A I R ARCHITECTURE DESIGN STUDIO ABPL30048 SEMESTER 2014
JIEWEN WEN 586655 STUIDO3
CONTENTS INTRODUCTION
About Me.............................5
PART A CONCEPTUALISATION A.1 A.2 A.3 A.4 A.5 A.6
Design Futuring..................8 Design Computation..............14 Composition/Generation..........18 Conclusion......................24 Learning Outcomes...............25 Reference.......................26
PART B PART C
A.1
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ABOUT ME My name is Jessie, aka JieWen Wen. I’m a third year environments student, majoring in architecture. I must admit, architecture was a spontaneous choice for me, but so far, I have found it very interesting. What interests me the most is how people interact with their spatial environment and how a built environment impacts on humans in many aspects; emotions, interpretations, movement to name a few. Although half the time I find myself lacking sleep, the end result always gives me a feeling of accomplishment.I guess that is what architecture is... I was first introduced to digital design tools in Virtual Environments during first year. Since then,I have been experimenting and slowly improving my skills. I admit my skills are still very basic but I hope during this subject that my interest, understanding and skills in computation will improve as it is an increasingly important aspect to design.
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A.1
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PART A CONCEPTUALISATION
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A.1 DESIGN FUTURING
Figure 1: 99 Red Balloon
LAGI 2012 COMPETITION Fourth Place Mention Title: 99 Red Balloons
Artist Team: Scott Rosin, Meaghan Hunter, Danielle Loeb, Emeka Nnadi, Kara McDowell, Jocelyn Chorney, Indrajit Mitra, Narges Ayat, Denis Fleury Artist Location: Winnipeg, Canada
The 99 Red Balloons is a seemingly simple approach, however its’ poetic and practical innovative nature shine through. The concept of a song named “99 Red Balloons” about hope and a better future feels very befitting to the LAGI 2012 brief of encouraging contemplation on the site of how humans should interact with the environment to the future. The balloons also meaningfully symbolize the release of pressure from the site’s use as a waste storage facility.
Landartgeneror.org 2012, 99 Red Balloons, image, <http://landartgenerator.org/LAGI-2012/99009900/>.
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“99 dreams I have had, In everyone a red balloon, It’s all over and I’m standing’ pretty In this dust that was a city. If I could find a souvenir Just to prove the world was here And here is a red balloon I think of you, and let it go” (99 Luftballoons, Nena, 1984.)
Figure 2: Balloon Structure
Why is 99 Red Balloons innovative? Who does not like balloons? With human’s natural curiosity for floating and flying objects, it is easily imaginable that a land filled with large balloons would bring about many visitors, especially children who are the future. Many artists have used balloon installations that aim to engage and bring curiosity to the participants such as ‘Cyclique‘ by the artist NOhista who used balloons as a canvas for light and music to bring curiosity. The innovative idea that the balloons can interact with the visitors through the site is very important as this sets it out from the other submissions of similar floating installations. With the balloons able to rise, disappear, clear or block a path, change colours or light up, it is plausible to suggest that it will bring about curiosity and contemplation with an increasing number of visitors.
Figure 3: Site Layout
The artists have used existing technology in a creative way that makes the project feel realistic and practical for the near future. They have been able to create opportunities for sustainable technology from their design intent. The balloons are photovoltaic solar generators 50 feet tall and 40 feet wide, the tops of the balloons float 100 feet in the air to fully engage the suns rays. , calculated to be able to power 4,500 houses annually. Piezoelectric energy is also collected in relation to the visitors being led to explore the site with cues and orientation from the balloons. The artists have taken care to design a provoking installation with minimal impact on the wildlife and land. This creative installation will create an exciting and inviting environment for visitors. Every visitors small actions would be echoed through this installation, encouraging understanding of our major impact on the environment and the need for a more sustainable future. This project leans towards a more artistic and cultural approach that makes it different and quite successful, respectfully earning it 4th place.
