AIR
ARIA KO CHING YIU STUDENT NO: 598204 YEAR 2014 SEMESTER 2
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table of contents
P. A about me & digital world
1-2
A.1 desgin futuring
4-8
A.2 design computation
9-14
A.3 composition and generation
15-18
A.4 conclusion
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A.5 learning outcomes
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A.6 algorithmic sketches / appendix
21-24
about me
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i. I am Aria and I am currently studying my third year of Bachelor of Environments degree majoring in Architecture at the University of Melbourne. I was born and raised in the cosmopolitan city named Hong Kong. From its iconic cityscape along victoria harbor to the densely packed skyscrapers in central districts, architecture has always been a very important factor in our city as it is what built the image of Hong Kong. Therefore, architecture is something that inspires me a lot since I was a child. I have been interested in the field of art and design since I was five as my parents brought me to art jamming class every weekend. Through this I discovered the unlimited possibilities when creating art, where it unleashes creativity without constraint of boundaries and the answer of right or wrong. Personally, I am someone who prefers getting hands on on projects and artworks, such
as sketching by hand and paint, much rather than computational arts. Where I also find traditional classics architecture more inspiring and with emotions compare to the innovative designs now almost everyone are fasinated with. During my university degree, I have had the opportunity to intern at an architectural firm. Last summer holiday, I went back to Hong Kong for three months to intern with Aedas Architects. In the office, I became much more familiar with AutoCAD and Revit as I was given the opportunity to help design, prepare and print rendering visuals for presentation, assist aspects of design conception and implementation and resolve design issues by holding discussion workshops between consultants. It was definitely a great experience that gave me a taste of what its like to work in an architectural firm in real life.
digital world
hing Yiu
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o far, I have been developing my skills in several computing modeling and drafting programs including Photoshop, Illustration and Indesign from the Adobe Creative suite: AutoCAD, Google Sketchup, Revit and Rhino. My first encounter with Rhinoceros began in 2013 in Virtual environments. No doubt, it was very challenging to operate a three-dimensional modeling and fabricating software for the first time. However, the end product is indeed rewarding as I was chosen as one of the eight students to exhibit their final work among the studios. Since then, I have been using my skills and knowledge in 3D modeling and fabrication throughout my course of study and it has helped me tremendously.
98294 Semester 1/2013 Group:11
PART A
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U A L I S A T I O N
A.1 design futuring
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ccording to Tim Fry’s Design futuring, he has a holistic design definition, as many others, he thinks of design as much more than aesthetics and end-of-the-process polishing. To him, ‘we all design’ and design is a ‘worldshaping’ force. 1 Looking at the word “Design futuring”, my basic understanding and take on this concept would be designs that has the ability to sustain the deterioration through age and use towards the future, while still be able to be appreciated over time. According to Fry’s idea, he believes for a design to be futuring, it has to confront two tasks: slowing the rate of defuturing and redirecting us towards far more sustainable modes of planetary habitation. 1 He also sees “good design” as futuring. As the idea of sustainability has become more and more important, it has gain a lot of awareness from the public, as a result, a lot of designers nowadays find buildings to be sustainable (both during construction and performance) as one of their main major consideration during their design process. Fry later introduce the concept of ‘literacy to redirect’ , which it was criterized based on our ability to prefigure, which ultimately would lead to good and intelligent design. 1 He believe it is important for designers to acknowlege this idea as they held large power in shaping the world and the environement that we are living in. Therefore, designers should be clear of the ways they are designing, the rationale behind, the surrounding element they would affect during the stages of design and the complexity between, so as to minimize the possible damage caused to our environment, in order to reach the goal of futuring.
