STUDIO: AIR Journal
Daniel Chow 617929 Semester 2, 2017 Tutor: Caitlyn
Contents Part A. Conceptualisation A.1. Design Futuring
Case Study 1 Case Study 2
A. 2. Design Computation
Case Study 1 Case Study 2
A. 3. Compostion/Generation
Case Study 1 Case Study 2
A. 4. Conclusion A. 5. Learning Outcomes A. 6. Appendix - Algorithmic Sketches
A. Conceptualisation
Introduction
My name is Daniel Chow and I am an aspiring architect. Having studied under the Bachelor of Environments in the University of Melbourne for two years now, I realize that architecture is more than just design but a way to express individuality and ideas through a realm of forms and materiality. Growing up, I have always loved building design but also just design in general. There is always something about design that leads to endless possibilities which allows for freedom in everything that we do. Prior to this, I have taken Studio: Earth and Studio: Water which have been a great pathway into architecture. By studying tectonics in Studio: Earth, it has allowed me to dig deeper within the surface to explore different qualities that I would not have thought of before. Studio: Water tackles architecture in a more realistic manner as opposed to the abstract approach that Earth has taken. Nevertheless, it still taught me to explore different boundaries but in a more practical notion. With Studio: Air, I hope to achieve an even broader scope that I have never explored before. The ideas that are generated through Grasshopper will expand my knowledge of digital design through computation. Being from Singapore, I am surrounded by modern architecture that is heavily based on sustainability and technology. To me, architecture is an ongoing process that will be ever evolving.
A.1. Design Futuring After all that we have been through, we as human beings have exploited planet earth by using every means of resource available to us. We must tackle the future with means that have not done so before. By looking at design through sociology, we have the ability to open our minds to produce before even producing to subconsciously design something of a free nature. ‘Design Futuring’ must sustainably bring us to a newer habitat without compromising on the remaining resources available to us. We need to be aware that design is more than just skin deep, it hides the identity of the object. By capitalizing on sustainability, we can pave a pathway towards a future with freedom. The key to good design involves acknowledging a form of intelligence through searching deeper within an entity.1
The ideas to create new designs should come from our imaginations in the possible future to understand what suits us best. By using means like probable, plausible, possible, fantasy and everything in between, we can dig deeper to widen prospects that increase our chances of a better future. Critical design dares to challenge to status quo by questioning and deliberating that goes beyond criticism in a positive way. It involves using design through emotions instead of words to convey a message across.2
Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 2 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 1-9, 33-45 Image Source: http://zenbullets.com/prints/img/LP27_31_s0.jpg 1
Case Study 1 Lady Cilento Children’s Hospital Lyons and Conrad Gargett South Brisbane, Queensland 2014
The Lady Cilento Children’s Hospital focused heavily on salutogenesis whereby the building would integrate unity and intelligibility to allow for its occupants to recover in a different manner. It was a revolutionary approach to medical buildings to consider spatial and form factors as opposed to the sole focus on medical treatments for one’s recovery. With the involvement of the hospital staff, Lyons could design in a manner where scenarios could be better predicted to suit each patient. The incorporation of greenery was not only used in the form of roof gardens but also metaphorically with the design of the interior mimicking a tree with branches and trunks. With medical research done, the hospital featured specific colours and patterns to soothe each patient’ anxiety. The exterior adopts to the climate with specific openings to allow the right amount of light and shade into the building. Although this was the first Australian building to adopt this design, Alvar Aalto’ Pamio Sanatorium has done it more than 80 years prior to this project. With that being said, the Lady Cilento Children’s Hospital has proved that salutogenic design has been beneficial not only to the medical patients but also to architects as it reached out to new possibilities that could pave future building designs.3
Lyon, Corbett (2017). Humanist Principles, Sustainable Design and Salutogenics (John Wiley & Sons Ltd.), pp. 56-65 Image Source: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.2106/epdf Image Source: https://s-media-cache-ak0.pinimg.com/originals/c5/f5/9f/c5f59f92054bce0db468951543cced83.jpg Image Source: https://static.dezeen.com/uploads/2014/12/Lady-Cilento-Childrens-Hospital-by-Lyons_dezeen_3_1000.gif
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Interior View
Elevation View
Perspectives
Case Study 2 Tower on West 57th Street (‘The Khaleesi’) Mark Foster Gage Architects New York City, New York 2015
Artist Impression
4 Gage, Mark (2016). Aesthetics as Politics: The Khaleesi Tower on West 57th Street, NYC (John Wiley & Sons Ltd.) pp. 26–33 Image Source: http://static2.businessinsider.com/image/5672ec6bdd089529598b468c/this-ornate-concept-skyscraper-was-inspired-by-game-of-thrones.jpg Image Source: http://imgur.com/96n6R6X
Artist Impression
