Gates holly 583535 parta by Holly Saunders

AIR

Holly Gates

Journal S2 2017

Semester 2, 2017 Holly Gates Tutor: Finnian Warnock

Design Journal

Studio AIR

Contents 06

0.0 Introduction

Part A: Design Conceptualisation A.1. Design Futuring

Precedent 01 - Jacque Fresco: The Venus Project Precedent 02 - EcoLogisticStudio: Algae Folly A.2. Design Computation

Precedent 03 - MvS Architects: The Centre for Ideas Precedent 04 - Tom Wiscombe: Lo Monaco House A.3. Composition Generation

Precedent 05 - ICD/ITKE: Research Pavilion Series Precedent 06 - Jose Sanchez: Plethora Project Series A.4. Conclusion A.5. Learning Outcomes A.6. Appendix - Algorithmic Sketches

References

Figure 0.0.01: Triangulation Algorithm 05

0.0 Introduction

My name is Holly Gates, and I’m currently a third year student undertaking the Bachelor of Environments at the Melbourne School of Design.

architectural norms. When I ask ‘why’ and ‘what if’ I endeavour to find a new way to see and approach problems.

I have a passion for architectural discourse and design from an environmentally ethical approach. My key interest lies in reducing the greater cost of societal living in an unprecedented, tricky economic climate which ideally results in less miles between our needs and our doorstep. I find the challenge to truly understand the built environment incredibly engaging. So much so, that I’ve built a hobby around challenging

In this journal you will find that I rely on 3D Modelling software; these are McNeel’s Rhinocerous with Grasshopper, Lunchbox and Kangaroo plug-ins. I also like to explore design through the Autodesk applications such as Autocad and Revit, on various other design projects. I find it liberating to use visualisation software with plug-ins such as these which help the user creatively enhance the uses of particular materials I choose to work with.

The great thing about computer aided design is that it opens a window to the mind of the designer and displays the evolution of the project in real time. Thats why I believe paper (or computer space) architecture is just as influential as built when new designers consider the canvas thatâ&#x20AC;&#x2122;s perpetually evolving from concepts of the past. keeping in mind that we are building a whole human system, Itâ&#x20AC;&#x2122;s important to ask ourselves what such ethical standards look like and mean for a future of design. Also, considering that ethical design largely focuses on human values, one might ask what other values are there when designing for human use?

Part A

Conceptualisation

A.1 Design Futuring

When I read Tony Fry’s assertion of Design Futuring1 I recognised a mandate aimed not at political figureheads but towards architects. I was impressed by his attention towards the speed, scale and complexity of modernity by relating it to elaborate design. The exposition of these designs, whether they are built or remain in model space as a concept, still carry a vast amount of influence on future concepts – especially where technological advancement makes daring concepts feasible. Through computer generation, Fry challenges architects to define their own ethics and to make this integral to collaborative design both now and in the future. Fry calls this ‘design intelligence’ and ‘redirection’ where built and paper architecture are equally influential2. When Fry relates design intelligence to modernity he’s saying designers don’t have a lot of time on their hands, their projects are more complex than ever and the scale of these projects is exponential but that should not detract

Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014). Patrik Schumacher, The Autopoiesis Of Architecture (Southern Gate: Wiley, 2011).

1, 2, 3

4 5

from designing ethically. I believe that using software in the conceptualisation phase makes achieving both design intelligence and a social redirect, possible. Being able to see it in model space allows for a great deal of critical reflection and revision as the design progresses. This in turn reduces human error and allows a variety of outcomes. It becomes a thoroughly explored concept and the embodied logic, where functionality liberates the mind of technical bearings. The sheer speed of this process provides incentive to channel further creative analysis. Therefore, when Fry says “The state of the world and the state of design need to be brought together3” he is asking us to design so that the public may have access to ethical solutions that might not have otherwise been available. That’s why the future is exciting and inspires us to design in the first place. Dunne and Raby’s assertion in Speculative Everything4 is to deradicalise futurism socially

and politically to make it more accessible and adoptable. The goal is to reach through complacency, comfort zones and routine to draw out questions or maybe even epiphanies over what is and could be. Critical design is what reinvents the role of the designer who is capable of delivering project answers that might not be feasible but are highly creative and ethical. Creativity is what helps us find the questions we want answered through a clever composition of technologies. The more possibilities through software development, the greater the possibility that we’ll arrive by design at an ecologically sound and preferred future. Schumacher’s concept of autopoiesis5 in design makes for a question of balance between ethics and necessity. It could be that potential and paper design, never built, informs the academic mandate for a system that is capable of self-maintenance and resilience within it’s context.

