Week 6 by Charlotte Sudholz

STUDIO AIR JOURNAL

2016, SEMESTER 1, CAITLYN PARRY CHARLOTTE ANNA SUDHOLZ 699128

CONTENTS Intoduction Part A. Conceptualisation A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning Outcomes A.6. Appendix - Algorithmic Sketches Part B. Critical Design B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Techniques: Development B.5. Techniques: Proposal B.6. Techniques: Proposal B.7. Learning Outcomes B.8. Appendix - Algorithmic Sketches Part C. Detailed Design C.1. Design Concept C.2. Techtonic Elements and Prototypes C.3. Final Detail Model C.4. Learning Outcomes

INTRODUCTION ABOUT ME

My name is Charlotte Sudholz. I am currently studying at the University of Melbourne where I am in my third and final year of a Bachelor of Environments, majoring in architecture. The things that I inspire me most in life are art, travel, food, jewellery, family and friends. Whilst starting this studio, I began to realise that my knowledge of digital design was reasonably slim in comparison to my understanding of other architectural influences. Despite being heavily reliant on alternate techniques such as drawing and watercolour, I am rather nervous yet excited to explore Grasshopper and gain a greater comprehension about computerised design and its potential. My first encounter with digital designing tools initiated with a variety of Adobe Suite programs, including Photoshop, Illustrator and InDesign. After completing my previous two architectural studios, my skills within such software has become more proficient due to the development and representational requirements that various final pin-ups require. Rhino was the primitive digital modelling program that I was introduced to, within which I learnt about basic panelling tools and how to approach different geometry. Since I am revisiting the program, I hope to gain a greater understanding of its possibilities in conjunction with the plug-in Grasshopper; ultimately enriching my confidence and redefining my approach to an alternative method of design.

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PART A:

CONCEPTUALISATION

A.2 DESIGN FUTURING

Responsive Surface Structure II Steffen Reichert and Achim Menges, Department for Form Generation and Materialisation, HFG Offenbach, Offenbach am Main, Germany, 2008

An underlying theme of biological and ecologically embedded architecture is evident within Steffen Reichart’s structures and their interaction and reflective nature of their context. By working in a geometrical manner, the organic form can address the state of our surroundings through dynamic expression, denoting the level of moisture and humidity. This material-based way of thinking can influence our way of addressing how we live, influencing our built identity by focusing on our environment status. Despite being part of an experimental series of responsive surfaces, this group of poly-surfaces is a prototype which emulates how far this type of technology could be developed. Its initial description of the potential behind the contextual capacity of the material is so diverse and could be used to compliment various built elements, reiterating how important it is to explore new combinations within future forms. Its complex entity continuously defines an individual system, focusing on the interdisciplinary nature of the prototype rather than the outcome [1].

[1] Brad Elias, Lecture week one; Composition/Generation, The University of Melbourne (2016) [2] Achim Menges and Steffen Reichert, “Material Capacity: Embedded Responsiveness”, Architectural Design, 82 (2012), 52-59 [3] Tony Fry, “Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), (2008), pp. 1-16 10

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Experimentation with wood’s hygroscopic behaviour has never been optimised with computerised design components, and by combining the two an innovative notion of embedded responsiveness has been indicated within this material’s capacity. Therefore by engineering this organic product to become moisture-responsive in relation to humidity, a dynamic and a representation of ‘living’ architectural form has developed, instigating change in the way one perceives the possibilities of a material and its relation with computerised development. Such a self-sufficient design is timeless due to its structural and technological identity; as it has adapted its morphological features to not require a substructure, redefining the structural frame through each extension and tip [2]. Such complexity within the skin of this prototype allows the world to consider how responsive systems could be approached, inspiring various installations and the diversity of algorithmic processes. By showing constant physical feedback from a direct interaction with its surrounding environment, Reichart illustrates a type of architecture that is fluid in relation to its context, almost acting as an environmental indicator. Such intuitive technology reminisces theory within Tony Fry’s Design Futuring, through its continuous ‘dialect of sustainment’; which encourages a form of revolutionised thinking in relation to new way of design [3]. This facet allows inhabitants to comprehend what is effecting their context and the patterns behind its behaviour, giving them selfawareness of their landscape whilst giving the prototype a dual purpose in relation to its intent and future possibility within urban communities.

