Journal by Fraser Moy

AIR J O U R N A L

A I R STUDIO

JOURNAL

INDEX PART A

CONCEPTUALISATION

A.0. DESIGN FUTURING A.1. DESIGN COMPUTATION A.2. COMPOSITION AND GENERATION A.3. CONCLUSION A.4. LEARNING OUTCOMES A.5 APPENDIX-ALGORITHMIC SKETCHBOOK A.A. REFERENCES

PART B

CRITERIA DESIGN

B.1. RESEARCH FIELD B.2. CASE STUDY 1.0 B.3. CASE STUDY 2.0 B.4. TECHNIQUE: DEVELOPMENT B.5. TECHNIQUE: PROTOTYPE B.6. TECHNIQUE: PROPOSAL B.7. LEARNING OBJECTIVES AND OUTCOMES B.B. REFERENCES

PART C C.1. C.2. C.3. C.4. C.5.

DETAILED DESIGN DESIGN CONCEPT TECTONIC ELEMENTS FINAL MODEL LAGI REQUIREMENTS LEARNING OBJECTIVES AND OUTCOMES

INTRODUCTION

My name is Fraser. I am a third year student at the University of Melbourne.

Currently I am undertaking an Environments degree, majoring in Architecture. Born in Hobart, but raised in Melbourne, I have personally bore witness to the modernisation of Melbourne from the mid to late 1990s until now and into the future. My general interests involve going for a bike ride and spending time in the company of my friends, as well as a rich interest in historical studies. My interest in architecture was never clear-cut growing up. Although I have continually harboured a design interest, with all manner of design based tasks and subjects being highly stimulating and enjoyable, architecture never appeared as my definitive or natural career path. Originally contemplating with the possibility of animation (purely out of interest), it was my father whom suggested that I consider architecture as it was he who had seen my keen eye for detail and design, as well as my fascination for the built environment. Within the field itself I am unclear as to which field of pursuit I wish to undertake. I continue to shift sides between residential and commercial purely on an interest basis, whether it appeals to my design or aesthetic sense.

Computational modelling has never been a key design tool within my design

projects. However, I am aware and acknowledge the need for its use due to itâ&#x20AC;&#x2122;s highly illustrative purposes and adaptability. In previous projects I utilised AutoCAD to ease with the construction of plans, as well as the use of the AdobeSuite to generate 2-Dimensional renderings, however I have never attempted to computer generate a 3-Dimensional model, using such tools as Rhinocerus. The reason for the lack of 3-Dimensional computational use is based on two, linked, reasons. First being that I was unaware of how to use the systems and found the systems, overall, confronting due to their dramatically foreign nature in terms of the way I had designed previously. Secondly, as stemming from the first, it was easier and more expressive of myself to utilise systems that I was well atuned to use, such as hand drawing and the AdobeSuite. The utilisation of what was comfortable to me wasnâ&#x20AC;&#x2122;t holistically restrictive in my design approach, more control allowed my designs to take on a specific and honed approach that would not otherwise be achieved digitally. However, I still felt like my overall impact was lacking in comparison to students who had highly rendered models of their finish or concept designs. I intend to push and delve as far into computational modelling as possible in order to best explore the full capabilities and benefits inherent with using such as approach.

Adobe Illustrator Elevation, Studio Water.

CONCEPTUALISATION 09

A.0. DESIGN FUTURING The earth is a limited entity, that we seize to support our lives, without

respect for the fact that that same world which supports us is a finite resource, if it ceases to exist, we cease to exist. Humans as a species have displayed a tendency which Tony Fry describes as “innate”, unsustainability. Until now, design and human life has had very little consideration for the world upon which it is intertwinded, cities have replaced forests and buildings have been constructed from materials borne of the earth. In his article ‘Design Futuring: Sustainability, Ethics and New Practice’, Tony Fry correlates the idea of design with the concept of sustainability and it’s ability to curb the current autodestructive nature on display, currently. Design is a manmade concept with a world-shaping force. Everything that serves for the betterment of mankind is as a result of design, and as such we have become overly reliant upon the artificial world of our creation, we have ‘displaced the invisible hand of God’. The key to shifting away from the destructive nature of constitutional design, as espoused by Fry is ‘designfuturing’ whereby design in and of itself becomes its own salvation. Design-futuring as a concept is two-pronged; whereby it first must prevent the current discourse associated with design, or de-futuring’, reaching a finite point; as well as shifting design solely towards sustainability. However, the problem with design in the contemporary is that it has become massconsumerable, wherein computational design software has allowed all societal stakeholders to have a voice in the world of design. In order to emphasise the role of designers within a design based world, the concept of ‘design democracy’ is theorised, whereby all of society has an equal influence over design, but it is realm of the professional designer to push public opinion in a more sustainably desirable direction. If the power remained in the hands of the people, defuturing will likely occur due to desire and need of the uninformed being conflicted with sustainability. This is then the ultimate role of the designer in the contemporary world, to redirect design and societal sentiment and guide it away from the envitable disaster inherent within unsustainabiltity, and towards considered and sustainable design.

