STUDIO AIR 2016 SEMESTER 1 / Alex Holland Danielle Sy Laqui
introduction
hey, i’m dee.
It’s short for DANIELLE SY LAQUI. This 2016, I am on my first and last year at the University of Melbourne finishing my degree for Architecture under the Bachelor of Environments program. Prior to this semester, I have accomplished four and a half years (out of five) of study at the University of Santo Tomas in Manila, PH. In Manila, we use this trio of programs: AutoCAD, Revit and SketchUp then having the freedom to choose between manual, Lumion or Vray for renderings. In contrast, so far, I think Rhino is a combination of CAD and SketchUp but offers less limitations and more possibilities.
Digital architecture is an associate to an architect’s practice. It isn’t an architect’s partner or boss, it is meant to be a tool for exploration and the product of human creativity.
conceptualisation
a.1. design futuring a.2. design computation a.3. composition generation a.4. conclusion a.5. learning outcomes a.6. appendix
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10 12 13
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A.1. DESIGN FUTURING Design futuring is a redirective practice we can substantiate by being aware and educated of the world we live in thereby straying away from defuturing and avoiding the dialectic of sustainment and growing towards constructing a healthier, sustainable lifestyle.
I agree with Piano when he says “ If you ask me if London
should be full of towers, the answer would be: not necessarily. I’m not in favour and not against. But if you make a bad building that is low you don’t see it too much. If you make a bad building tall you see it a lot. So there is an obligation to be good.” I think this applies to architecture in general, that
THE SHARD Europe’s Tallest Skyscraper
you become responsible for the buildings you design and the lives they affect afterwards.
The Shard, a 72-storey, mixed-use tower by Renzo Piano, located beside London Bridge Station is a response to the
At the time and perhaps until currently, The Shard continues
urban vision of London Mayor Ken Livingstone and to his
to be surrounded with a variety of opposing opinions, both
key
politically and architecturally. As a critic has said: In fact, the
transport nodes in London. This sort of sustainable urban
best thing about the Shard is that it makes such an explicit
extension relies on the proximity of public transportation,
statement about power, about who matters and who doesn’t.
discourages car use and helps to reduce traffic congestion
(Hatherley, O.)
policy
of
encouraging
high-density
development
at
in the city. As Europe’s tallest building, the Shard serves as a very good A mix of uses – residential, offices and retail – creates a
point of reference when in London. Also as part of the project,
building that is in use 24 hours a day. The slender, pyramidal
a section of the most problematic transport hub in London,
form of the tower was determined by its suitability to this
London Bridge Station’s concourse was also redeveloped and
mix: large floor plates at the bottom for offices; restaurants,
the London Bridge Tower has been the stimulus for much of
public spaces and a hotel located in the middle; private
the regeneration of the surrounding area, now known as the
apartments at the top of the building. The final floors
London Bridge Quarter. Plenty of controversy surround the
accommodate a public viewing gallery, 240 m above street
structure as it was opposed by the locals, Southwark council,
level. This arrangement of functions also allows the tower to
critics and by conservation authorities. Although I respect
taper off and disappear into the sky
this perspective, of history and heritage, I rather perceive The Shard as what it intended and has succeeded to do: to
Upon construction of the Shard, a lot of other towers have
regenerate its surroundings. This achievement in itself, of
been given planning permission as well. It opened doors to
solving an issue that affects a great population indicates the
more possibilities of vertical structures.
beginning of good architecture.
