STUDIO AIR 2018, SEMESTER 1, TUTOR: JULIUS KETKI MAHADIK
Table of Contents 4 INTRODUCTION 4 Ketki Mahadik 6 Conceptulisation 6 A.1 Design Futuring 8
Precedent 01
10 Precedent 02 12 Algorithim task 01 14 A.2 Design Computation 16 Precedent 01 18 Precedent 02 20 Algorithim excercises 21 Algorithm task 02 24 A.3 Composition/Generation 26 A.4 Conclusion
INTRODUCTION My name is Ketki Mahadik and I am a third-year architecture student. I have been exposed to digital design in forms creating 3D models of rhinoceros, AutoCAD and Adobe suite. I have also used 3D site analysis tools like sun-path. I have only used rhinoceros to create 3D models of my designs and never learned any plugins like grasshopper or Vray. I have learned through a subject. another algorithm software called MAX which is a patch-based program for interactive art, music visuals etc (see FIG.2). Similar to grasshopper it uses inputs and creates outputs with algorithm tools to create unique patches. I think digital design is practicing a new form of design approach that lets one imagine beyond the impossible. It enables one to see every single possibility of one idea. I have yet to experiment with the parametric of digital design or 3D modelling in form of grasshopper and look forward to studio air to learn about it.
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CONCEPTUALISATION
FIG.1: 3D MODEL IN RHINO
FIG.2: PATCH MADE IN MAX CONCEPTUALISATION 5
CONCEPTULISATION A.1 DESIGN FUTURING
Design can create, imitate and recreate. These abilities would seem very conflicting of each other, and it is. The discourse of designers, technology, innovation and people are the very essence of design. In the readings it is argued the future of design can only be furthered if we use these abilities to recognize and solve the world issues1 . There is a unsustainable and unreliable future ahead of us and thus this new technology and innovation should further us. But this also leads to a design democracy that focuses on aesthetics and physicality 2. Instead we should use design intelligence to explore an in-depth environment around us3. Peter Eisenman’s, city of culture tries to integrate the past, present and future using 3D modelling to create a true cultural space. And the three lessons architecture present us with a perspective on the act of design as machines, which explores design intelligence for pure design.
1 Tony Fry, Sustainability, Ethics And New Practice, 1st edn (Oxford: Berg Publishers Ltd, 2008), pp. 21-29. 2 Tony Fry,1st edn, pp. 10 3 Tony Fry,1st edn, pp. 10 6
CONCEPTUALISATION
FIG.3: PROJECT: FUTURE FLOWERS BY DANIEL LIBESKIND, A SUSTAINABLE DESIGN THAT CHALLENGES SOCIAL AND ENVIRONMENTAL SYSTEMS.
CONCEPTUALISATION 7
01
THE CITY OF CULTURE PETER EISENMAN
PRECEDENT
FIG.4: CITY OF CULTURE BUILIDNG BY PETER EISENMAN
Peter Eisenman’s city of culture is a design that merges futuristic tectonics and democratic design using a arbitrary systems. The city of culture superimposes three tectonics: the medieval plan of the city of Santiago, topographic map of the site and a Cartesian grid. Using 3-D modelling these geometries are distorted and created a topography that is made from the matrix of old and new.1 This is revolutionary because it creates a possibility of something that does not exist and could be created through modelling software. Creating a new topology that narrates the people, history and future is a way of democratic design. Using a arbitrary system that informs and distinguishes the dysfunctional binary of the site and is produced through the disharmony.
FIG.5: CITY OF CULTURE BUILDINGS FROM FAR AWAY, WHERE THE DIFFERENT TOPOGRAPHIES OF THE SITE CAN BE SEEN.
This opens possibilities of creating cities, buildings and spaces that don’t rely on a planar site but developed through different matrixes of culture that can be inputted by people to sustain design and the future2. Eisenman says that People like the strangeness of the ground surface that they walk on because it distances them from the obvious reality of being. People value eh This cultural centre in Spain, Galicia look beyond the act of designing but the impact of design on people in a rich cultural community. Creates imagination and discussion which is used as a cultural centre that helps people become harmonious with their surroundings and the past and future. space as a possible reality, it and the power of design to merge past and future. 1“The City Of Culture / Eisenman Architects”, Archdaily, 2018 <https://www.archdaily.com/141238/the-city-of-culture-eisenman-architects> [Accessed 10 March 2018]. 2Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014), pp. 2-5 8
CONCEPTUALISATION
FIG.7: SECTIONS OF THE FUTURISTIC LANDSCAPE THAT WAS CREATED.
