Parametric Design

PARAMETRIC DESIGN AP-403, Research Paper

Submitted By: KUNAL GUPTA 46659301615 Session: 2018-19

Research Co-ordinator: Research Guide:

Ar. Priyajit Pandit Ar. Gunjan Jain

December 2018

MBS School of Planning and Architecture Sector-09, PSP Area, Dwarka Subcity, New Delhi-110077

ACKNOWLEDGEMENT Working on my Research Paper on Parametric Design has been enriching experience for me. It gave an opportunity to explore the world of Parametrics. I take this opportunity to thank all the people without whom this project would not have been possible.

I take this opportunity to express my profound gratitude and deep regards to my guide Ar. Gunjan Jain for her exemplary guidance, monitoring and constant encouragement throughout my research. The blessing, help, motivation and guidance given by her from time to time shall carry me a long way in the journey of life on which I am about to embark.

I would also like to acknowledge the contribution of all faculty members of the department for their kind assistance and co-operation during the development of this project. I am thankful to all students in completion of this project.

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MBS SCHOOL OF PLANNING AND ARCHITECTURE Sector-09, PSP Area, Dwarka Subcity, New Delhi-110077

This Research Paper has been submitted by Mr. Kunal Gupta with Enrolment No. 46659301615, student of 4th Year, B.Arch. Session 2018-19 at MBS School of Planning and Architecture, Dwarka as per the partial fulfilment for the Five Year B.Arch. Degree course of GGSIP University, New Delhi.

Originality of information and opinions expressed in this Research Paper is of the author and do not necessarily reflect those of the Guide or the Co-ordinators of the institution.

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CERTIFICATE This is to certify that the Research Paper entitled Parametric Design is the record of the original work done by Kunal Gupta under my guidance and supervision.

The result of the Research presented in this paper is formed under the B.Arch. degree programme of Guru Gobind Singh Indraprastha University, New Delhi

DECLARATION I, Kunal Gupta, hereby declare that this Research Paper entitled Parametric Design is the outcome of my own study undertaken under the guidance of Ar. Gunjan Jain MBS School of Planning and Architecture, Dwarka, New Delhi.

The Research Paper is formed under the B.Arch. Degree Programme of Guru Gobind Singh Indraprastha University, New Delhi.

I have duly acknowledged all the sources used by me in the preparation of this research paper.

Kunal Gupta

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ABSTRACT Parametric design is a new approach to architectural design based on the concept of parameters. It utilizes parameters to set relations between design elements in order to define a range of formal alternatives. In this sense, parametric design provides great opportunities for architects to engineer the design process more efficiently; yet its novelty generates some challenges for architectural practitioners. The aim of this research is to explore the position of parametric design in contemporary architectural practices, identifying its advantages and disadvantages in comparison with traditional computer-aided design (CAD). Specifically, the research will compare the theoretical knowledge and the statements made by theorists and scholars of parametric design to the statements of practicing architects benefitting from the parametric approach.

This aim is achieved through three thematic parts. The first part investigates the design process through two points of view, focusing on the introduction of parametric design and its sub-parts. The second part identifies the position of parametric design in practice, specifically focusing on whether it is a style or just a set of techniques. Finally, the third part explores the advantages and disadvantages of parametric design and its distinctions in comparison to traditional CAD and Building Information Modelling (BIM). The research uses the qualitative method based on in-depth review and research of several tall towers benefitted from their parametric design process.

KEYWORDS Algorithm, parametric design, associative programming, script

Table of Contents ABSTRACT ................................................................................................ I KEYWORDS ............................................................................................. 4 INTRODUCTION TO RESEARCH .................................................................. 1 INTRODUCTION TO PARAMETRIC DESIGN ................................................ 5 2.1 || BACKGROUND ................................................................................... 6 2.1.2||CONSTRUCTIVE PARAMETRIC DESIGN ..................................... 7 2.2 || GENERATIVE ALGORITHMS ............................................................. 8 2.3 || THE STATE OF KNOWLEDGE ON PARAMETRICS ....................... 10 2.4 || PARAMETRICS AND DESIGNERS .................................................. 11 2.5 || ALGORITHMIC THINKING ............................................................... 12 2.5.1||VERSIONING ................................................................................ 14 2.6 || PARAMETRIC DESIGN .................................................................... 15 2.7 ||ADVANTAGES OF PARAMETRIC DESIGN ...................................... 16 2.8 ||THE ROLE OF SKETCHING AND PHYSICAL MODELLING ............ 18 2.9 ||REFERENCES ................................................................................... 20 THE DOWNSIDE OF PARAMETRIC DESIGN .............................................. 21 3.1 || INTRODUCTION ............................................................................... 22 3.2 || ALL DESIGN IS PARAMETRIC ........................................................ 22 3.3 || CHANGE IS PARAMETRIC .............................................................. 23 3.3 || THE CHALLENGES .......................................................................... 24 3.3.1||UNNECESSARY COMPLEXITY WITH TOO MUCH INFORMATION ....................................................................................... 24 3.3.2||CONSTRAINING CREATIVITY WITH REACTIVE STRUCTURE . 25 3.3.3||LEARNING AND TRAINING DIFFICULTIES ................................ 26 3.3.4||MAKING MAJOR CHANGES ........................................................ 27 3.3.5||UNSEEN CHANGES .................................................................... 28 3.3.6||REUSSE AND SHARING OF PARAMETRIC MODEL.................. 28 3.3.7||SELECTION OF PARAMETERS .................................................. 28 3.3.8||HUMAN AS A PARAMETER ......................................................... 29 3.3.9||ECONOMIC ISSUES .................................................................... 29 3.3.10||MATERIALITY ............................................................................. 30

3.4 || REFERENCES .................................................................................. 31 CASE STUDIES ............................................................................................ 32 4.1|| SHANGHAI TOWER .......................................................................... 34 4.1.1|| INTRODUCTION .......................................................................... 35 4.1.2|| FORM........................................................................................... 36 4.1.3|| FAÇADE....................................................................................... 42 4.1.4|| RHINO GRASSHOPPER ALGORITHM ....................................... 45 4.1.5|| CONCLUSION ............................................................................. 48 4.1.6||REFERENCES .............................................................................. 48 4.2|| AL BAHR TOWER .............................................................................. 49 4.2.1||ABOUT .......................................................................................... 50 4.2.2|| PROCESS OF DESIGN ............................................................... 51 4.2.3|| ALGORITHM ................................................................................ 58 4.2.4|| CONCLUSION ............................................................................. 60 4.2.4|| REFERENCES ............................................................................. 60 4.3|| 30ST. MARY AXE .............................................................................. 61 4.3.1|| PARAMETERS ............................................................................ 61 4.3.2|| ABOUT THE BUILDING ............................................................... 62 4.3.3|| THE FORM .................................................................................. 65 4.3.4|| STRUCTURE ............................................................................... 66 4.3.5|| ALGORITHM ................................................................................ 67 4.3.6|| REFERENCES ............................................................................. 70 CONCLUSION AND RECOMMENDATION .................................................. 71 RECOMMENDATIONS .............................................................................. 73 ABBREVIATION AND ACRONYMS .............................................................. 75 ALGORITHM........................................................................................... 75 ASSOCIATIVE PROGRAMMING ........................................................... 75 BUILDING INFORMATION MODELLING (BIM) ..................................... 75 GRASSHOPPER .................................................................................... 75 N.U.R.B.S ............................................................................................... 75

List of figures Figure 1 Mel scripting, student Martin Schnabel, Institute of Architecture and Media, Course DM2 ......................................................................................... 7 Figure 2 ......................................................................................................... 11 Figure 3 ......................................................................................................... 30 Figure 4 Rendering of shanghai tower (source: courtesy Gensler) ............... 34 Figure 5 A study in rhino with grasshopper to determine the angle, A1 producing the optimum curvature of the corners of Shanghai tower. (source : Shanghai Tower Façade Design Process ) ................................................... 37 Figure 6 Reynolds number study model (1:85 scale) (source RWDI) ...................................................................................................................... 38 Figure 7 A study of the horizontal profile at level 9 of Shanghai tower with various panel divisions.(source: courtesy Gensler) ....................................... 39 Figure 8 Wind tunnel study scaling models (source: courtesy Gensler) ....... 41 Figure 9 Wind tunnel study rotation models (source: courtesy Gensler) ...... 41 Figure 10 Curtain wall: the layout of two adjacent floors (source: courtesy Gensler) ......................................................................................................... 43 Figure 11 Curtain wall: profile control points division (source: courtesy Gensler) ......................................................................................................... 44 Figure 12 Section perspectives with curtain wall systems description (source: courtesy Gensler) .......................................................................................... 44 Figure 13 Curtain wall support system (source: courtesy Gensler) ............... 45 Figure 14 (source: courtesy Gensler) ............................................................ 45 Figure 15 parametric studies of the scaling of shanghai tower. (source: courtesy Gensler) .......................................................................................... 46 Figure 16 (different form analysis) ................................................................. 47 Figure 17 (source: courtesy Gensler) ............................................................ 47 Figure 18 (source: Journal of Sustainable Architecture and Civil Engineering) ...................................................................................................................... 49 Figure 19 Islamic architecture........................................................................ 50 Figure 20 Al Bahar Towers – form, detail and ecological systems diagram (www. aedas.com) ......................................................................................... 52 Figure 21 MASHRABIYA ............................................................................... 53 Figure 22 Al Bahar Towers – form, detail and ecological systems diagram (www. aedas.com) ......................................................................................... 53 Figure 23 RHINO MODEL ................................... (developed by M. Giedrowicz) 54 Figure 24 COMPONENT DETAIL .................................................................. 55 Figure 25 Grasshopper code for individual mashrabiya element (developed by M. Giedrowicz)............................................................................................... 56 Figure 26 LIGHT AND SHADOW ANALYSIS ................................................ 57 Figure 27 FAÇADE OF AL BAHR TOWER ................................................... 57 Figure 28 The geometry of the actuated façade panels ................................ 58

Figure 29 Grasshopper and rhino Mashrabiya algorythm – part I (developed

by M. Giedrowicz) .......................................................................................... 59 Figure 30 Mashrabiya algorythm – part II (developed by M. Giedrowicz) ...... 59 Figure 31 An interesting example of an efficient use of generative design technology for pro– environmental purposes is 30ST. MARY AXE in London. ...................................................................................................................... 61 Figure 32 wind dynamics ............................................................................... 62 Figure 33 Wind tunnels .................................................................................. 63 Figure 34 ....................................................................................................... 64 Figure 35 Office division (note: showing possible variations of office planning layout)............................................................................................................ 65 Figure 36 ....................................................................................................... 66 Figure 37 30 St Mary Axe algorithm – part I (developed by M. Giedrowicz) .. 68 Figure 38 30 St Mary Axe algorithm – part II (developed by M. Giedrowicz) . 68 Figure 39 ....................................................................................................... 69

CHAPTER : 1 INTRODUCTION TO RESEARCH

PARAMETRIC DESIGN

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The most sustainable buildings in the world was only made possible by using innovative design ideas, integrated technology, and advance tools, this paper is centered around the use of parametric design platform utilized by designers to bring the iconic buildings to construction. The design process revolved around the use of a series of parametric software programs. These programs allowed the designer to manipulate and refine the project’s complex geometry iteratively.

