STUDIO AIR PART A EMILY THOMAS 2017, Manuel Muehlbauer
“ D e s i g n is thinking for improvement,
forever� - M. Cobanli
STUDIO AIR EMILY THOMAS 2017, Manuel Muehlbauer
Sleeping Pod, Digital Design and Fabrication, Diana Ong, Malak Nourderine El Moussaoui and Emily Thomas, 2016
6
INTRODUCTION at university, I have thought up wider concepts and narratives to fit with the brief. I love manipulating restrictions and limitations to form something completely different from what was My name is Emily and I am currently year
completing of
my
third
undergraduate
stud-
ies, majoring in architecture. I’ve always had a passion for creating things, ever since I was little and was known for my overactive imagination. In year six, however, our assignment was to draw a plan view of our backyards that is where my passion for
architecture
stems
from.
You could say my way of designing is a bit quirky and experimental,
probably
due
expected from the beginning of the assignment. My designs are often very dramatic and I try to weave complex narratives to denote the human experience within my architecture. Perhaps in line with my own design thinking, I find I am inspired by the work of Oscar Niemeyer. While he is known for his sensual curves and focus on human experience, I know him for a quote I found in my first year: “The rule is the worst thing. You just want to break it.”
to my love for writing which is
still
a
huge
part
of
my
life. From my first assignment
So I do
Karlap Quay, Studio Water - Design in the style of Tadao Ando, 2016
2
EXPERIENCE My
experience
in
parametric
design and computation is limited. I was introduced to Rhinoceros 3D in Digital Design and Fabrication, but
Conceptacle, Studio Earth, 2016
my group’s design was entirely handmade, we only used Rhino to check a box on the assignment guidelines. In other studios, my form finding techniques were limited to testing with actual models and drawings rather than using generative design
Frame and Infill, Studio Earth, 2016
methods on the computer. I did use Rhino as a way to computerise my assignments so they would look nice during my presentation on A1 sheets of paper, but I never used the computer for coming up with the actual design.
Gallery at Karlap Quay, Studio Water, 2016 (Using analogue design techniques)
In studio water, I did begin using Rhino to quickly model my ideas which sped up the design process but I used it in an analogue way, just to design whatever was in my head and get it out in 3D form. View at Karlap Quay, Studio Water, 2016 (Using analogue design techniques)
Front and back cover image: Zaha Hadid, Chaoyangmen SOHO III, 2009
CONTENTS A.1 - DESIGN FUTURING.................................12 1.1 TIMES EUREKA PAVILION........................14 1.2
ELEPHANT
HOUSE...............................16
A.2 - DESIGN COMPUTATION..............................18 2.1 THE SIXTH ORDER..............................20 2.2 TJIBAOU CULTURAL CENTRE......................22 A.3 - COMPOSITION AND GENERATION.....................24 3.1 CHURCH OF LIGHT...............................26 3.2 WATERCUBE......................................28 3.3 THINKTANK AND LIFE AQUATECH..................30 A.4
-
CONCLUSION......................................32
A.5 - LEARNING OUTCOME................................36 5.1 LEARNING OUTCOMES.............................38 5.2 A.6
-
PAST
DESIGN..................................40
APPENDIX........................................42
A1. Design Futuring Design Futuring denotes an attempt to create sustainable and facilitative architecture, rather than design that inhibits the natural world1. 1. Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford:Berg, 2008), p. 1-16
12
Zaha Hadid, City of Dreams Hotel Tower, 2014 < http://www.designboom.com/architecture/ zaha-hadid-fifth-hotel-tower-city-of-dreams-macau-03-28-2014/> [accessed: 09/03/2017]
13
Nex Architecture, Times Eureka Pavilion, 2011 < http://www.archilovers.com/projects/54312/times-eureka-pavilion.html> [accessed: 05/03/2017]
14
A1.1 TIMES EUREKA PAVILION design
one
that
enables
sustainability nor design futuring; the pavilion is made from sustainable timNex Architecture, Times Eureka Pavilion, 2011 < http://www.archdaily.com/142509/ times-eureka-pavilion-nex-architecture> [accessed: 05/03/2017]
ARCHITECTS: Nex Architecture LOCATION: Westminster, London, UK YEAR: 2011 While the project does not exactly blend into the landscape in which it sits, the pavilion does draw inspiration from the cellular structure of the plants in the garden. This is, however, not what makes the
ber and recycled plastic. The plastic cells also direct water into channels to utilise any run off in the surrounding garden. In terms of computational design, the cellular model was created using complex computer algorithms which depicted the overall form within the cuboid geometry. The panels and plastic were pre-fabricated and assembled quickly on site, creating a design which reflected and enabled nature as well its human visitors.
