Jesslyn Humardani Part A by Jesslyn Humardani

AIR ARCHITECTURE DESIGN STUDIO:

JOURNAL

JESSLYN HUMARDANI

MEHRNOUSH LATIFI STUDIO SEM 2, 2017

TABLE OF CONTENTS 0.0 | INTRODUCTION

A| CONSEPTUALISATION

A. 1

A. 2 |

Design Computation

A. 3 |

Composition to Generation

A. 4 |

Conclusion

A. 5 |

Learning Outcomes

Design Futuring

Bibliography & Image References A. 6

Appendix: Algorithmic Sketchbook

0.0 INTRODUCTION

My name is Jesslyn Humardani, Jess for short. I am a 3rd year architecture student under Bachelors of Environments in University of

Melbourne. Born and raised in Jakarta, Indonesia, where I finished

high school in 2015. Afterwards, I continued to pursue further studies in University of Melbourne.

Architecture for me, is a very broad and rich platform. There are so

many approaches one can take in order to manipulate space. As a

designer, I believe that a good design requires a motive or reason-

ing behind it, not simply doing things for the sake of its aesthetics. These motives and reasons may be raised from many different issues, may it be social, cultural, environmental or political.

Through my studies in university, I was presented with many different architectural approaches. I find it unique and interesting how

architecture is a mixture of both rationality and subjectivity. It requires technical abilities, yet it is also driven by the personal or narrative qualities. I learned how to develop a concept both pragmatically and imaginatively, keeping in mind its impacts to the users.

Prior to Studio: Air, I have experience in using Adobe Softwares

such as: Photoshop, Illustrator and InDesign, as well as Autodesk Rhino and AutoCAD. This studio would be an opportunity for me to plant a new skill that will help me understand more about the capabilities that can be achieved in the architectural industry.

I believe that computational design is part of the future of architec-

ture. It will help create architecture that was not achievable before. Then again, similar with any kinds of technology, it comes with a limit. It is to aid with designing, but should not be relied upon fully.

I am still wondering if computational design may even limit design potential even more, and is hoping to find the answer from this studio.

TOP: Studio EARTH - Secret Passage BOTTOM: Studio EARTH - Towards the Underground

CONCEPTU

UALISATION

A.1

DESIGN FUTURING 8

“We all design”, said Tony Fry.1 Designing is a human ability that allows us to think what we want to create before the act of creation itself.2 This includes the design process in architectural practice. In architecture, one factor taken into consideration during designing is its impact towards the future or how the future would affect the design. “All design to some extent is future oriented.”3We try to speculate what the future holds. Nevertheless, with the current situtation, whether a future will exist or not becomes questionable.

As the world keeps on evolving, human mindset should start evolving. We keep on growing in numbers, and using the current and conventional design methods could lead us to a defuturing path of unsustainability.6 In order to slow down the rate of defuturing, the process of designing should develop in conjunction with the development of technology. Instead of using technology to extract materials and depleting resources, it should be used to rectify the damages created by anthropocentric practices.

Living in the present time with the modern life practices would be pose threat to the future. This is due to our anthropocentric habits that treats earth as an infinite resource, which in reality is proven to be otherwise. We are finite beings living in a finite world.

Now, as technology and resources is easily attained, this can be used to better understand the present and have a better study of the possible future. It is a matter of choice whether we want to stay using conventional or orthodox methods or make use of the available digital means to speculate a possible future and create rectifications.

Human ideologies and values needs to be changed. The human mindset plays a huge role in the fate of our future. Design intelligence is a crucial element that needs to be embedded to the mindset. Through the use of design intelligence, people would be able to make sound and logical judgements of actions that could improve or worsen the futuring potential.4 Revisiting the past can help us develop new methods that would be appropriate for our current conditions and help us see what the possible, plausible and probable future holds.5 1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2. 2 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2. 3 Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 3 4 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.12. 5 Anthony Dunne and Fiona Raby, Speculative Every-

thing: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 9 6 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.1.

TOP: Aerial view of part of the building BOTTOM: Diagram of water connection and vegetation

VERTICAL FOREST STEFANO BOERI ARCHITETTI Milan, Italy 2014

In a metropolitan city, having high rise towers is one of the best solutions to benefit from the limited area of land. They can contain large volumes of people. Nevertheless, this very anthropocentric and conventional method of creating more spaces for people is highly unsustainable. Instead of completely eliminating the modern practices, Boeri Architects have created a solution to mitigate the consequences caused by it.

