STUDIO AIR Part A Journal Isabella Chow by Isabella Chow

Part A Journal 833256 Isabella Chow Tutor: Isabelle Jooste

Studio Air

Contents

A.0 Introduction 4 A.1 Design Futuring 6 Case Study One 8 Case Study Two 10 A.2 Design Computation 12 Case Study Three 14 Case Study Four 16 A.3 Composition + Generation 18 Case Study Five 20 Case Study Six 22 A.4 Conclusion 24 A.5 Learning Outcomes 25 A.6 Appendix 26

H ello! I’m Bella Chow, I am currently in my third year of a Bachelor of Environments majoring in Architecture at the University of Melbourne. I haven’t always wanted to study Architecture, I toyed with the idea of an academic pathway in Biology but in the end there was a strong interest in design that drew me towards a ‘Bachelor of Environments’, as it was so aptly named. In the beginning I only understood architecture, like most people I believe, in a purely aesthetic sense - that a building could be incredibly beautiful or deeply ugly. However, the further I move through my studies, the clearer the scientific and conceptual potentials of Architecture are becoming.

I believe the use of digital tools in design is a necessity in this day and age - our reliance on the digital is only growing with time. To date I have been exposed to Rhino modelling and CAD tools and have become dependant on Adobe programs - InDesign, Illustrator and Photoshop - to produce well composed documents with ease. The prospect of becoming familiar with an algorithmic modelling software like Grasshopper excites me as an opportunity to further push the design process from paper to the digital.

Introduction

Fig 2. A Pavillion on Herring Island - Design Studio Earth

Fig 3. Helicone - Digital Design and Fabrication

A.0 Introduction

Introduction

Fig 1. Studley Park Boathouse - Design Studio Water

6 Conceptualisation

A.1 Design Futuring

“The guiding forces of the status quo continue to sacrifice the future to sustain the excesses of the present.”

R apid growth of consumerism in the midst of the 20th century paired with the industrial revolution of the 19th century produced the globally interconnected and privileged world we know today. However

with success came overconsumption, resources used up faster than they could be produced. Increasingly, an awareness of the world’s finite existence is becoming more widespread. There is a lessening rate of denial and people globally have begun to accept that the human race will not be around forever, our time is finite and we ourselves are partly to blame. While this acceptance is a positive step, there is still a lack of action towards “slowing the rate of defuturing”, as Tony Fry terms it. In part, a popular misuse of the term ‘sustainability’ is aggravating the situation, developing a juvenile ‘greenie’ connotation to a subject that is no longer dismissive. Adding a single green wall to an invasive high rise construction, is a very meagre attempt at counteracting the excessive functionality of a structure. To appropriately redirect the course of our global future and enact a process of ‘design futuring’ we must first take action in reducing this current rate of de-futuring. Once we begin to lessen this rate, the journey to populating the globe with new methods of habitation that are not so aggressively excessive as our current dwellings may commence. To reach this next stage however, design must be given back its power, for too long it has been acknowledged purely in an aesthetic and ‘stylistic’ sense. While yes, this is an elemental factor of design practise, its ability to alter the functionality and ideology of spaces through innovative methods is largely underestimated. To render design worthy of this power - designers need to think in new and innovative ways using technology to advance processes of conception and production. Already this movement towards a more powerful and current use of design is occurring with the following projects exemplifying such changes in practice.

1. 2.

Tony Fry, Design Futuring: Sustainablity, Ethics and New Practice (Oxford: Berg Publishers Ltd, 2008). Pgs 1-16 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013). Pgs 1-45

Conceptualisation 7

- Tony Fry

A.1 Case Study 1 R&Sie(n) - New Territories “I’ve Heard About” 2005 Exhibition at Modern Art Museum, Paris

R &Sie(n)’ “I’ve Heard About” Exhibition is an exploration of an innovative urban concept, a utopian dream for a living cityscape . It’s dream-like, organic looking forms are anything but, they are scripted artificial 1

growths that twist and pull to create spaces for the living; whether that is in the form of high rises or chambers facilitating particular methods of reflection and honest thought - Hypnosis Chamber.