Figure 2: Landartgeneror.org 2012, 99 Red Balloons, image, <http://landartgenerator.org/LAGI-2012/99009900/>. Figure 3: Ibid.
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LAGI 2012 COMPETITION Title: Calorie Park
Artist Team: Morteza Karimi Studio of Associate Professor, Lisa Tilder, at the Knowlton School of Architecture, The Ohio State University, Columbus Artist Location: Columbus, USA
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Calorie Park was an entry into the 2012 LAGI competition designed by Morteza Karimi. The concept behind this proposal is the idea to incorporate practical and efficient solutions for the site to be sustainable. There is an emphasis on using local sources of renewable energy to produce electricity, reflected in the use of solar panels in sunny regions and wind turbines in windy areas. However, the main renewable energy used is kinetic energy; converting mechanical energy produced by athletes into electricity while they exercise inside the installation.
Figure 5: Calorie Park Pod Model
â&#x20AC;&#x2DC;It would be a smart decision to use local sources of renewable energy to produce electricity.â&#x20AC;&#x2122; - Morteza Karimi Figure 4: Calorie Park Render
The attractions to the site are clusters of pods, orientated to create a trail like maze across the site. The pods are approximately 15 feet in diameter and house fitness equipment that produces electricity while being used. The equipment chosen are retrofitted elliptical machines replaced with micro inverters to convert the athleteâ&#x20AC;&#x2122;s kinetic energy to usable alternating current electricity. This technology comes from the human power generation in fitness facilities by the Berkeley Energy and Sustainability Technologies at the University of California. Although the proposal and technology appear very aesthetically appealing and innovative, there are some shortcomings where they could have developed the idea further more to better respond to the brief.
There is the reliance of the renewable energy source, kinetic energy which is quite unreliable, especially in this case. Whilst the pods are an inventive way of integrating exercise and architecture, can the designer be certain there will be a continuous flow of participants who will actually want to use the machines. Although Morteza has considered the shortage of mechanical energy during noon hours, solar panels have been added to the areas of the pods with most sun. However, this is also questionable with the changing of season and weather. Is it really sustainable or just an innovative aesthetic appealing idea? There is potential but it does require more work.
Figure 4: Landartgeneror.org 2012, Calorie park, image, <http://landartgenerator.org/LAGI-2012/6713KE13/>. Figure 5: Ibid.
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RENEWABLE ENERGY TECHNOLOGY
Figure 6: Project BIPV PV panels
WHAT IS RENEWABLE ENERGY?
SOLAR ENERGY
Renewable energy has become increasingly popular in today’s society with environmental problems such as greenhouse gas gaining more interest in the world. The impact of our actions on the land is becoming more apparent and thus, new technologies are being created to harness energy that is sustainable and inexhaustible. Noticeable is the gradual increasing responsibility of architects and designers to incorporate sustainable technology.
One of the most used renewable energy is solar energy with the Earth receiving an abundant supply. Solar energy refers to the captured energy from the sun and can be transferred to usable energy such as electricity and heat. This form of energy is free, inexhaustible, has minimal impact on the environment and does not produce greenhouse gas or air pollutants. Currently, there are two main ways of harnessing solar energy; solar thermal and photovoltaic devices ‘PVC’. Whilst solar thermal generates heat from the light, PVC converts the suns light into energy through photons. The devices are commonly panels attached to the buildings with little design intentions; however, innovative ways are being used and developed by architects.
Figure 6: Wikipedia.Org, Project BIPV, photograph, <http://en.wikipedia.org/wiki/File:Projet_BIPV_-_Gare_TGV_de_Perpignan.jpg>.
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INNOVATIVE SOLAR TECHNOLOGY Thin Film Solar
Hairy Solar Panel
Thin film solar technology utilizes thin PV cells. It is very interesting and can be used creatively in comparison to the tradition PV panels because of its flexibility. This flexibility allows for different applications to be generated, the geometry and surfaces.