I will address the Futurist Jacque Fresco founder of The Venus Project and EcoLogisticStudio’s Algae Folly, on their balance of ethics and design. I aim to build an understanding of how design intelligence may inform designers to make the right choices and relate with enduring logic. If we consider that the volatility of in-fashion design will always go hand-in-hand with a social trend we may understand that it’s this very volatility that keeps architecture relevant. The fear is that architecture will be automated but automation cannot fathom ethics. We will always need human input to best reflect who we are in a world that we want to live in. As architects, we need to be better people who are capable of safeguarding and restoring intrinsic values. The architect has a role in deciding what those values are, which then brings us back to Fry’s mandate for social redirection, that we may design a future where we all wish to be.

“The state of the world and the state of design need to be brought together”- Tony Fry

Figure A.1.01: Concept: Futuristic City

Jacque Fresco 12

6, 7,

Image Figure A.1.01 and A.1.02 The Venus Project, Concept, 2017 <http://heapsmag.com/venus-project-futuristic-society-run-by-technology-interview-with-project-founder> [accessed 7 August 2017].

Figure A.1.02: Concept: Central Pavilion

The Venus Project 13

Figure A.1.03: The Venus Project Research Centre, Florida USA

Fig A.1.03: The Venus Project, Research Centre Florida USA, 2017 <http://heapsmag.com/venus-project-futuristic-society-run-by-technology-interview-with-project-founder> [accessed 7 August 2017].

The Venus Project attempts to make many changes to society in one sweeping design. The reason I chose this project was to link ethics in architecture with merely using analog methods to design. I hope to consider this as a counter argument for using a classic manual form of algorithmic design: the geodesic dome, which has been calculated to use the least amount of material to enclose a space. This design did have to withstand extreme weather conditions, being located in Florida, USA - which also influenced the design where it was situated. This concept continued to manifest in all future theoretical concepts developed by Fresco and ignores the implicit circumstances outside of his home state. It is important to note that by linking analogue methods of algorithimic design with a futurist agenda Fresco’s radicalism undermined an ethically legitimate goal for social redirection. Franco overstepped himself as an architect in his effort to abolish monetary transactions for goods and services by moving to a resources-based economy. This is reflected in highdensity urban designs. Admittedly, the value of The Venus Project does not lie in architectural design, but in the dialogue created through collaboration of science and design. So when Tony Fry says in ‘Design Futuring’ that “redirective design practice can never be universal, it can only ever be situated and circumstantially reactive”10 he was giving us an insight into how society affects change. It isn’t enough to have ethical intentions. Changes also have to be relevant to the social context, timely and made with reference to existing norms.

The Venus Project, formerly registered as Sociocyberneering Inc. is, on paper ecologically sound according to their original intentions. The concept was fatally flawed in implementation, rather it was the science behind our ecological footprint that can be managed through responsible design practice. The research centre in Florida developed in the 80’s12, remains our only built example and the hub of the project and only tangible link to architecture. Their radicalism is what undermines their effectiveness. As Fry suggests, change is affected by reacting to the context and they are intellectualising the reaction to current societal problems but they are doing it in such a radical way that they alienate the people they are trying to reach. One revolutionary aspect in contrast is that they did recognise the importance of creativity and how vital it is to solving existing societal shortcomings.There is value in the many seminars, documentaries, public talks and tours run by Franco and Meadows as it builds a dialogue around ecological ethics. Summarily, The Venus Project has raised ideological deficits in architectural and societal norms. Irrespective of whether or not this project was successful in it’s own intentions, it was successful in opening that dialogue so that others may build on their research. It is not the role of the architect to dictate how society functions, but without overstepping our function, architects can design for a more palatable middle ground.

“By its very character redirective practice can never be universal or theoretically generalised. It can only ever be situated and circumstantially reactive” -Tony Fry

Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). Jacque Fresco, “This Is What The Future Should Look Like: Jacque Fresco’S The Venus Project”, Collective Evolution, 2017 <http://www.collective-evolution.com/2013/11/17/this-is-what-the-future-

10, 11 12

Figure A.1.04: Algae Folly: Tank and Frame

EcoLogistic Studio 16

13, 14

Image A.1.04 and Image A.1.05 “:: Algae Folly - Ecologicstudio ::”, Ecologicstudio.Com, 2017 <http://www.ecologicstudio.com/v2/project.php?idcat=3&idsubcat=71&idproj=148> [accessed 7 August 2017].