The core concept driving “I’ve Heard About” is the development of an open-source algorithmically controlled construction tool, based on growth scripts that adapt according to human and chemical stimuli2. Thus creating an intelligent ‘biostructure’ that rectifies changes in its external environment by altering its construction process.

It is innovative explorations like that of R&Sie(n) that push design into a new realm which challenges generic predictions for the future. While it might be dismissed as daring and totally impossible, “I’ve Heard About” explores the real possibilities of an intelligent system of habitation. We need this kind of radical thinking at such a large scale to begin to see small scale changes around us. As history proves, it is the audacious ideas of the present that become the realities of the future.

Conceptualisation

However ‘future’ François Roche argues, “is a vintage notion”, an outdated definition that much like ‘sustainability’ carries too many derogatory connotations too far entrenched to reverse3. To make any progress as far as design futuring is concerned, we need to redefine the value of these terms so that they reflect the goals of today.

___

Fig. 4. Viab - Building Machine

Fig. 5 Living cityscape ‘biostructure’

Conceptualisation 9 ___ Fig. 6. Hypnosis Chamber - prototype for ‘biostructure’

R&Sie(n), ‘I’ve Heard About…’, New Territories (n.d.) <http://www.new-territories.com/I%27veheardabout.htm> [1 March 2018]

François Roche / R&SIE(n), Mudam Luxembourg (n.d.) <https://www.mudam.lu/en/le-musee/la-collection/details/artist/francois-roche-rsien/> [1 March 2018] 2.

Nate Archer, François Roche Interview, Designbloom (29 February 2008) <https://www.designboom.com/interviews/francois-roche-interview/> [1 March 2018] 3.

10 Conceptualisation

A.1 Case Study 2 Diller Scofidio + Renfro The High Line 2014 Public Park, Manhattan

T he High Line makes positive use of the bi-products of industrial development - disused infrastructure abandoned and left to fester into an urban eyesore. Once an dilapidated three-kilometre long elevated railroad running through Manhattan, it is now a public park encouraged ecological and social growth.

It’s design is sympathetic of its previous life as a postindustrial ruin1. Dense vegetation seeps through linear concrete planks to create regions of total greenery beside pathways, a nod to the natural course of growth that occurred between the cracks of the site after it was abandoned. Diller Scofidio + Renfro have proved there is an secondary option to demolition; that to create something successful, innovative and ecologically promotive you do not have to start from scratch. The High Line should set the bar for redevelopment projects that benefit communities without sacrifice. ___

Clockwise from Top Left: Fig. 7. & Fig. 8. High Line in use Fig. 9. Elevational views Fig. 10. Birdseye view depicting gradation of vegetation and concrete elements

‘The High Line: All Phases’, Diller Scofidio + Renfro, (n.d.) < https://dsrny.com/project/ high-line> [1 March 2018] 1.

Conceptualisation 11

Fig. 11. Three-kilometre long scale of structure

W hile once the theoretical intentions of a particular work of architecture could be visually recognised, the recent movement towards computational architectural thinking results in an new architecture; not

identifiable by style but rather its methods of synthesis and informed design approach1. What began as an attempt to speed up or simplify analogue tasks of design (termed computerisation) is now an elaborate process that harnesses two very different forms of intelligence - that of the human and that of the computer2. The result is a symbiotic relationship that resolves design issues, taking numerous factors into consideration and producing an optimal design solution. There are three integral abilities of computational architectural techniques that render its results far more successful, both in form and function, than any of its predecessors. A capacity to simulate external conditions and analyse building performance, whether this is structural or ecological, produces buildings that excel in their chosen context. Secondly, computational design highlights the cruciality of material in architecture. Material properties can be modelled and tested digitally, often resulting in new, innovative methods of optimising the use of particular materials or combinations of materials. Finally, the ease and scope of digital fabrication techniques means prototyping can be more widespread through the design process, from conception to construction. With an increase in prototyping and testing comes the production of better conceived buildings and the reduction of unforeseen issues during construction1. 12 Rivka Oxman and Robert Oxman, eds (2014). Theories of the Digital In Architecture (London; New York: Routledge), pp. 1-8

