AIR

JOURNAL Student// Nick M. Boer Tutor// Finnian Warnock

ABPL30048

AIR A STUDY ON COMPUTATION DESIGN

PART A: CONCEPTUALISATION

PART B: DESIGN CRITERIA

PART C: PROJECT PROPOSAL

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INTRODUCTION

y name is Nick Boer. I’m a Dutch architecture student at the Technical University of Delft. At the moment I’m following an exchange semester at the University of Melbourne.

Design made me consider studying here.

Through the years I developed a wide interest in creative fields. Architecture taught me the art of observation, which really made me appreciate the beauty of the world around me. Therefor I started to put I came to the University of Melbourne alot of time in photography. These creative because I think that a designer (from any pursuits have been starting to influence field) should experience the way different eachother, resulting in an accelerating cultures have their own unique design upgoing spiral in my passion for design. techniques, methods and processes. The visual character of the built environment, A fairly new field for me in architecture the way architecture is being taught, is parametric design. At the Technical the way the culture experiences and University of Delft I’ve been working appreciates the architecture : there are with parametric design software like countless reasons which make me want Grasshopper before, and I’d like to improve to study and travel abroad. I choose for my skills in this area to a professional level.

Melbourne specifically because the city offers an creative environment that is From my perspective, I think parametric able to inspire me everyday. In addition, design is going to have an increasing role in the academic prestige of the University of the design process of future architects. The Melbourne and the newly built School of profession of architecture already exists

for thousands of years, and it is constantly developing. In a rapidly changing world, I think technology gives us the oppurtunity to continue this development of architecture in an significant accelerated pace, with the ability to help solving the complex problems we face today. Architects will be able to come up with innovative designs and solutions if 3D modelling and parametric design software is used as a tool to support or extend their creative boundaries. Therefore, the translation of a concept which is created in the mind of the architect into complex parametric form can generate new insights and ideas. Experimenting with these forms is so important because the complexity can reach a level which lays beyond our own ability of imagination. In the end, I think neither of them will develop optimally without the support of the other.

7/6/2017

cONTENT a1: pUBLIC AND private space a2: computing in architecture a3: computerisation or computation?

A4: CONCLUSION ON COMPUTATION A5: ALGORITHMIC SKETCHES B1: nATURE AT ITS’ BEST B2: algorithmic explorations b3: reverse engineering b4: in depth algorithmic research b5: creating prototypes b6: design proposal b7: LEARNING OUTCOMES B8: APPENDIX//ALGORITHMIC SKETCHES C1: dESIGN CONCEPT C2: TECTONIC ELEMENTS & PROTOTYPES C3: final detail model c4: learning outcomes c5: algorithmic sketches Appendix

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Conceptu

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ualisation

A1

pUBLIC AND PRIVATE SPACE Creating, shaping and defining bounderies of the public realm

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’m intrigued by the various ways architecture can lead people from their public realm into a building.

This interest was inspired by analysing Mies van der Rohes’ “Lake Shore Drive” appartments, in which the architect leads the visitor gradually into the building by applying multiple subtile design keypoints. From the public realm, the visitor first enters the terrain belonging to the building marked by a variation of the floortiles laying in the grass. At the end of the path waits an arcade under which the building gives the visitor the first feeling of entering a new space.

After, you walk into a transparant glass box which again brings the visitor

slightly deeper into the building. Finally, the visitor enters a space enclosed by opaque glass and is now both physically and visually isolated from the outside world.

For the A.1 assignment of the design studio, I want to look for innovative ways architects let people experience the bounderies between the public realm and private space. An important notice is that I’m not only looking at these two definitions as extremes, but also at the spectrum inbetween. By discussing two precedents, I hope to find inspiration for this theme which can be used as a base for further research within grasshopper.

LOUIS VUITTON FOUNDATION - FRANK GEHRY

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eing one of the first architects who used parametric design in architecture, Frank Gehry is a worldwide known example of how these fields can be brought together. One of his recent designs is situated in Paris, the Louis Vuitton Foundation. The building aims to establish its’ roots in Bois de Boulogne to develop an institution of reference over time, which can rekindle the interest in West Paris1.

The building introduces a concept which promotes creation in the present by taking in a position of openness. With this the building strives to create a dialogue between artists and the public. Walking trough the building, the visitor experiences a variation

of spaces which have a direct (physical) connection with the outside world. From my own perception, as a visitor I often wasn’t entirely sure wether I was walking inside the building, or on the roof terrace. The free form glass panels create a protective layer around the building, but emphasize certain sightlines in direction of the Paris’ highlights like the Eiffel Tower, La Defense and Champs-Élysées. They block major parts of the view to the sky and surrounding areas on the other hand.

By erasing the bounderies between the artist and the broader public, the building contributes to the revelation of the creative industry into the present (still growing)

massculture. The use of computing design made it possible to create the chararcteristic, semi-open facade, which is the most important part of the building.

Also, computer engineering made it possible to create the highly complex construction of beams, collumns and joints made out of wood and steel2. Looking towards the future, this building inspires to experiment with new ways of creating semi-open facades to emphasize a character which is inviting and open for the public. Also, the facade of the building itself became part of a recent exhibition of the french painter Daniel Buren, by the padding of the glass panels with transluent colored stickers. The building itself becomes the art object3.

BUSAN CINEMA CENTER - COOP HIMMELBLAU

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n 2005, the Busan Cinema Center was appointed as winning design of the competition for the Busan International Film Festival (BIFF) in South Korea. The construction of Coop Himmelblaus’ radical design was finished 7 years later, in 2012.

The concept of the design was to overlap open and closed spaces in combination with public and private areas. The public space within the Center is shared by an outdoor cinema and a huge public area, also known as the “reception area”. Indoor and outdoor cinemas, convention halls, office spaces, creative studios and dining areas are situated within the building in series of sheltered and linked indoor and outdoor public spaces.

These spaces are designed for a flexible and hybrid functionality that can be deployed for the festival and day-to-day use.

Together, the areas are covered by a gigantic roof with measurements of 60 x 120 meters.

The roof is one of the most important parts of the architectural composition. Inspired by Le Corbusier and Oscar Niemeyer’s house in Rio de Janeiro, Coop Himmelblau wanted to emphasize the idea of the roof as an architectural element and a frame for diverse concepts, rather than a structural element.

