AIR newOrder 2018 STUDIO JOURNAL TIANHONG ALEX SHEN
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Contents Part A. CONCEPTUALISATION
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Introduction
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A.1. Design Futuring
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- Zaha Hadid: Guangzhou Opera House - Archigram: Plug-In City
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A.2. Design Computation
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- Introduction - 3D Printing and Robotic Fabrication
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A.3. Composition/Generation
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- Composition: Top-Down Design - Generation: Bottom-Up Design
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A.4. Conclusion
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A.5. Learning Outcomes
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A.6. Appendix - Algorithmic Sketches
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Citations/Figures
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Introduction Hi, I’m Alex. Now in my third year studying architecture, the studio environment has become all too familiar. What sets AIR apart from the previous studios to me is its strong linear progression. The digital focus and introduction of parametricism is refreshing and distinct. While it may not be everyone’s preferred design method, its increasing prevalence in contemporary design is undeniable. As for my technical knowledge, I’ve used numerous digital design software since the commencement of my degree. I have a basic grasp of SketchUp and am comfortable utilising Rhino and AutoCAD.
F.1 Studio Earth Project
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A.1. Design Futuring
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One work to demonstrate Zaha Hadid’s approach to design is the Guangzhou Opera House (2003-10). Rising and falling along the bank of Zhujiang River, its contoured profile and unique ‘twin boulder’ design enhances urban function and vitalises the site with new dialogues with the new town3. In a dynamic and audacious design that shuns any use of the right angle, the opera house combines advanced materials with complex geometric variation. Offering an incredibly futuristic aesthetic, the complex stands in clear contrast against the city background. The dramatic interplay of circulation and open space combined with advanced natural and artificial lighting creates an ethereal
F.2,3 Structural Plan
F.4 Section
Zaha Hadid: Guanzhou Opera House
Zaha Hadid (1950-2016) was an influential and celebrated architect who departed from the strict rules of architectural geometry, bringing about an expression and freedom rarely seen in preceding works. Her style is not easily defined; at once demonstrating deconstructivism, abstractionism, modernism and parametricism1. As noted by the Pritzker Prize Jury upon her award2, “she’s moved away from existing typology, from high tech, and has shifted the geometry of buildings.” With “each project [unfolding] with new excitement and innovation”, Zaha Hadid contributed much to the advancement of digital design.
1 John Seabrook, ‘The Abstractionist’, The New Yorker (2009) < https://www.newyo-
rker.com/magazine/2009/12/21/the-abstractionist> [10 March 2018]
2 The Hyatt Foundation, ‘The Pritzker Architecture Prize’, Laureates (2004) < https:// www.pritzkerprize.com/laureates/2004> [10 March 2018] 3 Zaha Hadid Architects, ‘Guangzhou Opera House’, Zaha Hadid Architects < http:// www.zaha-hadid.com/wp-content/files_mf/guangzhouoperahouse.pdf> [10 March 2018] F.5 Construction
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Be it the warm, organic auditorium or the futuristic hallways flanking the pebbles, innovation in the design process is evident. While this is by no means a unique case for Zaha Hadid, it does represent a major example that has been fully realised. The complex geometries and structure are only made possible with digital modelling. In China, monotony is a common theme in urban architecture. Too often do buildings forgo architectural intentions, instead focusing on superficial appeal to buyers. By taking on such a dynamic and poetic form, the opera house issues a challenge to the established Chinese urban landscape. The new urban precinct has done well to enrich the culture of Guangzhou and will likely continue to be held in high regard by the local populace.
F.6,7 Main Auditorium
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Plug-In City by Peter Cook (1964) featured huge forms devoted to continual circulation. Functions of modules are scrambled and boundaries blurred. Referring to motifs found in modernism that of the megastructure and the â&#x20AC;&#x153;building-in-becomingâ&#x20AC;?1. The plug-in city combines elements of precedent projects through its focus on collectivity, modular accommodation and a rapid transportation network.
Archigram: Plug-In City
An avant-garde architectural group formed in the 60â&#x20AC;&#x2122;s, Archigram expressed their neo-futuristic visions across countless drawings. Envisioning an alien future dominated by technology and machines, they presented hypothetical solutions to emerging issues within expanding cities. With only the production of drawings, their work acted as social and infrastructural experiments.
