Chloe C, Journal Part A, 685846

STUDIO AIR JOURNAL CHEW YI TIAN (CHLOE) | 685846

Semester 1 2015 | Caitlyn Perry Studio

TABLE OF

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Introduction & Previous work

Page 03 Futuring A1Design

Computation A2 Design Page 06

B1

B2

Research Field

Page 36

2

Page 12

Case Study 01

Page 38

Generation A3 Composition/ Page 20

CONTENT

A4 Conclusion Page 30

A5 Learning Outcomes Page 30

A6 Appendix Algorithm Sketches Page 32

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INTRODUCTION

About Me

Chew Yi Tian, Chloe

I was born and raised in a vibrant cosmopolitan

city, Singapore. I moved to Melbourne in February 2015 in pursuit of my Architecture degree in University of Melbourne.

People often ask me, “Why Architecture?�. I got to admit that it all started with a computer game called The Sims. I was introduced to it at the age of 8 and was hooked onto Architecture ever since. Growing up determined to be an architect, I eventually graduated from Singapore Polytechnic with a Diploma in Architecture.

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Throughout my three years in school and a year of working in architectural firm, I have gained an amount of knowledge in digital design and was able to equip myself with various digital softwares like Revit, Google SketchUp, Adobe Photoshop and Illustrator.

Parametric modeling is new to me, as I have no prior knowledge in Rhino and Grasshopper.

However having said that, I am very eager to explore the endless possibilities of this digital designing software.

INTRODUCTION

Previous Work

I was first taught AutoCAD and 3D Max during

my first year of diploma. It helped me better visualize my design concepts and assisted me through my design processes. However, I do feel restricted at times due to the limitation of the design softwares. We were also introduced to 3 dimensional modeling program such as Google Sketch Up and I later self-taught myself Autodesk Revit through online video tutorials.

During the 2nd year of my polytechnic, we were tasked to design a 10 storey residential apartment for a group of Yuppies. My design was focused around the concept of embracing nature into the building by incorporating existing site natural elements (eg. framing of views). I used the Building Information Modeling (BIM) program, Revit, throughout the project. It helped save time and allowed me to better understand my project.

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Answering the ‘design futur

ing a clear sense of what design ne Even more significantly, it means ch what we design.. . ...Whenever we destroy something- the omelette at cost of the tree, through to fossil fu the planet’s atmosphere.1

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ring’ question actually requires haveeds to be mobilized for or against. hanging our thinking, then how and bring something into being we also t the cost of the egg, the table at the uel generated energy at the cost of

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A.1

Design Futuring Week One

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Fig. 1: Exterior Night View (Courtesy of NBBJ)

DESIGN FUTURING

Hangzhou Sports Park Hangzhou, China NBBJ & CCDI 2013

Fig. 2: Variations of external envelope design (Courtesy of NBBJ)

As the demand for steel increases globally,

the designers decided to utilize parametric design to cut waste while creating functionality and form. This allows design changes to be made with minimal effort while the design team efficiently explore design alternatives and variations with the conceptual constraints.

To design the exterior, an integrated parametric system was created to conceptualize, simulate, and document the complex geometric systems.

Parametric control of the point cloud was the primary means of controlling the form. Parameters for manipulating the point cloud enabled the design team to study different configurations of the exterior surfaces (Fig. 2).

For conceptualization, the parametric system was set up to explicitly define the control surface geometry and study formal variations. Physics simulation tools were used to test basic structural behavior. For detailed analysis and engineering,

custom scripts were used to automate the communication of centerline information to the structural engineering team. As for documentation process, parametric workflow systems were invented to link together disparate design and documentation environments for a more seamless international collaboration.

The rapid acceleration towards global practice coupled with advancements in information-based economies necessitate that architects develop their systems and processes to be adaptive and flexible.

This project with similar areanas like the famed Bird’s Nest, the Beijing National Stadium, was completed in year 2013. It strongly exhibited the process where new design tools were invented, developed, integrated, coordinated, modified and shared for the purposes of delivering a project of a spcial civic value in China.