Yehuda E. Kalay (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods

Conceptualisation

Conceptualisation 13

A.2 Design Computation

A.2 Case Study 1 Toyo Ito Taichung Metropolitan Opera House 2009 Taichung, Taiwan

T oyo Ito’s Taichung Metropolitan Opera House highlights the freedom of contemporary architecture with its revolt of the generic Euclidian grid . The form derives from Ito’s “emergent grid” in which voronoi tessellation results in a continuous 2

three dimensional geometry of catenoids1. Visually complex and seemingly impossible for the human mind to produce without computational aid, the interior and exterior form one continuous surface4. The boundaries of which form a rectangular prism, exposing almost cross sectional views of the irregular interior spaces.

The challenge with realising complex geometries such as that of the Taichung Metropolitan Opera House, is that there is no generic construction methodology. There is a great risk involved in constructing these radical buildings, particularly economically. They call for innovative new construction techniques, running a great chance of unforeseen problems to arising. In the case of Taichung Opera House, a systematic model of hyper-paraboloid surfaces of altering orientations was developed and used to find optimal structural methods for the building which was then constructed using a complex arrangement of formwork, steel mesh cages and concrete1.

Ito’s projects use computational methods to challenge architectural uniformity and create complex geometries that themselves form a series of non-uniform spaces. Moreover his approach is mindful and considerate of the existing environment. He wishes not to populate the world with wildly intrusive buildings but to create a new architecture that evolves a symbiotic relationship with nature, a harmony between built and natural systems2. The Taichung Metropolitan Opera House exemplifies the possibilities

Conceptualisation ___

___

Fig. 12. Development of structural forms for construction

Fig. 13. Model depicting continuous three dimensional geometry of catenoids

Hemmerling, Marco, ‘Simple Complexities: A Rule-based Approach to Architectural Design’, Proceedings of the XVII Conference of the Iberoamerican Society of Digital Graphics: Knowledge-based Design, v. 1, n.7 (2014). pp. 324-32. 1.

Ito, Toyo, ‘Change the Geometry to Change the Architecture’, CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia], (2006), pp. 7-18. 2.

Mairs, Jessica, ‘Toyo Ito’s Taichung Metropolitan Opera House in Taiwan opens’, Dezeen (2016) <https://www.dezeen.com/2016/09/29/toyo-itolucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> [7 March 2018]. 3.

Tamashige, Sachiko, ‘Toyo Ito literally connects architecture to the people’, Japan Times, (n.d.) <https://www.japantimes.co.jp/culture/2014/11/27/ arts/toyo-ito-literally-connects-architecture-people/#.WqImLWZL2MI> [7 March 2018] 4.

Conceptualisation 15 ___ Fig. 14. “The interior and exterior form one continuous surface”

“...we are searching for possibilities in architecture to revive relationships with nature.” - Toyo Ito

A.2 Case Study 2 Gilles Retsin Guggenheim Helsinki Proposal 2014

16 Conceptualisation

___ Fig. 15. Density of individual timber elements forming roof structure

â&#x20AC;&#x153;...maybe heterogeneity does not have to come from mass customisation of building elements, but more from the way you organise standardised pieces.â&#x20AC;? - Gilles Retsin

___ Fig. 16. Diagrammatic explosion of structure

Fig. 17. Interior view depicting the complexity of discrete elements

C ontrary to Toyo Ito’s belief, that to create a ‘new architecture’ a shift away from the Euclidian grid, and towards new and complex geometries is necessary, Gilles Retsin’s approach questions the digital authenticity of fabrication methods and argues for systems of discrete elements2. Just as computer aided drafting and design software are accused of appropriating analogue techniques, Retsin explores the idea that currently digital fabrication methods are modelled on the same principle (for example robots simulate the action of a human arm)3. While this notion is accurate, lacking is its solution - what is a purely digital form of production?