Despite its futuristic and unlikely appearance, there is an innate reasonableness in this vision. Its system addresses the issues posed by the ever-expanding urban landscape. While architecture traditionally focused on permanence and completeness, Plug-In presented architecture as being incomplete without human involvement. The style pursued by Archigram contrasted against that of the prevailing brutalists. Instead of the complete, frozen 4 Simon Sadler, Archigram: Architecture without Architecture, (Massachusetts: MIT Press, 2005) Page 14, < https://ebookcentral.proquest.com/lib/unimelb/detail.action?docID=3338538>, [10 March 2018]
F.8 Plug-In City
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In-line with their vision of the future, the city will be automated. Factories and other industrial facilities are seen as obsolete. The implication that obsolescence must be replaced is not dissimilar to the vision of the Italian Futurists. Unlike the original futurists however, Archigram took a humanistic approach, tackling the problems of over-population, land inadequacy and traffic thought to inhibit the feasibility of megacities. The visions presented by Archigram collided with that of the contemporary landscape. In a time dominated by modernism and consolidation of architectural practice, the confronting art of Archigram reasserted the architect as a creative individual. Proposals such as Plug-In City were a response to the “superficial formalism and dull suburban tendencies common to British modernism of that time”5. Notably, the projects of Archigram provided a reprieve from the monotony of suburbia. 1
Despite not having materialised any of their visions, Archigram’s theories and visions would go on to have a lasting influence on future design. The decision to bring forth the services and topple traditional hierarchy is reflected in Center Pompidou by Richard Rogers and Renzo Piano. Without ever bending to the constrains of construction, Archigram’s fantastical drawings would go on to inspire subsequent generations of architects.
5 Gili Merin, ‘AD Classics: The Plug-In City / Peter Cook, Archigram’, archdaily (2013) < https://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [10 March 2018]
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F.9 Plug-In City
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A.2. Design Computation
Design Computation
Computation has brought a revolutionary new medium to the practice of design. Empowering the designer to visualise concepts without committing to the irreversibility of physical processes, computational design has become a mainstay in the industry for rationalising designs. Computation has already reshaped our perception of the industry. No longer do the skills of model-making and drawing take precedence over digital proficiency. There exists a loss of heritage in the contemporary design practice. Graduates are quizzed about their expertise in CAD and other modelling software. In practice the convenience of digital documentation has overcome the endless drafting we associate with traditional practice. The advantage of computation does not end with formal refinement. Structural and performance simulations are now essential as part of the design process6. The ability to accurately simulate results allows the designer to correct faults and identify the theoretical ideal. 1
The advent of the information age has brought with it not just the power to envision designs digitally but also the ability to produce a physical product with minimal manual input. There are two main approaches to digital fabrication: physical to digital and digital to physical. The former, more conservative approach is employed by the likes of Frank Gehry to document complex design and rationalise its construction7. The second method is becoming increasingly prevalent in contemporary design and expands the possible methods of construction. 2
6 Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design <LMS> [14 March 2018] F.10 Studio Water Render
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7 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) <LMS> [11 March 2018]
3D Printing F.11 3D Printed Bridge
The rise of digital fabrication has culminated in a variety of fabrication techniques falling broadly in two categories. Subtractive fabrication has long been used in industry with the likes of CNC milled parts. Additive fabrication is quickly advancing with 3D printing being one of the best-known examples. The technology of 3D printing comes as a revelation similar to the emergence of 3D modelling software. Allowing the designer to quickly produce physical analogues aids in the progression of design and allows for the creation of forms difficult to produce otherwise. One of the more audacious implementations of 3D printing is the 3D-printed Bridge in Amsterdam by MX3D. Printing the bridge out of stainless steel, the robotic armâ&#x20AC;&#x2122;s sophistication is beyond what was once thought feasible. The printing of steel will allow for more organic forms than normal and makes moulds redundant. The designers have been experimenting to have the bridge printed as a single piece8. Like similar projects, one of the aims have been to enhance the precision of fabrication, reduce waste and ultimately cut construction costs.
Despite the excitement generated through the innovative approach and its respectable goal, these projects all suffer from a crippling drawback â&#x20AC;&#x201C; time. Requiring a lengthy 2 years to produce, the bridge is by no means an overnight project. From a utilitarian perspective, it appears laughable that 3D printing will succeed conventional fabrication in the foreseeable future. A similar bridge printed of concrete took 3 months to produce. While taking significantly less time to fabricate, the bridge is also far less ornate. We are forced to ask: is itworth it? 3D printing offers exceptional convenience in the materialisation of complex geometries however with the current technology it has yet to become a viable replacement for existing construction techniques.
