Air Journal_Douglas_James_329725 by James Douglas

S TU D I O AI R J O U R NAL JAMES DOUGLAS 329725 SEMESTER 2 2017 TUTOR: JACK MANSFIELD-HUNG

TABLE OF CONTENTS

INTRODUCTION

PART A. CONCEPTUALISATION

A.1. Design Futuring

A.1. Design Computation

A.2. Composition/Generation

A.4. Conclusion

A.5. Learning Outcomes

A.6. Algorithmic Sketches

References

INTRODUCTION

My name is James Douglas and I am in my 3rd year of a Bachelor of Environment, in Architecture at the University of Melbourne. I have always had an interest in architecture since I was very young. An ability to visualise 3 dimensional objects in space drew me to not only architecture but to visual mediums in general. Outside of this, Iâ&#x20AC;&#x2122;ve also always had a strong interest in music, in performance, production and technology. Before commencing this course I completed a Bachelor of Applied Music, in Audio Production. This course first exposed me to a number of computer technologies which aided the recording and production process.

Iâ&#x20AC;&#x2122;ve always been interested in new technologies and computer aided design. Throughout the course so far, I have been exposed briefly to Rhino3D, but have mostly relied on Sketch Up and the Adobe Suite of Applications for presentation purposes. I am constantly improving the way I use these programs, becoming more efficient and finding new ways of expressing forms and ideas. Most of my work so far though has come from hand drawing or modelling techniques which have often left me feeling rather restricted in my design choices. I am therefore excited to learn Grasshopper3D in conjunction with Rhino3D to expand and enrich my repertoire for designing and discover new ways of thinking about form and ideas in the field.

VARIOUS WORKS BY JAMES DOUGLAS

DIAPHANOUS ARCHITECTURE/PARAMETIC PAVILION, SOURCE: HTTPS://ANNAZEZULA.WORDPRESS.COM/2013/10/27/ARCHITECTURE-PAVILION-PARAMETRIC-MODELING/

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PART A: CONCEPT UALIS TION C O N C E P T U A L I S A T I O N

A.1.1 DESIGN FUTURING FR-EE/FERNANDO ROMERO ENTERPRISE, Museo Soumaya, Mexico City, 2011

EXTERNAL RENDER. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

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INTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

The Museo Soumaya by Fernando Romero EnterprisE (FR-EE) sits apart from the old industrial area which surrounds it. The 2011 project marked a revolutionary change in design thinking, particularly in the local area and acted as a built example of optimised computational work-flow techniques. These various techniques allowed the firm to create something which is strikingly different and advanced in form, structure and spacial management.1 Although the double curved form was realised early in the process through study models, the final result was digitally scanned using laser scanning techniques. The panelling system, structure and internal spacial relationships created for the building were only

possible due to the use of advanced algorithmic techniques. 2 The aim for the project was to produce a hexagonally panelled facade where the gaps between are as constant as possible. Gaussian analyses identified variation in curvature on the surface allowing the design of varying sized â&#x20AC;&#x2DC;familiesâ&#x20AC;&#x2122; for the hexagonal segments. The use of parametric algorithmic techniques allowed the design to be completed not only with a greater amount of accuracy but with the most optimised and flexible outcomes for both aesthetics, structure, fabrication and costs.3

Fernando Romero & Armando Ramos, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.67).

Fernando Romero & Armando Ramos, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.68).

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STRUCTURE (LEFT) INTERNAL CIRCULATION (RIGHT). IMAGE SOURCE: HTTP://HOUSEVARIETY.BLOGSPOT.COM.AU/2011/07/MUSEO-SOUMAYA-MUSEUMBY-FREE-FERNANDO.HTML#.WMPDTRKGNMAMUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

Using these computational techniques in this project allowed for new design processes where many parts of the building could be worked on simultaneously and mechanical systems and structure could be designed and detailed along side the 3-D model.4 This advanced technique resulted in an optimised workflow which could be adjusted quickly

and in real-time. This process is influencing a change in the design thinking and how design processes and technical work-flows are changing and can be made more efficient.5 Due to the structures complex form, it would not have been possible to design the interior element such as ramps and structure without the use of computational design.

Fernando Romero & Armando Ramos, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.69)

Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6â&#x20AC;&#x201C;24 (p.7)

PANELING DETAIL. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

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"'COMPUTATION' ... ALLOWS ARCHITECTS TO EXTEND THEIR ABILITIES TO DEAL WITH HIGHLY COMPLEX SITUATIONS" PETERS (2013, P. 10) Implementing these advanced computational techniques has resulted in a building and internal spaces which reflect the nature of modern architecture as an advanced art form. This was the aim of the art museum and its optimised complex structure and form will forever act as a beacon for what can be achieved through the use of parametric computational techniques into the future, validating their artistic and design possibilities.6 This building stands as an example of designing for what could be in the future, allowing the removal of limitations we put on ourselves when designing purely for the present. Dunne & Raby (2013)7 discuss this idea of designing for what could be and posing certain "what if" questions. This is necessary if we are to find a future in which we want and can strive for. Although this structural system is somewhat forward thinking and only made possible with the use of computational design techniques, it still represents one which may not be quite as refined as some other examples. It's limited somewhat by the scale of the building itself, but as we will see with the next example, there is much more room to speculate on what structural systems could be like. While this example is complex and only possible due to computation, it still represents a largely traditional technique of heavy framing covered by cladding material. As we will see through the next few pages, some (although mostly on a smaller scale) are speculating much more about what structural efficiency and complexity might look like in the future. 6