Moreover Retsin offers up a more pragmatic use of computational techniques, with his exploration of discrete systems of architecture3. The result is a series of projects that use one, or very few, repeating units in complex and intricate systems, creating heterogeneous structures from these homogeneous elements. These discrete systems are fabricated and constructed far more easily and cheaply that complex continuous geometries, yet can still result in the formation of elaborate and skilled architectural works2. Gilles Retsin’s proposal for the Guggenheim Helsinki was developed according to this manifesto of using discrete elements to create heterogeneous structures. The design uses computation to organise thousands of recycled timber posts into a dense roof system that extends the length of the building, floating on its glass boundary1. From an uninformed glance it is quite difficult to believe the entire structure is made of only a few discrete elements repeated, as it is a visually dynamic and elaborate form.

‘Guggenheim Helsinki’, Gilles Retsin, (n.d.) <http://www.retsin.org/Guggenheim-Helsinki> [8 March 2018]

‘Design Manifestos: Gilles Retsin of Gilles Retsin Architects’, Design Manifestos, (n.d.) <https://medium.com/design-manifestos/designmanifestos-gilles-retsin-of-gilles-retsin-architects-d62d6457b7e7> [8 March 2018] 2.

Retsin, Gilles, ‘Discrete Assembly and Digital Materials in Architecture’, Complexity & Simplicity - Proceedings of the 34th eCAADe Conference, v.1 (2016), pp. 143-151 3.

Conceptualisation 17

___

18 Conceptualisation

A.3 Composition vs. Generation

“We’re essentially running accelerated artificial evolution” - Jordan Brandt

designer1. The ability to optimise buildings, among other designerly objects, in terms of their practicality and performance is of upmost importance considering design futuring. It allows us to produce increasingly successful structures with less or more appropriate materials, in faster ways with increased accuracy, thus reducing waste2. Moreover it gives designers the capacity to define parameters with which the structure will adhere to, whether that is in reference to acoustics, lighting, productivity or spacial planning (such methods have been used to optimise the layout of congestive x productive space in Autodesk’s MaRS office)1. However by passing off one of the great responsibilities of the designer to the computer, the generation of design solutions in response to a set problem (set of parameters), are we running the risk of redefining the practise of design, and hence that of architecture? Just as over history the realms of construction and architecture have become increasingly separated, will the passing of this role cause the cessation of the relationship between practicality and architecture. Practical design solutions as something purely computer generated and of no consideration to the architect; or will the architect’s role move from that of problem solver to that of curator choosing a scheme of options generated by the computer based on their aesthetic and conceptual preference3. Demand for architects or design practitioners with a knowledge of computational techniques is increasing greatly, to a degree where algorithmic learning and scripting is becoming commonplace in institutes of architectural education. This focus needs to occur for generative design and “computation [to] become a true method of design for architecture”4. Currently in many contemporary firms there is still a separation between the two domains of computation and design, with specialist teams for each often present or alternatively outsourced computational consultants4. A proper consolidation of the two needs to occur to spark progress for the practise of the architect. If architects could speak the language of computers as fluently as computer scientists do, the results of their creations would be profound.

Howe, Marc K. ‘The Promise of Generative Design’, world-architects, (5 April 2017) <https://www.world-architects.com/en/ architecture-news/insight/the-promise-of-generative-design> [14 March 2018] 1.

McCormack, J., Dorin, A. and Innocent, T. ‘Generative Design: a paradigm for design research’ in Redmond, J. et. al. (eds) (2004) Proceedings of Futureground, Design Research Society, Melbourne. 2.

