DESIGN STUDIO AIR The University of Melbourne Ying Karen Chow 531688
TABLE OF CONTENTS INTRODUCTION Previous Work PART A. EO1 1: CASE FOR INNOVATION A.1. Architecture as a Discourse A.2. A.3. A.4. A.5. A.6.
Computational Architecture Parametric Modelling Alogorithmic Explorations Conclusion Learning Outcomes
INTRODUCTION My name is Ying Karen Chow and I am from Hong Kong. I started studying in Australia at the age of 15 and right now I am a third year architecture student at the University of Melbourne. This is my third design studio so far throughout my degree of Bachelor of Environments. I have learnt Rhino in my first year of University through the subject Virtual Environments but I have not really used it since mainly because I am used to working with AutoCAD. I am excited to get a chance to learn about this software again and this time with Grasshopper and parametric design. Hopefully by the end of this course I will be more comfortable working with Rhino and become better in utilizing computation and digital modelling in the future.
PREVIOUS WORK
Through out my study I was enrolled in the subjects Virtual Environments and design studio Earth in the University of Melbourne. The photos on the left show the previous work I have done in Virtual Environments using Rhino. That was the first experience I have with simple digital fabrication. In this subject I have adopted the idea of Erosion to create this piece of model that could be wear around the body.
Project for Virtual Environments
Sketch design of discovery centre for Herring Island
For the Unearthing project in the design studio Earth, the main project involved was to design a discovery centre for cultural exchange located on Herring Island. Though this project I have not used any digital software to help with my design as the studio recommend hand drawn sections and plans.
PART A.
EO1 1: CASE FOR INNOVATION
The Blur Building (2002), Lake Neuchatel, Yverdon-les-bains, Switzerland, architect Diller Scofidio + Renfro (http://www.arcspace.com/features/diller--scofidio--renfro/blur-building/)
A.1 ARCHITECTURE AS A DISCOURSE RESPONSIVE ARCHITECTUREINTERACTS WITH NATURAL PHENOMENA We live in a world surrounded by architecture and for most people, architecture is a public work of art. However, when just viewing architecture as art, we have neglected a lot of different areas that architecture is actually involved in. This is where architecture as a discourse comes into place as it is more effective and clear if we were to exammine architecture in a more specific way. What I am interested in architecture as a discourse is to view architecture as something that is able to allow viewers to observe and interact with the natural environment; architecture that is responsive and allows interactions and changes to happen according to the natural phenomena. An example of natural process-responsive architecture is the temporary structure, the Blur Building, built for the Swiss Expo 2002 on Lake Neuchatel, in Swizerland. This blur pavillion is an architecture of atmosphere. It is a lightweight tensegrity structure using filtered lake water shot as a fine mist through 13,000 fog nozzles to create an artificial cloud. The center of the structure is the weather station where they created this weather system that controls the fog output in response to shifting the climactic conditions of temperature, humidity, wind speed and direction, and process the data in a central computer that regulates the water pressure in order to produce this mist of fog.1 This deisgn was something new and innovative, incorporating technology into architecture, setting out a new experience for users to experience a complete ‘white-out’ when entering this fog, erasing other senses such as visual and acoustic references. 1
Open Buildings , <http://openbuildings.com/buildings/blur-building-profile-2257>
Responsive facade Another interesting architecture that encounters the interaction between natural environment into the design is the Al Bahar Towers in Abu Dhabi. Abu Dhabi is known for its extreme weather conditions. In order to cope with the internse heat and glare, Aedas Architects have designed a responsive facade as a shading device, which has taken cultural cues from the â&#x20AC;&#x2DC;mashrabiyaâ&#x20AC;&#x2122;.2 The design has utilize parametric modelling for the geometry of the actuated facade panels. These panels acting as a screen, operates as a curtain walls to simulate their operation in response to
sun exposure and changing incidence angles during the different days of the year. The triangle panels are coated with fiberglass and are programmed to respond to the movement of the sun to mediate daylight and reduces glare. It has largely reduced the buildingâ&#x20AC;&#x2122;s need for air-conditioning by more than 50%!3 This has also promote sustainability use as the tinted glass that are used has allow more natural light and less artificial light. The screen will close in evening and people would be able to see the facade a little bit more.