The roofs’ notable appearance is not only because of its’ huge measurements, but also because of the presence of a 3-dimensional LED screen stretched out over the whole area

of the ceiling, which can be programmed by artists to present fully animated graphics.

In addition, the building holds the Guiness World Record for the longest cantilever roof in the world with 85 meters. Together with the acoustic complexity, the high-end technical execution is a result of modern computer engineering. Buildings like these can be an inspiration to redefine our perception of public and private space for the future. Also, I think the interactive aspect of the building is something which will grow more and more important. Buildings are no longer static masses as modern technology gives the opportunity for buildings to be interactive and living systems.

Computing in architecture Introduction: Why computation design?

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think computing can affect the design process in terms of the way architects perceive and interpretate design problems. Architects can use computing to create a new form of logic within (digital) design thinking.

Parametric design assumes a logic with the focus on associative and dependency relationships between components. By changing parameters in a system of relationships, multiple design outcomes can be created. This system is also known as a parametric schema. With every parametric schema, designers are enabled to create rules which apply on the design outcome. Thus, parametric design develops a new form of design logic which can be used throughout the design process. Also, the designer can create a multiplicity of variations within a much shorter time period, since the only adjustments to the design have to be applied to the parameters7. At last, the fact that the parameters can be adjusted between an infinite amount of numbers makes the From my perspective, I think computing can also be used to re-define practice.

In fact, it has already happened before.

A good example is how computer engineering triggered the upcoming of a new formal idiom, “folding”. The Guggenheim Museum in Bilbao was designed by this form language and became an iconic architectural design and a characteristic determinant of a following series of experimental architecture in the end of the 20th century. The museum was analog in design and digital in production7.

Because computing is a relatively new

and fast expanding medium, I think performative behaviours based on it opens doors for creating a new energy and structural performance7. perspective on architecture.

At last, computing has provided a Computation is in my opinion best to be paradigm for material design in applied at evidence and performance- architecture and the performative orientated design. This is because design of material systems by modeling problems within most other fields it as a tectonic system. As a result, of design are “ill-structured”, which material design became an integral part means that they often can’t be solved of the digital architecture design process. by just a rational approach. They must The architects traditional position achieve multiple goals which are often as the master builder is enhanced conflicting. This requires the designer with the ability to digitally create in to make difficult tradeoffs and the the material realm. This means the outcome could not be predicted in a architects’ power and knowledge about reliable way. I think these problems material have increased again. With cannot be solved by computation this development, a stronger creative because there is simply no right or collaborative design relationship wrong solution8. I could imagine that arises between the architect and the in the future computers might be able structural engineer at the field of to make decisions about problems research through design. Computation like this with the help of artificial enabled the creation of new materials intelligence, but at the moment these including hybrid materials, smart aspects are in need of a well considered materials and extreme textiles. We see decision of the architect. Performance various research fields emerging at the and evidence-based design is more intersection of parametric design and reliable on facts and given numbers or material systems, such as the modeling statistics, which can be compared and of textile tectonics including studies of considered rationally. Thus, the use weaving, knitting braiding and knotting of computation is more likely to be of projected as material technologies. good use here. For example, design and construction industries experience a With two precedents I’ll further support growing sophistication of a mediated the added value of contemporary architectural design which is capable of computational design techniques in a high level of generative variability. The architectural design. The precendents result is the emerging of a generation will be mostly focussing on (my of simulation software used for energy interest for)environmental influences and structural calculations and analysis. on the buildings and how parametric New professional profiles are arising design can be of use to react on these as a result of the growing capability processes. for scripting algorithms of a mediated variability. These can be studied for

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life aquatech L

ife Aquatech is a research project of the architectural research collaborative “Kokkugia�, operating as a development platform for Studio Roland Snooks.

This studio offers architectural services focussing on realising innovative architecture. In addition, studio Robert Stuart-Smith is also part of this collaboration. In 2004, Kokkugia was founded in to fulfill a more speculative role, concentrating on imagining the future. Developed from self-organising behaviour of biological, social and material systems, Kokkugia explores generative design methodologies. This is done by design experimentation, research and teaching10.

Human comfort is one of the highest priorities of the Life Aquatech. The building tries to find the optimal relation between the comfort of the user regarding temperature and the way selfregulation within the building can provide that. With this project, Kokkugia investigates the building systems that mediate between interior, exterior and architectural design. This is done by shifting from air-based systems to water-based systems. Water plays a significant role in the entire building tectonic because of two factorst. At first, the Life Aquatech focusses on the behaviour of fluid as part of generative design methodologies. By taking water as the basic principle, the designers created their own logic and rules which they could use to create a strong guiding theme for the further design of the building. The flowing shapes of the main building mass are the result of this ideology. Stress analysis, fluid flow simulations and spatial analysis are taken into account. Secondly, the evaluation tools for functional criteria were also based and inspired by fluid behaviour. Various water-based building systems interact mutually while collecting, storing and distributing water, in order to create design aesthetic and building performance. The combination of lightweight rigid material and soft expandable material make it possible for the building to react on the seasonal and daily cyclical needs according to water in real time performance9.

natural prothesis

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his research, done by a group of students of AADRL and guided by Alisa Andrasek Studio, focusses on the conceptual approach of synthetic ecologies.

These are systems which are able to develop symbiotic relations with the environment. Important for the project was not to see nature as a finished system. The students interpretated nature as a complex organism that is constantly adapting and evolving to different situations and conditions. The project explores how architecture can react and blend in such environments.

The architecture should actively participate in promoting a better environment16.

Through material behavioural computation, alternative approaches on fabrication could be established. The project stimulates self-organised processes but also includes social and political inputs, to create an architecture that can be seen as a metobolic system. As a result, the building becomes a living unity. Its’ physical shape is highly depending on the state of the nature around it. Ultimately, the building becomes a micro ecological system itself16.

From my perspective, I think this project gives a new approach of architecture to the “genius loci”, also known as the spirit of a place. Modern architecture can be really unbound from the place it’s settled in. By creating buildings which are actually reacting on their environment with their physical appearance, I think the connection with the genius loci can be strengthened.

computerisation or computation?

