George lexi 835285

STUDIO AIR JOURNAL LEXI GEORGE 2018 TUTORIAL 14: DAVID

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CONTENTS Part A - Conceptualisation A.1.

A.2.

A.3.

A.4.

A.5.

A.6.

Design Futuring Design Computation Composition/ Generation Conclusion Learning Outcomes Appendix - Algorithm Sketches

Part B - Criteria Design B.1.

B.2.

B.3.

B.4.

B.5.

B.6.

B.7.

B.8.

Research Field Case Study 1.0 Case Study 2.0 Technique: Development Technique: Prototypes Technique: Proposal Learning Objectives and Outcomes Appendix - Algorithmic Sketches

Part C - Detailed Design C.1.

C.2.

C.3.

C.4.

Design Concept Tectonic Elements & Prototpes Final Detail Model Learning Objectives and Outcomes

PART A: CONCEPTUALISATION

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A.1. DESIGN FUTURING

INTRODUCTION Born and raised in Bangkok, I moved to Melbourne to pursue my dream of becoming an architect. Currently, I am undertaking my third and final year of studies for the Bachelor of Environments at the University of Melbourne.

Growing up in South East Asia I have been given many opportunities to travel; it is one of my favourite things to do, and it where my fascination for architecture derives from.

The most exciting thing about traveling is the ability to immerse yourself into a different culture, into new experiences within an unfamiliar environment— and let yourself discover what there is to know and learn; not just about the places, but also about others around you, as well as yourself.

Aside from my passion for traveling, I have a growing love for photography and art. I’ve always seen myself as a creative person, however I tend to struggle with communicating those ideas when needed. By learning to use Grasshopper in Studio Air, I hope to increase my experience in digital design, to better help communicate the complex ideas I have and be proud of what I create.

I want to have myself better prepared for the architectural industry for when I graduate.

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A.1. DESIGN FUTURING

FOSTER & PARTNERS’ DESIGN/ NATIONAL BANK OF KUWAIT HEADQUARTERS KUWAIT Design futuring is a practice that is concerned with sustainable design outcomes that is focused on changing the way we think, then how and what we design.1This design practice is intended to improve the quality of life through attempting to achieve maximum green star ratings.

The National Bank of Kuwait Headquarters is a 300-meterheight structure that is currently undergoing construction. The innovative structural design is driven by a response to local climate using a parametric model to help ‘integrate different performance parameters’1 allowing architects ‘to explore complex geometrical solutions for the building’ 1 The development of this software was used to optimize the design and fabrication process of the structure in response to the climate, encouraging future designers to fabricate more complex buildings, not only within the city of Kuwait, but also elsewhere that may face issues with designing complex structures due to climate restrictions.

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The orientation of the fins is one of the major elements that help to drive the geometry of the overall structure as the edge of the two fins on either side of the building ‘come together to form continuous arches at the top of the tower’1, framing the view to the sky. The geometry of the fins was generated by the parametric model to ensure that they are oriented in the right angle to provide shading for the east and west facades.

Furthermore, the geometry of the structure helps to promote self-shading due to the design of the overhanging floor plates which contributes to the use of passive design in more complex structures. The design and fabrication of this structure will help change the way architects think and solve issues by demonstrating the endless possibilities to optimize design in architecture.

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A.1. DESIGN FUTURING

FERNANDO ROMERO & ARMANDO RAMOS/ MUSEO SOUMAYA NEUVO POLANCO, MEXICO The Museo Soumaya is a private museum that holds one of the largest private art collections in the world.2 It is designed by a Mexican architect, Fernando Romero whose mission was to “reshape an old industrial area of Mexico City”2. The Museo Soumaya is known as an iconic structure in Mexico City as it is one of the first of its kind with high levels of complexities to be built in that area. The design of the museum was revolutionary during the time of construction as it was built without local expertise or precedent; demonstrating the design futuring principle through the social aspect.

