Layton_Jade_833912_PartA_Journal

STUDIO AIR JOURNAL Jade Layton 2018 Tutor #14: David

TABLE OF CONTENTs PAGE INTRODUCTION 4-5 PART A: CONSEPTUALISATION

A1. Design Futuring 6-9 A2. Design Computation 10-13 A3. Composition / Genereation 14-17 A4. Conclusion 18 A5. Leaning Outcome 19 A6. Appendix - Algorithmic Sketches 20-21

BIBLIOGRAPHY 22-23

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INTRODUCTION

My name is Jade and I am currently in my third year of studying Architecture at The University of Melbourne. Ever since I was young, I knew I wanted to pursue a creative career and upon completion of my favourite VCE subject ‘Visual Communication Design’, I knew architecture was for me. In the past, I would stick to drawing by hand; however, through learning to use digital tools at University I have aquired the basic skills to create more complex and accurate forms.

I like the way architects are able to leave their mark on the world and improve the lives of countless people. The fact that they can walk through and experience what they have created, whilst seeing the joy the space brings to others, makes it all the more rewarding. To me, not only is the final outcome interesting, but every idea and thought process that went into shaping it. When paired with a creative mind, architecture provides endless possibilities.

Aside from architecture, I have a love for animals and golf.

Animals have an innocence, honetsy and vulnerability; characteristics in which I believe design and buildings also possess. When something or someone allows itself to be vulnerable, that is when the true beauty shines through.

Being a member of Victoria Golf Club, my attention is drawn to how much pottential the dull coloured club house presents. I hope to one day be able to combine my love for architecture and golf to design clubhouses and other structures that make people stop, think and appreciate.

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“One of the great beauties of architecture is that each time, it is like life starting all over again” - Renzo Piano

Second skin for subject Digital Design and Fabrication

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A.1. DESIGN FUTURING PRECEDENT PROJECT 1: O-14 Tower // Dubai // 2010 Sitting amongst a city of dull buildings and office towers in Dubai, the design of O-14 by Reiser and Umemoto has instigated change in a number of different ways, as well as acquired an abundance of attention. The building strays away from the traditional curtain wall to a concrete load bearing shell. The shell is a system of varying openings with the holes constructed by introducing an innovative system whereby computer cut polystyrene forms are placed in the rebars before the concrete is poured1. The overall aesthetic stands out and I believe it has the ability to change the way those passing by or entering the building feel. Being touched emotionally before entering a space can give you a completely different enhanced perspective of the design.

The ideas and benefits that came with the shell challenged many people’s ways of thinking. It provides an “efficient structural exoskeleton” that allows for an open, column free building interior, where tenants can arrange the space to meet their needs2. The revolutionary idea of moving the vertical and lateral structure to the outside of the building

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means that unlike typical curtain walls, the core and floor slabs can be minimised. Not only does the shell provide structural support, but it also acts as a sun screen, with the openings varying in size and position, depending on structural requirements, sun exposure and views.

Another innovative aspect of the building’s design is its ability to keep itself cool. This ability to reduce energy consumption results in a positive contribution to the site (environment) and inhabitants of the building (reduced energy bills); therefore, making a change in the world. Due to Dubai’s hot temperature, being able to stay cool is an extremely important factor, whereby the solution again comes from the shell. Between the building’s glazing and the shell, there is a one metre gap where hot air rises, cooling the windows and therefore reducing energy consumption by over 30%1.

This passive solar technique as well as the building’s unique aesthetic quality are factors that will make O-14 continue to be appreciated for many years to come.

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PRECEDENT PROJECT 2: Scunthorpe Sports Acadamy // North Lincolnshire // 2011 Being designed in order to stimulate attraction in the area, Scunthorpe Sports Academy by Andrew Wright Associates and S&P Architects is a unique facility that blurs the line between architecture and the surrounding landscape. Using natural timbers and a partly green roof the centre creates a flowing experience for users, where the “envelope acts to visually extend the landscape”3.

Working in harmony with the environment, the centre provides a positive contribution to the site with a sustainable water strategy to minimise water wastage and an air tight envelope, making the building energy efficient. Clearings and wood chippings from the local parkland, fuel the heating and cooling systems, giving the centre a unique relationship with the landscape.

Although the site was also previously used as a sport centre, the new design has changed the way people feel and use the space. Facilitating multiple sporting arenas, a gym, offices and a café, the structure has become more

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of a community where people can participate in a range of activities, as well as socialise with friends and family. The open plan invites people to engage with one another and provides a sense of belonging. This is one of the many reasons the Scunthorpe Sports Academy will continue to be appreciated.