Fernando Romero & Armando Ramos, 'Bridging a Culture: The

Design of Museo Soumaya', Architectural Design, 83(2), 66-69 (p.68) 7

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything:

Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 (p.5) EXTERNAL RENDER. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/452226/ MUSEO-SOUMAYA-FR-EE-FERNANDO-ROMERO-ENTERPRISE

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A.1.2 DESIGN FUTURING MARC FORNES/THEVERYMANY, Situation Room, Storefront for Art and Architecture, New York, 2014

PANELING DETAIL. IMAGE SOURCE: HTTP://WWW.FORMAKERS.EU/SEARCHP.PHP?CAT=177

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The work of Marc Fornes and THEVERYMANY represent a space between research and experimentation, and architectural realisation. â&#x20AC;&#x2DC;Situation roomâ&#x20AC;&#x2122; was a temporary interior installation funded largely by art but represents explorations in a more scalable and permanent architectural structure. For THEVERYMANY this involves the exploration of structural morphologies and their physical productions.8 In this, they are using algorithmic and computational techniques to produce custom protocols of tessellation and double curvature geometries which hold inherent structural potentials. That is, these hyper-thin structures are self supporting, and endeavour to even take certain loads. 8

Mark Fornes, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67 (p.61)

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COMPUTATION DETAIL. IMAGE SOURCE: HTTP://WWW.FORMAKERS.EU/SEARCHP.PHP?CAT=177

The firm is contributing ground breaking prototypes of potential future architectural design where structure and form are one and the same. Of course, scalability is problematic; if scaled to the size of a building the curves lose the same structural strength and would require thickening or reinforcing.9 Still, these experiments are important explorations in the optimisation of a structure while being not necessarily separated from form finding. The ability to use computational techniques has meant a change in the development of the project where it grows from the scale of a unit, to a system of units, to the entire project - a method which tests all parts and fabrication of such parts 9

at a 1:1 scale. The computational design technique also allows for great precision in execution of fabrication and structure. These explorations in performative self-supportive structures are important for the future of architecture for a number of reasons. These are radically different concepts of architecturally built forms which we have seen in the past. THEVERYMANY, possibly more so than the previous example, are looking at what is possible and what is desirable in our future of architectural design and practice. In this instance this is being achieved in the form of efficient and optimised tectonic generation and construction techniques.

Mark Fornes, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67 (p.62)

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The relationship between form/aesthetics and structure is being questioned, but more importantly they are attempting to optimise building structure so that it is less complex and far more cost efficient.10 The structure is designed to have a specific architectural concern, like structure, enclosure or porosity and the intention of having a pleasurable spacial experience. The testing of these structures in spaces such as this is therefore of importance not only because of its artistic merit but also for structural and spacial experience within the space. Although the structure was only temporary, the beauty of computational design is that it can be easily replicated (and adjusted through parametric algorithms, creating thousands of potential varieties), fabricated and constructed. In addition, with further explorations it may be possible to design something which has potential for more scalability and freedom of adjustability without compromising its self supporting nature. This has the potential to change our concepts of what buildings can be and how they can be produced and constructed. Projects such as this allow us to image what future ingenuity may be able to create through the implementation of a true human-computer symbiosis. By pushing the boundaries of what is possible and what an architectural future could look like, we are no longer just hoping for a better future, but speculating what kind of future we can make for ourselves. 10

Mark Fornes, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67 (p.61)

VARIOUS EXTERNAL/INTERNAL VIEWS. IMAGE SOURCE: HTTP://WWW.FORMAKERS.EU/SEARCHP.PHP?CAT=177

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A.2 DESIGN COMPUTATION Contemporary computational design techniques are allowing designers, architects and engineers to formulate new designs which respond to a number of different design problems unlike they ever have before. Unlike computerisation, where designs are primarily completed in the analogue world and then translated and/or manipulated in the digital world, designers are beginning to implement computational design methods, where by the entire design process is completed and solutions found using computational techniques. These methods are allowing us to more closely integrate various processes and areas in the design world, making them more productive and efficient.11 Through this process we

should be able to arrive at unexpected results which could not have been imagined without the use of these tools. The link between the architect and the engineer is becoming closer as seen in the previous examples as well as the ones here.12 The computational experiments and research through the design processes have enabled the production of extremely light-weight, self supporting structures which require no framing or supports. In the instance of the ICD-IDKE Research Pavilion 2015-16 seen here, the designers have developed a pavilion which requires no metal joining or framing techniques. The elements which

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1â&#x20AC;&#x201C;10 (p.3)

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1â&#x20AC;&#x201C;10 (p.5)

ICD/IDKE, Research Pavilion 2015-16, Stuttgart

EXTERNAL VIEW (TOP) SURFACE DETAIL (LEFT) CONSTRUCTION ELEMENTS (RIGHT). IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART