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Messe Basel Architect: Herzog de Meuron Location: Basle, Switzerland Year: 2013

Fabrication was a fundamental process for the Messe Basel, as the exterior skin of the building couldn’t have been predicted without various trials, reiterating a new manner in which one can design. Limitations such as constraints of assembly and a materials durability allowed the organic skin to take on various identities, and so such a process was important to determine how ideal the 2D CNC-milled components were in relation to the building and its requirements [6].

The use of computation within Herzog de Meuron’s Messe Basel allows for the softening of form; converting dual cubic form to be deemed as organic due to an unconventional cladding. In terms of ‘sustain-ability’, a new pattern of thinking is evident within this project which merges an environmental building system with the facade, describing how design can be evolved to increase efficiency through co-design and collaboration [4]. Visualisation of the oscillating facade derives from Rhino and engages with the concept of controlling site-specific data to optimise its response to surrounding natural elements. Various sized openings and a double curvature allows for appropriate shading whilst not detracting from the architectural ideal, emulating how such innovative software can be incorporated within a practical and subtle manner [5]. Such a contextual project has influenced environmental focused facades within contemporary architecture and describes how computer-aided design can target and assist various system’s passive objectives.

[4] Tony Fry, “Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), (2008), pp. 1-16 [5] Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”,Architectural Design, 83 (2013), 56-61 [6] Brady Peters, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”,Architectural Design, 83 (2013), 56-61 [7] Brad Elias, Lecture week one; Composition/Generation, The University of Melbourne (2016)

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The notion of simplification within this attention to detail reminisces a course of change within architecture, describing how a singular tool can be developed for a singular project, strengthening the concept and architectural ideal. By doing so, each work is fundamentally its own; detaching itself from its precedences and a stylistic stigma, facilitating for a ‘flow’ that changes how one can approach a design without the limitations of connotations to other facets [7]. As a monumental structure in terms of space and accessibility, the Messe Basel depicts how light can be modularly targeted within the structure due to the variable sized openings. This enhances the spatial experience for the inhabitants and provides an ambiguous sense that allows the building to dissolve within its environment; an effect that is thanks to the materiality and computerised, woven facade that disperses the site into architectural form.

Image sourc

ce: http://www.gruner.ch/sites/default/files/styles/default/public/thumbnails/image/messe_basel_2012_2.jpg?itok=Ptuguvby

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A.2 .DESIGN COMPUTATI

ION

Labrys Frisae Architect: Marc Fornes/ THEVERYMANY Location: Miami, Florida Year: 2011

In relation to computation and its influence on the design process, Forne’s prototypical architecture denotes a new approach to form through experimentation. Not only is the entity controlled by the parametrical limitations within algorithmic equations, but the structural and load bearing capacity of the pavilion is completely dependant on the materiality and engineering behind each component [8]. Such a randomised approach to the design process underpins a notion of how computing is redefining the industry; not only making various stages within the realisation of the form shortened or even removed, but ultimately technology acts as the sole facet that manipulates the mathematic section of the project. This notion is reiterating a rediscovered sense of craftsmanship within architectural practice, allowing for a sense of continuity from designing to fabrication which is pivotal in terms of control and refinement [9].

[8] Patrik Schumacher, “Advancing Social Functionality Via Agent-Based Parametric Semiology”, Archit. Design, 86 (2016), 108-113 [9] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), (2004), pp. 5-25 [10] Brad Elias, Lecture week two; Composition/Generation, The University of Melbourne (2016) 16

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Despite these ongoing changes to how design can be undertaken, I believe that they are fundamental in relation to the future of how once can form an architectural ideal. New fabrication methods are revolutionising the construction industry, as Labrys Frisae’s fabrication reminisces elements of Greg Lynn’s Blobwall; as the subtle tweaking of each block through computation allows for a complex and organic form which is structurally and aesthetically sound [10]. I really like this deconstructed approach, as it allows the project to have a sense of vulnerability yet undeniable excitement; as it is unique through its in-situ fabrication. Fluidity within the pavilion is achieved through foreign geometries that can only be optimised via computation; as each organic facet meanders in various orientations, giving the impression that pragmatic joinery isn’t evident. Yet this aspect drives a notion of performance-orientated design, as each component’s form is a result of achieving a maximum efficiency within each geometry; an aspect which is feat in relation to construction means. Overall, such a fragmented approach to architecture allows for endless opportunities in relation to innovative forms, facades and structures. unconventional methods such as this progressive prototypical fabrication could be targeted for different briefs, allowing this technology to be used within other contexts to optimise their opposing or confronting issues.

