B1_ by jordanstones

TABLE OF CONTENTS

PART A: CONCEPTUALISATION ... ... ... ... ... ...

A1: Design Futuring A2: Design Computation A3: Composition & Generation A4: Conclusion A5: Learning Outcomes A6: Appendix - Algorithmic Sketches

PART B: CRITERIA DESIGN ... ... ... ... ... ... ... ...

B1: Research Field B2: Case Study 1.0 B3: Case Study 2.0 B4: Technique - Development B5: Technique - Prototypes B6: Technique - Proposal B7: Learning Objectives & Outcomes B8: Appendix - Algorithmic Sketches

PART C: DETAILED DESIGN ... ... ... ...

C1: Design Concept C2: Tectonic Elements & Prototypes C3: Final Detail Model C4: Learning Outcomes & Objectives

ABOUT ME

JORDAN WILLIAM JAVIER STONES

am currently undertaking a Bachelor of Environments of The University of Melbourne, whilst working part-time as a Kitchen Designer in Melbourneâ&#x20AC;&#x2122;s west. I was raised in a small country town in Victoria. It was during my time at Secondary School that mentors began to foster my creativity in design, construction and literary subjects. My design work in VCE came primarily from a Studio Arts subject, for which my work was selected as part of Next Gen Art Exhibition for 2012. As part of my degree I have developed a rudimentary skill base with digital design programs such as Revit, Auto CAD, Sketchup, Adobe Photoshop, Illustrator and InDesign, Rhino, Gimp and others. As part of my work I am required to design comprehensive Kitchen plans on 20 20 design software. This process is almost entirely digital, ranging from the measurement outsetting to the final renders. Working with such a process has given me some insight into digital architecture in practice.

ABOUT ME

PART A: CONCEPTUALISATION

y theoretical knowledge of digital Architecture is informed by the work of Architects such as Jeanne Gang and Jean Nouvel. Both Gang and Nouvelâ&#x20AC;&#x2122;s work lend themselves to a type of digital abstractionism which works towards answering a central brief. My work in Design Studio Water was digitally conceived using Architecture Revit. This is the limit of my digital design work thus far. As shown at left, this software is still concerned with drafting. I am yet to explore 3D digital creation outside of Sketchup or drafting programs. I am excited to conceive a design with no emperical resolution. Using the virtual space with parametric modelling will grant a freedom that I havenâ&#x20AC;&#x2122;t experienced before with architecture before.

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A1: DESIGN FUTURING

he BanQ Restaurant is a fully integrated example of parametric modelling in an interior space. The undulating curves that span the ceiling form a fluid piece of fiction that veils structure and creates a homely ambience in which to dine. Although seemingly random, the technical precision of elements is pragmatic in application, as it conforms to the structural necessities beneath. This sense of illusion is prevalent throughout the modern form, as many buildings sport exterior skins for aesthetic appeal. The real sense of illusion comes in the finished built form. This is important because it informs the experience of the space; the transparency of the room changes as people traverse it. The floor space is designed primarily around flexibility. This has strong links to theory for dynamics and high turnover flows in a restaurant environment. There is however a tender balance between this flexibility and the necessary features of the space.

‘The inspiration that ultimately reconciled the topography of the ceiling with the desire to create something transcendent was very simple, it was the intersection of the extraordinary with the totally conventional’.1 The contribution to the site was one of respect; an acknowledgement and solution to a problem. Beyond this solution, the design is one of evolution. In line with the diversity of food choices served at BanQ, the parametric shapes help to develop the style of what a new age restaurant can be. ‘The ceiling’s arcing surfaces comprise just

another

PRECEDENT 01

BanQ Restuarant by Office dA Location: Boston, MA, USA Project Design: Nader Tehrani, Monica Ponce de Leon Project Architect: Dan Gallagher Project Year: 2006-2008

Figure 2: John Horner, BanQ, 2009, photographs, http://www.archdaily.com/42581/banq-office-da/.

Figure 3: John Horner, exploded axo, 2009, photographs, http://www. archdaily.com/42581/banq-office-da/.

layer in a recent, and rich, local architectural history’.2

1 “Banq,” David Sokol, australian design review, last modified June 30, 2009, http://www.australiandesignreview.com/interiors/661-banq. 2 “Banq,” David Sokol, australian design review, last modified June 30, 2009, http://www.australiandesignreview.com/interiors/661-banq.

