Thomas_Emily_760281_PartA

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]

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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]

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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

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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]

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PART A EMILY THOMAS