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 08-15

Conceptualisation 19

G enerative design software builds upon computational techniques and parametric modelling to generate a series of optimised design solutions, defined by a set of parameters which have been dictated by the

20 Conceptualisation

A.3 Case Study 1 Achim Menges ICD/ITKE Research Pavilion 2015-16 Stuttgart, Germany

___ Clockwise from Top Left: Fig. 18. ICD/ITKE Research Pavilion - detail showing lacing x finger join technique Fig. 19. Placement of plywood panels in terms of gradient and hence capacity for flexibility Fig. 20. Morphogenesis of form

A chim Menges is concerned with the rapid dissociation of materiality and form in contemporary architecture; material being an after thought that is left to conform to the ideals of form . His work explores the synthesis of these two omnipotent 1

forces in architecture - materiality and form - through morphogenetic computational techniques3. It is material innovation, flipping current material methodology on its head. Planar materials are optimally twisted and thin fibres are utilised structurally, it is using materials as only a computer would imagine. The resulting creations are not purely novel however, they challenge current construction methodology and highlight the possibility of lightweight structures, reducing waste and energy intense resources such as steel1.

Like much of Menges work, the ICD/ITKE Research Pavilion for 2015-16, created in collaboration with students, is closely based on the segmented plate and finger joint system found in sea urchin2. These biological principles were synthesised with the material exploration of timber to create a doubly curved pavilion for the University of Stuttgart. The anisotropic properties of timber mean flexibility depends on the orientation of the grain2. This property was exploited to create an array of differentiated ‘cells’, each one a specific patchwork of plywood panels stitched together using a computationally programmed robot / sewing machine system. Individual cells were then connected together with interlocking finger joints (modelled on the biological system used by sea urchin) and secured using a lacing system2. The resulting form looks like an agglomeration of flexible, inflated objects, it is bewildering to think that it is completely made from thin planar sheets of plywood but that is the marvel of its innovative techniques. Sitting at the intersection between engineering, biology, construction, computation and architecture, Menges believes interdisciplinary practise is key to developing a more wholesome architecture not driven purely by form3. His work with the Institute of Computational Design at the University of Stuttgart exemplifies the results of interdisciplinary practise. However it still works towards educating prospective architects in computational methods - an integral approach for the future of architectural design.

’Design Research Agenda’, Achim Menges, (n.d.) <http://www.achimmenges.net/?p=4897> [15 March 2018]

’ICD/ITKE Research Pavilion 2015-16’, Achim Menges, (n.d.) <http://www.achimmenges.net/?p=5822> [15 March 2018]

Lovell, Sophie and Menges, Achim, ‘Into the Cyber-Physical: An Interview with Achim Menges’, Uncube Magazine, (26 May 2015) <http://www. uncubemagazine.com/blog/15572449> [15 March 2018] 3.

Conceptualisation 21

Fig. 21. ICD/ITKE Research Pavilion at the University of Stuttgart

22 Conceptualisation

A.3 Case Study 2 Herzog and De Meuron Elbphilharmonie 2016 Hamburg, Germany

E lbphilharmonie stands tall amongst the low lying city of Hamburg, it represents all the extravagance of contemporary architecture. Its computational wonder however, lies in its grand philharmonic hall - the walls of which are clad in an assortment of one million acoustically diffusive cells, each different to the cell adjacent1.

To explain, sound is either reflected or absorbed by a surface, an lack of uniformity between reflection and absorption results in patchy acoustics (i.e. varying acoustics in relation to position in a space)2. Generally rustication of surfaces creates uniformity in a space of acoustic significance, where by sound is diffused and evenly scattered throughout the space. Herzog and de Meuron wished to incorporate the design of these acoustically diffusive surfaces into the design of the philharmonic hall itself, enlisting computational consultancy firm ONE to ONE to head the design of said surfaces2. Using computational design software a system of panels was developed with an array of cells and grooves optimising acoustic diffusion - according to the position of each cell within the hall the arrangement and depth / number of grooves would vary making each panel optimal. Every process down to the fabrication of each of the ten thousand panels was aided by algorithmic techniques with the final panels CNC-milled2. The result, a incredibly performing and aesthetically pleasing outcome fabricated with remarkable accuracy and minimal error (0.2% machine error)2.

Conceptualisation 23

While this system of design synthesis was resultant of a collaboration of practitioners - Acoustician, external Computational Consultant, Contractor and Architect - it is important to note that in this particular case the external Computational Consultant was in fact architecturally trained. Exemplifying the astounding built product of a consolidation between computational and architectural processes. Moreover if all architects had comprehensive computational training it would devoid the need for an external consultant altogether.