Introduction: a definition of the concepts

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ver the years, the computer has become an important part of the architectural design, and design process. With the introduction of CAD and 3D-modelling software, architects are making use of the computer every day and the question arises if they could live without it in the future.

Currently, two major developments are taking place: we live in an age of computerisation, and there is to be seen a growth in computation. The words should not be confused with one another, because there is an important distinction to be made between them.

Computerisation is about the principal that architects tend to use the computer more often to digitise existing procedures with processes that come from preconceived ideas from the mind of the designer. Virtual drawing for example, makes it easier to edit, copy or to draw with more accuracy. Computation is more about an extention of the designers’ ability to deal with complex situations. A specific environment can be made by a adjusting a framework of negotiation and interrelation of datasets. In this case, the computer is used for processing information which can

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be embodied into algorithms, with which architects can explore new ideas and methodologies. To take it even further, the computer is able to inspire the architects and can give outcomes that are beyond the intellect and imagination of the designer. These outcomes can again be explored further by changing the parameters, resulting in a quick series of different potential (sometimes unexpected) design options. The ability of the architect to understand and interpretate the results of the generating code, and knowing how to modify it to explore new options is called “algorithmic thinking�11.

An important part of computation is the fact that it facilitates the sharing of codes, tools and ideas. Programs like grasshopper have a big community which are very accessible for designers to ask for support. This is a promising development for architecture in particular. The field is in general really closed when it comes to sharing ideas among other architects. The way professional architects design is a secret untill you get to work at the firm itself and it teaches you their way with learning by doing. The endless amount of drawings firms produce are rarely

shared or published. Architects could learn more from eachother by doing so. In particular for students, it could be a very inspiring and instructive development.

In addition, computation enables performance feedback throughout various stages of the design process, creating new oppurtunities and insights. It is suitable for testing structural, material and environmental performances. Those aspects can become parameters affecting the integral architectural form.

Allthough I think computation is a good development for representation and visualisation of archtectural projects, I think the traditional tools for designing like sketching, drawing and modelling will never lose their value as a result of computation or computerisation because the human aspect of these methods will always be appreciated. It are crafts which often leave certain parts of designing more to the imagination of the observer. In my opinion, this effect is reached less with computation.

PHILHARMONIE PARIS

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Jean Nouvel

n 2015, the construction of the Cité de la musique Philharmonie de Paris was finished. The 387 million euro project aimed to create a state-of-the-art concert hall that could pursue and develop a diversity of perspectives that incorporates all forms of music appreciation through education and recreation. Situated in the Parc de le Villette, the concert hall tries to connect the upcoming surrounding neighbourhood with the center of the city12.

The combination of the buildings’ kinked and bend plates with curved reflecting panels and organic shapes make the building a complicated and complex entity.

Computation design plays an integral role in the physical appearance of the building. Most notable are the 340,000 black and white colored tiles on the facade, of which each resembles the contour of a bird, creating a swarm on the overall appearance of the facade. The tiles vary between seven unique shapes, divided in four different shades.

This complex puzzle gathered out of different shapes and colors can be wrapped around the building with the help of computation. Also, the curved alluminium panels in a basketweave are a typical generic element in the structure, creating a contrast with the rest of the matte exterior12.

Inspired by the Berlin Philharmonie, the interior of the concert hall is created to emphasize an intimate connection between the audience and the performers.

The enveloping configuration is designed to optimize the visitor’s acoustic experience. Moving panels within the walls redirect the sound in multiple directions, alternating with sound absorption surfaces. In cooperation with MDA, acoustic designer Yasuhisa Toyota acted as a peerreviewer, conducting the mo del study to validate the design and acoustic simulations13.

LANDESGARTENSCHAu

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University of Stuttgart - ICD team

he Landesgartenschau Exhibition Hall in Schwäbisch Gmünd, Germany, is a generically created building by the University of Stuttgart’s Institute for Computational Design. The realisation of the design made possible by the fields of computational design and robotic manufracturing14.

With this exhibition hall, the ICD team tried to create a highly resource efficient generic design with an algorithm ment to use minimalize material use. The primary structure is entirely made of robotically prefabricated plates, the first of its’ kind.

The building’s shell made out of beechwood exists out of 243 unique geometric plates connected together. With the help of computational design, the building could reach a span of 10 meters with a plate thickness of only 10 milimeters. Instead of drawing each plate manually, a simulation and optimalisation process is used for automated form finding for the whole design space. In the end, a space of 605 cubic meters was created with the use of only 12 cubic meters of wood. This material is one of the oldest used by mankind, but computational design, simulation and surveying methods offer new possibilites and approaches to design15.

ICD professor Achim Menges, who participated in the project, notices that computational processes should be seen as ‘designable’, which enables us to explore design aspects that would otherwise be outside the area we can engage as architects14.

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Conclusion on computation The essence of the field

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oncluding part A, parametric design is widely applicable in the field of architecture.

It opens new doors for innovative and alternative design processes and methodologies. The ongoing developments of computation and computerisation will be having a significant role in the life of the future architect. After the computerisation, the leading architectural firms which are already working with computation will be followed by a broader public in the near future. Next to being a suitable tool for environmental and structural analysis and design, parametric design offers an extension to the bounderies of the architect’s imagination. With being able to produce a multiplicity of design variations in a short time, parametric design offers a new, highly efficient way to explore design. From my perspective, computation is the most effective in the area of vidence and performancebased design, due the major presence of

rationality within process. ‘ The findings in part A lead to new questions for further research. Questions arise like how far I would take parametric design. Which tasks for design problem solving would I be giving to the computer?

Which will I be solving myself? In the folowing weeks, I will execute the design process myself in combination with parametric design. Here, I hope to find answers to these questins throughout the process. My design approach will be putting the focus mostly on the effects of environmental factors on the design.

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Learning outcomes The first three weeks of studio Air

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ince the beginning of the studio I’ve been eager to learn more about the field of parametric design. Before starting this design studio, I was already aware of the potential of architectural computation. While exploring different precedents and readings about this field of design, I was amazed by how far it has been developed already, and the amount of knowledge there is today. The readings made conscious about the importance and potential of computation design in the future of architecture. With this knowledge, I feel even more excited to implement computation design into my own regular design process.