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are design and fabricated in the digital world have been done so to produce a light-weight, strong structure who assembly simply requires the putting together of parts.13 This kind of design would only be possible with computational design processes, allowing us to create something which is much more efficient, cost effective and which inhabits the aesthetic benefit of the technique, which has been coined as “parametricism” by Patrik Schumacher.14 It is changing the design process, and in many ways returning us to an early manifestation of the role of an Architect, one where they are considered the “master builder”. The craftsmanship of tectonics and materiality is coming back to architectural design through the use of computational design.15 The ease of fabrication and hence constant testing and production of the parts changes the design process somewhat, allowing easier manipulation and adjustment of design solutions. In the ICD-IDKE pavilion, nature as a source of inspiration is of key importance. This biomimicry is becoming a common trend in parametric design. Nature provides thousands of complex methods on the production of self supporting structures. In this instance, Sea Urchins and Sand Dollars were scanned 13

digitally to analyse their biological construction. This, in combination with the testing of certain structural properties of wood and other materials, enabled the biological principle to be translated, with the aid of computer and fabrication techniques, into an equally efficient architectural structure.16 This aligns itself greatly with the concepts of computation, where material properties and principles from nature are used as the driving forces (through the help of algorithmic modelling) in the design process and as a form finding technique. Here for example, the form is not thought of in advance but is found by the use of close studies and computational techniques. In this way, these outcomes would be impossible to come by were it not for computational capabilities. Using nature as a guide and being able to produce structures such as this will hopefully allow our architectural designs to advance to a point where our buildings are no longer so disconnected from the natural environment, and rather become a "second nature" which not only provides structural, aesthetic, tectonic and creative benefits but also impacts our natural environment to a much lesser degree.17

"ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily.com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> [accessed 6 March 2017]

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 (p.5)

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 (p.7)

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 (p.8)

EXTERNAL VIEW (LEFT) SAND DOLLAR SECTION (TOP) MATERIAL TESTING (MIDDLE) STRUCTURAL ANALYSIS (BOTTOM). IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART

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In a similar way, Zaha Hadid Architects looked towards nature as inspiration in the design of the Guangzhou Opera House, engaging with the principles of erosion, geology and topography, something which engages strongly with the site.18 The nature of the parametric design of this building allowed the designers to produce a hugely complex form, one which is fairly symbolic and many would say aesthetically beautiful, and translate that into a building. The computational methods allowed for the analysis of surface and production of a complex polygonal cladding system. The design process meant that the boundaries could be stretched as far as possible to produce a powerful statement of human capability when we adopt contemporary tools.19 One could argue that the design process used here is in some degree that of computerisation; that is, although being developed with the aid of computers, may not have used computational techniques to fully dictate a complex and unexpected design outcome. It could also be argued, however, that the form, structure and spacial design of the building would not have been remotely possible without computational design techniques. If the form was found and could only have been found through the use of computation, does that make it at least in part a work of computation? Through studying the concept briefly and looking at examples, I believe that the concept of computation vs computerisation is one which lies on a spectrum. Although some believe it to be the case, I don't believe the difference it clear cut. For computation to be a truly symbiotic relationship, surely there are fluctuating inputs required from both parties.

"Guangzhou Opera House / Zaha Hadid Architects", Archdaily, 2017 <http://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 6 March 2017]

Adam Mayer and Adam Mayer, "The Guangzhou Opera House: An Architectural Review", China Urban Development Blog, 2017 <http://

www.chinaurbandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> [accessed 6 March 2017].

Zaha Hadid Architects, Guangzhou Opera House, China

EXTERNAL VIEW. IMAGE SOURCE: (HTTP://WWW.ARCHDAILY.COM/115949/GUANGZHOU-OPERA-HOUSE-ZAHA-HADID-ARCHITECTS)

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EXTERNAL VIEW (TOP) INTERNAL VIEW (LEFT) UNFOLDED STRUCTURE (RIGHT). IMAGE SOURCE: (HTTP://WWW.ARCHDAILY.COM/115949/GUANGZHOU-OPERA-HOUSE-ZAHA-HADID-ARCHITECTS)

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ICD/IDKE, Research Pavilion 2013-14, Stuttgart

A.3 COMPOSITION/ GENERATION

"Computation augments the intillect of the designer and increases capability to solve complex problems." (PETERS)

EXTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/522408/ICD-ITKE-RESEARCH-PAVILION-2015-ICD-ITKE-UNIVERSITY-OF-STUTTGART

The implementation of computation in architectural design is beginning to redefine the design process itself. 20 The process has shifted from a more traditional design process (compositional) to one of generation. This is for example were the form of the building is generated through the use of a specific and unambiguous set of rules - a concept which has been discussed in the previous section. There are both advantages and disadvantages to this method, but largely it can be argued that generative design in architecture can produce extremely complex structures which are structurally, environmentally and spatially optimised in a way which could not be done through traditional design methods. 21

The ICD/ITKE Research Pavilion 2013-2014, seen here, displays many of the qualities that generative design can produce. This particular project is based largely on biomimicry, where the inspiration for the design of the lightweight, self supporting structure come from deep investigations into certain beetle shells. 22 This produced a bottom-up design process which allows the team to look at a single system and abstractly generate a complex and highly optimised design through the implementation of computational techniques. 23 The generative design process allows for a much more responsive design outcomes through the generation of form and structure through the setting of algorithms and rules. 24

Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83(2) 08-15 (p.10)

Yasha Grobman, Abraham Yezioro and Isaac Capeluto, "Computer-Based Form Generation In Architectural Design - A Critical Review", International Journal Of Architectural Computing, 7.4 (2009), 535-554 (p.553)

"ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 12 March 2017].