Photo on Left: Close up of the facade responsive panels. Photo below: Al Bahar Towers (2012), Abu Dhabi, architect Aedas Architects (http://www.archdaily.com/270592/al-bahartowers-responsive-facade-aedas/)
2 3
Arch Daily, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> Arch Science, <http://www.archiscene.net/firms/aedas/al-bahar-towers/>
Panels for Turbulent Line(2011), Brisbane Australia, architect Ned Kahn <http://nedkahn.com/>
A.2 COMPUTATIONAL ARCHITECTURE
Computing has largely affect the architecture industry. Computation, different to computerisation, allows designers to go beyond their abilities to deal with highly complex conditions when it comes to designing a building. It does not simply allow architects to use the computer as a virtual drafting board for just simply copy and paste. Instead, it provides a platform for architect where they chose to put the conventional style and aesthetic of what architecture should be aside, to negotiate and influence the interrelation of datasets of information, as well as the capacity to experiment and generate much more complex order, and both static and dynamic transformation of form and structure that go beyond the intellect of the designer.4 Computational tools has largely increase the effiency of design process. It has provide the ability to construct complex models of buildings and give performance feedback on these models. 5
ers have make use of the digital technol ogy to create something that is responsive to the natural environment. One of the examples I found is the Turbulent Line in Brisbane, completed in 2011. It is an Urban Art Project designed by the collaboration of Ned Kahn, Hassell Architecture (Sydney) and Brisbane Airport Corporation. It is an eight-storey and 5000 sqm kinetic facade for the car park at the Brisbane Airport Domestic Terminal. The facade has create a direct interface between the built and the natural environments where the entire eastern side of the facade will appear to ripple fluidly as the wind activates 250,000 suspended aluminum panels.6 It response to the
Refering to my architecture as a discourse, I am interested in seeing how architects and design-
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Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2, P. 11 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. UAP, <http://www.uap.com.au/art/infrastructure/brisbane-domestic-terminal-car-park/>
ever- changing patterns of the wind. Moreover, the design has also thought of environmental benefits such as shading and natural ventilation for the interior of the carpark; as sunlight pasases through this kinetic facade, the interior of the carpark will create intricate patterns of light and shadow. This kinetic facade has certainly left a mesmerising impression for the public.
Turbulent Line(2011), Brisbane Australia, architect Ned Kahn < http://www.uap.com.au/art/infrastructure/brisbane-domestic-terminal-car-park/>
Computing in Architecture Computational tools can now apply realistic constraints to computer generated models. Computers are logical and rational. They are correctly programmed and follow a set of rules and guidelines and come up with the most logical conclusion. And this is where the designers come into place, where the architect have to use of their imagination and utilize these computer softwares to realise their design and ideas. Moreover, it has also allowed better communication in conceptual sketching of algorithmic concepts.7 Online platform such as the grasshopper community provided a forum for designers to share and gain knowledge of digital tools and other algorithm which can then be adapted into their own design. Computation does not just simply provide the making of digital tools for designers, it also generate and explore architectural spaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration and the relationships between elements.8 Now the designs that were once being considered as unrealistic could possibly be conceived and developed into functional realities. According to Kolarevic’s article Architecture in the Digital Age, Advances in representational technology have largely affected design methods and output. There is this sudden interest and fascination with ‘blooby’ forms created by a three-dimensional digital modeling software based on NURBS (Non-Uniform Rational B-Splines). These are parametric curves and surfaces that could allows even more complex forms to exist using only a minimum amount of data and relatively few steps for shape computation.9 So nowadays most digital modeling programs rely on NURBS to construct complex surface models. And this new form of undulating, sinuous skins has become buildable within a reasonable budgets. One of the important things about computing architecture is that both the architects and the use of computational design have to be flexible in order to adapt and accommodate the constantly changing industry and the parameters of architectural design.10 Combing with the new approach in the use of materials like steel and glass, this invention of computer-aided design has given architects the opportunity to design out of the scoop, out of the traditional ways, to make their endless imagination become possible and appreciate by the public.
