STUDIO AIR 2017, SEMESTER 1, Finn Chee Jong Wong 745610
Table of Contents A Conceptualisation A1 Design Futuring A2 Design Computation A3 Composition / Generation A4 Conclusion A5 Learning Outcomes A6 Appendix - Algorithm Sketches
A0 Introduction My name is Wong Chee Jong. I am a third year student taking Architecture major. I was born and raised in Malaysia.
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A CONCEPTUALISATION 5
A1 Design Futuring
We, humans, are now facing a critical moment of existence as the future which is assumed to be set right in front of us, is no longer secured.[1] This is due to the still accelerating defuturing conditions of unsustainability that is created by our anthropocentric mode of worldly habitation.[2] Future here is referred as the finite period of time left of our existence (as a species) in the finite world.[3] If the conditions are not changed, we will facing our probable future, the accelerating diminution of our future.[4] We can only secure our future by ‘design futuring’’, design against the defuturing conditions of unsustainbility.[5] Design futuring have to face two task: slowing the rate of defuturing and redirecting us towards far more sustainable modes of future.[6]
To slow down rate of defuturing, great changes has to be made to current situation. There is some main problems of current situation of design, including architecture. Firstly, the deregulated pluralisation of design activity, also known as design democracy, that rendered design increasingly trivialised and reduced to appearance and style.[7] Second, design’s complicity in adding into conditions of unsustainability.[8] Thirdly, design became highly-commercialised and economically-oriented, left no alternative roles of design.[9] Lastly, capitalism left no alternative socialpolitical possibilities for design to align itself with.[10] As a result, design practices have to be redesigned for design to take on the role in the transformative action.
Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg Publishers Ltd., 2009), pp. 1. Fry, pp. 1. 3 Fry, pp. 2. 4 Fry, pp. 1. 5 Fry, pp. 6. 6 Fry, pp. 6. 7 Fry, pp. 6. 8 Fry, pp. 7. 9 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 6. 1 2
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Dunne and Raby, pp. 8. CONCEPTUALISATION
Schumacher suggested the theory of architecture as an autopoietic system which is the autonomous network of communications within the overarching society system of communication, as a intervention from within.[11] Architectural autopoietic system include all processes artefacts, knowledge and practices that disseminated, circulated and connected within a network of cross-references, and even communicate with external communication systems.[12] This could forms the basis for the development of an universal design intelligence. Design intelligence has to be developed as a essential life skill, a mode of literacy acquired by every educated person.[13] Design intelligence realised is to have the ability to read the form and content of the designed environment, thus making crucial judgement about the actions and contents that would increase or decrease futuring potential. [14] Everyone would then take on responsibility of design and acting ethically and sustainably.
There are many possibilities in the region of plausible future outside the cone of singular probable future. [15] For redirection, designers has to explore in the region of plausible future, open up possibilities through speculative design.[16] These possibilities can be publicly discussed and used collectively redefine the direction for moving towards a more preferable future.[17] This process requires a new signposting system to indicate error in existing pathways and point to new directions.[18] Besides, critical design, which opposite is affirmative design that reinforces the status quo, proposes designs that sit simultaneously in hereand -now as well as yet-to-exist, that links the reality to the plausible future thus encourage people to think differently and radically.[19]
Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), pp. 1-28 (p. 1, 2). Schumacher, p. 1, 3. 13 Fry, pp. 12. 14 Fry, pp. 12. 15 Dunne and Raby, pp. 4. 16 Dunne and Raby, pp. 4. 17 Dunne and Raby, pp. 6. 18 Fry, pp. 11. 11
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Dunne and Raby, pp. 43.
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JAPANESE EXPO PAVILION 2000 HANNOVER, GERMANY SHIGERU BAN ARCHITECTS + FREI OTTO Shigeru Ban, who is famous for his innovative use of paper and cardboard tubes as building materials, continue this trend in his design for Japanese pavilion for Expo 2000 in Hanover, Germany. This pavilion is considered a great leap forward in the field of paper architecture and also a contribution to design futuring. The concept behind the pavilion was to create a structure that leaves minimal industrial waste after dismantled. The goal was to recycled or reused almost all materials that used to construct the building. The paper membrane, cardboard tubes gridshell and timber frame are all recyclable, cheap, of low technology. PVC membrane (for fire safety) was to be reused as waterproof delivery bags. Paper architecture shown the possibility of encompasses a large volume of space with the minimal environmental footprint compared to other material system. The construction of the pavilion promote the possibilities of paper architecture, either as temporary structure or permanent building. The use of cardboard tubes expanded into Ban’s disaster relief project. This increase the efficiency of humanity aid in this era of increasingly unpredictable climate changes and high frequency of natural disasters.