F.12 3D Printed Bridge
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Robotic Fabrication
Another emerging area of digital fabrication is that of robotic fabrication. Robots are already widely used in high-precision industrial applications for their strength, precision and speed. Their use in the design discipline is comparatively recent. An interesting departure from the industrial use of drones in assemblage. Flight Assembled Architecture (2011-12) by Gramazio Kohler Architects was a compelling early demonstration of drone construction. Assembling a complex architectural structure of over 1500 elements, a team of drones worked simultaneously9. Not only do drones offer a high degree of precision like other robots, they present a real prospect of improved efficiency. Simultaneous operation emulates the real mechanic of construction while the liberation of movement makes redundant the ever-present shackles of scaffolding. Places prohibitively difficult to reach or dangerous for human workers can be easily overcome with implementation of drone fabrication. In an age where the capabilities of drones are continually evolving, drone-assemblage will surely have a place in construction. 1
8 Houzz, ‘How 3D printing is disrupting the architecture and design industry’, New Atlas (2018) <https://newatlas.com/3d-printing-housing-architecture/53083/> [11
F.13 Droned Assemblage
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March 2018] 9 Gramazio Kohler Architects, ‘Flight Assembled Architecture, 2011-2012’, Gramazio Kohler Architects (2012) < http://www.gramaziokohler.com/web/d/installationen/209.html> [11 March 2018]
A.3. Composition/Generation F.14 Walt Disney Concert Hall
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Composition: Top-down Design F.15 El Peix
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Top down design is where an overall concept is physically established and then realised through digital processes. The initial shift to digital format was through composition. The computer was a tool to document designs and is at most a tool for refinement. To bypass the pen and paper and directly model in 3D is also composition. The rise of computational design was a breakthrough in the design medium however it did not represent a major shift in the creative process. One architect who designs in such a manner is Frank Gehry. His first experimentation with a paperless approach was in the late 80s in the design and construction of his fish sculpture, “El Peix” (1992)10. Composed of a complex geometry, it was found to be prohibitively difficult to describe with standard conventions. The decision was then made to reproduce the model digitally and construct from this model. Setting a precedent for all his subsequent projects, Gehry would create physical models to be 3D scanned – it is within the digital realm that internal structure and hierarchy would be established and rationalised. A physical model would be machined from the digital version and be compared with the conceptual model. Famously he would create large quantities of paper models for consideration. The chosen example would then be digitally recreated and developed into a functional building.
10 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing
As processing power increased with the importance of CAD in practice, the scope of design possibilities also expanded. Some have made the claim that digital generation is the future of architecture though that remains to be seen. The rise in parametric modelling has been evident through works of architects such as Zaha Hadid Architects. The organic and sometimes alien lines of parametric buildings have prompted a new debate to emerge. The idea that we as designers should exploit the power of computation to generate designs is one that is at once innovative and confronting. Simultaneously empowering the designer to go beyond his conventional geometries and a threat endangering the very identity of the designer, the power of algorithms cannot be understated. In the practice of bottom-up design, desired properties are identified through digital experimentation and collated into a component-based design. One designer who has harnessed the capabilities of parametric design is Michael Hansmeyer. Now well known for his new column order series, he has imbued an unimaginable amount of detail into his designs. By utilising algorithms - sets of unambiguous and simple rules11; he generates countless versions of detailing which he carefully considers and implements.
Generation: Bottom-up Design
F.16 Hansmeyerâ&#x20AC;&#x2122;s Columns
As noted earlier, a shift in process to digital generation is both an innovation and risk. Algorithms and scripting and by no means new concepts in the field of computing however this method of problem solving has yet to find full acceptance in architectural design. It has been assumed that the designer is the one in control, the one to take full creative rein. While expert use of algorithmic generation can lead to entirely unique and arguably deliberate designs, the element of randomness will likely remain a sticking point for the foreseeable future.