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Fig 1.1
Above I.M. PEI -1981 / le grande lourve in france
Fig 1.2
le grande louvre / france / i. m. pei (1989)
Fig 1.3
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he le grande louvre is one of the classic architectures that were built is the late 1980s. Famous for its pyramid structure (used as it is one of the most structurally stable of forms), it is constructed of glass and steel, signifies a break with the architectural traditions of the past. The monumental appearance of the glass and steel pyramid fixed in the middle of the court provides a central focal point that compliments the scale and design of the Louvre.2 The juxtaposition of the modern structure and the French Renaissance architectural style of the museum creates a complimentary effect. However, as the Lourve has a long history dating back to the 12th century, pei’s design has recieve much criticism for its constrasting modern design against the historically enamored backgrounds. Most people feel as the modern design aesthetic would clash with the Louvre’s Classical architecture, as they comment “appearing as an alien form.” 2
Fig 1.4
As though the louvre is being criticized when it was first implement, yet it is a form of art that still last overtime till this day. This is because as the world is becoming more modernized each day, Pei’s design has become embedded in the Parisian culture. People are also becoming more acceptable with mordern innovation designs.It has also inspire designers th embrace the aestheticity found in the constrast and juxtaposition between the old and new, natural to artificial. 2 The pyramid structure of glass and steel also brings in great amount of natural lighting into the museum, minimizing thr use of artificial lighting during the day. Using Fry’s definition on design futuring, I would partly consider the louvre as a futuring design, though the concept of sustainability and green construction was not evident is his design, yet it has the ability to sustain its original purpose over time and wear, while still being appreciated by people.
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Above and left mad architects - 2011 / Harbin Cultural Centre in china
harbin cultural centre / china / mad architects (2012)
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urrounded by rivers, the Cultural Island embraces the wide riverbank as its background appearing as a glacier stretching and connecting to each other into a cohesive whole.3 The main entrance mimics a jade belt bridge spanning the wetlands and connecting the city and the cultural centre together. Different from the Louvre, which plays on the juxtaposition between old and new architecture, Ma’s design on the Harbin cultural center embraces the relationship between the surrounding nature and architecture, where he takes inspiration from the nearby snow mountains as his design analogy. The architectural form weld into the natural environment as it becomes part of the landscape.
Refering the Fry’s idea on design futuring, for a building to be “futuring” it has to have the ability to redirect humanitation towards a more sustainable modes of planetary habitation.1 In Ma’s design, the skylight above of the auditorium helps utilise natural daylight. While during the day, the need for interior lighting is completely satisfied with energy-saving and special lighting effects, as a result, saving energy.3
A.1 design computation
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omputational design is a relatively innovative practice that allows architects to employ computing techniques in the design process. The design process is they stages that one goes through when the current design is different from the desired situation, therefore, actions are taken to transform the current one to the desired, mostly through development, refinement and problem solving. Although using computer alone cannot engage with design process, incorporating its technology with human creativity, exploration and thought can work together to produce an effective design outcome.4 Computing technology also allows designers and architects to bring their ideas to life, especially in helping them in realizing new innovation concepts that are beyond the scope of analogue process, maximizing the potentials of their designs to become aesthetically complex, intelligent and flexible in doing quick iterations and variations of designs. 4 Computing has become more and more popular and useful since it’s integration into the architectural works. With programs such as CAD and revit, computer modeling is being more assessable each day as it assists architects to further explore the realm of computing design. 4 They also in essence create more interactions and convenience in the designing process.
Therefore, computational design is no longer limited to firms that are experimental or inventive, instead it is now widely used as a tool of designing die to its efficiency in creating virtual modeling. The new developments in computational design also made traditional design become less about manual inputs and repetitive line works and more about accessible automation visuals.5 Although computation design has become more specific to a certain occupation, design as a field has became more corporate as each profession seeks to be multi-disciplinary, which means having the knowlege of other fields as well, allowing the flow of ideas and techniques, developing new fresh design. In the past, architects, engineers and construction consultants work separately with little communication. With the asistance of computer aid design softwares, different fields are now able to communicate more effectively through the design process, allowing consistence alterations and feedbacks from each respective roles and party. Computation transforms design into more precise and complex work of art. Replying on the mathematical program behind computational design aid, designer can now be more accurate and interactive with the geometries that are created. 4
Fig 1.7
Computation is useful in allowing the designer to evaluate certain performance criteria of the design. This allows for further development to new construction materials and technology. For example, in the ICD/ITKE Research Pavilion by University of Stuttgart in Germany, designers were able to test between what is expected and what is workable in terms of material and geometric, later stimulates materials performance in real life.6 The innovative structure demonstrates the latest developments in material-oriented computational design, simulation, and production processes in architecture. The result is a bending-active structure made entirely of extremely thin, elastically bent plywood strips. 6 Same for the carbon and glass fibre hut, designers were able to fabricate their design through computing technology, developing new form of structure without the boundaries of traditional column and beam systems.7
ABOVE ICD/ITKE RESEARCH PAVILION - 2011 / DESGIN PROCESS OF COMPUTATIONAL DESIGN
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Fig 1.8
Above ICD/ITke research pavilion - 2011 / University of stuttgart in Germany
icd/itke research pavilion / ger many / icd (2011)
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Fig 1.9 Above construction process of the research pavillion
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Fig 1.10
Above Carbon and glass fibre hut / University of stuttgart in Germany 2012
carbon and glass fibre pavilion / ger many / icd (2012)
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Fig 1.11 Above Construction process of the carbon and glass fibre pavilion
A.3 composition / generative
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n this computer and technological driven world, architects and designers were allowed to explore new and innovative design ideas while forming new languages in architecture. Shifting from composition to generation, designers are now incorporating algorithmic thinking, parametric modeling and scripting cultures into their design process. By Exploring architecture style from traditional style such as le corbusier to innovative new designs by zaha hadid, it will help us to explore and gain a better understanding to the conceptual changes instigated by computing.