Four years ago, Patrik Schumacher used the term ‘Parametricism’ to refer to a number of new trends of design in architecture based on parametrics.

Before that time, parametric design somewhat resided in the margin of architectural underpinning. It was regarded as a way of tackling problems in architectural construction rather than an efficient conceptual method for form generation and testing design alternatives.

Calibrating all facets of parametric design in the frame of a new style named ‘parametricism’ has raised more arguments; although it has also resolved many ambiguities which often stem from the absence of a framework Yet, among the mainstream architectural practices, parametric design can hardly be recognized as a new style. Still, many practicing architects talk about the challenges of this type of design approach.

In the light of these facts, this dissertation investigates the context of architectural practice to offer a deeper inquiry into the parametric realm.

It is essential to explain two issues here, before introducing the aim and objectives of this research.

Firstly, ‘parametric design’ is a term employed in this research due to its frequent usage in architectural practice. It refers to the use of parameters in creation of form in the design process. Other notions such as ‘parametricallyenhanced design’ or even shorter terms such as ‘parametric’ refer to the same concept, although they are not much in use in architectural practice in Comparison to ‘parametric design’ – the term ‘parametric’ in particular refers to a similar state of meaning vis-à-vis the notion of ‘parametric design’.

PARAMETRIC DESIGN

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Secondly, it is worth referring to two acronyms, CAD and BIM, since they are used in this research. Computer-aided design or CAD is simply the deployment of computer to assist the designer in design. The semantic domain of CAD is considerably broad and in one sense, it even embraces parametric characteristics. However, in this research ‘traditional’ CAD is actually the point of reference.

Having mentioned the above issues, the AIM of this research is to explore the position of parametric design in contemporary architectural practices, identifying its advantages and disadvantages in comparison with traditional computer-aided design (CAD). The agenda of exploration includes three sets of fundamental questions which have been considered throughout the datacollection process, namely the questions of roles and drivers, the questions of style, and the questions of benefits and challenges.

The first set of questions includes these sub-arguments: what is the status of primary drivers, such as the context and the project brief, in parametric design? Does the parametric approach change the role of the designer within the design process? Do the designers still use sketching and physical modelling in parametric design? Is the design process completely reliant on parametric programs? The main question in the second category inquiries into the position of parametric design – whether it is a style or just a set of techniques. The last set of questions includes normative issues such as: what are the main advantages and disadvantages of parametric design? Which elements make parametric design essentially different from traditional CAD? As a response to these questions, three objectives have been set for this research. The first objective, arising from the first set of questions, is to explore the status of primary drivers, the role of designer, the role of sketching, and the role of computer programs in the parametric design process. The second objective investigates the position of parametric design – if it is a style or a set of techniques. Finally, the last objective aims to identify the benefits and drawbacks of parametric design in today’s architectural practice.

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Due to time limitation, the scope of the study is limited to the use of parametric design in perspective of complexity of high rise structures and making them efficient.

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INTRODUCTION TO PARAMETRIC DESIGN

CHAPTER : 2 INTRODUCTION TO PARAMETRIC DESIGN

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INTRODUCTION TO PARAMETRIC DESIGN

2.1 || BACKGROUND During the past fifteen years digital media in architecture was used in different ways and influenced the whole field of construction and design. At the beginning digital media was applied only as a representational tool. With emerging digital technology architecture has found a new tool for conceptual design in digital media.

On the one hand architectural design was inspired by the various possibilities of digital technology itself. On the other hand many topics from different fields influenced the design. Former “invisible� mathematical and geometrical algorithms, forms and structures are now visible and spatial understandable for architects and, therefore, usable. Using new technique architectural design has established computational

concepts such as: topological space

(topological architectures), isomorphic surfaces (isomorphic architectures), motion kinematics and dynamics (animate architectures), keyshape animation (metamorphic architectures), parametric design (parametric architectures), genetic algorithms (evolutionary architectures) or fractal geometry (fractal architecture) as discussed in Kolarevic.

Generally in parametric design form is shaped by values of parameters and equations are used to describe the relationships between the forms. Hence, interdependencies between forms can be established and their behavior under transformation can be defined (mathematically and geometrically).

Since about 1990 parametric design has influenced the development of digital architectural design, where we can distinguish between: - Architectural CONCEPTUAL parametric design and - Architectural CONSTRUCTIVE parametric design.

2.1.1||ARCHITECTURAL CONCEPTUAL PARAMETRIC DESIGN In conceptual parametric design, it is the parameters of a particular design that are declared, not its shape. By assigning different values to the parameters different objects or configurations can be easily created.

Rosenman and Gero, Prousalidou analyze parametric and generative representations of buildings, whether based on orthogonal or curvilinear PARAMETRIC DESIGN

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INTRODUCTION TO PARAMETRIC DESIGN

geometry .They are powerful owing to their ability to capture a high degree of variation in a few numerical values. Software like Maya or Rhinoceros (with Mel or Rhino Script) offers such script editors for parametric design. Maya is software developed for film industry (primarily for animation and capturing) but lately many architects (fig.1) have used it for conceptual design.

Figure 1 Mel scripting, student Martin Schnabel, Institute of

Architecture and Media, Course DM2

This design method requires knowledge of programming or scripting and it is inherent of the mathematical algorithms whereby interactive design is not possible.

2.1.2||CONSTRUCTIVE PARAMETRIC DESIGN Constructive

parametric

design

refers

to

data

embedded

within

a

predetermined 3D object. This parametric concept is realized in various CAD packages like Autodesk Revit, Soft Plan, Nemetschek, ArchiCAD or Chief Architect. Instead of drawing lines, arcs, etc. designers can insert pre-drawn components,

doors,

windows,

load

elements,

stairs

or

roofs

etc.

This results in 3D models instead of 2D drawings, which is already standard in ship-building industry. The objective of such technology is to reduce the PARAMETRIC DESIGN

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INTRODUCTION TO PARAMETRIC DESIGN

drafting time and corrections to 2D drawings. We detected some limitations in such software tools. First, it is not possible to consider a wide range of different building materials to make one standard for all manufactures of building materials and components with the aim to provide an “intelligent� model. Second, these software tools are originally designed for standard building elements, whereas non-standard elements of contemporary digital architecture cannot be implemented. In contemporary architectural practice there are some successful examples of using parametric design and we will discuss some of the projects.

2.2 || GENERATIVE ALGORITHMS In order to explain the concept of generative algorithms in architecture, let us remind ourselves of the conventional method of digital design. Digital modeling involves the definition of spatial elements (solid or plane/surface), their transformation and modification. Each change in the design leads to modifications in the geometry, making it extremely complicated to intervene on every single element, which is directly interdependent with the other elements. With any such changes it is necessary to adapt, scale and reorient each individual element, which is very time consuming.

Generally speaking, two basic principles may be singled out when it comes to this type of design process. The first principle is associated modeling, i.e. the synthetic building of a structure based on the hierarchical functioning of objects and their interdependencies. The second is the generative principle, where one solution is selected out of many 3-D spatial configurations offered representing the optimal configuration. The selection criterion for the optimal configuration may be technical or aesthetic.

It is precisely these two basic principles of conceptual design that may be described by means of mathematical models and are contained in associated and generative modeling.

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INTRODUCTION TO PARAMETRIC DESIGN

A. Associated modeling Associated modeling refers to a method where elements are connected in a fixed order, which produces a result creating a basis for building a new order. Let us draw a curve and quadrilaterals at its beginning and end whose dimensions will depend on the curvature of the line at its initial and final points. If we change the form and position of the curve, the associated quadrilaterals will change their positions and sizes. This method of design extracts the required parameters from the designed structures and manipulates them using the right algorithms.

B. Generative modeling Instead of drawing a structure, generative modeling uses numbers as the input data. Designs are generated by means of mathematical operations, dependencies and functions. Any structure designed in this way contains a great number of variables within its internal structure, which may be used as the next step in the design process. This kind of modeling allows maneuvering in the development and generation of the design which is not possible when using standard 3-D modeling tools. For example, let us take the range of integers 1-10 and use a random number configurator to generate three different numbers representing the spatial coordinates of three distinct points in space.

The generated spatial points define a NURBS geometry. Every time the spatial coordinates of any of the input points x, y or z change, the generated surface automatically changes its geometry and adapts to the new variables.

C. Generative algorithms in architectural design Modeling which uses associated and generative modeling is called generative algorithm modeling. This process has the term algorithm in its name because objects are generated using algorithms in this type of design and their output for the further stages of design is also generated by means of algorithms. When it comes to architectural design, Grasshopper is one of the most commonly used generative design editors. This editor is connected to Rhino 3-D objects and offers a range of mathematical tools for generative modeling such as operators, conditional statements, functions and trigonometric curves.

