AIR JOURNAL
A B P L 3 0 0 4 8 T U T O R I A L 9
KATERINA K A R A D I M A S 6
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9
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TABLE OF CONTENTS PART A A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPOSITION/GENERATION A.4 CONCLUSIONS A.5 LEARNING OUTCOMES A.6 APPENDIX REFERENCES
1 3 13 23 33 35 36 37
PART B B.1 RESEARCH FIELD B.2 CASE STUDY 1.0 B.3 CASE STUDY 2.0 B.4 TECHNIQUE: DEVELOPMENT B.5 TECHNIQUE: PROTOTYPES B.6 TECHNIQUE: PROPOSAL B.7 LEARNING OBJECTIVES + OUTCOMES B.8 ALGOITHMIC SKETCHES REFERENCES
41 42 47 53 59 61 63 67
PART C C.1 DESIGN CONCEPT C.2 TECTONIC ELEMENTS + PROTOTYPES C.3 FINAL DETAIL MODEL C.4 LEARNING OBJECTIVES + OUTCOMES REFERENCES
75 76
69 71
104 114 124 126
A.0 INTRODUCTION
I’m a dynamic kind of person, often seen leaping from building to building along Melbourne’s magnificent skyline. I’ve been known to remodel train stations during breakfast, achieving a 41 green star rating first time, every time. I write award winning piano concertos, I am organised and possess superior time management skills. Occasionally, I venture into the West Siberian Plain with nothing but a clutch-pencil and a photograph of Hugh Laurie to test my resolve. I cook thirty-minute cake mix in ten. Le Corbusier is my uncle twice removed (and yes, I know the resemblance is uncanny). When bored, I simulate advanced particle physics in my backyard. I only eat breakfast food. On Tuesdays, after class, I restore World War II Spitfires.
1
I discovered the meaning of life yesterday whilst entering a taxi (pictured), but forgot to make a note. I once read War and Peace twice in one day; first to appreciate Tolstoy’s writing prowess, second to spellcheck. Everyone makes mistakes. My proficiency in floral arrangement has earnt me worldwide recognition amongst the highest botany circles. I’m the rightful heir to the Nigerian throne. Dogs love me.
THINK ABOUT THAT, YOU CREATE SOMETHING OUT OF NOTHING. YOU’RE LIKE GOD. THERE IS NO ONE HOTTER THAN GOD. - BARNEY, ARCHITECT
HOW I MET YOUR MOTHER
I had a brief and passionate affair
reflects both the designer and
with biomedicine and arts, but
the
found them to be poor lovers.
the time. My aim is to create
After a year spent spearfishing in
architecture that evokes emotion
the lakes of Patagonia I returned to
and facilitates experience so I can
conquer the infamous architecture
play god over the little people.
degree
to
ensure
that
sociocultural
climate
of
the
Jeanneret family legacy lives on.
I’ve glimpsed a Rhinoceros once or twice in MSD but have yet to lay
To me, architectural design is an
eyes on the elusive Grasshopper.
art form. Like interpretive dance,
I invented Photoshop, I’ve played
but precisely one hundred times
Hamlet and all my bills are paid.
more
useful.
Each
structure
2
A.1 DESIGN FUTURING
“ON THE WHOLE HUMAN BEINGS WANT TO BE GOOD, BUT NOT TOO GOOD, AND NOT QUITE ALL THE TIME.” - GEORGE ORWELL
In our carefully constructed anthropocentric world we have revelled, taking from our earthly playground for centuries without thinking of what consequences there might be. We’ve turned a blind eye, disregarding the finite nature of our resources: we are degrading our potential, defuturing ourselves.1 Buckminster
“Bucky” Fuller – architect,
inventor, designer and visionary – was of the firm opinion that we are all in fact born geniuses, and that in the process of growing up, we are subjected to an unfortunate process of de-genius-ing by our parents and teachers.2 Curiosity is quelled, enthusiasm is stifled. Much power lies within a question formed by an inquisitive mind. Through the process of speculation, we may explore many possibilities and alternative scenarios with the hope of creating a more malleable reality. It is impossible to change the future but perhaps it is possible to increase desired probabilities to reach a favourable outcome.
1
3
2
Tony Fry, Design Futuring (Oxford: Berg, 2009), p. 1. Jason F McLennan, The Philosophy Of Sustainable Design (Kansas City, Mo.: Ecotone, 2004), p. xv.
Dunne and Raby emphasise the key role that creative minds hold in these changing times – using the imagination to speculatively design, tackling the wicked problems of our age.3
“EVERYONE DESIGNS WHO DEVISES COURSES OF ACTION AIMED AT CHANGING EXISTING SITUATIONS INTO PREFERRED ONES.”4 Radical design thinking and risk taking ensure that our society does not stagnate but continues to develop in the best possible manner. This kind of thinking is by no
By redefining the design process and
means unique to designers, but is within all
that of the designer title, positive change
who seek to question and innovate – that’s
is possible within our societies. But by
each and every one of us in Bucky’s eyes.
asking questions, proposing the radical,
The design process is inherently human, it
embracing risk, sustainability is possible
reflects the societal mindset of the time and
within our world. Design professions are
manifests it. It is with good reason that Fry
not solely responsible for this change, but
argues for a better educated populous with
it should be the accepted responsibility of
a focus on design intelligence; ensuring that
all creatives to seek design solutions which
future generations are equipped with the
aim to solve problems at all scales, from
cognitive tools to make crucial judgements
the user to the global. You never know, you
and increase futuring potential.
might exceed expectations.
5
Anthony Dunne and Fiona Raby, Speculative Everything (Massachusetts: MIT Press, 2013), p. 1 Herbert A. Simon, "The Science Of Design: Creating The Artificial", Design Issues, 4 (1988), 67. 5 Fry, Design Futuring, p. 12. 3 4
4
DYMAXION HOUSE DRAWING, 2013
DYMAXION HOUSE
BUCKMINSTER FULLER
“WE ARE CALLED TO BE ARCHITECTS OF THE FUTURE, NOT ITS VICTIMS.” - R. BUCKMINSTER FULLER
BUCKMINSTER AND THE DYMAXION, 2012
A
master
of
many
professions,
modifiable and practically maintenance
Buckminster “Bucky” Fuller became well
free housing solution based on a novel,
known through the years as a futurist,
round plan, customisable at the owner’s
fervently seeking innovative solutions to
whim. Taking advantage of new methods
the problems of humanity; a pioneer of
of mass production, Dymaxion House was
sustainable design and an advocate of
not the sole aluminium building patented
renewable energy. One of his life-long
at the time, yet it was the only one to make
interests was the use of technology to
use of the material to such an extent. And in
revolutionise the construction process
spite of the American Insitute of Architects
and thereby also improve housing. His
resolutely claiming to be “[established]
design, the Dymaxion House, was so
on record as inherently opposed to any
named by combining the words ‘dynamic’,
peas-in-a-pod-like reproducible designs,”
‘maxiumum’, and ‘tension’. Following 1927,
Fuller stood his ground and argued the
the term came to be synonymous with
case for standardisation and repetition
his “doing more with less”
philosophy,
in the search of optimising function.7
highlighting his understanding of the fast
His intention was to ship the house
progressing, global technological climate.
parts worldwide – as one might receive
6
furniture from IKEA – flat packed and The
iconic
Dymaxion
House
design
ready for construction. Mass production
came to fruition through Fuller’s desire
methods lowered costs and allowed the
to improve our patterns of life; a cheap,
home to be leased and paid off as one
mass produced, naturally heated/cooled,
would a Cadillac.
“R. Buckminster Fuller, 1895 - 1983”, The Buckminster Fuller Institute, 2016 <https://bfi.org/about-fuller/ biography> [accessed 9 March 2016]. 7 J Baldwin, Buckyworks: Buckminster Fuller’s Ideas For Today (John Wiley & Sons, 1997), p. 21. 6
6
This was an unprecedented and revolutionary approach to both living and design. It took years however for Fuller to realise his project; the necessary materials were not readily available or affordable which led to an increase in material development and production costs. “WHETHER THIS IS THE PROPER SOLUTION OR NOT, SOMETHING OF ITS KIND WILL BE DEVELOPED.”8 Although never built, the Dymaxion House is an excellent case of revolutionary thinking and
significant
innovation
in
prefabricated
construction and self-sufficiency. The end of World War II brought with it a lack of housing and an influx of aluminium; a few prototypes were in fact formed but the project was never fully realised.
DYMAXION HOUSE ELEVATION, 2015
8
7
Baldwin, Buckyworks, p. 24.
DYMAXION HOUSE PLAN, 2013
DYMAXION HOUSE, 2012
Regardless, the Dymaxion showcased
recently
emerged.
Ultimately
the
Fuller’s readiness to challenge social
Dymaxion House revealed that radically
norms and seek answers to questions
different construction and living options
others had not dared or even considered
are indeed possible, ones that defy the
to ask. This pioneering new take on
environmentally detrimental way we
housing carved a path for sustainable
have lived for centuries. We come full
design and continues to be influential
circle, back to humanities’ wandering
today: his design aspirations are strikingly
ways, yet still we remain wholly within
evident in the ‘tiny house movement’
the modern era - a new utopia.
8
THE PLUG-IN CITY, 2015 V
THE PLUG-IN CITY
PETER COOK/ARCHIGRAM
“BUT LIFE IS JUST A PARTY, AND PARTIES WEREN’T MEANT TO LAST.” - PRINCE Between the years of 1960 and created Peter
design
rebels
countless Cook’s
Archigram
drawings
Plug-In
City.
for This
radical project evokes imaginings of fantastical city structures that defy mainstream urban logic. Bearing
PLUG-IN CITY TYPICAL SECTION, 2010
1974,
a greater likeness to a perpetually evolving and shifting megastructure drawn straight from science fiction, the design logically functions to incorporate living spaces, transport and other essential services; every by giant, integrated crane. At its heart, Plug-In represents the frintge of the early 60s avant-garde. Peter Cook/Archigram succeed in
SECTION UNDER CONSTRUCTION, 2010
component is – of course – moveable
concocting an unmistakeably unique sense of intoxicating chaos, unlike anything that came before. These
“FLIED IN THE FACE OF THE SUPERFICIAL
FORMALISM
AND
DULL SUBURBAN TENDENCIES COMMON
TO
BRITISH
MODERNISM OF THE TIME.”9 “AD Classics: The Plug-In City / Peter Cook, Archigram”, ArchDaily, 2013 <http://www.archdaily.com/399329/ ad-classics-the-plug-in-city-peter-cook-archigram> [accessed 15 March 2016].