Figure A.1.05: Algae Folly: Internal Frame

Algae Folly 17

Figure A.1.06: Algae Folly: Pipes and EFTE Skin

Figure A.1.07: Algae Folly: Full Design Installation

According to Tony Fry, “finding ways to curb our currently autodestructive, world-destroying nature and conduct15” is our design direction. The challenge is to design ethically with a new means of technological development and evolving practice. EcoLogicStudio’s Algae Folly is a perpetual selfcontained and self-sufficent system. This system expands on the functionality of architecture in the urban setting (Figure A.1.07). Perhaps less radical than The Venus Project, but still thoroughly revolutionary; this team of designers has integrated a variety of disciplines to resolve this technology over a period of six years. Collaboration with microbiologists, agronomists, EFTE Manufacturers and computer systems engineers has resulted in a bio-digital design with a living, edible skin (as seen in Figure A.1.06). This collaboration between disciplines is a significant step forward for architecture as the functional application of this technology exhibits passive and direct benefits. This instigates change as the technology is refined and becomes easier to replicate on a larger scale. This also contributes a readily available supply of chlorella and spirulina that can be integrated into a facade and harvested regularily.

The strain of algae in use through this project is Chlorella Vulgaris, native to Japan and Taiwan, though they also experiment with Spirulina; chosen for their high nutrient value as a supplement. With the success of Algae Folly, EcoLogicStudio have expanded on the concept with their design for the Benetton Tehran Headquarters competition (Figure A.1.08). Although it was not successful it has taken the concept of Algae Folly and expanded upon it. Online magazine 33rd Square gives us an extensive list of deliverables for this concept design: “an innovative approach to materials and systems engineering, where thermal mass, radiation control, cooling, on site carbon sequestration and renewable energy generation has been embedded in the architectural fabric of the building” of the concept below. Imagine the impact of a green building in a cityscape - it’s a provocative statement about the importance of ecologically responsive architecture. This concept broadens our understanding of the role of architecture. Algae Folly is proof of concept that the materials we choose to implement in our designs can be alive.

Figure A.1.08: Concept: Benetton Tehran Headquarters

Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). 15

Images Figure A.1.06: and Figure A.1.07 ”:: Algae Folly - Ecologicstudio ::”, Ecologicstudio.Com, 2017 <http://www. ecologicstudio.com/v2/project.php?idcat=3&idsubcat=71&idpr oj=148> [accessed 7 August 2017]. 16,17

Image A.1.08 Emily Matchar, “Will Buildings Of The Future Be Cloaked In Algae?”, Smithsonian, 2017 <http://www. smithsonianmag.com/innovation/will-buildings-future-becloaked-algae-180955396/> [accessed 11 August 2017]. 18

A.2 Design Computation The biggest question presented by Kalay19 and Kolarevic20 revolves around how to use computational design methods advantageously. I previously established that the designer is required to input ethics, but how do we ensure that creativity isn’t limited by software? I believe the answer lies in two factors, the first of which is that all architectural designs are inherently four dimensional. For these designs to compete with modernity, designers need to grasp ‘feasibility analysis’ as quickly and efficiently as possible. The feasibility analysis is developed from limitations imposed by the site, brief, client and a host of other factors, in conjunction with the heirarchy of problems discovered amidst putting together the design. It’s less efficient to comprehend the issues that arise when viewing in two dimensions. I once attended an open house where a balustrade stopped a window from opening; a dynamic model would have shown what the plan, section and elevation may not so that the design fault didn’t occur. To illustrate, let’s consider the tesseract. If I draw in plan, section and elevation a box within a box, I inevitably end up with either axonometric or isometric perspectives.

19, 22 20, 21

Yehuda E Kalay, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004). Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003).

By the nature of the four dimensional shape I can safely assume each orthogonal perspective is the same as the one I’m looking at. If then given a brief that says I need a hollowed out bench space in the bottom right corner and a storage cupboard towards the front, how is that best represented for construction? If the brief states the storage cupboard must be diagonally opposite and facing inward it would obscure the internal logic of the design. Time could be wasted on replicating iterations of the design where all nooks and crannies are visible across all drawings, this is a static, normal approach. Why not instead render it in a four dimensional space where I can better quantify all dimensional, fabricative and analytical information in a fraction of the time. This represents a paradigm shift where computation has entered the design phase and become an extension of the mind of the architect. I could then go on to iterate a series of variations on the bench and cupboard space and go back to the client with a contemporary, possibly asymmetrical geometric solution. So, when Kolarevic states “Models of design capable of consistent, continual

and dynamic transformation are replacing the static norms of conventional processes”21 I sympathise as it is obviously more efficient to create without being limited to standard conventions; this affords versatility.

The term ‘file to factory’ illustrates this relationship as an express link between the conception and construction of a design, with coded accountability measures.

The second factor that advocates working in four dimensions, digitally, is that the arrangement of space gives greater control over every surface with immediate logic- based feedback. As I model inside the tesseract I can control planes of space within it’s X, Y, and Z coordinates. If I then wish to modify anything along that plane I can establish a U and V coordinate - even on an undulating surface. Furthermore, I can manipulate a W value to scale my design so that I can see if my cupboard clips the bench space.