11 Definition of â&#x20AC;&#x2DC;Algorithmâ&#x20AC;&#x2122; in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) <LMS> [14 March 2018]
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A.4. Conclusion F.17 Archigram Collage
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Precedent study and basic GH tutorials have been the focus of Part A. By analysing significant works and innovative approaches I have been able to further my knowledge of digital design within the discipline. Though task 2 (sketching/analysing a building) was tangential to a pure generative approach, my building, VCCC was an inspiring precedent. What VCCC represented was a highly polished network of free-flowing lines realised through digital design. Beyond its superficial appeal, the symbolism of the design shone through and was substantiated through its unique architecture. I wish to exploit these innovative design techniques, experimenting with forms difficult to achieve otherwise. Though the adoption of new technique is common in the discipline, it can lead to richer and more profound solutions. Having entered what many refer to as the digital era, technology has truly become indispensable in todayâ&#x20AC;&#x2122;s design process.
A.5. Learning Outcomes
The semester thus far has been interesting and different. Despite the focus on innovation in digital design, much attention has been paid to its history and provide a comprehensive approach. I had not considered the process employed by the likes of Frei Otto to be a form of parametric design. The studio has widened my perspective on the scope of digital design. While taking Digital Design and Fabrication last year, my group encountered the limits of complex modular design in rhino. Trying to model a complex network of custom folding was overly inefficient without the help of parametric modelling. I hope that in the remainder of the course I will attain the skills to enrich my own design process.
F.18 Wk2 Columns
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A.6. Appedix The very first columns. Indicative of whatâ&#x20AC;&#x2122;s to come, they served as an introduction to GH3D. 18
The primitive instinct of creating an interesting form. With little experience and few options on hand, I submitted to the process and forfeited my part in the generation.
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Citations
Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press) <LMS> [14 March 2018] Gili Merin, ‘AD Classics: The Plug-In City / Peter Cook, Archigram’, archdaily (2013) < https://www.archdaily. com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [10 March 2018] Gramazio Kohler Architects, ‘Flight Assembled Architecture, 2011-2012’, Gramazio Kohler Architects (2012) < http://www.gramaziokohler.com/web/d/installationen/209.html> [11 March 2018] Houzz, ‘How 3D printing is disrupting the architecture and design industry’, New Atlas (2018) <https://newatlas. com/3d-printing-housing-architecture/53083/> [11 March 2018] John Seabrook, ‘The Abstractionist’, The New Yorker (2009) < https://www.newyorker.com/magazine/2009/12/21/the-abstractionist> [10 March 2018] Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) <LMS> [11 March 2018] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design <LMS> [14 March 2018] Simon Sadler, Archigram: Architecture without Architecture, (Massachusetts: MIT Press, 2005) Page 14, < https://ebookcentral.proquest.com/lib/unimelb/detail.action?docID=3338538>, [10 March 2018] The Hyatt Foundation, ‘The Pritzker Architecture Prize’, Laureates (2004) < https://www.pritzkerprize.com/ laureates/2004> [10 March 2018] Zaha Hadid Architects, ‘Guangzhou Opera House’, Zaha Hadid Architects < http://www.zaha-hadid.com/wp-content/files_mf/guangzhouoperahouse.pdf> [10 March 2018]
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F.8,17 https://nocloudinthesky.wordpress.com/2013/01/24/archigram-prefab/ F.9 https://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram
Figures
F.2-7 http://www.zaha-hadid.com/architecture/guangzhou-opera-house/
F.11,12 https://www.3ders.org/articles/20150612-mx3d-teams-with-heijmans-to-build-world-first-3d-printedsteel-bridge-in-central-amsterdam.html F.13 http://www.gramaziokohler.com/web/d/installationen/209.html F.14 https://commons.wikimedia.org/wiki/File:LAtrip.jpg F.15 https://www.telegraph.co.uk/travel/3542431/The-best-of-Frank-Gehry.html?image=7 F.16 http://www.michael-hansmeyer.com/projects/columns.html#1
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Part B. CRITERIA DESIGN 22
Contents Part B. Criteria Design B.1. Research Field
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- Geometry B.2. Case Study 1.0
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- Gridshells B.3. Case Study 2.0
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- Canton Tower - Reverse engineering B.4. Technique: Development
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B.5. Prototyping
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B.6. Technique: Proposal
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B.7. Learning Objectives and Outcomes
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Reflection
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Citations/Figures
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Among the best-known applications of geometric design is that of the gridshell. From Frei Ottoâ&#x20AC;&#x2122;s 1975 Multihalle Mannheim to Foster and Partnersâ&#x20AC;&#x2122; Great Court Roof, the gridshell has provided an effective method for communicating complex geometries. In practice, gridshells are interpretations of shell structures realised through a structural lattice of beams. The implications of gridshell construction have reduced weight substantially while retaining structural behaviour and allowed great flexibility in construction methodology.