PLUG-IN OFFICE STACKS AND HOUSING FOR CHARING CROSS ROAD, 2010
alternative urban scenarios:
9
10
In embracing this disorder,
and the graphic conclusions
In
architectural
boundaries
are incredibly evocative still
stagnant
were not tamed, but pushed;
to this day. Any form of built
discovers liberation from
design was provoked to
work would undoubtedly
the modernist suburbia in
misbehave
lessen the impact of these
the form of a futuristic yet
graphical musings: realising
nomadic program.
in
order
to
change life.10` And
so,
century-old
interrogates urban
life
our and
such eccentricity would do
suddenly definition
the of
what constitutes a city is thrown into the air, the archaic and static conception is interrogated and prodded, 10
11
city
Cook/Archigram no favours for it is the ambiguity that lends
the
design
such
the
Plug-
influence. Ultimately,
Simon Sadler, Archigram: Architecture Without Architecture (Cambridge, Mass.: MIT Press, 2005), p. 14.
Design
is
speculated
terms
of
paradox
in and
unprecedented
conclusions
are
Archigram’s
found.
significant influence is evident in the intricate exoskeletons and exposed services of hightech architecture – such as that of the Centre Pompidou PLUG-IN CITY MAX PRESSURE AREA, 2010
(Paris) – which still hold great relevance today.11
EXPENDABLE PLACE PADS, 2010 11
Nathaniel Coleman, Utopias and Architecture (Abingdon [England]: Routledge, 2005), p. 81.
12
A.2 DESIGN COMPUTATION
Soon after the last millennial shift,
Computer aided design began as a
the
Architectures
technologically advanced means of
Exhibition at the Centre Pompidou
representation, simply creating a
in Paris established a new path for
new kind of drawing board. It has
design; one that dichotomised the
since developed into a dynamic
standard, normative and repetitive
framework for conceptualisation,
theory of the past to create the
form generation and fabrication.
phenomenon now recognised as
Responding
digital design.12
our
Non-Standard
The conception
modern
to
the
society,
this
of new
of this creative antithesis moved
architectural
architecture
the
integrates contextual factors and
accepted practice of paper-based
materiality, rationalising this data to
materialisation. In shunning the
come to the most suitable solution
static nature of typological design,
to a design problem. Through such
a
technological
methods, technical and structural
formulation and production has
performance can be calculated to
emerged: dynamic and complexly
ensure the integrity of the form; plug-
interconnected, forming previously
ins such as Ladybug and Kangaroo
incomprehensible
facilitate this performance-oriented
away
continuum
of
from
links
between
science and art to forever alter
practice
needs
holistically
design.
architectural practice.13
Rivka Oxman, â&#x20AC;&#x153;Theory And Design In The First Digital Ageâ&#x20AC;?, Design Studies, 27 (2006), 232 <http://dx.doi. org/10.1016/j.destud.2005.11.002>. 13 Mitchell, W (2005) Constructing complexity, in Proceedings of the Tenth International Conference on Computer Aided Architectural Design Futures, Vienna, Austria pp 41-50 12
13
“A COMPUTER ONCE BEAT ME AT CHESS, BUT IT WAS NO MATCH FOR ME AT KICK BOXING.” - EMO PHILIPS
The
conception
of
parametric
modelling facilitated novel creative outcomes,
developing
into
a
platform which allows the input of new, non-standard data types while also responding to modern industry needs; whether that means responding to a certain aesthetic or
forming
new
architectural
types to deal with the resource restrictions of our age. Parametric modelling has also empowered the designer to discover and generate new forms through its iterative inclination; and
upholding
accuracy
structural
while
integrity
efficiency ensuring
without
the
need for complex calculations and testing on the designers’ behalf.
14
CLIFF HOUSE DETAIL RENDER, 2012
CLIFF HOUSE
KOKKUGIA/ROLAND SNOOKS + MITCHELL LAB
“AN EXPERIMENT IN COMPOSITE FIBER ARCHITECTURE OPERATING IN EXTREME CONDITIONS. . . “ CLIFF HOUSE PERSPECTIVE, 2012
- KOKKUGIA/ROLAND SNOOKS + MITCHELL LAB
The been
Cliff
has
emerges at the macro scale
through
from individual interactions
behavioural
at the micro scale. These
designed
agent-based
CLIFF HOUSE 3D MODEL, 2012
House
strategies;
combining
coordinated
behaviours
design intent with form,
generate both the structure
structure and material data
and ornament that shift
variables to create a kind of
throughout
order. Through parametric
with increasing intricacy.14
the
design
modelling, a complex order
This concept was tested against the proposed site – sheer cliff face – to study the ability of complex structural composite
fabrication
to
withstand
high winds and static loads. While Cliff House, for the most part, explores the use of composite material with a focus on ‘esoteric aesthetic, formal and tectonic intentions’, the potential for
structural
optimisation
through
design computation is highlighted.15 CLIFF HOUSE FROM ABOVE, 2012
“Cliff House”, Kokkugia, 2012 <http://www.kokkugia.com/cliff-house> [accessed 17 March 2016]. “Cliff House”, Suckerpunch Daily, 2016 <http://www.suckerpunchdaily.com/2014/02/19/cliffhouse/#more-35257> [accessed 16 March 2016]. 14 15
16
The translucent material serves to reveal the inner structural strands, which develop, morph and stretch towards the cliff face; these constructed limbs take hold in the rocky environment, supporting the structure whilst blurring the line between the built and the natural. It is unclear whether the cracks allowed the form to creep out, or whether they were created in the process of latching on. A strange sense of belonging is achieved: the foreign object exists in harmonious tension with its surrounds.
17
This concept is somewhat biomimetic, yet it has not been
modelled
from
nature.
Rather,
algorithmic
rules are established and the structure has emerged, grown â&#x20AC;&#x201C; not too dissimilar from the rules that govern the growth of an embryo or a tree. Such a structure could not be conceived without digital and parametric without
the
input
of
the
designer.
CLIFF HOUSE PHYSICAL MODEL SEGMENT, 2012
nor
CLIFF HOUSE DETAIL RENDER, 2012
means,
18
FABRICATED COLUMN CLOSEUP, 2010
SUBDIVIDED COLUMNS
A NEW ORDER MICHAEL HANSMEYER
“THE ARCHITECT ASSUMES THE ROLE OF THE ORCHESTRATOR OF THESE PROCESSES.” - MICAHAEL HANSMEYER
With this project, architectural process is examined through technology. A new column order is conceived and designed by abstracting a classical Doric
column
archetype)
(an
architectural
through
cumulative,
consistent subdivision. By tagging and distinguishing between components in the original column and varying SUBDIVIDED COLUMNS, 2010
the parametric process, the form is transmuted and imbued with new meaning whilst maintaining the old.16 This technologically derived process deviates from traditional methods to generate the form in all scales; both overall proportion/curves and small intricate formations, imbuing information
without
repetition.
ROOM OF COLUMNS, 2010
“Computational Architecture: Subdivided Columns”, Michael Hansmeyer, 2010 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0> [accessed 15 March 2016]. 16
20
This process results in a series of cohesive
form variates arise, in parallel, and
designs, each unique, yet all continuous.
the designer cultivates them.17 Digital
The designs yielded juxtaposes the
design functions somewhat naturally
column complexity with the utter
through
simplicity of the generative process.
crossing and breeding to create form.
permutations,
generations,
The designer becomes the composer Herein emerges a new role for the
of a generative, algorithmic symphony.
architect through parametric design:
Michael Hansmeyer, “Transcript Of “Building Unimaginable Shapes””, Ted, 2012 <https://www.ted.com/ talks/michael_hansmeyer_building_unimaginable_shapes/transcript?language=en> [accessed 15 March 2016]. 17
21
COLUMN EXHIBITION, 2010
FOUR COLUMNS, 2010
22
A.3 COMPOSITION/ GENERATION As
previously
discussed,
the
unreachable
by
even
the
most
integration of computation within
proficient of creatives. The iterative
the design process has opened
nature of this form of design allows
up a plethora of possibilities in
one to optimise a concept, regardless
architecture;
this
of how complex, simply by altering
advancement
has
technological facilitated
the
singular
algorithmic
formation of new complex geometries
Through
and allows us to explore information/
of the platform – be it Rhino,
data modelling in an entirely new way.
Grasshopper or other – all related
The implementation of algorithmic
parts of the form are instantaneously
modelling – and thinking – in the
adjusted too. Suddenly, the time
creative field has given rise to the
consuming and tedious procedure
practice of generative design:
of refining a complex assembly is
the
components.
interconnectedness
streamlined; days, weeks, months “…MODELLING
OF
CONDITIONS (ITS
OF
“GENETICS”)
AN
INITIAL OBJECT
INSTEAD
OF
MODELLING THE FINAL FORM.”18
become
seconds.
The
designer
may thus explore a vast array of options and iterations that were perhaps previously inconceivable or unattainable.
It soon becomes clear that these newfound
opportunities
are
Furthermore,
the
establishment
neither positive nor negative once
of generative design has allowed
implemented into the framework of
the
architectural practice.
mathematician.
architect
to
become
With
a
the base
understanding of what effect these The nature of generative design
discreet units of code will have on
speeds up the design process to
a digital form, one may bypass the
an unprecedented level, affective
tedious process of calculation to
at all stages; a level previously “What Is Generative Design?”, Generative Design, 2011 <https://generativedesign.wordpress. com/2011/01/29/what-is-generative-desing/> [accessed 16 March 2016]. 18
23
instead speculate on modification
of files and ideas; one may simply
options and design potentials. The
download
designer need not know how to
to
analyse NURBS; with this augmented
design. This exchange of intellectual
computational intellect they may
property blurs the lines of design
manipulate and problem solve to
concept ownership or authorship.
reach the desired form, safe in the
Furthermore, it is already evident that
knowledge that they are structurally
a recognisable curvilinear typology is
feasible.19
pervading the architectural world.
algorithmic
incorporate
into
definitions their
own
While eras of architectural style are It is important to note however
indeed differentiated by such visual
that these generative methods are
identifiers, one must take care to
in danger of falling into an isolated
avoid falling into the comfortable
niche in the world of design practice.
mainstream of prevalent design.
Hugh Whitehead (former head of Foster + Partners SMG) has noted
Generative design is a tool for creative
this pervasive long wolf mentality
exploration and development. It
amongst scripters. It is highly evident
must indeed be viewed thus to
that this new path for architecture
ensure that boundaries continue to
and design must be carved by the
be pushed and design innovation
design community at large to ensure
continues to bloom.
that computation in the field develops alongside traditional methods into an “integrated art form”, rather than falling into isolation.20 On the other hand, a wholly integrated and open approach may lead to some aesthetic and programmatic issues.
