STUDIO AIR ABPL30048: 2015 SEMESTER 2 CLARYBELLE ZER LYN LOI (657294) TUTOR: BRADLEY ELIAS
Table of Contents INTRODUCTION PART A: CONCEPTUALISATION A.01 DESIGN FUTURING
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A.02 DESIGN COMPUTATION
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A.03 COMPOSITION/GENERATION
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A.04 CONCLUSION
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A.05 LEARNING OUTCOMES
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A.06 ALGORITHMIC SKETCHES
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REFERENCES PART B: CRITERIA DESIGN PART C: DETAILED DESIGN
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INTRODUCTION I am now starting my third year in the Bachelor of Environments course. Prior to coming to Melbourne, I studied the International Baccalaureate programme in Malaysia. While most of my subjects in IB consisted of Maths and Science subjects, my interest in architecture was still present. I am still finding the aspect of architeture that excites me the most, but at the moment, there are a few candidates. I am interested in how spaces attempt to evoke emotions and bring out certain experiences for the users. This may be through the use of different ceiling heights, the choice of materials, etc. Other experential instances that appeal to me are the users’ interaction with the spaces and the light qualities of the space - I especially like looking at ‘cool’ (and sometimes dramatic) photos of how natural light illuminates a space via openings and the shadows that result from a lack of light in that particular area of the space. At the same time, I am fascinated by the environmental aspects of architecture. Environmental Building Systems rekindled the environmentalist in me. I used to be fond of using renewable sources, but EBS made me realise there were more ways where you could reduce a building’s environmental footprint through passive means such as orientation, shading, etc. I also appreciate the growing trend for innovative ways that encourage sustainability, whether through creating new materials or using new strategies to to create a positive impact on the environment.
I played around with AutoCAD over the summer break of my first year, but only received a more formal instruction from the Visual Communications subjects last semester. Visual Communications also introduced me to the basics of Photoshop and InDesign. My first attempt at Rhino was for Studio Earth and Visual Communications last semester. In these two subjects, we were taught the basics of Rhino and shown the potential of it. In Studio Earth, we were also introduced to 3d printing. Both rhino and 3d printing reinforced in us how software and digital fabrication techniques open up new possibilities in architecture and other fields.
PART A: CONCEPTUALISATION
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A.01 DESIGN FUTURING
Fry (2009) explains that society is at a “critical moment in our existence” and asserts that it is only through design that we can slow down the rate of defuturing and redirect society to more sustainable ways of living. Fry proceeds to provide us with a very realistic view of what lies ahead if we do not act now. He implied that design should be conscious and serve a purpose of combatting defuturing, rather than just for appearances. He also urged designers to collaborate with other disciplines, consider the wider impact of their designs on society, and to engage the complexity of design as a world-shaping force”.
While both authors had different outlook and approaches to designing for the future, it is clear that society need to think ahead and to work towards a more desirable future. This effort can manifest in various ways, but in this case, we are concerned with how design can contribute to a more desirable future.
On the other hand, Dunne and Raby (2013) delivered a more optimistic outlook on our future although they were still concerned with the future and our welfare. They argued that society needed to consider the various possible futures, should discuss and define a preferable future and to work towards it. Dunne and Raby encouraged designers to produce speculative designs that will spark discussions among stakeholders, thus making progress in defining a preferable future and achieving it.
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Amagger Bakke by BIG Incinerators are normally industrial buildings just for waste treatment processes. However, for his waste-toenergy plant, Bjarke Ingels proposed to turn the plant into an urban hub, an attraction for the inhabitants of Copenhagen. With a ski slope on its roof, this plant enables users to enjoy the building without having to forgo the sustainable qualities of the plant. Ingels works with the idea of “hedonistic sustainability”, where having a sustainable city does not necessarily mean that sacrifices have to be made (Lars, 2011). BIG’s plant demonstrates this concept well, exemplifying what Dunne and Raby (2013) would consider speculative design, whereby design is used to open up possibilities and to suggest alternative scenarios, encouraging discussion among various stakeholders to attempt to define a preferable future and to work towards it. With this project, Bjarke challenges the assumption that incinerators are merely incinerators. He proposes that They can also be fun places that attract visitors, in addition to its waste treatment processes.