Very interesting innovation is the hairy solar panels with its use of strange shapes and material. Researchers at McMaster University have succeeded in ‘growing’ light absorbing nanotechnology that is made of high-performance photovoltaic materials on carbonnanotube fabric. It aims to be flexible and affordable, and theoretically possible to achieve 40% efficiency. This technology brings a sense of creative thinking of how solar energy can be integrated in a fun way.
Integrated Concentrating Dynamic Facade (ICDF) Many buildings have attempted to integrate PVC panels on its façade. It creates many innovative and creative facades for aesthetic purposes, renewable energy as well as promoting sustainable technology. Unlike existing integrated PV that aims to attach PV panels after construction such as the Project BIPV by ISSOL, ICDF aims to integrate the system architecturally into facades while still providing diffused light and outside views.
Figure 7: Film Solar
All these technologies can be creatively used for the LAGI competition, utilising the large site area and understanding the environment and landscape. The energy can run the installation and provide energy for neighbouring buildings as well as feeding back into the grid. It is important to keep note that the location of the solar energy for maximum efficiency.
Figure 8: New Dynamic Solar Facade
Figure 9: Hairy Solar Panels
Figure 7: Treehugger, Film Solar, image, <http://www.treehugger.com>. Figure 8: Jetsons, New Dynamic Solar Facade, image, <www.jetsongreen.com>. Figure 9: Solarfarm.org, Hairy Solar Panels, image <http://solarfarm.tennessee.edu/education/future>.
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A.2 DESIGN COMPUTATION
COMPUTATIONAL DESIGN The world is ever changing as humans develop more technologies to cater for our desire of innovation. Noticeable in the design industry is the creation and ready adoption of new digital technologies that challenge the way designers process and develop perceived ideas into reality. Designing is the process of trying to obtain one’s desired outcome through a process of trial and error and it is during this process that challenging and innovative outcomes appear. Why digital technology has been embraced by many wellknown architects such as Zaha Hadid and Frank Gehry can be related to many aspects. As suggested in Kalay’s writing of ‘Architectures New Media’, computer-aided design has become tools that can propose design solutions and increase communication between different parties.1 Importantly, it provides an opportunity to experiment with alternative designs before construction, allowing for prototypes and resolving of complex elements. Through parametric and software, designs that would not be conceivable otherwise can be created that offers new perspective of design. Whilst there are challenges of using computational design techniques such as the thought that it narrows a designer’s creativity to the limit of a program, it should be embraced as an extra instrument for creativity. This can be seen especially in architectural studies where students are introduced to these tools early on with its growing presence in the industry.
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Figure 1: Parametric Model
Seacraft Eggs This project is by the Advanced Architecture Studio at the California College of the Arts. So many iterations of the same form can create many different designs. Each of these eggs has a different fprm- dynamic, elegant, simple. This has been enabled by utilizing computation tools such as Rhino and Grasshopper, to allow students to quickly understand the relationship between form, fabrication and materiality. These tools allow for experimentation and much iteration of the façade and form of an object before creating it. In Malcolm McCullogh’s book, Abstracting Craft, it poses that craftsmanship should be extended to digital media.2 It argues that craft is not tied to the tools of the designer but rather, it is the skill knowledge and understanding their works through a feedback loop of experimentations and iterations. Computation tools allow designers to be more skilled and knowledgeable in different areas that can augment their process.
Figure 1: Tumblr, Parametric, image, < http://nparametric.tumblr.com/page/6>. Figure 2: Matsys 2013, Seacraft Eggs, photograph, <http://matsysdesign.com/2013/05/18/seacraft-eggs/>. 1. Kalay, Architectures New Media 2. Matsys 2013, Seacraft Eggs, <http://matsysdesign.com/2013/05/18/seacraft-eggs/>.