A.0.

â&#x20AC;&#x153;Problems cannot be solved unless they are confronted and if they are to be solved it will not be by chance...but by design.â&#x20AC;? -Tony Fry[1]

[1]

SHEIKH KHALIFA MEDICAL CITY SKIDMORE, OWINGS AND MERRILL (SOM) ADU DHABI, UNITED ARAD EMIRATES 2018

Currently under construction and due for completion in 2018, the Sheikh Khalifa Medical City will work to replace the former complex of the same name. The design is highly innovative in its homogeneity between worldleading medical centre and research, alongside public amentities such as trees and internal gardens to provide a distinctive calming atmosphere for patrons.

The difficulty for SOM was maintaining a delicate balance between innovative and highly contemporary design whilst being informed by historical regional precedents. This was solved through depictive architecture, whereby a large rock plinth, symbolic of the surrounding architecture, forms the basis of a first floor central courtyard which houses an indoor network of gardens. Careful consideration with regard to the geographical demands associated with the United Arab Emirates context has informed a wide variety of design 12

A.0.

features which has attributed to the rewarding of a 2 Pearl Estidama rating. Estidama awards a rating based on a variety of factors such as relevance to the cultural and natural context, as well as material readiness. SOM utilised a strong facade treatment on the structure to reduce solar loads, whilst allowing the passage of daylight into the core of the structure, as well as the utilisation of natural materials where possible. Although modern innovations in steel and glass has lead to the vision of the complex, the issue of sustainability arises around its geographical context. Abu Dhabi is in the heart of the desert with little to no natural resources of any benefit to construction, which therefore determines the importation of structural materials. Although materials may and could have derived from sustainable sources, the fact of the matter is that to be 100% sustainable means to utilise that which is borne in a region. Although the architects have attempted to maintain the most sustainable line possible, with gardens and solar radiation protection, the problem with the design is the purpose for the design. New developments such as this in the Gulf region are vastly unsustainble on many fronts. It is a region rife with bold ideas clashing with constructional feasibility. Rather than designing for the future on a clean slate, designers in the region should instead be looking at what can be done with what is there now, total refurbishment, not total reconstruction.

[2] [3]

LONDON BRIDGE TOWER RENZO PIANO BUILDING WORKSHOP LONDON, BRITAIN 2012

Central London in contemporary times has

become a highly centralised world trading hub which has resulted in a dramatic need for both residential and commerical spaces in the already high-density region. Renzo Piano architects acknowledged these requirements during the designing phase and what has resulted is an harmonious balance between residential and commercial sectors, within the walls of a sleak, modern building. The use of the surrounding historical context, of looking back to history in order to establish a concept as well as to solve a problem, allowed for the creation of the tapered shape of the tower. As design has proven throughout history, it has a tendency to repeat as well as teach itself. Renzo Piano translated the surrounding spires and historical masts of boats gone by on the River Thames to serve as a pretense for a tapered, sharp design. Innovations in glass and steel technologies have allowed for the construction of a radically new design. Although the natural tendency of towers past was to taper towards the top in an effort to increase stability, the steel frame allowed a free glass facade to envelop the tower, acting to allow a subtle disapperance into the London skyline. The difficulty for a tower of 240m lies in the need to be aesthically pleasing, due to its imposing presense in the skyline, as well as ensuring patron comfort. In contemporary times, a third category has had a growing influence over design, sustainability. As the structure is covered entirely in glass, a highly inefficient material in itself, it would serve as a indirect form of sustainable design as it controls light and heat conditions within the spaces of the design. The balance between aesthetics, comfort and sustainability combine in this one key materiality. To put shutters on the external facade of the building would reduce the solar impact, however it would jeopardise the aesthetic appearance of the structure, add to this the inability to adequately install shutters on a tall structure. 14 A.0.

Due to a variety of health and safety, and meteorological issues, natural ventilation as a means of providing cheap, efficient, is often unattainble. However, through innovative thought and in accompaniment with modern design techniques allowed for natural ventilation to be provided for much of the 240m structure. Problems and issues which arise for a highly public structure, such as a tower, as exacerbated more greatly than a private structure. When designing a public structure, much consideration has to be made of not just how it appears, but how it will function with the ensuing waves of different occupants and changing societal sentiment over time. The London Bridge Tower is part of a wider scheme for a new development in the London Bridge Quarter, an attempt to gentrify forgotten or derelict regions of London so as to maximise land usage. Although the total reconstruction of a region is against the idea type of sustainability, redevelopment through existing architecture, in cases attuned to London Bridge, it is far more efficient and beneficial to reconstruction anew in order to maximise the regional potential for the future. If London wishes to expand its total occupancy, it is misuse of space to develop a 5-storey structure, where a 110-storey structure can quite easily sit in it’s place. Further factors justifying the contentious use of reconstructional is whether there are pre-existing transportational options and amenities (that can’t be provided by the structure), which can cater for a sudden, high influx of population. Sustainable design, or designvfuturing, doesn’t have to be about a buildings relation to it’s surrounding environment, it can also be about how a building can most efficiently meet the needs ot the people using a building.

