AIR Journal_Part A: Conceptualisation by Jeanne

AIR JOURNAL JEANNE ANG | 691939 STUDIO 3 | FINN WARNOCK

CONTENTS

How I Got Here 4

PART A Conceptualisation 6

PART B x

PART C x

How I Got Here. When I was 15, I started doodling on the back of exam papers and dancing in front of my momâ&#x20AC;&#x2122;s

full-length mirror, and from there, my interest in the arts slowly grew. The idea of creating

something new and original really appealed to me and when I moved to Melbourne, and was

presented the option to do art-based subjects in high school, I quickly grabbed hold of this opportunity. Registering into the architecture course was a rash decision at the end of Year 12 but in two years, tertiary

education has greatly shaped my mind and made me perceive architecture, art and design in a new

light. I now understand the interdisciplinary nature of systems, am aware of the contradictions that

somehow complement each other, and recognise the potential of integrating digital means to design. Studying

architecture

has

made

passionate

about

combining

creative

interests

with

real-life issues in search of effective solutions that do not simply solve a problem, but also instigate a new form or concept. I realise that having a good command of digital tools is

essential in achieving this as our world is becoming more tuned in towards the digital realm. The in

digital

terms

have

Adobe

been

realm

also

generating

now

experimenting

Creative

Suite

serves

design

with

but

various

programs,

platform

sharing

softwares

Photoshop,

for

them

since

InDesign,

getting

ideas

with

others

and

Illustrator,

starting

out

too.

school

there,

here, the

saying such

not

just

the

that,

modelling

program, Rhinoceros, and am now looking forward to add the Grasshopper plug-in to the list.

DESIGN FUTURING. A1 DESIGN COMPUTATION. A2 COMPOSITION / GENERATION. A3 CONCLUSION. A4 LEARNING OUTCOMES. A5 APPENDIX. A6

C O N C E P T U A L I S A T I O N

A1. DESIGN FUTURING Contemporary architecture is very much about breaking conventions. There are many ways this is achieved, for example, through collaborative efforts, allowing the flow and implementation of ideas from different fields, or, through research and experimental projects, exploring the possibilities of art, science and technology in form-making. These actions are not only reflected in the methodology of design, but also in the aesthetic values and outcome of the architecture. For example, there is an increased focus on connectivity and fluidity within designs. Not just in form but within the concept too. This is just representative of where our society is currently heading, as what architecture does, is give form to the values we live by.1 In saying that, architectural design now also has a high focus on sustainability. Be it ecological, economical or social, as we become more aware that creating something leads to destroying another, there is profound interest in finding ways to tackle the consequences of building.2 With two selected precedents, some values of our current society will be further highlighted and how these, alongside technological innovations, allow for a new form of architecture to be realised.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3. 2 Ibid., p. 4.

DESIGN FUTURING

Figure 1. A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed 12 March 2016].

DESIGN FUTURING

Figure 2. A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed 12 March 2016].

The renovated interior of the Barbarian Groupâ&#x20AC;&#x2122;s office is a clear example of fluidity and connectivity being highlighted within a design form and concept. The traditional layout of an office with separated blocks is replaced with a single-surfaced table, materialising the theme of collaboration and connection.1 The conventional perception of an office desk is also challenged in this case, showing the imaginative strides taken by designers today. The architect not only created a flexible system that enhances the companyâ&#x20AC;&#x2122;s current working environment, but also aimed to bring forth the potential for growth by making it an open structure.2 Speculation is yet another key aspect within design fields today and contemporary works of architecture are used to prompt discussions regarding what is ideal and preferable for the future.3 The desk structure is made out of individual pieces of laser-cut plywood panels, and with multiple joints, it was easily transported and assembled on site.4 With the use of 3D modelling softwares, the unconventional geometry is effectively represented and each customised panel was accurately fabricated. The unique desk form, although connective in nature, has archways and other spatial features that create separate spaces. This sort of complementing contrasts is highly seen within works of architecture now as we seek to find a balance between contradicting aspects. In this case, the architect effectively created a unifying structure that encompasses a variety of spaces.

THE BARBARIAN GROUP New York, New York by Cleve Wilkinson Architects

[1] A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed 12 March 2016].

[2] Elaine Louie, Table Manners at Work, (New York: The New York Times, 2014), <http://www.nytimes.com/2014/02/13/ garden/table-manners-at-work.html?partner=rssnyt&emc=rss&_r=2>, [accessed 12 March 2016].

[3] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Massachussetts: MIT Press, 2013), p. 6. [4] A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-superdesk/#.Vuawc4x941i>, [acccessed 12 March 2016].