Mania Aghaei Meibodi, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32. (p.16)

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The design options are able to be tested, analysed and explored both easily and quickly. 25 This can be seen put into effect in these pavilions where the design of the elements had a direct relationship with the structure, fabrication possibilities, user experience and ease of construction. Through the whole generative process these aspects of the project were able to be simultaneously resolved, furthering the design outcome. This makes for a much more efficient design process and building/structure. 26 Looking to mimic the structures which exist and are indeed successful in nature is in a sense an attempt at "naturally" generating a structure/space through a bottom-up approach.

Therefore, through this kind of design process the project can literally "grow" naturally, considering all parts and relationships of the design throughout. This is in stark difference with traditional design methods where a function is placed within an often symmetrical facade which may only be representation of some ideal. This process lacks the interrelationship between the parts and can often produce buildings with little variation. Because generative design techniques generally provides a non-linear design process allowing many possible variation, the complexity and variation in form is almost endless. 27 Additionally as mentioned previously, the generative design process enables the creation unexpected and unimaginable outcomes.

Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83(2) 08-15 (p.10)

Mania Aghaei Meibodi, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32. (p.16)

EXTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/522408/ICD-ITKE-RESEARCH-PAVILION-2015-ICD-ITKE-UNIVERSITY-OF-STUTTGART

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Antoni Gaudi, La Segrada Familia, Barcelona

LA SEGRADA FAMILIA INTERNAL CEILING. IMAGE SOURCE: HTTP://WWW.WALLPAPERAWESOME.COM/WALLPAPERS-AWESOME/WALLPAPERS-CITIES-METROPOLISMONUMENTS-PALACES-ARCHITECTURE-CHURCHES-AWESOME/WALLPAPER-LA-SAGRADA-FAMILIA-INTERIOR-CEILING.JPG

LA SEGRADA FAMILIA. IMAGE SOURCE: HTTPS://MOCO-CHOCO.COM/2012/09/03/BARCELONA-PART1-LA-SAGRADA-FAMILIA/

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La Segrada Familia is an example of this kind of design process, although it was achieved long before the availability of computational techniques. Antoni Gaudi achieved this through the use of his hanging chain model where he would derive the perfect form for his arcs and structures by hanging chains and allowing gravity to depict the curvature. This was a design process which allowed him to visualise and explore alternate forms which would otherwise not be possible. 28 When we compare this type of design process with more traditional means, we can see a drastic shift in design potential. The Fagus Shoe factory designed by the great Walter Gropius, while a wonderful building in its own right which was very forward thinking at the time, provides us with an example of a traditional compositional design processes. Certain technological advancements did allow for large glass curtain walls and reduced structural elements, but over all the design process taken by Gropius consisted of "composing" elements a into a formal building structure. This has certain implications on the design, namely that the design potential and building complexity and efficiency is somewhat limited. This is by no means to take away from the success of traditional designs, especially those from before the existence of computational technologies. It is merely saying that generative design processes have great potential for optimising the design of a building structure in its form, complexity, usability, experience, structure, fabrication and construction. Fundamentally this equates to a huge increase in efficiency; a pertinent issue of today. Through the process and with the help of computational design all of these elements can be optimised through the great variability that parametric and generative design provides, as the examples shown here and previously, have displayed.

Mania Aghaei Meibodi, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32. (p.16)

Walter Gropius, Fagus Factory, Alfeld

FAGUS FACTORY EXTERNAL VIEW. IMAGE SOURCE: HTTP://WWW.CURBED.COM/2014/5/19/10098442/FOR-HIS-BIRTHDAY-10-WORKS-BY-BAUHAUS-FOUNDER-WALTER-GROPIUS

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ALGORITHMIC SKETCH, JAMES DOUGLAS

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A.4 CONCLUSION

The use of computational, algorithmic and parametric design method has been shown through the use of the examples above to be one which has the potential for rich outcomes. It can not only produce unique and varied aesthetic designs but can also (when used in the right way) produce far more complex and optimised structures than can be produced via traditional design methods or even "computerisation" techniques. More and more we are seeing examples of computational design being implemented in a successful manner. The negative stigma which is prevalent in the design through the aid of computers is beginning to lift as these new designs are growing in popularity. In my own design this semester, I plan to implement these tools and

use them to implement a generative design process. This will rely solely on creating form and structure though the use of parametric algorithms. This bottom-up generative method of designing is significant to the area as it marks a change in Architectural thinking and design. It is proving to be an effective way to produce far more complex, variable and unique structures. Using these tools and designing through this process will hopefully enable me to produce a design which is more efficient and has as little impact on the environment as possible. This can be achieved by using computational methods to optimise the buildings performance, and ease of fabrication and construction.