7 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), P.5 8 Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 P. 11 9 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 15 10 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 15
Detail of the roof over the courtyard of the Smithsonian Institution Patent Office Building (2007), Washing DC, architect Nigel Young/ Foster + Partners < http://www.bradypeters. com/smithsonian.html>
The Smithsonian Institution in Washington DC is another example of using computer program for generation. It was designed by Foster + Partners in 2007. The geometry of the roof was generated by a single computer program written by Brady Peters, who was one of the architects in the Foster and Partnerâ&#x20AC;&#x2122;s Group. As explained by Gregg Lynn, the design of this fully glazed roof canopy has utilized digital computering and specifically parametric design in optimizing the structural ability to hold the roof plus providing natural lighting to the courtyard at the same tie. The computer code was being used efficently to explore design options, modify and assist the progress.11 With the help of the computer program, it does not only generate the final geometry as we can see 11
in the image, it also provided additional information to analyse the structural and acoustic performance of the building, as well as creating fabrication data for physical models for them to visu-
alise the space and here, this fluid structure and the roof canopy has allowed the public to engage with the natural environments, bathing the area with warmth through daylight.
Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 P. 11-12
A.3 PARAMETRIC ARCHITECTURE
Parametric modeling is essentially a generative tool that allows designers and architects to approach design with a more efficient way. What makes parametric design unique is that it is the parameters of a particular design that are declared, not its shape. So instead of the traditional way of designing the shape of the building, now architects are designing a set of principles encoded as parametric equations with specific instances how the design could be generated.12 The set of parametric equations describe the relationships between objects and thus defining an associative geometry and by simply assigning and changing different values to the parameters equations can create different objects, geometry or configurations. This way interdependency between objects are established and the object behavior can be transformed easily.13
12 13
Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 P. 11
International Terminal, Waterloo Station (1993), London, UK, architect Nicholas Grimshaw and Partners. Both image: <http://grimshawarchitects.com/ project/international-terminalwaterloo/>
Parametric definition of the scaling factor for truss geometry of the truss span for the waterloo station.
The International Terminal at Waterloo Station in London designed by Nicholas Grimshaw and Partners is a clear example of conceptual and developmental benefits through using a parametric approach to design. The architects has made use of parametric model which allowed easy adjustment and interactive refinement to the size of the roof span and the curvature of each individual arches that are related. Hence by assigning different values to the span parameter, 36 dimensionally different yet topologically identical arches were generated and were inserted into the final geometric model, which successfully fit well with the asymmetrical geometry of the platforms.14 As shown through this project, it is clear that parametric modeling allows for rapid design development and modifications. It allows information and instruction that was set early in the design development to be automatically updated over design changes.
14 Grimshaw Architects, <http://grimshaw-architects.com/project/international-terminal-waterloo/>
the Articulated Cloud (2004), Pittsburgh Childrenâ&#x20AC;&#x2122;s Museum, Pittsburgh, PA, architect Ned Kahn <http://nedkahn.com/portfolio/articulated-cloud/>
I would also like to talk about the ‘Articulated Cloud’ designed by Ned Kahn. Similar to the façade at the car park in Brisbane airport, the threestorey steel and glass building’s appearance changes according to the variations of light conditions, weather, as well as the time of the day. An aluminum space frame supports the articulated skin so it appears to be floating in front of the building. The main energy to generate this skin change is through wind. The wind activate the façade which consist of thousands of translucent plastic flaps and which cause this scene as though the building is being enveloped by a digitized cloud. The skin also acts as a protective layer to reduce heat gain on the glass façade and since it’s composed of glass, it is visible throughout the interior of the museum. 15 In this example it has demonstrated that a design framework can incorporate parametric design and to manipulate the façade at the same time modulated by natural environments. The design has combined the material behavioral characteristics with parametric principles. The building becomes performative, responsive to the environment and continues to fascinate the public by keeping it unpredictable.
new set of opportunities which allows the designers to further explore and develop. However, a limited in creativity is shown as the 3D modeling programs are not capable for developing architectural thinking and design creativity as they are just working in precise dimensions and pure forms.16 In the article written by Burry, he proposed architects to get familiar with scripting, a medium that ‘allows the user to adapt, customize or completely reconfigure software around their own predilections and models of working.’17 He believes that it is through scripting that architects or designers will be able to take full control in his design process through designing its own rules and constrains to generate his own design.18 This brings architecture design to a whole new level where instead of creating forms that are provided by the software, you generate your own design process and forms through a bottom-up approach.
Essentially one of the biggest benefits of using parametric modeling is that it has introduce a whole
15 16 17 18
Ned Kahn Articulated Cloud, <http://nedkahn.com/portfolio/articulated-cloud/> Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), P. 8 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), P. 13.