FIG.1: INTERIOR OF THE JAPANESE PAVILION , SHOWING THE GRIDSHELL, TIMBER FRAME AND PAPER MEMBRANE
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Al Bahr are towers that loom on the horizon of hot desert climate city of Abu Dhabi. The extreme weather poses challenges for the architects. Abu Dhabi has intense sunshine, high temperature, little rainfall and even the occurrence of sandstorm.
AL BAHR TOWERS 2012 ABU DHABI, UAE AEDAS
For the intense sunlight, the design solution is shading screens which was inspired by the adaptive flowers like sunflowers that has heliotropism movement in response to the direction of the sun as well as the �mashrabiya� - a wooden lattice shading screen. The intelligent dynamic shading screens are consisted of over 1000 triangular semitransparent umbrella-like units for each tower, each units comprise of a series of panels driven by linear actuator. The units are pre-programmed and computer-controlled to open and close progressively as response to the direction of the sun and other weather conditions. The shading screens help to reduce glare and solar gain, improve sunlight penetration thus lower reliance on artificial light and air-conditioning which in turn reduce carbon emission of the building. This intelligent shading system would acts as example for high-rise typology as intense sunlight is always problematic for large surface area of high rise building. It also suggests more responsive and dynamic solutions to climatic conditions are more appropriate. These responsive approaches also help to slowing rate of defuturing.
FIG.2: EXTERIOR SHADDING SCREEN UNITS OF AL BAHR, SHOWING DIFFERENT STAGES OF TRANSFORMATION 10
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FIG.3: VIEW OF AL BAHR TOWERS FROM DISTANCE
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FIG.4: VIEW OF DONGDAEMUN DESIGN PLAZA, EMPHASISING THE CURVATURE
A2 Design Computation Architecture is experiencing a shift from digital computerisation to the digital computation. From computerisation to computation, design process had shift from analogue paper-based design and digital CAD drafting to digital parametric and algorithm computation as ways of capturing and communicate design ideas.[21]
Design computation had revolutionised by changing how we design and increase the range of functions that we can executed using computer. There are, of course, benefits of engaging with contemporary computational design techniques which will be discussed later.
Within the last decade the appearance and evolution of the digital in architecture in integration with new digital technologies have begun to produce what might be termed a Vitruvian effect In synthesizing material culture and technologies within the expanding relationship between the computer and architecture, this phenomenon defines a digital continuum from design to production, from form generation to fabrication design.[22]
Rivka Oxman and Robert Oxman, 'Introduction: Vitruvius Digitalis' in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1–10 (p. 1). 22 Oxman and Oxman, p. 1. 21
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DongDaeMun Desisgn Plaza (DDP), as the largest 3D amorphous structure in the world, has complex and dynamic form as the dynamism of Dongdaemun area was Zaha's design focus. The construction of DDP structure was considered virtually impossible with existing 2D design methods, that is computerisation. Rather, 3D parametric software allowed the generation of the complex forms, that is first benefit of engaging with contemporary computational design techniques.[23] Computation expanded the range of conceivable and achievable geometries. Parametric software also allowed continual and convenient testing and adapting the design to the ever-evolving client's brief as well as integrate engineering and construction requirements while maintaining the original design aspiration throughout the project’s construction. This is second benefits of computational design methods, making small changes on various parameters and inputs without changing the overall design, but creating multiple variations.[24] The design had adapted to the discovery of the remains of a ancient city walls onsite, and integrate it into the composition of the site. The third benefit of computational methods is that linkage between conception and production is established while parametric modelling software allows mass-customisation in fabrication.[25] The cladding system model was designed, engineered and adjusted with much greater control using parametric modelling software while mass-customisation take place through optimisation of the division of the surface into over 45,000 panels in various sizes and degrees of curvature: flat, single curve and double curve.
DONGDAEMUN DESIGN PLAZA 2014 SEOUL, SOUTH KOREA ZAHA HADID ARCHITECTS
Oxman and Oxman, p. 2. Oxman and Oxman, p. 4. 25 Oxman and Oxman, p. 5. 23 24
FIG.5: VIEW FROM LEVEL B2 OF DONGDAEMUN DESIGN PLAZA 16
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ICD/ITKE RESEARCH PAVILION 2010 UNIVERSITY OF STUTTGART, GERMANY
Instead of separating processes of geometric form generation from subsequent simulation based on specific material properties, the computational generation of form of this pavilion is directly driven and informed by physical behavior and material characteristics. The structure is entirely based on the elastic bending behavior of birch plywood strips. The strips are robotically manufactured as planar elements, and subsequently connected so that elastically bent and tensioned regions alternate along their length. The force that is locally stored in each bent region of the strip, and maintained by the corresponding tensioned region of the neighboring strip, greatly increases the structural capacity of the system. The computational design model is based on embedding the relevant material behavioral features in parametric principles. These parametric dependencies were defined through a large number of physical experiments focusing on the measurement of deflections of elastically bent thin plywood strips. The structural analysis model is based on a FEM simulation. This is another benefit of engaging with computational design methods: performance evaluation and analysis.[26] Beside, computational design methods also allow engagement with the latest fabrication technologies such as robotic arm and 3D printing.[27] It is suggested that integration of design computation and materialization is a feasible proposition.