By using technology and further studies, they calculated the irrigation requirements by analyzing the climatic charactersitics on each facade and level in order to determine the distribution of vegetation on each floor.3 Having deep evaluations of the present surroundings using the available technologies helps them to create a strategic solution to existing methodologies, while still being innovative.

Vertical Forest in Milan is a model of a sustainable residential building, with the aim of regenerating the environment and urban biodiversity without having the need to expand the cityâ&#x20AC;&#x2122;s area. The Vertical Forest in Milan specifally, consists of two residential towers that hosts 900 trees with over 20000 plants diversity.1 This built project can also create a vertical environment that is home to birds and insects, improving the lives of animals and biodiversity.2

It is interesting how humans and technology can rapidly amplify the process of defuturing, but at the same time, it is also part of the solution that could help slow down the rate to facing finitude. This proves that as now technology is easily attainable, as long as human ideologies starts to change, it is not impossible to move away from the pathway of unsustainability.

1 Bosco Verticale by Boeri Studio, Archdaily (2015) <http://www.archdaily.com/777498/bosco-verticale-stefanoboeri-architetti> [accessed 1 August 2017] 2 Ibid.

Ibid.

TOP: Front view / Entrance BOTTOM: Shell/ Enclosure

LANDESGARTENSCHAU EXHIBITION HALL ICD, ITKE, & IIGS Stuttgart, Germany 2014

The Landesgartenschau Exhibition Hall is a prototype building constructed of lightweight timber. It is a biomimetic design based on the system of the sea urchin skeleton.1 This innovation is a unique collaboration between traditional and modern technology. Timber is usually used in residential and conventional constructions, and for this particular project, the choice of timber is driven by the fact that it is highly resource efficient and a locally available material.

With the help of technology the most optimized forms, in terms of load bearing capacity and usage of material, of the plates can be found. The fabrication was then completed by using robotics. Insulation, waterproofing, cladding and even the joint connections between plates were fabricated by using robotic fabrication setup.3

By using computational design, fabrication, simulation and surveying methods, they were able to create a load bearing timber plates while being only 50mm thin.2 Proving how traditional materials can offer an entirely new fields of application and design possibilities. They were trying to create the most resource efficient fabrication method.

By using the robotic fabriction setup, a more accurate and uniform production can be assured. This project is an interesting radical approach that proves that this particular humble material, can and may be the future of designing for the future. The fact that the project itself is a research prototype, proves that it is in fact speculative design. It searches for the possible optimal sustainable solution to face a probable defuturing. Designing this prototype shows a form of speculative critical thinking in order to face the speculated future.

1 Landesgartenschau Exhibition Hall, Archdaily, (2014) <http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart> [accessed 1 August 2017] 2 Ibid.

Ibid.

ICD-ITKE 2013-14 Research Pavilion Design Process

A.2

DESIGN COMPUTATION 14

Over the past 50 years, research directed towards Computer Aided Design (CAD) has been done extensively. In order to assisst human designers, CAD systems are constantly in the process of development. Varying levels of assistance are provided by computational systems. Its contribution to the design process ranges from small to large portion, from drafting and modeling to analytical support to a system that can actually create design solutions. 1This system has affected the practice of architecture significantly. Human-computer relationship can be distinguished into two main branch: computerisation and computation. Computerisation is a process where the computer acts as a tool to help visualize or realise ideas of human designers with an end goal in mind. This visualization becomes a medium of communication from the architect to other participants of the design process.2 Computation, on the other hand, is when computers are able to process information in the form of algorithms, and provide variations of solutions or alternatives, largely affecting the design process. Computational digital tools aslo allow for an analysis of performance-based issues. They are able to provide more accurate evaluations of a design (e.g. energy, acoustics, cost, structural performance, etc.), ensuring the creation of sustainable design with efficient use of energy and resources while being optimal structurally.3 This answers to the critics raised by Frampton, who believes that the new technology disregards the tectonic expressions.4 It is true, using computers, we are able to improve in the accuracy in a radical or logical process. However, is complete reliance towards computer enough when designing? The designing process, as mentioned by Kalay, a powerful symbiotic design system comes from the in1 Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.4. 2 Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 12. 3 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 4. 4 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 6.