FIG.6: THE DIFFERENT TOPOGRAPHICAL MAPS THAT WERE LAYERED AND USED AS A INPUT FOR THE PARAMERTIC MODELLING
CONCEPTUALISATION 9
02
PRECEDENT
THREE LESSONS OF ARCHITECTURE BY DANIEL LIBESKIND Three lessons in architecture was an exhibit in the 1985 Venice biennale. It about three machines, made for reading, writing and memory. It uses motifs, symbols and texts from architectural texts to create a unstable machinery system that is stabilized by the programmed mechanics of the machines1. It was the first-time process and conception of architecture was made into these physical functioning machines. It was considered revolutionary as instead of creating with machines, the machines itself were the creators. They were not buildings or spaces people could experience but I think it says a lot about design futuring. Looking as design as a operation and moving makes u realize how design can be interpreted and not replaced by innovation, technology and the future. In the reading it talked about design intelligence and how design tended to be a reductive focus, although Libeskind has reduced the act of reading, writing and memory I don’t think it reduces to a act, but to a qualitative system of the design context and environment 2. I think the purpose of this, like other works of Libeskind, were to create an observation of design separated from the acts of design, which makes you question how design as a thinking process should work or not work. which is relevant to value of computational approach to design that makes us more focused on the design as a language to explore rather than create.
1“Three Lessons In Architecture: The Machines - Libeskind”, Libeskind, 2018 <https:// libeskind.com/work/cranbrook-machines/> [Accessed 7 March 2018]. 2Tony Fry,1st edn, pp. 12 10
CONCEPTUALISATION
FIG.8: THE MEMORY MACHINE
FIG.9: THE WRITING MACHINE
FIG.10: THE READING MACHINE
CONCEPTUALISATION 11
ALGORITHM TASK 01
The task was to listen to a piece of music â&#x20AC;&#x2DC;Arrival of the platform humletâ&#x20AC;&#x2122; by Percy Grainger. I created a set of points in rhino that I though represented the highs and lows of the music. Then i ran curves through them which were lofted. I tried to use circles to create an end and start of the loft which resulted in this algorithm.
A.2 DESIGN COMPUTATION Computers have the ability to frame complex, impossible and the simplest problems to create solutions that are feasible and explored in ways the human mind would not or could not be able to explore1. It enables architects to go beyond just dimensional planes, geometries and repetitive architectural elements. It has become so sophisticated that It can be used through the design process to form, production and fabrication. It has become an integrated part of my architecture study and process like other students. Architecture students years before us would not approve of this as the physical act of drawing, rendering and constructing might seem the true nature of architecture for them. But computers take away the limitation, difficulties and time consuming tasks to focus more on the design, the whole and the theology of architecture. Drawing a cube by hand or a computer would be the same, but with computation u can transform and manipulate geometrical points and planes that would not able to be produced or realized by a human hand. Sometimes computation can be seen as an easy design generating machine, that lacks the depth of human design process. But computation allows one to see beyond the 3-demisonal geometry and into untapped realms of consciousness that ghosts our environment. With computation, one can defy physical capability with 4-d printed materials by Skylar tibbis and exploring a bigger sense of totality like the ICD pavilion.
1 Yehuda E Kalay, Architectureâ&#x20AC;&#x2122;s New Media (Cambridge Mass: The MIT Press, 2004), pp. 1-25. 14
CONCEPTUALISATION
FIG.11: THE GRANULATED GEOMETRIC FORMS THAT WERE USED FOR THE ICD PAVILION.
CONCEPTUALISATION 15
FIG.12: THE STRAW MATERIAL SELF MOVES AND SELF FORM SHAPES USING WATER AS A ACTIVATOR.
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CONCEPTUALISATION
MIT: SELF BUILD STRAW BY SKYLAR TIBBIS
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PRECEDENT
Skylar tibbis an MIT, director if the self assembly lab, produced a self shaping material, printed din in 4-D. A strand of material that uses water to transform in 2D or 3D shapes or surfaces1. It can be used to program specific characteristics or decision making that could transform how materials could interact with the design, the environment and people. Rather than a rigid stricture, one could experience a living, breathing space. This could change the design process, as one wouldn’t need to restrict themselves to a realm of practicality and geometric limitations. One also has material creativity, with new ways of manipulating and creating new materials. Like alchemy, using different materials to crate magical and fascination materials. It needs complex science and maths that can only be fabricated through computation as it is physically non-existential. With computation you could explore, analyse problems, ideas and solutions into new dimensions that wouldn’t be able to exist without the help of computation.
