Studio 2Air 016 Daniel Zou
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//studio air /2016 /daniel zou /finn warnock
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‘The pencil and computer are, if left to their own devices, equally dumb and only as good as the person driving them.’ -Norman Foster
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CONTENTS
Design Futuring
Part A.1 pg.8 //Metropol Parasol //Seed Cathedral
Part A.2 pg. 18 Design Computation
//Beehive Pavilion //Borad Museum
Part A.3 pg. 26 Composition/Generation //Beijing National Stadium //Stuttgart Research Pavilion
Conclusion
Part A.4 pg.34
Part A.5 pg.34 Learning Outcomes
Appendix
Part A.6
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EPT
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CONCEPT 2
COURTYARD PERSPECTIVE
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BASIC BREAKDOWN
BUILT FORM
CIRCULATION
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TOPOGRAPHY
ROOFTOP PERSPECTIVE
VERTICAL RELATIONSHIP
NATURAL AREAS
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BOUNDARY
SITE PLAN 1:400 RESTAURANT PERSPECTIVE
ORIENTATION
CAFE PERSPECTIVE
BASIC BREAKDOWN
BUILT FORM
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CIRCULATION
CONTOUR CUT TOPOGRAPHY
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NATURAL AREAS
studio Fi g u re s 1 a n d 2 : M e l b o u r n e U n i v e r s i t y S t u d i o Wat e r : S t u d l e y Pa r k B o at h o u s e F i g u r e 3 : M e l b o u r n e U n i v e r s i t y V i s u a BALANCE lising Environments BOUNDARY
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INTRODUCTION My Name is Daniel Zou and I am currently a third year architecture student studying at the University of Melbourne. “Terrified and excited� were the emotions I had as I graduated from high school in 2012. Unlike the majority of students who had dreamed of following a specific career path, I remember struggling to comprehend the decision that could determine what I did for the rest of my life. Half a year passed and it turned out a bachelor of Commerce and Business Information Systems wasn’t it. Still unsure of what to do, I took an extended period of time off university and explored different parts of the world. From places full of history to places with barely any, it was the architecture that defined a country for me. Structures built hundreds of years ago, still standing and giving me a glimpse of history and culture. I was mesmerised by the unique buildings that lay half way across the planet. As my traveling came to an end, my fascination with architecture continued to grow and I enrolled in the Bachelor of Environments with the intention of becoming an architect. With no predispositions regarding style, I was catapulted into the design process with my first year at Melbourne University. Basic digital design became something that I felt was a necessity to learn and proved invaluable to my studios ever since. My knowledge of computational design is currently only limited to straight forward software that draft predetermined concepts. However, design tools such as Grasshopper, that look at the manipulation of algorithms is completely unfamiliar. Grasshopper is intimidating, yet by the end of this studio, I hope to be equipped with a new set of skills and widened perspective for tackling future design studios.
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Figure 4: J端rgen Mayer,2011, Metropol Parasol
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Figure 5: J端rgen Mayer,2011, Metropol Parasol (underside)
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METROPOL PARASOL Residing at the heart of Seville, a defining structure stands monolithic and dramatic; juxtaposed against a cityscape rich with tradition and history. The Metropol Parasol is one of the largest timber designs in the world and one that epitomises the delicate relationship between the architecture and a cities cultural identity. The Metropol Parasol was completed in 2011, filling a space previously unoccupied for nearly 30 years. This 30 year void damaged the cultural and economic fabric of Seville and as such, Seville needed something that could reignite the dwindling fire of a city in despair. Inspired by the vaults of Seville’s expansive cathedral and the influenced by the existing trees in the square, Jürgen Mayer H wanted to create a “cathedral without walls.” The Metropol Parasol carries the presence of a cathedral, but the appearance of something somewhat ‘galactic.’ This radical design encompasses “complex sculpturallike shapes… that computerised design and construction make possible, hence, no two parts of the Parasol are identical.” Implementation of such a formidable structure in the heart of the Old City saw a drastic change in the aesthetic footprint Seville. The design garnered intense criticism because many questioned its place in such a traditional location, however, Jurgen Mayer and Aru’s work epitomises the notion of a contemporary ‘spirit’ ‘dancing’ with historical and traditional space. The Metropol Parasol brought about a museum, a farmers market, multiple bars and restaurants underneath and inside the parasols. This extensive additions reinvigorated Seville declining cultural spirit, proving that the Metropol Parasol becomes far more than a footprint in the fabric of Architecture, but a national identity which carries the spirit of a wonderful city. 11