15
Markus Schietsch Architekten,Elephant House, 2014 < http://www.archdaily.com/770772/elephant-house-zoo-zurich-markus-schietsch-architekten> [accessed: 05/03/2017]
16
A1.2 ELEPHANT HOUSE nature, the shape and the effect are influenced by tree canopies, successfulMarkus Schietsch Architekten,Elephant House, 2014 < http://www.swiss-architects. com/en/projects/45697_Elephant_House_Zurich_Zoo> [accessed: 05/03/2017]
Yet, the design also
Schietsch Architekten
benefits the human users
LOCATION:
(visitors of the zoo) by
Zürichbergstrasse 221,
providing portals in which
8044 Zürich
they can view the animals
YEAR: 2014
through. The pre-fabricat-
This project does not only emphasise how computational design can be used to create complex, yet simply constructed gridshells, also
elucidates
how
architecture can be something
to
natural habitat while providing shelter and shade.
ARCHITECT: Markus
but
ly mimicking the elephants’
facilitate
the
natural world. Although the shell does not appear to be something sourced from
ed triple layer panels were cut and shaped on site and span the entirety of the structure in one continuous surface. Furthermore, the shape and flow of the building follow the landscape, creating a sense that even though this is built work, it has a direct symbiotic relationship itself.
with
nature 17
A2. Design Computation Computing manipulates a 'human only process'2 (design) by altering it into something that works much faster and expands what is possible in the built world. There is a human/computer symbiotic relationship3 which exists wherein the two work together to create something entirely impossible had they designed alone. Humans lack the accuracy and fast processing of computers, while computers lack the design thinking skills human possess4. Therefore, computation rather than analogue design (designing without using the inherent qualities of a computer) and computerisation (transferring pre-designed objects into the computer interface) is beneficial to the architectural design process. 2. Kalay, Yehuda. Architectureâ&#x20AC;&#x2122;s new media: principles, theories, and methods of computer-aided design (Cambridge MA: MIT Press, 2004), p.1 Oxman, Rivka and Robert Oxman. Theories of the digital in architecture (London; New York: Routledge, 2014), p.1 4. Kalay. Architectureâ&#x20AC;&#x2122;s new media. p 2
18
ICD, Base Assembly, 2012 < https://medium.com/design-manifestos/design-manifestos-oliver-david-krieg-of-the-institute-for-computational-design-icd-5e8a5ea1ce76#.ykiwo5tac> [accessed: 09/03/2017]
19
Michael Hansmayer,The Sixth Order, 2011 < http://dandyvonnuetzen.blogspot.com.au/2013/01/ art-of-computational-architecture.html> [accessed: 09/03/2017]
20
A2.1 THE SIXTH ORDER computer in order to design. In the case of his installation â&#x20AC;&#x153;The Sixth Orderâ&#x20AC;?, Hansmayer developed the baMichael Hansmayer,The Sixth Order, 2011 < http://dandyvonnuetzen.blogspot.com. au/2013/01/art-of-computational-architecture.html> [accessed: 09/03/2017]
sic concept (use and manipulation of the doric column)
and
programmed
the
ARCHITECT: Michael
computer to generate re-
Hansmayer
sults for the geometry of
LOCATION:
Gwangju
Design
the columns based on his in-
Biennale (Exhibition)
put parameters5. This cre-
YEAR: 2011
ates a unique opportunity to develop something that
Computational
archi-
Hansmayer may not have been
tecture redefines the de-
able to develop himself and
sign process as designers
instead, he took advantage
such as Michael Hansmayer
of the mathematical preci-
discard the basic analogue
sion of technology.