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INTRODUCTION TO PARAMETRIC DESIGN

(Source: international journal of applied mathematics and informatics (issue 1, volume 5, 2011))

2.3 || THE STATE OF KNOWLEDGE ON PARAMETRICS The origins of parametric design go back to no more than fifteen years ago; thinking towards such approaches in architecture has a longer history back to when the first attempts for design simulation by computers began. Computers provide two grounds of investigation like any other digital artefact: theoretical underpinnings, and practical implications and ramifications. In the practical domain, efforts were more focused on the capabilities of a computer program as a benefit to the design process. As a result, the concern here was more on enhancement and evolution of such systems. According to Robert Woodbury, the first computer-aided design system was parametric, programmed by Ivan Sutherland for his PhD thesis on Sketchpad in 1963. Sutherland’s platform was one of the first attempts at implementing a concept that became central to many parametric packages – that of the concept of ‘constraint’. In general, a constraint explains a relation between two or more objects; for example, it restrains a group of lines to be parallel or perpendicular, even it can define a relation inside an object between features such as the size of the diameter or the area. Normally, two families of constraints are set within the design process: geometric constraints and physical constraints. The evolution of these two types of constraints specifically enhanced many computer platforms.

(Source: Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010) Another significant parametric aspect, especially in relation to constraint, is the concept of ‘relation’, which is seen as a promising theme for many researchers. According to Woodbury, the difference between parametric design and conventional design is the capability to make relations among the design objects. Defining relationships has not previously been considered as part of design thinking, since the conventional defined activities in design were ‘add and erase’. However, in parametric packages, designers benefit

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INTRODUCTION TO PARAMETRIC DESIGN

from two extra capabilities, namely ‘relate and repair’. Through this perspective, the idea of constraint is epitomized in the idea of relation.

Parametric design can be defined as any set of physical properties whose values determine the characteristics or behavior of something.... Hence the design draws its basis from physical parameters that construct the object or space. The change of these parameters results in the change of the characteristics

and

behavior

of

the

object

and

space

again.

Example: Let’s say the requirement of the project is to design a balcony along a specific curve (fig. 2) But the shape of the balcony can be variable. Outputs will be different for every different value we give. Parametric design is defined on the parameters we give

Figure 2

2.4 || PARAMETRICS AND DESIGNERS Parametric design isn‘t about sexy shapes‖, Ahmed Borham said (Architect and Urban researcher). He continued, ―A thing that Gaudi used and most of recent users ignore are the structural forces‖. Here Borham is saying that the forms produced by any parametric software should be a result of a number of forces. In other words he thought that the proper way of using parametric design in shaping our buildings is to design the rules, or to define parameters, that will effect on a building‘s geometry. ―Trying to think about the geometry of the building and sketching it, then modeling it, is not a parametric way of PARAMETRIC DESIGN

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INTRODUCTION TO PARAMETRIC DESIGN

design. It‘s a computerized design. We need to know the difference between computing and computerizing‖ Borham said.

To realize the difference between computing and computerizing, I‘ll present to you an example: ―Imagine drawing a window in a wall using AutoCAD, you draw a rectangle with certain dimensions and that‘s it, if you created a thousand instants of that window on different rooms then decided to change it, you will have to do it all over again. That is explicit modeling. Using associative or parametric modeling you can define relationships between the parameters. So for example, you can say for each room the window should be 20% of the room‘s area. Or even better, you can say the amount of natural light infiltration you require inside each room and it automatically calculate the window size and position for each room of the thousand. That is the very basic idea…‖ Sherif Tarabishy said (Co-founder of morph-d).

2.5 || ALGORITHMIC THINKING To design well is to be a joyful flow. All good designers make copious –indeed massive – piles of media as they work. Somehow, from this mass of sketches, models and prototypes, something new emerges. To be a good designer, it has always been necessary to become an expert in the crafting of many digital media, and today those crafts are mostly digital. Craft is always learned by doing and polished by practice, but these tactic acts are not sufficient.

Designer must know the concepts that underlie the forms of media they use.

In today‘s digital media, it is primarily symbols, algorithms and programs that form the language through which we come to know what we are doing.

The architectural design process is almost always iterative. Designers create solutions that in turn, pose new questions, which are then investigated to generate more refined or even entirely new solutions. Designers often use computer aided tools to build models and help them visualize ideas.

However, the vast majority of these models are built in such a way that they are difficult to modify interactively.

The problem becomes more severe when bespoke 3d models are geometrically complex. Changing one aspect of such a model usually requires extensive low level modification to many of its other parts. To address this PARAMETRIC DESIGN

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problem, designers have begun using parametric design software, which allows them to specify relationships among various parameters of their design model. The advantage of such an approach is that a designer can then change only a few parameters and the remainder of the model can react and update accordingly. These derivative changes are handled by the software, but are based on associative rules set by the designer. Associative and parametric geometry, in essence, describe the logic and intent of such design proposals rather than just the form of the proposal itself. This kind of design both requires and helps to create powerful interactive tools that allow designer to explore and optimize a multitude of possibilities while reducing the amount of time it takes to do so in a rigorous manner. Engaging these parametric and algorithmic processes requires fundamental mind set shift from a process of manipulating design representations to the encoding design intent using systematic logic.

1. Algorithmic thinking calls for a shift of focus from achieving a high fidelity in the representation of the appearance of the appearance of a design to that of achieving a high fidelity in the representation of its internal logic.

2. The advantage of algorithmic thinking is that it can build ‗consistency, structure, coherence, traceability, and intelligence into computerized 3d form‘.

3. Parametrically and algorithmically built models can react with high fidelity to their real life counter parts when subjected not only to user changes of geometric patterns, but also to structural forces, material behavior and thermal and lighting variations, as well as contextual conditions. Because they accurately represent the internal construction logic of the structure at hand, parametric models can also be unfolded or translated into geometries that can be digitally fabricated.

4. This powerful digital workflow of parametric form- finding that is influenced by design intentions as well as performance analysis and digital fabrication logic is one of the defining characteristics of current digital architectural practice.

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INTRODUCTION TO PARAMETRIC DESIGN

Contemporary architects, such as Patric Schumacher, partner at Zaha Hadid architects, have gone as far as coining parametricism as the name of new movement in architecture following modernism. He writes: ―we must pursue the parametric design paradigm all the way, penetrating into all corners of the discipline. Systematic, adaptive variation and continuous differentiation (rather than mere variety) concern all architectural design tasks from urbanism to the level of tectonic detail. This implies total fluidity on all scales‖ (Source:

Robert Woodbury, Elements of Parametric Design (London:

Routledge, 2010) 2.5.1||VERSIONING Borrowed from the software development field, the term versioning refers to the process of creating versions- or variations on a theme, if you will – of a certain design solution based on varying conditions. Parametric software allows the designer to create a prototype solution that, rather than being cast is static CAD file format, is wired- almost as a string puppet would be. This wiring allows the design solution to be tweaked and manipulated, creating new

versions

when

new

forces

and

condition

arise.

2.5.2||ITERATION The term iteration refers to cycling through or repeating a set of steps. In the case of parametric architecture, iteration can, in principle, create variation at every pass through same set of instructions. Examples may include varying the size and shape of a floor plate as one builds a skyscraper, or changing the angle of the modular cladding system as it is tiled over an undulating surface.

In addition to produce variation, iteration can be a powerful tool for both optimization and for minimizing the time needed to achieve that optimization.

A designer can generate solutions and test them rapidly by iteration through many possibilities, each created with a different set of parameters.

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INTRODUCTION TO PARAMETRIC DESIGN

2.6 || PARAMETRIC DESIGN We have always constructed buildings to serve a purpose to meet specific needs and to respond to physical realities. (The parameters) whether they address the relationships between use and volume, the constraints of building codes or zoning regulations or a palette of materials or other contexts, these are the parameters that regulate the construct.

They relate to its reasons, the conditions it must contend with ―”Parametric Design attaches a design characteristic to specific condition” The process considers the physical, performative and experimental interrelationships between project components and vectors of the global environment. Each parameter relates to the other parameters as well influencing the flow of energy and resources, affecting our sensory system, the environment and perhaps the budget.

However, parametric design's greatest value to architecture is in its ability to attain Eco sustainability. It can do so by connecting architects, engineers and constructors in a design process that is relevant to the client, the user and our planet. It can do this by generating an integrated building form from numerous input parameters of site, energy resources, adjacent environment and the intended program. 

At its most sophisticated, it can emerge in Harmony with the integration of daily and seasonal changes. A building skin is surrounded by environmental resource vectors. These vectors should be used to influence shape and orientation, to integrate sustainable technology as one with design and to Maximize the harvest of surrounding energy while minimizing it‘s loss.



The true greening of architectural design lies in extracting form from site vectors, Not by merely affixing technology and materials to a form already created. A sustainable architecture succeeds when the design process is truly parametric from inception.

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INTRODUCTION TO PARAMETRIC DESIGN



Computer rationalized relationship can finesse the design of individual facade or roof panels in response to their surrounding microclimates , maximizing performance as influenced by adjacent buildings, trees, climatic swirls and like



This genre of analysis and design control enables a broad spectrum of new opportunities from design generation to its testing, verification and detailing. Parametric software turns a designer‘s mouse into a sculptor‘s tool, enabling the visualization and creation of fabulous forms. At the same time, it can integrate multiple parameters from the site and locate with client‘s goals and human behavior, linking all of them

to

the

design

concerned

by

the

architect.

Parametric Design can link performance to expression. The design of the building surfaces and substance is most beneficial when it creatively addresses a parametric matrix of relevant contextual vectorsin

other

words,

when

it

creates

performative

flourishes.

Thoughts by Bill Caplan(Activist for Human Ecological Design) (SOURCE: Mario Carpo, the Alphabet and the Algorithm (Cambridge, Mass.; London: MIT Press, 2011), p. 40. ‘The objectile is not an object but an algorithm – a parametric function which may determine an infinite variety of objects, all different (one for each set of parameters) yet all similar (as the underlying function is the same for all)’.

2.7 ||ADVANTAGES OF PARAMETRIC DESIGN Some recognizable facets of parametrics turn it into a more sophisticated mode of design. The reasons why a typical architectural practice employs a parametric approach can differ while some firms follow a competitive strategy by simply keeping up with the latest software, such as parametric packages, the majority tend to see parametrics through the lens of effective functionality; for

example,

as

an

improvement

of

design

opportunities.