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A.5 LEARNING OUTCOMES Since the beginning of the semester my understanding of computational design techniques has changed dramatically. I didn't quite understand the power of computational design and I certainly didn't think of the technique as a ligitimate design method. After using Grasshopper for a few weeks, I am beginning to see the complexity, accuracy and variablity that can be achieved with relative ease. Looking back to past subjects, I feel asthough this would have been a usefull tool for form finding possibilities. It goes far beyond the capabilities of pen and paper or model making. The actual process of design is also no different

from the actual documentation and eventual fabrication. This is something which I believe now will make my design process much more efficient. I certainly will be taking these skills with me into future design ventures. I am interested now in the techniques in implimenting these parmetric designs/sketches into the real world where fabrication and construction is possible. At the moment, for me they are merely at a sketch phase and I am excited to see the potential for its translation into the real world.

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ALGORITHMIC SKETCH, JAMES DOUGLAS

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A.6 ALGORITHMIC SKETCHES

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Much of what I have done is purely experimental, using the studio design concepts of pop culture and "dopeness". Part of this is simply learning how to control and get the most out of Grasshopper. I have been trying though to critically analyse the outcomes for what values and qualities they may have. That way, the process is not just the learning of a tool but also analysing the way in which these experiments are benefitting my design process and allowing me to slowly build a catalogue of potential valuable design algorithms.

Since the start of the semester I have been experimenting with both existing algorithms and attempting to build my own. Although it has taken me time to get a grasp on the functionalities of Grasshopper, I believe I have been able to begin to manipulate the program and use it as the sole design tool, with minimal to no use in Rhino itself. Many of these outcomes are still somewhat expected and although being beyond the capabilities of pen a paper, don't fall under the banner of computation. I am hoping that through more work and better understanding the tool will allow me to implement it in a more generative manner.

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BIBLIOGRAPHY Aghaei Meibodi, Mania, Generative Design Exploration, 1st edn (Stockholm: KTH Royal Institute of Technology, 2016), pp. 16-32 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fornes Marc, 'The Art of the Prototypical', Architectural Design, 83(2), 60-67. Grobman, Yasha, Abraham Yezioro, and Isaac Capeluto, "Computer-Based Form Generation In Architectural Design - A Critical Review", International Journal Of Architectural Computing, 7 (2009), 535-554 <https://doi.org/10.1260/1478-0771.7.4.535> "Guangzhou Opera House / Zaha Hadid Architects", Archdaily, 2017 <http://www.archdaily. com/115949/guangzhou-opera-house-zaha-hadid-architects> [accessed 6 March 2017] "ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 12 March 2017] "ICD-ITKE Research Pavilion 2015-16 / ICD-ITKE University Of Stuttgart", Archdaily, 2017 <http://www.archdaily. com/786874/icd-itke-research-pavilion-2015-16-icd-itke-university-of-stuttgart> [accessed 6 March 2017] Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Mayer, Adam and Adam Mayer, "The Guangzhou Opera House: An Architectural Review", China Urban Development Blog, 2017 <http://www.chinaurbandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> [accessed 6 March 2017] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Romero, Fernando and Ramos, Armando, 'Bridging a Culture: The Design of Museo Soumaya', Architectural Design, 83(2), 66-69.

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C R

PART B: CRITERIA DESIGN

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B.1 RESEARCH FIELDS dECOi Architects, One Main, Cambridge, MA, USA, 2009

The advances made in both computational design and digital fabrication techniques have made possible new design ingenuities and allowed the implementation of unimaginable complexity of form.1 Although there are many, one technique of design and fabrication which has enabled this advancement is that of ‘sectioning’. Sectioning techniques have been used in the past in varying fields. For example, the structure of an aeroplane and ships is made possible by using structural sections to define the form, which can then be clad. 2 This is a process which uses repeating sections to define the surface represents an analogue version of Lofting, used in digital software.3 Le Corbusier also implemented sectioning to define the structure and complex form of the roof of the chapel at Ronchamp.4 Although the technique is not necessarily a new one, with the advancements in digital design and fabrication methods it has become an efficient and creative technique used by designers to create complex three dimensional form and structure out of simple two-dimensional materials.5 1

“Digital Fabrications: Architectural and Material Techniques / Lisa Iwamoto", Archdaily, 2010 <http://www.archdaily.com/41364/digital-fabrications-architectural-and-material-techniques-lisa-iwamoto> [accessed 17 August 2017]

Dunn, Nick. (2012). Digital Fabrication in Architecture (London: Laurence King Publishing Ltd), pp. 327-341

Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and Material Techniques (New York: Princeton Architectural Press), pp. 1-27

Dunn, Nick. (2012). Digital Fabrication in Architecture (London: Laurence King Publishing Ltd), pp. 327-341

ONE MAIN OFFICE RENOVATION. C R I T E R I A D E S 34 IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/778976/ONE-MAIN-OFFICE-RENOVATION-DECOI-ARCHITECTS