[4] [5] [6]

A.1. DESIGN COMPUTATION The natural transgression and evolution of the way we, as designers,

design, has developed into a computer-centric medium. With each development in the technological realm an equal development is felt in the design realm, such is the relationship between techonology and design in the 21st century. Although computational systems for design and modelling have wider ranging benefits on the field of design as a whole, there are a inherent underlying issues which stem from a wholistic focus and dependence on artificial intelligence. Digital software has changed design indefinitely. Design as a field is a process where problems are set forth, and solutions are devised based upon how these problems can be interlinked and solved as a collective whole to create a physical structure. Experimentation is key to unlocking many inherent solutions to a wide range of problems, however where once before that would take time and solutions not fully considered or realised to the finest degree, computation modelling has allowed solution synthesis to become an engaging and efficient process. A start and end point can be defined by the designer and the computer fills in the solutions in between. However, this efficiency in brings about serious issues inherent in design. Who is actually doing the designing? This is the crux of the issue surrounding computational design; on the one hand it eases the designing process and can create a wide range of solutions not possible in the timeframe of many projects, whereas on the other, the solution that is found and utilised was not actually created by anyone person, therefore is it then justifiable for a designer to claim responsilibity for a work, when a computer completed the task which is fundamental to design, problem solving. Computational design, although problematic in aspects, has overbeaing positives to the field of construction design. Digital formats are inherently user friendly and strive to create a common language for all users, thus multidisciplinary research and input is a key element for which computers aid. Whereas throughout history, design understanding was stagnant and disjointed, digitial mediums allow all stakeholders in a project to visualise, understand and refine a design without having to have specific design understanding.

A.1.

The 21st century is rapidly becoming the age of organics, defined by natural designs. Intelligence of computation has allowed for more experimentational designs, due to the boundless testing abilities of virtual systems. This has allowed for design to become a format to imitate nature. Although design had previously used nature as its primary precedent, it was moreso used as inspiration to then create a form, such as Frank Llyod Wright drawing inspiration from the Praries of Illinois and translating it into long sweeping eaves and low pitched roofs. However, the imitation of nature is a different concept altogether, is it learning from nature and how best to employ these principles on different design contexts. It is using nature to solve problems. This form of thinking has only been fully realised in the digital age through rapid prototyping and tha parametric abilities inbuilt into computational software. The digital age of design computation has changed the field of design, and will only continue to develop into the future.

“[The] new paradigm of design thinking...‘scripting as the driving force for the 21st century architectural thinking’.” -Rivka Oxman and Robert Oxman[7]

[7]

DONGDAEMUN DESIGN PLAZA Zaha Hadid Architects SEOUL, SOUTH KOREAN 2013

As design has become

more organic and expressive with the advent of design computation, the role of the architect and the engineer has become blurred. The use of parametric modelling has created a rift between designability and contructability. The role of constructability and the physical design of a structure has now shifted into the realm of the engineer, spatial communication has been singled out as the realm of the architect. This is as a sole result of computational design. Systems such as Rhinoceros has allowed the Architect to model a wide variety of parametric and geometric designs, however, whilst on the screen it is no more than a 3-Dimensional object on a 2-Dimensional screen. This is the importance and shift in an engineer’s role thanks to the advent of digital design, taking a virtual object and digital physics and translating it into the physical. The multidisciplinary nature of computational design becomes apparent through the shift in the stakeholders of design. Zaha Hadid’s ‘Dongdaemun Design Plaza’ is a modern representation of the modern age of design. Even when compared to the structures surrounding the plaza, the sweeping curves and monolithic appearance is unlike any building historical architectural styles. Although modern innovations in materiality have aided such radical construction, however, computational design has been the key factor in differentiation 21st century architecture, from all other historical styles. The exploration of a wide variety of forms determined by the lofting of the primary curves in the structure is only achievable via digital design software which can explore a variety of design solutions, without having to reconstruct the model with each movement.

A.1.

Design computation allows of the construction of a variety of unalike geometrics to form a coherent and sound form. Often what results is a complex in form, yet simplistic in appearance, structure that appears to defy gravity and comprehension. This the point at which computation has aided the design field, whereby a computer can solve a problem that is too difficult or time consuming in a coherent, and simplistic means. However, where Zaha Hadid Architects have used computational modeling in their design, raises doubts whether the designers can claim responsibility for the design. The basic structural principles would have had to have been determined by the designers, such as the basic structural components or lines, and it is the role of the computer to create a design solution based off of those design parametres. However the solution created, the structural form, is the creation of the computer. As well as creating the form of the structure, design computation delves further into the modern designing process. The aluminium facade of the Dongdaemun Design Plaza has been logically solved by a computer in order to ensure constructability. The facade has followed a specific script, such as the algorithmic modelling of Grasshopper, to convert the smooth facade into a tessellated facade of geometric shapes that, when combined, form a coherent curve.