Gage argues that today’ architecture has become too clinical and in other words, boring. We live in an age where technology has the ability to create buildings of infinite ideas but are too engrossed with functions and green standards. Taking inspiration from the Miesian gods, the tower features intricate detailing with a host of entertainment facilities. Gage believes that things are about to change with architects slowly inclining to look towards the bigger picture that goes beyond diagrams and connotations. While I personally do not find this building appealing as it is does appear as a case of style over substance, I do agree with Gage that architecture has become repetitive. However, I do believe that sustainability and program are fundamentals when designing a building. But I feel like Gage is talking about something of a more important scale as this project does not resolve any of the issues but opens our imagination toward an almost utopian like setting. Although not necessarily a good idea, it sure is a bold one.4
A. 2. Design Computation
Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 6 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Image Source: http://payload.cargocollective.com/1/0/9123/1643720/broccoli_1000_400___1000.jpg 5
Digital technology has allowed man to work in an enhanced manner through the means of computing which is an ever-evolving flow of design theories and evaluation. Parametric design has opened new possibilities to for architect to modulate and create various procedures to design beautiful forms. I believe that parametric design has that much of an impact as it has made geometric relationships approachable without the need to feel intimidated. One may see it as intricate and complicated shapes but at the same time, the design process becomes redundant as the computer practically does the work for you. It makes you look at hand drawings from a different perspective, where architects can feel and express their ideas fresh from the mind to paper as opposed to keying in a series of codes to let the computer indirectly take over your vision. We live in an era whereby major architectural and engineering companies have their own geometrical computing division that focuses on digital design to create performance orientated architectural ideas. Because of the technology of computing, we now have the ability to configure the composition of material designs as tectonic designs. In doing so, this has re-defined the way we look at architecture as a practice based on materials but rather a transition to digital materiality.5
Even though computers have the intellect to basically think, work and store solutions for us, it still needs us humans to tell it what to do. This indirectly tells us that computing does not affect our design process as it still comes from our brains first. However, we depend on computing for large and complicated tasks in which the human brain lacks the ability to process as fast as its technological counterpart. I personally find this statement somewhat biased. We live in an age where many technological firms invest largely in artificial intelligence and the ability for machines to think and predict is readily available now. In this regard, computer aided designs bring about interesting opportunities with the ideology of connecting humans with one another as it forms as a medium to which the designers are associated with.6
Case Study 1 NGV Pavilion Studio Roland Snooks + RMIT University Melbourne, Victoria 2016
Designed by Studio Roland Snooks and RMIT University, the NGV Pavilion was designed around the theme of mass. It draws inspiration from the past by looking at intricate detailing and heavy decoration. Through the use of computational technology, this structure evokes the character of digital fabrication process with minimal human interference. Made of a fibrous body that revolves around the flow of our atmosphere, I believe that technology has come so far ahead that the process to create something beautiful would be nearly impossible to achieve without the aid of computing. The way the pavilion was designed reinforces my point I just mentioned. Instead of taking the ordinary route of path tracing, the approach took to mixed geometries to widen design pathways. This allows for an indefinite volume to further emphasize the complexity of this project. Although the form does not seem to have a definite language, the purpose of this pavilion was to capitalise on character and the operation of algorithm. This case study has made me realise that computing design can portray just as much emotions as any other method for creating, that there is still a need for process from start to end.7
Snooks, Roland. (2016). Affects of Intricate Mass (John Wiley & Sons Ltd.) pp. 26–33 Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e4826a4b3a21/57960c6f59cc68a490d8f9dc/1469451391553/studio+roland+snooks++ngv+pavilion.jpg Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e4826a4b3a21/56c10dc1b6aa602ff3941510/1455492549250/jpg-01-2.jpg?format=1000w Image Source: http://www.bollinger-grohmann.com/data/images/bg_project_pic/file/default/a-013-16_ngv-pavilion-snooks-3.jpg
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Perspectives
Case Study 2 Ray and Maria Stata Centre Frank Gehry Boston, USA 2004