___ This page clockwise from Top Left: Fig. 22. Individual cell generation - form inspired by the overall form of the building Fig. 23. CNC-Milled panels laid out following fabrication Fig. 24. Absorbtion x Reflection x Diffusion - Surface effects on sound Opposite page: Fig. 25. Philharmonic Hall of Elbphilharmonie

Stinton, Elizabeth, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmone’, Wired, (1 December 2017) <https:// www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> [14 March 2018] 1.

Koren, Ben, ‘One Million Cells and Ten Thousand Panels: Digital Fabrication of Elbphilharmonie’s Acoustic Interior’, ONE to ONE, (New York: 28 November 2016) <http://onetoone.net/wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> [14 March 2018] 2.

24 Conceptualisation

A.4 Conclusion P art A is an exploration of potentials and possibilities, whether that is envisaged sci-fi ‘biostructures’ that adapt to contextual changes (R&Sie(n)’s “I’ve Heard About” urban concept) or the development of innovative

new methods of lightweight construction (Achim Menges’ ICD/ITKE Research Pavilion 2015-16). The broad variety of potentials explored illustrates the extent to which architecture is a practise of numerous considerations - materiality, form, aesthetics, functionality. We must not focus on one consideration for the sake of another, there must be a kind of synthesis of all of these aspects. Computational and generative design techniques allow architects to integrate these aspects; they become a set of parameters for which possible designs become optimised solutions. These techniques are increasingly allowing architects to extensively innovate and build upon existing knowledge and methodology, resulting in a new era of intelligent design. The projects studied across the previous pages exhibit the diverse potentials computation can yield and the even more varied reasons behind its use. Built or not built, pragmatic or convoluted, excessive or restrained, computational knowledge is the master key to unlocking a steady state of successful design. Computation allows us to: _Accurately define design problems (parameters) _Model real life situations thus making us more educated practitioners of the physical _Explore possibilities that are uniquely ‘computational’ _Not be bound by homogeneity and traditional systems of simple construction (e.g. planarity) _Optimise solutions - reducing waste and room for error, using materials in more efficient ways

K ey to these past few weeks of intensive research has been the understanding of a dichotomy at work computerisation x computation. Realising the stark differences between the two techniques meant becoming

aware of the power of computation in terms of generation and the actual conceptual design process, as opposed to modelling a pre-existing concept. As far as case study research goes, it has been the unbuilt projects which I have found most intriguing. I think the work of François Roche and this alternate living cityscape he has imagined in “I’ve Heard About” borders the line between art and architecture and is something I would very much like to understand in more detail. In terms of Grasshopper, I’m gradually improving and becoming more confident in experimenting with a range of components and seeing where they take me however I still have a lot of work ahead of me. Looking back at past work computation would have certainly helped me or at least sped up my work flow by a long shot. In particular my design for a pavilion on Herring Island (Studio Earth) was made up of hundreds of interlocking triangular modules - which I individually arranged on Rhino, having even a slight understanding of Grasshopper would have made the process considerably faster and more accurate.

Conceptualisation 25

A.5 Learning Outcomes

A.6 Appendix

Conceptualisation

Conceptualisation 27

OC Tree.

Box elements indicate rising form.

Abstraction of Steps.

Using OC Tree to gradually increase fragmentation of steps causing an abstraction of steps Conceptualisation

Preferred Iteration.

Steps appear floating in space, largest array of box dimensions increased variety

Delaunay Mesh.

Increase radius of piping

Result is a softer less aggressive mesh

Conceptualisation 29

Applied to soft curving lofted form. Juxtaposition between soft curvature and harsh triangulated mesh.

Voronoi Mesh.

Preferred iteration with increased number of cells and thinner framework.

Conceptualisation

Increase number / size of cells an

nd thickness of framework

Conceptualisation 31

Box Morph.

Application of piping elements to a curved surface. 32

Initial application (above) created a continuous smooth piped surface, like a slide perhaps, however I wished to distort this. Change of plane of geometry (right)

Conceptualisation

= distorted array of individual split pipes that look as though they are flyingh but at the same time gesture the initial curved surface.