procedure to work with the
5. Von Nutzen, Dandy. Art of the computational architecture [online blog] < http:// dandyvonnuetzen.blogspot.com.au/2013/01/art-of-computational-architecture.html> [Accessed: 9 March 2017
21
Renzo Piano,Tjibaou Cultural Centre, 1998 <https://au.pinterest.com/trixvandermark/cultural-center-jean-marie-tjibaou/> [accessed: 09/03/2017]
22
A2.2 TJIBAOU CULTURAL CENTRE demonstrates
a
performa-
tive aspect as well6. With use of the precise mathematics and processing of Renzo Piano,Tjibaou Cultural Centre, 1998 < https://arkhitekton.net/2012/12/31/interstitial/tjibaou-cultural-centre/> [accessed: 09/03/2017]
ARCHITECT: Renzo Piano LOCATION: Noumea, New Caledonia YEAR: 1998
technology, Piano’s design emulates the patterns of the surrounding trees to create is
architecture
culturally
that
reflective
as well as imitative of nature. However, it can be
Renzo Piano is another architect whom took advantage of computational design in order to create his Tjibaou Cultural Center which
said that while utilising the technological advances and a computational design process takes away from the cultural impact the building can serve7.
6. Kolaveric, Branco. “Computing the Performative in Architecture” in Proceedings of the 21th eCAADe Conference: Digital Design. (Graz: Austria, 2003) pp. 457-463 7. David Langdon, “AD Classics: Centre Culturel Jean-Marie Tjibaou / Renzo Piano”, ArchDaily (2015) < http://www.archdaily.com/600641/ad-classics-centre-culturel-jeanmarie-tjibaou-renzo-piano> [Accessed: 9 March 2017]
23
A3. Composition and Generation The shift from compositional to generative architecture had sparked debate regarding which of the design processes is more beneficial for the technologically charged future8. While compositional architecture has history on its side and uses form finding techniques to produce design, generative architecture is clearly the most beneficial. The computational process enhances complexity of the design and the speed at which projects can be completed, allowing a much more explorative and accurate performance-based9 outcome. 8. Builtr. “Generative Architecture, Transofrmation by Computation” Bultr.io, (2017) < http:// www.builtr.io/generative-architecture-transformation-by-computation/> [acessed: 16/03/2017] 9. Peters, Brady, “Computation Works: The building of algorithmic thought”. Architectural Design, 83, 2 (2013) pp. 10-15.
24
Heatherwick Studio, Seed Pavilion, 2010 < http://www.archdaily.com/58591/uk-pavilionfor-shanghai-world-expo-2010-heatherwick-studio> [accessed: 16/03/2017]
25
Tadao Ando,Church of Light, 1999 < https://au.pinterest.com/pin/369084131942839609/> [accessed: 16/03/2017]
26
A3.1 CHURCH OF LIGHT ARCHITECT: Tadao Ando
disconnect between the ar-
LOCATION: Ibaraki, Osaka,
chitect and the design when
Japan
generative
YEAR: 1999
is used as the architect
architecture
is merely the designer of With
a
long
well-regarded behind
it,
history
of
architects
the algorithm. Generative architecture
also
neces-
compositional
sitates a need for train-
design allows the creation
ing or learning the skills
of well laid out projects
of computation and writing
which (usually) aim to pro-
algorithms.
duce an aesthetically pleas-
techniques are still taught
ing building. Tadao Ando is
in schools and, with the
one whom bases his ideas
case of some, can be easily
on geometry, using this as
self-taught with exposure
his form finding technique.
to aesthetically designed
Using this process, he is
buildings. One cannot sim-
able to design buildings
ply look at generative de-
that utilise technological
signs and understand com-
building techniques while
pletely how the algorithm
keeping in line with the
was written without knowl-
compositional procedure.
edge of the technology.