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Fig. 3: Interior view of pavillion (Courtesy of Sy lvain Deleu)

DESIGN FUTURING

Serpentine Gallery Pavllion London, England Toyo Ito 2002

Fig. 4: “Wormhole” model showing critical depth study (Courtesy of Cecil Balmond)

Fig. 5: Pattern Study (Courtesy of Toyo Ito)

I

to’s design strives for architecture that is fluid and not confined by the limitations of modern architecture. He experimented with the light aluminum material and incorporated a certain degree of transparency. At first look, the building appeared to be a complicated mixture of random pattern. However, it is in fact derived from an algorithm of a cube that expanded as it rotated (Fig. 5).

The use of parametric designing is largely evident in the design of the façade. The intersecting lines created by the rotation formed different triangles and trapezoids that gave a sense of infinite motion. The placement of materials were designed to maximize framing of the surrounding environment (Fig. 4).

The creation of the pavilion sparked several encouraging and positive thoughts when it opened, comparisons were made to other new buildings and the gallery came out on top. The pavilion also sparked peoples interest in parametric designing when it came out in 2002, it was one of the buildings that clearly demonstrated the use of algorithm for architecture. It was an eye opener for other architects to learn what parametric design was all about. It was a bold move by Ito that was well received to the public. Even though the building was only up for 3 months, it has been regarded as one of the most successful temporary pavilions till date.

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Computers, by their natur

correctly programmed, they can fol conclusion.2

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re, are superb analytical engines. If llow a line of reasoning to its logical

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A.2

Design Computation Week Two

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Fig. 6: Canopies come “alive� at night with lighting (Courtesy of Grant Associates)

DESIGN COMPUTATION

Design Computation

Formal

meaning of digital design was to computerize ideas that were preconceived in the mind of the designer. While it is often referred to as digitized design or computerization, it no longer is seen as a truly creative digital practice. The use of digital in Architecture has moved from being a documentation tool to a much more powerful computational tool. With that, designers are now able to extend their abilities to deal with highly complex situations as it allows the exploration of new ideas. The processing of information and relationship of elements which constitute to a specific environment; providing a framework for negotiation and influencing the interrelation of datasets of information, with the capacity to generate complex order, form and structure3 which can be expressed as an algorithm.

Computational design advocates a total new approach to the design process where algorithmic programming for a set of outlines and variables are done which it then computes and derive the formal composition. Through this approach, designers are able to simulate building performance by incorporating performance analysis and knowledge about material, tectonics and

parameters of production machinery in their design drawings. This methods employs the faultless and thorough manner of the computer to run monotonous data and processing, which is something that the human mind lacks of. This takes over an interpretive role by understanding the results from generating code, and through modification, new option and design with further potential is being created.

Computation design impact the fabrication and construction of the building greatly as it currently tends to be the development of parametric families of components and in necessary control of the data.

Computation presents an integrated design approach which allows further flexibility towards the later stages of a design project as parameters can be tweaked without the need to redesign the entire work. In the early stage of this approach, conceptualization and criteria designing & detailing will be resolved so that the final built form can be computed in a relatively short period of time. This allow increase efficiency and allow for better communication.

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Fig. 7: Photo of the “Supertree” (Courtesy of Grant Associates)

DESIGN COMPUTATION

Gardens by the Bay

Singapore, Singapore Wilkinson Eyre Associates & Grant Associates 2012

Fig. 8: Diagram showing the environmental loop is the foundation (Courtesy of Grant Associates)

The

whole planning uses an intelligent environmental infrastructure, allowing endangered plants, which could not normally be found in Singapore to flourish, this provide both leisure and education purposes for the inhabitants.4 By engaging with contemporary computational design techniques and parametric studies, it allows creation of the dome to open up all possibilities and the flexibilities of forms and materials. The envelope itself consists of a grid shell-arch steel structure with a double glazed skin that sits directly on the grid shell, and the arches are the main load-bearing components.

Supertree was created with the purpose of sustainable energy and water technologies integral to help cool the space. (Fig. 8) With the intend for the display of the plants that typically

thrive separately in cool dry and cool moist climates, careful planning and calculation was being done to ensure sustainability is acheived.