The first week’s assignment gave me new insights on how bounderies between public and private space can be defined and inspired me for later experimentation and research for the design studio. I think parametric design can really be of value for creating these bounderies.

In the second week, the precedents made me aware of the broad potential computation design has for evidence and performance-based design. In addition, I’d like to improve my use of computation design in future projects in the field of environmental and structural analysis.

I think mastering this will accelerate the analysis part of my projects, next to getting more accurate outcomes.

At last, in the third week I learned about the important difference between computation and computerisation.

Like the reading was discussing, I was also among the people confusing these two definitions. Beforehand, I thought both definitions were part of the term computation. It was interesting to learn about these two developments, and their importance to the future. With this knowledge package, I look forward to part B.

PART b Criteria design

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ith computation, the potential for generating complex form and patterned surfaces has been experiencing a significant development. Using computation, the designer establishes the relationships by which parts are connected, instead of creating the design solution by directly manipulating it.

With the use of biomimicry, these relationships are based on natural phenomena. Designers and researchers are increasingly looking for inspiration from nature itself to discover new materials and behaviours. The goal is enabling buildings to react dynamically to changing environmental circumstances. Biomimicry basically mimics the complicated patterned skins and structures in nature. By investigating natural behaviours, new ideas can be developed to improve the performance of building facades and structures. Doing this is relevant because the evolutionary pressure forces organisms to become optimized and efficient. This is where the generative potential of nature lays: producing maximum effect with minimum means.

Biomimicry not about what we can obtain from nature, but rather about what we could learn from it in its’ present state, evolved and optimized for more than 3,8 billion years16.

B1 Nature at its’ best An introduction to biomimicry

morning line T Aranda/Lasch studio

he Morning Line is created as a collaborative platform to explore the discourse between art, architecture, cosmology and music. The structure is imagined as a ruin of the future and its organic appearance is a good example of biomimicry. The design expresses itself as a drawing in space, where lines connect with eachother to form a network of intertwining figures and narratives without a clear start, ending, entrance, or exit.

The structure only shows movements around multiple centers that together form a web, which symbolizes the history and structure of the universe and our place in it. In order to maintain this idea, the fabrication of the steel structure must allow the joins and connections to be seamless. The complex design asks for uniquely, custom made parts. The design can be physically adapted because the parts are interchangeable, demountable, portable and recyclable. These are in fact important aspects of biomimicry, since the ability to adapt is an important quality of most organisms in nature17.

Within the structure, an arrangement of speakers and controls transform the design into a spatial sound environment. Also, composers produce site-specific works to create a unique experience for the visitor, surrounding them with music and sound performances through the space within the design. It is questionable wether biomimicry had an essential role in establishing this experience.

On the other hand, biomimicry has alot of potential to bring architecture closer to nature. Not only by making the user experience this connection through form and patterning, but also making the user aware and develope

ALGORITHMIC EXPLORATIONS A matrix of explored iterations

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A

CONE RADIUS HEIGHT RATIO DOMAIN

CONE RADIUS HEIGHT RATIO DOMAIN

CONE RADIUS HEIGHT RATIO DOMAIN

CONE RADIUS HEIGHT RATIO DOMAIN POINTS

+5

SCALE BREP SIDES

3

B

SCALE BREP SIDES

3

SCALE BREP SIDES

3

SCALE BREP SIDES

3

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OFFSET GRID ADJUST

OFFSET GRID ADJUST

OFFSET GRID ADJUST CULL PATTERN OFF

LOFT HEXGRID

D

PLANES COUNT U COUNT

PLANES COUNT U COUNT

PLANES COUNT U COUNT

PLANES COUNT MIRROR SURFACES

4

5

S

5

CONE RADIUS HEIGHT RATIO DOMAIN

SCALE BREP SIDES

6

CONE RADIUS HEIGHT RATIO DOMAIN

4

CURVED SURFACE PROJECT HEXGRID EXTRUDE HEXGRID

PLANES COUNT MIRROR SURFACES ROTATE PERP FRAMES INTERSECT BREP

SCALE BREP SIDES

CONE RADIUS HEIGHT RATIO DOMAIN POINTS

4

CURVED SURFACE ROTATE SURFACE PROJECT HEXGRID EXTRUDE HEXGRID

BOX MORPH

7

SCALE BREP SIDES

+5

4

DONUT PROJECT HEXGRID EXTRUDE HEXGRID

INTERSECT BREP BOX MORPH PLANE COUNT

+10

outcomes Case study 1.0

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he explored iterations in the matrix are assessed by considering the criteria of the design brief. For this project, an interior design will be made for a ceiling ornament within a ballroom.

An important part of this function is the signifcant presence of movement within the space. The design of the ornament should emphasize and express this, aswell as creating aesthetics and elegancy, in order to create an enrichment for the space.

Another important aspect for the ballroom is to implement atmospheric lighting into the design, to create an interesting experience for the user.

As a conclusion from the first case study, four outcomes have been chosen from the matrix, based on specific desirable qualities. These qualities have the potential to be implemented in later design fases of the final ballroom installation. Reflecting on the matrix, it’s notable that some of the projects are more shape-fixed than others. Creating iterations with significantly varying outcomes for the Volta Dome was harder to achieve than for

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Banq. In the end, the most varying outcomes could be established by using the transform options in grasshopper, and redefining the base objects of the algorithms in Rhino.

In the end, the four iterations with the most desirable outcomes were C6 and C7 from the Spanish Pavilion, and D6 and D7 from the Banq Restaurant.

Since the ornament will be hanging in the ballroom by attaching it to the ceiling, the structure is also an important aspect of the design. By exploring new iterations of the Spanish Pavilion, succesful outcomes were created of how patterned geometry can be used in the structure. By projecting the pattern on different shapes, and extruding it, skeletons were created with an unconventional appearance. These can be an inspiration for the structure of the design.

Also, the use the hexagonal shapes within a 3-dimensional structure creates the feeling of a honeycomb (a strong structure by itself), which follows the use of biomimicry within the design.