The theory engaged behind coming up with this design came from a collaboration between engineers and architects, who used digital design techniques to manipulate the model4. Designs like this in which use interactive parametric modelling, are expanding future possibilities in more ways than we can imagine. With the ability to create an intelligent model, the architects of this project were able to control parameters with a touch of a button. This allowed them to create a well engineered design where they were able to understand and control the structure’s behaviour, while reducing the amount of materials required for construction3.

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A.2. DESIGN COMPUTATION PRECEDENT PROJECT 1: ICD/ITKE Research Pavilion // University of Stuttgart // 2010 Computational design provides the ability to explore previously unexplored possibilities. In most architectural designs, an idea is thought out and sketched before being constructed digitally, however computational design allows the structure to be designed and controlled through digital parameters and algorithms. It creates a relationship between the “architectural form, material formation and structural performance” by allowing the material itself to become the driving factor in the form generation process5. Structures in which are designed using technology, have the ability to create optimal structural forms, resulting in the design to perform at its best.

results in unwanted changes to the aesthetic of the design. The IDC/IKE pavilion is different in the way that the architects took on the role of the engineer by introducing digital technology to reduce errors. The computer generated model is “directly driven and informed by physical behaviour and material characteristics5.”

To prevent the pavilion from points of concentrated bending, the connection spots between plywood strips must differ. This results in 80 unique strip patterns and 500 different other parts5. Humans do not have the mental capacity to work things like this out, therefore we use computational methods to our advantage. Without this technology, the structure would likely fail.

The IDC/IKE Research Pavilion constructed by the University of Stuttgart in 2010, is a perfect example of computational design. The structure is made entirely of thin strips of bent birch plywood, in which are digitally as well as physically tested for their bending capacity and elasticity5. In the past, solutions regarding materials were left to engineers whereby they might have needed to change the design in order for the structure to work. This

With the rise and aid of digital design, new opportunities and ways of thinking are emerging. People are being provided with the necessary resources to create amazing and unthinkable forms. Computer generated designs can create complex forms beyond the human imagination and with the restrictions to general geometric shapes no longer in existence, we are open to endless possibilities.

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PRECEDENT PROJECT 2: Hypermembrane demo // Barcelona // 2013 The Hypermembrane is a construction system for “freeform and adaptable structures in architecture6.� It uses a combination of physical and digital components in order to generate many shapes that are not predetermined.

This is an example of computation providing a unique opportunity for an innovative and dynamic design, where the structure has the ability to be modified depending on specific requirements, eg. solar/energy or spatial needs.

A sensor within the structure transmits radiation data in which is collected on the surface of the panels and sent to the main controller6. This allows the panels to change orientation to capture solar energy, as well as to create shadows to prevent the structure from overheating.

The Hypermembrane Demo is used to demonstrate this innovative new system, displaying it as a highly adaptable, responsive architectural fabric. The design creates a dynamic design that can be used either as an open air

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structure, or a can be applied as a building façade6.

The design uses digital technology in both the form generation process as well as also being imbedded into the design, responding to environmental change.

Computation is used to test the elastic properties of the material as well as assess the shape of the beams and their capacity to deform6. Without computing, this structure would not be possible, as the shape adaptability is controlled solely via algorithms.

Computational design allowed the designers of this model to explore multiple design options in a short amount of time. Ideas that would usually take hours (if even possible), take only a matter of seconds when designing algorithmically and changes are able to be make instantly without starting again. Computational design tools are an effective way to harness a computers power and tailor it to our needs.

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A.3. Composition/Generation PRECEDENT PROJECT 1: Museo Soumaya // Mexico // 2011 There has been a shift from compositional to generative design in the last few years, resulting in the design process to change at a global scale. Generative computation allows us to explore iterations of a single design in a short amount of time, hence why it is viewed by so many as a revolutionary design tool. The uprise of computation has resulted in architects to distance themselves from traditional techniques, in which limit creative possibilities, and lean more towards parametric and algorithmic thinking. The main difference between the two methods is that compositional design looks at the transition of ideas into outcomes, whereas generative design focuses on the process and formulation7. A downfall to focusing purely on computational and generative design is that these tools do not promote conceptual thinking. Although designing using algorithms can produce complex and interesting forms, this can take away from the human imagination and the natural creativity that comes with it7.