PRECEDENT 02

A1: DESIGN FUTURING

Aqua Tower by Studio Gang Architects Location: Chicago , IL, USA Architect of Record: Loewenberg & Associates Project Leader: Jeanne Gang Project Year: 2007 - 2009

eanne Gang’s Aqua Tower is a comprehensive example of how a parametric form can perform an integral function of a building whilst remaining honest, simple and attractive. The basic yet revolutionary form of water ripples led to the Aqua Tower being awarded The Emporis Skyscraper Award in 2009. The ripples perform a pragmatic function for balcony viewing in an obscured high density area, whilst referencing the forms of limestone outcroppings on Lake Michigan. The building is a project specifically for the resident. Design considerations with people and comfort in mind have ensured that the parametric surface is not simply a layer of makeup. Aqua Tower is the tallest skyscraper in the world to be built by a woman. It is for this reason that Gang’s work is revolutionary.

‘Skyscrapers are traditionally seen as an expression of overbearing male libido, a sort of mine’s-taller-than-yours competition. So, even today, it is a surprise to find a woman building so swaggeringly high’. 1 The parametric distinctness and fluid pragmatism elevate the Aqua Tower to a new level in the highly competitive Chicago skyline. 1 “Aqua Tower – the tower that Jeanne Gang built,” Jonathan Glancey, the guardian, last modified 21 October, 2009, http://www.theguardian.com/artanddesign/2009/oct/20/aqua-tower-jeannegang.

Figure 5: Dave Wilson, Aqua Building Abstract, 2011, photograph, http://www.davewilsonphotography.com/2011/03/28/aqua-building-abstract-

A2: DESIGN COMPUTATION

he design process is something in which time plays a pivotal role. In relation to computing and digital architecture, time can be manipulated to maximise this process. Our brain can produce endless possibilities and variation of its own accord, however with the aid of digital computation we are able to access these variations in a shortened amount of time. This affects the design process dramatically, as some argue that it enriches imagination and creativity, while others maintain that endless variation is not conducive to real design and produces unoriginal selection based design. Using The Project for Teatro Colon as an example (Figure 6,) I would argue for the former. The Project presents a clear engagement with computational methods of design, yet remains highly original, abstract and specific. The Project illustrates how various manipulations of a simple spherical form can result in a complex, unified and stimulating design. Although unbuilt, The Project for Teatro Colon represents both the majesty and intimacy that can be achieved with computational process. No matter the interpretation, computing has been used to redefine practice. Computational design has opened a gateway to people working in various fields with various skills; including but not limited to mathematics, software design, coding, physics and graphic design. Conventional drafting programs or techniques are comparably close-quartered to architects and engineers, whereas parametric modelling systems can favour those versed in computational practice.

‘Within the context of digital space making and formal variation the design world has seen a significant shift over the past two decades from standardization to customization’. 1

PRECEDENT 03

Project for Teatro Colón Competition by Xefirotarch Principal: Hernan Diaz Alonso Project Year: 2013

Figure 6: Xefirotarch, Project for Teatro, 2011, rendering http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1776/abstract.

Parametric design by definition utilizes algorithmic thinking to define customized parameters and encode specific meaning to a design response. It is for this reason that variation is so prominent and therefore not immediately compatible with a standardised construction industry. However, the problem of variation extends to both the construction and design industry. Like The Project for Teatro Colon, A Modern Skyscraper (Figure 7) also remains unbuilt. The skyscraper demonstrates how benefits of computational design are often unrecognized or are only pursued to an extent before a standardised industry takes over. This Modern Skyscraper presents a huge opportunity however. The digital design process revolved around the dynamic force of explosions and distortion of shape in explosions. Utilizing a computational method of experimentation means that designs can be conceived as microcosms for much larger inspirations. This is where conventionality falls short.

‘Since traditional design skills will not be able to design materials at the macro and micro level, machine learning algorithms will become more critical in the design process.’ 2 Designers may therefore be forced to choose between conventional methods of design conceptualization and the digital parametric counterpart. However, there is an important middle ground in the binary here. This is where systems such as Architecture Revit operate. This program is a drafting tool at its centre, but allows for three dimensional engagement with a design and its structural components. 1 2

Tristan Al-Haddad , “ PARAMETRIC MODULATIONS IN MASONRY,” Cumincad (2008): 221. Alfred Andia, Ph.D, “Automated Architecture: Why CAD, Parametrics and Fabrication are Really Old News,” Blucher Design Proceedings 1 (2014): 83.

PRECEDENT 04

Modern Skyscraper SOFI by Danny Karas Principal: Hernan Diaz Alonso Project Year: 2011 07 Figure 7: Danny Karas SCI-Arc , Modern Skyscraper SOFI, 2011, rendering, http://super-architects.com/archives/4746.

