SEM 1 2014 | CLINTON OH STUDIO AIR | 561297
Studio AIR 2014/SM1 Land Art Generator Initiative
Table of Contents Introduction 3 Part A: Conceptualisation A.1 Design Futuring 5 A.1.1 Precedent Project A.1.2 Projects Review A.1.3 Technology Exploration A.2 Design Computation 15 A.2.1 Precedent Exploration A.3 Composition/Generation 21 A.3.1 Precedent Exploration A.4 A.5 A.6 A.7
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Conclusion 26 Learning Outcome 27 Appendix - Algorithmic Sketches 28 Part A Bibliography 29
Studio AIR 2014/SM1 Land Art Generator Initiative
Introduction
Who am I? I am Clinton Oh, a third year architecture major of University of Melbourne as of 2014. My interest in designing and solving problems is what lead to me to engage with architecture. I am interested to see how the urban environment fit into the natural environment and how it is able to extend the quality of the environment as well as lifestyle of the users. In my opinion architecture is about creating experience and express emotion in term of construction. In a way, architecture can be compared with a way of essay writing.
What I hope to learn from this subject? I had some experience in handling Rhino 3D in my first year subject, Virtual Communication which introduced me to the exploration of 3D modelling. From the beginning of the subject, I was certain that I had limited knowledge and skill in Rhino 3D even though I had some experience in handling the software. Yet, it did not stop me from feeling excited and anticipated to learn Grasshopper. In conclusion, I look forward to explore what computational tool can provide.
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Part A: Conceptualisation A.1 Design Futuring A.2 Design Computation A.3 Composition/ Generation
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A.1 Design Futuring
As finite being in a finite world, we are currently confronting defuturing of the unsustainability. There is significant damage inflicted towards nature by inconsiderate human activity generally for the past few decades. Environmental issues thus start to gain awareness as the effects become obvious and catastrophic. In our current situation, it is known that the relation between creation and destruction coexist in every joules of energy we harvest and consume and different field tend to focus on different aspect of the problem and fail to set a primary objective in order to resolve it(Fry 2008). However, what can we do as designers to rectify or improve the current situation? ‘we all design’ suggests that design is an act defined as a humanly ability that is able to prefigure our creation before realizing it(Fry 2008). But, this definition has been used literally to designers today and is considered very narrow. Fry suggest that we should put down our practices and understand the problems through communication not only within field but beyond to broaden our vision and further understand the complexity of the current situation. In conjunction to the design industry, designers have failed to recognize and take responsibility for their quality of work(Fry 2008). In other words, the ethics of design is underdeveloped and is even overlooked within design education. By recognizing the context of our work, we can ensure the future of our design as well as the sustainability of our finite beings.
Part A Conceptualisation
The lack of urgency also contributes to high uncertainty issues in complexity which result in the negligence of designers in the impact of their work. However, the assurance of increasingly obvious symptoms of defuturing is definite and should be address seriously. Without information, it will be too late to rectify as massive loss will be definite. Take for example, the rise of sea level caused by global warming due to greenhouse gas emission will increasingly take away Bangladesh bit by bit. By 2100, there will be an estimated 500750 million environmental refugees (Fry 2008). This is just a small scale of the problem we are encountering. Therefore, urgency to resolve this problem should be addressed at utmost importance. Therefore, design practices should be redefined and rearranged to make a difference to a far more sustainable planetary habitation. Architecture is commercialised in recent years as computational software is able to produce hundreds or even thousands of selection in short amount of time so user can just simply pick and incorporate into their work (Fry 2008). This suggests that designers are too involved in styles and appearance which neglected the responsibility of the consequences of their design. This can only be rectify through the prioritization of sustainability into the market. It is important that we achieve a sustainable future as finite beings and should be constantly reminded and reinforced in design studies. Yet, the methodology behind it is still unclear and should be looked into and require more research.
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“I have two responsibilitie to be true to myself and b integrity... The othert res vigilant analytical observe we remain relevant to soc
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Studio AIR 2014/SM1 Land Art Generator Initiative
A.1.1 Precedent Project Project: Architect: Location: Year:
RMIT Design Hub Sean Godsell RMIT University, Melbourne 2012
The purpose of the design hub is to accommodate provide a comfortable working environment to researchers and facilitate high level exchange among users of different field. The main attraction of the building is its large number of ecological sustainable development (ESD), primarily the automated photovoltaic cells which are incorporated in the facade(Sean Godsell Architects n.d.). This future possibilities is also extended through the allowance of an upgrade of technology in the future. In other words, the photovoltaic cells can be changed to improve the energy production and achieve sustainability. Exteriorly, I don’t find it as appealing. However, the very idea of photovoltaic panelling on the facade invoke curiosity of users as well as passersby. The interior open plan design contribute to the coincidental meeting of people from different field. Occasional exhibition is worth mentioning as well as it also invite the public to participate which result in the exchange of idea.
