STUDIO AIR_JONATHAN LONG by Jonathan Long

STUDIOAIR J

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JONATHAN LONG (582898) TUTOR: CHAN

INTRODUCTION

PROFILE & BACKGROUND

JONATHAN LONG

I am currently doing my first semester of my third year (2014) of Bachelor of Environments degree, majoring in Architecture at the University of Melbourne. I was born in Malaysia, and I graduated from VCE at Scotch College Melbourne. My parents are in the building industry as well, back home in Malaysia. During my summer break in 2012, I worked at my parents’ company which was building a shopping mall at that time. With this golden opportunity in hand, I had the chance to experience practical work, apart from just the theories and knowledge that I acquired during my course at university. I was given this chance to learn the practical ways of building construction, which differs (to a certain extent) from architectural ideas. When I entered University, I was so sure that Architecture was what I really wanted to do, and love doing. I started learning Autodesk Revit and AutoCAD when I was in my first year in the University of Melbourne. I gained more knowledge and experience in these two software as I progress through my degree. I have no prior knowledge nor experience in Rhinocerous 3D and its plug-in, Grasshopper. My journey of knowledge and learning with Rhino 3D and Grasshopper shall begin this semester, 2014. I wish to learn different ways of designing and I believe that it will change the way I design. “Computational versus computerising”.

VISION

With regards to the project brief, we need to design something that is sustainable and environmentally friendly. I want to design a building or an installation that is flexible, regenerative, uses recyclable materials, and has an educational approach. My project should be interactive whereby users are able to interact with it and have a relationship with my project. It should be able to create awareness and become and attraction for users surrounding the site. Furthermore, the materials used should be easily available, cheap, durable, recycled and recyclable. These materials should not be defuturing, but it should be design-futuring. It has to have minimal environmental impact, and ecological footprint. Finally, my project should be visually-appealing and pleasing, as well as being durable to be used in a long period of time.

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A1 | DESIGN FUTURING PRECEDENTS

Photographs by Adam MĂ¸rk

A1.1 | DESIGN FUTURING GREEN LIGHTHOUSE ARCHITECT: CHRISTSEN & CO ARKITEKTER

Photographs by Adam Mørk

GREEN LIGHTHOUSE was designed by Architects Christensen & Co Arkitekter. This building was designed for Danish University. The Green Lighthouse is Denmark’s first public carbon-neutral building. The Green Lighthouse is located at the Faculty of Science within the campus of University of Copenhagen. This building proves that for a building to be sustainable, it is not necessary to fit in all sorts of expensive, high-tech gadgets. However, 75% of the reduction of energy consumption is the direct consequence of architectural design. A number of sustainable and green design features have been embedded in the design of the green lighthouse - in order to reduce energy use and provide a condusive environment for both the students and academic staff. The building was oriented to maximise solar resources, on the other hand, windows and doors are recessed and shaded with automatic solar shades to minimise direct solar heat gain within the building. VELUX skylights Velfac windows and generous atrium provides means of daylight and natural ventilation. Photovoltaic cells, solar heating and LED lighting are also integrated into the building design.

I think this building reflects the thoughts of Tony Fry in Design Futuring as he states that design futuring has to confront two tasks: (1) Slowing the rate of futuring and (2) Redirecting us towards a more sustainable mode of planetary habitation. This building is the first carbon neutral building CO2 neutral public building. It sets the first foot into public sustainable building that demonstrates to the public that the environment is beautiful. And that sustainability is beautiful. The Green Lighthouse was designed with only environment in mind. It responds to the environment. The green building has a relatively small ecological footprint, that rhimes with Tony Fry’s Design Futuring.This building was showcased as a sustainable building at the UN’s Climate Confere in Copenhagen in December 2010.

Photographs by Adam Mørk

A1.2 | DESIGN FUTURING ANN ARBOUR DISTRICT LIBRARY ARCHITECT: inFORM STUDIO

Photographs by James Haefner Photography

ANN ARBOUR DISTRICT LIBRARY was designed by inFORM Studio in 2008. The district library is located in Ann Arbor, Michigan, United States of America. The site is approximately 4 acres of property, which was purchased by the Ann Arbor District Library (AADL) in 2005. The site is heavily wooded and densely vegetated. During a thorough site analysis, the architects identify the Southwest of the site which were scarred and sparsely vegetated - as ideal for the placement of the building footprint, as it has minimal site impact. Therefore, maintaining the biodiversity of the natural environment. During the early stages of site planning process, inFORM Studio considered harvesting wood from the site for re-use in the construction of the building. Despite densely populated by Ash (trees) in the area, many of the trees were suffering from the effects of the Emerald Ash Borer (EAB). EAB is a destructive beetle that attacks aggressively on North American Ash trees through feeding on the water and nutrient collected in the bark, killing the tree over a period of 2-5 years. Preliminary research shows that this particular tree (Ash) is well-suited to milling, as the insect does not damage the interior portiion of the wood. Hence, with so much abundance of unique, natural resources, inFORM Studio strongly considered to use Ash (trees) in the floors, walls, ceiling and structure of the new branch library.