An example of the shift from compositional to generative design is the Museo Soumaya. Its aim was to host one of the largest private art collections in the world as well as reshape an old, dying area of Mexico8. However, a structure of this complexity had never been attempted before in Mexico, therefore many risks and challenges

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arose8. In order to create a successful building, new techniques that had never before been used in this part of Mexico, including laser scanning and parametric/generative modelling, had to be adopted.

Many iterations of the double curved exterior surface were generated using algorithmic programming before the final design was chosen. With over 16,000 unique hexagonal panels in the initial design, sorting and sizing these individual panels would have been impossible for the human mind to calculate8.

Over the years, architecture has become more complex, with the process of each project being unique8. This requires constant recalibration and an integrated design process, so that people working on the project can make changes to the file and work coherently. It is not possible to continue using a traditional linear design process where it is difficult to go back and alter elements8. Generative design has been adopted so that users can “evaluate multiple models in order to explore design potentials and inform decisions�9. With this, designers are able to go back and change elements along the process and the final model will be updated accordingly.

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PRECEDENT PROJECT 2: White Noise // Sultzburg, Austria // 2010 Architects are experimenting increasingly with computation to stimulate building performance and gain a stronger understanding of the materials they are working with7. Large practices such as Zaha Hadid Architects use computation to make their complex designs possible, however some setbacks in which they encountered were that they did not have access to a number of specialised digital design tools (plug-ins), so it took an extended amount of time to move forward with some of their designs. Also, computation was not fully understood by all the designers and therefore it could not be used to its full potential7.

Another architectural practice that encounter similar problems was Soma. For their mobile pavilion ‘White Noise,’ they wanted to create a static system of arches made from layers of rods using grasshopper, however could not seem to make the design work in terms of

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strength capacity and loads10. They found their solution using the plug-in ‘Karamba,’ which is a program designed for “predicting the behaviour of structures under external loads”10. Utilising generative design, they were able to go back with the aid of Karamba to figure out the exact orientation of the rods for minimum displacement under any given load.

The final outcome was a chaotic looking, however structurally optimal pavilion, where members of one layer were connected to neighbouring layers using circular studs10.

If the traditional linear design process was used, this process would have taken a long time, with a lot of guess, check and improving. However, with the use of generative design, it is possible to import the results from Karamba back into Grasshopper without constantly reworking the model9. These modifications are now able to be done in a single process.

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A.4. CoNCLUSION Part A looks into a number of architectural precedence, with a strong focus on how technology and the rise of computation impacts on design. Through the study of these precedence, it is evident that computation plays an important role in architecture, with the ability to remove restrictions that have restrained designers in the past (from the generation to construction stage). Computational design enables the exploration of complex geometries without compromising structural optimisation. It allows us to design with extreme accuracy and exceeds conventional problem solving techniques.

Something that stands out to me, is that the behaviour of natural materials is becoming a driving factor in design. This is possible due to the aid of computation, whereby material limits are able to be tested in a controlled environment. Algorithmic design is becoming a common non-linear, problem solving tool that is positively changing the way architects think about design.

In saying all this, I am not diminishing the value of traditional design techniques, rather suggesting that parametric design tools can be used to develop solutions and strive towards a sustainable future.

In response to the Merri Creek brief, my intended design is going to be informed by the natural system of coral. By using biomimicry and studying the growth/behaviour of this complex underwater system, I hope to shine light on the dying species as well as change the way people use the existing site. By using algorithms and scripting as the main method of design, I hope to be able to create a structure with intricate spaces for people to relax and reflect. The structure will be a reflection of the maze-like system in the hopes to provide a unique and innovative experience for users.

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A.5. LEARNING OUTCOMES Since the beginning of the semester, my perception and understanding of architecture has changed dramatically. I have opened up to new and innovative ways of thinking in which I previously had no knowledge about. Although having no prior experience using grasshopper, I can already see that the use of algorithmic design is going to provide me with many opportunities for improved designing and thinking in the future. Over the past few weeks, I have come to realise that parametric design is not only a tool used to create complex designs, but an innovative method to generative design with a focus on the workflow and process.

In the past, I have only used digital design tools to bring my hand drawn sketches to life, however being introduced to grasshopper, the design process is the complete other way around. I am able to create structures through a set of algorithms, whereby unimaginable outcomes are produced.

Parametric design has enabled me to think in a logical manner, something that I have never previously experimented with while designing. The use of algorithmic design could have helped me in previous subjects like Digital Design and Fabrication, where instead of creating a new prototype and digital model each type it failed, the original model could have simply been updated. This would have saved a lot of time and the material strength could also have come into play.