Page1 .5 Figure 2: Seacraft Eggs
Figure 3: Dubai Opera House
Page1 .6 Figure 4: Parametric Birds Nest
THE DUBAI OPERA HOUSE An interesting design that highly incorporates computational design techniques is the Dubai Opera House and Cultural Centre by Zaha Hadid. Zaha Hadid, well known and a leader in architecture of the world is one that is known to embrace and utilize computational technology in the design of her buildings. Many of her works are composed of complex and organic forms that appear to flow with the landscape and nature. She focuses on nature, soft forms and dynamism. They are innovative and futuristic, and it is very noticeable when one looks upon her work. From an interview, Zaha Hadid expresses that ‘What is exciting is the link between computing and fabrication. The computer doesn’t do the work. The workers are connected by digital knowledge…they have very different interests from 20 years ago’.3
Unlike many buildings found in our cities, composed of regular geometrical shape, these complex organic forms have only been achieved through modern computational design software. It is only until recently that advances in technology has allowed for ‘new opportunities to construct very complex forms as this would have been very difficult and expensive to design, produce and assemble using traditional construction technologies.’4 The Dubai Opera House settles within the landscape, with large main entrances to guide the audience’s attention inwards. Floating above the foyer are balcony levels to visually connect all the spaces, supported with a column slab system. The design intent and performance of Zaha Hadid is clear and not lost because of using technology. Instead, it incorporates and enhances opportunities to find the best solution and optimize design.
THE BEIJING NATIONAL STADIUM The Beijing National Stadium designed by Herzog & de Meuron is a well-known architectural building for its innovative form and façade, often referred to as the ‘Bird’s Nest’ for its interwoven structural steel trusses. Its large seamless form appears to be very complex and many would look at it in excitement and awe, wondering how such a design could be built. This would have been one of the architects’ intent as it was commissioned to be the main stadium of the 2008 Olympics in Beijing, a chance to show the world its economical progressiveness to the world. The nest-like structure was chosen because of its ability to produce a dramatic visual effect. With a complex design and many guidelines such as optimum views for spectators, the team had to rely heavily on parametric design software to achieve the optimum design.5 With the geometry so complex and numerous calculations, the building could only be realized with the architects designing their own parametric formula. This is extremely important to allow for form and performance of the building. Utilizing computation software allows for better communication between parties.
During construction; the model was used to provide dimensions for the steel fabrication.6 The realization of a complex design intent and construction has been realized through computational design for optimum performance and the resolving key design elements. Computational design techniques has allowed for new forms of architecture and design. Dynamic shapes, spaces, facades can now be created and reiterated quickly. As Kolarevic argues ‘the design information is the construction information’.7 Architects can now work more closely with the design as well as fabrication, and this can bring about innovative approaches to the relationship between conception and realization.
In this building, engineers and architects had to work closely together with many elements and reiterations developed into the parametric design. Figure 5: Beijing National Stadium Figure 3: Designboom, Dubai Opera House, image, <http://www.m3mare.com/up/uploads/350a67b22a.jpg>. Figure 4: Tumblr 2013, Parametric Birds Nest, image, < http://parametric-design.blogspot.com.au/2013/02/birds-nest.html >. Figure 5: Beijing National Stadium, image, < http://www.mi9.com/beijing-national-stadium_34213.html>. 3. Intelligentlife 2008, The First Great Female Architect, < http://moreintelligentlife.com/story/zaha-hadid?page=full> 4. Kolarevic, Architecture In the Digital Age 5. DesignBuild 2014, Beijing National Stadium, < http://www.designbuild-network.com/projects/national_stadium/>. 6. Gehry Technologies, 2012, Beijing Olypmic Stadium, < http://www.gehrytechnologies.com/sites/default/files/webform/application-docs/Beijing-Olympic-Stadium.pdf> 7. Kolarevic, Architecture In the Digital Age
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A.3 COMPOSITION TO GENERATION FROM COMPOSITION TO GENERATION All the design examples in the previous chapter are linked by employing computation technique. It is without a doubt that without the advancement of technology, they would not have been designed and created. For most of the 19th and 20th centuries, ‘composition’ has indicated the process or rules by which a work of architecture was designed.1 This concept is evident throughout history, from the design of Egyptian pyramids to convey the worship of the sun, Roman constructions using large columns and platforms symbolic of power, Gothic cathedrals with pointed arches to the modernist Le Corbusier’s formal compositions such as the Dom-Ino open house plan. The composition of architecture is not merely influenced by the design, but from a holistic approach, such as tradition, socioeconomic and technological advancement. More recently, there is noticeably a paradigm shift from the process of ‘composition’ to generation. The turn of age has emphasized our growing symbiotic relationship with technology. Computation has brought along a new process to architecture. Whilst computerization is defined by how architects use computers to digitise existing procedures, computation allows designers to extend their abilities to deal with highly complex situations such as the Beijing Stadium previously mentioned.2
Lucan, J 2013, The Story of the World, The Architectural Review, < http://www.architectural-review.com/reviews/the-story-of-the-world/8641929.article>. Piers, B 2013, Computation Work Ibid.
