STUDIO AIR 2017, SEMESTER 1, MANUEL BOYD HELLIER KNOX
StudioAIR
CONTENTS
Table of Contents 5 Introduction 7 Precedent Studies 10 Computational Structure 14 Computational Fabrication 18 Algorithmic Sketches 21 Learning Outcomes 23 Summary 24 Image Credits 25 Bibliography
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A1 INTRODUCTION
Introduction
Biography I’m Boyd, a third year architecture student at the University of Melbourne. For me, architecture is about the relationship between the immaterial and the material, and the way in which they inform and distort one another. I have previously engaged with the more technical and material elements of architecture, grounding my work in tangible and relatively conventional means of construction and design. It is with this in mind that I look I looked to Studio Air to broaden my perception of architectural design, and the role computational design will play in shaping the future of the discipline. This studio is my first opportunity to engage with structured education on contemporary, and speculative technologies emerging in the field of architecture. My personal experience of digital design largely involved the Adobe Creative Suite, with some limited forays in to 3D using Rhino and Sketchup. I am looking for Studio Air, and parametric design as a whole, to add to my understanding of architectural design, serving as an influence and a resource I will engage with in my educational and professional careers.
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Clockwise from top left. Fig 8.1 - Completed Egg on site. Fig 8.2 - Completed Egg exterior wall detailing. Fig 8.3 - Interior view through aperture.
A2 PRECEDENT
Precedent Studies Project EGG, Eindhoven Michiel van der Kley’s 2014 work, project EGG, advocates for a new means of production and distribution, made possible through advents in digital design and fabrication. The structure speaks to the level of unity and cooperation achievable through digitally enabled and coordinated programs and goals. It is as much an exercise in communication and community building as it is in engineering, setting out new opportunities for non-conventional models of manufacturing and fabrication. The 5x4x4m pavilion is comprised of 4760 individualised ‘stones’, sourced from participants around the world1. Digital files are sent to interested parties, where the stones can be fabricated using entry level desktop 3D printers. The stones are then sent to van der Kley in the Netherlands, where they are assembled using custom hexagonal screws2. The result is the worlds largest 3D printed co-created art project. While the result is aesthetically pleasing and structurally innovative, it is in the broader social context that the project is most valuable. It is indicative of the power of technology and computation to disrupt powerful social structures, such as the construction industry. Van der Kley grounds his work in the notion that many of the complex structures we see around us are merely the sum of many parts. He opines that the proliferation of new technology allows for new models of collaboration and construction3, allowing consumers to become producers and designers. By accommodating new avenues for assembly, van der Kley challenges the factory based model of manufacturing, posing a future of concientious maker users. Following the initial exhibition, the Egg toured the world, meeting many of it’s donors and offering an insight in to a future avenue of manufacturing 4.
7.1 “Project EGG by Michiel van der Kley,” contemporist, last modified 21 October, 2014, http://www.contemporist.com/project-egg-by-michiel-van-der-kley/ 7. 2 “Michiel van der Kley presents 3D-printed Project EGG,” designboom, last modified 20 October, 2014, http://www.designboom.com/design/ michiel-van-der-kley-project-egg-dutch-design-week-2014-10-20-2014/ 7. 3 “The 3D-Printed Pavilion - Project EGG,” ARCH20, accessed 15 March, 2017, http://www.arch2o.com/project-egg-michiel-van-der-kley/ 7. 4 “Project EGG,” projectEGG, accessed 15 March, 2017, http://projectegg.org/project-egg/
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Clockwise from top left. Fig 8.1 - Detailed view of film imposed on steel beams. Fig 8.2 - Structure in use, with seating and walls seen. Fig 8.3 - Side elevation highlighting contrast of grid and undulating structures.