[8] [9]

‘SLIPSTREAM’ Richard WIlson LONDON, BRITAIN 2012

Heathrow Airport is

currently undergoing a modern facelift in order to house the 20 million people, alone, that will pass through the new Terminal 2. A modern building demands an equally modern installation piece to help emphasise the modern techniques at the disposal of designers during conception and construction of the building. Architects have long been inspired by motion, through curvilinear geometries. However, the adequate means of depicting fluid motions which inspired the early-20th century Futurist movement, was lost to both technology in a constructability and designability sense. It wasn’t until the 21st century that technology caught up to imagination. Richard Wilson’s ‘Slipstream’ installation is highly indicative of the means and abilities that designers have at their disposal, for without computational design, Wilson’s vision for a sculpture would be left in the realm of the imagation as had the case with his designer forefathers. Inspired by a plane’s flight path as it tumbles through the sky during aerobatic maneouvers, ‘Slipstream’ was the culmination of a highly mathematical and digital set of models and wireframe depictions. The difficulty of modelling a complex shape, formed by a single object, is the creation of a coherent, simplistic, understandable design; which may come in a variety of different forms. Computational modelling is critical in all fascets of the fluid design due to the inherent complexitiies embedded within. A further complexity arises in the issue of who has actually designed the finished design. Computer programs alone cannot design a building, or a sculpture, and it is here the a designer is still necessary in the modern world, Wilson initially translated the captured tumbling plane into a semi-coherent design, without a proper geometric form. It is here that an issue arises of who designed the structure. 50 iterations, as was the case, was generated by a computer in order to further hone and create the final movement which both accurately represented the design intention alongside it’s constructability. Computational modelling has brought the imagination into the material world, and it is through structure such as ‘Splistream’ that stand testament to the abilities of this new field of design. 20

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[10] [11]

A.2. COMPOSITION/GENERATION A transition from compositional architecture to generational architecture

has occured wholitistically during th 21st with the driving force being computational design. Due to the radical shift in architectural design, the entire sphere of architectural practice has shifted dramatically. No longer are architects limited to a handful of potential solutions to problems, the computation of design has opened up a entirely new pathway of design approach. The architectural world is becoming less about physical drafting, and moreso about algorithms inherent within computational design systems. Algorithmic thinking, as it has come to be known, is dictating the new design approach. The architect is now not having to be caught up in determining the inherent design problems within a design, it is through the use of software, that algorithms can be used to put a finite set of rules onto a problem and create an, unambiguous, output. The software is doing the problem solving, however it is still up to the designer to determine the parametres from which the algorithim forms the design solution. The benefit for a firm utilising parametric modelling as it increases firm efficiency through the ease of structural manipulation to create new structural forms. With the innovations in materiality, the parametric models being created are now being able to be passed into reality. However, the manner in which computational designers are utilised within firms varies, emphasising the different emphasis firms place on the important of computational generation. Computational designers are either points of reference for a team of designers; working in direct tandem with the design team; or creating a design of their own volition. In a rapidly modernising world, with a dramatic increase in construction techniques, the primary tool that is adaptable to change is the use of parametric modelling tools. Design computation enables new ways of thinking, with designs being more responsive to change throughout the designing process. However, it is when all designers become familiar with computational design that it becomes the new true method of architectural design. Just as pen and paper has constructed the world pre-dating the 21st century, a society working in tandem for the betterment of a system, allows further innovations to grow within the, computational, field. 22

A.2.

â&#x20AC;&#x153;When architects have a sufficient understanding of algorithmic concepts... then computation can become a true method of design for architecture..â&#x20AC;? -Brady Peterst[12]

[12]

‘MANY SMALL CUBES’ Sou Fujimoto PARIS, FRANCE 2014

Computational design

generation has the capacity to create forms that were inconceivable or kept within the realm of the imagination. Sou Fujimoto’s installation in Paris serves to highlight the advantages gained through computing. The structure itself is composed of a series of stacked boxes which connect either on one corner, or one edge, with the aid of foliage helping to counterbalance sections of the structure. Encased within (depicted on next page) is a small inhabitable space, which adds to the overall geometric complexity of the design, one which is already minimal in structural contact and has to support a form at the centre of it’s mass. The design problem and overall success lies within an inherent use upon computational software to guide a form. Rather than being a random arrangement of cubes in space, or located randomly on a steel frame cased within, Fujimoto emphasises that the structure is “one unified element whose balance and stability are carefully designed; the position of each cube and each tree participates to the overall stability.”[13] This complexity emphasises the measure and highly calculated approach to each individual entity which constructs the whole, and is only achievable through a complex set of algorithms which have the capability to solve the issue of stability whilst maintaining the design aesthetic of simplicity and lightness in form. It is too easy to disregard a complex form, such as ‘Many Small Cubes’ as just a random arrangement of shapes placed onto a surface by a computer. However, a computer still requires an input in order to comprehend an output. Yes parametric modelling tools can create forms similar to this, however it is still the role of Fujimoto as a designer to inform the program what are the specfic parametres (his ideas of lightness and the central void) from which a solution can be formed around and manipulated.

