools, the Webb Bridge in Melbourne by DCM spans across the Yarra River in a snake-like layout. The parametric design tools allowed the repeating rib design on the southern end of the bridge to extend around the apex and onto the main span. Many iterations of the steel latticework were generated almost simultaneously, creating a wide breadth of options before developing the possible outcomes. The snakeskin rib pattern required parametric modelling to expedite the design process and enable the pattern to continue throughout the latticework area. Using parametric design in this project, is essentially run-of-the-mill and doesn’t really push any boundaries in either form or function. However, this projectand its’ use of parametric tools show how they can be applied to any project, no matter how big or small the effect. _________________________________________________________ Australian Institure of Architects <www.architecture.com.au/awards_sea rch?option=showaward&entryno=20053006>
Hart, Sarah (2013), Architects discover bridge design can eb the perfect union of art and science, ‘Architectural Record’, < http://archrecord.construction.com/resources/conteduc/archives/0406edit-4.asp>