tegration of computer’s superb rational abilities and humans’ creative and intuitive qualities, 5 working togethere in areas where each of them are lacking in. In this case, I agree with Peter’s idea of how human-computer relationship should be an integrated art form, instead of being an isolated craft.6 If the designing process is fully dependent on computation, the design objectives could be obscured and diverted from its original intentions.7 In addition to humans, inputing knowledge retrieved from nature is a powerful tool to support computational designing. Nature itself is one of the best designers. Only by evaluating the pattern and principles of nature, can we start creating solutions for the current environmental issues. Understanding nature, as Oxman mentioned, is an important process in order to be able to potentially create a “second nature”.8 Personally, I do think that as the world rapidly develops, the shift towards computational design is an effective way of dealing with the issues faced in the current era, may it be environmental, economical, political, social or so forth. Then again, in order to achieve the optimum design or benefits of the “Vitruvian Effect”9, humans should still have input and control of the designing process. Adding to the two, I believe that understanding nature is very important. Studying the patterns and principles of nature thoroughly allows the maximization of understanding performance-based analysis. These following precedents will show architectural works where integration between humanistic qualities, computational abilities and nature can be seen to reach an optimum effect. 5 Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 3. 6 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 15. 7 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 15. 8 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 6. 9 Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 1.

RIGHT: Differentiation: Connections between different elements

AS AUTUMN LEAVES LCD

Beijing, China 2013

Nature has been one of the most richest source of inspiration and knowledge to human kind, and it is no exception to the installation “As Autumn Leaves”. It is designed and built by the students of Laboratory of Computational Design (LCD) for Beijing’s 2013 Design Week. They underlying concept of the installation is to visualize the ephermerality of nature. Students try to evoke nostalgic qualities through the change in seasons: as autumn transcends to winter, and trees start shedding their leaves, symbolizing the passage of time. A very intriguing quality of this project is the idea of integrating the emotive, intuitive qualities of humans and the rational, accurate properties of the computers. They used computational design to provide solution and variations during their design process. This is done by first studying the geometric growth patterns of trees, and from this information, they were able to discover the range of variations and adaptabilities of the system. These variations, in conjunction with parametric design tools, helped them to determine the positions of each element based on their ease of assembly. As mentioned before, computational design tools can be utilized to do performance-based appraisals. The students of LCD used physics-based modeling programs to evaluate the gravitational and wind forces that may act upon the installation.

Even with the heavy reliance towards CAD tools, this particular installation proves that currently, the computer’s rational abilities is not enough to create an optimal design, as the goal of this installation is to evoke emotive and ephemeral human sensations through reference to nature. Although the design is accurately design and built by the use of computational design and fabrication, LCD founder and tutor Daniel Gillen stated that “the experience is far more important than the image.”1 The usage of computational design at this point is to study the structure, and that human designers are still needed to ensure that the experience they want others to feel can be translated. As Kalay mentioned, when humans are approached with complex problems or large amount of data and numbers, we tend to make mistakes, and at this is exactly where computers surpass us.2 Thus, it is not wrong to depend on them at this point. Nevertheless, human creativity and intuition is still needed to create depth to a design, either in the beginning or towards the end of a design process.

1 ”LCD Exhibits “As Autumn Leaves” At Beijing’s 2013 Design Week”, Archdaily, 2013 <http://www.archdaily. com/451572/lcd-exhibits-as-autumn-leaves-at-beijing-s2013-design-week> [accessed 11 August 2017] 2 Ibid.

RESEARCH PAVILION ICD & ITKE

Stuttgart, Germany 2013-14

Similar to “As Autumn Leaves”, the 2013-14 Research Pavilion, designed and built by ICD & ITKE, refers to the nature in their work, as it focuses on biomimetic design. They aim to develop a lightweight structure, through the use of modular elements, which they believed will reduce the number of required formwork, while still being able to attain geometric freedom. Their research is heavily focused on reaching an a degree of structural optimality. In cooperation with the Intitute of Evolution and Ecology and Paleobiology department of the University of Tubingen, they analyzed the protective shell of beetle’s wings to create a natural lightweight structure. They investigated that the beetle’s wings can be used as a reference to design a highly material efficient construction. Through studies comparing different types of flying beetle species, structural principles, patterns and variations could be identified and is then interpreted into design rules. They extracted the idea of using a double-layered system and the mechanical properties of natural fiber.1

chosen due to the abilit of the carbon fibers to be differentiated for each panels, by placing the fiber in different variations. The pavilion has a total of 36 different panels. Each of them answers to different load-bearing quantities due to the different individual fiber layout. This makes the system more efficient as it only uses material in areas where needed. In addition, due to its modular quality, the overall pavilion can react to site-specific conditions. Its morphological quality allows for an adaptable system. 2

I find this project a close interpretation to Oxman’s statement, of how natural design is more than about imitating the organic appearance, but learning their patterns, principles and their production process. By learning these qualities, only then, can we answer the issue of the environmental conditions. Harvesting knowledge from nature, especially regarding materiality and fabrication process is one of the ways for us to potentially create a sustainable and improved second nature.