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Figure 6: J端rgen Mayer,2011, Metropol Parasol (underside)
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Figure 7: Thomas Heatherwick, 2010, UK Pavilion at
Expo
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Figure 8: Thomas Heatherwick, 2010, UK Pavilion at Figure 9: Thomas Heatherwick, 2010, UK Pavilion at
Expo Expo (Close up of Optic Fibres)
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LONDON PAVILION In 2010, at the Shanghai Expo, Thomas Heatherwick showcased the London Pavilion to the world. The pavilion combined both experimental technology and innovative thinking to produce a timber structure pierced 60000 times with Optic Fibre rods that danced with the wind. Beyond the hypnotising surface and through a culmination of technology and practice, the London Pavilion straddles the gulf between revolutionary and ridiculous design. The ambitious design, sometimes called the ‘Seed Cathedral,’ is achieved by using 3D Computer Modelling that precisely measured where holes were drilled to insert the rods. Sixty-thousand slender and transparent fibre optic rods, each encasing one or more seeds at its tip, were then inserted into the timber structure. These rods illuminate the interior during the day and glow at night whilst the wind also generates gentle movement to create a halo effect - ultimately forming ‘a delicate connection between the ground and the sky.’ Heatherwick and others intended to create an ‘atmosphere of reverence and… a moment of personal introspection in a powerful silent space,’ yet it does much more. Its unusual exterior truly challenges the preconceived ideas of architecture, generating a sense of awe at the sheer magnitude of its eccentricity.
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COMPUTERS AND THE ARCHITECTURAL DESIGN PROCESS In the digital world of design, how has design changed for the better?
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The connotations associated with ‘computation’ needs to be rectified because it undermines the significant benefits it brings to the architectural design process. Too often is the notion of computation mistaken for computerisation. Computerisation refers to the ‘automation’ of something whereas computation is an act or ‘process of’ - more specifically, a calculation. The unfair presumption that architecture in the digital age has become impersonal and insincere stems from the incorrect belief ‘creativity’ is automated. In fact, it is these computer generated outcomes that ignite the minds of designers because it allows them to visualise something they couldn’t before. For example, taking a parametric image, a process of analysis, synthesis and evaluation produces a conceptual design. It becomes evident that computers harbour unique advantages to aid a designer but creativity still stems from the human mind. The emergence of a digital age has transformed the architectural design process, redefining traditional roles and embracing a more holistic approach to design. The symbiosis of both computers and humans ultimately creates a seamless flow of communication between this ‘analysis, synthesis and evaluation.’ As more information is generated, more people become involved, disregarding the traditional notion of a ‘master builder.’
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Figure 10:
Diller Scofidio + Renfro, 2015, Broad Museum
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Figure 11: Diller Scofidio + Renfro, 2015, Broad Museum (close up)
‘The versatility of this rapid prototyping supported the timely resoltuion of many complex geometric conditions’ The Broad Museum is a contemporary design which challenges the presence of the Walt Disney’s Concert Hall. Its’ defining characteristic is the honey comb structure which acts as a ‘veil’ draping over a concrete ‘vault.’ The challenge designers had to face during the conceptualisation of the Broad Museum was the hundreds of different uniquely curved shapes. ‘Building and replicating the front oculus from a parabolic curve would need a product that was flexible and versatile to adapt to this design shape.’ The team utilised computational software to ‘ synthesise ‘geometric information for each panel in three-dimensional computer models first.’ As such, the construction team was then able to easily transport this data and create a set of instructions that helped build the final product. For computers, the innate purpose of them is to analyse and follow programmatic instructions. As an architect, the process of design begins with the analysis of constraints,
Diller Scofidio + Renfro, in conjunction with construction teams, were able to compute a solution via virtual materiality without compromising aesthetic hierarchy - epitomising a clear benefit of design computation. The whole process is accelerated because instead of drafting numerous concepts, iterations are created and analysed saving a tremendous amount of time.