B.1. Research Field
Selected field: Geometry.
Geometry has been an interesting application of computational design in the recent decades. While form-finding and mathematically defined geometries are not new in architecture, the speed and ease with which we can now generate solutions is truly transformative. While the final forms can be comparatively sober in the context of this studio, I find great value in the empirical principles governing geometric design. As geometric design focuses on attaining the ideal form, it should theoretically prove advantageous in producing an efficient design with optimal performance. While realistically performance can depend heavily upon material consistency and connection quality, we should at least be able to replicate the operating principles of a given design. One other advantage of geometric design is the ease of reproducing complex forms. As the structure is constructed of simple components, it should increase the ease with which we realise our design.
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B.2. Case Study 1.0 - Gridshells
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Species 1 - Curve Divisions
Species 2 - Shift Degree
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Species 3 - Edge and Basic Curve Manipulation
Design Potential Being a fairly common technique in practice, the use of gridshells has great potential in the fabrication of our designs. With the relative simplicity of its associated algorithm, I should be able to adapt a lattice interpretation for most potential designed geometries. With its association with geodesic curves, fabrication should theoretically be achievable with singular strip members. 28
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Species 4 - New Geometries
Species 5 - Adding Thickness
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Although simple, this 20-20 shift iteration best encapsulates the logically structural pattern of the gridshell.
Selection and Success
The selection criteria should be a combination of structural articulation, constructability and visual effect.
This iteration was a good demonstration on the visual effect as the lines form distinct folding lines and become darker in the denser regions.
The optimal thickness of piping was 0.1mm. This thickness retained the lightweight of the gridshell while also providing a sense of rigidity.
Although I discovered that similar curves will generate the cleanest results, I also found that touching curves will likely generate undesirable outcomes. In this case, I managed to create a familiar shape. 31
Algorithmic Sketchbook - Plants 32
Abstract Drawing - Convergence
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Plant Behaviour
B.3. Case Study 2.0 F2 34
My chosen project was the Canton Tower by Information Based Architecture. When it opened in 2010, it was the tallest tower in the world at 604m. According to the architects, they sought “to create a ‘female’ tower, being complex, transparent, curvy, gracious and sexy” and imbue it “with a rich and human-like identity”1. To achieve this, the form is generated with two ellipses at the top and bottom, twisted to form the tower’s ‘waist’. This is finally realised through a system of columns, rings and braces. The resultant pattern appears to tighten around the centre, drawing parallels to the desired feminine form. The successful marriage of form with elegant structural implementation has created a memorable structure for Guangzhou’s skyline.
1 ‘The Canton Tower’ - <http://gztvtower.info/> [1st April 2018]
Reverse-engineering To simulate the original process was not very challenging as “the geometry was designed by parametric associative software”1. In any case the real difficulty in this project is the mass customisation of joints as opposed to the generation of individual members.
1. Elliptical boundaries are generated
2. Vertical translation and rotation of the top ellipse 1 Arup. ‘Guangzhou TV Tower’ <https://www.arup.com/projects/guangzhou-tv-tower> [1st April 2018]
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3. A lofted surface is generated through arcs
Analysis of Success The overall form is quite similar as is the structural pattern. One notable difference however is the project’s use of only two base boundaries. Despite also using a twisted loft, I found it far easier to simulate the desired form with an extra, intermediate boundary. As I’ve noted earlier, one design implication is the geometry of joints. This was not considered in my process. 36
4. The structural columns – 24 primary geodesic curves are generated along this surface
5. These curves are then divided at 40 intervals and serve as anchors for the internal rings Going further
6. Finally secondary braces are generated between the rings and columns
One simple improvement would be proper scaling. With scaling done I would like to show the actual radii of members in order to better emulate the tower. The main visual effect of this system is the density of structural grid. With its similarity to simple gridshells and freedom in form, I think this definition has much potential for further development, particularly if an airy, light effect is desired. 37
Algorithim Sketchbook - Animal Completed Model
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F3
Algorithim Sketchbook - Animal
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in K d e r c Sa
r e h gfis
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Bird Behaviour
B.4. Technique: Development
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Division Input
Anchor Shift
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Translating Boundaries
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Rotation & Translation
Relative Item Patterns (Horizontal)
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Relative Item Patterns (Vertical)
New Reference Curves
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Refined Attempts 52
Success no.1
Success no.2
Succeeded in producing a complex, layered form without excessive kinking. Shows degree to which variation in density can be emphasised.