The
digital
domain
of
generative design is rife with both permitted and unpermitted sharing
“MAN IS A SLOW, SLOPPY, AND BRILLIANT THINKER; COMPUTERS ARE FAST, ACCURATE, AND STUPID.” - JOHN PFEIFFER
Brady Peters and Xavier De Kestelier, Computation Works: The Building Of Algorithmic Thought (Wiley, 2013), p. 10. 20 Peters, Computation Works, p. 15. 19
24
SILK PAVILION, 2013
SILK PAVILION
MIT MEDIA LAB
“... THE FORMATION OF NON-WOVEN FIBER STRUCTURES... AS A COMPUTATIONAL SCHEMA...” - MIT A poignant example of innovation through the use of generative design is the Silk Pavilion; an exemplary culmination of scientific research, digital design and biomimesis. Here, form is SILK PAVILION ON DISPLAY, 2013
found through computational strategies and is combined with biological fabrication. This project explores the application of generative methods within architectural practice (and product design).
The silk sphere consists of 26 polygonal panels
constructed
by
a
Computer-
Numerically Controlled (CNC) machine. 6,500 silkworms were released upon the primary structure, acting as biological printers, in order to reinforce the gaps between
the
human-constructed
silk
fibres to form a secondary mottled skin; however, the process depended wholly
SILKWORMS AT WORK, 2013
upon the use of computational form-finding and algorithmic modelling in the creation of initial structure of various density.21 Through this careful design process, the finished pavilion is representative of a midpoint
between
silkworm
cocoons
and functional space for human use.22 SILKWORM, 2013
“Silk Pavilion”, Massachusetts Institute of Technology, 2013 <http://matter.media.mit.edu/environments/details/silk-pavillion> [accessed 16 March 2016]. 22 “Silk Pavilion / MIT Media Lab”, ArchDaily, 2013 <http://www.archdaily.com/384271/silk-pavilion-mit-medialab> [accessed 17 March 2016]. 21
26
The project, at its core, is a unique image
of the planned and the spontaneous, of
of generative design. Rigorous testing
digital order and natural disorder and
and research was undertaken into how
can be understood as a reaction by
silkworms interact with their surrounds;
MIT to the increasingly pervasive use
varying 3D spaces were investigated, with
of computational methods in design:
varying conditions, employing motion tracking technology to study the natural
“FORM
cocoon construction process.
MORPHOGENETIC,
23
This data
ultimately informed the computational
THE
design
TO
and
construction
processes,
BECOMES
FORMS
A
CHOSEN
INSTANTIATE
A PRIORI,
IN
ORDER
(INCARNER)
guiding the CNC machine in weaving
ARCHITECTURE
panels and also the density of thread used.
THE DEFINITION OF A STATE OF SINGULARITY
The Silk Pavilion explores the dichotomies
OF
ONLY IN
PERPETUAL
A
BEING
CONTINUUM EVOLUTION.”24
PRIMARY STRUCTURE, 2013
“Silk Pavilion / MIT Media Lab”, ArchDaily, 2013 <http://www.archdaily.com/384271/silk-pavilion-mit-medialab> [accessed 17 March 2016]. 24 Andrew Benjamin, Writing Art And Architecture (Melbourne: re.press, 2016), p. 80. 23
27
SILKWORM SPACE INTERACTION EXPERIMENT, 2013
It becomes clear that while generative design is indeed ingrained
in
the
modern
day and here to stay, it is by no means impossible to draw from methods of old in the search for innovation. PAVILION SCHEMATICS, 2013
28
HEYDAR ALIYEV CENTER INTERIOR , 2013
HEYDAR ALIYEV CENTER
ZAHA HADID ARCHITECTS
WE’RE THE ONES WHO PUSH THE BUTTONS, WE’RE THE ONES WHO PROVIDE THE DATA, WE’RE THE ONES WHO ACTUALLY DRIVE IT. - SAFFET KAYA BEKIROGLU OF ZAHA HADID ARCHITECTS
Zaha
Hadid’s
Haydar
Aliyev
Center in Azerbaijan, is upon observation clearly an example of computational design; yet the creative process underpinning its inception indicates that it is a wholly generative form.
HEYDAR ALIYEV CENTER, 2013
The
rhythmically
architectural a
fluid
undulating
landscape
relationship
establishes
between
the
built object and the urban landscape however this link is not simply visual. Computational methods incorporate historical Islamic ideas of continuous patterning and calligraphy into the flowing form. Furthermore, quantitative site data was extracted from the original topography – a sheer drop splitting the site – to digitally design and optimise a HEYDAR ALIYEV CENTER INTERIOR 2, 2013
new and precisely terraced landscape.25
“Heydar Aliyev Centre - Information”, Zaha Hadid Architects, 2013 <http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/> [accessed 18 March 2016]. 25
30
The
design
process
consisted
of
generative methods used in conjunction with the traditional mode of sketching and physically modelling. Computation was employed for ultra-precise numerical control in the development of the rational and efficient skin structure, thereby reducing any unknowns.26 In an interview with Dezeen, Zaha Hadid Architects made
“SOMETIMES I BELIEVE THAT THERE'S A CERTAIN RELATIONSHIP BETWEEN THE EYE AND THE HAND THAT IS IMPROVISED; THERE IS ENERGY THAT SKETCHES HAVE. IT'S NOT LIKE WE'RE RESTRICTING OURSELVES TO ONLY THE COMPUTER... IT'S MORE ABOUT THE THOUGHT AND INTENTION THAN THE TOOL FOR US.”27
it clear that their computational approach in creating the Heydar Aliyev Centre by no means overshadowed analog methods:
HEYDAR ALIYEV CENTER SITE PLAN AND SECTION, 2013
“Heydar Aliyev Centre - Information”, Zaha Hadid, 2013 “Heydar Aliyev Center”, Dezeen, 2014 <http://www.dezeen.com/2014/07/01/designs-of-the-year-2014-zahahadid-saffet-kaya-bekiroglu-interview-heydar-aliyev/> [accessed 17 March 2016]. 26
31
27
HEYDAR ALIYEV CENTER INTERIOR CURVE, 2013
There is of course, always a risk of
HEYDAR ALIYEV CENTER DRAWING, 2013
generating an indistinguishable architecture through the use of data drawn from site or from other contextual factors, such as population etc. However, Zaha Hadid did not solely depend upon computation and thereby created a parametric form that is utterly integrated with traditional architectural process.
32
A.4 CONCLUSIONS
Through the explorations entailed in Part
Building upon this digital framework,
A, it becomes clear that design is a key
the discussion of generative design
agent in the positive future progression
raised a number of considerations in
of
respect to computation in the field.
our
global
professionals
community.
hold great
Creative
sway
over
Questions of creative control and idea
innovative development in the coming
ownership dominate this concept; is
days; this must be undertaken through a
such a parametric design really the
multidisciplinary approach, with a focus
work of the architect or is it simply the
on holistic design methods and context
result of a sophisticated program? It
from inception to completion.
becomes clear that the way generation is incorporated into the design process as a
The development of computational design
whole is the key factor in answering this
has allowed us to achieve previously
question. Nevertheless, this algorithmic
inconceivable
optimise
method of creating has, without a doubt,
them through the use of data analysis
streamlined method and allowed for
techniques. These forms are optimised
astonishingly rapid concept exploration
and their performance is tested to
and refinement; a pivotal change in
ensure structural integrity, useability and
architectural practice.
forms
and
efficiency. A new frontier of architecture has been reached, one that significantly decreases risk of performance failure. We now design with an unprecedented likelihood of success.
33
Through
of
The integration of compositional
Grasshopper, I intend to explore
and parametric methods will allow
natural
me
â&#x20AC;&#x201C;
the systems
notions
of
platform and
processes
movement
to
simultaneously
optimise
and
form and function within my design.
productivity â&#x20AC;&#x201C; and optimise them to
For the users, this will result in
create a design that provokes and/or
maximised useability, comfort and
influences positive office function.
aesthetics to facilitate a positive work
The use of parametric modelling will
environment. Furthermore, efficient
ensure the integrity of the final form,
material use and constructability
however, my approach will not focus
will be ensured.
solely on digital methods. I believe it is key to explore and integrate a host of creative mediums in order to reach an effective final form; in this way, it is possible to avoid reproducing a preceding design and results singular and unique concept.
THE PROPER STUDY OF MANKIND IS THE SCIENCE OF DESIGN. - HERBERT SIMON
34
A.5 LEARNING OUTCOMES
Initially,
I
found
algorithmically
in
thinking
appeared from one another, whilst
design
being fairly identical at their core.
the
process a challenge. I noticed a significant change in the way I
Knowledge of such algorithmic
considered form and its inherent
methods
potential.
ideas
aided me in past design projects.
were bounded by an entirely
In Designing Environments and
new domain; understanding the
Studio
way
Grasshopper
definitions
implementation of contextually
work
and
separate
derived formulas and ratios and
Suddenly
how
components highlighted for
my
the
interrelate new
design
would
Earth,
I
have
greatly
explored
the
has
worked hard to optimise my
possibilities
form through sketch modelling
development.
â&#x20AC;&#x201C;
a
tedious
process
which
resulted in a final design that was
35
Once I was able to grasp these
representative of these ideas but
concepts
I
was
not necessarily the ideal. The use
surprised
at
my
pleasantly ability
to
of computational methods would
overcome initial challenges to
have undoubtedly have allowed me
create a multitude of iterations.
to explore my concept in greater
What struck me most was how
depth to ultimately reach a more
vastly different these iterations
efficient and unique outcome.