DESIGN FUTURING

Figure 3. Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects <http://www.archdaily.com/594947/ribbon-chapel-nap-architects>, [accessed 18 March 2016].

DESIGN FUTURING

Figure 4. Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects

Figure 5. Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects

<http://www.archdaily.com/594947/ribbon-chapel-nap-architects>,

[accessed 18 March 2016].

With the Ribbon Chapel, the architects effectively incorporated symbolism with structure. The structure is essentially two entwining stairways that meet together at the top, illustrating the act of marriage.1 Again, there is an idea of connectivity being played out here, both in form and in concept. Furthermore, by entwining the stairways, the architects managed to realise a self-supporting structure, whilst conceptually reinforcing the idea of two coming together to support one another.2 This is reflective of the exploration on reciprocal structures, which were commonly used for roof framing structures, but now, increasingly adapted in other aspects within architecture. 3 Parameters would have been applied to a digital model in order to inform the diameter and overall positioning of the design features, and by applying known construction knowledge, calculations were made to inform the support and bracing needed to realise the final form.4 This highlights the importance of mathematics, science and technology in helping us visualise, model and construct. The design for the chapel also blends the boundaries of architectural elements. The structural stairways make up the facade of the building, act as roofs, eaves and walls5, provide external circulation and shape the internal space too. Through this, hybridisation between aesthetic feature and function, as well as between functional components themselves, are established.

RIBBON CHAPEL

Hiroshima, Japan by Hiroshi Nakamura/ NAP Architects

[1] Hiroshi Nakamura & NAP CO., Ltd., Ribbon Chapel, <http://www.nakam.info/en/>, [accessed 12 March 2016].

[2] Ibid.

[3 Alberto Pugnale and others, â&#x20AC;&#x2DC;The Principle of Structural Reciprocityâ&#x20AC;&#x2122;, Full Papers:Taller, Longer, Lighter (2011), <http://vbn.aau.dk/files/56095311/the_principle_of_structural_reciprocity.pdf>, [accessed 18 March 2016] (p. 4).

[4] Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects, <http://www.archdaily.com/594947/ribbon-chapel-nap-architects>, [accessed 18 March 2016].

[5] Ibid.

DESIGN COMPUTATION

Figure 6. nArchitects, MOMA/P.S.1 Canopy, <http://narchitects.com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].

DESIGN COMPUTATION

Figure 7. Architect Magazine, Canopy at MoMA PS1, <http://www.architectmagazine.com/project-gallery/canopy-at-moma-ps1>, [accessed 7 March 2016].

â&#x20AC;&#x153; With the use of digital technologies, the design information is the construction information. â&#x20AC;? Kolarevic, 2003.1

MOMA/ P.S.1 CANOPY

A2. DESIGN COMPUTATION With the precedents discussed before, it is evident that computers play an inevitable role in realising the final designs. In most cases, computers are not just used to document and fabricate final products, they are also used in the early stages of idea generation and development. Scripting is comparable to initial sketching, and this clearly shows the shift within the paradigm of design thinking.2 Following up on hybridity being a key value in society these days, the collaboration of creative thinking and rational computation has allowed for the boundaries of architecture and design to be pushed. Complex geometries are now easier to generate with the use of parametric modelling, and as these information can be extracted or transferred to other softwares or machines, producing them has become more achievable too.3 Computation was essential in executing the Canopy pavilion where nArchitects was able to find the middle ground between geometric precision and natural variables. Using parametric means, they created a digital model where the length and intersections points of every arc were depicted. This enabled them to determine the orientation and splicing method of the bamboo pole whilst constructing the pavilion.4

Queens, New York by nArchitects

[1] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 7. [2] Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p. 7.

[3] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 7.

[4] nArchitects, MOMA/P.S.1 Canopy, <http://narchitects. com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].

DESIGN COMPUTATION

Figure 8. Archdaily, EXOtique / PROJECTiONE, <http://www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

DESIGN COMPUTATION

Figure 9. Archdaily, EXOtique / PROJECTiONE, <http://www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

EXOTIQUE

With EXOtique, the hexagonal modules were achieved via Grasshopper algorithms. Fabricating the modules with tabs, labels and connections, enabled for a product that is easily assembled, selfsupporting and free of hardware connections.4 This resulted in a final product that truly celebrates its material properties, and it also suggests that digital fabrication is expanding the potential of reciprocal structures. This is exemplar of another key outcome of design computation, performative designs. Architects are using means of computation to simulate structural and material performances as a methodology of design, and this is especially useful in simulating user experience.5 There is also what is known as the emergent form, where the multiplicity of algorithmic scripting enables different forms to be explored and adopted for optimum performance.6 The accessibility of design computation is also a factor that builds collaboration between different disciplines where the computer facilitates communication during the design process. Computation is definitely changing the execution of a design, from the initial idea generation to the final assemblage of modules. This is causing a shift in culture, where workflow is becoming more of a loop rather than a top-down linear process, ultimately paving the way for a new form of architecture.