One Main Street designed by dECOi architects serves as an excellent example of the geometric and performative potential and capabilities of the technique. While the digitally designed form of the new office installation was extremely complex and doubly curved, by sectioning the form the architects were able to easily have the form realised though the milling of recycled timber using a 3-axis CNC router.6 This process meant that the design could be sent straight the routing machine allowing for a streamlined and extremely accurate fabrication. The sections could then be constructed into blocks with relative ease and simply put into place on site.7 Through the digital design process and the accuracy of the fabrication technique, the minor details such as lighting and ventilation grilles were able to be finessed with great care and precision.8 This allowed for an added continuity in the project and meant for a much more cost efficient process. In addition to all this, the recycled materials used as well as the ability to accurately ‘nest’ each component onto the plywood sheets also meant minimal wastage was achieved.9 For this project, a continuity of form, structure and overall design intent was able to achieved by essentially ‘printing’ all components and putting them together. With these tools, the designers no longer had to rely on preconceived structural or design components but could manipulate and fabricate their own. In the project, furniture, shelving and even the door handles were produced using sectional fabrication techniques.10 6

"One Main", dECOi Architects, 2016 <http://www.decoi-architects.org/2011/10/onemain/> [accessed 17 August 2017]

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Digital Weave created by Lisa Iwamoto and students at the University of California, Berkeley, implements the same strategy of design and construction but demonstrates the potential diversity of the technique. While the technique was used in the previous example to make the complex geometric surface possible, Digital Weave uses the technique in informing the actual design and performance criteria. The project used 2D fabricated ‘ribs’ which would ‘weave’ together to form the structural system. Since the design was to be installed for only one night, the constructability and easy of transport was a major concern. The ribs which are riveted together were designed in way in which the parts could be compressed and expanded much like an accordion.11 The structural interpretation of sectioning here is shown to be diverse from other examples and allows us to realise the potential for the technique. Of crucial importance to this process is the ability to prototype the form and structure easily at varying scales using the same fabrication technique. The nature of sectioning and its fabrication method has meant that in many of these projects a scale prototype was able to be easily and quickly manufactured and tested. In many instances the same file used for final fabrication can also be used to produce a scaled down version.12 11

Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and Material Techniques (New York: Princeton Architectural Press), pp. 1-27

University of California, Berkeley / Lisa Iwamoto, Digital Weave, 2004 DIGITAL WEAVE. IMAGE SOURCE: HTTPS://AMBROSECKLO.WORDPRESS.COM/BRIEF-SYNOPSIS/

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by Martti Kalliala, Esa Ruskeep채채 with Martin Lukasczyk, Mafoombey, 2005

As opposed to the examples of aeroplanes, ships, the construction method is highly expressed through the design. An important element of the process in the frequency of the sectioning in approximating varied surface geometries.13 In the above example, although the frequency in fairly high, the individual sections are still for the most part easily identifiable and some transparency is achieved. In contrast to this, projects such as Mafoombey by Martti Kalliala, Esa Ruskeep채채 with Martin Lukasczyk use consecutive sectioning to create a much more solid structure. Again though, the 720 sheets of corrugated cardboard were cut using a computer controlled cutter and simply stacked on top of one another in order. No structural or construction systems were required for the built realisation.

MAFOOMBEY. IMAGE SOURCE: HTTP://1.BP.BLOGSPOT.COM/ _ HWZLXBILFO0/ TKYM9H1KGTI/AAAAAAAAAEA/4-5ROBVUSNU/S1600/REF3.JPG

Sectioning as a design and fabrication strategy has shown to be a useful one in creating complex forms both easily, efficiently and creatively. In its essence one can rely solely of planar material to create complex curvilinear forms.14

Iwamoto, Lisa. (2009). Digital Fabrications: Architectural and

Material Techniques (New York: Princeton Architectural Press), pp. 1-27 14

"One Main", dECOi Architects, 2016 <http://www.

decoi-architects.org/2011/10/onemain/> [accessed 17 August 2017]

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BanQ by Office dA reflects a similar tectonic design ideology as One Main by dECOi architects. A notable difference however is the thickn this has meant for a lower resolution of represented curvature and more transparency through the sectioning which depends on viewing a

The grasshopper file which was given for the development of the form and the technique of sectioning included two different example. were taken with a surface. These lines were then extruded from the surface in the x,y and/or z direction. For this definition, the form relied second example provided a more complex technique where a surface was divided and point moved in the z direction based on a sampled of form. Sections could then be created along the surface and lofted between original and moved points.

The following species and iterations were created using both techniques, both individually and in combination with each other. The defini curves and surfaces and adding to and taking away from the definitions. The definitions were somewhat restricted to create sections whic the other. One notable adjustment to these definitions was the addition of algorithms which enabled curvilinear forms on both sides of th

Input Surface:

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B.2 CASE STUDY 1.0 Office dA, BanQ, Boston, 2009

ness of the materiality used and the density of sectioning. In this example, angle.