A.6 APPENDIX
36
REFERENCES BIBLIOGRAPHY
"AD Classics: The Plug-In City / Peter Cook, Archigram", ArchDaily, 2013 <http:// www.archdaily.com/399329/ad-classicsthe-plug-in-city-peter-cook-archigram> [accessed 15 March 2016] "Cliff House", Kokkugia, 2012 <http://www. kokkugia.com/cliff-house> [accessed 17 March 2016] “Cliff House”, Suckerpunch Daily, 2016 <http://www.suckerpunchdaily. com/2014/02/19/cliffhouse/#more-35257> [accessed 16 March 2016] “Computational Architecture: Subdivided Columns”, Michael Hansmeyer, 2010 <http://www.michael-hansmeyer. com/projects/columns_info. html?screenSize=1&color=0> [accessed 15 March 2016] Hansmeyer, Michael, “Transcript Of “Building Unimaginable Shapes””, Ted, 2012 <https://www.ted.com/talks/michael_ hansmeyer_building_unimaginable_ shapes/transcript?language=en> [accessed 15 March 2016] "Heydar Aliyev Center", Dezeen, 2014 <http://www.dezeen.com/2014/07/01/ designs-of-the-year-2014-zaha-hadidsaffet-kaya-bekiroglu-interview-heydaraliyev/> [accessed 17 March 2016] "Heydar Aliyev Centre - Information", Zaha Hadid Architects, 2013 <http://www.zahahadid.com/architecture/heydar-aliyevcentre/> [accessed 18 March 2016] "R. Buckminster Fuller, 1895 - 1983", The Buckminster Fuller Institute, 2016 <https:// bfi.org/about-fuller/biography> [accessed 9 March 2016]
37
"Silk Pavilion / MIT Media Lab", ArchDaily, 2013 <http://www.archdaily.com/384271/
silk-pavilion-mit-media-lab> [accessed 17 March 2016] "Silk Pavilion", Massachusetts Institute of Technology, 2013 <http://matter.media.mit. edu/environments/details/silk-pavillion> [accessed 16 March 2016] "Subdivided Columns", Michael Hansmeyer, 2010 <http://www.michaelhansmeyer.com/projects/columns_info. html?screenSize=1&color=0> [accessed 15 March 2016] "What Is Generative Design ?", Generative Design, 2011 <https://generativedesign. wordpress.com/2011/01/29/what-isgenerative-desing/> [accessed 16 March 2016] Baldwin, J, Buckyworks: Buckminster Fuller's Ideas For Today (John Wiley & Sons, 1997), pp. 18-24 Benjamin, Andrew, Writing Art And Architecture (Melbourne: re.press, 2016), p. 80 Coleman, Nathaniel, Utopias And Architecture (Abingdon [England]: Routledge, 2005) Dunne, Anthony, and Fiona Raby, Speculative Everything (Massachusetts: MIT Press, 2013) Fry, Tony, Design Futuring (Oxford: Berg, 2009) McLennan, Jason F, The Philosophy Of Sustainable Design (Kansas City, Mo.: Ecotone, 2004) Oxman, Rivka, "Theory And Design In The First Digital Age", Design Studies, 27 (2006), 229-265 <http://dx.doi.org/10.1016/j. destud.2005.11.002>
REFERENCES IMAGES
Buckminster and The Dymaxion, 2012 <https://placesjournal.org/assets/lega cy/media/images/massey-dymaxion_525. jpg> [accessed 9 March 2016] Cliff House 3D Model, 2012 <http://3.bp.blogspot.com/PMyiPETAWS8/UjaMf1lRP7I/ AAAAAAAAIxc/TvKFakhgUF4/s1600/iso_ Final.jpg> [accessed 17 March 2016] Cliff House Detail Render, 2012 <http://4.bp.blogspot.com/-J8z_5xL6lAI/ UjaMDltXXBI/AAAAAAAAIw8/ S5BFTmWRelQ/s1600/_f06_Final.jpg> [accessed 17 March 2016] Cliff House From Above, 2012 <http://2.bp.blogspot.com/pOvQzMtxljg/UjaMIGznX2I/ AAAAAAAAIxE/6GSPl0vLXSA/s1600/_ n02a.jpg> [accessed 17 March 2016] Cliff House Perspective, 2012 <http://1.bp.blogspot.com/tkwAwBNUlFc/UjaL131DeVI/ AAAAAAAAIwk/Vn_tcKRPxEQ/s1600/_f01_ Final.jpg> [accessed 17 March 2016] Column Exhibition, 2010 <http://www.michael-hansmeyer.com/ images/columns/gwangju_design_ biennale14.jpg> [accessed 15 March 2016]. Cover Art, 2014 <http://api.ning.com/files/dnCWvahr*Cq 9PvYw9fRTT5uaQiJlDl3nzI8f0UL*AoTw-h5 O*0IFU3wr1LElrOoAuNPxdOZE0KFKJ5mf 3sK1zdTuxqsTayyF/tutesa.jpg> [accessed 17 March 2016] Dymaxion House, 2012 <https://mfareview.files.wordpress.
com/2011/12/fuller2-dymaxion.jpg> [accessed 9 March 2016] Dymaxion House Drawing, 2013 <https://alastairgordonwalltowall.files. wordpress.com/2014/04/dymaxion-4plans.jpg> [accessed 9 March 2016] Dymaxion House Elevation, 2015 <http://afflictor.com/wp-content/ uploads/2015/03/dymaxion-house.jpg> [accessed 9 March 2016] Dymaxion House Plan, 2013 <http://images.adsttc.com/ media/images/51df/2d1b/ e8e4/4e68/7300/0034/large_jpg/ dymaxion_house2.jpg?1417704300> [accessed 9 March 2016] Dymaxion House Section, 2013 <http://images.adsttc.com/ media/images/51df/2d19/ e8e4/4e68/7300/0033/large_jpg/ dymaxion_house1.jpg?1417704297> [accessed 9 March 2016] Expendable Place Pads, 2010 <http://images.adsttc.com/ media/images/51d7/1c2b/ e8e4/4ed5/3800/0024/large_jpg/201_ medium.jpg?1373051945> [accessed 10 March 2016] Fabricated Column Closeup, 2010 <http://www.michael-hansmeyer.com/ images/columns/fabricated_columns7. jpg> [accessed 15 March 2016] Four Columns, 2010 <http://www.michael-hansmeyer. com/images/columns/columns1.jpg> [accessed 15 March 2016]
38
Heydar Aliyev Cente Auditorium, 2013 <http://images.adsttc.com/media/ images/5285/20aa/e8e4/4e22/2500/0148/ large_jpg/HAC_photo_by_Helene_Binet_08. jpg?1384456244> [accessed 17 March 2016] Heydar Aliyev Center, 2013 <http://images.adsttc.com/media/ images/5285/1f2b/e8e4/4e52/4b00/01ab/ large_jpg/HAC_photo_by_Iwan_Baan_(2). jpg?1384455904> [accessed 17 March 2016] Heydar Aliyev Center Drawing, 2013 <https://s-media-cache-ak0.pinimg. com/736x/7a/f3/6b/7af36ba74665e8b362328 cb811cf1352.jpg> [accessed 17 March 2016] Heydar Aliyev Center Interior, 2013 <http://images.adsttc.com/media/ images/5285/24b4/e8e4/4e52/4b00/01b7/ large_jpg/HAC_Interior_photo_by_Hufton_ Crow_(1).jpg?1384457341> [accessed 17 March 2016] Heydar Aliyev Center Interior 2, 2013 <http://images.adsttc.com/media/ images/5285/21cf/e8e4/4e52/4b00/01b0/ large_jpg/HAC_photo_by_Helene_Binet_10. jpg?1384456501> [accessed 17 March 2016] Heydar Aliyev Center Interior Curve, 2013 <http://images.adsttc.com/media/ images/5285/2393/e8e4/4e52/4b00/01b4/ large_jpg/HAC_Interior_photo_by_ Hufton_Crow_(2).jpg?1384457032> [accessed 17 March 2016] Heydar Aliyev Center Site Plan And Section, 2013 <http://images.adsttc.com/media/ images/5285/282a/e8e4/4e22/2500/015a/ large_jpg/01_Site_Plan_and_Section. jpg?1384458261> [accessed 17 March 2016] Pavilion Construction, 2013 <http://images.adsttc.com/media/ images/51b0/f8b6/b3fc/4bbb/7a00/0252/ large_jpg/Markus_Kayser.jpg?1370552500> [accessed 17 March 2016]
39
Plug-In City Max Pressure Area, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/736_medium.jpg> [accessed 10 March 2016] Plug-In City Typical Section, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/726_medium.jpg> [accessed 10 March 2016] Plug-In Office Stacks And Housing For Charing Cross Road, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/749_medium.jpg> [accessed 10 March 2016] Room Of Columns, 2010 <http://www.michael-hansmeyer.com/ images/columns/columns6.jpg> [accessed 15 March 2016] Schematics For Human Constructed Portion, 2013 <http://images.adsttc.com/media/ images/51b0/f8b6/b3fc/4b22/5b00/0238/ large_jpg/Jorge_Duro-Royo_1. jpg?1370552499> [accessed 17 March 2016] Section Under Construction, 2010 <http://archigram.westminster.ac.uk/img/ prj_thumbs/747_medium.jpg> [accessed 10 March 2016] Silk Pavilion, 2013 <http://matter.media.mit.edu/assets/images/ made/assets/projects/CNSilk-01_1200_798. jpg> [accessed 17 March 2016] Silk Pavilion On Display, 2013 <http://www.3ders.org/images/mit-silkwormbio-3d-printer-5.jpg> [accessed 17 March 2016] Silk Worm, 2013 <http://images.adsttc.com/media/ images/51b0/f8c9/b3fc/4bf3/fc00/0209/ large_jpg/open-uri20130606-30444-377idi. jpg?1370552519> [accessed 17 March 2016]
Silkwork Space Interaction Experiment, 2013 <http://images.adsttc.com/media/ images/51b0/f8ae/b3fc/4b22/5b00/0237/ large_jpg/Carlos_David_Gonzalez_Uribe_2. jpg?1370552491> [accessed 17 March 2016] Silkworms At Work, 2013 <http://images.adsttc.com/media/ images/51b0/f8a9/b3fc/4bbb/7a00/0251/ large_jpg/Steven_Keating_3. jpg?1370552486> [accessed 17 March 2016] The Plug-In City, 2015 <http://megaestructuras.tumblr.com/ image/128198848209> [accessed 10 March 2016]
40
CRITERIA DESIGN
PART B
ERNST HAECKEL’S ‘FORMS IN NATURE’, 1904
B.1 RESEARCH FIELD BIOMIMICRY Looking
to
nature
for
design
simplistic level of organic imitation,
inspiration is by no means a new
instead focusing on the systems and
concept; from the ancient Greeks’
logic that underpin these naturally
floral corinthian columns, to the
derived forms. By studying the
scrolling, interlacing foliage of the
formation and functioning of these
Islamic arabesque, and on, to the
responses to ecosystem pressures
organic motifs that defined the Art
- evolutionary design problems if
Deco and Art Nouveau movements.
1
you will - then we can apply these
Our earthly realm has never ceased
same solutions to the architectural
to feed our creative endeavours.
design problems we face in the built environment. Herein lies the
The emergence of biomimicry takes
innovation.
this notion one step further. We are shifting from our mode of extracting from the environment (as initiated by the Industrial Revolution) to one of learning from it.2 What separates the biomimetic architecture of today from it’s forebearers is that it goes past the
“NOTHING IS ART IF IT DOES NOT COME FROM NATURE.” - ANTONI GAUDI Alois Riegl and David Castriota, Problems Of Style: Foundations For A History Of Ornament (Princeton, N.J.: Princeton University Press, 1992), p. 270. 2 Janine M Benyus, Biomimicry (New York: Morrow, 1997), p. 2. 1
42
La
Sagrada
Familia
cathedral
(pictured right) designed by Antoni Gaudi (1882) is a prime example of early biomimetic architecture; by branching columns into a tree-like canopy Gaudi was able to solve the problem of supporting his vaulted structure.3 These columns serve as more than mere ornament unlike unlike their greco-roman precedents. Hygroscope
by
Achim
Menges
(2012) (pictured top) and Fallen Star by AA DLAB (2012) (pictured bottom) both
represent
contemporary
biomimetic understanding.
43
3
George R. Collins, â&#x20AC;&#x153;Antonio Gaudi: Structure And Formâ&#x20AC;?, Perspecta, 8 (1963), 63.