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CONCEPTUALISATION
“It’s a very old dream of mine, this idea of making a building like a little town,” says Piano. “So when people say, oh but it’s going to use up so much energy, it’s not true. An actual town of 8,000 people [the Shard’s projected number of occupants] would use up five times as much energy. This is why the Shard is the shape it is. The higher up you go, so the functions change, and you need less floor space, until you get to the very top, and there I just wanted the building to kind of mingle in the air. It’s important that it breathes up there – that it breathes in the clouds.” They (Piano and his team) wanted to instill a sense of belonging in the relationship between the Shard and Londoners. “You know, the best architecture takes time to be understood. I don’t know how the Shard will be thought of. In some ways it’s a bit narcissistic to even think about it like that. But I would prefer people to judge it not now. Judge it in 10 years’ time.” Renzo Piano on the criticism and controversy surrounding the construction of the Shard. The Shard represents the ideals behind the ‘vertical village’, with live-work and leisure facilities stacked one on top of another. It is also located in absolutely the right place, standing above one of the most important transport hubs in Europe, limiting the need to use a car. It is, after all, more sustainable to take a lift than drive a car. The Shard anchors the best piece of urban regeneration in the world − the walk from Westminster Bridge to Tower Bridge and beyond − and will help regenerate Southwark: one of the most run-down areas of London. It is a welcome new London landmark. (Rogers, R.)
001
002
003
004
A key idea for the Shard’s shape: the idea of the steeple, a design feature of which London enjoys a rich legacy through its churches. The message is implicit: London is full of spires – the Shard is just another one. It fits in. This shows how it bridges the past into the future, of how London can be a place of culture and technology.
CONCEPTUALISATION 7
QUADRACCI PAVILION Milwaukee Art Museum Calatrava took inspiration from the nearby lake, sailboats
adjusts to the conditions of its surroundings. In this particular
and soaring birds to create his masterpiece. The white steel
structure, it is the time of day. But imagine the possibilities
and concrete building is reminiscent of a large ship about to
if our architecture adapted to different factors as well as
set sail on the water. The museum’s most notable feature is
threats like highly resistant structures for probable natural
its soaring wing-like sun screen set atop the reception hall.
disasters.
Constructed out of steel, 36 fins form the Burke Brise Soleil, which has a wingspan of 217 feet and opens and closes twice
If we invested in our architecture, in our environment, we
a day. During the day, the screen opens up to shade the glass
would be avoiding constantly wasting our resources and
entrance hall from the sun and at night, the screen closes
acknowledging that we cannot keep constructing static
down like a bird folding his wings to sleep.
structures. That the world moves forward, resources run out and circumstances will change.
The design for the amazing shaded pavilion and sun screen was conceived back in 1994 and at the time of construction
Design has an infinite amount of power and potential to
was
was
possibly change the world. Design futuring tells us that this
perceived as challenging and required a significant amount
possibility is well within reach only if we redirect our practices
of custom work.
, our mentality and our processes to a more environmentally-
considered
unprecedented.
Calatrava’s
design
conscious and sustainability-oriented discipline. If there’s another factor besides sustain-ability to consider for design futuring, it would be adaptability. I think it’s highly considerate and clever of Calatrava to create a structure that
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CONCEPTUALISATION
Motions of the Quadracci Pavilion
CONCEPTUALISATION 9
005
A.2. DESIGN COMPUTATION The dominant mode of utilizing computers in architecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. In contrast, computation or computing, as a computer-based design tool, is generally limited. Algorithmic Architecture (Terzidis, K. 2006) 007
Gehry’s initial sketch of the Disney Concert Hall
It
is
essential
to
understand
the
differences
006
between
Gehry employed sophisticated software to translate his design
008
conceptualization and the entire process.
computerization and computation. The line between using computation as a tool (computer aided design) and not as
The more human approach to translating actual ideas into
an alternative (computer generated ‘design’) for design; real
concrete drawings and structures is computerization while
or human creativity and fake creativity; and the contrast
another paradox in design computation arises. How does
when you approach as the designer or as a spectator of the
design
capabilities of certain programs.
limited approach? Because you stay within the confines and
computation
have
more
possibilities
yet
be
the
possibilities of the programs. Perhaps those restraints are not Isn’t Design Computation a paradox in itself?
of great magnitude, but programs created by humans can only generate standards in varieties over raw and authentic
In design computerization, the design comes from a human
design.