D7

The other two outcomes, D6 and D7, are iterations of the Banq restaurant. By mirroring the definition, a symmetrical geometry could be made. After, the lofted surfaces were copied and rotated in order to create a grid. Then, by using the solid intersection command the directions of the lofted surfaces changed, creating a 90 degrees corner on every surface. By using the box morph, these panels could be morphed into varying sets of panels, which are divided into layers. Remarkable is the fact that the structure has much similarities with the structure of birds’ feathers or leaves. This cladding could be an interesting way of joining different objects together.

Concerning the fabrication process, the D6 and D7 iterations could be difficult to make.

Both geometries have planes which bend in two directions, which is not likely to be done with the machinery that is at disposal (the lasercutter, although the 3d printer might be able to succesfully create a prototype.

BLOOM B

Alisa Andrasek & Jose Sanhez

LOOM is a crowd sourced garden which is paramatrically created as an interactive urban toy. The design acts as a distributed social game and collective garden, that seeks the engagement of people in order to construct their own formations with BLOOM’s components. The designers show the posibilities to the public by creating the initial aggregation in advance. This is the base for further creative exploration of the participants. They are enabled to add pieces to the structure to develop its form. Assembly, disassembly and re-usability are keypoints in the design and construction of BLOOM, which challenge the idea of unconventional and innovative construction techniques. The lifespan of the project is undetermined because of its ability to adapt and transform into an unlimited amount

of shapes, and can be moved to different places and occasions. The participants each share the memory of coming to a place and build something collectively18.

Each cell of the structure has 3 different connections. By combining and joining these cells, participants can create a ring, a spiral or a distributed branch18. The beauty of the recursive alghorithms which are used for this design, is that they are able to generate intricate sculptural shapes through a simple definition. Iteration sets start with an edge condition, which is not always recursive. The following iterations can be defined by data loops, in which items are repeated in a self-similar way19.

FACTOR

CONSTRUCT POINT

LINE SDL

LOOP START

LENGTH

END POINT UNIT Y

CREATING THE l-system STEP ONE: Create a line from a constructed point into a specific direction.

STEP TWO: Set the line as the input for the loop start component.

STEP THREE: Create a vector between the start- and the endpoint of the line.

STEP FOUR: Rotate the vector a specific amount of degrees, and draw a line of a specific distance from the end point.

STEP 5: Create the end of the loop and connect it to the start. This will make the cyclus start over again.

STEP 6: Multiply the length of the start loop with a factor, to control the gradual change of length after each loop.

CONCEPT

LOOP END

MULTIPLICATION LINE SDL VECTOR 2 POINT UNIT Z

ROTATE

IN-DE ALGORITHMIC

Exploration

EPTH C RESEARCH

n of iterations

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REPEAT MULTIPLICATION DEGREES DEGREES MERGE-LOFT

REPEAT MULTIPLICATION DEGREES DEGREES MERGE-PROJECT-EXTRUDE

REPEAT MULTIPLICATION DEGREES DEGREES TUBE

REPEAT MULTIPLICATION DEGREES DEGREES TUBE RADIUS +

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REPEAT MULTIPLICATION DEGREES DEGREES LOFT- DELETE LINES

REPEAT MULTIPLICATION DEGREES DEGREES LOFT- DELETE LINES- EXTRUDE

REPEAT MULTIPLICATION DEGREES DEGREES LOFT- DELETE LINES- OFFSET - LOFT

REPEAT MULTIPLICATION DEGREES DEGREES LOFT- DELETE LINES

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REPEAT MULTIPLICATION DEGREES DEGREES ROTATE

REPEAT MULTIPLICATION DEGREES DEGREES ROTATE

REPEAT MULTIPLICATION DEGREES DEGREES ROTATE

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S- OFFSET - LOFT

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REPEAT MULTIPLICATION DEGREES DEGREES

REPEAT MULTIPLICATION DEGREES DEGREES LOFT

REPEAT MULTIPLICATION DEGREES DEGREES LOFT

REPEAT MULTIPLICATION DEGREES DEGREES PERP FRAMES + SPHERE

REPEAT MULTIPLICATION DEGREES DEGREES LOFT

REPEAT MULTIPLICATION DEGREES DEGREES LOFT SECONDARY CURVES

REPEAT MULTIPLICATION DEGREES DEGREES LOFT - EXTRUDE

REPEAT MULTIPLICATION DEGREES DEGREES ROTATE

REPEAT MULTIPLICATION DEGREES DEGREES ROTATE

best outcomes Iterations with the most desirable qualities

Exploration of iterations

The C1 iteration has a lot of potential for the ballroom because of multiple reasons. At first, the structure has an organic appearance, which we are looking for.

Secondly, the aggregation is very clear. When built in the right scale, the smaller branches could lead the visitor to (for example) their table. The pattern is recognizable and the hierarchy is clearly to be seen.

C1

D1 was show relatively simple version of the L-system. This iteration could be fabricated with the aggregation as a structure. A possible option, which is inspired by this iteration, could be to use fabric as a secondary material. By connecting the branches with the fabric, which functions as a roof, the appearance could be created. Also this iteration has an organic shape.

D1

E6 shows, what the effect is of adding geometry on the end points of the L-system, in this case a triangle. This is established by lofting the end of an organic structure. An interesting result is the fact that both space and the contra-space show an organic appearance. In the centre, the spaces are the biggest. This could potentially be used in the design to control the amount of light that shines through the installation.

E6

The last succesful iteration shows a version of the D1 iteration, but adds a significant amount of complexity to the design. The iteration was established by lofting the L-system, offsetting the resulting surfaces, follow by another loft command. After deleting the base lines from the L-system, only the curved surfaces from the loft remain. Interesting is the fact that the surfaces are bent, but all still have exactly the same shape.

G4

B5 creating prototypes Research to overall form with different base objects

T

he use of recursive aggregation asks the designer to keep two important aspects in mind. At first, the base shape has to be designed so that it has aesthetic quality and can be connected to one another. But more importantly, changing the shape of these objects has a direct effect on the overall structure of the design. The connection between the appearance of these systems is very strong.

Therefore, both systems (the base shape, aswell as the overall structure) should be explored and researched.

The initial prototyping starts with a series of experiments, using different shaped base objects to generate various outcomes of the overall design.

Also, different orders of connections between de base objects are researched in order to explore different arrangements of the overall structure. Initially, small structures with a limited amount of base objects are used.