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Whilst many argue that computation stunts an architect’s design process because of parameters and available tools and skills, programs are there to augment the design process as an additional tool. Architects are able to generate innovative designs by creating and modifying computer programs using codes and scripting – sketching by algorithm.3 Many architects have adopted using scripting programs such as Rhino and Grasshopper and are able to create software than just utilizing existing parameters. This allows for individuality and innovative designs, without boundary and limitless iterations. These designs would not have been able with just the human brain and manual skills. Integrating computation will allow architects to design environments, test building performances and for more complexity. Whilst computation generated designs cannot be realized, whether it’s structural integrity or the limit of our current technology, generation has allowed for a new form of innovative thinking for architects.
Figure 1: Shellstar Pavilion Interior
Shellstar Pavilion Architect: Andrew Kudless
Figure 2: Shellstar Pavilion Top View
Figure 3: Shellstar Pavilion Computation Process
The Shellstar pavilionâ&#x20AC;&#x2122;s form emerged from a digital form-finding process based on the techniques developed by Antonia Gaudi and Frei Otto. This pavilion was created within a parametric modelling environment, developed and iterated within a short 6 weeks. They had to go through 3 processes:4 1) Form-finding: It utilizes Grasshopper and Kangaroo that self organizes into this structure aligned with structural vectors 2) Surface optimization: Structure composed of 1500 individual cells; they have all been made as planar as possible using the custom Python script to simplify fabrication. 3) Fabrication planning: Each cell is unfolded flat and prepared with labels. The Shellstar Pavilion is a rather simple computation design that has been lofted, and then panelled to the best fit across the whole surface using a script. Although simple, this pavilion is quite elegant and is self-supporting. In terms of a pavilion, it does create interesting spaces for participants to gather and explore but very little environmental protection.
Figure 1: Matsys 2012, Shellstar Pavilion, image, < http://matsysdesign.com/2013/02/27/shellstar-pavilion/>. Figure 2: Ibid. Figure 3: Ibid. 4. Matsys, 2012, Shellstar Pavilion, < http://matsysdesign.com/2013/02/27/shellstar-pavilion/>.