A.2.

[13] [14]

HANNAM-DONG HANDS COPORATION HEADQUARTERS THE_SYSTEM LAB SEOUL, SOUTH KOREA 2014

Parametric modelling tools have

changed the face of architecture, at once such a tool for design becomes common place, the norm, the true capacity and capabilities of the format will emerge. THE_SYSTEM LAB is leading the way in parametric modelling tools in the use of a curvilinear facade cast across the face of the HANDS Coporation Headquarters building. The intention for the design was to reflect the sites relationship to the site surrounding it, which meant creating a visual connection between the users of the structure and the cars whom are passing by, through the drawing of the eye. Key featural advantages of computational design generation are represented through the use of instantenous performance feedback of the facade compenents. It is fine if a design can be highly evocative of a concept, but whether that idea can be formed into a physical structural concept is another issue. Algorithmic models (such as the one above) allows the fields of architectural and engineering design to become blurred, such is the beauty of computational modelling. Through the use of a simple red-green colour palette, even an untrained architect can be visually aware of key stress points and weakness in a structure, for which further manipulation and algorithmic modelling can be used to provide a solution to the problem. 26

A.2.

However, for me personally, parametric modelling and the overall encompassing umbrella of design generation is focussed on the concepts of the curvilinear. This can be assumed that the field is intoxicated with the form due to it allowing it to be expressed, the ideas which architects had continually overlooked or stopped exploring due to the complexities inherent with designing the curvilinear. Why would a field which is opening up new design opportunities take a backward step and further hone a craft of geometric and humanely (on the premise that humans could create it from their own knowledge) rational components? This is the key, I believe, that the field of computational design is rife with the over-dramatic, highly-evocative design. We want to explore the previously unexplorable, delve into the domain of the new and unknown, and sap of the knowledge and forms which can come from within it. Yet, the issue remains for computational design that much of the remaining structure is overlooked. THE_SYSTEM LAB seemed so keenly focussed on the concept of creating a facade to evoke the connection between the users and the onlookers, that part of the exploration of a buildings function is lost. As depicted in the image (below), a severe disconnect occurs between the external facade and the internal facade. Much attention was paid to the highly computerised external facade and exploring the possiblities of modelling beyond what is capable of engineering, that the function of the building, which drives itâ&#x20AC;&#x2122;s form, became less important. Yes computational design has opened up a new, unexplored world of possibility, yet the function of a building cannot be overlooked to create the idealised form.

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A.3.

A.3. CONCLUSION The world of computational design is dramatically altering the field of

design in ways previously unknown. Designers are no longer using the tools at their disposal simply to convey what was previously known into a drawing, rather architects are using computational tools to extrapolate more accurately their exact design ideas. Computers are no longer a surface to aid with design, they have become a surface to create design, in this way, computational modelling is not just changing the way we design, is is changing the designs themselves. Until the 21st century, concepts and key ideas some architects in the ideological field of â&#x20AC;&#x2DC;futurismâ&#x20AC;&#x2122; would remain just that, an ideology. However with the aid of mass computational software, anything and everything is possible, given that an original strand of an idea is set forward. Although computational design is becoming highly beneficial to the field of design, what dictactes that field, and whom is the (or a) designer is becoming plagued by that which is supposed to aid design. As computational parametrical modelling tools is a software, it has become widely avaliable to the public, and now a non-trained person can set forth a set of parametres into a programme such as Rhino, and a solution is created based of the algorithmic properties inherent within the software. Everybody is now capable of becoming a designer. Therefore it is even more necessary in the 21st century that a hierarchy of design be maintained. Although a amatuer designer can create a form, it is left up to the professionally trained to determine the fascets of a concept which are feasible and constructable. A model on a screen, which isnâ&#x20AC;&#x2122;t bound by the parametres of reality, must at some stage, in order to be deemed a feasible design, must ultimately stand up to the parametres of the material world. Design thinking has taken a boost as a result of the digital. No longer are designers bound by a humanistic computational system (the brain), a computer can be used to create a rapid set of solutions to a problem. Designers are the ultimate winners from computational design. A solution for a problem can be attained in a matter of seconds with feedback being provided alongside, which allows futher manipulations and refinements to occur to create the ideal form to best solve a problem. It is due to the tandem wotk that computer systems have with designers to solve problems, that designers are no longer bound by a known reality, they are bound instead by their imagination. 29

A.4.