HYGROSCOPE - ACHIM MENGES, 2015
FALLEN STAR - AA DLAB, 2012
LA SAGRADA FAMILIA CEILING - GAUDI, 2012
44
“WE MUST ADMIT THAT THERE IS SOMETHING IN THE ORDER OF BEING WHICH EVIDENTLY EXCEEDS ALL OUR COMPETENCE..” - VACLAV HAVEL
This concept of biomimicry within the architectural realm is defined by three levels of application:
This encapsulates a more complex understanding
of
biomimicry
and
[1] THE ORGANISM LEVEL
allows for the design of buildings
The architecture mimics the physicality
that
and/or the form of the natural system.
environment.
This stream is often insufficient as it
[3] THE ECOSYSTEM LEVEL
does not take the wider ecosystem
The architecture draws from the
context into account and thus may not
functioning and interrelations of the
function efficiently when translated
ecosystem as a whole.
work
with
their
immediate
into the built environment. This most complex level is often
45
[2] THE BEHAVIOUR LEVEL
difficult to achieve within a single
The architecture adopts the way the
building. It is best adapted to urban
natural form functions or belongs
design or within large-scale structures
within its wider context.
with many elements.4
4
Luisa Calabrese, The Architecture Annual (Rotterdam: 010 Publishers, 2009), p. 54.
I WAS DRAWN TO BIOMIMICRY AS MY RESEARCH FIELD AS I STRONGLY BELIEVE THAT WE, AS MEMBERS OF THE EARTH’S ECOSYSTEM,
SHOULD
LEARN
FROM
THE NATURAL FORMS AND PROCESSES AROUND US THAT TOOK AEONS TO DEVELOP. FURTHERMORE, EMPLOYING BIOMIMICRY
IN
DESIGN
EMBEDS
MEANING AND LOGIC INTO THE FORM; A PRINCIPLE THAT I’VE ALWAYS CONSIDERED HIGHLY SIGNIFICANT. ARCHITECTURE IS MEANINGFUL AT ITS CORE.
46
THE MORNING LINE , 2011
THE MORNING LINE
ARANDA LASCH
B.2 CASE STUDY 1.0 The Morning Line is an innovative project, dubbed a so-called “anti-pavilion”. It is both a ruin and a monument, existing within a cycle of deconstruction and reconfiguration accross various countries and landscapes.5 THE MORNING LINE RENDERING, 2009
THE MORNING LINE ISTANBUL, 2011
The
base
geometry
-
a
truncated
while also representing growth systems
icosahedron - is derived from fractal
that define our universe. In this way,
subdivision of a tetrahedron. These initial
the cellular form exists in space and
forms at various scales are then mirrored
simultaneously defines it.
onto the their faces to create an aggregate growth structure. This logic is drawn from
Through
the
investigation
of
the
various fields including mathematics,
underlying growth system of this design,
cosmology and sonic theory.
it is hoped that the findings may guide my design in terms of meaningful
The design was conceived as a platform
development and orientation of an initial
for
form.
music
first
and
foremost.
It’s
everchanging form mimics that of sound
”The Morning Line”, E-flux, 2008 <http://www.e-flux.com/announcements/the-morning-line/> [accessed 9 April 2016]. 5
48
B.2 CASE STUDY 1.0 ITERATIONS
PLAN
PERSPECTIVE
RESEARCH PAVILION 2013-14
ICD/ITKE
ICD/ITKE RESEARCH PAVILION 2013-14 DETAIL, 2014
B.3 CASE STUDY 2.0 Research Pavilion 2013-14 is an exemplary biomimetic
structure.
Conceived
by
a
multidisciplinary team of architects, engineers, biologists and paleontologists; the form arose through research into natural fibre composite shells using novel robotic fabrication methods.6
GROUND BEETLE AND ITS INTERNAL ELYTRON ARCHITECURE, 2014
ICD/ITKE RESEARCH PAVILION 2013-14, 2014
The aim of the project was to use the logic derived from natural systems to develop a polymer winding technique which minimised formwork
whilst
facilitating
significant
geometric freedom. Through
the
analysis
of
the
functional
principals governing lightweight structures in
3D MODELS OF BEETLE ELYTRA, 2014
beetle species, the team was able to develop a custom fabrication method (see right for individual module form) in conjunction with evolutionary, ecological and paleobiological university
specialists.
construction
process
This
novel
allowed
robotic for
the
translation of these biological principles into the modular pavilion design.7 â&#x20AC;?ICD/ITKE Research Pavilion 2013-14â&#x20AC;?, Universitat Stuttgart, 2014 <http://icd.uni-stuttgart.de/?p=11187> [accessed 13 April 2016]. 7 Ibid.
FIBRE LAYOUT FOR ONE COMPONENT, 2014
6
54
Through
extensive
investigation
pavilion
form.8
Fiber
reinforced
and imaging of beetle elytra (see
polymers are experimented with in
previous page) the team was able to
creating the complex geometries and
solve the design problem of creating
organisations; this fabrication method
an incredibly strong yet lightweight
is utilised alongside the researched
structure.
logic to generate this performative
The
differentiated
trabeculae morphology of the beetle
structural morphology.9
shell is utilised as the logic system which governs the double skin, modular
Marco Rinaldi, “Research Pavilion 2013-14 By ICD-ITKE”, A As Architecture, 2014 <http://aasarchitecture. com/2014/07/research-pavilion-2013-14-icd-itke.html> [accessed 13 April 2016]. 9 Moritz Doerstelmann and others, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 58 <http://dx.doi.org/10.1002/ad.1954>. 8
55
ICD/ITKE PAVILION 2013-14 INTERIOR PANORAMA, 2014
The 2013-14 Research Pavilion has
natural systems in expanding tectonic
given rise to new fabrication and
possibilities.10
construction methods and effectively uses biomimetic strategies to create
This design has been chosen as a case
unique spacial qualities. This design
study for this reason, with the aim
holds
within
of understanding how to translate
architectural and design practice;
natural logic into an architectural
highlighting
much
research
10
significance the
and
importance
of
form without simply mimicing the
comprehension
of
aesthetics of the source.
Rinaldi, â&#x20AC;&#x153;Research Pavilion 2013-14â&#x20AC;?, 2014
56
B.3 CASE STUDY 2.0 REVERSE ENGINEER
[2]
[3]
PLAN
PERSPECTIVE
[1]
Approximate pavilion geometry in Rhino
57
Create a network surface
Voronoi 3D to create cells, BBX to select cells which intersect with surface (this ensures the geometry is mapped accross the entire doubly curved surface
Corne and o the
[4]
er points found offset to create e double skin
[5]
Both layers divided, bottom layer list shifted and lines connected between the lists
[6]
Process repeated for second level of wire density/aperture size
[7]
Repeated again to create the final wire level
58
B.3 CASE STUDY 2.0 FINAL OUTCOME
The reverse engineering of this pavilion certainly challenged my algorithmic thinking. In approaching this task I found it most useful to assume a bottom up approach; firstly deconstructing the logic of a singular panel and then applying that to the surface form of the pavilion itself. In order to decode this process, I began with a hexagonal grid projected to a predominantly flat, yet subtly curved surface. Through this I was able to make sense of the layered wire geometry with three levels of decreasing density and apperture size. Once that portion of the algorithm was refined, I went backwards to create the overall morpholoy upon which to project the wire panels. The
doubly
curved
surface
created
some
difficulties, distorting the individual cells too much to adequately view the inner wires. It became clear that the hexagonal grid was not the correct method of surface subdivision. The more organic voronoi arrangement was then selected; the use of the Voronoi 3D component solved the lingering problem of cell distortion by selecting the cell lines which intersected with the pavilion surface rather than attempting to map a 2D pattern upon it.
59
OVERALL, it was interesting to discover the interplay between the biomimeticly derived form and the subsequent surface division and patterning. Patterning itself may even be considered a biomimetic process as it follows a system of rules; in this case, that was the process of subdivision and reconstruction.
PLAN
PERSPECTIVE
60
B.4 TECHNIQUE DEVELOPMENT
SELECTION
CRITERIA
61
ORGANIC AESTHETIC
Does the iteration recall biological syste up whilst retaining a sense of the archite
FABRICATION CAPACITY
Is the iteration translatable and buildab veneer or similar?
ems in its make ectural?
CONTEXT ADAPTATION
Can the iteration be adapted to function as a ceiling installation?
ble using timber
SERVICES INTEGRATION
Is it possible to effectively integrate a lighting system and acoustic treatment into the form? 62
B.4 TECHNIQUE DEVELOPMENT SUCCESSFUL OUTCOMES ORGANIC AESTHETIC
ORGANIC AESTHETIC
FABRICATION CAPACITY
FABRICATION CAPACITY
CONTEXT ADAPTATION
CONTEXT ADAPTATION
SERVICES INTEGRATION
SERVICES INTEGRATION
This form recalls natural
by the transperancy.
structures in itâ&#x20AC;&#x2122;s cellular
system
makeup yet the fan-like
extrapolated
elements coupled with the
ceiling space. Lights may
teardrop openings take the
be installed through the
form
openings
would
further. be
Fabrication
modular
to
while
easily cover
be a
acoustic
but
elements could be more
jointing could be difficult.
challenging to integrate if
Also, the opacity of timber
the transparency is lost.
veneer would take away from 63
could
The
the
effect
created
This iteration is most successful regarding organic aesthetics; the random growth of the original form recalls the subdivision of cells or the patterning of tree branches yet
overall
looks
distinctly
architectural. Fabrication would be very difficult however due to the central nodes from which the wires stem. In order to be possible the radiating section would have to
ITERATIONS WERE SELECTED UPON THEIR VISUAL EFFECT AND THEN TESTED AGAINST THE SELECTION CRITERIA IN ORDER TO FIND A FORM WHICH IS EVOCATIVE YET ALSO HOLDS MERIT.
C
ORGANIC AESTHETIC
Y
FABRICATION CAPACITY
N
CONTEXT ADAPTATION
N
SERVICES INTEGRATION
be panelised but the overall effect would be lost with timber veneer. The form is quite voluminous and would have to be ‘flattened’ in a way to suit a ceiling as to not intrude too far into the usable room space. The dense, opaque regions could easily facilitate acoustic treatment while lights would need to be strategically placed to avoid casting shadows due to fanned members.
Again cellular in its make up,
wires.
Modules
this iteration recalls natural
would be simple to adapt
systems found in micro and
into a suspended ceiling and
macro scales (e.g. cells or
lights could be installed in the
lillypads). In a design sense
centres or the gaps between
however, the form is not
components.
aesthetically
innovative.
however it would not be
The components could not
possible to include integration
be fabricated solely out of
into
timber but would be possible
form.
a
largely
like
these
Acoustically
transparent
if integrated with strings or 64
B.5 TECHNIQUE PROTOTYPES
No. 1 Our
first
prototype
to
acheive
varied
effects.
considered the performance
direction of the grain is crucial
of timber veneer regarding
The form organically flows
strips
and
of
my
(the
research
team
field
members).
evident that considering the
invokes
undulating
ideas
natural
when deforming the wood.
of
forms.