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nonLin/Lin Pavilion ARCHITECT: MARC FORNES & THEEVERYMANY Marc Fornes & THEEVERYMANY is a well-known figure in computational design and fabrication. He has done extensive research on ways to describe complex curvilinear surfaces into a series of flat elements with a focus on the scripting process. Most of his projects are experimental and organic. One project is the 11 Frac Centre, generated through the computation design tool Rhino. He has created a very interesting curve linear sculptural pavilion, referred to as text based morphologies. It has an organic form, perforated with small star like holes and larger circles. While there appears to be little order and pattern to this form and simplicity, the prototypes are built through custom computational protocols. Many parameters of these protocols define the pavilion: ‘form finding (surface relaxation), form description (composition of developable linear elements), information modelling (re-assembly data), generational hierarchy (distributed networks) and digital fabrication (logistic of production).’ 5
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Figure 4: nonLin/Lin Pavilion Top View
Most of these parameters would be apparent in computation works. Without parameters, there would be no generation as programs require designer to input directions to then generate an output. He ran into some design problems during generation; from network to surface condition and from nonlinear morphology to descriptive geometrical search into linear elements.6 The morphology of the pavilion originates from a ‘Y’ model, the basic representation of multi-directionality. From there, he had addressed the issue of morphology by splitting and recombining surfaces to deviate away from linear spaces. Experimentation with density, radii, and network were aimed at creating a spatial environment with intrinsic and extrinsic moments for the participants. There was a high degree of morphological difference through customization because the massive amounts of elements have different properties which in turn change the final outcome. He then went into specific local level for control and to complexity and to understand the level of repercussion of any relationship within each code. To realize the pavilion, it has needed to be broken up into strips for assembly.
Figure 4: Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, image, < http://theverymany.com/constructs/10-frac-centre/>.5. Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, < http://theverymany.com/constructs/10-frac-centre/>. 6. Ibid.
Figure 5: nonLin/Lin Pavilion Fabrication
Figure 6: nonLin/Lin Pavilion Fabrication
Through this design process, Marc Fornes has developed a visual phenomenon that astounds spectators and it also allows them to interact with it, being selfsupporting and spatial layout as a pavilion. However, it must be recognized that the pavilion is a precise experiment toward constructing within an economical and cultural context.7 Marc Fornes has created many other interesting computation designs such as the Plasti (K) Pavilion and Proposal that uses approximation driven through a single path curve. This is an interesting and beautifully designed pavilion that allows people to interact with it. It is only through a long process of computation design; parameters, scripting, experimentation and reiteration has it become the form it is.
Figure 7: nonLin/Lin Pavilion Interior Figure 5: Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, image, < http://theverymany.com/constructs/10-frac-centre/>. Figure 6: Ibid. Figure 7: Ibid. 7. Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, < http://theverymany.com/constructs/10-frac-centre/>.
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â&#x20AC;&#x2DC;Our form of utopia is based on speculation. We visualize a specific future scenario and aim to approach it with the help of technology.â&#x20AC;&#x2122; - Francois Roche
Page.22 Figure 8: Mosquito Bottleneck Render
MOSQUITO BOTTLENECK ARCHITECT: FRANCOIS ROCHE- R&Sie(n) Architects R&Sie(n) Architects works are truly something out of the ordinary. They focus on developing technological experiments, so called architectural ‘scenarios’. These experiments are designed through cartographic distortion or territorial mutations, transforming nature into a dynamic element of the design.8 They began using computation early on and have integrated this tool within their designs, with deep understanding of digital and algorithmic tools. Very interesting aspect is how they resolve the relationship between nature and the building. Scenario: 1)Detect the mosquito-borne West Nil Fever virus on the island. 2)Developing a Klein-bottle twist between the two contradictory date: humans and insects 3)Living and dying of mosquitoes in house trap 4)Introducing a fragile structure and materials, like fabric netting everywhere, in recognition of the geographic position of this island 5)Weaving together all the surfaces of the house 6)Resonance between the buzzing of the mosquitos and vibration of the structure An interesting aspect is that the building is adaptive. The system is arranged so that there is sufficient excess capacity to adapt to the changing environmental stresses. In Mosquito Bottleneck, the form and materiality has been designed and chosen because of its purpose and relationship to the environment. It is a complex process to generate this design. From diagrams, it can be understood that they began by collecting data of the movement of mosquitoes. From this data that creates a simple data, they were then able form complex structure through scripting that behaves in the same way.9 It then in turn will self-assemble into a more complex structure and so forth. They then gathered data on human movement and it is only through algorithmic solution were they able to create this specific Klein-bottle twist, a mathematical sequence in the structure and reiterations. It can be seen the thorough analysis, iterations and in particular, the connectivity and dialogue between the environment, architect and computer to create a homogenous relationship to the landscape and life forms that must coexist for a ‘utopian’ world.