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FIG.1: THE GUARDIAN (2011): HTTP://WWW.THEGUARDIAN.COM/ENVIRONMENT/2011/ JUL/03/BJARKE-INGELS-INCINERATOR-SKI-SLOPE
By throwing in a playful element of smoke rings, this project also seeks to educate the public on the production of waste. In a very tangible manner, the smoke rings show the public what one tonne of carbon dioxide emissions look like. This creates awareness in the general public and as Fry (2009) believes, awareness and education is necessary if society is to move away from defuturing.
FIG.2: THE GUARDIAN (2011): HTTP://WWW.THEGUARDIAN.COM/ENVIRONMENT/2011/JUL/03/BJARKE-INGELS-INCINERATOR-SKI-SLOPE
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Proposal for London Underground by Gensler Gensler proposes to turn London’s underground spaces into pedestrian and bike paths with kinetic energy pads that generate electricity from pedestrians’ and cyclists’ movements. In a similar project, a small bicycle path called SolaRoad in Holland is being tested for the feasibility of using solar panels as road surfaces. Since, Ebi (2014) explains that there are more roads than roofs in Holland, it would make sense that these roads are utilised more to generate electricity. As Fry (2010) describes, we have are in the process of defuturing and it is by design that might take us to a more sustainable future. These innovative concepts makes full use of public spaces to work towards a more sustainable future, in addition to , in Gensler’s case, creating a public space for Londoners to travel in. These projects, also examples of speculative design (Dunne and Raby, 2013), encourage other firms to extend their scope of design by including the urban spaces surrounding individual buildings. It may also encourage them to come up with more innovative approaches or designs to ensure that we are working towards a more sustainable future.
FIG.3: GENSLER (2015): HTTP://INHABITAT.COM/GENSLER-PROPOSES-ELECTRICITY-GENERAT BIKE-PATHS-FOR-LONDON-UNDERGROUNDS-DISUSED-TUNNELS/
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A.02 DESIGN COMPUTATION
Computation, as opposed to computerization, involves “the use of [a] computer to process information through an understood model which can be expressed as an algorithm” (Peters, 2013). Computation is concerned with logic and the relationships between objects (Oxman, 2014). On the other hand, computerization merely involves translating analogue works into digital outcomes by representing a designer’s ideas through the use of the computer as a medium. For example, this may include drafting using a computer rather than by hand, or modelling through the use of software such as Rhino rather than building a physical model.
The use of computation methods also gave rise to new scripts that enable us to study structural performance and performative behaviours such as energy analyses (Oxman, 2014). This gives us a better understanding on the buildings’ impact on the environment, allowing us to refine our designs to reduce its negative impact - and increase its positive impact – before the construction phase starts.
With the advent of the digital age and algorithmic methods, more complex designs can be conceived. Software that enabled computerization enabled designers to represent more complex forms, facilitating a clearer communication between designers and builders (Kolarevic, 2003). With computations, designers write algorithms to generate outcomes, generally as part of a problem solving process. Once an algorithm is written, it is possible to generate numerous outcomes just by tweaking a few parameters. Previously, using traditional methods or even digital 3d modelling software, certain changes might involve a tedious process. Computation, however, allows designers to generate many outcomes from an algorithm, without requiring too many changes. This encourages designers to explore more forms and solutions, paving the way for more explorative and speculative works.
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Al Bahar Towers by Aedas The Al Bahar Towers use a dynamic façade to respond to the extreme conditions posed by Abu Dhabi’s climate. Each of the towers are covered with individual shading devices that take the form of a mashrabiya, a traditional lattice screen found in Islamic culture. Drawing inspiration from nature, these shading devices are programmed to open and close, through the use of algorithms, according to the sun’s position during that time of the day and year. This prevents direct sunlight from penetrating the building, thus reducing the towers’ energy consumption due to cooling, which would otherwise be significant in this region. Yet, as the sun moves throughout the day, the mashrabiya that cover the windows that are away from the sun will remain closed, leaving the windows open and allowing natural light to enter, reducing the need for artificial lighting. Apart from allowing designers to optimize performance during the design stages through the use of performative analyses as a result of computation, the building model also facilitated proper coordination during the construction phase, ensuring that “no significant coordination issues were experienced” (Council on Tall Buildings and Urban Habitat, n.d.), despite the complexity of the project. This demonstrates what Kolarevic (2003) would describe as a “seamless collaborative process [between] design, analysis, representation, fabrication and assembly”. In addition to facilitating the conception of complex projects, this new workflow, where the architect is seen as the ‘masterbuilder’, redefines architectural practice.