In general, the ability to rigorously explore more design alternatives and to therefore see better solutions emerging from design problems is pointed out as the main benefit of parametric design. Furthermore, unlike traditional CAD, PARAMETRIC DESIGN

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INTRODUCTION TO PARAMETRIC DESIGN

which still depends highly on sketching or physical modelling, some of the advantages of parametric design would be seen early on in the exploration of design possibilities. When architects specifically think about free-form structures, parametric design gives them ‘a great opportunity for exploring more exciting forms.

Yet, great benefits also exist in the later stages of the design process for the automation of construction documentation and higher levels of architectural control in production. In terms of financial issues, there are also benefits in reducing the person-hours spent on exploring design, and the tedious activity of drawing details that can be extracted from architectural models. Concisely, parametric design can bridge the gap between the design and manufacture of the

building.

Roland

Hudson,

an

architect

and

a

researcher

of

parametric design describes the opportunities that parametric design can offer.

Through probing into the surrounding literature, one of the fundamental issues that is frequently cited is the ability to make relationships between objects, using equations to define the associative geometry3. Robert Woodbury indicates that defining relationships has not previously been considered as part of design thinking, since the conventional defined activities in design were ‘add and erase’. Now designers have two extra capabilities, namely ‘relate and repair’. For Woodbury, ‘relating’ demands explicit thinking about the type of relation, and ‘repairing’ happens after an erasure, ‘when the parts that depend on an erased part are related again to the parts that remain’5.

Hence, these two acts imposed pivotal changes on past systems. It is reasonable

to

consider

them

as

benefits

of

parametric

design.

Besides these issues, architects recognize several other differentiators about parametric design when compared with traditional ways of designing. These issues can be divided into three classes, namely optimization of the design process, the capability of making a range of solutions for the design problem, and engineering the design process more efficiently.

PARAMETRIC DESIGN

17

INTRODUCTION TO PARAMETRIC DESIGN

2.8 ||THE ROLE OF SKETCHING AND PHYSICAL MODELLING As the archetypal design medium is pencil and paper – more precisely, pencil for ‘adding’, eraser for ‘subtracting’, and paper for recording – to what extent is sketching still key in parametric design? Does the parametric designer still need to sketch or make physical models? Traditionally, these two, especially sketching, have been emblematic of externalization. For many architects, sketching means ‘how to think visually’. However, a study on the process of sketching shows that even though sketches and externalizations in general are claimed to be central to the design task, they are not essential activities for expert architects in the early phases of conceptual designing37. Therefore, we can argue that, if sketching is still seen in parametric design, is it possible to map other roles to it? The answer is important, since if sketching provides multifarious characteristics it cannot be simply marginalized by the software.

In addition, sometimes a form is too difficult to draw by hand. What would be the solution for such a situation? As Mario Carpo discusses, the last resort of the designer may be to abandon the modern design process altogether and return to the traditions: ‘If you can’t draw what you have in mind in order to have others make it for you, you can still try to make it yourself’38. In fact, Carpo addresses two issues here: first, a sort of design activity which is independent of sketching, perhaps a kind of form-finding that was carried out in the past by architects such as Antoni Gaudi; second, when 2D sketching is not useful for the embodiment of ideas, architects can shift to 3D thinking by models. Although this might reduce the importance of sketching as a tool for visual thinking, it cannot ignore the rest of its advantages.

In contrast to what is seen in literature and researches on sketching, speaking with architects demonstrates that they still prefer to initially sketch or make models in spite of the existence of very sophisticated programs. Even though CAD packages such as Sketchup are a continuation of sketching techniques, giving the architects a high capacity of manipulation during the early stages of design,

shortcomings

such

as

the

lack

of

presenting

a

tangible

environment for drawing pose a barrier to adoption. As a result, most architects appear to contradict the belief that they should start designing on the computer screen. They see sketching as an inseparable component of the PARAMETRIC DESIGN

18

INTRODUCTION TO PARAMETRIC DESIGN

design process which, while its use in design has been reduced with the sharp rise of employing computer programs, is not yet possible to leave it out.40 Furthermore, some architects believe that sketching helps them to crystallise their concepts and arrange them in an organised format. Therefore, hand sketching is for them a ‘place of clarity’.

In order to conclude this discussion on the role of sketching and physical modelling, it is worth mentioning that there are many voices underscoring the role of software in parametric design; some like Schumacher even talk about sketching in Maya or Rhino to explore ‘radical design ambitions’49. Yet the role of sketching and modelling is still valid and recognisable in today’s architectural practice. However, if its fundamental role in the past was essentially summarised as thinking visually, in the parametric approach it is shifted to other domains such as clarification of ideas (since sketching is free from software constraints), or collaborative thinking in a design team.

PARAMETRIC DESIGN

19

INTRODUCTION TO PARAMETRIC DESIGN

2.9 ||REFERENCES 1. Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010), p. 11.

2. Parametric-Design-for-Architecture-by-Wassim-Jabi-03 3. Sutherland’s Sketchpad, as the first CAD system at that time, was innovative. Yet the problem was, instead of lines of codes or commands written by users on the computer screen, Sketchpad utilized several buttons to apply commands such as move, copy, and paste. Obviously for many design projects more buttons were needed.

Nevertheless, it could be said that most of the CAD. 4. Robert Woodbury, Elements of Parametric Design (London: Routledge, 2010), p.24.

5. Patrik

Schumacher,

'Parametricism:

A

New

Global

Style

for

Architecture and Urban Design', Architectural Design, 79/4 (2009a), 1423 6. INTERNATIONAL JOURNAL OF APPLIED MATHEMATICS AND INFORMATICS. 7. (SOURCE: Mario Carpo, The Alphabet and the Algorithm (Cambridge, Mass. ; London: MIT Press, 2011), p. 40. ‘The objectile is not an object but an algorithm – a parametric function which may determine an infinite variety of objects, all different (one for each set of parameters) yet all similar (as the underlying function is the same for all)’.

8. Mario Carpo, The Alphabet and the Algorithm (Cambridge, Mass. ; London: MIT Press, 2011), p. 32 9. Patrik Schumacher, 'Interview: Patrik Schumacher by Feng Xu', <http://www.patrikschumacher.com/Texts/Interview_WA_May%2009_e nglish htm>, accessed 26 January 2012.‘At the current relatively early stage of parametric design it is more fertile to start sketching in Maya or Rhino – including Mel-script, Rhino-script and Grasshopper – to explore the radical design ambitions of parametricism. This way of working

requires

a

later

remodelling/rationalization in more precise parametric design systems like Digital Projects – that are better capable to take fabrication constraints into account’.

PARAMETRIC DESIGN

20

THE DOWNSIDE OF PARAMETRIC DESIGN

CHAPTER : 3 THE DOWNSIDE OF PARAMETRIC DESIGN

PARAMETRIC DESIGN

21

THE DOWNSIDE OF PARAMETRIC DESIGN

3.1 || INTRODUCTION The great number of outcome – focused reports on digital design toolmaking overshadows the challenges which are actually faced by the architectural firms while employing parametric design as their design approach. As Thomas Fischer claims “failures and dead ends seem to be rare and overshadowed by the great number of post rationalized, outcome-focused reports on digital design tool making”. Architects are inclined to focus more on what parametric models do than how the models come to be. From this perspective, the failures and dead-ends can be hard to see. So this chapter is an investigation of parametric design on deeper levels to explore the challenges associated with such style of design. (source: architectural design issue 2| vol. 86 | 2016 |page 10 )

3.2 || ALL DESIGN IS PARAMETRIC While one could argue that architects have spent decades gradually adopting parametric modelling, some have argued that architects have always produced parametric

models since all design, by definition, derives from

parameters. This claim has been put forward by several authors, theorist and researchers like David Gerber, Robert Aish, Roland Hudson etc. some evidences are listed below: 1. DAVID

GERBER

(2007)

IN

HIS

DOCTORAL

THESIS

ON

PARAMETRIC PRACTICES WHERE HE SAYS: It must be stated that architectural design is inherently a ‘parametric’ process, and that the architect has always operated in a ‘parametric fashion’.

2. SAME ARGUMENT HAS BEEN MADE BY ROBERT AISH AND ROBERT WOODBURY(2005): Parametric modelling is not new

: building components have been

adapted to context for centuries.

PARAMETRIC DESIGN

22

THE DOWNSIDE OF PARAMETRIC DESIGN

3. ROLAND

HUDSON

(2010)

IN

HIS

DOCTORAL

THESIS,

STRATEGIES FOR PARAMETRIC DESIGN IN ARCHITECTURE WRITES : This thesis begins with assertion that all design is parametric.

4. MARK BURRY (2011) PUTS A QUESTION FORWARD WHICH ASKS IF NON-PARAMETRIC DESIGN EXISTS: ‘ parametric design ‘ is tantamount to a sine qua non; what exactly is non parametric design?

For each of these theorists and authors, the claim that all design is parametric rises from observation that all design necessarily involves like parameters like budget, site, material properties, environment, and brief by the clients. Though this is absolutely true, the central part of parametric equation is not the presence of parameters but these parameters relate to outcomes through to explicit functions. In the standard working mechanism, budget plays an important parameter which is somehow linked to what the forms look like. On the contrary, in parametric design approach we not just related the design to primary drivers like site, budget, program, material but also with some function and underlying framework. Thus, by interpreting parametric to mean, literally, design from parameters these authors downplay the importance of explicit relationship to parametric modelling and instead their definition of parametric upon the observable interface to the model.

3.3 || CHANGE IS PARAMETRIC Another observable characteristic of parametric model – beside the parameters involved, is that the geometry changes when the parameters change. This characteristics leads some of the architects to claim that “ change is parametric”.

Chris Yessois , the founder and CEO of the modelling software “ FormZ ” says: Initially, a parametric definition was simply a mathematical formula that required values to be substituted for a few parameters in order to generative

PARAMETRIC DESIGN

23

THE DOWNSIDE OF PARAMETRIC DESIGN

variations from within a family entity. Today it is used to imply that the entity once generated can be easily changed.