With the help of parametric modelling and engineering, it brought about the realization of column-less, magnificent space. (Fig. 9)

Fig. 9: Interior space of dome (Courtesy of W. Eyre Architects) 17

Fig. 10: Shellstar Pavillion (Courtesy of Dennis Lo)

DESIGN COMPUTATION

Shellstar Pavillion Wan Cai, Hong Kong MATSYS 2012

Fig. 11: Algorithmic transformation diagram (Courtesy of MATSYS)

S

hellstar is a lightweight temporary pavilion that maximizes its spatial performance while minimizing structure and material.

The form emerged out of a digital form-finding process based on the classic techniques developed by Antonio Guadi and Frei Otto, among others. Using Grasshopper and the physics engine Kangaroo, the form self-organizes into the catenary-like thrust surfaces that are aligned with the structural vectors and allow for minimal structural depths.5 The structure is composed of nearly 1500 individual cells that are slightly non-planar. In reality the cells must bend slightly to take on the global curvature of the form. However, the cells cannot be too non-planar as this would make it difficult to cut them from flat sheet materials.

Using a custom Python script, each cell is optimized so as to eliminate any interior seams and make them as planar as possible, greatly simplifying fabrication.

Using more custom python scripts, each cell was unfolded flat and prepared for fabrication.

The cell flanges and labels were automatically added and the cell orientation was analyzed and then rotated to align the flutes of the Coroplast material with the principal bending direction of the surface (Fig. 11).6 Using contemporary computational design techniques, the designers were able to achieve their goals in mind through the exploration of new ideas. The way that the arched structural forms congregate to dispersed point is also worthy of mention.

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The emphasis shifts from th

of form”7

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”

he “making of form” to the “finding

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A.3

Composition/ Generation Week Three

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Fig. 12: Research Pavillion (Courtesy of IDC/ITKE)

COMPUTATION/ GENERATION

Computation/ Generation

Opposing

the conventional understanding of form generation through drawings, generative design allows the exploration of new ideas which increases the designer’s ability to solve complex problems efficiently. By providing a framework of information through an understood language of algorithm between the human and the design computation software, it is able to generate performance feedback at various stages of a project to help increase productivity.

Computation invites a vast exploration space for computational concepts, such as topological geometries, isomorphic polysurfaces (“blobs�), motion kinematics and dynamics, key shape animation (metamorphosis, parametric design) etc.

This analytical computation can be used to actively shape the buildings into a more dynamic outlook.

Though the shift from composition to generation created more room for innovation that cannot be generated through conventional design process, it on the other hand limit designers who have yet familiarize themselves with the design computation software that may result in less impressive end products and waste of time in the process. It also invite impractical imagination of designer. Computation should not be entirely relied on but it should be used to its fullest advantage as an accompanied tool for designers who will eventually be the moderator of the overall design.

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Fig. 13: View of Research Pavillion (Courtesy of IDC/ITKE)

COMPUTATION/ GENERATION

Research Pavillion Stuttgart, Germany IDC/ ITKE 2011

Fig. 14: Close up of structure material (Courtesy of IDC / ITKE)

T

he project explores the biological structure principles and performance of a range of different geometries through a series of computational processes that is eventually built exclusively with extremely thin sheets of 6.5mm thick of plywood.

During the analysis of different biological structures, the plate skeleton morphology of the sand dollar became a basic principles of the bionic structure.

Form finding and structural design are closely interlinked through computation programs8 and it optimized data exchange which made it possible to analyze and modify the critical points of the model. The modular system of polygonal plates are linked together at the edges by fingerlike calcite protrusions and the glued and bolted joints were tested based on the structural calculations generated.

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Fig. 15: Interior Space (Courtesy of Hufton + Crow)

COMPUTATION/ GENERATION

Heydar Aliyev Center Baku, Azerbaijan Zaha Hadid Architects 2012

Fig. 16: Close up of structure material (Courtesy of IDC / ITKE)

T

he project aim was to relate to that historical understanding of architecture by developing a firmly contemporary interpretation, reflecting a more nuanced understanding. Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids, or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical space. The public plaza, as urban ground, undulates and folds upwards to create internal spaces, a whole new kind of inclusive public civic space for the city.