Later in the design process larger structures should be constructed to create a better sense of the composition. With the present prototypes also the joints could be tested. The

joints are created by sliding the components perpandicular into eachother. With this technique, no other materials are required.

After testing, the joints were not resistant enough against traction and bending forces, as predicted. Concluding, the components require additional materials and other techniques for joining them. These will be explored in part C.

3mm) were applied.

Concerning the materiality, three types of wood were tested. The choice for wood in the structure is a logical step, regarding the focus on biomimicry in the design. Next to its’ natural appearance, wood has a structure strong enough to be self supporting, which is favorable for the desired effect of aggregation. Connecting multiple wooden base objects into a bigger structure would therefore haven no major issues with bearing its’ own load. Two different kinds of wood are used to construct the base objects.

The use of plywood for the first prototype makes it strong and rigid but also heavier than the balsawood in the second and third prototype. These two are lighter but significantly weaker on the other hand.

Under pressure of bendingand compression forces the balsawood collapses easy. Also, the color of the texture did not meet the desired specifications.

As a result of this consideration, the 3 mm plywood will be used for further development of the design.

Initially, timber veneer was considered to be used in the structure, but was determinated not rigid enough for its’ purpose. Therefore, plywood (3 mm) and balsawood (2mm and

Prototype 1 explores the use of a base object with a symmetrical, triangluar shape. The use of a symmetrical shape results into a design which equally divides the use of space of the overall structure in the X-, Y- and Z direction. The second prototype explores a more linear, long shape.

1

2

3

b6 design proposal Biomimicry through recursive aggregation

The location of the design is a ballroom of the W hotel in the city centre of Melbourne.

Important phenomena in a space with a function like this, are movement and lightning.

Important physical elements of interest are the stage, and the sliding wall in the centre, which divides the space into two equal parts.

Responding to the entrance, leading the visitor into the space and orientating them to the stage.

Considering the four formulated intentions, we propose a biomimicry design, which is constructed according to the rules of recursive aggregation.

The design grows from the entrance into the room in the Four main design intentions are same way as plants would do, a formulated, where our focus branching system. will be: 1. Emulating naturally occuring We want the system we patterns. propose to be a response to the 2. Contribute to the atmosphere ballrooms specifications. If the of the space, rather than sliding wall is closed, the quality creating a point of interest. The of the design shouldn’t be visitor should have the constant affected. Therefore, we propose awareness of the design being two branch systems: one on there. The addition of the either side of the wall. Both design should make the room lead the visitor into the room, feel distinctly different. emphasizing the decreasing 3. Creating a feeling of a natural density of visitors by scattering environment, rather than into smaller branches. outwardly man-made.

4. Supporting the circulation In part C, we want to explore and stimulating the sense of the possibilities with this navigation within the space. system 3-dimensionally. Also,

we want to add a secondary technique such as sectioning, panelling in order to increase the complexity of the design.

For this technique, a different material will be used. The Hydroscope, designed by Achim Menges is a good example of how a secondary material could be used to create an interesting interaction between the design and light. In our design, the aggregation will be the main load bearing structure, combined with a secondary technique with a more aesthetic role. In part C we want to start with exploring how we can establish a strong connection between the ballroom , the aggregation and the secondary system.

Achim Menges - Hydroscope

LEARNING OUTCOMES From theory to design through experimentation

P

art B of the design studio gave an interesting introduction into the use of parametricism in the design process. In the six major design projects I have done, computation design never had a significant role. For me it was very instructing and interesting to experience the process of exploration, experimentation and analyzing different design outcomes. A big part of this process can be seen as design through research. Completely new for my experience, was the fact that you design by adjusting parameters in a system, without having a clear visual representation in mind of what is about to happen to the design.

I found this experience exciting, and would like explore how I can implement this element in my general design process for future projects. This is not only relevant because it could

add a valuable and interesting parametric quality to the design, but also because exploring various design solutions by the use of grasshopper is efficiĂŤnt, fast and effective.

The learning process in using software like grasshopper is increasing slowly but steady.

The first step is observing and understanding an existing definition. Untill a certain extend, I had no major issues with this. The harder part was (and still is) translating this understanding into creating my own grasshopper definitions. In part C, I want to make better use of the weekly technical help facilities the university offers, in order to keep my workflow up to speed. I am able to create major parts of the grasshopper definitions individually, but the most common problem is a lack of knowledge about which

specific component has to be used to further develop the design.

Regarding biomimicry, I have developed a big interest for this research field. I can relate to the ideology of this research field very well, and agree with its’ major perspectives. I already had a big interesting in the fusion of architecture and nature, which is also the reason why I choose this direction. The gathered knowledge from part B about biomimicry can really help me to establish this connection in my future designs. The choice for using recursive aggregation in the design was an intentional decision to challenge myself to create an innovative design, since there is not a significant amount of information available about this research field on the web.

b7

PAR

Final desig

RT C

gn proposal

Design concept Evaluation & development

c1 T

he design proposal as the end product of part B was a relatively vague and yet unresolved. The cause of this was that recursive aggregation is a new research field in architecture, with a small amount of actually realised precedents available compared to most other research fields. This made it hard to get up to speed in the first fases of the design process.

For myself, my aim was to investigate and resolve how the simplicty of the L-system could be used in a sophisticated way to create an interesting installation for the ballroom. The part B submission didn’nt make use of the systems’ strength yet, but the explorations of part B4 clearly showed its’ potential.

The first aspect of the feedback from the part B presentation was about the use of biomimicry within the design. It was not clear how biomimicry was relevant to the design, neither as how it could be used to strenghten the concept.

The challenge was to identify a natural system that we could use to benefit the quality of the design. In

addition, the design should relate more to she shape of the space.

The feedback was inspiring and opened up new ideas for the installation. According to the ballroom, a strong quality of the space is the height, which is around seven meters. The installation could really emphasize this by creating layers of the aggregation on different heights to encourage a sense of depth for the user. Another quality is the presence of a completely transluent wall on two sides of the room. This creates a great and wide view over the city. The installation should be transparant enough and stategically placed within the ballroom such that those visual and spacious qualities are not affected in any negative way. The design has potential to give interesting visual efffects when the natural light coming from the windows hits the installation, projecting its’ shadows on the ballroom floor.