Conceptualisation 33

a.) Fewer cells

34 Conceptualisation

b.) Seperated wave like elements

Box Morph.

Conceptualisation 35

Application of square pyramid elements. Looks like a giant toblerone blanket, too repetitive and spikey.

36 Conceptualisation

Morph.

Surface formed by lofting arcs joining two curves to create a cave-like interior space. Morph component used to apply prismic cell. Chain-mail type effect.

Iteration Two.

Using sectioning process to form scale like geometries from prismic original cell.

Conceptualisation 37

Prismic cell

Driftwood.

Creation of a hollowed out intensely curved form which is then sectioned using driftwood method. Final formation is complex yet cosy - wrapped effect creates the illusion of a well protected interior space when really it is open air, like a fortified garden.

38 Conceptualisation

Alternate view shows complexity of sectioned surfaces

Conceptualisation 39

Conceptualisation

From geodesic cur

rves to thickened pipes

Gridshell.

Conceptualisation 41

Geodesic curves intertwine to create a gridlock shell that could be a pavillion, or the structural layout of a roof.

Reference List ___ Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013). Pgs 1-45 Archer, Nate, François Roche Interview, Designbloom (29 February 2008) <https://www. designboom.com/interviews/francois-roche-interview/> [1 March 2018] ‘Design Manifestos: Gilles Retsin of Gilles Retsin Architects’, Design Manifestos, (n.d.) <https://medium.com/ design-manifestos/design-manifestos-gilles-retsin-of-gilles-retsin-architects-d62d6457b7e7> [8 March 2018] ‘Design Research Agenda’, Achim Menges, (n.d.) <http://www.achimmenges.net/?p=4897> [15 March 2018] François Roche / R&SIE(n), Mudam Luxembourg (n.d.) <https://www.mudam.lu/en/lemusee/la-collection/details/artist/francois-roche-rsien/> [1 March 2018]

Fry, Tony, Design Futuring: Sustainablity, Ethics and New Practice (Oxford: Berg Publishers Ltd, 2008). Pgs 1-16 Hemmerling, Marco, ‘Simple Complexities: A Rule-based Approach to Architectural Design’, Proceedings of the XVII Conference of the Iberoamerican Society of Digital Graphics: Knowledge-based Design, v. 1, n.7 (2014). pp. 324-32.

Conceptualisation

Howarth, Dan, ‘Generative design software will give designers “superpowers”’, Dezeen, (6 February 2017) <https://www.dezeen. com/2017/02/06/generative-design-software-will-give-designers-superpowers-autodesk-university/> [14 March 2018] ICD/ITKE Research Pavilion 2015-16’, Achim Menges, (n.d.) <http://www.achimmenges.net/?p=5822> [15 March 2018] Ito, Toyo, ‘Change the Geometry to Change the Architecture’, CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia], (2006), pp. 7-18. Koren, Ben, ‘One Million Cells and Ten Thousand Panels: Digital Fabrication of Elbphilharmonie’s Acoustic Interior’, ONE to ONE, (New York: 28 November 2016) <http://onetoone.net/wpcontent/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> [14 March 2018] Lovell, Sophie and Menges, Achim, ‘Into the Cyber-Physical: An Interview with Achim Menges’, Uncube Magazine, (26 May 2015) <http://www.uncubemagazine.com/blog/15572449> [15 March 2018]

___ Mairs, Jessica, ‘Toyo Ito’s Taichung Metropolitan Opera House in Taiwan opens’, Dezeen (2016) <https://www.dezeen. com/2016/09/29/toyo-ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> [7 March 2018]. McCormack, J., Dorin, A. and Innocent, T. ‘Generative Design: a paradigm for design research’ in Redmond, J. et. al. (eds) (2004) Proceedings of Futureground, Design Research Society, Melbourne. Oxman, Rivka and Oxman, Robert , eds (2014). Theories of the Digital In Architecture (London; New York: Routledge), pp. 1-8