A.4. LEARNING OUTCOMES At the beginning of the semester I was merely only aware that

computational tools were avaliable, and chose not to utilise them on the premise that they were designing aids, and not tools for designing, themselves. Designing has come a long way in a short amount of time and has a long, if not infinite, way to go, such is the beauty of the computational system. Just as a piece of paper can be drawn on an infinite amount of way and the tools to be used on the paper are numerous, the tools avalibable on systems such as Rhino can be used to create a wide variety of designs. I believe I was initially apprehensive in opening up towards parametric modelling on the basis that my instinctive attractive to architecture comes in the form of simplistic geometric shapes to create a form, whereas, rather naive of me, I was under the assumption that parametric modelling was wholicially the realm of curvilinear, evocative design, a blanket to be overlaid onto a form. However through even the early stages of the course I have become aware of the capacity and the benefits of using the new softwares avaliable to express my ideas. Yes they can be highly curvilinear parametric models, but even geometric forms can be aided dramatically through the inherent design solutions inbuilt into software systems. Buildings such as Sou Fujimotoâ&#x20AC;&#x2122;s â&#x20AC;&#x2DC;Many Small Cubesâ&#x20AC;&#x2122; which are geometric in form, utilised algorithmic software in order to create a hightened sense of simplicity. It would be naive of a designer now, with all the tools at their disposal, to think that a design create purely from their own mind and hand would be naturally the best form to solve a problem. If the software is built waiting for a probem to be inputted to output a solution, it must be used. Even if I continue to dislike parametric modelling, it is only by delving into that which you dislike and unlocking its complexities and forming a greater understanding of it, that a more rounded and informed dislike can (or resultantly not) emerge.

A.5. ALGORITHMIC SKETCHBOOK The ability to utilise algorithmic modelling software allows rapid iterations of a model to be produced, alongside the increased capability to explore different techniques to both construct and de-construct an element.

Fig.1. Shows the ability to use the populate tool in order to deconstruct an element into random geometry. I liked the transgression depicted in this sequence of images as it is clear how the element has evolved from the initial shape, into itâ&#x20AC;&#x2122;s final form. Fig.2. The use of arcs allows two lines to be connected in a uniform manner and lofted into a shape. This highlights the capability for software to create a 3-Dimensional model rapidly, whilst the creation of nodal points along the curves allows for further manipulation of geometry, and eventual depiction of a fabrication technique. Fig.3. I chose these two images to be stand as representatives of my understanding, and the ability to create a grid across a surface. This was initially confusing for me as I struggled to understand how to create and translate a grid across a surface in a uniform fashion. However, the ability to manipulate the protrusion, concentration and warping of the grid allows for diverse and complex grids to be translated across a surface. The use of parametric modelling tools and exploration through algorithmic software highlights an entirely new form of design that I was previously unwilling to delve into due to the complexities inherent within it. However, upon having undertaken just a minor aspect of the capabilities of computational software, I have become aware of the great benefit into itâ&#x20AC;&#x2122;s use in aiding and helping to explore the design process. However, the downfall of algorithmic software is that direction was required in creating such designs, which caused much of the understanding of the components to become lost.

A.5.

Fig.1.

Fig.2.

Fig.3.

A.A. REFERENCES 1.

Fry, Tony, Design Futuring (Oxford: Berg, 2009)

2. Cooke, Robert, ‘Urban And Architectural Sustainability In The Gulf’, Architectural Design, 85 (2015), 106-113 <http://dx.doi.org/10.1002/ad.1860> 3. Rosenfield, Karissa, ‘Sheikh Khalifa Medical City In Abu Dhabi / SOM’, ArchDaily, 2012 <http://www.archdaily.com/225153/sheikh-khalifa-medical-city-in-abu-dhabi-som/> [accessed 8 March 2015] 4. Renzo Piano Building Workshop, ‘London Bridge Tower’, 2015 <http://www.rpbw.com/project/58/london-bridge-tower/> [accessed 9 March 2015] 5. Ibid. 6. Cilento, Karen, ‘The Shard / Renzo Piano’, ArchDaily, 2009 <http://www.archdaily. com/33494/the-shard-renzo-piano/> [accessed 9 March 2015] 7. Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), p. 7 8. Garcia, Mark, ‘Future Landscapes Of Spatial Details: An Interview With Philippe Rahm’, Architectural Design, 84 (2014), 78-85 <http://dx.doi.org/10.1002/ad.1784> 9. Zaha-hadid.com, ‘Dongdaemun Design Plaza - Architecture - Zaha Hadid Architects’, 2015 <http://www.zaha-hadid.com/architecture/dongdaemun-design-park-plaza/> [accessed 14 March 2015] 10. Parker, Ralph, and Tim Lucas, ‘High Definition: Zero Tolerance In Design And Production’, Architectural Design, 84 (2014), 74-81 <http://dx.doi.org/10.1002/ad.1697> 11. Db, Leigha, ‘Richard Wilson: Slipstream At Heathrow International Airport’, designboom | architecture & design magazine, 2012 <http://www.designboom.com/art/richard-wilson-slipstream-atheathrow-international-airport/> [accessed 20 March 2015] 12. Peters, Brady, ‘Computation Works: The Building Of Algorithmic Thought’, Architectural Design, 83 (2013), 8-15 <http://dx.doi.org/10.1002/ad.1545> 13. Rosenfield, Karissa, ‘Sou Fujimoto Constructs Inhabitable Nomadic Structure For Parisian Art Fair’, ArchDaily, 2014 <http://www.archdaily.com/561811/sou-fujimoto-constructs-inhabitablenomadic-structure-for-parisian-art-fair/> [accessed 20 March 2015] 34