We believe that by designing strips
65
unroll
for
When twisted and bent, the
Unfortunately,
a
arrangement upon a doubly
laser cut strips created an
certain level of bending was
curved surface the overall
interesting surface of curves.
performed the timber veneer
geometry
The simple arrangement of
snapped at points where the
better under these stresses.
regular lines may lead into
strips reached their maximum
more complex strip patterning
tension
load.
once
which
It
became
would
perform
No. 2 Here we explored a slit jointing system but
glue to fix them within the slit; a rudimentary
found that the rigid circle form and the slits
technique which should not be implemented
themselves did not facilitate the soft curves of
on a large and complex scale. Further
the design. Furthermore, the strips required
explorations are needed here.
In order to test our form without the limitation of the veneerâ&#x20AC;&#x2122;s
It is clear that the timber
tendency to crack we laser cut
veneer is unable to perform
the same regular strip pattern
when the strip members reach
onto a sheet of polypropaline.
this same level of bending. An alternative material weâ&#x20AC;&#x2122;ve
We found that this increased
researched is called PLI-Flex
level
veneer; a laminated veneer
of
material
flexibility
facilitated the generation of an
with
a
cross-grain
backer
appealing fluid form, bearing
possesses increased stability
a high resemblance to the
and flexibility. We postulate that
aesthetic we had set out to
this material will be much more
achieve. The organic curves
suitable for our double curved
essentially support their shape
design and endeavour to test
if the edge connections (rings)
this in future prototyping.
retain their distance from one
No. 3
another.
66
FLOWING TREE DETAIL, 2009
CHANGE +
FLOW OF IDEAS AND CREATIVITY
B.6 DESIGN PROPOSAL “THE DESIGNS WE SEE IN NATURE ARE NOT THE RESULT OF CHANCE. THEY RISE NATURALLY, SPONTANEOUSLY, BECAUSE THEY ENHANCE ACCESS TO FLOW…” - ADRIAN BEJAN
All
natural
systems
have
considered
biomimicry.
As
evolved and function in a
such, our design explores the
manner that facilitates ideal
physical expression of the flow
flow. The way birds fly in
of ideas and creativity present
In this way, we aim to design
groups, the way rivers and
within the architectural office
a ceiling installation which is
trees fork, the way people
site.
derived from its context while
move within a crowd: all these
being evocative in its aesthetic;
occurences subscribe to this
Strips and folding is the
such a form will have a strong
concept.
perfect medium with which to
sense
present this while biomimetic
shall inspire creativity in the
My group members focused
theory provides the base
users of the space through
on the research field of strips
logic that determines the
its intricate and undulating
and folding whilst I have
underlying design system.
treatment.
of
belonging
and
68
69
70
GRID SPREADING
GRID PINCHING
71
Parametric grid spreading was explored
we attempted a similar technique of grid
initially. While the forms derived do convey
pinching which allowed us to produce
our design intention, we found that it was
tube-like members which better flow and
difficult to progress the form past the
integrate with one another to create a
rigidity it naturally possessed from the
cohesive ceiling structure.
algorithm we created. To combat this,
71
B.7 LEARNING OUTCOMES + OBJECTIVES
OBJECTIVE 1 Digital design wholly lends itself to â&#x20AC;&#x2DC;optioneeringâ&#x20AC;&#x2122;. Through completing the Part B tasks it has become quite clear that, in the current age, both the creation and the response to a brief lie within a realm of almost infinite possibilities.
OBJECTIVE 2 The process of producing matrices of iterations allowed me to understand how parametric design lends itself to interrogating a brief; by arraying a large number of forms it allowed me to explore options I could not have considered without the use of grasshopper. Furthermore this increased number of options led me down design paths that were inconceivable if I was sketching by hand, while simultaneously making it quite clear which forms are applicable to the brief and which are not.
OBJECTIVE 3 I found completing the case study iteration and reverse engineering 72
processes incredibly helpful in developing both my parametric thinking and modeling skills. I was surprised to notice my approach change; from one of considering how to create a digital version of a physical drawing, to one of systemic generation. The reverse engineering particularly aided this. Prototyping also led me to comprehend the relationship between digital and real forms. Initially I found it difficult to see how intricate and complex geometries could be translated to ordinary construction materials. Through fabrication I learned to compartmentalise and translate a design from one form to another.
OBJECTIVE 4 While I have gone through the process of creating design proposals in previous design studio units, doing so within Air followed an entirely different process. Both stemmed from an initial concept or idea that I wanted to explore in response to the brief. Yet within this studio my design proposal arose through an integration
of a concept couple methods explored design proposal w process; merging d a real-world applic generated form co of its digital bound different set criteri of lines and geome materials and, in tur comprehend or inte pivotal in forming th
OBJECTIVE 5
I found that makin proposal followed as it has in the considering the architecture to e intangible ideas I fe proposal held mo exciting to suggest a f an abstract feeling using parametric r bolster this. To me, way provided a bet more persuasive pr
ed with algorithmic d. Interogating this was a fascinating digital theory within cation. Suddenly a ould exist outside ds, answering to a ia. Conceiving sets etries as corporeal rn, how a user might eract with them was he proposal.
ng a case for the the same process past, however, by ability of digital express previously eel that the design ore weight. It was form that expressed g and system, and representations to , working in such a tter considered and roposal.
OBJECTIVE 6 Through the case study analyses, I found a new method for comprehending contemporary architecture. I was well versed in tackling an architectural analyses as I would a painting or a sculpture. By deconstructing these forms and manipulating the algorithmic definitions I came to critically understand these modern designs with a newfound complexity. Finding the underlying logic of a form highlighted new meanings previously hidden when considering the final, built form.
OBJECTIVE 7 Throughout much of the unit I thought that I understood data structure theory. However, in attempting to manipulate data structures to my own ends I was incredibly challenged; most notable was my effort to recreate the twisted wire components of the ICD/ ITKE Research Pavilion 2013-4. After many failed attempts I managed to achieve what I needed to through data management and was then able to
apply this to create a host of successful iterations.
OBJECTIVE 8 From my initial introduction to parametric design in Part A, through to the end of Part B, I have always been intrigued by the idea of understanding and utlising systems; systems that define form yet are not often considered. I have attempted this, albeit unsuccessfully, in past studios. The algorithmic understanding I have gained from Part B has taught me how to deconstruct such abstract notions and extract this logic to inform design. Furthermore, while I had previously intended to use such systemic concepts to add meaning to a design, I was surprised to find that a parametric application also allows for optimisation. Instead of extracting ideas I now see the exciting ability for digital architecture to function at an unforeseen level; using less materials to create a stronger structure for example, a key step in our age of depleting resources. 73
REFERENCES 3D Models Of Beetle Elytra, 2014 <http://icd.unistuttgart.de/wp-content/gallery/rp2013-14-process/ icd-itke_rp13-14_process05_b.jpg> [accessed 12 April 2016] Benyus, Janine M, Biomimicry (New York: Morrow, 1997), p. 2 Calabrese, Luisa, The Architecture Annual (Rotterdam: 010 Publishers, 2009), p. 54 Collins, George R., “Antonio Gaudi: Structure And Form”, Perspecta, 8 (1963), 63 Doerstelmann, Moritz, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado, and Tobias Schwinn, “ICD/ITKE Research Pavilion 2013-14: Modular Coreless Filament Winding Based On Beetle Elytra”, Archit. Design, 85 (2015), 54-59 <http://dx.doi. org/10.1002/ad.1954> Ernst Haeckel’S ‘Forms In Nature’, 1904 <https:// commons.wikimedia.org/wiki/File:Haeckel_Cyrtoidea.jpg> [accessed 5 April 2016] Fallen Star - AA DLAB, 2012 <http://images.adsttc.com/media/images/55e8/9681/ e258/463f/1b00/0062/large_jpg/dlab_phase02_04. jpg?1441306205> [accessed 5 April 2016] Fibre Layout For One Component, 2014 <http:// images.adsttc.com/media/images/53b2/152d/ c07a/8079/0f00/01d5/large_jpg/ICD-ITKE_RP1314_Process12.jpg?1404179740> [accessed 12 April 2016] Ground Beetle And Its Internal Elytron Architecure, 2014 <http://icd.uni-stuttgart.de/wp-content/gallery/rp2013-14-process/icd-itke_rp13-14_process01. jpg> [accessed 12 April 2016] Hedeen, Charles, Flowing Tree Detail, 2009 <http:// runamuckchucks.com/image/46328311410> [accessed 14 April 2016] Hygroscope - Achim Menges, 2015 <http://images. cdn.baunetz.de/img/1/8/3/6/0/4/7/HygroScope_02_ DSC7751.jpg-ba8c28a90b4f6e9b.jpeg> [accessed 6 April 2016] ICD/ITKE Pavilion 2013-14 Interior Panorama, 2014 <http://icd.uni-stuttgart.de/wp-content/gallery/ rp2013-14-icd-itke/folie24.jpg> [accessed 12 April 2016]
74
“ICD/ITKE Research Pavilion 2013-14”, Universitat Stuttgart, 2014 <http://icd.uni-stuttgart. de/?p=11187> [accessed 13 April 2016] ICD/ITKE Research Pavilion 2013-14 Detail, 2014 <https://c1.staticflickr.com/3/2945/15175552069_5 a2e774991_b.jpg> [accessed 12 April 2016] ICD/ITKE Research Pavilion 2013-14 Panels, 2014 <https://s-media-cache-ak0.pinimg.com/736x/87/ 60/39/8760391dd611f9d47acfe2a7fc884458.jpg> [accessed 12 April 2016] ICD/ITKE Research Pavilion 2013/14, 2014 <http:// aasarchitecture.com/wp-content/uploads/ Research-Pavilion-2013-14-by-ICD-ITKE-06.jpg> [accessed 12 April 2016] La Sagrada Familia Ceiling - Gaudi, 2012 <http://40. media.tumblr.com/tumblr_lpmt3wn5lS1qa9fjuo1_1280.jpg> [accessed 5 April 2016] Riegl, Alois and David Castriota, Problems Of Style: Foundations For A History Of Ornament (Princeton, N.J.: Princeton University Press, 1992), pp. 266-300 Rinaldi, Marco, “Research Pavilion 2013-14 By ICDITKE”, A As Architecture, 2014 <http://aasarchitecture.com/2014/07/research-pavilion-2013-14-icditke.html> [accessed 13 April 2016] The Morning Line, 2011 <https://wieesseinkoennte. files.wordpress.com/2011/06/10a_the_morning_ line.jpg> [accessed 8 April 2016] “The Morning Line”, E-flux, 2008 <http://www.e-flux. com/announcements/the-morning-line/> [accessed 9 April 2016] The Morning Line Istanbul, 2011 <https://farm6. staticflickr.com/5263/5884844084_2a1435da22_b. jpg> [accessed 8 April 2016] The Morning Line Rendering, 2009 <https:// c7.staticflickr.com/4/3098/3191703998_315e2450e 9_z.jpg> [accessed 8 April 2016]
FLOW
T H E C R E AT I V E S TAT E
PART C
DETAILED DESIGN
75
C.1 DESIGN PROPOSAL ADDRESSING FEEDBACK FROM THE INTERIM PRESENTATION
The
overarching
feedback
received
thus far was underdeveloped in that it
following the interim design presentation
appeared rigid and contrived rather than
was that while the concept of flow was
exhibiting these sinuous ideals. Following
contextually apt for the space and
the interim presentation, the design
adequately addressed the brief, the form
proposal
itself did not adequately translate this
retained while the technique was further
notion into a physical form. The design
76
and
conceptual
idea
were
developed; our design team looked
structure might be developed in a more
towards deriving the formal arrangement
organic manner. The team was divided
of the ceiling installation from BOIDS
into smaller groups with distinct focuses
algorithms (directly drawing from the
(such as the previous two mentioned) in
natural laws governing earthly systems)
order to ensure a considered and resolved
while also considering further ways that
final design proposal.
the strips and joints constituting the
77
FLOW /flō TO MOVE OR RUN SMOOTHLY WITH UNBROKEN CONTINUITY, AS IN THE MANNER CHARACTERISTIC OF A FLUID.