Because of this liberty in design, new and thoroughly complex ideas are computationally achievable. We see this complexity in precedent with the examples of Centre for Ideas by MvS Architects and the Lo Monaco House by Tom Wiscombe.

Kalay makes a specific point about computational design being the fail-safe against human error22. Being digital and accessible instantly for all stakeholders. These files become the basis for timely collaboration which means more room for error with the more people accessing the design. However computers are capable of maintaining the integrity of the file by alerting others to human error as it occurs.

As long as we aren’t relying on the tool to feed us the ethics, or client/environmental circumstances, computer generation is advantageous. Designers use computers to better comprehend their solutions and deliver their exclusive approach for construction in an entirely comprehensive way.

“Models of design capable of consistent, continual and dynamic transformation are replacing the static norms of conventional processes” - Branko Kolarevic

Figure A.2.01: MvS Architects: The Centre for Ideas

MvS Architects 22

23, 24

Figure A.2.01 and Figure A.2.02: “Home:Projects:Victorian_College_Of_The_Arts [Minifie Van Schaik Architects]”, Mvsarchitects.Com.Au, 2017 <http://www.mvsarchitects.com.au/doku.php?id=home:projects:v

Figure A.2.02: MvS Architects: The Centre for Ideas

Centre for Ideas

victorian_college_of_the_arts> [accessed 8 August 2017].

Figure A.2.03: MvS Architects: Cent Figure A.2.04: MvS Architects:

25, 26, Figure A.2.03 and A.2.04 â&#x20AC;&#x153;Home:Projects:Victorian_College_Of_The_Arts [Minifie Van Schaik Architects]â&#x20AC;?, Mvsarchitects.Com.Au, 2017 <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 8 August 2017].

27 Figure A.2.05 Bond University - FSD, Minifie Van Schaik Architects, 2017 <https://vimeo.com/102084730> [accessed 9 August 2017]. Image pulled from 20:57 28 Bond University - FSD, Minifie Van Schaik Architects, 2017 <https://vimeo.com/102084730> [accessed 9 August 2017]. 30:48

Computational design replaces static norms with dynamic generative ideas that bend the rules of conventional form. This is especially true of MvS Architects and their design for Melbourne University’s Centre for Ideas. Their use of euclidian geometry, materiality and compositional elements articulate the relationship between the virtual and “the fully materialised28” exhibited in the facade and framed internal spaces. As a centre for ideas, the building facade has become a metaphor symbolising the playfulness and creativity that fosters inspiration. The initial concept behind this design was an analogue form-finding exercise with the use of sink holes on a plane (Figure A.2.05). By sinking sand through these holes, they playfully formed a manually derived voronoi pattern29 (Fig). Whether the concept is analogue or digital, the euclidian properties of this form-finding exercise gives us a better understanding of how computers can better simulate mathematical outcomes attributed to four dimensional spaces. This project was then manually coded30 and resolved with the aid of computer simulation as both a way to communicate the concept to the client and refine the design to the client’s satsifaction. This being the first instance where coded software was used in the design highlights Kolarevic’s point about using computation advantageously. More specifically, computation has

not infringed upon the creative process. It’s much more difficult to refine a design when the mathematical input is not immediately and visually obvious. Computer simulation is therefore the most effective way to resolve these complex conic boundaries under this time-sensitive project. It also enabled the refinement of internal spaces such as the light cavities in (Figure A.2.04) The role of computing in practices like MvS Architects is much more consistently represented. Designs where spatial arrangement involves complex angles and curved geometry. In this example, the use of sharp cornering in the facade needed to be resolved along a sweeping, concave boundary.This formed an unconventially sharp edge, (Figure A.2.03), made even more sculpturally evocative through the choice of material. In this way computing continues to impact spatial arrangement to inform non-traditional framing of forms and form-finding techniques. The manufacturing and construction processes are streamlined so that there is no human error in the file-to-factory process. Modelling the final concept in a four-dimensional simulation makes potentially complex forms easy to identify and resolve. This design is one of my personal favourites as I find it inspires creativity, a quality I find endearing.

tre for Ideas Centre for Ideas Top Internal

Figure A.2.05: MvS Architects: Analogue Voronoi Concept

Figure A.2.06: Tom Wiscombe: Concept: Lo Monaco House External

Tom Wiscombe 26

31, 32

Figure A.2.06 and Figure A.2.07 Tom Wiscombe, Lo Monaco House, 2017 <http://tomwiscombe.com/> [accessed 9 August 2017].