As technology gets more advanced, we not only have more time for ourselves but also the freedom to program machines to our liking. The creation of the Ray and Maria Strata Centre took inspiration from us humans and decided to pivot towards an autonomous technique for its construction. The design compromises of multiple shapes forms made from various materials to produce an almost intimidating building. This parametric building had the slab and faรงade scanned but were assembled by hand to cut costs as well as creating different variations on the spot. This method of autonomy could revolutionize the engineering industry. We can see how computing can help us both financially and in terms of time management but I think a larger number of firms might adopt this idea as it is almost an indirect concept of modulation and mass production.8
Simondetti, Luebkeman and Gereon Uerz (2017). An Autonomously Crafted Built Environment (John Wiley & Sons Ltd.) pp. 120-127 Image Source: https://c1.staticflickr.com/6/5263/5889788402_265b78e7e7_b.jpg Image Source: https://c1.staticflickr.com/6/5675/20887173512_2557d37631_b.jpg
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Perspective
Perspective
A. 3. Composition/Generation
The word ‘computing’ is generally tossed about but it refers to a medium in which architects use to in a three dimensional manner. Much like a mathematics formula, an algorithm compromises of a list can be altered by the user, resulting in a vast amount of variations. This is not necessarily a good or constantly innovating through the aid of algorithmic thinking and parametric modelling. However, w will be ever evolving as we are intrigued of what machines are capable of.10
Abu Dhabi Performing Arts Center, Zaha Hadid
Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 10 Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Image Source: http://www.turiscom.org/media/turismo/images//2016/01/04//2016010421513596844.jpg 9
draft and experiment with ideas. Algorithmic thinking goes one step beyond that by approaching it t of commands that will be pre-determined by the computer. But as with any formula, the outcomes bad thing but rather a fundamental way of designing. In today’s competitive industry, architects are we as humans are constantly exploring to find new means and it goes to show that computerisation
Case Study 1 Self-Assembly Lab Massachusetts Institute of Technology (MIT) Massachusetts, USA 2014
The process of computational design has evolved from a mere on screen model to actual physicality. The Self-Assembly Lab explored forms that revolve around our surroundings with the assemblage stage controlled by computers. The generative approach has been tackled by the lab with large scaled materials that is based on the environment to create self-assembled compositions. With components like texture and geometry in play, it could vary the structure through multiple patterns. One of my favourite examples from the lab include the Self-Assembly chair. The chairs took to an arbitrary complex assemblage that is made of plastic with 3D magnet connectors that is specific to each male and female bonding counterparts. The pieces were placed into a bowl filled with water where each component linked to each of the allocated piece within a matter of seven hours. Although this was done on a small scale, it tells us that the future is here and I am excited to see how this form of technology advances to something of a bigger scale.11
Papadopoulou, Laucks and Skylar Tibbits (2017). From Self-Assembly to Evolutionary Structures (John Wiley & Sons Ltd.) pp. 28–37 Image Source: http://generva.com/5/2015/11/architecture-designs-that-assemble-themselves-self-assembly-furniture.jpg Image Source: http://files.tested.com/photos/2015/04/28/55-73339-screen-shot-2015-02-17-at-12-1430259219.png Image Source: https://i.ytimg.com/vi/Bnj1sPfo4Ek/maxresdefault.jpg
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Self-Assembly Chair
Case Study 2 Ore Fashion Stores SPAN (Matias del Campo and Sandra Manninger) Shanghai, China 2015
This project focuses on how ornamentation often has a bad stigma attached to it but with the aid of algorithmic design, the ornaments used today are a substantial part of any form. Today’s designers focus on computational specific algorithmic that are capable of solving issues. The Ore Fashion Stores features 3D printed pavilions that are made of concrete. The interesting thing about this is that it’s equally as detailed as a handmade object. We have progressed so much in the past decade that standardized shapes and sizes are no longer a hindrance to design digitally. This goes back to my saying that computational design has opened so many pathways for architects to design and with the intelligence of computing combined with the creativity of the human mind, we can achieve revolutionary products.12
Carpo, Mario (2016). Excessive Resolution: From Digital Streamlining to Computational Complexity (John Wiley & Sons Ltd.) pp.78–83 Image Source: https://s-media-cache-ak0.pinimg.com/originals/e1/85/dd/e185ddaf31474476d1dc1c92bd674781.jpg
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Perspective
A. 4. Conclusion The world of architecture has been greatly influenced by algorithmic design. Through the intense use of technology and computing, we have curated a new form of design ideology by using algorithmic to explore new dimensions in architecture. From sustainability to artificial intelligence, the ideas that revolve around algorithmic design are endless. Although many buildings are criticized for employing similar algorithmic techniques today, there are still many approaches we have yet to discover. In the next few weeks, I intend to focus on nature and the surrounding environment as my design approach as I feel that it provides a stark contrast between the organic nature of life and the virtual life in the digital world.