A3: COMPOSITION & GENERATION

rchitectural practice is no stranger to computer aided systems of design. Ranging from the 1960s onwards, computer aided systems have been utilized by architects to refine designs from pen and paper to the screen and back again.

Shown in Figure 8 and 9 is Michael Hansmeyer’s ‘Subdivided Columns – A New Order’. They use an algorithmic process to transform a conventional doric column into an ornate and outrageously sophisticated new column.

“Architectural education has traditionally given more attention to Eucledian and projective geometries, which are used in the generation of orthogonal construction documents and perspective illustrations of buildings. Recently, however, there has been a growing interest in other types of geometry, especially in topology”. 1

“The result is a series of columns that exhibit both highly specific local conditions as well as an overall coherency and continuity”. 1

Only now is computer generation playing a pivotal role in the conception of such designs. This shift from a composition to a generation of ideas sparked theoretical and practical debate. In relation to theory, dissenters have argued that the adoption of computational design removes an essential anthropocentric element regarding originality. This critique argues that architects are no longer designers and are rather selectors. Practically, some have argued that computational design produces forms that are neither culturally significant nor pragmatically viable. This approach is shallow however, as a move towards computational design arose in conjunction with a globalised architectural language.

Hansmeyer’s Columns represent the enourmous complexity acheivable through computational design, and furthermore illustrate that such designs can be physically generated. 1 “Algorithmic Architecture,” Riley (Johnstonarchitects), johnstonarchitects, last modifed March 8, 2011, https://johnstonarchitects.wordpress.com/tag/algorithmic-architecture/.

1 G, Di Cristina, Architecture and Science (New York: Wiley, 2001), 1.

PRECEDENT 05

Subdivided Columns – A New Order by Michael Hansmeyer Location: Seattle Johnston Architects Project Year: 2011: Figure 8: Michael Hansmeyer, columns1, 2011, rendering, https://johnstonarchitects.files.wordpress.com/2011/03/columns1.jpg.

Figure 9: Michael Hansmeyer, columns2, 2011, rendering, https://johnstonarchitects.files.wordpress.com/2011/03/fabricated_columns2.jpg.

A3: COMPOSITION & GENERATION

n an era where architectural design is spurred by biomimicry and biophillia, designers are looking towards the complexities of nature for inspiration. Algorithmic thinking is an approach by which complex geometries can be achieved through simple data, so cellular structures or naturally occurring patterns can be replicated to great effect. 3D printing is ideally suited for algorithmic form; because “in 3D printing complexity comes for free – whereas in architecture complexity comes with a cost”.1 Software like Rhino and Grasshopper is also greatly suited for such modelling. Shown in Figure 10 and 11 is Angel Quintana’s visionary work using Rhino and Grasshopper. Designed for 3dmetrica, Quintana’s work is exemplary of the interaction with nature that transparent and fluid computational architecture can achieve. Often referred to as virtual architecture, the algorithmic process here encompasses the analogy of flower petals.

In a similar vein, parametric modelling helps to elucidate designs that may have been otherwise unachievable. Through a series of defined parameters or algorithmic encasings, parametric modelling allows for a virtual yet empirical process of complex generation. These parameters are achieved through Scripting Culture, that is; “the capability offered by almost all design software packages that allows the user to adapt, customise or completely reconfigure software around their own predilections and modes of working”.

1 “What is Algorithmic Design?,” Sivam Krish, Generative Design, last modifed March 11, 2012, https://generativedesign.wordpress. com/2012/03/11/algorithmic-design/.

1 Mark Burry, Scripting Cultures: Architectural Design and Programming, (Melbourne: John Wiley & Sons, 2013), C1.

“Scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time”.1

PRECEDENT 06

Project for 3DMETRICA by Angel Quintana Location: Mexico City Project Year: 2012 Figure 10: Angel Quintana, Project for 3DMETRICA, 2012, rendering, http://www.cgarchitect.com/content/portfolioitems/2012/02/46116/02_large.

Figure 11: Angel Quintana, Project for 3DMETRICA, 2012, rendering, http://www.mimdap.org/wp-content/uploads/9669.jpg

A4: CONCLUSION

hrough the course of Part A: Conceptualization, I have elucidated just some of the various ways in which computational architecture can be applied, interpreted and learnt from. My intended design approach is not set in stone. I plan to afford a certain amount of exploration to biomimicry and biophillia, however I also desire to flesh out different materials. I am hoping to arrive at a sort of middle ground with my design approach. I am seeking to reconcile design and materials in order to create something with both fluid forms and pockets of inertia. I believe that this approach will allow me to learn greatly about parametric design in regards to applicability and constructability in a physical sense. I do however hold the reservation that this Studio is not primarily concerned with construction in an industry context, so I dont plan on giving it too much thought.