Figure A.2.07: Tom Wiscombe: Concept: Lo Monaco House Internal

Lo Monaco House 27

Tom Wiscombe breaks all conventions of design to build from an entirely conceptual basis. It’s almost as if he’s teasing us to take architecture beyond the norms of conformity. He has taken inspiration from several sources including his early experience with NASA34 and merged conceptual ideas into a computationally obscure, hypnotic form. An essential aspect of this design process is the capacity for “consistent, continual and dynamic transformation34” which is, according to Kolarevic, now replacing the conventional paradigm in design. This form may only be possible to achieve through modelling software but command of that software leads to a greater capacity for intuitive, intentional design. The geometric irregularities and asymmetrical composition requires four dimensional computation so that the design of overlapping space be thoroughly explored and resolved. All the elements of composition, design intent and general program amount to a highly complex multi-story design that embodies enormous conceptual realisation. Wiscome has incorporated various influences to arrive at this unprecedented architectural outcome. Another source of inspiration evident in this design comes from Constantin Brancusi36, a sculptor of human and animal forms that Brancusi would reduce into minimalistic abstractions. Abstraction remains a theme throughout Wiscombe’s works not limited to this particular example that could bear resemblance to canidae cheeks, ears and snout. This inspiration also explains the use of a pedestal on which the crystalline form sits, almost as though it’s on display. Computation seems the only way to visually tie these remote concepts to the innovative and otherwise inconceivable array of

The central importance of this design is the fundamental use of computational design so that it is advantageous rather than restrictive. There are many aspects in this design that do just that. Take for example the internal spatial arrangement that is expansive and cavernous, making it possible to accomodate sharp geometries that would otherwise be lost space. The unconventional use of wing-like points in the program exemplify the liberty of form achievable. The crystalline component is clad with panels that meet in micro-seams that resemble joins in leather to purposely obscure construction techniques. Descriptions of the design express the immense variation in emotional and conceptual ideas that it evokes. Shuttle, crystal, leather, cocoon37 (Figure A.2.06); The representational qualities are transcendent. I would say that the culminaton of all these factors makes this concept a major contributor to architectural discourse in redefining practice.

Figure A.2.08 Tom Wiscombe, Lo Monaco House, 2017 <http://tomwiscombe.com/> [accessed 9 August 2017]. James Holloway, “Future Forms: Lo Monaco House By Tom Wiscombe Design”, New Atlas, 2013 <http://newatlas.com/lo-monaco-house/27542/> [accessed 11 August 2017]. 35 Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003). 37 Marija BOJOVIC, “Lo Monaco House By Tom Wiscombe Design”, Evolo, 2013 <http://www.evolo.us/architecture/lo-monaco-house-by-tom-wiscombe-design/> [accessed 9 August 2017]. 33

merging geometries. The processes employed during the design phase exceed conventional practice. This is an example of how the architect is free to interpret the frame, shape, space and micro-articulation points. It is this creative freedom that is central to Kolarevic’s argument.

34, 36

Figure A.2.08: Tom Wiscombe: Concept: Lo Monaco House: Aerial

A.3 Computational Generation

“ For computational techniques to be useful, they must be flexible, they must adapt to the constantly changing parameters of architectural design.”

-Brady Peters38

Designers had a CAD department to rely on for drafting and returned hours later for the plotted points. At the same time, private industry was developing specialist software for greater refinement of the automotive and aero chassis. These CAD Operators were exorbitantly expensive making their services exclusive to industries that were capable of a financial return after they invested in them. In 1980, a CAD system would sell for US$125,000 per seat. During the 80’s the mainframe and workstations could share over a network and the cost gradually decreased to $50,00041. As these changes in the price of the software reduced, they

Brady Peters and Xavier De Kestelier, Computation Works. p11 The Engineering Design Revolution; CAD History (Bethesda: Syon Research, 2017), p. Chapter 2 <http://www.cadhistory.net/02%20Brief%20Overview.pdf> [accessed 10 August 2017]. Kostas Terzidis, PHD, Algorithmic Design; A Paradigm Shift In Architecture? (Harvard: Harvard University, 2017), p. 206 <http://papers.cumincad.org/data/works/att/2004_201.content.pdf> [accessed 10 Augus 44 Lecture Notes W1, Semester 2, 2017, Design Studio Air 45 “Architizer Editors”, A History Of Technology In The Architecture Office, 2014 <http://graphics.cs.yale.edu/site/sites/files/Arch.pdf> [accessed 10 August 2017]. 38

39, 40, 41, 42

The benefit of computational generation wasn’t fully appreciated in practice until computers became capable of running algorithmic simulations. This was a shift from manual drafting to a digital interface of mathematically defined curves developed within the United States and Canada39. The additional development of Oslo Algorithms further resolving B-spline functionality in 1979 meant that suface definition techniques for automotive and aerodynamic designs improved significantly40. The research was being developed within universities resulting in published articles which could then be accessed so that development was possible. Practices had to wait until the technology implemented the research findings into an industry-relevant system.