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With the use of generative software, architects are now more able to study relationships and incorporate basic aspects of the actual construction including material, manufacturing technologies and structural properties into the design process. It has allowed for architectural design to become an iterative, generative and reactive process rather than one of evolution.8 Such tools transform complex issues into rational, simple decisions. However this trend toward complexity leads to new design problems as it requires designers to have a deeper understanding of geometry, mathematics and computer software; 8 It is very important that the architect mustn’t forget that he must be a master of and control the tool, rather than the other way around.
Taking Zaha Hadid’s design for the performing arts center for Abu Dhabi, as her work is famous for its scupture like structure, this design is no exception. This elogated hybrid shaped building generated by branching algorithms is the resultant of combination of mathemactics - branching algorithms and natural elements. In the case of the curvilinear Abu Dhabi Performing Arts Centre, algorithms, precisely branching algorithms, have been applied to generate this complex shape as well as to develop the energy building system.10 The capacity of the computer to transform formal choice into a viable constructive assemblage reinforces the possibilities offered to the architect to play with forms without having to worry about their structural implications too much. However it also elevated construction costs and caulking issues which the morphological forms produced are oblivious to the past. Although designs look sci-fi futuristic, they are also painly one-dimensional, “for nothing ages faster than yesterday’s vision of the future”.9 When ones’ creativity is largely dominated by and reply on programmed computational system, as almost every process is automactically controlled by computing; it will have the impact to limit human’s mind ability to create (bring ideas together), often neglecting the site context and rationale behind their designs. Many has criticise Zaha’s design in being parametrically design entirely through generative software, instead of using computerization as a aid to help mapping out already formulated ideas.10
Fig 1.12
Fig 1.13 Above Performing arts centre for abu dhabi/ Zaha hadid architects 2011
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Fig 1.14
mercedes benz museum / ger many / un studio (2006)
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he structure of the Museum is consist of three overlapping circles layered over eight floors in a twisting spiral. With its unique building form, basic 2D methods were not enough to fully analyze the buildability of the model. By using generative design, it helps designer to design the most effective way of the twist concrete work, especially the steel reinforcement used inside the building. The Key of parametric and generative design is that it helps reducing the complexity of a labyrinth to a single diagram or map, simplify elements and curves.11 "The only solution was to control the geometry of the building as completely as possible using the latest computer technology," says Ben van Berkel, UN Studio's co-founder and director. "Digitally controlling the geometry made it possible to incorporate any kind of change quickly and efficiently, immediately knowing the effects of that change on all other aspects of the building."12 Proving amist of some disavantage that generative design caused, it is still having popular among designers.
Left Mercedes Benz museum/ By UN studio 2006
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A.4 conclusion
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esigners has held large power in shaping the world and the environment that we are currently living in. To reach the goal of futuring, making design sustain over time, they must acknowlege the importance of the concept of “literacy to redirect’ and the complexity behind the design rational, so as to create “good design”. In this computer and technological driven world, architects and designers are shifting from composition to generation design methods, such as algorithmic thinking, parametric modeling and scripting cultures with the help from computational deisgn aids. My intend design approach would be parametric modeling. With the use of generative software, architects are more able to study relationships and incorporate basic aspects of the actual construction including material, manufacturing technologies and structural properties into the design process. It has allowed for architectural design to become an iterative, generative and reactive process rather than one of evolution. Computation transforms design into more precise and complex work of art, allowing designers to become aware of geometries that are created.