A design that was inspired by “the fluid geometry of water in motion� was developed using computation software, it is a highly precise but constantly evolving digital model. Advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants.9 27

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The public plaza, as urban ground, undulates and folds upwards to create internal spaces, a whole new kind of inclusive public civic space for the city.10

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Fig. 17: (Courtesy of Hufton + Crow)

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Conclusion/ Learning Outcomes

A.4-A.5

Week Three

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CONCLUSION AND LEARNING OUTCOMES

Conclusion & Learning Outcomes

Architecture is seen, experienced and felt

every second of our life, transcending both time and space. It has always been a method for cultures to express their influential movements.

It is so much more than a structure or a built form. It reflects the economic, social and political cultures. We have shifted from digitalizing designs that were preconceived in the mind of the designer to computation where our designs will be further explored in ways that we can never do. In the past, Computer Aided Design softwares were meant for a more accurate and faster way of documentation and communication. However, architecture is moving towards parametric design and algorithmic sketching. It is innovative as it enables the creation of new geometries, the use of new structural systems and implementation of new construction technologies. A new design logic and a different way of thinking results in an architectural language and style that is unique and fresh, steering clear of conventional forms and designs. Personally, I believe that computational design has had a positive impact on Architecture. The outcomes that are proposed by this approach augment architectural intellect and unfold innovative discourse that cannot be predicted. In the next part of this journal I will be exploring and experimenting with algorithmic scripting and design in response to our given design brief.

It has been an eye-opener thus far. Studying of algorithmic design through learning Grasshopper (not forgetting the frustration of not getting it right), and studying of precedents, the logic of parametric design is something new and foreign to me. Before beginning this module, I am ashamed to say that I have never thought of the difference between computerization and computation methods that are now instilled in me. Parametric, generative design, algorithmic scripting, all these terms are defining a new architectural approach that is taking place. It is interesting to see how computation softwares have pushed the limits of design with project like Research Pavilion by ICD/ ITKE. Unlike traditional lightweight construction which can only be applied to load optimized shapes, the new design principle derived through computation can be applied to a wide range of custom geometry.

I have also learnt some new skills with regard to parametric modeling in Rhinoceros and Grasshopper. I believe that this studio is a learning curve and that I am simply at the beginning and it is an opportunity to discover new creative happenings.

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A.6 32

Algorithm Sketches Week Three

ALGORITHM SKETCHES

A vertical wall with 2/3 curve loft that can be manipulated by adjusting the points.

I

was tasked to create an undulating ground surface and investigate biomimetic forms, using the box morph tool and propogate it over the surface. Although it was not a very successful take on the biomimetic form, I have manage to create a unique undulating form with the surface pattern of a geometry that I have created myself.

This results in a very different end product than what I expected. These sketches demonstrate that tractability of parametric modelling.

Numerous iterations can be derived from a single entity within a short time frame.

A box geometry that can be manipulated by voronoi 3d and by removing a few blocks, it creates an interesting form almost instantly.

The change can be visualized in real-time and in three-dimensions instantly. It is efficient in fabrication preparation and that is a huge advantage as it allows designers more time in the exploration stage that will not be compromised by physical and time constraints. Due to its nature, the parametric models also encourage the designers to discover the unexpected outcomes (e.g. by simply rotating the model or a wrong connection of components) that could result in something new.

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References 1.

Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 4 <https://app.lms.unimelb.edu.au> [Accessed:11 Mar 2015] 2.

Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought (2013), p. 4 < https:// app.lms.unimelb.edu.au> [Accessed: 19 Mar 2015] 3.

Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought (2013), p. 4 < https:// app.lms.unimelb.edu.au> [Accessed: 19 Mar 2015] 4.

Archdaily, ‘Gardens by the Bay / Grant Associates’, 2012, <http://www.archdaily.com/254471/ gardens-by-the-bay-grant-associates/> [Accessed: 18 Mar 2015] 5.

Matsys, ‘Shellstar Pavilion’, 2013, < http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [Accessed: 18 Mar 2015] 6.