1“4D Printing: Multi-Material Shape-Change | Additive Manufacturing (AM)”, Additivemanufacturing.Com, 2018 <http://additivemanufacturing.com/2013/04/07/4d-printing-multi-material-shape-change/> [Accessed 9 March 2018].
CONCEPTUALISATION 17
02
PRECEDENT
Computation allows going beyond geometrical planes and sometimes beyond geometric states. When you break down mass, you get molecules and atoms, the basis for life. Computation can visualise and analyse multiple characteristics and parametric in a singular matrix. Like the ICD pavilion by Karola Dierichs and Achim Menges. The ICD pavilion by Karola Dierichs and Achim Menges is an example of using computation to create a granular system that has to ability to self built1. Computation can lead to materials that are structurally build like nature itself. The ICD pavilion uses these spikes that behave like a liquefied material when put together. It can program its form by interacting with other spikes. The freedom of behaviour and manipulation of material is very hard to create, and not only is this unique aesthetically but it is unique because we can see a material behave very true to itself. Computation and the innovation of fabrication can recreate very organic and natural materials like how the spikes are given a vertical structure and angles like sand. Another project by architect Kyle von Hasseln shows the immense opportunity that design can explore through multidisciplinary concepts. Hasseln through experimentation for a thesis, used Zprinter (3D printer) a additive manufacturing tool to print a rigid crystallized matrix structure of sugar. Hasseln added sugar for its translucency and economic availability, this led to discovering a crystal matrix that had already been previously used by pastry chefs to make sugar structures2. He did not discover something new, but the journey and process of discovery was very experimental and freeform. Due to this technology he found out the ability of sugar to create geometries and programmed structures and surfaces like the CMYK colour model. Postmodern architecture was used as a reaction to modularity and formality. Computation is similar as it is exploring paths and disciplines that have never been explored to create something new, original and unexplored. 1 Karola Dierichs and Achim Menges, “Granular Construction: Designed Particles For Macro-Scale Architectural Structures”, Architectural Design, 87.4 (2017), 88-93 <https://doi.org/10.1002/ad.2200>.
2 Kyle von Hasseln, “Crystalline Tectonics: An Architect’s Guide To 3D-Printing Sugar Or Anything Else”, Architectural Design, 87.6 (2017), 98-105 <https://doi.org/10.1002/ad.2244>. 18
CONCEPTUALISATION
FIG.13: THE MODULAR SPIKES ARE FORMED INTO A WALL TAHT SELF SUPPORT EACH OTHER WITHOUT ANY RIENFORCEMENT
FIG.14: THESE ARE SOME PARAMETRIC MODELS FROM THE MODULAR SPIKES THAT SHOW HOW TEH SPIKES CAN FIT TOGTHER IN DIFFERENT WAYS.
CONCEPTUALISATION 19
ALGORITHM EXCERCISES FIG.15: ALGORITHM MODELS THAT WERE MADE USING GRID MESHES AND WERE SMOOTHED. SHOWS THE STARTING GEOMETRY TO THE FINISHED MESH.
FIG.14: ALGORITHM MODELS I CR6ATED USING PLANAR TOOLS AND CIRCLES
FIG.17: ALGORITHM MODELS I CREATED USING PLANAR TOOLS AND RECTANGULAR MESH
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CONCEPTUALISATION
ALGORITHM TASK 02
The task in week 2 was a groupwork task. We were told to pick an artwork from Richard Mosseâ&#x20AC;&#x2122;s art series enclave. We analysed the artworks and choose the quality of movement, landscape and organic elements in the images. Then we individually created conceptual models that were then merged together. I used the contours of the landscape in the image to create these vertical curves and my teammate used the organic elements like the river, people and trees as inspiration for her model. FIG.18: CONCEPTUAL DIAGRAM FOR THE TASK. CONCEPTUALISATION 21
FIG.19: 3D MODEL OF THE DESIGN TASK.
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CONCEPTUALISATION
Then we played around with the elements to create a more non-structural and un realistic space like how the images were seen by us. We offset the contour curves to create a more puzzling and in-depth form. We set the program as a pavilion, but I could also be used as a outdoor sculpture that is interactive. The final outcome was surprising and unpredictable thus we feel it represented the duality and surprising element of the war and the colourful images.