Figure 9: Mosquito Bottleneck Modelling
Figure 10: Mosquito Movement Data
Figure 8: New Territories 2003, Mosquitoes, image, < http://www.new-territories.com/mosquitos.htm >. Figure 9: Ibid. Figure 10: Ibid. 8. Designboom 2010, Francois Roche, < http://www.designboom.com/eng/interview/roche.html >. 9. Labeca, A 2010, R&Sie The Question of Morpho-ecology architecture and Engineering, < http://urbantick.blogspot.com.au/2010/05/r-question-of-morpho-ecological.html >
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A.4 CONCLUSION
Architecture is a growing discourse, which continues to evolve over time. It changes and adapts to many aspects of our world. It is this nature that we as designers should understand the need to approach architecture through a holistic view. It is important to understand the history and how architectural processes and ways of thinking has come about and changed, influenced by many aspects such as politics, tradition, socio-economic and especially in this subject, technology. From only having a pencil and rubber to now having computers and 3D software, there has been a evident paradigm shift in architecture. The ways in which compositions and theories dictated the path of architects is now being rewritten. For architects to move forward in this technologically reliant society there is a need to embrace computation as a tool and think of it as an integral part to the design process: generation. This is reflected in the increase to the introduction and learning of computer design software in universities. Whilst many have argued that computation software stuns the creativity of designers, this software can only generate forms when the designer inputs certain instructions or scripts. They enhance oneâ&#x20AC;&#x2122;s ability to create innovative forms that could not be imagined or drawn with hand and allow for many iterations and unlimited possibilities. The outcomes of architects who have and are still experimenting have led to many beautiful and complex structures that could not have been achieved otherwise. In this project, the computation software Rhino and Grasshopper will be used as tools to generate parametric forms and algorithmic based structures. By creating scripts, we are designing something new and innovative, something that hopefully, surprises even ourselves. Also, having to incorporate a sustainable a form of energy of renewable, in this case solar energy helps to engage us in the possibilities of computation and how it can help to create forms that will benefit us and the environment. Such things as generation an interesting pattern for the surface area to capture sunlight or an inspiration form that interacts with participants can be experimented and iterated quickly. This is the excitement that lies in using computation.
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A.5 LEARNING OUTCOME
Having come into the subject with only a vague understanding of computational design, this introductory section has been a real eye-opener to what it is exactly and the potential they have to generate and improve oneâ&#x20AC;&#x2122;s design. Through classes and experimentation, I have gained more understanding of the designerâ&#x20AC;&#x2122;s role within parametric modelling. The concepts of parametric design, algorithmic scripting, generation, computation design were all so foreign and alien at the beginning. It made me very apprehensive and afraid to even begin to understand and experiment. I presume this is what stops many people from delving into computation design. Similar to learning a whole new language, it is hard to grasp and familiarize to something completely new, especially over a short period of time. The process requires practice, time, trial and errors and a lot of experimentations. Through the lectures, tutorials and online tutorials, I have been able to slowly grasp the idea of the logic behind these tools. I feel that I am improving my Grasshopper and Rhino skills and understanding how these two programs actually interact, whereas in Virtual Environments, it was merely pressing buttons and out comes a form. Now, I see beyond a mere button, to the many possibilities to create innovative and beautiful objects each code or combination of codes can. I have come to view architecture in a new light during the design process in ways of parametric design and algorithmic designs. Admittedly, learning Grasshopper and Rhino is a difficult task. As I have found in regards to computers, there are many frustrating times when things do not work and you have no idea why or the knowledge on how to fix it or where to turn to. However, when you do learn to use a tool and it works, the feeling is so rewarding because in front of you is an innovative form that you have learnt to create. I hope to improve my skills because of the many possibilities it can offer to take a design to the next level.