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Galazy Soho Architect: Zaha Hadid Location: Soho, China Year: 2012

Hadid’s Galaxy Soho demonstrates how parametric design and computation has been addressed to confront a social side to architecture in relation to forming a sense of community and belonging. By creating such an organic form, a notion of centrality is emulated within the plan, allowing the three individual towers to evolve into a singular entity. The spherical form of each pivotal tower decreases the opposing nature of the form, and has been softened with the aid of computation. Algorithmic equations have formulated primitive layout of the entire design, with cantilevering pathways which oscillate and orbit around the various central points in the structure. Unlike Labrys Frisae’s bottom-up approach with prototyping, Hadid has used a top-down technique which distinguishes the targeted formal outcome, and designs around a mutual ideal [11]. By doing so, various limitations restrict the facets within the design such as the interior spaces, plans and materiality; aspects which could have been optimised.

Despite being somewhat restrictive, Hadid’s use of emphasis within computerisation and computation has redefined the architectural industry in terms of form; as prior to her presence there was a lack of emphasis on the organic and how such fluid entities could be conceptualised and realised within our society [12]. As a consequence, there are significant incoming changes within the fixation on unprecedented and natural forms within architectural works, allowing for new fundamental influences to formulate new approaches with the relevant technology to make them valid. Achievable geometries within Galaxy Soho have been realised through the assistance of the 3d software Rhino; as various spherical forms have been connected with different commands, making it apparent how the structure would look like and what type of method and construction measures would be needed for its production. This reiterates how computation is revolutionary in terms of simulation, as a sense of prediction can be manifested through the virtual model [13]. The performance of the design has been optimised due to the influence of computerised design, allowing the form and its relation to one another to derive from the targeted notion of community and belonging. Without such parameters, Galaxy Soho’s innovative entity would have never been conceptualised, reiterating how computation allows for more than structural and formal advantages within architecture; as it can be used to target social or political parameters, giving a deeper sense of identity and meaning to its targeted forms.

Image source: http://images.adsttc.com/media/images/508e/e0ab/28ba/0d7f/e400/0005/large_jpg/Galaxy _SOHO_ZHA_12-10_5230.jpg?1413941919

[11] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), (2004), pp. 5-25 [12] Mark Fornes, “The Art Of The Prototypical”, Archit. Design, 86 (2016), 60-67 [13] Brad Elias, Lecture week two; Composition/Generation, The University of Melbourne (2016) 18

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Image source: http://maxcdn.thedesigninspiration.com/wp-content/uploads/2012/11/Silver-Galaxy-Soho-001.jpg

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A.3 .COMPOSITION/GENE

ERATION

ICD/ITKE PAVILLION Architect: University of Stuggart Location: Stuggart, Germany Year: 2013/14

A generative approach to design can be emulated within ICD/ ITKE’s Research Pavillion at the University of Stuttgart; where explorations of biomimetic forms are developed and analysed due to the assistance of algorithm aided design. Encoding a natural form allows for a new line of influence, denoting how the simplest patterns can create the most complex design [14]. Ongoing research within the architectural profession denotes how computation is refining the practice of architecture, promoting an unprecedented way of thinking that is consequently redefining design in a multifactoring-orientated manner. The ICD/ITKE pavilion is a fibre-woven structure that reiterates the form of a beetle’s elytra; taking inspiration from the morphological principles that construct its biological entity [15].