. In the first, intersection between perpendicular frames created on a line d solely on the input surface, which was not controlled by grasshopper. The image. This meant both input surface and image sampling were in control

BANQ. IMAGE SOURCE: HTTP://WWW.ARCHDAILY.COM/42581/BANQ-OFFICE-DA

itions were pushed to their limits, by adjusting parameters, changing input ch were planar on one side and followed the created form of the surface on he sections (as seen in Species C, D & E)

Image Sampler Input:

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Species A:

Constants: Input Crv: Input Srf:

Default Default

Section count (0-100): x,y,z extrusion (0-10):

Species B:

Constants Img Sampler Input: Input Srf: Srf Division (u,v):

1 1

Section count (0-100): Amplitude / Height (0-10):

Species C:

Constants Srf Division (u,v):

Section count (0-100): Amplitude / Height (0-10): Input surface: Image sampler input:

1 1

1 2

2 2

2 3

Section count (0-100): Amplitude / Height (0-10): x,y,z extrusion (0-100): Image sampler input:

4 2

Species D: Constants Input Srf: Srf Division (u,v):

Species E:

Constants Img Sampler Input: Input Srf: x,y,z extrusion:

1 1

Section count (0-100): Amplitude / Height (0-10): Surface division (0-100):

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3 3

3 4

4 4

4 5

5 5

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Successfull Iterations

Section count (0-100): Amplitude / Height (0-10): Input surface: Although this came primarily from the initial definition, with alterations made to Image sampler input: the parameters, it yields a fairly interesting 3 result. With the extrusion tilted further in the x/y direction rather than the z, the elements begin to change from sections to strips. Perhaps this has potential for a far more solid surface which allows glimpses through where the strips start to lift or dip.

1 Because the sections here are less frequent, they do not contribute much to a continuous 1 surface geometry. Rather, in this case, each section has its own identity and could be seen as separate entities rather than one of many. Because of this, it has the potential to stray away from the typical uses of sectioning. Architecturally, they could be used as shading devices on a building which could from a larger, overall shape or image. From afar for instance, an image (from sampling) could be seen but be lost as you get closer.

3 4

This1outcome is in oppo one. Here, the sections 1 a continuous form. In t definition shows the po technique to produce f complex, doubly curved added ability to adjust sides of the sections, it an existing surfaces. Th be manipulated to beco almost any item, from

D: 6

Section count (0-100): Amplitude / Height (0-10): x,y,z extrusion (0-100): Image sampler input: C R I 42

4 2

osition to the previous s are clearly describing this instance, the otential for the fully developable d forms. With the the curvature on both t could be mapped over his could therefore ome an accessory for buildings to clothing.

This outcome starts to remove itself further from the original definition. The iteration has 4a much more harsh aesthetic. It's success not 4 lies in its difference with other outcomes 4only but also in its potential ability to initiate a affect on people. With this harsh aesthetic a darkness exudes from the form, perhaps signalling to the evil side of consumerism.

I think in the context of the brief, this outcome has value as a slightly more abstracted form of 4 which no longer describes an obvious sectioning shape despite 54 its high concentration of sections. This iteration starts to become somewhat more individual and "designed" something which is ever present in todayâ&#x20AC;&#x2122;s pop culture.

Although the initial definitions produced some interesting results, it was not until the algorithm was developed, added to and adjusted that more interesting outcomes were achieved. In general, the most interesting outcome were the ones which took parameters to the edge and pushed the potential of the algorithm. By doing this, the outcomes because less and less expected, and I began to see glimpses of a shift from computerisation to computation. In relation to the brief and the idea of mass produced, flat-packed consumer items, the concept of sectioning fits rather well. The algorithm showed in many instances how easy it could be to manipulate form and have it produced into flat sections which could be constructed with great ease. The technique therefore has great potential in the context of the brief as a form of self-service, flat packed consumer system. Design democracy in the design of such an "accessory" in the context of the brief is a possible area of exploration. Perhaps an algorithm could be designed which would enable users to design their own accessory and have it delivered in the form of a flat pack, build-it-yourself item.

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Denton Corker Marshall with Robert Owen,Webb

B.3 CASE STUDY 2.0

WEBB BRIDGE. IMAGE SOURCE: HTTPS://MEL365.COM/WEBB-BRIDGE-MELBOURNE-DOCKLANDS/

EEL TRAP. IMAGE SOURCE: HTTPS://CV.VIC.GOV.AU/STORIES/ABORIGINALCULTURE/MEERREENG-AN-HERE-IS-MY-COUNTRY/EEL-TRAP/

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Bridge Melbourne, 2003

The Webb Bridge was a competition winning design as part of a public art project in the city of Melbourne's Docklands area. It was designed largely as a piece of sculptural art by artist Robert Owen in collaboration with Denton Corker Marshall.1 The concept for the design came from Koori fishing/eel traps. The bridge was to connect with an existing decommissioned rail bridge which extended 145m across the Yarra river. The symbolic representation of the indigenous eel trap and its connection to the rail bridge, itself a symbol of European culture, represents a connection between the past and the future. 2 In this sense, the project addresses several historical and cultural issues and successfully connects the existing bridge to the residential areas on the south side.3 The design manages to re-purpose an old rail bridge into a sculptural walking bridge which activates and links one of Melbourne's fastest growing regions. The structure was also able to be prefabricated off site, assembled on a barge and floated in at high tide.4 The main sculptural part of the bridge is made up of metal sections of varying dimensions, interconnected by a series of metal straps. Much like we have seen in the previous sectioning examples, this design method meant for a far more efficient fabrication of individual components which would then describe a sinuous form. 1