CONCEPTUALISATION 23
A.3 COMPOSITION/GENERATION In the 1960’s architecture was criticised for relying on an architect’s biases to create a autocratic design. At the same time, the introduction of cybernetics to introduce matrixes and systems that used numbers and information to create space and form. These two concepts are quite similar as architecture could be explored unbiased and in a information built environment. This is composition and it was used to create algorithms in relation to form and urban environment. It wasn’t creating something new, but rearranging information and points in a cyber space to compose structures and environments. Paul Coates, a student at Architecture association was influenced by vernacular architecture publications and cybernetics to explore urban compositional forms. He created analogue algorithms that were generated by a random generator. This was one of the first algorithms that was compositional but also combined with a generated information1. Composition was for function, as form follows function. It was not to create a new function or just pure experimentation of an infinite matrix of numbers. 1Paul Coates and Christian Derix, “The Deep Structure Of The Picturesque”, Architectural Design, 84.5 (2014), 32-36 <https://doi.org/10.1002/ad.1805>.
FIG.20: THE IMAGE SHOWS A COLLECTION OF CAMERA VIEWS FROM WITHIN THE OFF-GRID ‘ALPHA SYNTAX’ MODELS THAT COATES DEVELOPED FOR BILL HILLIER IN 1979.
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CONCEPTUALISATION
FIG.21: PAUL COATES, FIRST MANUAL SETTLEMENT ALGORITHM, 1968. BEFORE HIS FI RST COMPUTER-WRITTEN ALGORITHMS, COATES EXPERIMENTED WITH ANALOGUE ALGORITHMS USING ANALOGUE RANDOM NUMBER GENERATORS AND LUMINOUS STICKERS FOR STREET AND BUILDING SPACES, PLACING THEM ON A MANUALLY DRAWN GRID.
Parametric models such as the game of life by john Conway, used a set of rules which are life-like, nonlinear and unpredictable1. Thus resulting in scripts that are complex and inconceivable like life. My understanding of generation is basic like the structure of DNA or a tree. I can see it as the growth and formation of groups, species and worlds through regenerating patterns that follow rules or rules that are illogical. The game of life seems to not be as generating, because the rules are scripted and there are finite rules. But the amount of rules and the complexity of rules can be deemed infinite to a human mind to go through. Due to the nature of this program, there are scripts that can be conceived like DNA, making each script unique and different. As I have been using grasshopper, I have created scripts that take a input and manipulate that input, this can be considered compositional. If I created points or vectors and I made them follow certain limits, averages or series and then added transformation or interpolation it would seem generating. But I could consider creating points or vectors as a input that is controlled rather than arbitrary. This relates to our definition of true architecture, as computation can be a mere tool rather than a process. It is difficult to comprehend the ability of computation, but can only be understood by experimentation, learning and realizing by oneself. 1Philip Ball, “Pattern Formation In Nature: Physical Constraints And Self-Organising Characteristics”, Architectural Design, 82.2 (2012), 22-27 <https://doi.org/10.1002/ad.1375>.
CONCEPTUALISATION 25
A.4 CONCLUSION
Design can be a successful process trough computation, as rather than design being a reductive focus, it can be expanded through computation which can analyse, explore and realize multiple ideas and concepts which open possibilities that could be generated easily. Design should focus on observation of material creativity and organic abilities. Trying to create a sense of true form and space. Designing in a computational method not only creates unique solutions, it can frame problems differently. Which could create different solutions, it is a infinite loop that can never be explored totally. Thus taking one concept in a infinite matric of information is significant to understand conceptualization of a singular site, issue or problem. I think computation can benefit student like me who lack an extensive understand of what a site, matrix, system or environment could interact and express. Having the ability to experiment with the site details such as contours or curves or p0ints can result in a deeper understanding of a site or problem.
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CONCEPTUALISATION
A.5 REFLECTION
I have never studied design theories in relation to futures, computers or pure mathematical generation. I have always seen design approach and process as a very personal and intrusive. I have realized that there is a very large expansion of geometry, composition, form and planes that are unexplored and invisible to me. I used to think of computation modelling in a aesthetical and representational way, to do project presentations. I realize that is not true design and is merely a drawing tool. I can imagine the possibilities that when ventured into I can realize and understand. I plan to experiment individually and to use them in my future design process. As I have been doing my algorithm tasks I have realized that theory is very important is the lawless world of computation. That even the most arbitrary and ugly model can be purposeful and conceptual. I hope to explore more of rhino and grasshopper to conceptualize a free design not restricted with limitations of reality.