Every natural system has formed and developed according to the best possible flow. Defined by Adrian Bejan (1997) as the Constructal Law, stating that: ‘FOR A FINITE-SIZE SYSTEM TO PERSIST IN TIME (TO LIVE), IT MUST EVOLVE IN SUCH A WAY THAT IT PROVIDES EASIER ACCESS TO THE IMPOSED (GLOBAL) CURRENTS THAT FLOW THROUGH IT.’1
This law governs the deve
lighting bolts flash across t systems functions via this
As discussed previously in
floral Corinthian columns
nature for creative inspira
from our environment, we
understanding of paramet method it is also possible
in meaning and distinctly r
1
78
I
2
La Sagrada Familia, Gaudi
Research Pavilion 2013-14, ICD/ITKE
elopment of all design and evolution in the natural world. Rain drops coalesce to form mighty river basins;
the sky in a tree-like formation; lungs expand, hearts beat, legs run and wings flap.2 Each and every one of these phenomenon, forming through the ages to utilise inherent physical properties as efficiently as possible.
n Part B, looking to nature for design inspiration is by no means a new concept; from the ancient Greeks’
s, to the organic motifs that defined the Art Deco and Art Nouveau movements. We have always looked to
ation. Our contemporary take on this concept pushes biomimicry one step further; instead of drawing directly
e are learning from it to solve modern design problems. Integrating this systemic knowledge into our current
tric design is undoubtedly a valuable exercise: it not only allows us to find complex formal solutions, through this to interrogate the proposed structure and develop its complexity to come to a final design that is entrenched
relevant to its context.
Adrian Bejan, “Constructal-Theory Network Of Conducting Paths For Cooling A Heat Generating Volume”, International Journal of Heat and Mass Transfer, 40 (1997), 799. 2 A. Heitor Reis, “Design in Nature And The Laws Of Physics”, Physics of Life Reviews, 8 (2011), 255-256. 1
79
AGENT BASED DESIGN BOIDS + L-SYSTEMS
In order to examine the concept of biomimetic
I found that by subtly altering the various
flow through a parametric medium, I conducted
parameters integrated into the algorithms, vastly
a study of boids and l-systems. Both of these
varied forms arose in a mesmerising process.
algorithmic rule sets were developed through
The first study focused on two-dimensional
research into natural systems (namely, the
systemic growth with the factors varied including
flocking of birds and the growth of algae),
the spawn location and count of the agents, their
3
producing strangely compelling visualisations.
behaviour (strength, speed, multiplier and shift
The
such
parameters) and their bounding geometry. A
computationally derived forms are still in their
series of organic, swirling forms were produced,
infancy; many designers of our current age
reminiscent of the movement of water, of
are investigating this process â&#x20AC;&#x201C; Roland Snooks,
shifting smoke, of draped feathers.
architectural
applications
for
Kokkugia and Michael Hansmeyer most notably â&#x20AC;&#x201C; yet there is much to be understood in the field.
80
3
Sherry Turkle, Life On The Screen (London: Weidenfeld & Nicolson, 1996), p. 308.`
SYSTEMIC GROWTH
81
SYSTEMIC MOTION 1 The second study was also conducted two-dimensionally, this time considering systemic motion. Through the integration of vector fields and varied decay rates a fascinating set of delicately complex arrangements was found. This time the line work seemed to capture the sense of weaving tree roots, of fine capillary networks, of paint meandering down a canvas and intricate neural connections.
82
83
SYSTEMIC MOTION 2 The third and final study followed the same laws as the previous, while this time functioning in three dimensions. Surprising variations came to being from the same parameters as previous. The design team deemed the second set of iterations to be most relevant to the tube-like form in development. Unfortunately, due to the nature of the 84
original ceiling installation algorithm and time constraints, this agent-based definition was not able to be integrated into the final design. This by no means undermines its relevance however, with this parametric flowing imagery serving as a visual and conceptual guide for the refinements to come.
85
SYSTEMIC GROWTH W/ CULEBRA PLUGIN POINT SPAWN (RANDOM)
INITIAL SETTINGS DIMENSION 2D/3D BOOLEAN TRUE
NOISE BEHAVIOUR SETTINGS
TRAIL AGENT OUTPUT
STRENGTH JUMP
SCALE
SHIFT
SPEED MULTIPLIER
SHIFT AXIS XY
VISUAL SETTINGS TRAIL TRAIL TYPE TRAIL RESOLUTION
SYSTEMIC MOTION W/ ANEMONE PLUGIN POINT SPAWN (RANDOM)
BOUNDING BOX
DIMENSION 2D
RECURS E
RECURSIVE LOOP START
CIRCLE DIVIDE POINT CHARGE
86
ME
ALGORITHM SUMMARY A SIMPLIFICATION AND EXPLANATION OF PROCESS
This algorithm made use of the Culebra plugin for Grasshopper; by altering the data values for each settings component vastly varied outputs were obtained. This algorithm made it possible to explore this agent-derived growth imagery in two and three dimensional space - both producing surprisingly different outcomes. This method is purely an exercise in imbuing the agents with certain characteristics in order to come to different resulting formations.
SIVE LOOP END
ERGE
The second algorithm was created in a more manual manner. The random points acted INTERPOLATE CURVE
as the agents and their path was influenced by the point charges assigned to points on the circles arranged along the pathway. By alternating the point charges between positive and negative values, the agents were drawn to or repulsed by these fields, creating the final imagery.
87
FORMAL PARAMETRIC DEVELOPMENT PUSHING THE LIMITS OF THE ORIGINAL ALGORITHM
The interim design algorithm was further developed by Hugh Goad to provide a series of tube-based iterations on the way to finding the final form. The boundaries of the initial algorithm were pushed to uncover any latent compositional potential. An array of interesting flowing networked structures are presented; while these iterations retain a certain sense of the angular rigidity seen in the interim design proposal the focus here is on the formal arrangement rather than the organic quality of flow.
88
89
90
DESIGN THE DEVELOPMENT EXPLORING POSSIBILITIES IN CONTEXT
Following the previous theoretical studies and
compositional
investigation,
Ed
Mastoori and Chen Lin took these factors into consideration in creating a matrix of design possibilities. Here the focus was on considering the potential of the flowing design within the context of the meeting room (denoted by the box outline). The outcomes deemed successful have been circled as possible directions for design development
due
to
their
undulating
qualities and perceived embodiment of natural flowing systems.
91
92
#01
#05
#02
#06
#03
#07
#04
#08
#09
#13
#10
#14
#11
#15
#12
#16
90 93
94
#17
#21
#18
#22
#19
#23
#20
#24
#25
#29
#26
#30
#27
#31
#28
#32
92 95
DESIGN OPTIONS SELECTING OUR CREATIVE PATH
These four iterations were selected by the design team as the forms that best expressed all aforementioned musings of flow. While each has its merits, some were considered too erratical in their bending, others too linear or not lacking in complexity. The final geometry (bottom right) was selected as the best form to continue developing as it expressed flow while showing a desirable level of variation in its members (without harsh angles).
96
97
DESIGN OPTIMISATION After deciding on an arrangement that the design team deemed most successful in representing the concept and fulfilling the requirements of the brief, the focus turned to developing the complexity and articulation of the form. This was done by considering an analysis of light exposure through the ladybug plugin in addition to developing the strips and patterning constituting the overall, tube-like forms.
LADYBUG
98
Ladybug functions as a parametric environmental
the best location for light integration. Through
analysis tool; itâ&#x20AC;&#x2122;s main role lies within the realm
the use of the Radiation Analysis component,
of real-world analysis (sun, wind, radiation etc.),
Nick defined four attractor points from the data
allowing one to integrate quantitative data
and used these fields to alter the strip thickness
to create a refined physical form that better
of certain geometric regions in response. This
responds to its surrounds.
Nicholas Dean
served to create delicate regions of willowy
appropriated the program to consider artificial
timber members which functioned cohesively
lighting rather than that of the sun to map out
with the planned light fixtures.
99
PATTERNING STRIP ARTICULATION
100
Nick drew from these ideas in his patterning
complexity. At this stage, constructability was
explorations, creating a series of strip
a key factor when considering the patterning
arrangements which were diverse in form
options â&#x20AC;&#x201C; ruling out forms that were not
and density to create a flowing and varied
feasible.
STRIP PATTERNING Further options were created by Windy Feng:
was deemed to be slightly too contrived
the first featured perforated cut outs within
and the proposed light/shadow effect to
the larger stripped segments, hypothesised
be somewhat visually overpowering within
to create a dappled lighting effect within
a workspace. The second was thus chosen
the room; the second was also defined by
due to its distinctly architectural yet organic
perforations, this time simpler, running
aesthetic, still playing with light effects yet
parallel to the strips themselves. While both
retaining an importance sense of practicality
design concepts had their merits, the first
within its context.
101
GE
102
FINAL EOMETRY The selected geometry was altered to eliminate member intersections to facilitate fabrication. Furthermore, the strip patterns previously designed were integrated into the form and the members were arranged to account for the planned lighting locations. We arrive at a design that grows and develops, reaching and extending accross the ceiling space elegantly as a stream might span the landscape. 103
C.2 TECTONIC ELEMENTS + PROTOTYPES CORE CONSTRUCTION ELEMENTS
104
STRIPS The final geometry discussed in C.1 is evidently a structure comprised of strip elements. These core design units expressed the qualities of organic, systematic flow. Yet, unfortunately without the use of a 3D printer, it is incredibly difficult to translate this complexly undulating parametric form into a corporeal object of timber veneer. As such, the members were modelled, tested and refined in evaluating the structural system to ensure acceptable performance in a realm where forces acting upon the form are vastly different from that within a limitless digital space.