A2 PRECEDENT
Transparent Shell, Guangzhou Transparent Shell is a project by PONE Architecture that looks to reinterpret architectural conventions such as enclosure and structure in the age of computational design. The main structure is comprised of 30 ‘bone models’ and three groups of sweeping radian curves1. The structure is made of undulating steel beams tightly wrapped in clear film, which is then suspended upon a relatively conventional steel square grid. It measures 7000x13000mm, making it a sizeable structure, able to be traversed and inhabited by viewers2. The structure was influenced by the helix shape of a conch shell, as the spiralling elements create a logic to the form as it ebbs and flows from one end to the other. This spiral is in seemingly harmonious opposition to the grid, floating upon it almost weightlessly. The architects deem the structure an exercise in ‘behavioural art’, rather than construction3. Within this structure there are allusions to windows, doors, ceilings and desks, as the architects look to advocate for such a structure’s applicability, rather than just its possibility4. This familiarity, coupled with the ability to navigate the space allows for a degree of feasibility, as the viewer images themselves within the space, and the negatives and positives such a lifestyle may entail. This juxtaposition of old and new, of organic and inorganic exemplifies the fact that traditional and developing models of construction may be complimentary to one another, rather than simply exclusionary. Such a model, in this instance, promotes a more fluid traversal of the individual through the built environment5.
9.1 “PONE Transparent Shell,” Red Dot Award, last modified 2016, http:// red-dot.de/cd/en/online-exhibition/work/?code=13-00210&y=2016 9. 2 “PONE Transparent Shell Exhibition,” A’Design Award, last modified 24 February, 2016, https://competition.adesignaward.com/design.php?ID=46207 9. 3 “PONE Architecture weaves undulating and immersive ‘transparent shell’ pavilion, designboom, last modified 14 December, 2016, http://www.designboom.com/ design/pone-architecture-transparent-shell-guangzhou-design-week-12-14-2016/ 9. 4 Ibid. 9. 5 “Transparent Shell by PONE Architecture,” Koozy Design, last modified 25 January, 2017, http://koozydesigns.com/transparent-shell-by-pone-architecture/
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Computational Structure Seismic shifts in industry take time to materialise, but materialise they do, shaking and changing the very foundations of the field. Computation in architecture promises to be one such shift. As both awareness and capability of the power of this new technology grows, so too does an understanding of it’s viability not merely in form finding exercises, but in achieving structures of a new degree of coherence, as the buildings systems and forms enhance and support one another. Foster + Partners 2013 building, the National Bank of Kuwait Headquarters, exemplifies the value of computational design in achieving complex and challenging performance requirements, without compromising aesthetic or programatic ideals1.
iteration. One of the great benefits of computational design in such an operation is that so long as the model lies within the given parameters, it is viable. Therefore the process is not concerned with what works merely sufficiently, but rather what works best for the client, the user, and the architect. Such a model allowed for accurate modelling to counter the 50 degree heat 2 , as well as providing computationally generated performance data regarding light, wind and acoustics. The speed, and minimal cost of such modelling promises to be a great shift in the field, allowing for unprecedented levels of knowledge of the building, and a more holistic approach to architecture. The fact that such models may be rapidly fabricated as prototypes is a further boon.
Through establishing a set of rules that would satisfy the performance This shift to a more managerial requirements, the team would be role echoes a shift in the able to design in a feedback loop of architectural field for some time, sorts, seeking the most successful which only looks to accelerate with the contrasting complexity, and autonomy of computation. 10.2 “National Bank of Kuwait 10.1
A3 PRECEDENT BASED DISCUSSION
Computation Works (Wiley, 2013), 34-35
HQ,� Buro Happold, last modified 2017, http://www.burohappold.com/projects/ national-bank-of-kuwait-headquarters/
PTW Architects’ 2007 Beijing National Aquatics Center utilised computation in ways they initially did not anticipate. While initially using a somewhat antiquated geometric stacking algorithm to generate their initial form, the resulting complexity of the steelframed bubble array1, coupled with the inclusion of a new material ETFE necessitated the use of computational modelling for the management and fabrication of a complex form. Through this computation, efficiency was maximised, generating a self supporting system of more than 4000 bubbles, while only requiring 23 different configurations of structural elements, simplifying manufacturing and construction2. New methods for testing the structures viability expanded the Chinese building code to accommodate individualised methods of evaluation.