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FIG.6: ELEVATION OF ICD/ITKE RESEARCH PAVILION 2010
Oxman and Oxman, p. 4. Oxman and Oxman, p. 5.
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A3 Composition / Generation Generative approaches have become new form of design methods as contrast to traditional composition. Generative approaches are based on digital computation. Computation is "the use of the computer to process information through an understood model which can be expressed as an algorithm".[28] Algorithm is a particular set of instructions for doing something. For these instructions to be understood by computer they must be written in a language that computer can understand, a code or script.[29] As a result, appropriate coding or scripting skill became a pre-requisite for designer to engage with computational design methods.[30] Some designers, especially hybrid software engineers/ architects, may even write their own software to solve certain design problem.[31] Grasshopper® visual programming language remove the necessity to learn scripting skill in order to use to software.[32] However, algorithmic thinking still an essential skill to be developed in order to taking on an interpretive role to understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.[33]
Architects are increasingly experimenting with computation by creating new custom digital tools that able to simulate building performance, to incorporate performance analysis and knowledge about material, tectonics and parameters of production machinery in their design drawings, creating new design opportunities. Critically, the making of these custom tools takes place within the design process, and becomes integral to the design itself.[34]
[...]at present scripters tend to be of the “lone gun” mentality and are justifiably proud of their firepower, usually developed through many late nights of obsessive concentration. There is the danger that if the celebration of skills is allowed to obscure and divert from the real design objectives, then scripting degenerates to become an isolated craft rather than developing into an integrated art form.[35]
Brady Peter, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), 08-15 (p. 10). Peter, p. 10. 30 Peter, p. 10. 31 Peter, p. 11. 32 Peter, p. 10. 33 Peter, p. 10. 34 Peter, p. 13. 35 Peter, p. 15. 28
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NONLIN/LIN PAVILION
2011 FRAC CENTRE, ORLEANS, FRANCE MARC FORNES & THEVERYMANY™
This nonLin/Lin Pavilion is considered a prototypical architecture. It is a non-linear structure. Obviously, this pavilion is impossible to be designed without the use of generative approaches. The cohesive morphology of the pavilion originates from a “Y” model while tri-partite relational models (hollow branching structure) can not be formalized and described through a single bi-directional surface (i.e.: Nurbs surfaces). As a result, this prototype deviates from a strategy of singular protocols or codes and towards a series of protocols for computation which made process of computation more complicated and involved development of codes and scripts. This pavilion can be seen as at the extreme end of range of conceivable and constructable forms. It shown dramatic change of morphology: from network to surface condition. Members within the structural network are opening up and recombining themselves into larger apertures while their reverse side is creating a surface condition providing that as density increase eventually provides to the person evolving within a sensation of enclosure. This pavilion is no longer a descriptive geometry that can be represented in 2D. Custom computational protocols here are describing the non-linear structure of the pavilion as a set of linear developable elements. Those singular elements can then be unrolled and cut out of flat sheets of material. Though due to the nonlinear property of the model, this discretisation process cannot be applied globally onto the morphology, but rather requires a search process. A local application strategy would distribute agents with local ‘search behaviour’ tracing parallel along the surface, providing immediate solutions based on local decision making, that then be translated and materialized into a series of paths or stripes. Even description of the structure is completed through search process, a precise description of such a prototypical structure requires massive number of elements, not only all unique but also morphologically extremely different, that is massive customisation.
FIG.7: NONLIN/LIN PAVILION
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ICD/ITKE RESEARCH PAVILION 2014-15 UNIVERSITY OF STUTTGART, GERMANY
FORM GENERATION AND SIMULATION This research pavilion is a self-supporting monocoque structure that consist of a ETFE membrane that being reinforced by carbon, the similar structure as the underwater web of diving bell spider. The shell geometry and location of the carbon fibre was generated by computational form finding process that integrate the fabrication constraints and structural simulation. A digital agent system was developed to determine the robot path and simulate the fibre placement. These processes are essentially generative approaches. FABRICATION A custom made robot that included a fibre extruding end effector and force sensor was developed for the fabrication process. During fabrication, the robot is placed within an air supported ETFE membrane. A composite adhesive is sprayed on the ETFE membrane before the carbon fibre is placed on the surface. This inflated soft shell is gradually and robotically reinforced with carbon fibres. REAL TIME MONITORING A cyber-physical system that allow constant feedback between actual production conditions and the digital generation of robot control codes was also developed to adapt to any changes of the pneumatic formwork during the fabrication process.