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A.6 REFERENCES A.1
Figure 1: Landartgeneror.org 2012, 99 Red Balloons, image, <http://landartgenerator.org/LAGI-2012/99009900/>. Figure 2: Ibid. Figure 3: Ibid. Figure 4: Landartgeneror.org 2012, Calorie park, image, <http://landartgenerator.org/LAGI-2012/6713KE13/>. Figure 5: Ibid. Figure 6: Wikipedia.Org, Project BIPV, photograph, <http://en.wikipedia.org/wiki/File:Projet_BIPV_-_Gare_TGV_de_Perpignan.jpg>. Figure 7: Treehugger, Film Solar, image, <http://www.treehugger.com>. Figure 8: Jetsons, New Dynamic Solar Facade, image, <www.jetsongreen.com>. Figure 9: Solarfarm.org, Hairy Solar Panels, image <http://solarfarm.tennessee.edu/education/future>.
A.2
Figure 1: Tumblr, Parametric, image, < http://nparametric.tumblr.com/page/6>. Figure 2: Matsys 2013, Seacraft Eggs, photograph, <http://matsysdesign.com/2013/05/18/seacraft-eggs/>. Figure 3: Designboom, Dubai Opera House, image, <http://www.m3mare.com/up/uploads/350a67b22a.jpg>. Figure 4: Tumblr 2013, Parametric Birds Nest, image, < http://parametric-design.blogspot.com.au/2013/02/birdsnest.html >. Figure 5: Beijing National Stadium, image, < http://www.mi9.com/beijing-national-stadium_34213.html>. Kalay, Y 2014, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories and Computer Aided Design, MIT Press, Cambridge. Matsys 2013, Seacraft Eggs, <http://matsysdesign.com/2013/05/18/seacraft-eggs/>. 3. Intelligentlife 2008, The First Great Female Architect, < http://moreintelligentlife.com/story/zaha-hadid?page=full>. 4. Kolarevic 2003, Architecture In the Digital Age, Spon Pres, New York. 5. DesignBuild 2014, Beijing National Stadium, < http://www.designbuild-network.com/projects/national_stadium/>. 6. Gehry Technologies, 2012, Beijing Olypmic Stadium, < http://www.gehrytechnologies.com/sites/default/files/webform/application-docs/Beijing-Olympic-Stadium.pdf>. 7. Kolarevic 2003, Architecture In the Digital Age, Spon Pres, New York. 1.
2.
A.3
Figure 1: Matsys 2012, Shellstar Pavilion, image, < http://matsysdesign.com/2013/02/27/shellstar-pavilion/>. Figure 2: Ibid. Figure 3: Ibid. Figure 4: Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, image, < http://theverymany.com/constructs/10frac-centre/>. Figure 5: Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, image, < http://theverymany.com/constructs/10frac-centre/>. Figure 6: Ibid. Figure 7: Ibid. Figure 8: New Territories 2003, Mosquitoes, image, < http://www.new-territories.com/mosquitos.htm >. Figure 9: Ibid. Figure 10: Ibid. Lucan, J 2013, The Story of the World, The Architectural Review, < http://www.architectural-review.com/reviews/thestory-of-the-world/8641929.article>. 2. Peters, B 2013, Computation Works: The Building of Algorithmic Though, Architectural Design, 83, pp. 8-15. 3. Ibid. 4. Matsys 2012, Shellstar Pavilion, < http://matsysdesign.com/2013/02/27/shellstar-pavilion/>. 5. Marc Fornes & THEEVERMANY 2011, nonLin/Lin Pavilion, < http://theverymany.com/constructs/10-frac-centre/>. 6. Ibid. 7. Ibid. 8. Designboom 2010, Francois Roche, <http://www.designboom.com/eng/interview/roche.html>. 9. Labeca, A 2010, R&Sie The Question of Morpho-ecology architecture and Engineering, <http://urbantick.blogspot. com.au/2010/05/r-question-of-morpho-ecological.html \>. 1.
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