became more accessible and architectural designers were able to implement them in workstations. There was a transition to feature-based parametric design called Pro/ENGINEER in 1987. Drafting as a profession has all but disappeared in response to the development of this software. The process of design conception and plotting once required multiple departments, now one person is capable of the entire process. Scripting cultures developed through Frank Gehry’s use of CATIA42 software for the 1989 Disney Concert Hall followed by Autodesk’s release of 3D Studio and Revit in 199745. Then later McNeel’s Rhinoceros in 199844 and the development of explicit history for Rhino in 2007 heralded the use of four dimensional modelling in an accessible, affordable capacity. However, the response has still been to apply drafting techniques in digital format. Algorithmic thinking has a limitation in its application which is only now being overcome. This limitation was a development of cooperative shifts in the design paradigm43 where the function of algorithmic design, both, influences unprecedented discovery and documents an architect’s intuition and ingenuity. It is the merging of the old paradigm of

st 2017].

design intention, mixed with the newer, more digitally integrated paradigm that blends computation with creativity. The machine becomes the new extention of the human mind in place of the pencil, but much more so - a pencil cannot compute. The new forms achievable through advances in software can be much more than parametric. Dynamic systems and versatile programs are now possible. I could argue that there are flaws in simulating physics in the design. Advances in most modelling software isn’t explicitly for architectural simulation. For that reason further advances are needed in the development of interfaces within current modelling programs. However, Architecture projects such as ICD/ITKE Research pavilion series and the Plethora Projects lead by Jose Sanchez and Sergio Irigoyen offer insight into how architects may re-invent their capacity to build their own modelling engines. The difficulty in having architects code their own programs for internal use is the lack of software uniformity and intellectual property rights. Those rights will be owned by the company, not the individual. When the scripting communities begin to break convention and publish their findings it furthers the architectural discourse. The open sharing of concept is what drives further passion for discovery.

Figure A.3.01: ICD/ITKE Research Pavilion 2014-15

ICD/ITKE 32

Figure A.3.01 Image: Archim Menges, ICD/ITKE Research Pavilion 2014-15, 2015 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017].

Figure A.3.02: ICD/ITKE Research Pavilion 2012

Research Pavilion Series 46

Figure A.3.02 Image: Archim Menges, ICD/ITKE Research Pavilion 2012, 2012 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017].

While exploring the role of robotic fabrication on the design process I discovered a composite construction paradigm that combines a designerâ&#x20AC;&#x2122;s creative autonomy with unprecedented concepts that were arrived at through the liberty of the fabrication method. For the purposes of this critique I will briefly focus on three projects from the University of Stuttgart, Germany. These projects are of the research pavilion series - specifically the 2012, 2013-14 and 2014-15 programs of the Institute of Computational Design (ICD) in conjunction with the Institute of Building Structures and Structural Design (ITKE) with collaborative interests in biology and geosciences. The most fundamental question that arises when we arrive at an advanced, digitally fabricated anomaly is: How much is human-driven and how much is the result of computational advances/ limitations? The 2012 model pavilion (Figure A.3.02)) runs through the conceptual phase as a human-driven interpretation of biomimicry. This specific project examined the exoskeleton of arthropods. Factors that deviate from this aspect all revolve around the limitations in the fabrication stage, influencing the materiality and programming required to robotically generate it. The material composition of fibreglass, carbon fibre and ETFE formwork were reasonably light-weight which also contributes to the range of possible design outcomes and how they are situated on-site to achieve a professional quality outcome. To quanitfy this, the design would need to reflect: 1. Heterogeneity, or efficient use of material and composition for optimal material performance; 2. A heirarchy of tensile load transferrence while also maintaining optimal stiffness in the frame and woven members; 3. A functional integration of materials that are chosen specifically for the design intent.49 These parameters create intentional limitations. While this may limit the extent of creative variability in the design, there is still at the core of the concept a human driven intent towards biomimicry. In the 2013-14 design (Figure A.3.03)) a different biometric concept was collaborated upon to similar effect.

The limitation of fabrication styles taking precedent from beetle wings converted conceptually into a woven form. Coursing forward to the 2014-15 model (Figure A.3.01) that uses the woven air bubble of a water spider as its conceptual origin; the similarity of fabricative technique in nature and in digitisation meant that all outcomes, would be fundamentally algorithmic, no matter the human insight. Realising that much of the mathematical processes we imitate, occur naturally, outside our control, there still remains the intuitive desire to implement any specific method that arises.