Defining parametric modelling in terms of change is not sufficient to describe parametric design. Although parametric models changes, so too does practically everything else in the world, except perhaps change itself. Even explicit geometric models can commonly by changes through rotation, or scaling, or moving a mesh vertex. And specialized representations, like BIM, are setup to ensure changes to underlying database also changed the associated models. Thus, while parametric models change, and while parametric models are celebrated for being able to change, change is hardly a unique feature of parametric modelling. By saying parametric modelling is change, the various authors once again focus on what parametric models do, without considering the unique qualities of how parametric models are created.

3.3 || THE CHALLENGES 3.3.1||UNNECESSARY COMPLEXITY WITH TOO MUCH INFORMATION The complexity of parametric packages seems to be a serious challenge for parametric design. Sometimes parametric modelling requires additional effort and increase complexity of design decisions and increase the number of items to which attention must be paid in task completion.

(Source: Robert Aish and Robert Woodbury, â&#x20AC;&#x2DC;multilevel interaction in parametric design ) Many times architects also argue that there is no need to have such a complex structure for a design problem, as it makes the design activity more complicated.

Especially on the commercial side, architects are asked to provide more information with more high level graphics in a short period than is possible merely using the latest parametric programs. On the other hand, architects must think about which software is suitable, considering this fact that parametric packages are costly.

PARAMETRIC DESIGN

24

THE DOWNSIDE OF PARAMETRIC DESIGN

Some architects also that with a building which is more traditional construction and also the way building industry still often works with prefabrication, then it doesnâ&#x20AC;&#x2122;t necessarily justify going into that level of detail within software.

The problem related to parametric design and modelling becomes a more serious challenge when the lack of time and huge project makes collaborative design necessity. It is generally observed that in most of the architectural firms, the principal architect sketch and work on tracing papers and then give the piece of drawing to other architect and practitioners, asking them for more work and generating more alternatives. As in every design project, there is a hierarchy of people working together, and the parametric designer is obliged to work within that team. The problem arises very often when the rest of the team working much more traditionally by hand, and increases when some of the stages done on paper cannot be transferred into parametric programs, and so the parametric program is deemed ignorant of what being designed.

This is probably one of the reasons why the number of parametric experts in company is usually low, especially in small architectural firms.

Architects are often trained to think visually in three dimensions. Hence, they draw things in peculiar interfaces such as grasshopper without really understanding where they are in the virtual space. This complexity also brings about another issue: demand for more powerful computers. This need is particularly seen in small and modest companies, since most of parametric packages are quite bulky in size. In addition, due to limited capacity of standalone systems, architects need to share their information with each other through a internal network which again highly depends on the computers used in the design process to support these characteristics. Architects thus ask for upgraded computer systems that are able to meet their current requirement.

3.3.2||CONSTRAINING CREATIVITY WITH REACTIVE STRUCTURE One of the major differences between CAD and parametric design is the idea of setting constraints in the design. Even this idea of setting constraints may be considered as an advantage of parametric design but sometimes it has negative aspects as well. Architects like Alex Solk ( SHEPPARD ROBSON ARCHITECTS ) argues that constraints sometimes confines the creativity of PARAMETRIC DESIGN

25

THE DOWNSIDE OF PARAMETRIC DESIGN

the design and the reactive structure of parametric design packages developed by the software engineers make the architect feel restrained by predefined set of parameters. While some of the parameter are flexible, they still offer limited conditions. Many architects also find the parametric packages are reactive than interactive.

3.3.3||LEARNING AND TRAINING DIFFICULTIES The problem of education and training is also a challenge related to the parametric design. Even though this novel style “ parametricism” and parametric design software offers a great number of benefits like structural optimization, adaptive environment engineering, CNC fabrication and robotic construction, their integration into an architectural practice is quite a big challenge. The architects and designers must learn how to use parametric scripts properly and how to understand the overall management of them. This is the major reason due to which the number of those who know parametric software is remarkably lower than the other practitioners in a design group.

This case surprisingly prevails in large companies and international offices as well. Gred Lynn in an interview with Ingeborg M rocker explains that “ using parametric design involves sending people in the office to training sessions with Robert Aish as well as emailing him back and forth for specific tasks and having him come to the office every six to nine months”.

(Source: Ingeborg m rocker, ‘calculus based form : an interview with Greg Lynn’ architectural design ) According to Robert Woodbury, mastering parametrics requires architects to be a part designer, part computer scientist and part mathematician, which more commonly seen among young designers.

(Source: Robert Woodbury , elements of parametric design) He refers to six skills, all of which are required for parametric mastery: conceiving data flow, divide- and- conquer strategies, naming, thinking with abstraction, thinking mathematically, and thinking algorithmically. Although the discipline of parametric design seems to be a pitfall that perhaps can be gradually resolved within time, it is currently a challenge for many practicing PARAMETRIC DESIGN

26

THE DOWNSIDE OF PARAMETRIC DESIGN

architects. This is the reason why in many projects, notably residential buildings, traditional CAD is frequently used. The usage of parametric design is perhaps seen more in cultural, educational, and commercial projects, or those building which are first presented to an architectural competitions. So parametric design needs a comprehensive framework which can make it easier for the architects to understand the whole design process and the scripting involved.

3.3.4||MAKING MAJOR CHANGES Parametric models made by designers are based on some concept and these concepts are the guiding principle of whole parametric model. But sometimes incorporate too many changes might change the initial concept of the design and architects may have to start all over. David Gerber in his thesis “ parametric practices” mentions that “ if the topology of project changes, the parametric model generally needs to be remade”.

Mark Burry in architectural research quarterly – parametric design and the Sagrada Familia, speaks about the topological fragility when discussing the design process for the triforium column of the Sagrada Familia. In the initial stages, mark bury build the parametric model from hyperbolic paraboloid geometry but during the design process, the design team decided to test whether to test the column could instead be made from conoid geometry.

When tried to make such a transformation, he found no solution other than to completely disassemble the model and restart it. Changing a parametric model is often disruptive and many architects recommend that the early model should be treated as disposable and not precise. (source: hhtp:// www.danieldavis.com/a-history- of-parametric) this challenge reflects that it is not easy to make changes in parametric model as it is claimed and the major changes often present the designer with only one viable option : start over.

PARAMETRIC DESIGN

27

THE DOWNSIDE OF PARAMETRIC DESIGN

3.3.5||UNSEEN CHANGES In the parametric design, if anyone changes a parameter it could affect the geometry somewhere in the design that we didn’t want to be changed and the problem increases when the designer is unable to see those changes due to the complex structure of the built form. This problem occurs often and the change may not be detected until much late in the design phase or even worse in the more expensive construction phase. A designer might be unable to see certain model changes, because of the complex structure and too many detailing and this may cause catastrophic problems during the construction phase.

3.3.6||REUSSE AND SHARING OF PARAMETRIC MODEL Any operator using the model needs the intimate knowledge of the parametric program that is return for that specific design. This knowledge of logic is not actually transferred with the 3-d model and the original programmer of the model becomes the owner of the model. Many a time if the program is to complex, the original programmer is the only one who can work with it. This makes the parametric models difficult to reuse and share. Often after a parametric model is created, other designer can’t easily modify the design because they don’t possess the knowledge about how it was created and the original intent.

3.3.7||SELECTION OF PARAMETERS The real challenge in parametric is not how clever the algorithm is or how complicated the output is, but the real challenge lies in the selection of the initial input parameters. The architect must think about the parameters which are beyond the geometric ones. Very few architects and software developers have taken on the challenge to classify, let alone invent systems that can accept fundamentally different types of parameters. In order to truly connect parametric design to the everyday activities of designers, they need to understand and represent the same issues the designer are working with: geometry and topology, but also architectural components, materials, the environment and people.

PARAMETRIC DESIGN

28

THE DOWNSIDE OF PARAMETRIC DESIGN

3.3.8||HUMAN AS A PARAMETER We all know that architecture purpose is to shelter humans from the elements and to create spaces that can be experienced by the humans. If parametrics is about creating humane architecture and the type of architecture that creates truly customizable spaces, it should be able to consider and model the clients, their intents and desires and incorporate that information as parameters in design system. It has been observed that the incorporating the human parameters in the design projects and rendering does not go beyond the inclusion of scale model of a person.

3.3.9||ECONOMIC ISSUES Complex architectural geometry typically comes at the expense on structural elegance and construction efficiency. Shell structures can address the forms but they all too quickly become unconvincing if they do not address the latter.

The shell structures cannot be constructed in an efficient or generally appreciate manner that considers the important role of local, cultural and economic factors. They require full and rigid frameworks. Furthermore the materials use to build formwork shuttering are often used only once, as they are customized for a specific doubly curved geometry, although some free form concrete shells have been realised in recent years, these contemporary examples are usually signature buildings, where budget, materials or other constraints are not necessarily a central concern. And this is the major reason due to which only huge firms can build such projects.

(Source:2016_BLOCK_AD_parametricism-structural congeniality_1457692585 )

PARAMETRIC DESIGN

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THE DOWNSIDE OF PARAMETRIC DESIGN

Figure 3

Félix Candela, Oceanogràfic, Valencia, Spain, 2003

3.3.10||MATERIALITY The technological advancement in computer modelling and generation techniques has resulted in an explosion of formal explorations in architectural design. New and complex shapes can be generated regardless of their structural stability or feasibility. The problem occurs when the structural solutions required to build these new shapes often use an “ awkward accumulation of material “ and this sometimes leads to construction of building that is intellectually and architecturally unsatisfactory. For instance, a lack of structural thinking during the design process leads to construction such as FRANK GEHRY’S WALT DISNEY CONCERT HALL in Los Angeles(2003), where the structural engineers came in later to brings the architect’s imaginative sketches into three dimensions, such a unidirectional process results in heavy structures, wasted materials and inelegant details.

(Source: architectural design, parametricism 2.0, issue 2, vol. 86)

PARAMETRIC DESIGN

30

THE DOWNSIDE OF PARAMETRIC DESIGN

3.4 || REFERENCES 1. Architectural design issue 2| vol. 86 | 2016 |page 10 2. Robert Aish and Robert Woodbury, ‘multilevel interaction in parametric design.