Through the exploration of precedent studies, I have become inspired to better my understanding in grasshopper, in order to better my designs and expand my skillset.

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A.6. APPENDIX ALGORITHMIC SKETECHES EXPRESSIVE OBJECT This structure that I have created is a representation of myself. Although I am strong and stand tall, my compassion for others often results in me becoming tied up in other people’s issues. This slowly eats away at me, however what is exposed underneith can somewhat be more interesting. I made sure to make a point of leaving the fallen pieces on the ground instead of deleting them in order to highlight that this makes me who I am and is what makes me whole. People are not perfect, it takes courage to let your vulnerabilities be seen.

DRIFTWOOD PAVILION The Driftwood Pavillion I have designed has a smooth, flowing composition, intended to make people feel relaxed and drawn to the structure. Positioned within an outdoor environment, the corner in which is elevated from the ground, invites those who pass by to enter the centre. The use of parametric design allowed me to section up the design, giving it character. This algorithm is definitely something I want to look further into, and use in future projects, as I like the visual effect it brings to a simple design.

MODEL FOR VARIATION - CORAL Through the study of coral behaviour, and looking at how I can mimic the growth of this sytem, I came up with a handful of different models. Using the same algorithm but changing one element (the base image), different results were able to be produced. I would like to look into how I can manipulate these structures further to create an interactive space, in which is unique and catered to the site. With my heart chakra bloackage being centered around my depencence on others, I would like to focus this design around independence and empowerment.

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PART A BIBLIOGRAPHY Adrian Welch, ‘O-14 Tower Dubai,’ AE-architect (revised January 2016) <https://www.e-architect.co.uk/dubai/o14-tower> [3 March 2018] 2 Arch Daily, ‘O-14 / Reiser + Umemoto’ (revised September 2012) <https://www.archdaily.com/273404/o-14-reiser-umemoto> [3 March 2018] 3 Open Buildings, ‘Scunthorpe Sports Academy’ (revised June 2015) <http://openbuildings.com/buildings/scunthorpe-sports-academy-profile-41060> [4 March 2018] 4 Al Fisher, ‘Engineering Integration,’ AD Magazine (revised 2012) <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1387/epdf> [4 March 2018] 5 Mortiz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges & Simon Schleicher, ‘Material Behaviour,’ AD Magazine (Revised (2012) <http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1378/epdf> [10 March 2018] 6 Hypermembrane (revised 2011) <https://www.hypermembrane.net/> [11 March 2018] 7 Bradly Peters, ‘Computation Works: The Building of Algorithmic Thought,’ AD Magazine (revised March 2013) < https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1545> [13 March 2018] 8 Fernando Romero & Armando Ramos, ‘Bridging a Culture: The Design of Museo Soumaya,’ AD Magazine (Revised March 2013) <https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1556> [13 March 2018] 9 Thomas Grabner & Ursula Frick, ‘Geco: Architectural Design Through Environmental Feedback,’ AD Magazine (Revised March 2013) < https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ ad.1572> [13 March 2018] 10 Clemens Preisinger, ‘Linkinf Structure and Parametric Geometry,’ AD Magazine (Revised March 2013) <https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1564> [13 March 2018] 1

Figure 1 - http://zenbullets.com/images.php Figure 2 - https://www.archdaily.com/273404/o-14-reiser-umemoto Figure 3 - https://www.archdaily.com/273404/o-14-reiser-umemoto Figure 4 - http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1387/epdf Figure 5 - http://www.derry-bs.co.uk/project-sectors/leisure/scunthorpe-sports-academy/ Figure 6 - http://space-place.com/scunthorpe-sports-academy-the-pods-3/ Figure 7 - http://icd.uni-stuttgart.de/?p=4458 Figure 8 - http://icd.uni-stuttgart.de/?p=4458 Figure 9 - http://icd.uni-stuttgart.de/?p=4458 Figure 10 - https://www.hybridarch.net/hypermembrane-demo Figure 11 - https://www.hybridarch.net/hypermembrane-demo Figure 12 - https://www.cimne.com/vnews/5157/hypermembrane-demo Figure 13 - https://www.hybridarch.net/hypermembrane-demo?lightbox=image19wq Figure 14 - https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1556 Figure 15 - https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1556 Figure 16 - https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1564 Figure 17 - https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1564 Figure 18 - https://onlinelibrary-wiley-com.ezp.lib.unimelb.edu.au/doi/epdf/10.1002/ad.1564 Figure 19 - https://www.pinterest.com.au/a01011900d/grasshopper/ 22

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