The design futuring principle can also be seen from an environmental point of view through the chosen materials use to build the structure. Traditionally, the main material elements that are used in the Mexican tradition are stone, wood and masonry. However, hexagonal aluminium panels was used to compose the majority of the building’s façade; a design development through the structural engineering that allows a unique material to work in the difficult soil conditions of Mexico.

Furthermore, new techniques were developed using parametric modelling to allow for the fabrication of the hexagonal panels.

The issue with the hexagonal panels was that the design required over 16,00 unique panels, presenting cost issues as well as fabrication implications.

The Gaussian analysis was developed in response to this issue where it took the surface of the façade and divided it into two groups; panels with the most curves were grouped together and the one that are the most ‘regular’ were put into another group. With this, adjustments were made to the panel sizes and retested until reaching a desired outcome.

The process of using this parametric model is a non-linear design process as it requires constant recalibration. This can be reapplied to the design futuring principle as the traditional design process is linear whereas now, it is not.

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A.2. DESIGN COMPUTATION

DESIGN PROCESS & COMPUTATIONAL DESIGN The design process is an approach consisting of serval steps adapted by architects, engineers, and others to come up with a solution to a problem. The progress of the non-linear process from a linear one, helped to increase design creativity, allowing designers to flexibly reapproach the design issue to make modifications.

Moreover, the process has advanced even further through the introduction of computers.

This helped architects in facilitating the possibility to examine many design alternatives “by allowing continuous variation between pre-defined constraints”3 2.

Although computational design can be time consuming and requires artistic skill in using certain programs, the implementation of it in the architectural design process would help bring out creative potential and improve workflow; re-defined the architectural practice of design.

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The ongoing and incoming changes that the design and construction industry continuously face are the new technological advancements. Architecture and technology having always “intersected at a precarious crossroad”4; architecture being driven by new developments. This can only mean that architecture will also continue to advance with technology as well; not only in the creation of more complex designs but also construction methods.

Through the evolution of the design process from computing, opportunities for designers have greatly lengthen unimaginable outcomes. Two precedents that reflect the application of computer aided design in the architectural process that have proven successful are the Scunthorpe Sports Academy in North Lincolnshire and Messe Basel New Hall in Switzerland.

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A.2. DESIGN COMPUTATION

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S&P ARCHITECTS WITH BURO HAPPOLD/ SCUNTHORPE SPORTS ACADEMY/ NORTH LINCOLNSHIRE The Scunthorpe sports academy designed

by S&P Architects with Buro Happold focused on the use of contemporary computational design techniques to develop a simulation of the structure in real-time, “where the analysis is persistent with the model”5.

The benefit of creating this interactive model allowed designers to develop the “repohive form through novel form-finding and optimisation techniques”5. The parametric model developed by Happold enabled designers to receive live feedback regarding materiality whilst manipulating the structure computationally. The analytical data received from this simulation then became the driving influence of the architectural structure as it helped increase the understanding of the scenario and improved communicative idea throughout the design team.

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A.2. DESIGN COMPUTATION

HERZOG & DEMEURON/ MESSE BASEL – NEW HALL/ SWITZERLAND Messe Basel New Hall designed by Herzog & Demeuron strongly engages with contemporary computational design technique which helped its structure to stand out through its ornamentation form. The ornamentation as a decorative element, however, were not the design intentions of the architects6. The ornaments were more of a result from the use of computational design, which was driven through performance intent6, however, resulted in the beautiful generation of geometry that was used based on the material configurations that were looked at. To summarize, this structure demonstrates the use of computational design to achieve its performance intentions – resulting not only in a functional structure but also an aesthetically pleasing form.

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A.3. COMPOSITION/ GENERATION

COMPOSITION VS. GENERATION Generative design differentiates traditional compositional methods, commonly using parametric or algorithmic design as a process. The process entails using algorithmic thinking to outline parameters of the design that define the relationship of design response with its issues and intent. Due to the advance research of technological advancement, generative architecture has become a increasingly popular; shifting away from composition design due to computational methods.