CONCEPTUALISATION 27
A.6 APPENDIX BIBLIOGRAPHY
IMAGES
FIG.1: Mahadik, Ketki, Rhino model for studio water. 2017 FIG.2: Mahadik, Ketki, Interactive art patch model. 2017 FIG.3: Inhabitat, Libeskind’s Future Flowers Project, 2017 <https://inhabitat.com/daniel-libeskinds-strikinggeometric-future-flowers-pavilion-brings-a-burstof-color-to-milan-design-week-2015/future-flowersBall, Philip, “Pattern Formation In Nature: Physical Constraints by-daniel-libeskind-2/> [Accessed 6 March 2018] FIG.4: Malagamba, Duccio, The City Of Culture And Self-Organising Characteristics”, Architectural Design, By Peter Eisenman, 2018 <https://www.archdaily. 82 (2012), 22-27 <https://doi.org/10.1002/ad.1375> com/141238/the-city-of-culture-eisenmanarchitects> [Accessed 8 March 2018] FIG.5: Malagamba, Duccio, 2018 [Accessed 8 March 2018] Coates, Paul, and Christian Derix, “The Deep Structure FIG.6: Malagamba, Duccio, 2018 [Accessed 8 March 2018] Of The Picturesque”, Architectural Design, 84 (2014), FIG.7: Malagamba, Duccio, 2018 [Accessed 8 March 2018] 32-36 <https://doi.org/10.1002/ad.1805> FIG.8: Studio Libeskind, THREE LESSONS IN ARCHITECTURE: THE MACHINES, 2018 <https://libeskind.com/work/ Dierichs, Karola, and Achim Menges, “Granular cranbrook-machines/> [Accessed 11 March 2018] Construction: Designed Particles For Macro-Scale FIG.9: Studio Libeskind, 2018 [Accessed 11 March 2018] Architectural Structures”, Architectural Design, 87 FIG.10: Studio Libeskind, 2018 [Accessed 11 March 2018] (2017), 88-93 <https://doi.org/10.1002/ad.2200> FIG.11: DIERICHS, KAROLA, ICD Pavilion, 2018 <http:// www.karoladierichs.net/> [Accessed 13 March 2018] FIG.12: Skylar Tibbits & Stratays, Self Shaping Straw From Dunne, Anthony, and Fiona Raby, Speculative MIT, 2018 <http://www.wired.co.uk/article/biologyEverything ([S.l.]: MIT, 2014), pp. 1-26 is-the-new-software> [Accessed 14 March 2018] FIG.13: ICD Universität Stuttgart, 2015 <http://www. detail.de/artikel/verbinden-ohne-verbindungsmittel-icdFry, Tony, Sustainability, Ethics And New Practice, 1st pavilion-aus-granulat-26435/> [Accessed 14 March 2018] edn (Oxford: Berg Publishers Ltd, 2008), pp. 21-29 FIG.14: ICD Universität Stuttgart, 2015 [Accessed 14 March 2018] Kalay, Yehuda E, Architecture’s New Media FIG.15: Mahadik, Ketki, grasshopper (Cambridge Mass: The MIT Press, 2004), pp. 1-25 exercises for algorithm task, 2018 FIG.16: Mahadik, Ketki, grasshopper exercises for algorithm task, 2018 “The City Of Culture / Eisenman Architects”, Archdaily, FIG.17: Mahadik, Ketki, grasshopper 2018 <https://www.archdaily.com/141238/the-city-ofexercises for algorithm task, 2018 culture-eisenman-architects> [Accessed 10 March 2018] FIG.18: Mahadik, Ketki, grasshopper 3D model for algorithm task, 2018 FIG.19: Mahadik, Ketki, grasshopper 3D “Three Lessons In Architecture: The Machines model for algorithm task, 2018 Libeskind”, Libeskind, 2018 <https://libeskind.com/work/ FIG.20: Paul Coates and Christian Derix, “The Deep cranbrook-machines/> [Accessed 7 March 2018] Structure Of The Picturesque”, Architectural Design, 84.5 (2014), 32-36 <https://doi.org/10.1002/ad.1805>. von Hasseln, Kyle, “Crystalline Tectonics: An Architect’s FIG.21: Paul Coates and Christian Derix, “The Deep Structure Of The Picturesque”, Architectural Design, Guide To 3D-Printing Sugar Or Anything Else”, Architectural 84.5 (2014), 32-36 <https://doi.org/10.1002/ad.1805>. Design, 87 (2017), 98-105 <https://doi.org/10.1002/ad.2244> “4D Printing: Multi-Material Shape-Change | Additive Manufacturing (AM)”, Additivemanufacturing.Com, 2018 <http://additivemanufacturing.com/2013/04/07/4d-printingmulti-material-shape-change/> [Accessed 9 March 2018]
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CONCEPTUALISATION