Glass and carbon fibers were used as materials due to their high stength to weight ratio, which means they are able to have high performance qualities. They are also 1 ”ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart”, Archdaily, 2013 <http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-universityof-stuttgart> [accessed 11 August 2017]

2 Ibid.

Galaxy SOHO by Zaha Hadid Architects

A.3

COMPOSITION TO GENERATION 20

Ideologies in architecture is an ever-changing system. With the advancement of technology and computational design, a prominent shift in architectural practice can be seen. A change from a time where composition was the focus of architecture, to a time where generation becomes a huge part of the solution to architectural issues. As Brady Peters stated, â&#x20AC;&#x153;we are moving from an era where architects use software to one where they create software.â&#x20AC;? In the past, symmetry was deemed as the preferred architectural composition. Architectural composition was governed by sets of rules that acts as a norm during the time.1 However, its unequivocal nature that does not allow room for arguments makes this rule-based design ideology questionable.2 It is a top-down process, which reduces the opportunity of reaching an optimum design that responds well with the surrounding. It could be hard to adapt to situations which are complex and diverse as the sets of rules may become restrictive. With realization to this problem, architecture starts to move towards computational or generative architecture. Human designers are now partners and on the same level as computers to work together and find a solution. Generative design has the ability of solving complex problems in a bottom-up manner. By setting and modifying algorithms, these computational design tools can generate numerous permutations of a solution. These algorithimic parameters can be based on different factors, such as performance-based issue, environmental issue, material issues, or others.3 From the various solution 1 Yehuda E Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.4. 2 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 10. 3 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The

generated, the best and optimal option will be chosen. This means that this particular solution is generated to specifically answer the existing issues, therefore providing relevant solutions to the matter at hand. Furthermore, computational tools allows the creation complex and intriguing forms, but with increased efficiency and improved performance.4 However, before creating these forms, designers must understand the information and translate it into algorithms. These algorithms should be made up of operations that are definite and effective in order for computers to understand. Traditional compositioning has fixed sets of rules that act as the definite and only solution, while computational design methods generates different solutions to different algorithms. We know that traditional compositioning methods can sometimes become restrictive due to its definite rule-based methods. Yet, variations or iterations created by computational design tools are based on parameters and algorithms, which are essentially sets of rules. Does this mean computational design methods are actually restricting creativity and design outputs of human designers too? To an extent, it does. Personally I think, using computational design would mean that humans set the algorithm and is presented with numerous amounts of variations, and they simply have choose a solution based on the results generated.5 This becomes a limit and raises questions on the future role of architects as designers. building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 13. 4 Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 15. 5 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.2.

ELBPHILHARMONIE HERZOG & DE MEURON Hamburg, Germany 2016

After 16 years of planning and construction, the multifunctional building complex has finally opened in 2016. It houses a chamber music hall, philharmonic hall, restaurants and bars. The heart of this complex is its concert hall. Parametric design was used in order to determine the shape of the 10000 ivory and coral-like fiber acoustic panels. Each panel has a unique shape in order to create the optimal acoustical experience within different areas of the auditorium. “Every panel has a function”, as Benjamin Koren mentioned.1 The uneven carvings with sea-shell patterns abosrbs and scatters waves differently. Panels on the ceilings need to have shallower grooves, while the ones in the back wall of the audiotirum should have bigger grooves to absorb echoes.2 This particular project reflects the usage of computational tool to generate different variations, until the optimal solution is chosen. This is a process of, as Kalay has 1 Stinson, Elizabeth, Robbie Gonzalez, Elizabeth Stinson, Elizabeth Stinson, Elizabeth Stinson, and Adam Rogers and others, “What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie”, WIRED, 2016 <https://www. wired.com/2017/01/happens-algorithms-design-concert-hallstunning-elbphilharmonie/> [accessed 11 August 2017] 2 Ibid.