Matsys, ‘Shellstar Pavilion’, 2013, < http://matsysdesign.com/2013/02/27/shellstar-pavilion/> [Accessed: 18 Mar 2015] 7.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), <https://app.lms.unimelb.edu.au> [Accessed: 18 Mar 2015] 8.

Dezeen, ‘ICD/ITKE Research Pavilion at University of Stuttgart’, 2011, <http://www.dezeen. com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/> [Accessed: 19 Mar 2015] 9.

Archdaily, ‘Heydar Aliyev Center / Zaha Hadid Architects’, 2013, < http://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects/> [Accessed 19 Mar 2015] 10. Archdaily, ‘Heydar Aliyev Center / Zaha Hadid Architects’, 2013, < http://www.archdaily. com/448774/heydar-aliyev-center-zaha-hadid-architects/> [Accessed 19 Mar 2015]

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Image References Fig. 1 HangZhou Sports Park NBBJ, 2010. Available: http://www.archdaily.com/56594/nbbj-and-ccdi-break-ground-on-hangzhousports-park/ [Accessed: 11 Mar 2015] Fig. 2 HangZhou Sports Park Miller, Nathan, 2011. Available: https://acadia.s3.amazonaws.com/paper/file/T6KK2N/AcadiaRegional_016.pdf [Accessed: 11 Mar 2015] Fig. 3 Serpentine Gallery Pavilion Jordana, Sebastian, 2013. Available: http://www.archdaily.com/344319/serpentine-gallery-pavilion2002-toyo-ito-cecil-balmond-arup/ [Accessed: 11 Mar 2015] Fig. 4 & 5 Serpentine Gallery Pavilion Collective Architects, 2011. Available: http://www.collectivearchitects.eu/blog/77/serpentinepavilion-case-study [Accessed: 11 Mar 2015] Fig. 6, 7, 8, 9 Gardens By The Bay ArchDaily, 2012. Available: http://www.archdaily.com/254471/gardens-by-the-bay-grant-associates/ [Accessed: 18 Mar 2015] Fig. 10, 11 Shellstar Pavilion Matsys, 2012. Available: http://matsysdesign.com/2013/02/27/shellstar-pavilion/ [Accessed: 18 Mar 2015] Fig. 12, 13, 14 Research Pavilion at University of Stuttgart Dezeen, 2011. Available: http://www.dezeen.com/2011/10/31/icditke-research-pavilion-at-theuniversity-of-stuttgart/ [Accessed: 19 Mar 2015] Fig. 15, 16, 17 Heydar Aliyev Center ArchDaily, 2013. Available: http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/ [Accessed: 19 Mar 2015]

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B.1

Research Field Week Four

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B.1: RESEARCH FIELD

Biomimicry

The nature is the largest laboratory that ever

existed and ever will. Biomimicry is providing an opportunity for digital design techniques to be implemented through the framework of ‘biologically inspired processes’. [1] This new way of design process applies to principles governed by nature which are supported by billions of years of evidence. The design process is not simply the replication of form, but rather the investigation and adaptation of the system.

Therefore, Biomimicry provides the opportunity to employ tools and ideas otherwise unavailable to the designer. This enables the application and imitation of nature’s design resolutions and ideas in an attempt to resolve human problems in the movement towards conditions conductive to life.

Nature provides an opportunity to generate forms which consider and manipulate materiality enabling fabrication of forms which imitates a sustainable system as much of the complexity, strength, toughness and sophistication generated by nature are made of simple materials (ie. Kera-

-tin, Calcium carbonate and silica).[2] The philosophy of biomimicry is the borrowing of the ‘fundamental formative processes and information systems of nature in the search for solutions to the environmental and human problems which govern our designs.[3] Through the understanding and appreciation of the complex structure of nature, we will then be able to explore the potential of this design technique.

Computation has enabled this exploration and design technique to evolve and inform design through scientific explanation.

As explored in earlier precedent projects, such as the Research Pavilion designed by IDC/ITKE exhibited the potential produced by biomimicry adaptive system in conjunction with computational methods. Nevertheless, intensive material research is required in order to incorporate material adaptability through the design process.

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B.2

Case Study 1.0 Week Five

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