As a reaction to the feedback we started searching for precedents and inspiration for the design in the field of biomimicry and to connect those with the function of the space.

Relating to biomimicry we decided not to mimic a specific appearance in nature in a physical way, but rather repeating patterns and behaviour. As a result the natural phenomen of swarming caught our interest. We want to mimic this in the design because it’s one of the most fundamental expressions of movement in nature. Looking to the function of the ballroom, of which dance is a major aspect, we can connect these two aspects together very well. In general, shapes that occure in nature are likely to be found aestethic. It generates curiousity to find out more. In the case of swarming -like a school of fish, or a flock of birds- I think in general people see aesthetic quality in the overall movement and differences in density of the swarm.

This all is done by individuals with the same appearance. In recursive aggregation, this isn’t any different.

That’s why we think it is well suited too mimic this in the design for the ballroom installation.

PRECE

Movemen

EDENTs

nt in form

workflow layout pieces for laser cutting

Glue tiles into position

Loop ties through carved openings

send & collect lasercut job

Layout pieces for spray paint (x2) & dry

separate tiles for different colour paint

Attach hooks into ceiling

Install design into ballroom

Technique Draw polyline of base shape

Locate points along polyline for notches Combine to create polyline tile

Specify depth of notches

Specify number of repetitions

Specify width of notches

tectonic elements & prototpyes

c2 Designing the base tile

Since the design is based on recursive aggregation, the core element is a tile which is repeated a certain amount of times to create an overall structure. In general, using recursive aggregation requires little other components than this. Potentially, other materials can be used to connect the structure to the ceiling of the ballroom. Because we wanted the installation to be looking like a completely individual structure floathing in the space of the room, we choose to simply join the tiles to the roof by creating openings in the tiles themselves. With this method, the structure hangs down from the ceiling with only thin lines. This method offers a lot of flexibility on where joints between the structure and the roof will be located. Another benefit of this is that all parts can be fabricated identical, without having to fabricate unique tiles for the joints. This is beneficial to the fabrication process: it’s simpler and faster. Further explanation of the fabrication considerations for the final design will be discussed in part C3 .

tile & structure

I

Testing the form discourse

n order to be able to make a well considered design decision on how to give shape to the base tile of the structure, we first need to evaluate the requirements the tile needs to fulfill. We concluded three key aspects which the tiles needed to emphasize.

The first aspect is that de tiles need to be orientated in such a way that a cluster of them expresses movement in the same direction.

By creating notches with little variety in the angle of their normals, tiles are more likely to move in a similar direction. This creates a less chaotic surface, and allows a visual with different kinds of “streams� on the surface, formed by different clusters. A good example is shown by the difference between the two tiles on the right. The first one has notches which are almost perpendicular, which means a more chaotic surface. The second tile has notches with a slightly difference between their angles, which results in a similar result as we are looking for. The second important aspect of creating the tiles is that they should consist curvy edges, to generate more natural looking shapes. At last, it is imporant that the tile is constructed in such a way that a cluster of them is able to make curves and turns that are reasonable enough to fit in the ballroom. If the clusters makes too tight turns, the density of the structure will be too high resulting in an amount of tiles needed that is not achievable.

base

W

Design dev

hile testing behaviours of different base objects within an overall structure, we tried to create a high quantity of iterations to look for our wanted outcomes. We tried testing the tiles with difference in the depths of the notches, resulting in clusters with varying densities: the deeper the notches, the higher the density of the cluster. This was important to keep it in mind according the

e tile

velopment

feasibility. Also, by tweaking parameters and generating high amounts of iterations, we became a better understanding of how the resulting aggregation would react. Finally, we choose for the longshaped, curvy tile based on our key requirements for further development. With this tile, we had a closer look to the effects of changing parameters on the resulting aggregation.

base

Design exploratio

e tile

on and refinement

prototpying

W

First attempt

ith the first attempt of the prototype, we concluded that the tiles were to big for it’s use. The objects felt quite clumsy and didn’t give the desired effects we desired.

Also, since we decided to spray paint the objects, we will be using a

material without a clearly visible texture. Important for this material is that it has the same rigidity and strength as the plywood we used in this model, since that was a strong material property for our design. It’s lightweighted, and strong enough to be self supporting.

final ba

Transparancy

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2

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I

5

n order to reach the right amount of transparancy for the structure, we made the decision to make holes into the base tiles. The process is can be seen above. At first, de end points of the branches would need an offset in order to give an appropriate amount of space to the notches. If the holes would come to close, there would be a risk of losing rigidity and strength. By giving the inner component an offset, the area where

ase tile

y and structure

6 the holes will be is created. To guarantee the rigidity and strength of the object, we connected the two sides with eachother by similar sized branches. After giving these the appropriate proportions, we used the ‘Weaverbird’ grasshopper plugin to smoothen out the edges, creating a more morphologic appearance.

7

final

bases overall

Design exploration Transparancy

W

e formulated two important aspects for the design of the overall structure. At first and most importantly to our concept, the overall structure should be emphasizing the swirling movements within the ballroom. Initially we tried to create this artificially by for example using Breps in shape of spirals. After testing in Fox-plugin in Grasshopper, it became clear that there was a better option. The base tile naturally formed it’s

estructure tile

n and refinement y and structure

own swirling movements., which we could use in our advantage in the design. The second important aspect was the thickness of the Brep we used as an input for the Fox definition. We wanted to the aggregation to become too dense, because it wouild result in a loss of light, space and depth in the room. Therefore, the breps we created had a max thickness of 300 milimeters, keeping the aggregated layers clear and transparent.

c3

Final deta

The final ballro

3

ail model

oom installation

design summary The final ballroom installation

The initial concept of part B was to let the aggregation go through the whole space of the ballroom, covering the major part of the ceiling. After evaluating the design, we concluded this was not the best option to go with because of various reasons. Next to creating a rather chaotic appearance, sight lines would be blocked, significantly higher fabrication costs would occur and it would require a stronger construction to hold the whole installation. Therefore, we chose to place the overall structure in the middle of the ballroom, creating a centric swirling composition which the ballroom moves around.

By creating different layers unique spaces form inbetween the structure, awakening curiousity of the visitors.

