Daniel Hy, Studio Air Journal A, Sem 1, 2018

STUDIO: AIR

JOURNAL

DANIEL HY 837623 SEMESTER 1, 2018

A brief introduction: Who Am I? My name is Daniel! (however, eventually everyone know gets to know me calls me ‘Dan’). I am a third year student studying architecture under Bachelor of Environments or, as they call it now, Designs.

My love for architecture, as well as most of the studies in that area, began way back in high school when i took Visual Communications & Designs (VCD) as a Unit 3/4 subject.

Though I feel I’ve been surrounded by architecture all my life in one or another. What I mean is, growing up, my family would constantly move around a lot; even countries at a point. Whenever we moved, it was always into a temporary house while our new house would be built (We would never stay longer than 5 years at each house). Occasionally though, I would go with dad after school or during the weekends to witness our new homes in the midst of being erected.

In other words, a front row seat for any aspiring architects.

At that age, as most kids are, I was extremely curious as to how things worked. In my case, how a house was built from scratch.

Jump forward a few years and here I am. At first, I thought my next few years of studies would focus mainly on solid architecture; reading plans, understanding them and drawing them up. Little did I know that this was only the tip of the iceberg. Now i understand why the faculty decided to change the degree name from ‘ENVIRONMENTS’ to ‘DESIGN’.

I consider myself a safe person. If I know how to do something in a certain method, chances are, I would stick to that method. This means pen and paper, and AutoCAD. Though lately, I found out that I was limiting myself with my ways of “designing” and considered it outdated. If I wanted to pass my undergraduates course, I would have to get with today’s methods, like Rhino or SketchUp (both of which I was very unfamiliar with). So I thought to myself, why not challenge myself by throwing myself into the deep end and hope that I would learn to swim quick!

Table of Content

Part A: CONCEPTUALISATION A1: Design Futuring

• Case Study 1: Philips Pavilion • Case Study 2: RAMS Stadium

A2: Design Computation

• Case Study 1: Underwood Pavilion • Case Study 2: ITKE/ICD Research Pavilion 2011

A3: Composition/Generation

• Case Study 1: Esker House Roofscape • Case Study 2: Robotic Fabric Formwork

A4: Conclusion A5: Learning Outcome A6: Appendix

• Algorithmic sketches for Wk 1-3

Reference list

A.1

DESIGN FUTURING If there’s one goal designers of all professions have on their mind, it’s that they aim to design a better tomorrow. A major part for wanting these ideals or concepts to become a reality is to understand that innovation and sustainability is the key to designing a better future; in hopes that we may prolong this world for the next generation to rise and carry on in our footstep.

Of course, not a lot can be done these days, well efficiently, without the help of technology. We have long passed that stage of debating that humans co-exist, and admit that it is a part of us.

It is our design intelligence that pushed the advancement of technology in the industry over the last 10 years to bring us all one step closer to a desired future, whatever that may eventually be. The world is ever-changing, we are continuously evolving, nothing really is set in place. Therefore, we must forego our formulas for design and imagine. Create. Explore. We are only limited by the way we think. We have the creativity; the dream. We have the intelligence.

We have the resources. We have the technology.

Let us write our world a better future before it writes it for us.

PRECEDENT 1 PHILIPS PAVILION, LE CORBUSIER

Philips Pavilion duing Expo 1958

Back in the 50’s, Le Corbusier would’ve had to practically build and design the fluid form of the Philips Pavilion himself by hand. Each face of the surface would probably have had to have been shaped and documents at a time; knowing that trial and error would be a common sign for him. However, when seeing the simulation of the formation of the pavilion, it is intriguing to see how far design methodology had come. In today’s future, we are able to take Le Corbusier’s hard work and convert it into one continuous process; creating the structure all at once as opposed to surface by surface. It is quite fitting that for a structure to house arts and music, its construction reflected that off of fluid motion, as if it were dancing into its form.

Bouncing off of its fluidity, the organic shape of the pavilion could only be done through the flexing of materials. To make the body feel as it is stretching yet at the same time contracting. This, once again, mimics the body and limbs of a dancer. To see such an organic shape would’ve been very peculiar back in the days due to architecture and design following a systematic rule; that a structure was deemed a structure if it had specific characteristics. However, moving forward into the future, we break away from these rules and compete to create the next attention grabbing idea. We understand that design has no limitation, and that we are constantly expanding our knowledge to find the best “original” idea.

Le Corbuiser’s sketches for the Philips Pavilion

Timber construction of the Pavilion

PRECEDENT 2 RAMS STADIUM, HKS ARCHITECTS

RAMS Stadium rendered exterior

I believe that the future arrives whenever something innovative is introduced into our lives. Technology or amenities that make our tasks more efficient or easier allow us to further the development of the world.