A5: LEARNING OUTCOMES

rchitectural computing is something still relatively new to me. Having experienced some second hand Grasshopper work in preivious years, I thought I knew what to expect in relation to design generation. In regards to parametrics, however, I had previously considered it as nothing more than sculptural elements generated with computers. This did not mean I didnâ&#x20AC;&#x2122;t respect itâ&#x20AC;&#x2122;s capabilities though. Since my time in this subject started, I have come to realise that parametric design and architectural computing are comprehensive and theoretically sound responses to solving design problems. I recognize computing now as a means of design itself, not simply a means to collaborate and refine previous work. Algorithmic thinking is something I am yet to fully understand, however at this stage I am willing to make full use of its compositional opportunities for my project.

A6: ALGORITHMIC SKETCHES At left is my second attempt at a gridshell. Following a tutorial helped me to understand the algorithmic process in depth, and furthered my experience with Grasshopper. I think that once I grasp the process more thoroughly I will be able to progress the design further and pursue this avenue.

Above are my first attempts at lofting. I chose this sketch because it demonstrates the basic shape that I am hoping to manipulate and refine as the semester goes on. It is complex at one end and gradually levels out at the other. My first thoughts are that it will mimic parts of the river bank at Merri Creek.

Below is my first attempt at creating a grid shell. This was basic experimentation with both rhino and grasshopper. After exploration of this form I have successfully ruled it out as an avenue to pursue.

Shown at left is another attempt to follow a tutorial on circulating point patterns. A number slider allows the points to rotate a central axis at varying distances. This was as far as I managed with this exercise.

Below is my successful attempt at replicating an online grasshopper definition with small variations. This took approximately two hours to complete.

references

PART B: CRITERIA DESIGN

B1: RESEARCH FIELD

More specifically, Biomimetic Architecture is the contemporary design forum of philosophical and practical means in which design resolutions are initiated from natural processes. Not centrally concerned with physical emulation, biomimicry rather extracts its true inspiration from the underlying rules which govern nature and natural entities. A key opportunity of pursuing biomimetic architecture revolves around conceptions of true and unhindered notions of beauty. “…a truer understanding of how we see, with our mind and eye, is the foundation of everything organic. Man’s eye and brain evolved over aeons of time, most of which were within the vast untrammelled and unpaved landscape of our biosphere!” Following this line of reasoning, biomimicry is seen as the tool with which a compromise can be reached between the previous progressions of architecture and age old ideals of beauty. This is seen in ‘Canopy’ by United Visual Artists, which uses computational design to abstract the geometry of leaves and give the sense of walking through a forest at night. However, biomimetic architecture is not only concerned with petitions for natural beauty. By extension of its disposition towards natural process and governing rules, biomimicry seeks to utilize nature to resolve a building’s functionality. As seen in the CD/ITKE Research Pavilion at the University of Stuttgart, a specific character of sand dollar sea urchins was adopted in which at least three plywood sheets only 6mm thick would form repetitive junctions, enabling the transmission of normal and shear forces but restricting bending movement in the join itself. The key opportunity here is that the method can be applied to a number of geometric shapes, unlike static loading bearing techniques. One conceptual design implication of this is that incorrect or inapplicable rules from nature are utilized for designs which may not need them. Beyond conceptions of beauty which are subjective regardless, biomimicry may not necessarily be the best course of action for structural resolutions. There is also a moral consideration in the application of biomimetic forms. In elevating nature as the ultimate source for conceptual inspiration, biomimicry can be seen to distance humanity and nature by defining the two terms as binaries. An interpretation follows that nature is independent of humanity and is therefore still perceived in the traditional sense as having no inherent value; only instrumental value. It is therefore questionable as to whether a design approach which advocates nature as superior whilst possibly subjugating it further should be used. However, since the final designs fuse biological guidelines with manmade structures, such a moral objection is outweighed by the physical collaborative result. Biomimetic architecture is not necessarily linked to any specific materiality, however there is a large disposition towards uniformity of material and new technology. Generally involving complex forms, fabrication is currently an inhibiting factor in some ways, however with the progressive development of materials like graphene, this is unlikely to pose long-term issues.