Fig 11.1 - Cutaway image of tower, including structural elements and references to computational design elements.
It is clear that computational design is already changing the conventional model of architecture, advocating for a shift away from an imposed scheme of interfering pieces to an integrated system of interactive parts.
11.1 “Engineering the Water Cube,� Architecture AU, last modified 1 July, 2006, http://www. burohappold.com/projects 11.2 Fabricating Architecture (Princeton Architectural Press, 2010), 140-51
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Clockwise from top left. Fig 12.1 - Tower under construction, with clear views of the vertical structural concrete fins. Fig 12.2 - Completed tower. Fig 12.3 - Example of Foster + Partners prototypes and digitally fabricatied models.
A3 PRECEDENT BASED DISCUSSION
Beijing National Aquatics Center
Clockwise from top left. Fig 13.1 - Perspective view of digital model, including entrance. Fig 13.2 - Strand7 Finite Element model. Fig 13.3 - Exterior view of steel structure and EFTE bubbles.
REFERENCES
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Computational Fabrication While computational design may often speak to broader structural and performance based quandries, it is perhaps in relation to more acute and tangible issues that the everyday value of computational design may be realised. As reliance upon computational design grows, and the technology itself progresses, integrated systems of managing and resolving design problems will emerge. Technological ecosystems will fabricate complex computised schemes, as entire chains of design, from generation to fabrication and construction may be automated. The reality of such a situation poses both issues and opportunities for architects, demanding a fluid notion of what their role is, and may be in the future. In a world of mass produced items, architecture promises a unique, bespoke service and product1. This distinguishes architecture both economically, and conceptually from other design fields. The architecture of the future will be concerned with
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A4 PRECEDENT BASED DISCUSSION
Instrumental Geometry (New York: Princeton Architectural Press, 2010), 22-42.
broaching this divide, largely through the systemisation and computisation of architectural tools and schemes. Echoes of such a notion may be seen in UNStudio’s Ometosando Commercial Complex. The buildings facade reacts to the programmatic needs of the interior, allowing different degrees of light and visibility according to their requirements1. Programmed to react to simple grayscale colour coding, as processed through an image editing suite, the data generates a dynamic, yet resolved facade. The weaving pattern generated is visually complex, while accounting for all discrete elements within the algorithm. Means of fabrication and construction will also rely heavily upon computised models, accomodating a shared knowledge between the disciplines2. The value of integration within the fabrication process allows not only for bespoke solutions, but systematised models of architecture, as seen in Facit Homes’ D House.
14.1 “Block Strategies - A Neverending Story,” UNStudio, last modified 2016, http://www.unstudio.com/research 14.2 Innovate or Perish (New York: Princeton Architectural Press, 2010), 56-86.
Positioning themselves as the first architectural practise to both design and produce their products using only digital means, Facit Homes look to be on the cutting edge of a shift in domestic architecture, driven by computation. All stages of design and construction are conducted in house, allowing a generally higher quality of finish, with reduced hassle1. Using a proprietary computational system, Facit creates a base ‘chasis’ on site using mobile manufacturing facilities, while individualised components are completed in their workshop. Through use of their self contained ecosystem, the compatibility of the components is never in question or misinterpreted. The efficiency of such a system results in further attenting paid to a comprehensive climate and ventilation system2 , while reducing material waste.
Fig 11.1 - Example of correspondence between programatic needs and facade design.
It is clear the computation, and the effects it will have on manufacturing and fabrication processes have the ability to reshape conventiona approaches and understandings of architecture. Through the offering of systems-based approaches, new levels of efficiency and responsiveness may be achieved. 15.1 Computation Works (Wiley, 2013), 88-91 15.2 “Facit Homes’ D-Process,” inhabitat, last modified 29 March, 2015, http://inhabitat.com/facit-homes
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Clockwise from top left. Fig 17.1 - Example of the ease of construction of manufactured parts following digital manufacturing. Fig 17.2 - Illustration of the accuracy of digital modelling and construction process. Fig 17.3 - Detailed look at interior digitally manufactured cladding during late construction phase.