A.5 lear ning outcomes
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hat I have learn from these past few weeks is that designing in a generative manner requires a considerable shift in thinking. It has also introduced me to new design ideas that change the way I think about traditional and computational designs. It is interesting to see how generative design approach affects the final outcome of designing, and though using computer generate design do save architects a lot of time and effort in the design process, it does has its negatives. As people nowadays do rely too much on parametric design rather than composition of design through mapping out already formulated ideas. This is why designers at the earliest stage must be aware of the need to develop their design intelligence.
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Algorithmic Sketches
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Through the video tutorials and algorithmic tasks that have been allocated, I have learnt to use various methods in grasshopper such as extrusion, lofting, pipe, voronoi and others. Even though my knowledge is still limited in grasshopper and rhino, I am looking forward to expand my technique and software skills in regard to using these softwares.
A.6 Appendix
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Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16
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AD Classics: Le Grande Louvre / I.M. Pei, 2010 http://www.archdaily.com/88705/ad-classics-le- grandelouvre-i-m-pei/
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Harbin cultural center by MAD, 2013 (accessed 10th Aug 2014) Available: Online http://www.dezeen. com/2013/09/16/harbin-cultural-centre-by-mad/
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Burry, M. (2011) Scripting Cultures,West Sussex: John Wiley & Sons Ltd
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Ednie-Brown, P. (2013), On a Fine Line: Greg Lynn and the Voice of Innovation. Archit Design, 83: 44–49. doi: 10.1002/ad.1523
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ICD/ITKE Research Pavilion 2010 (accessed 10th Aug 2014) http://www.achimmenges.net/?p=4443
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Carbon and Glass fibre hut, 2011 (accessed 10th Aug 2014) http://www.arch2o.com/icditke-researchpavilion-2012/
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‘Patrik Schumacher on Parametricism: Let the style wars begin”, Architects Journal (accessed 10th Aug 2014) http://www.architectsjournal.co.uk/the-critics/patrik- schumacher-on-parametricism-letthe-style-wars-begin/5217211.article
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‘Style and the Pretense of “Parametric Architecture” (accessed 15th August 2014) http:// adamnathanielmayer.blogspot.com/2010/06/styleandpretenseofparametric.html.
10 Zaha Hadid Abu Dhabi Performing arts center, 2007 (accessed 15th August 2014) http://www.zahahadid.com/architecture/abu-dhabi-performing-arts-centre/ 11 Projects: UN studio, Mercedes Benz Museum, 2006 (accessed 18th August 2014) http://www.unstudio. com/projects/mercedes-benz-museum 12 Mercedes Benz Museum, 2006 (accessed 18th August 2014) http://openbuildings.com/buildings/ mercedes-benz-museum-profile-2592
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A.6 Appendix - Image
Fig 1.1-1.4 AD Classics: Le Grande Louvre / I.M. Pei, 2010 http://www.archdaily.com/88705/ad-classicsle- grande-louvre-i-m-pei/ Fig 1.5-1.6 Harbin cultural center by MAD, 2013 (accessed 10th Aug 2014) Available: Online http:// www.dezeen.com/2013/09/16/harbin-cultural-centre-by-mad/ Fig 1.7-1.9 ICD/ITKE Research Pavilion 2010 (accessed 10th Aug 2014) http://www.achimmenges. net/?p=4443 Fig 1.10-1.11 Carbon and Glass fibre hut, 2011 (accessed 10th Aug 2014) http://www.arch2o.com/ icditke-research-pavilion-2012/ Fig 1.12-1.13 Zaha Hadid Abu Dhabi Performing arts center, 2007 (accessed 15th August 2014) http:// www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/
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Fig 1.14 Projects: UN studio, Mercedes Benz Museum, 2006 (accessed 18th August 2014) http://www. unstudio.com/projects/mercedes-benz-museum