mind, recreated and stored in a computer system. With design computation, where does ‘design’ come from? It is of
Nonetheless,
how well you manipulate a program to generate something
potential that comes with computation but what’s of more
to the point that it becomes aesthetically pleasing enough
importance is that we exercise responsibility of how we
to
design the environment we live in and hope that it remains
be
design
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considered through
design
therefore
manipulating
CONCEPTUALISATION
and
making approval
its
creators
rather
than
it
important
suited for human lifestyle.
to
acknowledge
the
infinite
010
The intricate details of Hansmeyer’s Subdivided Columns
009
Column and Slicing Plane
011
Frank Gehry’s approach to his architecture starts when he
Michael Hansmeyer, an architect and programmer, explores the
understands the projects and sketches his ideas. Sketching
use of algorithms and computation to generate architectural
is his signature and preferred method of translating his
forms. Here, he exhibits the most intricate cardboard columns
concepts. I classify Gehry as a true architect, an architect
which he did via laser cutting rather than 3d Printing. He calls
of pen and paper, practicing authentic design and then
them Subdivided columns for they are created with thousands
computerization.
of sliced cross sections that click together when assembled.
For his Disney Concert Hall, he employed sophisticated
Hansmeyer believes that architecture stands at an inflection
software, originally used to design and build French fighter
point. That technological advances has made the computation
jets, to translate his billowing forms into a buildable plan.
and fabrication of unimaginable forms a reality. He sees
This is the limitation I see with computation. You have to
complexity as an opportunity to explore, to defy classification
go through the entire process before having a concrete
and supersede the standards.
visualization of a concept but if it starts through a simple sketch on paper as seen in tradition, you witness the raw
Hansmeyer’s exhibit explores not the design of an object,
design process.
but the design of the process to design that object. This procedural approach inherently shifts the focus from a single object to a family of objects: endless permutations of a theme can be generated. This raises the question, is this architecture or programming?
CONCEPTUALISATION 11
A.3. COMPOSITION | GENERATION GENERATIVE DESIGN An era of software tools allows humans to design in a capacity greater, more powerful than their own to create structures that would otherwise not be able to exist. In the 2008 Beijing Olympics, the Bird’s Nest and the Water Cube, formally known as the Beijing National Stadium and the Beijing National Aquatics Center respectively relied their utter existence on generative design. Arup, a multiprofessional firm, used MicroStation, MicroStation TriForma, Bentley Structural, and Bentley’s generative design technology for its unique design based on a natural pattern of organic cells and the formation of soap bubbles. Generative design, otherwise known as computational or parametric design, is not about designing a building. Again,
The Water Cube feeds on social media emotion
011
Digital Model of the Water Cube
012
The Bird’s Nest
013
Model showing the primary load carrying elements, secondary and tertiary members
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it’s more of designing the system that designs the building. It is the fast and efficient way to explore alternatives, automate processes and accelerate design iterations. Generative design and computers are allowing architects to conquer design feats that would otherwise be very tedious if done without parametrics and algorithms. It is the process that produces tons of varying results available for exploration within a fraction of the time spent if done by hand or through CAD. An example would be if you were to compute the optimal setting inside the stadium would take you lifetimes but through parametric design, you can quickly compare thousands of different parameters in a few clicks and settings. I concede and agree that technology has made architects and architecture perform beyond the imaginable. Also, I now see that computation for the most cost-effective solution is possible as well as guaranteeing that a design optimizes every aspect of its surrounding. Perhaps generation or rather computation isn’t as unhuman as I initially perceived. If it is perceived as a resource, controlled and put to good use, it saves costs, materials and time and enhances architectural performance. This iterative, emergent process — people designing better tools to take on interesting projects and then conceiving more interesting projects to take advantage of the better tools — is at once new and quintessentially human. By building and using better design tools and creating a culture that gets the most out of these tools, the generative design movement is becoming a potent tool for evolving our built environment.