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FIG.4: CTBUH (N.D.): HTTP://WWW.CTBUH.ORG/TALLBUILDINGS/FEATUREDTALLBUILDINGS/ ALBAHARTOWERSABUDHABI/TABID/3845/LANGUAGE/EN-US/DEFAULT.ASPX
FIG.5: CTBUH (N.D.): HTTP://WWW.CTBUH.ORG/TALLBUILDINGS/FEATUREDTALLBUILDINGS/ ALBAHARTOWERSABUDHABI/TABID/3845/LANGUAGE/EN-US/DEFAULT.ASPX
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Shellstar Pavilion by Matsys The shellstar pavilion uses computation in various ways in the design stage. Its from was achieved as a result of computation that attempted to “maximise its spatial performance while minimizing structure” (Matsys, n.d.). Similar to methods used by Antonio Guadi and Frei Otto, this involved undertaking scripting to analyse the structural performance of the form and to produce an outcome that was in line with Matsys’ intentions for the pavilon. Matsys also used scripting to optimise the form of the pavilion to simplify the fabrication proces. The team also made use of scripts to prepare the pavilion for fabrication and to enhance its performance. This enabled the pavilion to be conceived within 6 weeks, including designing, fabricating and assembling (Matsys, n.d.). This pavilion, along with the Al Bahar towers, demonstrate how computation is redefining architectural practice by enabling more complex projects to be conceived, both through its capabilities of faciliting performative and structural analyses, and through its ablity to seamlessly blend the design and construction phases of a project.
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FIG.6: DENNIS LO (2012): HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/ PROJECTS.HTML?SCREENSIZE=1&COLOR=1
FIG.7: DENNIS LO (2012): HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/ PROJECTS.HTML?SCREENSIZE=1&COLOR=1
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A.03 COMPOSITION/GENERATION
In this digital age, algorithms and scripts have enabled designers to generate many outcomes for exploration. As Woodbury (2010) describes, by tweaking the parameters of the algorithm slightly, minimal reworking is necessary, as opposed to a “conventional design” where making changes to the model can be tedious. Dino (2012) argues that it is this “adaptability and responsiveness [of parametric models] to changing design criteria and requirements” that facilitate exploration. Sumi (n.d.) also believes that this approach facilitates “a wider search area for design exploration by allowing the automatic generation of a class of alternative design solutions”. On the other hand, if a lot of reworking is necessary to change the design, as observed in “conventional design”, Woodbury (2010) reasons that this limits the designer’s ability to explore. However, before that can be achieved, a designer’s thinking has to shift from a composition oriented to a generation oriented design method. This means that instead of directly manipulating the form or the design solution (composition), the designer has to establish the relationships between various components of the design (generation) (Woodbury, 2014). This approach requires designers to change their thinking and it is possible that this new approach is not in their comfort zones. New skills and theories might also be needed before designers can gain the benefits from the use of generation.
Generation involves designing the algorithms that would influence the outcome. This meant that designers were not directly manipulating the form itself, but rather, the algorithms that would produce the forms. Often, designers involved in the generative processes may be uncertain how the form would turn out. Since the designers do not take a front role when designing, it is possible that by taking a step back from the actual designing, designers can separate the outcomes from their personal biases or predispositions. This creates a wider range of possible outcomes, which are then, in the next phase of design, evaluated and refined, whether rationally or intuitively, by the designers to find a solution to the problem (Kalay, 2004). This approach, however, may seem to diminish the role of designers and may be criticised for the lack of designing carried out by the designer. Society may fear the implications of the fact that our spaces and buildings might be designed by computers rather than humans. Nevertheless, generation and computational methods open up new possibilities in design, both in architecture and in other fields.