Muncie, Indiana by PROJECTiONE

[4] Archdaily, EXOtique / PROJECTiONE, <http://www. archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

[5] Brady Peters, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2 (2013) pp. 8-15, (p. 13).

[6] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 26.

COMPOSITION / GENERATION

Figure 10. 3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

COMPOSITION / GENERATION

Figure 11. 3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

SND CONCEPT STORE

A3. COMPOSITION / GENERATION

Chongqing, China by 3GATTI

A radical movement born out of design computation is generative architecture, where as opposed to traditionally planning out the composition of a building, architects and designers are now able to generate forms by entering a set of rules, parameters and logic to a computer program.1 This presents new opportunities in form-finding as this methodology of design treats each input of logic as a variable, which can be easily modified to produce multiple outcomes.2 Often, unexpected results are attained, further expanding the potential of generating forms as it is now not only limited to the designerâ&#x20AC;&#x2122;s visualising capacity. In saying that, complex forms can start to take shape based off rules set by parameters. In the SND Concept Store by 3GATTI, the architects imagined the weight of objects pulling down the ceiling at certain points, and by using a material simulation software, they were able to model the effect this had at each point. The scale-like patternation was also achieved by applying algorithmic rules to the program, generating more than 10,000 separate surfaces which were then machine fabricated to precision.3 Form generation allowed for the morphing and manipulation of a simple surface whilst taking into consideration the materiality and spatial parameters, suggesting the potential of creating unconventional geometry within set constraints.

[1] Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 13.

[2] Ibid, 17.

[3] 3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

COMPOSITION / GENERATION

Figure 12. Archdaily, Eegoo Offices/dEEP Architects, <http://www.archdaily.com/194769/eegoo-offices-deep-architects>, [accessed 18 March 2016].

COMPOSITION / GENERATION

Figure 12. Archdaily, Eegoo Offices/dEEP Architects, <http://www.archdaily.

com/194769/eegoo-offices-deep-architects>, [accessed 18 March 2016].

EEGOO OFFICES

This methodology is also enabling the integration of biomimicry into architecture as it allows for the translation of natural patterns and scientific calculations into a visual form.4 dEEP Architects employed a cellular sequence in generating the interior of the Eegoo Offices, which not only informed the aesthetic qualities but the spatial organisation as well. Office spaces and circulation follow the generated cellsâ&#x20AC;&#x2122; shape and sizes, resulting in a space that appears to be composed randomly but was in fact generated following an organised nodal sequence.5 Here, the architects effectively merged the generated form with symbolism and materiality, creating an office space that is dynamic and innovative. However, it is arguable that since generative architecture is highly based off logic and rational inputs, the creative aspect will be lacking. Also, there is a potential of the end result being either too literal or deprived of poetic qualities. This is where a balance has to be met in order to maximise the potential of combining the rational programming of computers and the creative intuition of the human mind.6 In saying that, performance, tectonics, materiality, or any other constraints assigned to a project, are becoming more and more integrated within the process of generating a form.7 This creates a digital boundary but it allows us to roam within our own creativity. There is no perfect system or way of designing, therefore piecing together the advantages of each methodology is a viable approach to designing.

Beijing, China by dEEP Architects

[4] Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p. 7.

[5] Archdaily, Eegoo Offices/dEEP Architects, <http://www. archdaily.com/194769/eegoo-offices-deep-architects>, [accessed 18 March 2016].

[6] Yehuda E. Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004), p. 3.

[7] Oxman, p. 6.

A4. CONCLUSION Architecture and design serve as a platform for collaboration and speculation, resulting in a society that is becoming increasingly driven by hybridity.1 From the aesthetics of projects being proposed and realised to the methodology of design, there is often a collaboration between different disciplines, concepts and media. As information is so easily shared and accessed these days, we have the privilege of adopting different ideas and merging them into a solution for our own design problems. This is the biggest potential of the digital and contemporary age, as there are no set rules and so many design possibilities. What interests me most is the complementation of two very different elements, for example, the rational computer and the creative mind. As mentioned in A1, there is a trend in architecture where contradicting elements are brought together in a unifying way. Furthermore, many designers have successfully done this in producing a structure that is fully self-supported, highlighting this idea of cohesion. In saying that, I am interested to further explore the potential of digital design in generating forms and producing self-supported structures, with the aim of bridging two contradicting elements together.