Each layer is an aggregation on it’s own, spinning around the epicentrum of the whole. To give a sense of clarity to the vistor in the structure the starting points of the aggregation are painted gold, gradually changing into a gradient of silver and white. These colors emphasize the royal, warm and elegant character of the ballrooms’ function.

In order to keep the sigh to the podium and towards the windows clear, the installation doesn’t come closer than three meters to the ground. The remaining upper four meters are used by the installation to create a sense for the impressive height of the ballroom.

Relating to fabrication and costs, the

design consists roughly out of 3000 identical plastic pieces. This feasible amount of tiles is the result of keeping the size of the design limited to the centre of the ballroom, which lowers the fabrication costs significantly. For the assembling of the structure, the pieces can be marked individually for describing their orientation and position.

Final pro

Photograp

ototypes

phy series

structur

1:5 m

re layer

model

base tile 1:1 model

final image Design in the ballroom

Learning outcomes

c4 End of design stage

P

articipating in studio Air was really an eye opener for me as a student with relatively little experience in computation design. I chose this subject for my exchange program to improve my skills and abilities in parametric design in grasshopper in particular. Looking back, studio Air not only fullfilled this ambition but also introduced me to computation design in a broader spectrum. While studying the readings, new questions arised about how architecture will be affected and improved by these innovative design techniques.

Learning about biomimicry, panelling and patterning made me aware of the potential these research fields have for design. When implemented correctly, these techniques can really offer an intersting addition to a project. Realising those projects is possible nowadays due the presence of innovative and sophisticated fabrication techniques.

This is another focus where studio Air made me realise where potential for future architecture lays. Seeing the possibilities of for example 3D printing made me wonder how this will be like in the future. I’m expecting that in the near future 3D printing can be done on a much larger scale, what could possibly allow innovative architecture like 3D printed skyscrapers. When developments like this would occur, a whole new field arises which inspires architects to be innovative. I believe parametric design will be playing an significant role in this process, and studio Air made me realise

the importance of implementing this in my further studies. Therefore, I chose to start a second master track in Building Technology at the Delft University of Technology, next to the Architecture track. Participating these degrees, I want to develop my abilities in computational design to a professional level.

Relating to my abilities to create, manipulate and design using parametric modelling, I think that I developed myself well in the ten weeks of the studio. An important factor was the fact that I had an substantial role in the parametric design process of the ballroom installation. Where my other groupmates mainly focussed on the physical model and fabrication, my responsibility and focus were at the design of the overall structure, and partly on the design of the base object which we aggregated. Because my aim was to improve my skills in grasshopper, I liked to keep the focus there. My effort in grasshopper was rewarded in the end, seeing my design intentions playing a significant role in the final design result.

Looking forward to my next projects, I will try to keep making use of grasshopper by implementing it in my design process in an integral way. I believe that with professional skills in grasshopper not only new doors will open for design opportunities, but also speed up efficiency and work flow during the design process.

ents’

m.”

l

c5 ALGORITHMIC SKETCHES Results of grasshopper the scripts throughout the semester

REFERENCES PART A 1

http://garagemag.com/fondation-louis-vuitton-observatory-light/

2

http://www.fondationlouisvuitton.fr/en/la-fondation/la-construction.html

3

http://www.vanityfair.com/culture/2014/09/frank-gehry-foundation-louis-vuitton-paris

4

http://www.archdaily.com/347512/busan-cinema-center-coop-himmelblau

http://4.bp.blogspot.com/-peYSBUiu0-8/TfSsryO9cBI/AAAAAAAAAEk/8iihtIKZvXY/s1600/lake_shore_drive_towers_k030310_wz7. jpg 5

6

http://www.coop-himmelblau.at/architecture/projects/busan-cinema-center/

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) 7

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 8

9

http://drl.aaschool.ac.uk/portfolio/think-tank/

10

http://www.rolandsnooks.com/research/

11

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

12

http://philharmoniedeparis.fr/en/the-philharmonie

13

https://sourceable.net/acoustic-feats-worlds-costliest-concert-hall/

14

https://www.wired.com/2014/07/this-peanut-shaped-building-was-designed-by-computers/#slide-2

15

http://icd.uni-stuttgart.de/?p=11173

16

http://drl.aaschool.ac.uk/portfolio/blue/

Images http://4.bp.blogspot.com/-peYSBUiu0-8/TfSsryO9cBI/AAAAAAAAAEk/8iihtIKZvXY/s1600/ lake_shore_drive_towers_k030310_wz7.jpg http://www.insiderfrance.com/wp-content/uploads/2015/01/image-fondation-louisvuitton-54476e642e0a21.jpg http://drl.aaschool.ac.uk/wp-content/uploads/2013/06/01-thinkTank.jpg http://drl.aaschool.ac.uk/portfolio/blue/# https://www.mimoa.eu/images/46817_l.jpg http://www.archdaily.com/778425/gallery-philharmonie-de-paris-photographedby-danica-o-kus/56683b42e58ece738c000015-gallery-philharmonie-de-parisphotographed-by-danica-o-kus-photo http://philharmoniedeparis.fr/en/institution/architecture/philharmonie https://ovacen.com/wp-content/uploads/2014/07/arquitectura-de-algoritmos.jpg http://icd.uni-stuttgart.de/?p=11173

REFERENCES part b Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 16

17

http://arandalasch.com/works/the-morning-line/

18

http://www.archdaily.com/269012/bloom-a-crowd-sourced-garden-alisa-andrasek-and-jose-sanchez

19

https://wewanttolearn.wordpress.com/2014/11/13/recursive-growth-through-aggregation/

No references used in part C

Images http://www.newhdwallpapers.in/wp-content/uploads/2015/01/Digital-Anemone-FlowerWallpaper-HD.jpg http://artpulsemagazine.com/wp-content/uploads/2010/03/tml_100208__3914-1.gif http://www.bloom-thegame.com/main/2012/07/08/the-idea/how-to-play/ https://farm4.staticflickr.com/3098/3191703998_315e2450e9_b.jpg http://www.achimmenges.net/wp-content/gallery/hygroscope/HygroScope_04_DSC7766.jpg

Images http://www.newsweek.com/2014/05/23/swarm-and-fuzzy-251115.html