Buildings and structures that stuck to a simple geometric formula could now be shaped in ways that the human minds and hands couldn’t have fathomed. The Rams stadium is one of those buildings that represent the design of the future. Its overarching roof structure consists of 70,000 aluminium panels that were individually cut out using CNC machines; assuming each one was cut and shaped specific to its placement. This would’ve been a laborious task to complete alone back in the days where the function of machines was limited and man-power was absolute. ing would stand. the building itself; to bring it life and characteristics.

Nowadays, with the advancement of digital design, we are able to create detailed simulations of the construction and practicality of the building right in front of you; working out all the structural requirements and running tests to ensure the building would stand. The advantages of digital design tools allow designers to “exhibit greater degrees of geometric complexity, variability, and differentiation,” meaning that we have the power and ability to shape what a building should look like. It is the possibility of flexing, bending, curving and folding the building itself; to bring it life and characteristics. The smarter and creative we designers get, the more potential we unlock for ideas, possibilities and further advancements into the future of design.

RAMS Stadium rendered aerial shot

RAMS stadium rendered interior shot

A.2

DESIGN COMPUTATION What design computation does for us architects is take what can do by pen and paper and enhances it in every possible way. It convenience and programs are endless, only limited by our knowledge. The integration of computational designs, like AutoCAD, Rhino and Grasshopper, Sketch-Up furthers architectural design and engineering, through the introduction of parametric designs. It has opened up doors to a world of designs that would once be possible in theory, and breathes life into it with the commands at your fingertip.

Parametric designs binds the relationship between digital design thinking along with the manipulation of algorthims; to simultaneously think anout an overall object and its broken-down componenets and materials.

To take apart, reshape and put together again faster than one could possible achieve by hand. In other words, Oxman explains it as such: “parametric systems enables the writing of rules, or algorithmic prodecures, for the creation of variations.”

One would argue that computational design is overtaking paper drawings (“out with the old and in with the new” type of saying). To that, Oxman says, using Gehry’s Guggenheim building as a key example, “the building was analog in design and digital in production”. This argues back that computation is not replacing old techniques, rather refining and redefining them.

In a world where everything around us is growing at an exponentially rapid rate, it is the practice of computation that would keep you up to date. If we were to continue using the analog technique of hand/paper drawings, our ideas would already have been of the past. The one drawing we can draft up by hand would be considered inferior to the five drawings we can model up at once.

However, that is not to say hand drawings are obsolete. We think and braimstorm through sketches and then we produce it on a CAD or 3D modelling program. We tell it what to do.

Our sketches control the creation of our designs, not the computer.

PRECEDENT 1 UNDERWOOD PAVILION, GERNOT RIETHER & ANDREW WIT

Underwood Pavilion

If one were to take a quick look at Riether and Wit’s ‘Underwood Pavilion’, their initial thought would be to consider how they digitally designed it, or what programs they used. Hardly anyone one be convinced that a design as complex as this would be modelled my pen and paper. That is not to say that it isn’t impossible, however in today’s age we understand how the advancement of computational designing can open up a world of discovery, exploration and possibilities.

In summary, the Underwood pavilion is a parametric tensegrity structure, that can be broken down to structural frame and its modules. By definition, a ‘tensegrity structure’ is a termed that given to a “lightweight structures composed of cables in tension and struts in compression.”

What computational design did for Riether and Wit was come up with algorithms that would work in conjunction with physics to generate various forms of the module. It allowed the designers to alter the point, curves and surfaces in the X, Y and Z axis and to produce different outcomes. The ability to run real-time simulations and calculations to ensure that the desired module, as well as the tensile strength of the structure, would work is also a small extension of what design computation has to offer. By using a physics plug-in alongside the CAD software, they were able to explore how tensegrity systems could be parameterized to adapt to the site and program.

However, the true potential of design computation is really seen when the designing, the modelling and the simulating can work in unity to provide the designer/s all the information they need to design efficiently.

Digial model sequencing the construction of the Underwood Paviion

Tensgrity steel structure

Fixing the elastic fabric module onto the structure

PRECEDENT 2 IDC/ITKE RESEARCH PAVILION 2011, IDC/ITKE UNIVERSITY OF STUTTGART

ADC/ITKE Rsearch pavilion 2011

With the ability to parametrically design digitally means the ability to further explore and experiment with more complex forms and geometries.

The notion of mimicking an organic form (or as it is properly termed ‘biomimicry’) is not a new concept, however, with how far designing and technology has come, the ability to do so has changed the way designers design.

In 2011, the University of Stuttgart had the idea of biomimicry in mind for their next pavilion design.