3. Ingeborg m rocker, ‘calculus based form : an interview with Greg Lynn’ architectural design.

4. Robert Woodbury , elements of parametric design 5. hhtp:// www.danieldavis.com/a-history- of-parametric 6. 2016_BLOCK_AD_parametricism-structural congeniality_1457692585 7. Architectural design, parametricism 2.0, issue 2, vol. 86.

8. Confluence of parametricism and fabrication, Sovona Ganguly

PARAMETRIC DESIGN

31

CASE STUDIES

CHAPTER : 4 CASE STUDIES

PARAMETRIC DESIGN

32

CASE STUDIES

This chapter includes secondary case studies.

1. Shanghai tower, China 2. Al Bahr towers, Abu Dhabi 3. St. Mary Axe, London Criteria for selection of buildings:

Parametric method of creating forms.



Availability of project materials i.e. (plans, section, elevations)



Expression of form and unique elevation.



International acclaim and recognition

Ecological architecture, which is often confused with low energy architecture, is some kind of energetic compensation for environment which is also giving a new direction for developing of new technologies and architectural solutions.

The problem of global human population growth, demand for building materials,

electricity,

fossil

fuels

and

water

-

systematically

raises

environmental standards which have to be met by modern architectural objects - whose construction, operation, maintenance and disposal today consume 60% - 70% of the world’s energy. This issue becomes important also on a larger scale which is the urban and spatial planning - creating a vast area of research and the profession for contemporary design thinking.

Software engineers develop tools which allow designers design in accordance with the doctrine of ecology and sustainability. At the forefront of this technological race, there are parametric and generative design programs giving designers extraordinary opportunities to shape the form of buildings based on the assumed ecological parameters. Beyond the theoretical consideration of the specifics of the presented objects, the article defines practical algorithmic sequences for generating forms of these objects.

Sequences presented in the article were created in the Grasshopper Software and illustrate methods of creating specific buildings, with special attention to their environmental properties.

PARAMETRIC DESIGN

33

CASE STUDIES

4.1|| SHANGHAI TOWER

Figure 4 Rendering of shanghai tower (source: courtesy Gensler)

PARAMETRIC DESIGN

34

CASE STUDIES

This paper is centered around the Shanghai Tower as a case study on the parametric design platform utilized by the design team to bring this iconic tower to construction. The design process revolved around the use of series of parametric software programs. These program allowed the Gensler design team to manipulate and refine the project‘s complex geometry iteratively. The parametric platform played a vital role in assisting a team to define the tower‘s unique and environmentally responsive high performance form, façade, and supporting structure.

4.1.1|| INTRODUCTION The form of the 121– story building is a triangular column that twists and tapers as it rises 632 meters. The curved corners of the triangle act to minimize wind loads and create 21 atria between the inner and outer curtain walls. A notch running up one corner adds to the aesthetics and sustainability of the design. Nine zones, 12 to 15 floors each, are stacked to create smaller neighborhoods within the super tall tower.

The Gensler team for Shanghai Tower chose to use a parametric design process for several reasons. Constructing a complex shape that had never before been conceived required the most innovative tools. Parametric design platforms allow for highly accurate results and good correlation between a model and its built form. They are very flexible and adaptive, offering instant feedback to changing variables. These nonlinear adjustment tools give architects the ability to affect multiple changes simultaneously. This allows designers to better understand iterative massing studies while observing the relative impact to overall performance of the systems involved. Another important reason for the use of parametric design was its assistance in creating Shanghai Tower as a sustainable building. This can be seen in the example of parametrically incorporating wind load data on the building. The location of Shanghai tower and its proximity to two other super tall buildings means that these loads can have substantial impact.

To address these loads, the design team developed a series of models in a parametric program. Rotation in the models ranged from 90 0 to 1800.

PARAMETRIC DESIGN

35

CASE STUDIES

They sent these to RWDI tested the series in a wind tunnel with 1/500 physical models. They found that increasing the rotation reduced the wind load

on

the

façade

and

the

superstructure,

and

suggested

an

option that manifested a reduction of 24% compared to a rectangular form of the same height; this in turn reduced the amount of material of the structural system. Then the design team generated a design model incorporating RWDI‘s data back into a parametric program.

The result was made into a 1: 85 scale physical model that RWDI tested in a large scale wind tunnel. The model was set within the context of its super tall neighbors as ― wind loads on building in realistic environments surrounded by neighboring buildings may be considerably different from those measured on isolated buildings.‖ this high Reynolds number test showed an additional 8% benefit, resulting in a 32% total reduction of wind loads. This iterative process allowed Shanghai tower to save US$ 58 million in required structure steel. Furthermore, it allowed the project to save money in design loads used to size glass thickness, window unit frame members, and the curtain wall supporting structure.

4.1.2|| FORM Shanghai towers’ exterior curtain wall— with a horizontal profile of an equilateral triangle with rounded apexes and a notch in one apex, and a vertical profile that twists and tapers as it rises

— means that

every floor of the building is different (that is, all floors have the same shape , but each floor is rotated roughly 1% from the floor below, and the floors scale down as the building rises.

The design team used parametric software to define building‘s complex geometry and to create an associative model integrating the building and façade. Their studies included three aspects of the building‘s 2d and 3d form: its horizontal profile, its scaling, and its rotation.

PARAMETRIC DESIGN

36

CASE STUDIES

Figure 5 A study in rhino with grasshopper to determine the angle, A1 producing the optimum curvature of the corners of Shanghai tower. (source : Shanghai Tower Façade Design Process )

The first challenge was to set the horizontal profile. The Gensler team had already determined in the design competition stage that the basis of the exterior curtain wall would be an equilateral triangle with rounded apexes.

They needed to optimize the curvature of these corners to meet aesthetic, functional, and sustainable criteria — that is, to optimize the appearance of the corners and the use of the atria that were created between outer and inner facades, to balance the building‘s gross floor area, and to minimize the effect of wind load. To do this they entered basic data into parametric software and changed the key angle (A1) to produce different corner configuration. From these study they determined that an A1 of 23.3 degree created the optimum tangential transition between corners and equilateral sides. It resulted in a smooth building shape that could then be tested for rotation and scaling. The PARAMETRIC DESIGN

37

CASE STUDIES

corner transition of each floor of Shanghai tower, derived from the optimal 23.3 degree A1, would remain constant throughout the height of the building.

Figure 6 Reynolds number study model (1:85 scale) (source RWDI)

PARAMETRIC DESIGN

38

CASE STUDIES

Figure 7 A study of the horizontal profile at level 9 of Shanghai tower with various panel divisions.(source: courtesy Gensler)

PARAMETRIC DESIGN

39

CASE STUDIES

The second task in studying the form of the exterior wall was to develop a vertical profile that determines the scale and rotation of the building. Through this process, the design team tested both linear reduction and exponential reduction to find the best possible way of transitioning scale between the floors along with the best overall appearance of the tower. They used the equation.

Y=ez*s Where y= the percent of scaling, e= mathematical constant, z= elevation, and s = scaling. By adjusting the scaling, rotation, and elevation in parametric software, the design team could compare the aesthetic results, the GFA, and the floor efficiency of various combinations. An s value below 100 percent yielded models that scaled from bottom to top, while those with s values above 100 percent produced the inverse. Additionally and very importantly, the geometrical relationship between the subsequent floors as well as between individual curtain panels units could be understood, iterated, and optimized. After running many prototypes through both parametric modelling studies and physical tests, the design team chose a rotation of 120 degrees and a scaling of 55% from base to top to optimize aesthetics, sustainability, and function.

In creating an associative model of Shanghai tower, the team moved through three phases of data gathering. First, they built an initial model of the building with purely geometric data. Next, they created an intermediate model that incorporated the faรงade and the curtain wall support structure of the building. Finally, they produced a fully developed and detailed model.

Parametric design software allowed the team to examine the curtain wall and underlying system in an appropriate level of detail early in the design process and therefore integrate it as an overall building solution.

PARAMETRIC DESIGN

40

CASE STUDIES

Figure 8 Wind tunnel study scaling models (source: courtesy Gensler)

Figure 9 Wind tunnel study rotation models (source: courtesy Gensler)

PARAMETRIC DESIGN

41

CASE STUDIES

4.1.3|| FAÇADE The rounded triangular form of the Shanghai tower‘s outer façade uses less glass than a rectangular façade with the same area, allowing for significant savings in material costs. Designed with nearly 1.4 million square feet of more than 25,000 glass panels, the façade would have been very difficult to conceptualize using traditional computer aided design tools and methods.

Their studies began with dividing an exterior wall profile into a number of panels, then tested numerous panel parameters, including size, shape, and angle. Here the team balanced the intention to make each panel as large as possible to allow for the most open views with the necessity of optimizing each panel size to be fabricated within standard industry capabilities.

They chose 138 divisions per horizontal profile as the optimum number. This resulted in a panel length of 2.14 meters at the default horizontal profile.

4.1.3.1||CURTAIN WALL SUPPORT STRUCTURE

The curtain wall support structure of Shanghai's tower exterior wall addresses not only the complexities already discussed—-the rotation and scaling of the form and its triangular plan—but also the complication of connecting this intricate system to that of the building itself and transferring combined loads to the building core and down to the foundation system. The CWSS must resist wind and gravity loads as well as the load parallel to its primary axis, typically resulting from earthquake. The main component of the CWSS are a girt following the curve of the outer wall, coupled sag rods suspended from the complex structural system concealed in the MEP/ refuge floor area above and connected to the girt, and perpendicular struts and x-bracing to stabilize the system.

To evaluate the CWSS, the Gensler team divided the triangular plan of each horizontal profile into six segments and designed one segment of it. Each segment in turn was divided into 5 sub-segments containing 2,6,6,6, and 3, panels each. The team established a series of work points at the places where these divisions met the centerline of the girt. They connected the work PARAMETRIC DESIGN

42

CASE STUDIES

points to the center point of the building with lines. The points where these lines

intersected

the

support

of

the

circular

interior

faรงade became the work points and the lines connecting both the work points became the location of the struts. In this way, the position of 4 struts was set in 1 segment. The team then mirrored this segment to form one angle of the triangle, duplicated this segment two times to complete the triangle, added the v shaped notch in one corner, and thus created the CWSS for a full floor.