"Webb Bridge", Australian Institute of Architects, 2005 <https://dynamic.architecture.com.au/gallery/

cgi-bin/awardssearch?option=showaward&entryno=20053006> [accessed 28 August 2017] 2

"Webb Bridge", Robert Owen, 2003 < https://www.robertowen.com.au/webb-bridge-1/> [accessed 29 August 2017]

"Webb Bridge", Australian Institute of Architects, 2005 <https://dynamic.architecture.com.au/gallery/

cgi-bin/awardssearch?option=showaward&entryno=20053006> [accessed 28 August 2017]

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REVERSE ENGINEERING - PROCESS

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REVERSE ENGINEERING - FINAL PROCESS 1

An input curve is used to define the path that the bridge takes. This is the only part of the process that takes place in Rhino and not in grasshopper. Creating an input curve like this which will control the following algorithm allows the design to be manipulated down the track in its shape and flow. Additionally it allows for flexibility in the connection point to the existing portion of the bridge and the new connection point on the south side. It also allows continuous control of the height changes the bridge would take along the path.

Each section is then split into two, a bottom half and a top half. This is to ensure that the bottom half remains consistently circular while the top is stretched in the z direction to form ovoid shapes. Point attractors are once again used to vary the intensity of the scaling in the z direction on the top arc. These point as with the last step are fully adjustable to change various parameters of the scaling.

The input curve can then be divided and pe point. Circles can then be easily be place at The amount of divisions or sections can the

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The two arcs can now be joined back togethe which would be fabricated from metal. The create the connection points for the straps

erpendicular frames placed at each division t each frame with control over circle radius. en be manipulated parametrically.

er and extruded to create the planar surface e sections can also be divided randomly to s which run between each section.

Using point attractors, the scaling of each section can be manipulated. The parameters of the scale can then be manipulated in a variety of ways, providing many potential iterations of form. The input points for the attracting can also be manipulated to varying points to change where the scaling has more or less effect over the shapes.

Each of the straps are part of a larger continuous poly-line which runs the length of the structure. Poly-lines are created by connecting equal amount of points on each section. The parameter of each evenly spaced points can be manipulated and shifted randomly within a specified domain. This will allow for the seemingly random spacings of the connection points in the project a but will restrict the movements so that the points do not become overly random, producing highly compressed and stretched section.

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REVERSE ENGINEERING - ALGORITHM Referenced Curve

Perp Frames

Circle

Scale

Tree Statistics

Graph Mapper

Closest Point

Split w/ Brep

Referenced Points Point Attractor - Circle Radius

Plane Surface

Construct Domain

Evaluate Cr

Divide Addition Random

List Length

Series

The final algorithm follows the pattern as outlined on the previous page. While achieving the first part of the algorithm (the top part) was but the problem was finding an effective way to adjust these point so that their spacings are seemingly random but without straying to far 'Path Mapper', 'Shift List', 'Cull Pattern' and 'Random Reduce'. Most of these techniques required fairly complex data management strateg implemented the 'Random Reduce' component provided the correctly ordered points for polylines but because there was no limit on the provided ordered points which were much more accurately (and highly adjustably) spaced as compared to the original project.

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Point Attractor - Upper Arc ‘Z’ Scale Referenced Points

Sort Curves Along Crv

Tree Item

Scale NU Closest Point

Graph Mapper

Join Curves

Tree Item

Extrude Planar

Interpolate Crv End Points

Amplitude Final Section Strips

Ruled Srf Interpolate Crv

Bridge Path

Flip Matrix

Polyline

Explode

Flip Matrix

Ruled Surface Oﬀset on Surface

Loft (straight)

Deconstruct Brep Final Interconnecting Strips

Interconnecting Polylines

relatively straight forward, the second part was considerably more difficult. Connecting polylines through divided points is simple enough from their initial position. Many different techniques were attempted including the implementation of components such as 'Relative Item', gies which proved to be beyond my capabilities. When they did work, the outcome was not quite right. For instance, the a technique which randomness, the lines would vary too greatly across each ring. The final solution was as expected a much simpler and elegant one which

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OUTCOME

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The final outcome is, rather pleasingly, very similar to the original project. The algorithm behind the final outcome provides variability in numerous ways. For example: section radius/scale (individually and in total), degree of scaling of rings in the z direction (degree of ovoid shape), curvature of the form/path, the degree at which the points are randomly shifted in both directions on each ring, and the width of sections and interconnecting straps. I believe that with these adjustable parameters, an extremely close replication of the Webb Bridge is possible. The spacing of the points on each ring proved fairly difficult as mentioned previously but was finally achieved to a satisfactory degree. In the actual project though, some of the connecting straps cross over one another between the rings and. Each polyline then remains on that side unless they cross over once again. There is fairly minimal crossing over - perhaps once or twice per polyline. This is a feature of the original that I could not replicate. Although when the degree of shifted points was increased some straps begin to cross over, it still did not achieve the same result. Because in this instance the point movements are created randomly, there was nothingWW keeping the lines on that side of each other after crossing. Generally this would produce far to many areas of crossing over. Additionally, the actual belly of the bridge was not reverse engineered as part of the project, although the path through the shape was. This was mostly done for better visualisation of the bridge.

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