105
STRIP PROTOTYPE 1 An alternate strip pattern was devised by
members themselves were too complexly curved
Clinton Baird in conjunction with that conceived
in comparison to the span, losing the sense
by Windy. This form was tested first in order
of elegance envisioned; and that the strips â&#x20AC;&#x201C;
to understand how a volumetric, curved form
regardless of the weaving algorithm â&#x20AC;&#x201C; did not
defined by its negative space might be fabricated.
hold the predetermined shape, lacking stiffness.
As with previous patterning options, the strips ran axially along the entire form (enhancing the sense
This prototype was fabricated using laser cut
of flow), overlapping at specific points to create
polypropylene. It was assumed that the timber
the curvilinear frame. A weaving algorithm was
veneer may fare better due to its more rigid
integrated in order to achieve this.
properties yet it became clear that some kind of rib structure may be necessary in order to ensure
106
The two key resulting factors that became evident
the structural integrity of such an open structure
to the design team were that the oscillating
defined by negative space.
STRIP PROTOTYPE 2 The second prototype drew predominantly from
arose from the need to facilitate the doubly
Windyâ&#x20AC;&#x2122;s pattern and responded to the elements of
curved nature of the design, a manipulation that
the previous that did not function as hoped, both
regular timber veneer is unable to achieve without
physically and aesthetically. This time the curves
elements failing and cracking along the grain.
were drawn out to lead the eye smoothly across
Visually
the meandering structure. Holes for rivet fixings
successful.
were also integrated, alongside the incorporation
evident however, with the rivet hole placement
of Jacob Komarzynskiâ&#x20AC;&#x2122;s unrolling definition, both
and number requiring further development
working towards an established constructible
following rivet failure (and subsequent unrolling
installation.
of the prototype). Evidently, the rigidity perceived
Material choice too was reconsidered, opting for
as desirable perhaps imbued too much stiffness,
a laminate-backed timber veneer. This selection
countering the required curves.
this
form
Structural
was
significantly
inadequacies
more
became
107
RIBS As previously mentioned, the conception of a rib element was required to enable the parametric form to function in the real-world. While a simple ring of sorts would function acceptably, having such a vast design team allowed us to considerately design all elements, large and small. Brydie Singleton drew from studies of the â&#x20AC;&#x2DC;South Pond Pavilionâ&#x20AC;&#x2122; by Studio Gang in her search for a structural yet delicately articulated form. Drawing from the repeated weaving eyelet shape, she designed an undulating rib characterised by its negative spaces in a similar manner to that of the overall geometry.
108
1 RIB PROTOTYPES Through trial and error in the exploration of four rib prototypes, an acceptable curve amplitude was deduced by Brydie in order to create the ribboned ring without too much stress being placed on any individual rivet fixing. These designed ribs were then resized and repeated throughout the major volumes of the
2
design; a large at the widest cross-sectional point with two smaller in the regions where the strips converged to support the open bulb form. Due to their strength, these elements also allowed for suspension wires/fixings to support the overall design from the roof space.
3
4
109
CANE
coiled curvature imbued before purchase did
JOINT PROTOTYPE
suggested through these joints. Density too
While the major geometric regions of the design had been resolved in depth, the secondary individual stripped elements were yet to be considered. Creating these thin, strand-like members from the same flat timber veneer material seemed inadequate in expressing these serpentine regions. Brendan Pearce and Hugh Goad sought to resolve this problem through the use of a different wood product â&#x20AC;&#x201C; cane. While it is difficult to organise and orient such a material exactly as the corresponding elements within the parametric design, Brendan and Hugh prototyped a 3D printed joint featuring holes for the cane to be fed through, guiding the members towards an organised arrangement. Theoretically,
these
joints
would
function
sufficiently to emulate the digitally flowing pipes. Unfortunately, the materialâ&#x20AC;&#x2122;s predisposition to retain some of the
110
not respond sufficiently to the orientation was an issue, with the central region of the joint neglected, missing an opportunity to vary the concentration of these smaller members. These 3D printed modules appeared to respond to the digital design. Again we note the propensity for this design type to function differently (and often unexpectedly) when translated into the physical. It becomes clear that a successful parametric design cannot exist and develop solely in cyberspace. It is a back and forth process between the keyboard and the drawing board to resolve and refine a successful design of this nature.
111
CEILING CONNECTIONS
RIB-TO-CEILING JOINT PROTOTYPES As the brief called for a ceiling installation, it is only necessary that we considered a joint type to connect the design itself to the ceiling structure. Jia Hao explored various possibilities here, opting for a simple hook form to develop. Various iterations were produced, all focusing on hanging the entire structure from the maximum point of the rib members. These design options were 3D printed and tested. It was found that all functioned similarly enough so choice was purely put down to aesthetics. The most successful iteration was deemed so due to its elegant, streamline proportions. The teardrop shape mimics the undulations of the overall geometry while the hole at the top allows for the integration of wires so that the whole system functions somewhat like a traditional suspended ceiling. 112
RIB-TO-RIB JOINT PROTOTYPES 1
3
2
P R O TO T Y P E 1
OTHER CONNECTIONS
CANE-T0-CANE-JOINT PROTOTYPES 1
2
Jintao Huo worked in parallel with Jia, exploring rib-to-rib and cane-to-cane connections that
might
structural
improve
integrity
of
the the
overall design. While instances of this formation do not appear in the final geometry, it is nevertheless a useful study in form optimisation. 113
C.3 FINAL DETAIL MODEL 1:3 CONSTRUCTION METHOD + ANALYSIS
In producing the final detailed design model
What’s most fascinating about this adaptation
a similar process was followed as that of the
is that instead of turning to technology to
second prototype. This time, the rigid laminate-
parametrically design a variant jointing system
backed veneer was replaced by the more
it was the act of going back to basics, to simple
malleable, paper-backed veneer alternative.
and archaic means, which allowed us to create our form. Digital design has a host of merits,
This time, following the tutor’s advice, we
yet it is clear we cannot ignore the construction
altered the rivet joints, opting for a traditional
and design methods of old in this new age.
needle and thread method. By moving away from compression towards a tensile jointing system we were able to alleviate the accumulation of forces which led to the prototype failing previously. This allowed the strip members to curve and flow together rather than buckling at the seams to create the fluid volume we had envisioned.
“WHEN KNOWLEDGE BECOMES OVERWHELMING, GO BACK TO THE BASICS.” - ABDULKADIR MIRRE
114
PROCESS Two of the major volumes were chosen for construction.
The
unrolling definition created by Jacob
(previously
mentioned)
was employed in order to laser cut and number the strips. From there it was a simple process of sewing together the strips into a flat surface, connecting the rib structures before sewing the remaining rib ends together to create the form.
115
116
117
118
119
120
121
122
123
C.4 LEARNING OBJECTIVES + OUTCOMES
RESPONDING TO PRESENTATION FEEDBACK
STUDIO AIR LEARNING OUTCOMES
Overall, the feedback we gained following the final
the completion of this unit is that while
design presentation was positive. While it was
parametric design is an immensely valuable tool
stated that our concept itself was well-considered
within every creative field in our modern age,
and contextually apt in responding to the design
it must be viewed as just that; a tool. It is by no
brief, some of the outcomes were questioned.
means the new and only method for design. In
Namely, the possibility that our final form was
fact, treating it as such would indubitably hinder
somewhat ‘over-designed’. This was evident to
our creative progression. Instead, digital design
me, with some components of the geometry
may be considered as a new approach, one that
lacking the simplicity that was desired. However,
performs best when integrated with our learnings
it is clear that having such a large team working
from centuries past. Computers may facilitate
to develop every aspect of the design meant
the creation of forms our organic minds may
that this conclusion was somewhat inevitable.
never have considered, but we must treat these
To me, having a multitude of formal options is
outcomes with a critical eye and develop them
always beneficial if these ideas are treated with
with reference to manual methods and analog
a critical eye. Unfortunately, with each member
thinking. We have a new and shiny platform
requiring to exhibit a minimum amount of work,
with which to play, yet the trusty drawing board
the design gained some unnecessary complexity.
remains and should not be forgotten.
What has been highlighted to me most through
With more time I don’t doubt that these frivolities
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could have been minimalised to create a better
I found that I was able to appropriately respond
developed response. Regardless, I view our final
to the detailed design brief, working with the
design as a success, incorporating all conceptual
material and contextual boundaries provided
elements whilst showcasing our learnings of
to conceive a successful response alongside my
parametric design.
classmates. Through studies of natural systems
“THAT’S ALL THERE IS, THERE ISN’T ANY MORE.” - MADELEINE
and biomimetic theory, I gained an understanding
that could not be developed by a lone designer.
of one design facet previously unconsidered.
I found this collaborative process very beneficial
This will no doubt aid me in my future creative
to my own method and ideas.
endeavours, adding a layer of complexity. Overall I’m surprised and pleased with the Prototyping was a valuable tool in testing the
knowledge I have gained through the completion
possibilities of our concept. By working to
of Studio Air. I have found that my outlook and
fabricate elements of the overall design, the
problem solving abilities in regards to design have
inherent properties of the material selected
developed far more than expected. I had a decent
(timber veneer) became apparent. Through a
mathematic background prior to commencing
cyclic process of trial and error, it was possible
this unit which was a valuable initial tool, yet I was
to alter the geometry in order to work alongside
still somewhat overwhelmed by the Grasshopper
with the material from which it would be
workflow. Through the prescribed tasks and
constructed; further to that, this also allowed
my own learnings, I’m surprised to say that I
the form to incorporate and express the positive
have vastly developed my understanding and
material qualities.
my abilities regarding digital design. Further to simple form creation, the programs utilised have
Working in such a large team environment
highlighted the possibility of information analysis
was invaluable in developing critical thinking
and integration; something I had attempted in
and teamwork skills. Through group meetings
past studios without the same degree of success.
we were able to include new ideas and alter
I aspire to continue increasing my knowledge of
the design to address any perceived negative/
parametric methods in my future endeavours,
underdeveloped elements. Working in this
using them as a tool to improve and develop my
manner not only gave me an insight into the
designing overall.
workings of the creative field in practice, but also highlighted the potential for creative outcomes 125
REFERENCES Bejan, Adrian, “Constructal-Theory Network Of Conducting Paths For Cooling A Heat Generating Volume”, International Journal of Heat and Mass Transfer, 40 (1997), 799-816 Reis, A. Heitor, “Design In Nature And The Laws Of Physics”, Physics of Life Reviews, 8 (2011), 255256 Turkle, Sherry, Life On The Screen (London: Weidenfeld & Nicolson, 1996), p. 308
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