The project explored the biological mapping of a sea urchin’s shell plating and transferring it onto an architectural structure through the means of computer aided design (or CAD), and computer aided manufacturing for its construction. Aside of generating the design of the shell geometry, the use of CAD also allowed the students to explore a range of geometries and its compositions, in order to achieve their aim of proving that a design of such complexity was not impossible to design and fabricate.

Focuing on the fabrication of the pavilion, this was where the use of design computation as a means of manufacturing had its advantages over conventional fabrication. The structure itself comprised of repetitive variations of the plate geometry, which were fixed with each other via interlocking tabs and connections. Instead of having to cut out each piece one by one, machines like laser cutters and CNC machines (or in the case of this project, a seven-axis robotic arm) could do a more economical job, by reading the CAD file and mass produce the individual components in a short spread of time. Not only are machines less time consuming to work with, but they also do an accurate job, which would lead to a clean and precise built structure.

CAD sketch of the shell plates

Rendered model of the 2011 Pavilion

7-axis robotic drilling grooves for connection

tongue and groove interlocking connection

diagram showing the articulation of the robotic arm

A.3

COMPOSITION/ GENERITON If you were handed a brief to design a pavilion out on an open space, would you sketch it up by hand or model it up on a CAD software? In this day and age, clearly the answer is computerisation. We live by technologyy on a day-to-day basis, it’d be quite an itch not to just open up AutoCAD or Rhino and click away! However, in doing so, have we foresakened composition and moved forward with generation? Have we lost our creative touch that we rely on the use of computerisation and computation to do our work for us?

Anyone can draw a line on a paper, but it takes times to understand how to draw the same line digitally. Whether it’s a simple as merging two points or writing out the algorithms to produce the same result. But then if that were the case, why would we choose the latter method if it would take longer?

Truth is, in today’s world, no one stops for you. Either you are the first to design something innovative or you fall behind. It is a challenging industry so understanding it and all its potentials is your greatest advantage.

Well, no. Regardless of how advanced and specific a program is, it still requires a master brain to command it, to tell it what to do. In a digital drafting platform, we tell it where to draw two lines and how to join the two. Of course, it then does it for us because we tell it to. In a 3D modelling space, all the algorithms and parameters are displayed for us, but we are the ones who need to write it and modifty it. To shape the model at our own accord. None of which a computer can do on its own.

It is important to understand that the existance and advancement of computerisation and computation is not to take over our roles as aspiring architects, but merely used as an extension to further our limits of design, creativity and imagination. If it is programmed to do so, then it is possible.

PRECEDENT 1 ESKER HOUSE PLASMA STUDIO

Esker House Roofscape

The Esker House project is a self-contained residential unit secured above an existing housing unit from the 1960s. The thematic idea behind the development of its design, according to what Plasma Studio had to say, is that is “a parasite which adopts the structure of its host and gradually distorts it to fit a unique organisation and morphology.” To this understanding, it suggests that a mimicry approach was used via design computation to produce a parametric recreation of the Italian landscape the current unit sits on.

The result of the roofscape, while designed to be a series of deformed lines that can be viewed as quite angular and dynamic from certain perspectives, actually comes together in a soft and fluid morphology which compliments to the form and function of the rooms that operate below it. The spread of the strips differs from tight in private rooms and wide in public rooms. This reflection with the interior and exterior space highlights the connection between occupant and habitat.

As above, I mentioned that the design of the roof was developed via the aid of digital computation.

However, it took more than just computation to bring this project to fruition.

Articles by Peters and Wilson introduce and discuss the function of algorithms, and how algorithms bridge the connection between the designers’ minds and computation. The use of algorithms was significant in the process of designing the style and shape of the roof from obtaining details about the roof plans of the existing house to the topography of the landscape of the landscape they aimed to mimic, and plugging it into a CAD program. The other part was having to come up with an algorithmic pattern in order to create the morphology and spread of the roof frames; understanding how it would flow from one side of the house to the other. Again, this required in-depth knowledge of how the existing rooms work and how it operated. All of this experimentation and calculation would come together to fabricate what would be the future of designing for residential (and also commercial) homes.

Esker House roofscape CAD drawing

Esker House roofscape CAD drawing

PRECEDENT 2 ROBOTIC FABRIC FORMWORK (CASE STUDY)

Fabric-camptacted concrete form

In today’s advancing world, robots and/or machines are taking over most of society’s jobs, most commonly automated assembly lines that produce goods. Of course, robots can do a cleaner job than humans can, and they do a faster work. Even the construction industry has caught onto the idea of using various machines to help mine resources, or cut materials out or assemble components. However, it feels architects and designers have been left in the dust when it comes to updating their methods of fabrication. Concrete, for instance, is still being used the traditional way. It is such a bold material to use for arts and construction, yet all we see of concrete structures are static masses. Geometries as we know it have moved passed the simple 6-sided blocks and towards more parametric designs that are developed with the aid of digital computation. However, this is where it all changes for the better of designing. This is where the introduction to robotics can literally shape the future of architecture.