A. 5. Learning Outcomes Over the past three weeks, I have been exposed to a language of architectural design that I would not have dared approach prior to this. Algorithmic design has opened new possibilities that have never occurred to me before. Throughout my years as an undergraduate, my design language have been limited to geometric shapes that revolve around sharp and angular lines. The use of Grasshopper has allowed me to break that rhythm to explore curved surfaces for a change. This will allow my designs to reach new horizons with the addition of infinite shapes made possible by digital computing. Not only has Grasshopper helped me design extraordinary forms but it also teaches me how those forms are made in a systematic manner. Much like a formula, it requires multiple steps before a final product can be determined. I am excited to see where the rest of semester takes me both in terms of my digital skills as well as my understanding of design.
A. 6. Appendix - Algorithmic Sketches
I chose these box morph sketches as it is the most intricate and detailed sketch that I have done to this date. It is interesting to see how much of a difference the base form and colour can make such a big impact to the general atmosphere to each curve. I chose three different materials as the weight and texture differs significantly from each other. It just shows us how limitless our options are in this program.
Bibliography Carpo, Mario (2016). Excessive Resolution: From Digital Streamlining to Computational Complexity (John Wiley & Sons Ltd.) pp.78–83 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 Gage, Mark (2016). Aesthetics as Politics: The Khaleesi Tower on West 57th Street, NYC (John Wiley & Sons Ltd.) pp. 26–33 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 Lyon, Corbett (2017). Humanist Principles, Sustainable Design and Salutogenics (John Wiley & Sons Ltd.), pp. 56-65 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Papadopoulou, Laucks and Skylar Tibbits (2017). From Self-Assembly to Evolutionary Structures (John Wiley & Sons Ltd.) pp. 28–37 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Simondetti, Luebkeman and Gereon Uerz (2017). An Autonomously Crafted Built Environment (John Wiley & Sons Ltd.) pp. 120-127 Snooks, Roland. (2016). Affects of Intricate Mass (John Wiley & Sons Ltd.) pp. 26–33 Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12
Image Source: http://zenbullets.com/prints/img/LP27_31_s0.jpg Image Source: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.2106/epdf Image Source: https://s-media-cache-ak0.pinimg.com/originals/c5/f5/9f/c5f59f92054bce0db468951543cced83.jpg Image Source: https://static.dezeen.com/uploads/2014/12/Lady-Cilento-Childrens-Hospital-byLyons_dezeen_3_1000.gif Image Source: http://static2.businessinsider.com/image/5672ec6bdd089529598b468c/this-ornateconcept-skyscraper-was-inspired-by-game-of-thrones.jpg Image Source: http://imgur.com/96n6R6X Image Source: http://payload.cargocollective.com/1/0/9123/1643720/broccoli_1000_400___1000. jpg Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e 4826a4b3a21/57960c6f59cc68a490d8f9dc/1469451391553/studio+roland+snooks+-+ngv+pavilion. jpg Image Source: https://static1.squarespace.com/static/529142b7e4b049dd0c9ff29f/56b9b9077c65e4 826a4b3a21/56c10dc1b6aa602ff3941510/1455492549250/jpg-01-2.jpg?format=1000w Image Source: http://www.bollinger-grohmann.com/data/images/bg_project_pic/file/ default/a-013-16_ngv-pavilion-snooks-3.jpg Image Source: https://c1.staticflickr.com/6/5263/5889788402_265b78e7e7_b.jpg Image Source: https://c1.staticflickr.com/6/5675/20887173512_2557d37631_b.jpg Image Source: http://www.turiscom.org/media/turismo/images//2016/01/04//2016010421513596844.jpg Image Source: http://generva.com/5/2015/11/architecture-designs-that-assemble-themselves-selfassembly-furniture.jpg Image Source: http://files.tested.com/photos/2015/04/28/55-73339-screen-shot-2015-02-17at-12-1430259219.png Image Source: https://i.ytimg.com/vi/Bnj1sPfo4Ek/maxresdefault.jpg Image Source: https://s-media-cache-ak0.pinimg.com/originals/e1/85/dd/e185ddaf31474476d1dc1c92bd674781.jpg