es as an architect: one is be an artist of the utmos sponsibility is to be a really er of society — by doing so ciety.” Sean Godsell
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A.1.2 Projects Review
This project has proven that green technology can be applied into installations or buildings at any scale without compromising the lifestyles of the user but in fact, acts as an installation that improves and extend the beauty of the site itself. The participant first addresses the history as well as the surroundings to introduce his design concept by correlating information to form an initial thought process that further develop into the final form. More interestingly, the presentation of problem and solution is what interests me the most as it addresses the problem that might occur. The participant has done a really good job in finding solutions to problems he addressed and thus, producing an interesting installation which extends the beauty of the site. However, I think the project lacks user engagement and fail to establish a link between the users and the installation. Given that the installation is a 360o look out which give the sense of weightlessness and fragility, the direct interaction between the users and the installation is not clear and I think this had slightly led the project down.
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(Withdrawn from Land Art Generative Initiative)
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Turbine Bridge Architect: Location: Year:
Adam Wierciński Architekt Amsterdam, Netherlands 2012
The turbine bridge creates a dynamic facade which incorporates the generation of energy. With the presence of kinetic energy produced by wind and the flow of the water, this energy is converted to electrical energy which is conserved to supply the need of power of the design as well as its environment. The idea of generating energy through renewable sources is as mentioned, getting more and more prominent and is practiced widely to ensure sustainability in the near future. The dynamic facade which functions as a turbine allow the users to experience the constantly changing view from the inside as well as outside which will potentially invoke curiosity and interaction for users to be creative and well aware of the idea of sustainability. As such, I find the intimacy between the users and the design is exceedingly significant here as the direct interaction through the constant changing facade can be viewed both interiorly and exteriorly.
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A.1.3 Technology Exploration Vertical Axis Wind Turbine Various designs of the vertical axis wind turbine systems-> The vertical axis wind turbine (VAWT) is a wind turbine that convert wind energy to power in the vertical axis, as the name suggests. Unlike the horizontal-axis wind turbines(HAWT), the implementation of VAWT does not require the consideration of orientation and wind sensing. This opens up the design opportunity as it is not as constraint and limited. Even though the efficiency of the turbine is highly dependent on the design, VAWTs are able to collect wind energy at wind level of relatively low speed as compared to HAWTs. The cost of installing VAWT is also comparably lower due to its easily installed mechanical system.
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A.2 Design Computation
Design computation refers to the effective usage of computational methods for 3D modeling and computer graphics through the application of mathematical concept in design professions (Rajaa n.d.). The rapid development and evolution of digital technology has heavily influenced architecture in the last decade and has produced innovation in the entire industry, from the initial design processes to final stages of fabrication. In terms of changing the industry, design computation has become a revolutionary tool to invent new methodology to design and communicate. Analysing problems,setting goals, devising solutions, evaluate the efficacy and communicating with experts as well as clients are considered basic consideration that need to be undertaken as designers (Oxman & Oxman 2014). With current computational technology, this process has been eased and easily recorded to provide promising results as computational tools, unlike humans, are less likely to make simple mistakes. However, the creativity of the human minds compensate the fact of the cold and heartless mind of the machine.
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In a more significant note, the vast availability of computational aided designing software, the transition from representational approach to a holistic approach is worth mentioning. Monumentality is a key aspect in most historical precedent (Kalay 2004). However, this approach is unsuitable for the current era as representation is no longer the only consideration. Instead, many factors are needed to be considered to set up goals and produce starting pointers to guide the design process as well as formulate solutions. Unlike the human mind, computers are advanced and specialized in generating and monitoring complexity (Rajaa n.d.). This allows the freeing up of forms from a more geometrical to complex forms. In other words, the transition from bold architectural language to smooth architecture which has more direct reference to nature is the result of the cooperation between man and computer. Innovation of materials and construction method is also stimulated through the introduction of computation design(Oxman & Oxman 2014). The combination of computation efficiency and human creativity allow more development of new and effective solutions to counter existing or even newly discovered problems- E.g. new methodology of production, more efficient constructions and effective prototypes to test out ideas which all of these are more difficult before the introduction of this technology.
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A.2.1
Precedent Exploration
Name: Architect: Year:
Beijing National Stadium Herzog & de Meuron 2001-2008
The Beijing National Stadium is a prominent example of design computation where the complexity of materials and form is shaped together with the art of technology. The facade of the stadium forms the structure as well as space within, creating a public space for sporting events(Herzog & de Meuron 2007). The unstable context of the site of Beijing challenges the designers to form new methodology to incorporate the stadium. Though fragile looking, the stadium is ecofriendly and earthquake resistant. With the aid of technology, designers are allowed to monitor and scope present and future possibilities as well as hazards.