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Figure 12:
Diller Scofidio + Renfro, 2015, Broad Museum (interior)
Wolfgang Buttress, 2015, The Hive (interior) Figure 13:
‘We do not necessarily compromise the design but rather enhance the overall performance.’ The intricate and stunning structure of the Beehive Pavilion demonstrates the advantages of using computation in the design process. The immersive sensory experiences is achieved through the construction of individual aluminium components. Computer Aided Design played a crucial part in the conception of this structure. For such a complex looking facade, the assembly of the Beehive Pavilion is considered ‘low tech,’ the computational assistance for parameters would have proven invaluable in reducing the time of construction and the time of conceptualisation - by being able to visually witness iterations and deciding upon them. The ‘evaluation step’ created a variety of different outcomes which ultimately resulted in a 32 horizontally layered structure of ‘chords, rods and nodes. This is generated through an algorithm that considered multiple constraint that proved tedious, but not impossible, for the architect to handle. The beehive is a fundamental example
of a designers ‘vision’ being made structurally feasible through the ample communication between different levels within the new design process. It makes information easily accessible and comprehensible, all without jeopardising creative intuition. The new era of architecture sees the domination of Digital Design within the design process, however each element conceived is not without purposeful thought. The greatest advantage computed design encapsulates is the ability to surprise and stimulate architectural thinking and pushing for discourse further.
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Figure 14:
Wolfgang Buttress, 2015, The Hive (Exterior)
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GENERATIVE DESIGN AND FALSE CREATIVITY Does computation impose negatively on creativity?
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The unfair assumption that creativity within the digital age of architecture is ‘false,’ correlates heavily with the transition of top-down composition to bottom-up and emergent architecture. Generative architecture is a design tool which utilises a set of rules or an algorithm to generate multiple iterations of a concept. These changes in the pragmatic design process, often connote a sense of unintentional conceptualisation. However, as previously explored, the opposite is true, computation allows the designer to extend beyond the initial ability and visualise - thus inspire to generate more complex designs. In many ways, computational tools are merely a simulation of the construction sequence, outlining all the potential constraints and calculating the different outcomes of an equation. Nevertheless, it also embodies the experience and the creation of meaning which posses both advantages and disadvantages.
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Figure 15:
Herzog & de Meuron + Ai Wei Wei, 2007, Beijing National Stadium
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The Beijing National Stadium was designed by Herzog and De Meuron Architekten in collaboration with Ai Wei Wei for the 2008 Olympic Games. It’s strikingly visual surface is reminiscent of ‘Birds Nest’ cuisine, traditionally associated with notions of luxury and prestige because it is consumed only on special occasions. As such, the stadium is often coined ‘the Birds Nest’ because of this visual connection. Its footprint within the architectural world is unmistakeable, but nevertheless, it serves a far more important purpose - in demonstrating the benefits of using computational design. The exterior shell of the stadium is a lattice of steel that serves to portray a sense of elegance and uniqueness, but is also entirely structural. Traditional stadium designs utilise cantilever roofs, however, this platform would prove to be too uninspiring, resulting in a ‘revolutionary’ method of stadium design. This new concept would have posed challenging for the natural properties of steel, thus the use of computational data was pivotal
Figure 16: Figure 17:
Herzog & de Meuron + Ai Wei Wei, 2007, Beijing National Stadium Herzog & de Meuron + Ai Wei Wei, 2007, Beijing National Stadium
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in the success of the building. A predetermined concept was generated using generative modelling which ‘allows us to factor in intellectual forces many time more powerful than the human mind’ - more specifically, the points of weakness were strengthened by placing another beam or column within the facade. As such, with the help of precise calculation, no beam or column is randomly placed, instead each one is critical to the structural integrity of the stadium. ’Combined with other new technologies such as real-time rendering and 3D printing, parametrically enabled rapid prototyping amounts to a new way of performing architectural design’