A.A.

14. Ibid. 15. ArchDaily, ‘Hannam-Dong HANDS Corporation Headquarters / THE_SYSTEM LAB’, 2015 <http://www. archdaily.com/610002/hannam-dong-hands-corporation-headquarters-the_system-lab/> [accessed 20 March 2015]

CRITERIA DESIGN 37

B.1. RESEARCH FIELD The advent of digital design has allowed for the creation

and further exploration of different design ideas and concepts. Tessellation is an aspect of design that has been able to be explored and effectively implemented into contemporary parametric design. Tessellation at its purest form is the panelling, or tiling, geometries across a single surface, without gaps of overlaps, with a single panel of geometries being replicated across the surface. In this way tessellation both creates a surface unbroken by the geometry held within, as well as solving an important design question; how to create a visually pleasing ornamental surface of any size needed. However, with the advent of algorithmic modelling tools, which has separated the designer from the direct bulk of design problem solving, that tessellation can be perceived from a contemporary perspective as something more tangible, and encompassing.[1] Architecture, before parametric modelling, saw the employment of tessellation more attuned to the strict definition of tiling upon a planar surface. This faรงade treatment saw the employment of irregular geometries, aside from rectangular building blocks, to create an overall form that contradicted the overall geometry of the faรงade as a whole. The original intention was to create an interesting textural quality of the building, instead of the stark regulated faรงade if left unadorned. This preoccupation with geometric ornament is deeply entrenched within the Islamic world, which explored the capabilities of inter-locked geometries across surfaces within Mosques. The Shia Mosque in Iran emphasises the complexity of design that can be attained through the simple replication of 3 to 4 geometric forms, serving to portray the simple mathematical understanding needed in order to allow for the creation of such a form.[2] [3] As tessellation is a holistically mathematical endeavour, the obvious increase in mathematical understanding and capabilities, will translate into more complex, and engaging forms of design. 38

B.1.

With parametric modelling tools being mathematical tools for design, it is evident that contemporary modelling tools will only serve to increase the potential of the tessellation. Federation Square, although a contemporary precedent using computational techniques, emphasises the transitionary stage of tessellation from interlocking geometries towards highly expressive, yet regulated architectural forms. The reason it can be considered as a transitionary stage in tessellation is its relation to the core concept of translating a regular, interlocking design onto the planar surface. As complex a surface may appear, the inherent idea of geometrical replication reigns true. Five single triangles are fused in a modular system to make a larger panel, from which multiple panels are joined to make a faรงade.[4] The project Tessellated Manifolds by students from Washington University, emphasises the potential of parametric modelling in the creation of complex, engaging pieces of design which responds more knowingly to both the site conditions and the users. Much research was made of Islamic Mosques and their use of pattern, using in conjunction to this was parametric modelling tools in order to create a coherent, visual base form which to form a more complex model on the basis of the mathematics attained. The project was complete through both physical experimentation and parametric modelling in order to create the final solution. The use of parametric modelling tools allowed a complex, 3-Dimensional mathematical form to materialise that was specific in its response to site.[5] Herein lies the crux of tessellation in a contemporary sense. The beauty of tessellation is that it is a mathematical form of design, with interlocking geometries binding together to form a coherent whole. Parametric modelling tools are a mathematical form of design that utilises algorithms to solve design problems in a coherent manner, through mathematical equations. As

[1] [2] [3] [4] [5]

B.1.