A much rounded shape relatively uncommon during manipulation. A smooth result.
Success no. 3
Success no.4
Not only uniform but succeeded in demonstrating a smooth gradient in density. Shows potential for further visual development.
Almost a complete return to the initial design. Probably the most fitting for a column and still retains the interesting structural composition. 53
Algorithmic Journal - A New Order
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B.5. Prototyping
A series of connected circles form the base of the facade. They come in 3 sizes and are arranged based on tessellation. The triple layer construction conceals the connections.
All components are laser-cut MDF. Straight members are bent at their ends and attached to rings on either side. 4 members support each section.
The finished section is a truncated cone to be wrapped with fabric. The openings are left open and intended to be glazing.
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Modifications and Analysis
Overall, the prototyping was smooth. This is largely due to the simplicity of our design and its use of repetitive elements. The use of laser cutting greatly expedited the process and proved to offer accuracy inefficient to produce by hand. One area we have addressed after prototyping was the increase in variation. The current pattern does not offer sufficient variation to clearly express any pattern and this is one issue we have noticed. The main selection criteria has been that of visual effect. Through the use of different fabrics we have been able to compare various degrees of light diffusion and material effects. The structure proved mostly sound though a more rigid joint would have likely helped the cones maintain their correct angles.
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B.6. Technique: Proposal
Our proposal for a new order at Northcote Town Hall is grounded in our belief that the current building is misguided in its intentions and should be changed in order to better reflect the local context. The current Greek order was likely intended to reflect the power and wealth of its occupents. Most people today would likely share the same impression. Yet, this is a misinterpretation of Greek architecture. The motifs reflected reflect a history of sacrifice, of blood-letting1. In order to to remedy this mistake and better represent Merri Creek, we propose a new order based upon the vibrant wildlife which thrive in this wonderful pocket of nature.
Precedent Collage 60
1 Hersey, George (1988). The Lost Meaning of Classical Architecture (London; Massachusetts; The MIT Press) pp. 1-45 [1 Apr 2018]
Columns 1:20
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Ornament Drawings
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Chunk Drawings
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Generic Filler Text 10000000
Elevation & Perspective
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Generic Filler Text 2.0 000
B.7. Learning Objectives and Outcomes
The course states a list of motivations and differences from a traditional studio model. The first is “teaching how to make persuasive arguments”. I find this point most interesting. I have yet to see a reason why persuasion would be any less central in other studios. On the contrary, I find it more challenging to develop an argument in this studio as we are constantly dealing with techniques we are yet unfamiliar with. On the goal of “teaching computation”, I do believe that we have come a long way since part A. The weekly tasks have been intensive and it is clear that many have come to grasp the capabilities of parametric design. Although I do not believe I have come as far, I still believe that my confidence in the topic has increased. The lectures and readings presented have enriched my understanding of contemporary practices.
With half the semester behind us, it is once again time to reflect upon what we’ve learned. The studio has picked up rapidly and developed a strong experimental atmosphere. Although the subject’s learning objectives places great emphasis on the technical side of computational design, it does come as a great relieve that we will tackle the topic of architecture after all.
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One interesting note is the importance of fabricators. As noted by Peter Brady, “computational design tools need to be more closely connected with the building process”1 and that “integration with fabricators” is an important part of computational design and realisation. The experiences of the guest lecturer also affirms the role of advanced fabrication in the implementation of such designs. As an extension, design documentation are also essential. The designers must be able to convey the process of fabrication to the constructors who carry out the final assembly. It is this integrated system which drives our architecture today. 1 Peters, Brady. (2013) ‘Realising the Architectural Intent:Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61<LMS> [15 April 2018]
Reflection
The greatest challenge has been the fusion of all the weekâ&#x20AC;&#x2122;s materials into one cohesive brief. Without thinking in advance has left me vulnerable to sudden changes in direction. This has caused a lack of consistency within our group work. The jump from columns to entire facades was a big one and perhaps caught some of us off-guard. A major regret was the somewhat inadequate communication between my group mate and I. Initially convinced that the column and facade were for equal importance, we divided the work like such. What arose was a distinct disconnect between the styles of column and facade. External pressures also took a toll on our collaboration resulting in a facade proposal that was far from complete. In the coming weeks Iâ&#x20AC;&#x2122;d like to take time to carefully consider the direction of our facade and improve it. One last issue was our failure to produce a 3D print. Having tried our luck at printing in the NextLAB, we were confronted by constant failure. From unacceptable geometries to incorrect file types this exercise also showed the inefficiencies of 3D printing. The technology still requires extensive know-how and thus becomes inhibitively expensive externally. I believe that at least a few more years will be required before the technology will become readily accessible among the general populace.