Photographs by Adam MĂ¸rk

The utilization of Ash becomes a major component to the design of the library interior. Ash is used from the main entry floor and walls into a ceiling material, then stretching along the entire eastern interior edge of the building. Ash is being used as a interior wrapper, that wraps the reading rooms which are facing the forest (Refer to images above). Besides, large pieces of logs were used as structural columns, that resists vertical and lateral loading. The idea of using site materials complements the idea of design futuring on a different scale. Defuturing as stated by Tony Fry. He states that design futuring should be slowing the rate of defuturing - actions that reduces our time of existence as natural resources are being depleted. By using ash (trees) that is available on site, inFORM studio is actually “recycling” the wood. In other situations or sites whereby deforestation occurs, and the unwanted trees are usually taken to a dumping ground. In which the scenario of AADL, Ash trees are being used as a major construction material and component throughout the course of construction. By reusing the ash (trees), inFORM studio helps to reduce the need to purchase new materials that may deplete the natural resources in another way. Hence, using ash (trees) complements the idea of Tony Fry’s design futuring as they are (literally) slowing the rate of defuturing.

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A1.1 | DESIGN COMPUTATION COMPUTATION VS. COMPUTERISATION 2002 SERPENTINE GALLERY GUGGENHEIM MUSEUM BILBAO

A2.1 | DESIGN COMPUTATION VS COMPUTERISATION INTRODUCTION Towards the end of the post-Folding period, parametric design began to popularize and became the pioneer of digital design (1). It is a new way of digital design thinking that focuses on interrelated relationships and connections between objects as part of whole relationships. Parametric modelling enforces a set of virtual rules, also known as parameters that sets a “boundary” for the program to generate a design. The values of parameters within a scheme of relationships can be altered accordingly, which will then change the design of the object or building. Therefore, parametric design rethinks the idea of design, by developing design logic (Reas, McWilliams and LUST, 2010). The way these are being set out helps to give architects a reason for their design, instead of the conventional “top-down” data design methodology. Paramteric design is used as a facility that controls a set of parameters (rules), that allows the creation of different shapes and elements at different scale which includes building facades or even urban schemes. Parametricism, as defined by Patrik

Schumacher is a distinguishing quality of “contemporary digital architectural form” (Schumacher, 2009). With the surfacing of new and available software, parametric designing became the preferred design environment for a new generation of programming (scripting), indirectly designing. 3D Modelling software such as Rhinoceros (based on Non-Uniform Rational B-Splines) and later parametric modellers such as Grasshopper allows architects (or designers) to create forms based on a set of rules or parameters that are inputted by human beings. Later on, software engineers began to develop simulation software for energy and structural calculations that can be integrated into these parametric 3D modellers. Advanced Geometries Unit (AGU) encouraged younger generation of architects to make use of (and rely upon) the scripting of algorithms as a basis and platform for research which allows them to explore different views of architecture. One

of the iconic algorithmic designs was the 2002 Serpentine Pavilion by Toyo Ito and Balmond, which will be discussed further in the following pages. Scripting is the age of “emergence of research by design”. In conclusion, computational design overarches three large topics namely: (1) Form and generation, (2) Performative Design and (3) Parametrics. Computerisation - on the other hand - is a method of designing that uses computers (or technology) as a tool to materialize and visualize an architect’s imagination. Architects use drafting softwares - like AutoCAD and ArchiCAD to digitize their ideas and design from hand drawn sketches to architectural drawings. The use of computers in this context does not reflect the true power of computers and technology. Architects who takes on the computerisation approach to design already has an idea of how he or she intends the building to look like. The form and shape has been set. However, computers are used as a medium of translation to convert their ideas into reality.