mentioned, “puzzle-making”, when a specific end-form is still unknown. The designer understands the overall goal of the design (in this case a hall with perfect acoustic effects), but needs more constraints in order to create a specific goal with optimal solution. This can be done using computational design tools, where they create parameters in order to create iterations or variations of forms to achieve the goal of the concert hall, which is to attain the optimal acoustical effects. The parameters taken into consideration for the concert hall were the rooms’ geometry and aesthetical preferences of the architects.3 Although each panel has different forms, they believe that the room still has to look beautiful and consistent in respect to the audience. It is truly a bottom-up process. The form of the concert hall and panels itself indicates a design that strays away from traditional compositions. The designers does not focus on re-creating a traditional concert hall composition, but instead they created parameters in order to generate several solutions until they found the perfect solution based on performative parameters. This method of form-finding is considerably new and unconventional, but proves that it could be a 3

Ibid.

GALAXY SOHO

ZAHA HADID ARCHITECTS Beijing, China 2012

SImilar to that of the Elbphilharmonie, Galaxy SOHO is a complex filled with different functional spaces. It is a composition of five structures that a linked and fused by bridges. The first three levels houses facilities such as retail and entertainment, while the levels above it are designated for office spaces. The top views were purposely dedicated for restaurants, cafes and bars in order to incorporate the surrounding views of the city with the spaces. 1

With the parameters that were created by the Chinese courtyard analogy, generative technologies were able to produce different alternatives to traditional compositional methods. In spite of the fact that the designers were trying to reflect traditional Chinese courtyards, the forms generated using computational design are completely different. It proves that they were able to discover a structurally sound form and unique forms while still keeping the underlying or original design intent.

This project strongly reflects the unimaginable forms that could be created using computational design tool. Parameters used were created from the aim of wanting to reflect traditional Chinese architecture where courtyards play in integral role and wanting to create a structure with no abrupt corners that breaks the fluidity of the composition. 2As users explore deeper into the building, the curvelinearity will lead them to a smooth discovery of intimate spaces. 3

The development from a traditional Chinese courtyard to a contemporary and curvelinear forms of Galaxy SOHO can only be done with the help of generative design tools. It is proof that as technology advances, architecture starts to shift from focusing on form compositioning to generative architecture. Instead of designing and dictating the form, architects are now partners with the computers to find a solution for the form together by using algorithmic parameters, in order to reaching multiple design agendas at once.

1 â&#x20AC;&#x153;Galaxy Soho / Zaha Hadid Architectsâ&#x20AC;?, Archdaily, 2012 <http://www.archdaily.com/287571/galaxy-soho-zahahadid-architects> [accessed 11 August 2017] 2 Ibid. 3 Ibid.

Computational design tools have significantly change architectural practice. Architecture can now explore new possibilities. It has now moved beyond the means using computers as a drafting or modelling tool, to using computers as a partner that helps designers to discover solutions together. Architecture is a dynamic system that allows us to connect the present and a speculated future. As architects, the designing process requires us to create solution to the issues speculated in the future, instead of simply designing for the sake of its forms or aesthetic preferences. Technology has now become more attainable. Using digital means, architects are given more opportunity to design solutions for the probable speculated futures. As the future is indefinite, numerous amount of speculative designs is required, and using computation, this process will become more efficient and effective. Furthermore, computations can now evaluate or create a design based its performative and structural qualities. They can produce infinite variations of solutions and present a solution that best solves the constraints or parameters at hand. By having more opportunities of answering the issues of performative, materiality, and structural qualities of a design, a sustainable future is no longer an impossible utopic dream.

A.4

CONCLUSION 26

Then again, even with the rise of technology, is enough to depend completely on computers? Computers, though accurate and efficient, lacks the intuitive and creativity that is possessed by human qualities. Designers still have the responsibility to make decisions, and should not simply delegate design choices to machine. Thus, in order for the optimum man-machine relationship or â&#x20AC;&#x153;Vitruvian Effectâ&#x20AC;? to be reached, I believe human interventions to computational design is needed. It is true that computational design allows for complex and intriguing forms, but the more complex it is, the more complex the algorithms are, the more factor that needs to be considered. Humans still need to fully understand the algorithmic system in order to make sure that the computers would generate the optimum solution. The usage of parametric design should be evaluated to make sure that it does not become a limiting factor for the architectâ&#x20AC;&#x2122;s design capacity, but instead becomes a supporting tool to create the optimum solution together.