Structural fluidity functions in accordance to the lightweight structure to that of the beetle, reiterating the notion of the hardened forewings protecting the fragile flying wings within the interior. As a consequence, the pavilions double-layered composite shell achieves a high level of material performance through the differentiation of fibre organisation; as the glass fibres mimic the interior mould allowing the structural carbon fibres to respond to load-bearing requirements [16]. Such an efficient flow of forces not only allows for an integral relationship between the projects form, material and structure but how it has directly emerged from transferring the interdisciplinary manner of the organisms, ultimately resulting in a representative architectural form. The pivotal feature however resides in the design and fabrication process which has been realised through computation. By linking various input parameters, a fundamental set of data has progressively analysed and optimised the form to simulate the best structure for the site [17]. Not only does this allow for more responsive design, but an innovative way to consider lightweight materials within construction, which in terms to engineering and architectural demands reiterates how computation allows for such complexity to be achieved through the a few components.

Image source: http://archive-cdn.monograph.io/page/3960/53b2152dc07a80790f0001d5_icd-itkeresearch-pavilion-2015-icd-itke-university-of-stuttgart_icd-itke_rp13-14_process12-d2048.jpg

[14] Brad Elias, Lecture week three; Composition/Generation, The University of Melbourne (2016) [15] Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59 [16] Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59 [17] Brady Peter, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, (2013) pp. 08-15 22

CONCEPTUALISATION

Image sou -pavilion-b

urce: http://www.urdesignmag.com/wordpress/wp-content/uploads/2014/07/5-university-of-stuttgart-realized-a-carbon-fibre based-on-beetle-shells.jpg

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WEST COAST PAVILLION Architect: Atelier Manferendini Location: Beijing, China Year: 2006 Form finding is a primitive computational method which introduced the concept of optimisation as a structural and aesthetic quality within architectural design. Manferdini’s West Coast Pavilion reappropriates this ideal of optimisation within a different type of interdisciplinary dialect, describing how a form can only be found once all the correct variables emerge within a singular environment. Such a contextual form of generative architecture appears complex due to its imposing skin and diamond like form, one which appears massive and lacking of a clear connection such as ICD/ITKE’s biometric pavillion. Yet transparency as an aesthetic is what denotes the underlying drive behind this structure, reminiscing a type of traditional motif through a behavioural three-dimensional lacework, which creates a dynamic screening and filtering effect to that of a traditional Chinese screen [18].

[18] Mario Carpo, “The Ebb And Flow Of Digital Innovation: From Form Making To Form Finding - And Beyond”, Architectural Design, 83 (2013), 56-61 [19] “West Coast Pavilion”, Atelier Manferdini, 2016 <http://www.ateliermanferdini.com/ still-1/> [accessed 17 March 2016]. [20] Mario Carpo, “The Ebb And Flow Of Digital Innovation: From Form Making To Form Finding - And Beyond”, Architectural Design, 83 (2013), 56-61 [21] Brad Elias, Lecture week three; Composition/Generation, The University of Melbourne (2016)

CONCEPTUALISATION

Such a recontextualised pattern once projected onto the urban landscape of Beijing subtly contrasts two antithesis’ of architectural design; displacing the known urban landscape behind an emergence in computational capacity. The sandwich of undulating layers, which coalesce and diverge around and through this cubic volume have been generated and fabricated through computation; focusing on the compositions geometry in order to be optimised structurally [19]. A notion of indeterminacy is mimicked through the CNC milled and laser cut facade, which further emphasises the pavilions revolutionary identity due to its status of being the first digitally fabricated building within China [20]. By focusing on a sense of modernity through structure and juxtaposition of the old and new, a complex generative form has targeted a range of variables within a simple set of rules. Compositional qualities similarly follow a centralised rhythm, yet the solidarity of the structural qualities and cubic nature of the pavilion obstruct the notion of transparency within the design. The duality between structure and concept indicates a new way of thinking in relation to design, describing how computation is developing architecture into an integrated art form which promotes simplification and coherence [21].