Retsin, Gilles, ‘Discrete Assembly and Digital Materials in Architecture’, Complexity & Simplicity - Proceedings of the 34th eCAADe Conference, v.1 (2016), pp. 143-151 Howe, Marc K. ‘The Promise of Generative Design’, world-architects, (5 April 2017) <https://www.world-architects.com/en/architecture-news/insight/the-promise-of-generative-design> [14 March 2018] R&Sie(n), ‘I’ve Heard About…’, New Territories (n.d.) <http://www.new-territories.com/I%27veheardabout.htm> [1 March 2018] Tamashige, Sachiko, ‘Toyo Ito literally connects architecture to the people’, Japan Times, (n.d.) <https://www.japantimes. co.jp/culture/2014/11/27/arts/toyo-ito-literally-connects-architecture-people/#.WqImLWZL2MI> [7 March 2018] ‘Guggenheim Helsinki’, Gilles Retsin, (n.d.) <http://www.retsin.org/Guggenheim-Helsinki> [8 March 2018] ‘The High Line: All Phases’, Diller Scofidio + Renfro, (n.d.) < https://dsrny.com/project/high-line> [1 March 2018] Yehuda E. Kalay (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Conceptualisation 43

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, (2013), 83, 2, pp. 08-151. Stinton, Elizabeth, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmone’, Wired, (1 December 2017) <https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> [14 March 2018]

Image Credits ___ Fig. 4. Viab - Building Machine <http://www.new-territories.com/I%27veheardabout.htm> Fig. 5 Living cityscape ‘biostructure’ <http://www.new-territories.com/I%27veheardabout.htm> Fig. 6. Hypnosis Chamber - prototype for ‘biostructure’ <http://www.new-territories.com/I%27veheardabout.htm> Fig. 7. & Fig. 8. High Line in use < https://dsrny.com/project/high-line> Fig. 9. Elevational views < https://dsrny.com/project/high-line> Fig. 10. Birdseye view depicting gradation of vegetation and concrete elements < https://dsrny.com/project/high-line> Fig. 11. Three-kilometre long scale of structure < https://dsrny.com/project/high-line> Fig. 12. Development of structural forms for construction < https://www.pinterest.com.au/pin/503136589612183624/> Fig. 13. Model depicting continuous three dimensional geometry of catenoids <https://www.dezeen. com/2016/09/29/toyo-ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> Fig. 14. “The interior and exterior form one continuous surface” <https://www.dezeen.com/2016/09/29/ toyo-ito-lucas-doolan-taichung-metropolitan-opera-house-taiwan-china/> Fig. 15. Density of individual timber elements forming roof structure <http://www.retsin.org/Guggenheim-Helsinki>

Fig. 16. Diagrammatic explosion of structure <http://www.retsin.org/Guggenheim-Helsinki> Fig. 17. Interior view depicting the complexity of discrete elements <http://www.retsin.org/Guggenheim-Helsinki> Fig. 18. ICD/ITKE Research Pavilion - detail showing lacing x finger join technique <http://www.achimmenges.net/?p=5822> Fig. 19. Placement of plywood panels in terms of gradient and hence capacity for flexibility <http://www.achimmenges.net/?p=5822> Fig. 20. Morphogenesis of form <http://www.achimmenges.net/?p=5822>

Conceptualisation

Fig. 21. ICD/ITKE Research Pavilion at the University of Stuttgart <http://www.achimmenges.net/?p=5822> Fig. 22. Individual cell generation - form inspired by the overall form of the building <http:// onetoone.net/wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> Fig. 23. CNC-Milled panels laid out following fabrication <http://onetoone.net/wpcontent/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> Fig. 24. Absorbtion x Reflection x Diffusion - Surface effects on sound <http://onetoone.net/ wp-content/uploads/2017/01/161128_PR_Elbphilharmonie.pdf> Fig. 25. Philharmonic Hall of Elbphilharmonie <https://www.wired.com/2017/01/ happens-algorithms-design-concert-hall-stunning-elbphilharmonie/>

Conceptualisation 45