Prior to the three weeks of intensive focus on computational design, I did not realize the difference between computerisation and computational. However, the theories and knowledge presented through the literatures, opened and widened my perspective regarding this matter. New concepts and theories, such as design futuring, speculative design, computational, and generative architecture were introduced during these three weeks. Through these new concepts and searching for precedents, I now see the extent that computational design can reach. I now realize their amazing potential, but also their limiting qualities. Learning that the idea of â&#x20AC;&#x153;futureâ&#x20AC;? is in jeopardy, I now believe that computational design is one of the methods that can help give us the opportunity to reach a sustainable future. I understand now that from the definitions and parameters you built, you can create countless different iterations. This is different to just simply modelling in Rhino. Using Grasshopper or other algorithmic-based modelling programs, we are searching for a solution together with the computers. Grasshopper also allows for an efficient accurate process of form-finding as all the algorithmic inputs have to be definite and logical. I realized that this is where Grasshopper excels. We can guarantee for an optimum solution to be generated, which you cannot do with Rhino.

However, I cannot help but to start questioning the future of architects. Could this development in computational design start to replace the role of architects as designer? With parametric design, computers generate variations of solutions and designers are responsible of making the decision, but does this mean that architects are following the computersâ&#x20AC;&#x2122; decisions? It is possible for us to be fixated on finding an optimal solution that we start forgot the original design objectives. Through looking at the precedents and readings, only I start to realize that computational design should merge with human intuitive and creative qualities. Even if performative and structural qualities are important, the experience felt by the users are also important. Designing the experience felt by users is when human intuition plays a major role. Architects should still consider designing in respect to the qualitative experiences felt by the users. With this cooperation between man and machine, I believe that the advancement in computational design can become an amazing tool that works efficiently to solve the current world problems.

A.5

LEARNING OUTCOMES 27

BIBLIOGRAPHY Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming, (Cambridge, MA: MIT Press, 2013), p. 9 “Bosco Verticale / Boeri Studio”, Archdaily, 2017 <http://www.archdaily.com/777498/bosco-verticale-stefano-boeriarchitetti> [accessed 1 August 2017] Brady Peters, Computation Works: The Building of Algorithmic TThought, in Special Issue: Computation Works: The building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, (2013), p. 10. “Galaxy Soho / Zaha Hadid Architects”, Archdaily, 2012 <http://www.archdaily.com/287571/galaxy-soho-zaha-hadidarchitects> [accessed 11 August 2017] “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart”, Archdaily, 2013 <http://www.archdaily. com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 11 August 2017] “Landesgartenschau Exhibition Hall”, Archdaily, 2014 <http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart> [accessed 1 August 2017] “LCD Exhibits “As Autumn Leaves” At Beijing’s 2013 Design Week”, Archdaily, 2013 <http://www.archdaily.com/451572/ lcd-exhibits-as-autumn-leaves-at-beijing-s-2013-design-week> [accessed 11 August 2017] Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 6. Stinson, Elizabeth, Robbie Gonzalez, Elizabeth Stinson, Elizabeth Stinson, Elizabeth Stinson, and Adam Rogers and others, “What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie”, WIRED, 2016 <https:// www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/> [accessed 11 August 2017] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p.1. Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)

A.6

APPENDIX / ALGORITHMIC SKETCHES 30

TILING - RESPONSIVE SKIN OC TREE - VORONOI - LOFT

From the first few video tutorials, I tried to create a few samples of tiles that could work as a facade. Different parameters were set, such as: surface forms, numbers of points and numbers of curves. I tried to think of the possibilities this can be related to a responsive design, the undulations, openings and depths could work be formed by setting parameters depending on lighting, shading, etc.

IMAGE SAMPLING ZEBRA PATTERN

I tried experimenting with image sampling. I tried to replicate a natural pattern: Zebra. I was interested in natural patterns as after looking at precedents, especially from the ICD & ITKE Research Pavilion projects, I realized that nature is a powerful source of knowledge

PATTERN DATA & LIST

I explored the use of data and list and through that I was able to create a pattern. With polygons, circles and grids, I was able to make what seems to be similar to that of an Arabic pattern.

CONTOURING

UNDULATING SURFACES

I tried experimenting with the Contour definition from grasshopper and incorporate the forms I got from experimenting with Loft and tried to create this undulations.

END OF

PART A