FIG.8: ICD/ITKE RESEARCH PAVILION 2014-15
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A4 Conclusion
FIG.9: Comparison of various fibre reinforcement
FIG.10: Cyber-physical fibre placement process
As the world is accelerating towards destruction and we will facing end of our existence, a braking action of design futuring and multiple redirectional steers towards more sustainable future are required.
As the project aims to produce full-scale, the design approach must be practical and wellorganised workflow required as time is the first and known constraint placed on the design process.
Design computation can be a good solution. With the power of computation, we can design and construct building with better efficiency and performance, in material and energy aspect. We can create much more complex form with greater efficiency using parametric modelling software. Digital simulation and performance evaluation help us to design building that response to the environment and help to reduce error during construction. Site conditions, material characteristics, various requirements and constraints can be easily input to the digital environment as parametric dependencies. The creation of buildings that response to the natural environment and with greater efficiency and performance, can reduce environmental footprints of the buildings and thus slowing rate of defuturing.
Material should be considered as natural or semi natural materials will be suggested as the preferred medium. Material characteristics such as strength, available size, workability, and flexibility should informed the parametric design. Exploration of materiality should start in the next section of the studio.
Design computation also allow experiments with new materials and new ways of constructing things. Mass customisation and quick prototyping are possible, with the establishment of direct linkage between digital environment and fabrication tools, and these allow designers to explore and open up more possibilities. As a result, computational approaches encourage speculative design, that related to the redirectional movement.
FIG.11: Exploded diagram of fibre extruding end effector developed
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Prototyping should take place as early as possible after sketch design is completed to test the practicality of the design. Several generations of prototyping and optimisation should came before the final prototype for presentation. Communication and file sharing platforms should always be selected as soon as the team is formed. This should be complementary to a responsive and responsible team.
FIG.12: Fabrication process
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A5 Learning Outcomes
A6 Appendix - Algorithm Sketches
After the section of conceptualisation section of the studio, I realised that a whole new age of design has opened up in front of me where various new digital design tools keep emerging. I believed that parametric design will be more popular and sophisticated as it further developed and evolved. As technology is developing faster than ever before, it is essential to take a grasp on the contemporary technologies and techniques to avoid being left behind.
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Bibliography Readings Brady Peter, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), 08-15 Dunne, Anthony and Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45. Oxman, Rivka and Oxman, Robert, 'Introduction: Vitruvius Digitalis' in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1–10. Schumacher, Patrik, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2011), pp. 1-28. Tony Fry. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg Publishers Ltd., 2009), pp. 1-16.
Precedents AHR, 'AL BAHR TOWERS' <http://www.ahr-global.com/Al-Bahr-Towers> [accessed 9 March 2017] ArchDaily, 'Dongdaemun Design Plaza / Zaha Hadid Architects', ArchDaily <http://www.archdaily. com/489604/dongdaemun-design-plaza-zaha-hadid-architects> [accessed 12 March 2017] CTBUH, 'Al Bahar Towers, Abu Dhabi' <http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ AlBaharTowersAbuDhabi/tabid/3845/language/en-US/Default.aspx> [accessed 9 March 2017] DDP, ' DDP, the largest 3D amorphous structure in the world' <http://www. ddp.or.kr/page/37/detail?menuId=108> [accessed 12 March 2017] Federica Lusiardi, 'Seoul | Dongdaemun Design Plaza by ZHA' <http://www.inexhibit.com/casestudies/seoul-dongdaemun-design-plaza-by-zaha-hadid-architects/> [accessed 12 March 2017] Karen Cilento, 'Al Bahar Towers Responsive Facade / Aedas', ArchDaily <http://www.archdaily. com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 9 March 2017] Shigeru Ban Architects, 'JAPAN PAVILLION, EXPO 2000 HANNOVER Germany, 2000' <http://www.shigerubanarchitects.com/works/2000_japanpavilion-hannover-expo/index.html> [accessed 9 March 2107] ICD/ITKE, 'ICD/ITKE Research Pavilion 2010' <http://icd.unistuttgart.de/?p=4458> [accessed 12 March 2017] Marc Fornes & THEVERYMANY, '11 Frac Centre' <https://theverymany. com/constructs/10-frac-centre/> [accessed 16 March 2017] ICD/ITKE, 'ICD/ITKE Research Pavilion 2014-15' <http://icd.unistuttgart.de/?p=12965> [accessed 16 March 2017]
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