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Citations
Arup. (n.d.)‘Guangzhou TV Tower’ <https://www.arup.com/projects/guangzhoutv-tower>, [1st April 2018] Hersey, George (1988). The Lost Meaning of Classical Architecture (London; Massachusetts; The MIT Press) pp. 1-45 <LMS>, [1 April 2018] Peters, Brady. (2013) ‘Realising the Architectural Intent:Computation at Herzog & De Meuron’. Architectural Design, 83, 2, pp. 56-61 <LMS>, [1 April 2018] ‘The Canton Tower’ (n.d.), <http://gztvtower.info/>, [1st April 2018]
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https://upload.wikimedia.org/wikipedia/commons/1/19/British_Museum_Great_Court_roof.jpg
Figures
Figure 1
Figure 2 http://www.skyscrapercity.com/showthread.php?t=1801440 Figure 3 http://planetbirds.blogspot.com.au/2014/06/sacred-kingfisher.html
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Part C. DETAILED DESIGN
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Contents Part C. DETAILED DESIGN C.1. Design Concept
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- Interim feedback reflection - Concept Finalisation - Technique Realisation - Design Process - Detail Iterations - Construction Logic - Final Proposal C.2. Tectonic Elements and Prototypes
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C.3. Final Detail Model
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- Composition: Top-Down Design - Generation: Bottom-Up Design C.4. Learning Objectives and Outcome
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- Final presentation feedback reflection - Further development - Reflection 71
C.1. Design Concept Interim Feedback Reflection The interim presentation was a failure. A lack of proper coordination within the group caused numerous last minute changes, ultimately resulting in a lackluster proposal. In an effort to consolidate our design, we settled on an overall form and began developing the details. Building upon a pipe grid pattern we had previously created, we attempted to generate a collage of different systems in mimicry of our precedents. Further issues arose when the group disintegrated. At this stage I decided to focus on the facade and treated the column as a supporting element. Mimicking the Prostrate Blue Devil, my final facade was treated with a series of pyramids. To incorporate the column, cutouts were made to the facade. While the columns do not join the facade, they serve as a secondary element playing to the overall concept. 72
Concept Finalisation
A lot of time was spent on choosing the final system. Once the final detailing was chosen the model was assembled and I moved to fabrication techniques.
Column Inspired by the form of the Prostrate Blue Devil, the column simulates the convergence of the plant. This reflects the binding role of the town hall - a convergent centre.
Facade This faceted facade builds upon the spikiness of the plant, reflecting the hardiness of the Northcote community. Originally a poor, working class community, Northcote has since become an affluent inner suburb.
Openings The apertures reference the nesting behaviour of the Sacred Kingfisher (no nest-building). These represent the strong sense of home and resilience for the Northcote residents.
â&#x20AC;&#x153;To form a new identity for the Town Hall, based on local wildlife, reflecting the spirit of Northcote residents.â&#x20AC;? 73
Technique Realisation
Digital Technique The design was detailed through the use of Grasshopper. The Stellate command used is a surface treatment. Existing faces are resolved into pyramids - generating many smaller faces. By repeating the process a relatively low definition surface could be transformed into a highly detailed network of facets.
Technique Development As the level of detailing depends upon the number of Stellate iterations, the scale of facets can be freely manipulated to accomodate construction requirements. Furthermore, the level of Stellate can be controlled to alter the depth of the indents.
Technique Implementation As the technique used is a surface treatment, the form remains composed of flat, thing sheets of material. The most logical fabrication technique would therefore involve the processing of sheet material. Numerous technologies allow for precise cutting of sheet material while robotic arms could be used for folding. Our current fabrication techniques allow for the creation of fragments only. These individual fragments must be connected through some form of backing during final assembly. 74
Design Process
1. A base form is generated
2. Facets are generated on the surface geometry
3. The surface is translated into place and rough apertures made
4. The detailed surface is super-imposed and trimmed
5. Columns are scaled and placed within the apertures
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Detail Iterations
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Divide the panel further into stripes
Construction Logic
Isolate a single panel
Separate the strip into foldable components
Flatten the components, making sure no overlaps occur
Arrange the flattened geometries on sheet material and cut (CNC, laser cutter etc.)