Compositional
You could argue there is a 27
PTW,The Watercube, 2008 < https://www.modlar.com/inspiration/memorable-olympic-stadiums-and-venues/> [accessed: 16/03/2017]
28
A3.2 WATERCUBE take much longer to be realised. Generative design also provides a direct link from the actual design to PTW,The Watercube, 2008 < https://moreaedesign.wordpress.com/2010/09/13/more-aboutwatercube-%E2%80%93-beijing-china/> [accessed: 16/03/2017]
ARCHITECT: PTW LOCATION:
futuristic and technologically advanced manufacturing processes as the design is usually already stored
Bejing,
China-
YEAR: 2008
on
the
computer10.
While
computational architecture can be inputted or even de-
However, generative archi-
signed using technology, it
tecture
more
still needs to be manipu-
beneficial in most aspects
lated to ensure it can be
of design. Firstly, com-
realised. The Water Cube in
putational design is much
Bejing was computational-
faster, utilising the tech-
ly designed making use of
nology to speed up the de-
the quick process of gener-
sign process. Hundreds of
ation. The framing system
design outcomes can be pro-
was generated by a CAD al-
duced with one algorithm in
gorithm which could be eas-
a matter of minutes, where-
ily translated into built
as
form.
is
clearly
compositional
designs
10. Peters, Brady, â&#x20AC;&#x153;Computation Works: The building of algorithmic thoughtâ&#x20AC;?.
29
Students at the Association School of Architecture,Thinktank and Life Aquatech, 2013 < http://www.designboom.com/architecture/thinktank-and-the-life-aquatech-water-generative-design/> [accessed: 16/03/2017]
30
A3.3 THINKTANK AND LIFE AQUATECH ARCHITECT: STUDENTS AT THE
can be directly inputted
ASSOCIATION SCHOOL OF ARCHI-
into the design from the
TECTURE (LONDON)
very
LOCATION: UNBUILT
ing less room for error in
YEAR: 2013
this regard. The Thinktank
beginning,
provid-
and Life Aquatech project Generative
design
meth-
is of high complexity and
ods also create more ac-
makes use of the precise
curacy within the actual
technological
design process as well as
to create the design12. The
when
With
building captures rain and
al-
ensures it runs through the
the
building into certain are-
forms of designs, compu-
as, such as the bathroom,
tational architecture al-
to create a cooling effect.
lows
more
The mathematically enhanced
precision when designing11.
design eliminates errors in
There is also a direct link
the design process creating
between
and
a form that makes use of
architecture
computational design bene-
manufacturing.
complex gorithms
mathematical to
the
compute
architect
performative
computation
as performance conditions
generation
fits.
11. Peters, Brady, “Computation Works: The building of algorithmic thought”. 12. Wang, Maggie. “Thinktank and the life aquatech: water generative design” Designboom (2013) < http://www.designboom.com/architecture/thinktank-and-the-life-aquatech-water-generative-design/> [acessed: 16/03/2017]
31
A4. Conclusion 32
ICD ITKE, Research Pavilion, 2016 < http://www.archdaily.com/786874/icd-itke-researchpavilion-2015-16-icd-itke-university-of-stuttgart/572b5df6e58ece454400002d-icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart-photo> [accessed: 14/03/2017]
33
AA Students,AA Driftwood Pavilion, 2009 < http://designandmake.aaschool.ac.uk/aa-summer-pavilions/> [accessed: 16/03/2017]
34
A4.1 CONCLUSION between computers and humans, we can move towards a more ethical and sustainable design future. AA Students,AA Driftwood Pavilion, 2009 <https://au.pinterest.com/johnybarbosa/ephemeral-architecture/> [accessed: 16/03/2017]
Parametric design can help us achieve this de-
With a focus on the
sired future of architec-
future, design now involves
ture. My own focus for the
manufacturing architecture
rest of the assignment will
that enables nature, rather
be on sectioning, as I feel
than inhibits its growth.
this would complement the
This is defined as design
brief, creating form that
futuring. To achieve this
is light-weight and com-
performative aspect as well
plex. Innovation lies in
as add precision and com-
this process as the compu-
plexity to design, computa-
tational outcomes of tech-
tion and generation are more
nology are infinite, and
beneficial to utilise in the
in one of these infinite
design process rather than
outcomes, I will find the
computerization
com-
right one that benefits the
position. Therefore, with
users of the new pavilion.