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CONCEPTUALISATION
A.4. CONCLUSION A.5. OUTCOMES As I have learned from Churchill on my first year in architecture
The past couple weeks and the newfound exposure to
school and still find as powerful as when I first grasped the
architectural computing has fascinated and intrigued me
idea: We shape our buildings; thereafter they shape us. There
of all the possibilities for transformative innovations and
is a huge responsibility for architects and all designers to
progressive architecture. It has also allowed me to begin to
collaborate on an environment that cultivates humanity.
perceive the world around me in algorithms which I feared at
A world made by humans, for humans. What I fear with
first until it dawned on me how I could understand the world
computation is that it loses the human element that needs
differently through this perspective. To have known what I
to be present to create authentic and alive design. We, as
know now, the knowledge I have gained would have saved
architects, are obliged to construct a built environment with
me a lot of nights manually drawing geometries I could easily
good spirit; a spirit that becomes our own. It’s significant that
generate as well as allowed me to explore my concepts into
we maintain specific approaches to not lose our grasp on
further depth.
humanity, to not allow technology dictate where we grow or how we do it; to only let computers aid us and not replace us.
CONCEPTUALISATION 13
A.6. ALGORITHMIC SKETCHES WEEK ONE | THINKING IN PROCESSES As
the
brief
said
Parametric
design
readily
generates exciting geometries to play with. I found that at the beginning of each process, I had control and it gradually turned minimal as I went along. I think the forms I produced ar 70% of my idea since I controlled how they started and detailed how they ended. I found the entire process of learning how it works and experimenting with parameters, fun and intriguing. The generation processes executed my design with minimal deviations. I knew how I wanted it to grow and I controlled as much as I could. WEEK TWO | PARAMETRIC SHELTER Through other programs, it would take a day to create one schematic and a week to create more that I’m happy with. Other softwares are not capable of making this process as easy as Rhino. My base units are mostly sharp, triangular shapes because that what I find appealing. I prefer the pavilions broken down because in reality, they are made of components as well. The transformations from whole to afterwards are very drastic. Sometimes, the initial is unrecognizable.
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CONCEPTUALISATION
A.6. APPENDIX ‘Calatrava’s Soaring Pavilion Spreads Its Wings to Create Shade’ <http://inhabitat.com/amazing-calatravashade-pavilion-for-the-milwaukee-art-museum/>
‘Frank O. Gehry: Sketches’ <http://www.arcspace.com/ the-architects-studio/frank-o-gehry-sketches/>
‘Generative Design Is Changing the Face of Architecture | Cadalyst’ <http://www.cadalyst.com/cad/building-design/ generative-design-is-changing-face-architecture-12948>
July, 24, and 2012, ‘Skylines: Opinions on Renzo Piano’s Shard, London’, Architectural Review <http://www. architectural-review.com/today/skylines-opinions-onrenzo-pianos-shard-london/8633386.fullarticle>
‘Michael Hansmeyer - Computational Architecture: About’ <http://www.michael-hansmeyer.com/profile/about.html> ‘Michael Hansmeyer - Computational Architecture: Subdivided Columns’ <http://www.michael-hansmeyer.com/projects/ columns_info.html?screenSize=1&color=0> ‘Photos’ <http:// www.archdaily.com/33494/the-shard-renzo-piano>
‘Renzo Piano Building Workshop - Projects - By Type - London Bridge Tower’ <http://www.rpbw. com/project/58/london-bridge-tower/#>
‘Renzo Piano: “The Shard Is My Dream Building”’, The Independent, 2012 <http://www.independent. co.uk/arts-entertainment/architecture/renzo-pianothe-shard-is-my-dream-building-7678862.html>
‘The Shard / Renzo Piano’, ArchDaily, 2009 <http://www.archdaily. com/33494/the-shard-renzo-piano/>
CONCEPTUALISATION 15