The shift from composition to generation reflected through the manifesto of Antonia Sant’Elia7. This manifesto focuses on the futurist movement which embraces mechanisation and promotes the idea of modernity as the new starting points of cities. The power of fast paced technology was an idea frequently seen in this manifesto which could be related to the shift from compositional to generative design.

The manifesto encouraged designs to move away from classical design forms and techniques and to focus on the future; through the use of material and designing for functionality7. Applying these ideas to the shift from compositional to generative design; generative design would be seen as a step into the futurist movement as compositional design is being left behind (however not entirely). Although the focus is more towards the future; and generative design plays a big role of the future of architecture.

The use of generative design in the architectural process allows a wider range of design options to be explored. This is a much more efficient way of designing in comparison to using traditional design methods as a computer can generate hundreds if not thousands of ideas along with data to prove the best performing design. This would greatly impact the workflow of using the architectural design process, allowing ease of modification in different stages and flexibility of moving between stages in the design process.

Furthermore, generative design help architects create complex forms, some which are impossible to create using traditional design and manufacturing methods – a issue designers are facing, having to develop new methods of manufacturing to accompany for this. This shortcoming of the approach affects the architectural design process by lengthening it in trying to find manufacturing techniques that can accompany the complexity of the design.

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A.3. COMPOSITION/ GENERATION

AHO AUILIARY ARCHITECTURES STUDIO/ NESTED CATENARIES/ OSLO The nested catenaries architectural form is a brick arch structure developed using a combination of digitally simulated physical experimentation. Its structure is based on the same approach used by Antoni Gaudi in designing the Sagrada Familia; an “inverted hanging chain approach used to find structures acting in pure compression”.8 .

The development of this structure was using the Kangaroo plugin for Rhinoceros and Grasshopper; without it, the result or outcome to achieving the design intentions of the structure would differ. The role of this structure within the architectural discourse shows the development of an approach used when generative design was non-existent.

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Due to generative design and computational methods, the Kangaroo plugin is able to “simulate some aspects of the behaviour of real-world materials and objects…enabling geometric forms to be shaped by material properties and applied forces and interacted with in real time”8 Antonio Gaudi who used the same approach in designing the Sagrada Familia, did not have access to such generative methods as this project. However, his method proved to be achievable and did not limit him in design, but possibly in the construction method.

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A.3. COMPOSITION/ GENERATION

SPAN (MATIAS DEL CAMPO & SANDRA MANNINFWE WITH FEDERICO LA PICCIRELLA & FILLIPO NASSETTI)/ SHENZHEN BORDER STATION COMPETITION ENTRY/ HONGKONG The Shenzhen Boarder Station competition entry by SPAN, used GECO as a generative modelling tool to drive the design of the structure. GECO allows designers to create live linkages between the 3D model and the analysis platform. This project having used GECO to perform an eco-analysis on the solar access of the roof design, to evaluate the environmental performance of the structure’s “roof openings and their relationship”9 to its overall design form. GECO is a form of generative modelling tool that enable designers to “iteratively create and evaluate multiple models to explore design potentials and inform architectural decisions”9, improving the architectural practice of the early design stages in the process.

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A.4. CONCLUSION

FINAL CONCLUSION My intended design approach over the past few weeks have been to explore the possibilities of what Grasshopper has to offer by familiarizing myself with the program. Through this process, I wanted to achieve and grasp a better understanding of the concept of a non-linear design process.

To do this, I attempted to follow tutorials given in the course as well as others found online; learning various algorithms to achieve different forms.

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Further exploration is then completed by taking and combining different algorithms to produce innovative design outcomes.

The focus was to use design algorithms on their own, and address the same algorithm to create a new outcome.