a
symbiotic
and
relationship
35
A5. Learning Outcomes 36
ICD ITKE, Research Pavilion, 2014 < http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed: 14/03/2017]
37
Seth Moczydlowski, 2016 <http://moczys.com/category/generative-design/> [accessed: 16/03/2017]
38
A5.1 LEARNING OUTCOMES In regards to the de-
computerisation
which
I
sign aspect of this sub-
have been practicing. De-
ject,
discovered
sign computation may be a
how design futuring ena-
better way of design as it
bles designers to create
takes advantage of complex
sustainable and facilita-
computer algorithms in the
tive architecture instead
design process and could
of buildings which inhibit
speed up design.
I
have
the space in which they re-
In terms of Grasshop-
side. The most influential
per and parametric design,
topic however, was design
I find I enjoy the pre-
computation. I love draw-
cise modelling and making
ing
the
connections between algo-
computer when designing un-
rithms, as if design has
less absolutely necessary.
become a logic problem for
But I now see how this is
me to solve.
and
often
avoid
39
Studio Earth, Secrets of Herring Island, “The Underworld”, 2016
40
A5.2 PAST DESIGN based
on
bent
wires
and
string which formed the motif for my design. It was criticised during my presentation as being too con-
Studio Earth, Secrets of Herring Island, â&#x20AC;&#x153;The Underworldâ&#x20AC;?, 2016
fined, not random enough.
Studio
Perhaps using computation-
Earth could have benefit-
al design methods, I could
ed from my new knowledge in
have
parametric
quickly
My
design
in
modelling
and
altered and
the
design
developed
a
I
form which would have suit-
created a building design
ed my pavilion much better.
computational
design.
41
A6. Appendix 42
Algorithmic Sketching, Multi Agent Mesh
43
Algorithmic Sketchbook Image, Boid
44 44
A6.1 APPENDIX Using
Grasshop-
per and other parametric plug-ins such as Boid and Cocoon, I was able to create these designs. Algorithmic Sketchbook Image, Pipe
Most of the definitions I altered created a series of points and when I changed the number of points outputted, I used these points to create
Algorithmic Sketchbook Image, Loft
surfaces. The most common surface tool I used was the â&#x20AC;&#x2DC;pipeâ&#x20AC;&#x2122; command along face
with creator
other
sur-
commands. Algorithmic Sketchbook Image, Rail Revolution
Algorithmic Sketchbook Image, Rail Revolution
Algorithmic Sketchbook Image, Intial Structure
45
46
REFERENCES Builtr. “Generative Architecture, Transofrmation by Computation” Bultr.io, (2017) < http://www.builtr.io/generative-architecture-transformation-by-computation/> [acessed: 16/03/2017] David Langdon, “AD Classics: Centre Culturel Jean-Marie Tjibaou / Renzo Piano”, ArchDaily (2015) < http://www.archdaily.com/600641/ad-classics-centre-culturel-jean-marietjibaou-renzo-piano> [Accessed: 9 March 2017] Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford:Berg, 2008), p. 1-16 Kalay, Yehuda. Architecture’s new media: principles, theories, and methods of computer-aided design (Cambridge MA: MIT Press, 2004), p.1 Kolaveric, Branco. “Computing the Performative in Architecture” in Proceedings of the 21th eCAADe Conference: Digital Design. (Graz: Austria, 2003) pp. 457-463 Oxman, Rivka and Robert Oxman. Theories of the digital in architecture (London; New York: Routledge, 2014), p.1 Peters, Brady, “Computation Works: The building of algorithmic thought”. Architectural Design, 83, 2 (2013) pp. 10-15. Von Nutzen, Dandy. Art of the computational architecture [online blog] < http://dandyvonnuetzen.blogspot.com.au/2013/01/art-of-computational-architecture.html> [Accessed: 9 March 2017 Wang, Maggie. “Thinktank and the life aquatech: water generative design” Designboom (2013)
<
http://www.designboom.com/architecture/thinktank-and-the-life-aquatech-wa-
ter-generative-design/> [acessed: 16/03/2017]
47
PART A EMILY THOMAS