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Time and Time again, Stuttgart’s Research Pavilion has proven radical in its design and construction. The visual element of the structure highlights the degree to which generative design can expand the ‘tectonic possibilities of architecture.’ The geometry is unusual but always captivating. Aesthetically it embodies a stark contrast with common structures of the same purpose, yet structurally it maintains the benefits of precision calculation and reacts to constraints such as ‘public space.’ This particular research pavilion demonstrates how the computational synthesis of ‘structural parameters and the complex reciprocities between material, form and robotic fabrication can lead to the generation of innovation.’ Furthermore, this pavilion was a correlation between ‘multi-disciplinary team of biologists, paleontologists, architects and engineers.’ highlighting the difference between tradition and new design processes. Figure 18: ICD-ITKE University of Stuttgart, 2013, Stuttgart Reasearch Pavilion Figure 19: ICD-ITKE University of Stuttgart, 2013, Stuttgart Reasearch Pavilion Figure 21: ICD-ITKE University of Stuttgart, 2013, Stuttgart Reasearch Pavilion
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Conclusion
The pivotal message that should be gathered from Part A is the notion of the ambiguous line that sits between computation and computerisation. With the exponential advancement of technology, traditional architectural design processes havent provento be obsolete, but merely inefficient. In Design Futuring, we saw how radical architecture could potentially changed the discourse of what we thought possible. In design computation, the benefits of computer aided technology helped simplify matters that would ultimately take too long to do manually, it also touched upon the idea that technology in the design process should not be considered detrimental to creativity, but rather an enhancement tool for it. Finally in Composition/ generation, I highlighted the benefits of building a concept from the bottom up which allows us to navigate through the numerous constraints with ease and embrace digital computation as a new medium for creativity My design approach for this studios brief would begin with the exploration of shapes and different algorithms to produce geometries that I would initially find difficult to visualise. Then choosing the ones that captured my design intention the most and elaborate on it until a final outcome has been reached.
Learning Outcomes
In terms of learning outcomes, I found algorithmic computation to be challenging as it was a large shift from how I approach design. The struggle to understand certain terms hinders my ability to create the image I picture in my head, however, I’m then able to explore different outcomes that potentially surprise me. Perhaps this would have allowed me to approach previous design projects with more courage and produce a more radical result. Obviously Grasshopper becomes somewhat infuriating because of the steep learning curve that it has but with time I hope to gain solid foundation of knowledge and easily generate concepts for future projects.
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Appendix
The algorithmic sketchbook is a great tool to explore and catalogue the different outcomes produced by grasshopper. In particular, these iteration caught my attention the most because of how simple the algorithm was to understand in relation to how complex the outcomes appears to be. The Voroni sketch is definitely the simplest, however it resonates with me the most because it was practically what I tried to achieve during my Studio Earth as the ‘mass’ section. I struggled with producing the final result in rhino however with very few components, grasshopper was able to produce a cleaner and more efficient version. The second sketch is of attractor points and ‘move away’ commands. i particularly enjoyed looking at the attractor point iterations because it was the first time i had used mathematics to create a visual piece. Learning to understand ‘distance’ and ‘division’ but more specifically how these interact with each other to give the result of this sketch was fantastic. without a doubt generative design can rapidly reduce the amount of time calculating constraints and with these last few weeks i have witnessed first hand how they could have improved my previous designs.
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References Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York:Routledge), pp. 1–10 Marcus Fairs, UK Pavilion at Shanghai Expo 2010 by Thomas Heatherwick - more images ( April 4th 2010) <http://www.dezeen.com/2010/04/04/uk-pavilion-atshanghai-expo-2010-by-thomas-heatherwick-more-images/> [accessed 17 March 2016]. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Rowan Moore, Metropol Parasol, Seville by Jürgen Mayer H – review ( Wednesday 27 January 2016) <http://www.theguardian.com/artanddesign/2011/mar/27/ metropol-parasol-seville-mayer-review> [accessed 10 March 2016]. http://www.designbuild-network.com/projects/national_stadium/
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