artificial intelligence is an endless source of knowledge and understanding, the ability to create highly articulate architectural forms is exponential. So long as the base geometries form a coherent and replicable module, which requires human input to understand the basis of such a module, computational software can translate the modules into any shape or form, however dictated by the malleability of the original module around different junction points. As computational modelling becomes more intelligent, more highly sophisticated forms are created which have the tendency to distort the line between surface replication and an irregular arrangement of geometries on a surface, which do not have a unified bond. The surface mesh is the clearest indication of a replicated geometry onto a surface, however as that mesh is translated across the curves inherent within the particular form, aspects of the original base mesh can become distorted and irregular to their bounding meshes. This complexity is alluded to within the thesis Fibre Composite Adaptive Systems whereby a base mesh of hexagons has been extruded and replicated across a surface. The inherent difficulty to determine it as a true tessellation lies in the fact that the base mesh is distorted in sections. However, the fact that the mesh, although irregular in appearance, still follows a regulated pattern in order to form a coherent, complete structure, highlights the true test of a tessellation and its justification of a solid, interrelated surface of differing geometries.[6] I believe that the benefits of using tessellation within a design is the ability for it to create a more visually appealing surface onto an otherwise stark plane, with the more complex the base set of geometries are, the more the visual effect will envelop the design. Along with this is the ability for tessellation to contort to any form, be it geometric or curvilinear, thanks to the capacity of parametric modelling systems. Due to its replicated modules, the fabrication of tessellations is relatively simple as only one single part must be created (over and over) in order to create a coherent whole.

[6]

B.2. CASE STUDY 1.0 VOLTADOM

Located at the Massachusetts Institute of Technology (MIT)

SKYLAR TIBBITS BOSTON, UNITED STATES 2011

in celebration of MIT’s 150th Anniversary alonside the FAST Arts Festival, VoltaDom is an installation created by Skylar Tibbits alongside his firm SJET’s which encompasses a corridor within the MIT campus. The project team drew inspiration from the historic ceilings of cathedrals which are bounded by repetitious ceiling vaults along their entirety. The vault is a simple curved arch of four bounding points, and it was this concept which was replicated over the surface to create a coherent arched structure.

FAST Arts Festival’s intention is to demonstrate how ‘the tools of technology, invention and fantasy can transform the physical environment into thought-provoking, breathtaking ways’, and it was from this brief that SJET created its articulation of form.The use of the vault inherently gives further 3-Dimensional articulation to an otherwise 2-Dimensional surface form of an arch. By penetrating each surface vault, streams of light and framed views are created both internally and externally to the structural composition, adding to an overall sense of visual play and pleasure for the user. Another consideration for the design team was the to push the architectural concept of the ‘surface panel’ to its extreme whilst maintaining relative ease of construction, a balance which is difficult to achieve whilst maintaining the integrity of both interests. The individual double-vaulted sections protrude individually outward in a sporatic manner, which further alludes to heightened 3-Dimensionality. However, by maintaining a cohesive four-points of contact, the means of transferring a complex form of curved vaults into developable strips, which can be rolled into the conical form.[7] [8] VoltaDom is a higly complex installation of design, which, I believe, exhibits the characterists of tessellation in a contemporary form. The use of repetitive conical forms to create a coherent whole emphasises the use of pattern in order to create such a form. However, it is apparent that computational modelling is crucial to such a design in order to solve the geometric complexities of combining vaulted cones. The pattern itself (being constructed of cones) allows for a vast level of experimentation through the means in which curves of different sizes, heights and orientations can combine into a comprehensive whole. [7] [8]

B.2.

HEIGHT MANIPULATION

RADIUS MANIPULATION

SEED MANIPULATION

POINT MANIPULATION

P12 P16

S2 P15 S2 P29

R0.51 R0.76

H1.83

P28

P35

S5 P15

S5 P33

S10 P18

R0.51

R1.00

R0.75

H1.41

H2.00

H1.48

DOMAIN SURFACE 2D VORONOI 46

B.2.

V0 0.8 V1 0.5

V0 0.7 V1 0.6

LB 1.0 UP 0.5

LB 2.2 UP 0.6

LB 1.2 UP 3.3

LB 2.3 UP 1.1

GEOSURFACE

B.2.

GEOSURFACE ITERATION 2

GEOSURFACE ITERATION 5

GEOSURFACE ITERATION 7 50

B.2.

In Geosurface Iteration 2, my intention was to push the bounding surface in

order to extrapolate the potential geometry that can be achieved. The use of this tool allows for dramatic manipulation of form across the Z-axis in order to create a more evocative, surface which appears to inspire movement in its form. Although the form created is not as comprehensive and solid as the initial VoltaDom project, the ability to trim surfaces together could allow vaulted walkways to be created under this surface.

Iteration 5 was a basic manipulation of the bounding surface away from

the rectangular form provided and beginning to explore different forms. I decided to populate a triangle in order to establish how the conical form can manipulate to different geometric forms. This creation emphasises the capacity for the tessellated form to be transfered across any geometric surface, highlighting the potential of a tessellation.

Geosurface Iteration 7 was the furtherest form from the original structure

which I achieved. It appears difficult to visualise how this form is a tessellation of pattern due to the free-form style following an irregular bouding curve. However, this created form highlights how any geometric form, through the use of computational experimentation, can be trimmed into a cohesive structure and form complex, and highly manipulative structural forms.