Figure A.3.03: ICD/ITKE Research Pavilion 2013-14

The limitation is an advanced exercise in creativity set within defined limits. Instead of branching across a variety of computational techniques the process becomes a focus upon technique. One shortcoming is the limitation of materials - for something like this, a weather resistant, nondeteriorating material that can withstand lots of tensile force is just an inevitable requirement. As a further limitation it needs to require less torque to weave than is determined safe for the robot to manipulate. Overloading the robot fails the project. Perhaps the greatest strength of this project, though, is the way it urges the designer to consider design from both a creative and computational perspective.

Finally this concept engages with nonconventional applications of digital fabrication. Itâ&#x20AC;&#x2122;s important not to get so comfortable with existing modelling interfaces that we as designers forget how diverse programmable outcomes can be. We arenâ&#x20AC;&#x2122;t at all obliged to use the Autodesk, Nurbs or BIM software, or anything else - as long as it does not overpower our capacity to engage creatively with the brief.

Figure A.3.04: Jose Sanchez: Plethora Project Series: Polyomino

Jose Sanchez and Sergio Irigoyen 36

Image: Jose Sanchez, Plethora Project, Polymino 2016 <https://www.plethora-project.com/> [accessed 9 August 2017].

Figure A.3.05: Jose Sanchez: Plethora Project Series: Chromomino

Plethora Project Series Image: Jose Sanchez, Plethora Project, Chromomino 2016 <https://www.plethora-project.com/> [accessed 9 August 2017].

The Plethora project is a thesis under the instruction of Jose Sanchez and Sergio Irigoyen which explores architectural concepts driven heavily by a combinatorics paradigm that leans more towards human ingenuity than the previous precedent: The Research Pavilion series. Gaming software adapted to architectural performance in a non-conventional approach to generative forms. This depiction of real life through simulation, while not explicitly marketed to architects can do what other architectural software cannot. The designs explored can be heavily creative and human driven without the hinderance of user-interface dependencies in a parametric system. By exploring repetition of intuitive forms to a finite degree, designers can overcome the rendering limitations of hardware. Additionally, game simulation engines are designed to render complex spaces. With dedicated gaming engines such as Unity and Unreal it’s possible to get a higher level of detail. But they are also likely to overwhelm mediocre hardware.

Figure A.3.06: Jose Sanchez: Plethora Project Series: Polyomino III

“These pioneering works remind us of the indisputable impact digita and think about architecture; as the tools continue evolving, so will th

Jose Sanchez, "THE PROJECT", Plethora Project, 2017 <https://www.plethora-project.com/> [accessed 10 August 2017]. ”A History Of Technology In The Architecture Office”, Archetizer, 2014 <https://architizer.com/blog/a-history-of-technology-in-the-architecture-office/> [accessed 10 August 2017].

The significance of the Plethora Project within architectural discourse is also political and economical. An open source library of concepts that move beyond parametric design is under construction and accessible through their website. They cite Patrik Schumacher’s neo-liberal agenda towards design as a divergent practice, labelling their collectivism as an “architecture for the commons”. in (Figure A.3.04) Polyomino explores interlocking bricks that use minimal material, produce no waste and can be 3D printed in a variety of iterations. What this project offers is an alternative to conventional interlocking members that can be assembled into complex geometries. It’s possible to make those same geometries by assembling these individual components to form. Polyomino III (Figure A.3.05) explores the same concept with a cull-type command that necessitates resolving how members interlock with one another. This results in emergent forms and complex geometric derivatives.

Chromomino (Figure A.3.06) explores connectivity through magnetisation and variable assembly that informs overall shape. The components are colour coded to reflect their combinational potential49. All of these projects are designed to push the parameters of linkable members into complex arrays without the political connotations associated with using parametric scripting. Theoretically speaking, I could use the same concept and explore it through each of these precedent examples and come up with a completely different generative answer in all of them. Using computer software in any capacity will still infringe upon mental associations and this will make us question our role in the design process. That’s acceptible as long as we are aware and actively engaged with the differing paradigms they inspire. I value this project as a way of looking beyond the dedicated software packages.

al tools have had on the way we design he forms and structures we create.”

-Architizer

Image: Jose Sanchez, Plethora Project, Polymino III 2016 <https://www.plethora-project.com/> [accessed 9 August 2017].

A.4 Conclusion A.1 - Design Futuring Drawn together with themes of ethics, design intelligence, social redirection and political direction, Fry, Dunne and Schumacher taught me the importance of retaining relevance in a complex world. The Venus Project helped to illustrate how a great concept can go awry in the implementation phase if the designer tries to change too much far too radically. By contrast, Algae Folly introduces a revolutionary, multi-faceted and evocative use of technology along with the benefits of collaboration. The project adheres to key political issues such as climate change and renewable energies without causing social disconnect. A.2 - Design Computation This component of my research brought themes that necessitate using existing technologies to affect a broad range of issues through design practice. Computational design is capable of teaching core design principles. The translation of mathematical relationships in structured spaces negates human error. Themes also encourage collaboration and refinement of complexity in all aspects of design.