A.4 ALOGORITHMIC EXPLORATION
trials on creating arcs
Grasshopper plugin for generating arc
Throughout the start of the semester I have followed the tutorials and done some alogorithmic exploration with grasshopper plugin in Rhino. Firstly I have done a trial for using simple curve. I believe that the curve function is very important in desiging a geometry as curves provides a sense of fluidity and flow. The goemetry can be smooth and give people a sense of harmonious. I have used the input Arcs to create some arcs between the two curves.
Using grasshopper for this purpose is convienent as if we were to update all the curves, all the arch created will updates automatically as well. Dividing curve is useful as if we were to work with real dimensions with real materials.
trial on sectioning
I have also explore a bit of sectioning after watching the tutorial on AA Driftwood surfaces, as many designers and architects out there has also used this similar kind of way to design and build. I went on and try out to create a simple surface using curves and circles and used it as a input to test out some of the inputs in grasshopper. Sectioning is different to lofting or extruding with only one solution, instead it seperates the whole into various of
Grasshopper plugin for sectioning
Explorations on creating a gridshell
layers but still can be combine as a whole. I found this very interesting and useful as the resulting outcome could create a strong visual impact. I have also try to create a gridshell by using some tree explode components to create a definition to loft some of the curves I have drawn and using the shift list component to create a pattern of points to fit the geodesic curves through.
Grasshopper plugin for creating a gridshell
I believe that these explorations would be able to apply to the desgin for the gateway project as I am interested in designing something that is eye catching which stands out and symbolise an welcome entrance for the visitors. Trials on pattern manipulation
Grasshopper plugin for pattern manipulation
A.5 CONCLUSION A gateway is a symbolic door opening to the visitors and welcoming them into the city or area. I believe that the design should not only create a visual impact to the visitors, but should also be performative and functionable. I am interested in designing something that is able to adapt to the surrounding environmental and weather changes and respond to the effect caused by them to make the design more interesting and innovative. By utilizing the natural environment as the driving force of the movement of the structure, this could raise awareness to environmental sustainability by promoting the use of natural resources instead of power. Parametric modeling allows us to manipulate and explore the outcomes in a more convienent and accurate way thus widening the possible outcomes that could be generate with different shapes and geometry. I believe that the generated outcome will benefit both the users and the city by providing more functions such as allowing connection between places more efficiently. Overall the design should fit in within the landscape so as to minimize the damange to the natural environments as well as creating a nice and harmonious scenary for the public.
A.6 LEARNING OUTCOMES Through various readings and online tutorials provided, they have raised my interest and widen my view of computing in the architectural industry. I am fasinated by how quickly a simple shape could be changed by simply adjusting the experimental data through my explorations with Grasshopper in Rhino. My understanding of architecutral computing has developed greatly by studying some of the precedents on how the architects have made use of the benefits through parametric modeling such as the efficiency of designing and to make changes and adjustment to the design by manipulating the equations that are written and set in the software. It allows architects and designers to quickly try out different materials and provide easier interaction with industrial machines such as laser cutters, thus models that have organic shapes could be produced in a more accurate way. After learning more about parametric design, I believe that I could definitely improve the design that I did for the body lantern project in Virtual Environments, where at that time I had no experience on how to utilize the computer software to generate the design into something more complicated and beautiful. I am now more confident to refine the simple triangle-pattern model and to produce a much more innovative and delicate structure in manipulating the shapes, geometry and patterning through parametric modeling.
making progress of the project of body lantern in Virtual Environments
Reference: Arch Daily, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> Arch Science, <http://www.archiscene.net/firms/aedas/al-bahar-towers/> Brady Peters, <http://www.bradypeters.com/smithsonian.html> Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 71. Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 < http://app.lms.unimelb. edu.au/bbcswebdav/pid-416194-dt-announcement-rid-12019919_2/courses/ABPL30048_2013_SM1/Computation%20Works%20-%20The%20Building%20of%20Algorithmic%20Thought.pdf> Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48 Grimshaw Architects, <http://grimshaw-architects.com/project/international-terminal-waterloo/> Ned Kahn Articulated Cloud, <http://nedkahn.com/portfolio/articulated-cloud/> Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28. Open Buildings , <http://openbuildings.com/buildings/blur-building-profile-2257> Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. UAP, <http://www.uap.com.au/art/infrastructure/brisbane-domestic-terminal-car-park/> Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25