From this familiarization stage, I have set a new design approach goal to accomplish over the next few weeks. This approach will consist of combining small parts of many wholes of different algorithms together to achieve new outcomes. By doing so, I hope to add more complexity to each design to reflect a progress in my design abilities through computational modelling.

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A.4. CONCLUSION

It is significant to be taking inspiration from different algorithms and combining parts to explore computation modelling in a more nonlinear/abstract direction as this will expand the possible outcomes.

It is guaranteed that many algorithms I create will fail, however amidst all the attempts I may come across one that does, and this one I will develop into exceptional work. It is a brazen way of design due to the uncertainty of whether the algorithms work in conjunction with one another, however parametric and computational modelling is all about the non-linear design process, a process which I want to explore further as this is how successful architectural designs are following.

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A.5. LEARNING OUTCOMES

WHAT I LEARNT One of the first things I was taught as a young artist back in school was that design is a non-linear process. The concept of this idea was easy to understand; however, it was difficult to grasp how architects are constantly reapproaching problems within the design process whilst using analogue techniques.

I then began to learn more about digital practices when starting university, but the programs I used still adapted more of a linear approach in the design, until I started using grasshopper in this subject.

Although Grasshopper is a less complex parametric modelling program compared to the ones designers used in the precedents researched, it allowed me to achieve a deeper understanding of parametric and computational design.

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A.5. LEARNING OUTCOMES

Parametric modelling helped me to instigate new creative ideas beyond my capabilities and imagination; it allowed me to approach design in a more nonlinear manner and assisted my workflow through the increase control I have over a single design. This is reflected through the increasing number of the design options and solutions I come up with in my sketchbook from the beginning till now.

The extent to which I understand parametric and computational design at this moment would have greatly benefited me earlier on in my degree by removing that boundary of ‘this is all you are capable of designing’ and allow me to be more explorative in my work. This would have resulted in much more complex and innovative designs in my work to begin with.

Precedents like the National Bank of Kuwait however, demonstrates the full extent of how parametric modelling enable innovative ways to approach context related problems in architecture whilst achieving complexity in their design.

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A.6. ALGORITHMIC SKETCHES

SKETCH BOOK DESIGNS All my sketches reflect my personal growth with my skills, knowledge and application of algorithmic design using the Grasshopper plugin.

Each week’s sketches demonstrate a new understanding of computational modelling; an understanding that is deeper than the previous and shows a progression through the creative outcomes of my design.

In the first week of familiarising myself with the Grasshopper plugin, I used the EXLAB tutorials to guide my creations by following the algorithm demonstrated, baking the form into rhino, and making design adjusts from there.

The form I had created reflects the knowledge I have learnt from the video, however, did not demonstrate much further exploration through the Grasshopper plugin as rhino was used to form the final composition.

The form however, still reflects good overall compositional skills through the balancing of textures and use of colours to create the effect of isolating the two forms whilst still being attached to one another.

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A.6. ALGORITHMIC SKETCHES

In the second week with the pavilion task, I furthered my exploration by creating my own curves and surfaces to use with the exercise instead of using the pre-existing one. I continued by following the algorithm process, allowing me to achieve the same outcome with a different overall form; a step further in explor-ing and familiarising myself with algorithmic modelling from the first week.

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A.6. ALGORITHMIC SKETCHES

In the final systems task I had chosen to focus on seashells; particularly in the way different species of sea-shells are created. This is dependent on water temperatures and the food source of the mollusks; the mol-lusks being the animal that not only lives inside the seashells, but they are the ones that build the shells us-ing calcium and protein.

From this research, I have chosen to take design influence on the shell form and texture by creating a pavilion. I admired the variations in seashells have, yet they all form the same pur-pose; this concept is much like algorithmic modelling process itself. Furthermore, I incorporated my personal connection with the chakra to the design through the structural form which is a reflexion of my emo-tions towards my blockage; that is, self-consciousness.