The Centre for Ideas shows us that human autonomy in design is not only possible but distinct. Computers are simply a tool for depicting designs that have some measure of resolution already. Whereas the Lo Monaco House pushed conceptual boundaries and demonstrated that proficiency with these programs will result in generative concepts that are thoroughly refined and incredibly complex, down to minute details. If applied properly, expertise in such programs can actually assist to communicate an even deeper understanding of autonomous design intent. A.3 - Conceptual Generation Building on the previous two stages, I discovered the rapid development of computational methods in alternate design industries. Programs that were developed for automotive and aero industries were slowly integrated and appropriated by architects. No sooner had they done so, than practice began to shift and architects were required to redefine themselves as digitally proficient. Through this, architects had to define creative autonomy and arrived at a complex paradigm shift that would allow creative generation to coexist with structured documentation of concept.

Through the Research Pavilion Series I found that computational solutions are relevant to all stages of the design process so long as reflective criticism and human creativity presides over it. Through the Plethora Project series I realised that design methodology is still profoundly political whether or not it garners innovation. I did notice that no matter the platform, digital design offers the speed, scale and complexity that Fry was so adamant we relate, if for nothing else than to remain future-relevant. A.4 - Conclusion & Proposed Intention My intended design approach will be to consider pattern and biomimicry as a thematic driver of explorative design. This innovation in these concepts comes from the capacity to push precedental boundaries like Tom Wiscombe and the ICD/ITKE projects. I believe that the capacity for exploration through generative practice is what sets this apart from other concepts. The significance of designing with all of this in mind is to contribute to the discourse around architectural innovation and possibly even surprise myself. I find that prospect truly exciting! Sincerely,

Holly Gates

A.5 Learning Outcomes

For the duration of this design we will explore various fabrication techniques through McNeel’s Rhinocerous which they developed for the purposes of modelling four dimensional objects in a two dimensional space. We will also rely on the plugin known as Grasshopper, developed by David Rutten so that through a logical progression of nodes, we may exercise yet more precision over the design in model space. There are further plugins that I can and may explore for increasing control over a system that would take a master architect their career to comprehend in an analogue scheme. We are given the tools to visualise and then build our understanding even before many of us have started our professional career path. This kind of knowledge equips us to find our footing and get a head start on the learning curve. It’s a learning curve that does not plateau, there’s always a new concept/ approach/benchmark to comprehend. That’s what I find so enthralling about this industry. I do feel that my understanding of the role of computing in design has expanded. I have found confidence in a design direction as a result of seeing the success and misconceptions of others. While considering a past project where I was asked to design a boat house with evidence of inspiration from Louis Kahn, my current knowledge would have helped me rationalise my spatial composition. My design was a bland mix of concrete and framed spaces that drew excellent conceptual ties to the brief, but lacked my own personal signature. Had I considered generating a series of compositions, along with my own personal scheme, I may have been more successful and enjoyed the process a lot more.

A.6 Appendix My research for figure A.603 allowed me to experiment with additional attractor points to create compelling effects with different sections of decay that were independent of each other. I selected this sketch because I was proud of my capacity to achieve the task and because I believe this concept could aid me in the next stage of the design. Iâ&#x20AC;&#x2122;ve now learned how to subdivide a surface and attach a form to those points so I hope to experiment with this concept a little more.

tutorials? on? new creative ideas do

trate some of the s section?

Figure A.6.04:

I chose to put the image in Figure A.6.04 in the journal so that I could demonstrate the possible variations that may have connectivity properties. I want to experiment with joining and overlapping components, clever locks and snaps or just interesting and dynamic components similar to Jose Sanchez and the Plethora Project. I found that concept fascinating and would love to explore it more, only with parametric concepts. 44

Figure A.6.03:

Figure A.6.01:

I chose to include the image in Figure A.6.01 to demonstrate the image mapping capabilities of grasshopper. I believe that using interesting forms as a basis to draw from, could result in some interesting forms and relationships. I would like to experiment with the colour tone options and see what I can come up with.

Figure A.6.02:

I selected the progressive growth of the vase in Figure A.6.02 to represent the variety of generative forms I will be able to iterate with minor input. I learnt about the command of seperate sections that can rotate and extend/ contract independently of each other which might also help me in the next section as I model and manipulate form. I feel this relates most heavily with the second weekâ&#x20AC;&#x2122;s readings because of the versatility of this concept and how quickly I could generate lots of iterations without human error.

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