[1] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (Massachussetts: MIT Press, 2013), p. 6.

A5. LEARNING OUTCOMES Throughout the Part A module, I came across many design precedents that highlighted the potential of incorporating digital means to design. Although I was already aware of this, the lectures, readings and tutorials expanded my knowledge on digital design as I now know the difference between computerisation and computation. Computers are not just used for documenting, visualising or rendering, but they have the potential to generate designs too. A different form of thinking will have to be applied when adapting to computation as information have to be inserted to a program to generate solutions. In a sense, this requires a more profound understanding of structural and performance systems, as these information have to be firstly deconstructed before the programs can reconstruct them into a new result. Prior to this, I have only used computers in later stages of the design process. Through the algorithmic sketch tasks, I have started to practice generative design and am intrigued by both the design outcomes and process. I realised that how I conceived the design within my own thoughts was different from how it would have been if I was sketching it out by hand. This made me truly aware of how computers are changing the way we conceptualise and I am interested to see how I will develop in this throughout the course of Studio Air.

A6. APPENDIX - ALGORITHMIC SKETCHES Through the algorithmic sketch tasks, I had the chance to explore form generation using attractor points. The multiplicity of Grasshopper quickly became apparent to me when just a simple change of value in the number s lider could result in strikingly different results. All definition put into the plug in act as a variable that manipulates the form whilst working within set parameters. Experimenting with different numerical parameters, input functions, defined geometry and relocating the attractor points allowed me to generate varied and unexpected forms. Again, it became apparent to me that although Iâ&#x20AC;&#x2122;m working within the boundary of parameters, there are endless possibilities to the outcomes I can achieve. I gathered that parametricism itself is reflective of the nature of design; whilst having to work within a framework shaped by issues, opportunities and constraints, there are infinite amount of solutions to the design problem.

This is the plan view of the initial form generated using an attractor point. The circular patternation was achieved by applying mathematical functions to a rectangular grid parameter which then informs the radius value of each circle. By changing the defined geometry and values entered into the mathematical functions, interesting shapes that overlay start to form. Parametricism allows for patternation and this does not neccesarily have to be employed for the overall form of building, but could also be incorporated to facades or surfaces.

Attractor point and loft function.

Introducing multiple attractor points to create folds in different directions.

Changing degree of curves and allocating multiple points to one attractor point component creates unpredicted results.

Iteration to desired form by changing values, degree of curves and location of points.

REFERENCES 3GATTI, SND Concept Store, <http://3gatti.com/#1866>, [accessed 17 March 2016].

A/N Blog, Clive Wilkinson Architects Makes a Superdesk, <http://blog.archpaper.com/2015/02/clive-wilkinson-architects-makes-a-super desk/#.Vuawc4x941i>, [acccessed 12 March 2016].

Archdaily, Eegoo Offices/dEEP Architects, <http://www.archdaily.com/194769/eegoo-offices-deep-architects>, [accessed 18 March 2016].

Archdaily, EXOtique / PROJECTiONE, <http://www.archdaily.com/125764/exotique-projectione>, [accessed 13 March 2016].

Archdaily, Ribbon Chapel / Hiroshi Nakamura & NAP Architects, <http://www.archdaily.com/594947/ribbon-chapel-nap-architects>, [accessed 18 March 2016].

Architect Magazine, Canopy at MoMA PS1, <http://www.architectmagazine.com/project-gallery/canopy-at-moma-ps1>, [accessed 7 March 2016].

Dunne, Anthony, and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Massachussetts: MIT Press, 2013).

Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice, (Oxford: Berg, 2008).

Louie, Elaine, Table Manners at Work, (New York: The New York Times, 2014), <http://www.nytimes.com/2014/02/13/garden/table-man ners-at-work.html?partner=rssnyt&emc=rss&_r=2>, [accessed 12 March 2016].

Hiroshi Nakamura & NAP CO., Ltd., Ribbon Chapel, <http://www.nakam.info/en/>, [accessed 12 March 2016].

Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, MA: MIT Press, 2004).

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing, (New York; London: Spon Press, 2003), p. 13.

nArchitects, MOMA/P.S.1 Canopy, <http://narchitects.com/work/momap-s-1-canopy-3/>, [accessed 7 March 2016].

Pugnale, Alberto, Dario Parigi, Poul Henning Kirkegaard, and Mario Sassone, ‘The Principle of Structural Reciprocity’, Full Papers:Taller, Longer, Lighter (2011), <http://vbn.aau.dk/files/56095311/the_principle_of_structural_reciprocity.pdf>, [accessed 18 March 2016].

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013) pp. 8-15, (p. 13).

Oxman, Rivka, and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014).