A2.2 | DESIGN COMPUTATION 2002 SERPENTINE GALLERY ARCHITECT: TOYO ITO

Toyo Ito along with the assistance of Balmond and Arup took charge of the design of the Serpentine Gallery Pavilion, at Kensington Parks, London. The competition took place in 2002. The form of the pavilion was a complex random pattern derived from an algorithm of cube that “expanded” (physically) as it rotated [1]. The lines that intersected each other created triangles and trapezoids, whereby the transparency and translucency gave a sense of infinite repeated motion [1].

going everywhere. Cecil Balmond discovered a simple algorithm to derive a seemingly “busy” and chaotic pattern of lines. The idea was as follows: “Propose an algorithm: half to a third of adjacent sides of the square. The 1/2 to 1/3 rule traces four lines in the original square that do not meet. (Choose the half point instead of each side, the trace 1/2 to 1/2 closes back on itself like a billiard ball bouncing perfectly around a square enclosure.) The half to a third rule forces one to go out of the original square to create a new square so that the rule, the algorithm, may continue. Continue for six cycles and a primary structure is obtained. Then if these lines are all extended, a pattern of many crossings results. Some are primary for load bearing, some will serve as bracings to secondary and the rest will be a binding motif of the random across the surface of the box typology.” This approach that was entirely based on algorithms offers more exploration and freedom. However, it is a tool for thoughts that helps you to realise the randomness and unimaginable. Furthermore, it creates unpredictable complexity, and hybrid situations whereby it is realistic, calculable and manageable whilst having a reason for doing so. The use of algorithm and the subdivision tool is able to create thousands of iterations or version over a short period of time. If this task was to be done traditionally (or conventionally, it is possible however, it will be extremely time consuming to generate such a pattern without the use of algorithms.

The pattern that Ito uses for his pavilion was assisted by ARUP. The ARUP Team configures a geometric algorithm, whereby the base of the algorithm is formed by a rectangular or squared plane; by drawing lines. The angle is defined by drawing a line a specific ratio from different sides of the plane. For example, from the middle of one side to the middle of the other side. By doing this repeatedly, each square will be embedded in the previous one. After doing this a certain number of times, a pattern will appear. By changing the ratio between the sides, this will produce different pattern outcomes (Refer to figure 3) By extending the lines in an overlapping fashion, the network of crossing lines will be formed. Hence, by stretching these lines over the box, a network of lines will wrap around the box. These lines will continue running over the faces (planes) of the box and come back on the other side. These lines are heading nowhere whilst 15

Photographs

Adam

A2.3 | DESIGN COMPUTATION GUGGENHEIM MUSEUM BILBAO ARCHITECT: FRANK GEHRY The Guggenheim Museum is a typical example of a building designed and constructed with the computerised design approach. Frank Gehry’s ideas are usually stimulated by papers, in which he models and then iterate over and over again (Pagnotta, 2013). These paper models are the source of inspiration for Frank Gehry. Gehry’s works are most commonly known to be notorious and infamous, breaking the traditional norms of architecture. His works are regarded as deconstructive. Despite not being liked by some, I must admit that Gehry’s work is indeed spectacular and unique. It stands out from the urban fabric in Bilbao, Spain. Based on my visual observations from the aerial view of the museum, this building is completely different from those around it. It is made of titanium, limestone and glass which makes it unique during the era it was constructed (Pagnotta, 2013). The Guggenheim Museum is a good example to demonstrate the computerisation design approach because it employs a top-down approach whereby the architect has a design intent generated from his own creativity. Here, Gehry already has his own set of interests in paperbased architecture. Hence, his buildings are based on crumpled papers and so on. With this in mind, the form of the Guggenheim Museum was then translated into digital drawings by associate architects. These digital drawings are then iterated and analysed carefully prior to construction. The reason being a top-down approach is because the idea comes from the architect and the form is created by the architect. This method of designing is juxtaposed by the computational design method that has been discussed in the previous page and an example is being compared in the following page. 17

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A3 | GENERATIVE DESIGN OVERVIEW OF GENERATIVE DESIGN ICD/ITKE RESEARCH PAVILION BLOOM!