A4 PRECEDENT BASED DISCUSSION
Ometosando Commercial Complex
Clockwise from top left. Fig 17.1 - Perspectival visualisation of completed structure, with facade scheme visible.. Fig 17.2 - Illustration of the interaction between interior and exterior, mediated through computational design. Fig 17x.3 - Illustraction of varying cladding elements, and the manner in which they meet.
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Algorithmic Sketches
A5 ALGORITHMIC SKETCHES
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A6 LEARNING OUTCOMES
Learning Outcomes Learning new methods and tools for development and design can be tedious. Hundreds of unknown buttons in seemingly loose collections make for daunting initial encounters.
the work of Zaha Hadid Architects. With even a basic understanding of the principles of Grasshopper, forays in to more complex components are possible, allowing for risk free and informative exploration.
This apprehension gives way to slow comprehension, as order and rules emerge. Grasshopper is no exception to this. Through patient use of the program, one begins to understand the logic that governs the generation of familiar shapes and forms. These early successes give way to a slow understanding of the great value and relevance of such a program. More complex algorithms and computational structures, such as those seen in the tutorials, give an idea of roles that computational design may play in real world applications, rather than mere aesthetic exercises. Array based configurations of parametrically designed blocks evoke complex building facades, while more singular shapes are evocative of
The visual feedback offered by the Rhino software allows for instant visual gratification of your successes, prompting further boundary pushing. Through an engagement an interest in the subject of computational design, one is able to broaden their mind to speculate on it’s future role in the profession. A willingness to engage and a determination to participate in the future of architecture place computational design at the forefront of marketable skills moving forward, making the outcomes of this course crucial stepping stones in this development,
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A6 LEARNING OUTCOMES
Summary To summarise, part A has not only broadened my understanding of what computational design is, or can be, but put me in a strong position to generate design choices through computational means. Through an understanding of the multifaceted nature of computational design, one can understand its strength across manufacturing, generation and performance, amongst others. The precedent studies highlighted the variability of computational design. The egalitarian Project EGG moved the factory to the home, as individuals participated in collective action in advocating for new means of construction. Transparent Shell on the other hand looked to reinterpret traditional architectural forms in a dramatically new digitized language. Computational design can be invaluable at the generative stage of the design process. Working within a set of performance and aesthetically driven paremeters, rapid change and concept development may be achieved.
Projects such as Foster + Partners’ NBK HQ and PTW’s Water Cube thrive on this feedback based model of design, where data driven choices contribute to creating a cohesive design that satisfies client needs. When used in conjunction with contemporary fabrication and manufacturing tools, computational design yields highly responsive and successful outcomes. Both UNStudio’s Ometosando Commercial Complex and Facit Homes illustrate the value of the systematisation of computational models, not just in a particular instance, but as a tool that may be developed and implemented in later instances. The trend of computational design within architecture is not likely to subside, necessitating an understanding not only of where such a model has taken us, but where it will take us going forward.ß
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Image Credits Page 6
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6.1, 6.2, 6.3 - Michiel van der Kley, Project EGG, 2014, photo, http:// projectegg.org/press/