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Beijing National Stadium
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Homeostatic Facade Homeostasis is a common phenomena that occur in the natural environment where it regulates the innternal conditions through actions that will lead to another(Minner 2011). The relationship as well as representation give inspiration to designers to produce design with better functionality and efficiency. Decker Yeadon applied homeostatic facade system onto the double skin technology by incorporation of its flexibility and low power usage of the dielectric elastomers. The homeostatic facade system reacts to environmental condition to give a constantly changing facade not only aesthetically pleasing but functionally effective in shading the interior from sunlight to reduce cost as well as energy of cooling significantly. Similarly to the natural homeostatic behaviour in biological systems, the facade regulates the internal building climate by responding to different environmental conditions automatically.
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A.3 Composition/Generation
Algorithm is a recipe, a method or a technique to create something. Or to be more technical, algorithm is the precise list of simple operation applied mechanically and systematically to a set of creation(Wilson & Frank 1999). As computational design are getting more and more convenient, simple algorithm can produce complex designs in a matter of seconds. What is more promising to the industry is the innovation of 3D printing which has transform the design industry entirely and has linked the once disconnected virtual environment into the built environment to a whole new level (Brady 2013). Forms and complexities that once was thought impossible to create is now eased by the use of 3D printing where virtual forms and shapes can be realised without errors. With the rapid development of technology, architecture has to leap into a new era to cope with the need of improvement. Architects which used to be poets or translator of the construction language, have to turn to technology to create a new form of expression as well as incorporating the needs of the present and future. The shift to generation of design through algorithm has shaped the entire design ideas as well as development to monitor the present and the future.
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A.3.1 Precedent Exploration Temporary Art Pavilion Name: Temporary Art Pavilion Architect: Soma ZT GmbH Location: Salzburg Year: 2011 Predominantly for classical music festivals, Salzburg Biennale, the temporary pavilion creates a unique location for art production(SOMA n.d.) Soma ZT GmbH integrates art as a cultural tool to promote curiosity and invites visitors to experience the new and unknown. From a distance, the pavilion is not directly understandable, the pavilion can only fully reveal itself through intimate engagement with the building. The repetitive sectional patterning along the arcs which protrudes sequentially is interesting as it forms an experiential space within for performance art.
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BLOOM by DO|SU Studio Architecture
BLOOM is a combination of elements into a single structure that changes its appearance throughout the day with respect to temperature and light conditions (dOSu Architecture Studio 2012). It is dynamic in both perspective and temporal as the audience is not able to have a constant image both in term of where and when they view it. The design defines the experiential qualities of the space around and within the structure. This incorporation of art with the aid of computational tool is what the industry is driven by and is practiced widely in today’s context.
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A.4 Conclusion In present day, as urgency for sustainability increases with the increasingly serious problems human activities produce, the need for environmental awareness is highly demanded in every individual as well as industry. With the exploration of new technology both in the virtual and the built environment as well as the connectivity between both, designers have achieved a new level incorporating green technology in the design field.
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A.5 Learning Outcome The exploration of definition has gave me a clear understanding on the current design industry as well as innovation in order to achieve sustainability. With this, I am more well prepared and inspired to work harder not only in this course but in the future industry. What I find the most influential in these few weeks was the ability of simple algorithm with the selection of correct materials to create dynamic and sustainable designs. Moreover, this has also increased my appreciation for design as a tool to solve problems and guide humanity to its sustainable future.
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A.6 Appendix Algorithmic Sketches It’s been exciting and yet sometimes frustrating to enjoy the process of adapting to a new toolGrasshopper. However, I believe the skill of handling new software is highly dependent on the motivation to practice more and further understandings of basic principles of the algorithm. Combination of various simple algorithm can produce different impressive and interesting results. With further understanding, more predictable results can be obtained at ease.
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A.7 Part A Bibliography A.1 DESIGN FUTURING Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Land Art Generator Initiative Competition Entries (2012) <http://landartgenerator.org/LAGI2012/> Sean Godsell Architects (n.d.). RMIT Design Hub <http://www.seangodsell.com/rmit-design-hub> Adam Wierciński Architekt(n.d.), Turbine Bridge < http://www.dwawu.com/>
A.2 DESIGN COMPUTATION Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 Herzog & de Meuron, 2007, 226 National Stadium, < http://www.herzogdemeuron.com/index/ projects/complete-works/226-250/226-national-stadium.html> Minner,K ,2011, Moving Homeostatic Facade Preventing Solar Heat Gain, Archdaily, <http://www. archdaily.com/101578/moving-homeostatic-facade-preventing-solar-heat-gain/>
A3 COMPOSITION/ GENERATION Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-1 dOSu Studio Architecture, 2012, BLOOM, <http://www.dosu-arch.com/bloom.html#> SOMA, n.d., Temporary Art Pavilion, Salzburg-AT2011, <http://www.soma-architecture.com/index. php?page=vague_formation&parent=2>
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