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FIG.8: MICHAEL HANSMEYER (2008): HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/ PROJECTS.HTML?SCREENSIZE=1&COLOR=1
Platonic Solids by Michael Hansmeyer
This project explores the complex forms that can be generated by a “purely operations-based geometric process” (Hansmeyer, 2008). The algorithm takes “primitive forms, the platonic solids” and then repeteadly applies the division operation to produce a new form. By tweaking certain variables, this algorithm can generate a range of varied forms.
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It is this recursive nature that characterises many generation methods, such as the L-system. In addition, many generation methods such as the L-system and the BOID system draws from nature to create complex systems.
FIG.9:DEZEEN (2013): HTTP:/DEZEEN.COM/2013/06/03/SILKWORMS-AND-ROBOT-WORK-TOGETHER-TO-WEAVE-SILK-PAVILION
Silk Pavilion by Mediated Matter Group
While this project does not take the conventional form of generation, it can be considered as an example of generation. The researchers from MIT set up the framework (parameters), before allowing the silkworms, who are naturally ‘programmed by codes’ (algorithms) to generate the form of the pavilion. It was also observed that researchers were able to tweak the parameters such as light, heat, etc. to generate variations in the form. This characteristic is similar to digital computations.
The researchers also studied the silkwoms, intending to mimic them and apply the knowledge of their movements into 3d printing technologies, or even to use silkworms for fabrication, since they are able to produce larger works than 3d printers can (Wilson, 2013). This unique approach of merging biological and digital processes reflect the explorative and experimental nature of projects, further increasing the potential of computational and generative approaches in producing novel projects.
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A.04 CONCLUSION
Part A has shown us how design is shifting from a traditional approach to a digital approach. It has given us a basic understanding of the world of computation and the possibilities that this opens up to architecture and other fields of design, such as performative and structural computations. Through research and exploration afforded by these new approaches, we are better equipped to respond to the changes in society and to move away from defuturing. From the readings and the research of precedents, I am more driven to seek innovative solutions to problems that we may be facing. Learning the new techniques and strategies that are available make me more open to trying out new approaches.
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A.05 LEARNING OUTCOMES
Part A broadened my horions and made me realise there was so much more to architecture and the wider world of design. Being exposed to computing and the myriad of possibilities it provided society with excited me. I was fascinated by the explorative, theoretical and speculative nature of this computational world. The algorithmic nature of Grasshopper appealed to me. It took me back to my somewhat nerdy 2 years at IB where I used to play with my graphical calculator and dabbled in the programming aspects of it. That was just limited to “if ...then” functions along with inputs and outputs. But Grasshopper made it feel more ‘real’ and practical - and fun too. I was interested in the approach of dealing with the relationships between individual components. This made it seem more rationale and analytical but at the same time I loved the generative capabilities of algorithms. Learning about the generative approach also inspired me to explore this aspect of architecture more.
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A.06 ALGORITHMIC SKETCHES
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REFERENCES Eriksen, L. (2015, August 6th). Bjarke Ingels Designs Incinerator that Doubles as Ski Slope in Copenhagen. Retrieved from The Guardian: http://www.theguardian.com/environment/2011/jul/03/bjarke-ingels-incinerator-ski-slope Fry, T. (2009). Design Futuring: Sustainability, Ethics and New Practice. New York: Berg. Hansmeyer, M. (2015, August 11th). Platonic Solids. Retrieved from Michael Hansmeyer: http://www.michael-hansmeyer. com/projects/projects.html?screenSize=1&color=1 Kalay. (2004). Architectures New Media. Kolarevic, B. (203). Architeture in the Digital Age: Design and Manufacturing. Oxman, R., & Oxman, R. (2014). Theories of the Digital in Architecture. Routledge. Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. In X. d. Kestelier, & B. Peters, Computation Works: The Building of Algorithmic Thought (pp. 8-13). Wilson, M. (2015, August 14th). How MIT is Hacking Thousands of Worms to Print Buildings. Retrieved from Co.Design: m.fastcompany.com/1672770/how-mit-is-hacking-thousands-of-worms-to-print-buildings Woodbury, R. (2014). How Designers Use Parameters.
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