A3.1 | COMPOSITION TO GENERATION INTRODUCTION Computation is redefining the practice of architecture (Peters, 2013). Most architects have been using computers to carry out their architectural practices. However, the tasks that they have been doing is simply to digitize their work (into a digital format). For example, architects use drafting software like AutoCAD that helps to create digital drawings from their hand sketches. The use of computers help to increase accuracy and acts as a virtual drafting board. However, this mode of working is known as “computerisation”. In ____, Peters (2013) states that computation allows designers to “extend their abilities to deal with highly complex situations”. On the other hand, Sean Ahlquist and Achim Menges defines computation as “the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form and structure” (Ahlquist & Menges, 2011). Peters (2013) defines computation as the use of

computer to process information through and understood format – by the computer – which is expressed by an algorithm, which augments the intellect of the designer and increases capability to solve complex problems (Peters, 2013). Computation has the potential to provide inspiration and outdoes the intelligence of a designer, by generating the unthinkable and unimaginable. Computation creates unexpected results. An architect writes a program that can be further explored via modifications to the algorithm. An algorithm, as defined by Peters (2013) is a set of instructions that can be understood by the computer, and must be written in a language the computer can understand – known as a “code”. Algorithmic thinking means taking on an interpretative role to understand the outcomes of the generating code, knowing how to tweak and modify the existing code to explore new options and reiterate the model to further explore other design potentials (Peters, 2013).

Besides, scripting languages such as RhinoScript or Visual Basic help architects to customise their design environments in their existing architectural design software. Architects are using computation to simulate building performance, to understand materials, tectonics and parameters of production machinery in their design. This new tool – computation – provides performance feedback at various stages of an architectural project. With this information, architects can improvise on their design and explore new design opportunities (Peters, 2013). With the use of computational simulation, designers can now explore more responsive designs. Furthermore, with the increasing use of computation and simulation, the computer allows architects to predict, model and simulate designs using more sophisticated and accurate methods.

A3.2 | GENERATIVE DESIGN ICD/ITKE RESEARCH PAVILION ARCHITECT: ICD/ITKE/STUTTGART UNIVERSITY

Photographs by Adam Mørk

This pavilion was a jointcollaboration research between the Institute of Computation Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) that was conducted at the University of Stuttgart. This pavilion was entirely robotically fabricated from carbon and glass fibre composites. This research aims to investigation the possible interrelation between biomimetic design strategies and novel processes of robotic production. Material and morphological principles of arthropods’ exoskeletons were the main focus of this research and aims to generate a new composite construction paradigm in architecture. The focus is on biomimetic

design strategies for per formative morphology in architecture. With the use of form generation methods, computational simulations and robotic manufacturing, the pavilion only requires a shell thickness of 4MM of composite laminate, spanning eight metres. This research project employed a bottom-up approach, whereby a wide range of invertebrates were investigated with regards to the material anisotropy and functional morphology of antorpods. The biological principles of these invertebrates were transferred into viable design principles for architectural applications. A lobster (homarus americanus) was used as the biological

role model of the project (ArchDaily, 2013). With the integration of biomimetic principles of a lobster’s cuticle and computational design process, enables a high level of structural performance for architecture. Despite being wide and big, the transparent skin of the pavilion weighs less than 320kg. Computational and material design, digital simulation and robotic fabrication allows architects to explore the architectural possibilities that have not yet been explored and proven. The use of computation design helps to prove the development of extremely lightweight and materially efficient structures.

Photographs by Adam MĂ¸rk

A3.3 | GENERATIVE DESIGN BLOOM ARCHITECT: DO/SU STUDIO ARCHITECTURE This pavilion was a joint-collaboration research between the Institute of Computation Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) that was conducted at the University of Stuttgart. This pavilion was entirely robotically fabricated from carbon and glass fibre composites. This research aims to investigation the possible interrelation between biomimetic design strategies and novel processes of robotic production.

This research project employed a bottom-up approach, whereby a wide range of invertebrates were investigated with regards to the material anisotropy and functional morphology of antorpods. The biological principles of these invertebrates were transferred into viable design principles for architectural applications. A lobster (homarus americanus) was used as the biological role model of the project (ArchDaily, 2013).

Material and morphological principles of arthropodsâ&#x20AC;&#x2122; exoskeletons were the main focus of this research and aims to generate a new composite construction paradigm in architecture. The focus is on biomimetic design strategies for per formative morphology in architecture. With the use of form generation methods, computational simulations and robotic manufacturing, the pavilion only requires a shell thickness of 4MM of composite laminate, spanning eight metres.

With the integration of biomimetic principles of a lobsterâ&#x20AC;&#x2122;s cuticle and computational design process, enables a high level of structural performance for architecture. Despite being wide and big, the transparent skin of the pavilion weighs less than 320kg. Computational and material design, digital simulation and robotic fabrication allows architects to explore the architectural possibilities that have not yet been explored and proven. The use of computation design helps to prove the development of extremely lightweight and materially efficient structures.