In Mark West’s “The Fabric Formwork Book”, he defines how an innovative method of concrete fabrication can remove the conventional limitations of rigid formworks and reinforcements to create a whole range of geometries that are more parametrically focused. The updated formwork is a lycra material which is stretched out and secured in position by a pair of robotic arms, to which concrete is then poured into. The freedom of flexibility translates into the freedom for the formwork to assume any design permutations. The idea behind digitally making concrete is that it considers any weaknesses and constraints about the material or its existing form and aims to create more viable solutions. Thus, it reduces on cost, time, budget and waste of materials.

Still animated model of robotic arms at work

Formwork curing while attached to robotic arms

Textured detail of concrete form

A.4

CONCLUSION Looking back at Part A, the weekly topics had a heavy focus on undeerstanding the evolution of computational design and how architects and designer, today, would continue to utilize it to solve problems in the future. Even though technology is advancing at a pace where it is constantly updating it self to shape our world through parametric geometries ad algorithmic designs, it still requires an input, a command, to give it a set of instructions and guidelines.

Ideas. Design. Inspiration. Creativity. Innovation. These do not come from the machines we build, but from our minds. They come from a passion to create a sustainable future for the next generation to come. That is where we should be standing in terms of designing for the future, with the aid of computational design.

As for design approach, I have yet to come up with one. However, with the precedents which I have been researching and understanding, I am beginning to develop a list of materials and methodologies which I am willing to experiement with for the case study to come.

A.5

LEARNING OUTCOME In my self-introduction, I told myself I would attempt to throw myself into the deep end with this subject and hope that I would be able to swim. I will say that after 3 weeks, I have struggling to keep paddling. I have had a whole new language of designing and 3d modelling thrusted at me and it is A LOT to take in. However, the fact that I am here completing this part of the journal is saying that I am willing to keep moving forward. This new-found knowledge has broadened my list of design methods and I cannot wait to fully utilise these skills in my later studios.

I have, yet, a long journey ahead of me, however, I have made good friends who I can rely on for help, as well as an amazing tutor to go to.

WEEK 1: TOWER

From a simply lofted rectangle, the ROTATE component implemented with the ‘degrees’ command allows each individual rectangle extruded in the Z axis to change its orientation by the number given to it. A SERIES command bridges the number slider and the ROTATE component, which makes the rectangle rotate multiples of 8. Thus, the final lofted design is a twisted form that repeats by the number of rectangles there are times the spacing in between each rectangle.

By reducing the the number of rotation of the rectangles and zooming in on the overall form, I was able to create the illusion that the building is gradually slanting over the edge.

This form is similar to the first design of the building, except it takes with the number slider. Clearly what has changed is the number of rectagnels running in the Z axis as well as the spacing in between each of the reactangles. This creates a tower that has a taller/extended twist to it.

A.6

APPENDIX ALGO SKETCHBOOK

This design of the building moves away from the ‘degrees’ command in the ROTATE component and, instead, replaces it with the ‘graft’ command. It is hard to explain what exactly happens when the ‘graft’ command is turned on, however, I can make a guess that instead of rotating the individual rectangles in multiples of whatever number is indicated on the slider, it rotates the rectangles around its central axis by the number on the slider. Thus, the higher the number, the more rotation of points there are, the more it looks like a circle/ star from plan view.

this form is a combination of the last two where the ‘degrees’ command and ‘graft’ command works in unision to create this slice in the building. The absence of a chunk can sbe seen as a section cut into the building. The number of grafts has been turned up, where the corners are so close to each other, it almost appears to create a circular shape from plan view.

WEEK 2: POINT, CURVE, SURFACE

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Riether, Gernot, Underwood Pavilion mid assembly, 2014 <http://http://www.arch2o.com/wp-content/uploads/2014/11/Arch2O-Underwood-Pavilion-Gernot-Riether-23.jpg> [Accessed 13 March 2018] Riether, Gernot, Underwood Pavilion construction sequence, 2014 <https://www.arch2o.com/underwood-pavilion-gernot-riether-andrew-wit/arch2o-underwood-pavilion-gernot-riether-16/> [Accessed 13 March 2018] Soraperra, Michele, Hilips Pavilion - Le Corbusier And Xenakis - Expo 58 (Part 01), 2008 <https://www.youtube.com/watch?v=_3cKxLxq-Xw> [Accessed 5 March 2018]