Image source: http://www.ateliermanferdini.com

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CONCLUSION Exploration of architectural precedence and its scope of development in relation to computer progression and technology has been emulated in Part A. From this range of projects, it can be distinguished that the presence of algorithmic and computational processes within architectural practice has revolutionised the manner in which we think and design. This transition in cultural paradigms both social and architectural denotes how designers are adapting their mannerisms to address present solutions aimed to enable for a sustainable future. In relation to the site of Ceres Market, their is a need to understand its internal ecosystems which consists of various pockets of activity within its layout. Such versatility reiterates how it is vital to comprehend the interrelation of each system, in order to formulate an architectural intervention which emulates the complexity of the environment. This could potentially be done with an algorithmic approach, as one could begin to analyse how a system works and the patterns that emerge from a series of environmental exchanges. Therefore, I intend to design in correspondence to the relationships created within the complexity of the market. By linking the natural environment to the functionality within various spaces, differential patterns will emerge through coalescence; ultimately allowing for a greater understanding of the systems and consequential behaviour within the site. By explaining the operations behind the environmental and contextual impact on the environment, occupants and visitor will be informed about the relationships between systems and how the market could be improved, allowing for a beneficial notion through the implication of computation and algorithmic aided architectural design.

LEARNING OUTCOMES My understanding of architectural design as a discipline has been revolutionised due to the content of Part A. Finite possibilities in relation to structure, materiality and form are available due to algorithmic exploration and computation, as Grasshopper offers the opportunity not only to reach a notion of geometric optimisation and exploration, but it provides a new way of design thinking. By perceiving a scenario with a sense of algorithmic thinking, one can approach and obtain a unique comprehension of how to solve that problem through understanding a complex set of relationships. Prototyping and the importance of fabrication during the design progress has also been highlighted as an important measure, denoting how computation allows for virtual and physical manifestations to assist with refinement and critique. A perceived â&#x20AC;&#x2DC;modelâ&#x20AC;&#x2122; therefore is no longer a static term which implies of a simulation or representation of a design. Instead, its the description of computational algorithms acting as the basis of generative design. This process makes use of rules, parameters and boundaries to produce a set of optimal solutions to very complex scenarios. Consequently, I have learnt a great deal about the shift in design paradigms which have resulted due to scripting cultures, denoting how Grasshopperâ&#x20AC;&#x2122;s influential nature has opened a new way of design thinking which will enable architects to reconsider their values in relation to the traditional design process.

The unique form-finding qualities that are intrinsic to computation are a set of tools that not only are invaluable to future design possibilities, but they could have assisted in the process of developing previous designs. A key example would have been within Studio Earth which focused on tectonics and their influence on architectural form. If a parametric approach was used, a complex series of relations could have become intertwined between notions of massing as well as frame and infill, allowing me to push the boundaries with the geometries within each tectonic; almost merging the distinctions between each form. By comparing this previous design to my new skill set, it is evident how small elements such as contouring can be fabricated more efficiently, and I am excited to see the outcomes of incorporating computation into my design approach.

ALGORITHMIC SKETCHES

B.3 REVERSE ENGINEER 30

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RING CONCEPTUALISATION 31

I/O PAPER CLOUD IWAMOTOSCOTT

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B.4 TECHNIQUE DEVELO 34

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OPMENT CONCEPTUALISATION 35

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BIBLIOGRAPHY - Carpo, Mario, “The Ebb And Flow Of Digital Innovation: From Form Making To Form Finding And Beyond”, Architectural Design, 83 (2013), 56-61 - Doerstelmann, Moritz, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado, and Tobias Schwinn, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59 - Elias, Brad. Lecture week one; Composition/Generation, The University of Melbourne (2016) - Elias, Brad. Lecture week two; Composition/Generation, The University of Melbourne (2016) - Elias, Brad. Lecture week three; Composition/Generation, The University of Melbourne (2016) - Fornes, Mark, “The Art Of The Prototypical”, Archit. Design, 86 (2016), 60-67 - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 - Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 - Menges, Achim, and Steffen Reichert, “Material Capacity: EmbeddedResponsiveness”, Architectural Design, 82 (2012), 52-59 - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 - Peters, Brady, “Realising The Architectural Idea: Computational Design At Herzog & De Meuron”, Architectural Design, 83 (2013), 56-61 - Schumacher, Patrik, “Advancing Social Functionality Via Agent-Based Parametric Semiology”, Archit. Design, 86 (2016), 108-113 - “West Coast Pavilion”, Atelier Manferdini, 2016 <http://www.ateliermanferdini.com/still-1/> [accessed 17 March 2016]

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