13.2 - PTW, Water Cube facade, 2008, photo, http://www.ptw.com.au/ptw_project/ watercube-national-swimming-centre/
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13.3 - AEC Magazine, Strand7 Finite Element Model, 2005, photo, http:// aecmag.com/case-studies-mainmenu37/36-beijing-waterworld
8.1, 8.2, 8.3 - Architecture Prize, Transparent Shell, 2016, photo, https://architectureprize. com/winners-2016/winner.php?id=2670
Page 15 Page 11 11.1 - Dusanka Popovska, “Overall tower geometry”, in Computation Works: the Building of Algorithmic Thought, Brady Peters and Xavier De Kestelier, 35. Page 12 12.1 - Adrian Welch, National Bank of Kuwait, 2017, photo, http://www.e-architect. co.uk/kuwait/kuwait-building-photos/ attachment/kuwait-building-a240217-aw58 12.2 - Dusanka Popovska, “Design of new tower”, in Computation Works: the Building of Algorithmic Thought, Brady Peters and Xavier De Kestelier, 35. 12.3 - Dusanka Popovska, “Design of new tower”, in Computation Works: the Building of Algorithmic Thought, Brady Peters and Xavier De Kestelier, 34. Page 13 13.1 - SPOKI, Water Cube, 2011, photo, http:// spoki.tvnet.lv/foto-izlases/Iespaidigais-
BIBLIOGRAPHY
15.1 - UNStudio, Tiling Strategy , 2015, photo, http://www.unstudio.com/research/spp/ block-strategies-a-never-ending-story Page 16 16.1, 16.2, 16.3 - Facit Homes, Assorted Images, 2016, photo, http://facit-homes.com/ Page 17 17.1, 17.2, 17.3 - UNStudio, Assorted Images, 2015, photo, http://www. unstudio.com/research/spp/blockstrategies-a-never-ending-story
Bibliography A’Design Award. PONE Transparent Shell Exhibition. February 24, 2016. https://competition.adesignaward.com/design.php?ID=46207 . Arch2o. The 3D-Printed Pavilion - Project EGG. http://www.arch2o.com/ project-egg-michiel-van-der-kley/ (accessed March 15, 2017). ArchitectureAU. Engineering the Water Cube. July 1, 2006. http://www. burohappold.com/projects/national-bank-of-kuwait-headquarters/ . Bell, Bruce, and Sarah Simpkin. “Domesticating Parametric Design.” In Computation Works, by Bradley Peters and Xavier de Kestelier, 88-91. Architectural Design, 2013. Buro Happold. National Bank of Kuwait HQ. 2017. http://www.burohappold. com/projects/national-bank-of-kuwait-headquarters/ . Celento, David. “Innovate or Perish: New Technologies and Architecture’s Future.” In Fabricating Architecture, by Robert Corser, 56-86. New York: Princeton Architectural Press, 2010. contemporist. Project EGG by Michiel van der Kley. October 21, 2014. http:// www.contemporist.com/project-egg-by-michiel-van-der-kley/ . designboom. Michiel van der Klay presents 3D-printed Project EGG. October 20, 2014. http://www.designboom.com/design/michiel-vander-kley-project-egg-dutchdesign-week-2014-10-20-2014/ . —. PONE Architecture weaves undulating and immersive ‘transparent shell’ pavilion. December 14, 2016. http://www.designboom.com/design/ponearchitecture-transparent-shell-guangzhou-design-week-12-14-2016/ . inhabitat. Facit Homes’ D-Process. March 29, 2015. http://inhabitat.com/facithomes-d-process-creates-efficient-buildings-that-snap-together-like-lego-bricks/. Koozy Design. Transparent Shell by PONE Architecture. January 25, 2017. http://koozydesigns.com/transparent-shell-by-pone-architecture/ . Menges, Achim. “Instrumental Geometry.” In Fabricating Architecture, by Robert Corser, 22-42. New York: Princeton Architectural Press, 2010.
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Popovska, Dusanka. “Integrated Computational Design: National Bank of Kuwait Headquarters.” In Computation Works: the Building of Algorithmic Thought, by Brady Peters and Xavier De Kestelier, 34-35. Wiley, 2013. projectEGG. Project EGG. http://projectegg.org/project-egg/ (accessed March 15, 2017). Red Dot Award. PONE Transparent Shell. 2016. http://red-dot.de/ cd/en/online-exhibition/work/?code=13-00210&y=2016 . UNStudio. Block Strategies - A Neverending Story. 2016. http://www.unstudio.com/research. Weinstock, Michael. “Self-organization and Material Constructions.” In Fabricating Architecture, by Robert Corser, 140-151. New York: Princeton Architectural Press, 2010.
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