My research on precedents extended the material in tutorials as it allowed me to make connections to real life projects that have successfully applied parametric and computational modelling to architecture. This was beneficial to my personal growth as a designer and in influencing me to create algorithmic processes to best reflex my system and chakra at a complex level.

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A.6. BIBLIOGRAPHY

Al Fisher, ‘Engineering integration’, AD Magazine, 2 (83), (2013), 112-117. 5

Antonio Sant’Elia, ‘Messagio’, Architectural Theory, (2), (2008). 7

Brady Peters, ‘Realising the architectural idea’, AD Magazine, 2 (83), (2013), 112117.6

Daniel Piker, ’Kangaroo form finding with computational physics’, AD Magazine, 2 (83), (2013), 136-137. 8

Dusanka Popovska, ‘Integrated computational design National Bank of Kuwait Head Quarters’, AD Magazine, 2 (83), (2013), 34-35.1

Influences of Technology on Architecture and Design (2016) <https://www.easyrender.com/blog/influences-of-technology-on-architecture-and-design > [accessed 12 March 2018].4

Raul Soria, ‘Bridging a culture: the design of Museo Soumaya’, AD Magazine, 2 (83), (2013), 67-69.2 Thomas Grabner, ‘Geco Architectural design through environmental feedback’, AD Magazine, 2 (83), (2013), 142-143. 9

Yasha Grobman, Abraham Yezioro, Isaac Guedi Capeluto, ‘Non-Linear Architectural Design Process’, International Journal of Architectural Computing, 8.1, (), 2-5, <https://pdfs. semanticscholar.org/001a/de33e2b5e0a1d8d5265eccc120871bc3d904.pdf> [accessed 12 March 2018].3

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A.6. BIBLIOGRAPHY - PHOTOS FIGURE 1 – HTTP://BLOG.ALEXWEBB.COM/?TAG=GRASSHOPPER-SCRIPTS&PAGED=2 FIGURE 2 – HTTP://BLOG.ALEXWEBB.COM/?TAG=GRASSHOPPER-SCRIPTS&PAGED=2 FIGURE 3 – DUSANKA POPOVSKA, ‘INTEGRATED COMPUTATIONAL DESIGN NATIONAL BANK OF KUWAIT HEAD QUARTERS’, AD MAGAZINE, 2 (83), (2013), 34-35.

FIGURE 4 – RAUL SORIA, ‘BRIDGING A CULTURE: THE DESIGN OF MUSEO SOUMAYA’, AD MAGAZINE, 2 (83), (2013), 67-69.

FIGURE 5 – HTTP://THECURIOUSWAN.BLOGSPOT.COM.AU/2014/06/W6-LURE-OF-CONTINUOUS-SKIN_5.HTML FIGURE 6 – HTTP://WWW.SMART-SOLUTIONS-NETWORK.COM/PHOTO/SCUNTHORPE-SPORTS-ACADEMY-IMAGE?CONTEXT=LATEST FIGURE 7 – AL FISHER, ‘ENGINEERING INTEGRATION’, AD MAGAZINE, 2 (83), (2013), 112-117.

FIGURE 8 – HTTP://WWW.HUFTONANDCROW.COM/PROJECTS/GALLERY/MESSE-BASEL-NEW-HALL/ FIGURE 9 – HTTPS://WWW.PINTEREST.CA/PIN/8655424268232138/ FIGURE 10 – HTTP://PICSSR.COM/PHOTOS/AHO_OSLO/PAGE37?NSID=54186238@N04 FIGURE 11 - THOMAS GRABNER, ‘GECO ARCHITECTURAL DESIGN THROUGH ENVIRONMENTAL FEEDBACK’, AD MAGAZINE, 2 (83), (2013), 142-143.

FIGURE 12 - HTTP://BLOG.WE-DESIGNS.ORG/POST/3267671533/CODE-COLLECTIVE

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