Figure 10 Curtain wall: the layout of two adjacent floors (source: courtesy Gensler)

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Figure 11 Curtain wall: profile control points division (source: courtesy Gensler)

Figure 12 Section perspectives with curtain wall systems description (source: courtesy Gensler)

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Figure 13 Curtain wall support system (source: courtesy Gensler)

4.1.4|| RHINO GRASSHOPPER ALGORITHM

Figure 14 (source: courtesy Gensler)

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Figure 15 parametric studies of the scaling of shanghai tower. (source: courtesy Gensler)

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Figure 16 (different form analysis)

Figure 17 (source: courtesy Gensler)

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4.1.5|| CONCLUSION Shanghai tower is a model of innovation and integration, a symbol of how super tall buildings can and should be designed in the future. To achieve the complex form, façade, and structure of the tower, the Gensler design team relied

on

an

advance

parametric

platform,

which

offered

three

main benefits to the project. First, it allowed the team to visualize the complexity of the design in a simple way. The triangular, twisting, tapering shape of the form, the multiple glass and joint configuration of façade, and the complexities of its structure were all modelled with parametric design.

Second it permitted iterating and testing of design options during a very fast design schedule. For example, developing one default horizontal profile into a complex vertical profile through parametric modelling was exponentially faster than building every line per every floor, as in traditional computer aided design. Third, it assisted in developing a methodology that could be used across multiple disciplines needed to realize the building. Structural, MEP, and façade engineers, glass and steel fabricators, and the project‘s client communicated through models developed in parametric design. Ultimately parametric design tools allowed the Gensler team‘s unique architecture to be built efficiently and safely, to be a solution for its client‘s intent, and to provide an iconic image for Shanghai, with economy and sustainability always in mind.

4.1.6||REFERENCES 1. Kelly, D (2009) High Reynolds Number Tests, Shanghai Center Tower, RWDI, Guelph, ON, Canada 2 Poon, D (2009) Curtain Wall Support System, Shanghai Tower, TTE, New York, NY 2. http://www.gensler.com/uploads/documents/shanghai_tower_facad e_design_process_11_10_2011.pdf 3. case study: shanghai tower, CTBUH JOURNAL 11 (2010):14 4. shanghai tower faced design process, AIA, LEED.

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4.2|| AL BAHR TOWER

Figure 18 (source: Journal of Sustainable Architecture and Civil Engineering)

Address: Abu Dhabi - United Arab Emirates Floor area: 7 ha Architectural style: Islamic architecture Client: Abu Dhabi Investment Council Design architects: Aedas architects, ltd Completed: 2012

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4.2.1||ABOUT Innovative and dynamic faรงade of AL BAHAR TOWERS opens and closes depending on the sun path.

1. 25 story skyscraper 2. 32,000 sq. meters of office area.

3. 21,000 workstation 4. Top of the building is covered by photovoltaic panels adjusted to sunrays incident angle so as to guarantee optimum performance.

5. Reduced water consumption owning to the so called grey water cycle consisting in the reuse of water.

6. South of each office floor there is a small garden with a water surface.

7. The floors are open, protected only by membrane sun shades, adjustable to the needs of plants and user.

8. Two storey basement space for parking of 750 cars.

9. Shape and style of Al Bahr towers are based on traditional Arabic architecture.

10. Designers took advantage of principles of geometry applied in Islamic architecture.

11. Forms of the tower developed using parametric digital techniques in order to generate already defined geometry.

Figure 19 Islamic architecture

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4.2.2|| PROCESS OF DESIGN 

The design began with two cylindrical towers on a circular plane.



A circle provides maximum efficiency in terms of wall to floor relation.



The form of the tower was sculpted with regard to wind loads which can be initially determined by means of digital program.



Towers became cylindrical, wider around intermediate floors and

narrower at the base and at the top, resembling cigars. 

Due to high temperature dominant in the Persian gulf, the contractor perform daily thermal analysis, for the purpose of the design it was assumed that the average daily temperature equals approx. 400 c and annual precipitation total less than 100litres/sq. meters.



Due to such extreme conditions, unfavorable shape would entail real

costs generated by the maintenance of the building in future. 

floor plans based on a circle were divided in a way reducing the

southern exposure by means of gardens. 

The external wall of the object constitutes a non—standard selfsupporting structure.



After defining the geometry, designers could shape the façade to

generate its structural grid and a grid mounting panels. 

A steel, hexagonal –patterned lattice on the façade was optimized by

parametric tool. 

Development of its virtual model made it possible to envisage

difficulties associated with the execution of some of the nodes. 

Owning to parametric modelling technique and associative geometry,

fast and flexible introduction of changes was viable.

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Figure 20 Al Bahar Towers – form, detail and ecological systems diagram (www. aedas.com)



Main issue is how to protect the building against excessive insolation triggered heating.



Solution: implementation of open work wooden screens with a

geometric pattern called MASHRABIYA. 

Mashrabiyas were used in desert dwellings as screens or barriers and

in urban settlements in windows or on protruding window constructions. 

Adias designers developed a new contemporary version of mashrabia

i.e. Moving spatial structure mounted to the façade that open and close like umbrella, depending on sun path.

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CASE STUDIES

Figure 21 MASHRABIYA

Figure 22 Al Bahar Towers â&#x20AC;&#x201C; form, detail and ecological systems diagram (www. aedas.com)

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Figure 23 RHINO MODEL (developed by M. Giedrowicz)

Each component has its own activator i.e. mechanical device, which based on command signal generates an input signal putting the object in motion, these miniature devices are placed in rods fixing components to the façade.

It was also necessary to provide for the possibility of manual control of the construction by userâ&#x20AC;&#x201C; opening or tilting an individual screen, independently of the globally controlled system.

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CASE STUDIES

Figure 24 COMPONENT DETAIL

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CASE STUDIES

Figure 25 Grasshopper code for individual mashrabiya element (developed by M. Giedrowicz)

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Figure 26 LIGHT AND SHADOW ANALYSIS

Figure 27 FAÃ&#x2021;ADE OF AL BAHR TOWER

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Figure 28 The geometry of the actuated façade panels

4.2.3|| ALGORITHM The method of generating the simplified model of an office block exterior shell is demonstrated as: 

The algorithm starts with determination of a grid of hexagons and designation of angular points and center points.



The next stage involves drawing two circles for each hexagon, the first one is drawn on the hexagon and the second, smaller one is placed inside it.



On each circle the algorithm places three points at equal distances from each other.



Next stage envisages connecting the points into planes but before that it is necessary to program the attractor‘s function.



The attractor consists in the creation of co-dependency between the equation values– in this particular case being the distance of individual circle centers from a drawn parabola.



The parabola represents an isolated part of the building façade

therefore the procedure consists in the establishment of relations PARAMETRIC DESIGN

58

CASE STUDIES

between the distance of each inner circle center and a drawn parabola and then transposing the distance to the value of a given circle. 

This operation gives rise to the principle ― the closer the smaller, the farther the bigger‖



Inner circle are subjected to scaling against the proximity of the source

of light, whereas connecting points previously fixed on circle creates the mashrabiya plane.

Figure 29 Grasshopper and rhino Mashrabiya algorythm – part I (developed by M. Giedrowicz)

Figure 30 Mashrabiya algorythm – part II (developed by M. Giedrowicz)



These modules cover approx. 75% of the building façade, leaving the northern part uncovered



The part to be covered was determined based on digital simulations of the path of sun rays incidence angle.



The towers consist of almost 2100 modules of unfolding, umbrellas each measuring approx. (4 x 6) meters and weighing 600 kilos.



Each module is controlled independently by the central system.



Dynamic mashrabiya reduced electricity demand of air conditioning equipment by 20% PARAMETRIC DESIGN

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CASE STUDIES

ď&#x201A;ˇ

It also reduced the solar gain by 50%, improving comfort of employees.

ď&#x201A;ˇ

First time in history of architecture that a moving skin has been constructed and on such a grand scale.

4.2.4|| CONCLUSION A broad scope of possibilities and universality of algorithmic design sequences enable both the effective use of environmental energy and efficient management of the energy surplus. above-presented skyscraper shows how to use solar energy when needed and how to avoid it when arduous.

4.2.4|| REFERENCES 1. Aedas, New headquarters Al Bahar Towers, Abu Dhabi Investment Council, Abu Dhabi 12.02.2012

2. Innovations in dynamic architecture, karanouh, abdulmajid (Affiliations: [a] Faculty of Architecture & Civil Engineering, University of Bath, UK | [b] Ramboll Innovation Design & Facades, Department of Computational Design and Construction, Hochschule Ostwestfalen-Lippe, University of Applied Sciences, Germany)

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4.3|| 30ST. MARY AXE

Figure 31 An interesting example of an efficient use of generative design technology for pro– environmental purposes is 30ST. MARY AXE in London.

4.3.1|| PARAMETERS

 The enhancement of the public environment at street level, opening up new views across the site to the frontages of the adjacent buildings and allowing good access to and around the new development.



Minimum impact on the local wind environment.



Flexibly serviced, high specification ― user friendly ― column free

office spaces with maximum primary spaces adjacent to natural light.

 Good physical and visual interconnectivity between floors. 

Reduced energy consumption by use of natural ventilation whenever

suitable, low façade heat gain and smart building control system.

Design, procurement and fabrication processes were integrated through the use by the design team of three dimensional modelling of the steel frame and a parametric approach to the design, enabling complexity to be managed with reduced risk and greater economy. The project shows the ability of structural steel to enable radical architectural ideas to be realized.

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4.3.2|| ABOUT THE BUILDING

 30 St. Mary Axe, known fondly as ― the GHERKIN ― is one of the most dramatic landmark in London, situated in the main financial district, the 40 storey office.

 The building‘s unique form is a response to the constraints of its site.

Its shape appears less bulky than a rectangular block, creating public spaces at a street level, it also offers minimal resistance to wind, improving the environment for people on the ground and reducing the load of the building.