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Fold the cut geometries, either with industrial presses or robotic arms
Connect the folded components via a network of backing angles
Secure the components using nails. Repeat at all joints.
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Final Detail and Proposal
Hero Detail 2
Hero Detail 1
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North Facade
Final Column
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C.2. Tectonic Elements and Prototypes
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The primary intention was to test the shading created by folding. From this quick experiment I was able to identify clear issues with hand construction.
Prototype no.1
The first model I made was a rough sketch model. This model was constructed of folded paper and a perimeter frame.
The design later evolved to feature no openings thus this method was discarded.
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Prototype no.2 The second prototype also featured openings in the facade. These openings reduced the number of components but also complicated the connection. The card was fragile when folded in reverse and many folds failed entirely. As a further experiment, I connected folded card using plywood cut-outs. While this system was more reliable, it also displayed a lack of variation. 84
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Prototype no.3
3D-Printing: Fused Deposition Modelling In the context of FDM (fused deposition modelling), the basic process is universal. A 3D printer consists of a print bed, extruder nozzle and robotic arm. The print bed provides a stable platform from which the model is extruded. The extruder nozzle heats and melts a strand of plastic fed through a reel, depositing the material onto the bed. The model used in my fabrication features a 2-axial arm with a variable-height bed. First, a layer of plastic is extruded to form a solid base upon which the model could be built upon. The geometry is then stacked layer by layer until the final form is achieved. The finished result will usually require finishing by hand to remove excess support material and smooth any imperfections. 86
This was the panel I presented. This was in fact my third attempt at printing a prototype. The major issue with the technology lied with its speed. Even after flattening the panel and reducing its size by half, the print still took 7 hours. While 3D-printing is fast becoming a feasible method of construction, for now, it remains inefficient and costly compared to most other fabrication methods. In order to produce a presentation-sized version, multiple prints would be necessary. The panels would then be joined, similar to my proposed construction logic in C.1.
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C.3. Final Detail Model
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To maintain detail while expediting the fabrication process, I explored CNC routing. CNC routing is a method of subtractive fabrication. Unlike 3D printing, CNC routing has been utilised in a wide range of industrial processes for a significant length of time. The overall process is almost the opposite to 3D printing. A robotic arm controls a rapidly revolving bit which removes material from stock. The bit moves in a 3-dimensional axis, allowing for the generation of complex geometries. The stock can be a variety of materials, metal, wood, plastics and foams. To create my model I used a board of insulation foam. This material is easy to form with the router though the surface definition is somewhat lacking.
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C.4. Learning Objectives and Outcomes 92
Final Presentation Feedback Reflection The presentation was mostly a success save for the detail model. Having pursued the technique of 3D printing, I was unable to produce a model of the scale desired. Following the presentation Iâ&#x20AC;&#x2122;ve had time to explore the technique of CNC routing. The model was produced quickly and relatively inexpensively though the definition was unimpressive. I believe a harder material like plywood would allow for a model of much better finish. The column came with its own issues. My primary concern had always been the incorporation of columns - especially given the dissimilar systems. My solution was to forgo the connection and install them as elements within the facade. I left the columns relatively undetailed. For time and conceptual reasons I regard this as insignificant. Further development The next step would likely entail the creation of a section based on realistic construction tectonics. I would return to a folding-based method and introduce connection members. To realise this I believe that an increase in scale would be necessary.
Reflection Through this semester we learnt a new method of addressing briefs. Through parametric modelling we have expanded our ability to explore potential solutions with great flexibility. Through the tasks given weâ&#x20AC;&#x2122;ve increased our proficiency in digital fabrication as well. The presentations have equipped us with important skills of critical thinking and persuasion. The guided structure of AIR has been beneficial in introducing innovative design methodologies. At the end of the semester, I believe my understanding of computational design has deepened while my new-found ability in parametric modelling will do well to serve my creative possibilities. While I admit the design process taught in AIR likely did not suit me, the new skills Iâ&#x20AC;&#x2122;ve gained are certainly appreciated. A technique driven approach to design is new and represents a possible breakthrough in my future designs. In unison with an improved knowledge of contemporary practice, I hope that the experiences Iâ&#x20AC;&#x2122;ve gained through AIR will continue to benefit me in my future studies. 93