 30 St Mary axe has six spiraling light wells that allow day light to flood down onto the floors, as well as being the integral part of the ventilation strategy. This allows the building to operate without full air conditioning at certain times of the year.

Figure 32 wind dynamics

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CASE STUDIES

Figure 33 Wind tunnels



The perimeter diagrid is formed from intersecting steel tubes that

frame the light wells. It follows the curve of the building to maximize column free office space, while keeping the structure stable. 

The span and orientation of the floors and the angle at which they meet the walls vary throughout the building, this makes it an exciting building to experience, but created some unusual design challenges.



To simplify construction, Arup designed 360o steel nodes to connect the complex diagrid together.



The nodes consist of three steel plates, welded together at different

angles. The connection helped to make the diagrid straight forward and cost effective to build. 

The diagrid itself consists of intersecting tubular steel sections that

follow the curvature of the building and provide vertical support to the floors, giving the additional benefit of column free office space. As well as structural support, the diagrid provides the building with resistance to buffeting from the wind.

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CASE STUDIES

Arup used extensive 3d computer modelling to determine the size of steel frame. A 3d model of the structure helped the architect to co-ordinate the overall design. It also enabled the steel contractor to generate the information needed to produce the 10,000 tons of steel in the building, 2500 tons of which make up the diagrid structure. This helped to make the process of going from drawing board to fabrication as simple as possible.

Figure 34



24,000 sq. m of glass were used for the exterior of the building,

equivalent to 5 soccer fields. 

The Swiss re has 40 floors and is 180 meters high.



It offers 76,400 sq. meters of office space.

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CASE STUDIES

4.3.3|| THE FORM

 The variation of the diameter of the floors is significant, measuring 49 meters at the base, 56.5 m in the widest part, narrowing to 26.5 on the top floor, which is what gives the appearance of ―rocket‖



The oval shape achieves an average surface of 1400 sq. m per floor,

which rises to 1800 at level 16 and drops to 600 at level 34.



The form offers advantages in the interior as the possibility of

orthogonal arrangement in the area of desks and in the Centre, a rectangular area of bathroom and stairs. Most of the rooms have an exterior view, only 3% of the building‘s spaces are closed.

Figure 35 Office division (note: showing possible variations of office planning layout).

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CASE STUDIES

4.3.4|| STRUCTURE

Figure 36



It’s the structure that differs from those of most tall buildings, which use the center for lateral stability. Here, the structure is composed of a central core surrounded by a grid of steel elements interconnected diagonally.



The supporting system of the tower is ensured by this steel external reinforcement, whose fundamental piece is formed by two powerful inverted V which have the height of two levels. There are 18 pieces PARAMETRIC DESIGN

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CASE STUDIES

that make up each ring of the structure that complete has 19 overlapping rings. 

The external grid of the façade is formed by panels of triple thickness: double glass towards the interior, to optimize the entrance of light and without removing views. It’s a laborious orchestration of light and controlled reflexes. The luminosity is greater in the lower levels while, from of the waist of the building as the plants are tuned, the effects of the solar reflection were minimized.



In total there are about 5500 panels that there mounted on the structure: all are flat (except those of the dome) and only those that are located in the external atria can be opened for ventilation.

4.3.5|| ALGORITHM



Building geometry was developed on the basis of parametric

methods of design.



First stage of the building construction is a combination of three

circles with a common center – the first one is responsible for the external shell of the building, the second for the depth of ventilation

channels

and

the

last

one

for

width

of

a

communication core. After correct division of circles into points and connecting them in a right order we see the shape of the building floor.

 The next stage of the construction is the upward duplication and rotation of the previously obtained floor shape at a fixed angle, performed at the sometime the action results in the formation of ventilation channels, spiraling towards the top of the building.



Then the floors have to the scaled-individually by means of

Bezier Curve – wide at the bottom, narrowing upwards with the entasis in the lower- providing the building with a unique shape.

The next stage of construction involves determination of floor thickness for each floor, generation a communication core and a double glass shell with a supporting construction.

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CASE STUDIES



At any stage of the construction, the designer can immediately

change the form of the building by altering any parameter. The process takes place automatically not requiring a long and manual method of modeling. Additionally during, the design process, the algorithm continuously updates data concerning the usable floor area of the building quantity of necessary building materials, construction dimensions and many other important aspects.

Figure 37 30 St Mary Axe algorithm – part I (developed by M. Giedrowicz)

Figure 38 30 St Mary Axe algorithm – part II (developed by M. Giedrowicz)

In order to create an external shell of the building, the designers used a double glass wall. Owing to that the shafts remove warm air from the building during the summer time and insulate the object in winter by means of passive solar heating. Moreover, the shafts enable the access of sunlight into the building, thus ensuring more friendly work environment and reducing costs of lighting. According to designers, the object has very high aerodynamic parameters and the shape of the building is so streamline that it is protected even against very strong gusts of wind. The use of adequate calculation algorithms brought another benefits – external shell of the building was PARAMETRIC DESIGN

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CASE STUDIES

optimized using triangulation that it does not require any additional strengthening to obtain the expected rigidity. Façade panels are made of flat elements – with the exception of a single, curved glass panel at the very top of the shell.

Figure 39

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4.3.6|| REFERENCES 1. Swiss Re´s Building, London, NR3. 2004. NYTHER OM STALBYGGNAD 2. Journal of Sustainable Architecture and Civil Engineering

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CONCLUSION AND RECOMMENDATION

CHAPTER : 5 CONCLUSION AND RECOMMENDATION

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CONCLUSION AND RECOMMENDATION

In order to present this conclusion and prepare the ground for further research, I follow the three-part structure of the dissertation described in the introduction. The first part essentially revolves around the parametric issues relating to the design process. Having mentioned the notion of ‘role’ and ‘driver’, I explained that the process in which an architectural form is created largely depends upon how the architects define and interpret the notion of ‘generation’. Whether the focus is on the process or the final product, the design is the act of computation or representation. Represented forms are normally result-driven and architects design by the aid of a variety of tools including computer programs. However, computers here are just facilitators rather than design tools. In contrast, defining design as a process of computation entails different principles. For the most part, design here is process-driven. Computed forms are designed through a series of algorithmic programming. Algorithms in this sense are design tools, because they produce forms and geometries. Nevertheless, the nature of the algorithm is not dependent on computers. It was mentioned that for some architects like Antoni Gaudi or Frei Otto, computation was meant to be a form-finding process by the aid of concrete materials rather than software. However, computation among today’s architects commonly stems from the idea of computer programs. Looking from outside to inside of the design process using the concept of ‘driver’ showed that, even though parametric design for many architects is assumed as a novel approach to design, it cannot change the primary drivers of every design project, such as the context and the client’s brief, because these notions have independent natures.

Finally, the benefits and challenges of parametric design were discussed in Chapter 3. For some practicing architects, the reason why parametric design is viewed as an exclusively distinct approach is because of the certain advantages bestowed to them by this novel way of design. Parametric design furnishes

architecture

with

the

ideas of

designating

constraints

to

optimise the problem-solution space, churning out a range of alternatives. It lays upon architects the ability to engineer the design process. However, it leaves many issues unanswered. The main problem with this approach is the lack of a comprehensive methodological framework for design. This is PARAMETRIC DESIGN

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CONCLUSION AND RECOMMENDATION

especially true in parametric platforms. These programs should be designed with a parametric approach, and this requires a true understanding of this outlook by the developers of the package. In addition, although parametric programs offer a robust and sophisticated platform, at the same time they bring too much complexity, which in turn brings problems such as learning difficulties. The problem of authorship, which is tangible among computational methods, seems to be a serious concern here too. Thus, notwithstanding many advantages of parametric design, these investigated obstacles act against its promotion to a popular stance among architects.

RECOMMENDATIONS Despite some voices who insist that parametric design is struggling to determine its current problematic issues, I think it will stand the test of time due to its beneficial engagement with contemporary architecture. However, I believe

that

architects

should

always

bear

in

mind

the

challenges of parametric modelling. At the beginning of each project, it is crucial for the principals of a large practice to make sure that they have competent designers knowledgeable about parametrics in order to cope with the challenges of parametric design. It is also reasonable for a small-sized company or even a freelance architect to ask ‘does this project really demand parametric techniques?’

In addition to hands-on questions like the above, I believe parametric design and, in general, computational design requires a long-term plan that should begin within academia. In a similar view to Patrik Schumacher, I think parametric design must be considered a ‘design research programme’. Yet I tend

to

disagree

with

Schumacher’s

choice

to

call

parametric

design ‘parametricism’. My rationale emerges from this research and what I perceived from architectural practice during this study. Nevertheless, I believe without a doubt that, if parametricism is construed as an overall computational picture of the current ethos of architecture, it is definitely worth exploration both in education and in practice as a dominant paradigm. One outcome of this investigation specifically on the educational side would be the PARAMETRIC DESIGN

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CONCLUSION AND RECOMMENDATION

introduction of a new framework in architectural pedagogy to guide students to legitimate interdisciplinary knowledge, and to encourage them to go beyond the borders of conventional design.

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CONCLUSION AND RECOMMENDATION

ABBREVIATION AND ACRONYMS ALGORITHM A step-by-step procedure for solving problem. An algorithm usually takes an input, performs a process and creates an output.

ASSOCIATIVE PROGRAMMING This type of programming differs from traditional programming in that it associates variables with one another, such that a change in one variables with one variable automatically triggers an update in other variables that ae associated with it.

BUILDING INFORMATION MODELLING (BIM) A computer aided method of conducting design, construction, facility management, renovation and even demolition. It relies on an integrated information model of the project that encodes not just the geometry of the project, but other aspects of it, such as spatial relationships, building components, manufacturerâ&#x20AC;&#x2122;s data, etc.

GRASSHOPPER It is graphical algorithm editor tightly integrated with rhinoâ&#x20AC;&#x2122;s 3d modelling tools.

Unlike rhino script, grasshopper requires no knowledge of programming or scripting, but still allows designers to build form generators from simple to the awe-inspiring.

N.U.R.B.S An abbreviation of non-uniform rational basis spline (or surface).

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