AIR

STUDIO AIR 2016, SEMESTER 1, FINNIAN WARNOCK JUN HAW LIU

TABLE OF CONTENTS Introduction Part A. Conceptualisation

A.1. Design Futuring

A.2. Design Computation

A.3. Composition/Generation A.4. Conclusion

A.5. Learning outcomes

A.6. Appendix - Algoritmic Sketches

INTRODUCTION 1.

Having myself raised in a multicultural country, I am glad that I able to see different kinds of architectural styles buildings, ranging from the Islamic Architecture to the Chinese Architecture.

I am always amazed by those iconic building around the world, that I have a dream to travel accross the globe to capture the beauty of architectural design.

When I first started my architecture degree in University of Melbourne, I came to know that the study scope of architecture is really broad. I had gained a lot of knowledge from the past 2 years of studying, and I wish to futher sharpen my skills in my final year of bachelor degree studies, especially in this Design Studio, Air.

Hi! I am Jun Haw. At the age of 17, I left my home country, Malaysia, to pursue my further studies in Melbourne, Australia. Currently, I am a third year Bachelor of Environments, majoring in Architecture, student.

When I am still young, around 13 years old, I got the interest in drawing. The drawing I produced at that age is kind of abstract, and no one understands what I am drawing, even myself. In the process of growing, I started to understand what is design. Design in fact means a lot more than just drawing something you never see before. Not only it involes the aesthetic value, but also the functionality.

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In this Air Studio, I am greatly exposed to digital design, which is a challenge for me. This studio mainly focuses on the software, called Rhino, with the plugin Grasshopper. Previously from the subject Visualizing Environments, I learnt how to use Rhino in a basic level, and I further developed my skill in Rhino in other studio classes. However, Rhino with the Grasshopper pugin is something new to me. It looks like you are doing computer programming with Grasshopper, but you are actually designing by implementing a series of codes. By the end of the semester, I hope I can master the basic of Grasshopper, and this in turn bring my Rhino skill to a much more advanced level.

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Water Studio: Studley Park Boathouse

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PART A

CONCEPTUALISATION

A.1.

DESIGN FUTURING

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CONCEPTUALISATION

3.

With the growth of the population in this world, the human beings are currently facing a critical moment of unsustainability. In fact, the defuturing situation of unsustainability is still accelerating, and the only thing human can do is to design against the undergoing deteriorating process. However, most of the designers thought that designing is only creating the tangible.

This is not exactly true, because designing involves problem-solving on how to make the world a better place to live as well. It is important for the designers to have that critical skills, as this is what “design futuring” is presently focusing on.

According to Fry, “design futuring” should approach two crucial tasks: slowing the speed of defuturing and redirecting human beings towards a far more sustainable manners of planetary habitation.1 Thus, human beings are bound to source the resources in a smart way, and think about the possible consequences that will leave on the society with every move they made.

Voussoir Cloud

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Centre Pompidou-Metz

1 Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008).

CONCEPTUALISATION 9

Voussoir Cloud • IwamotoScott 5.

Voussoir Cloud was constructed in Los Angeles, and was done in 2008. IwamotoScott aimed to explore the structural archetype of pure compression integrated with ultralight material system. The design is a system of vaults, relying on each other. There are three walls helping maintain their structural integrity to preserve their pure compressive form. The overall design is based on Antonio Gaudi and Frei Otto, where they used the hanging chain models for form-finding. The process to find the efficient form also integrated with computational hanging chain models as well as form-finding software. Working on this project, the material and structural strategies are intentionally confused. Every vault consists of a Delaunay tesselation that both confounds and capitalizes on the structural logics. The upper vault of Voussoir Cloud is more loosens and increase porosity, while at the column base, siezeable cell density of minor connective petals gang together.

With respect to the process, arch form was created by the petals, where in this situation, the petals are reevaluate to be built with paper thin material.1

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“VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com, 2016 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD>.

CONCEPTUALISATION

The outcome of this design heavily relies on parametric modelling tools, as this is difficult to be done with traditional design tools. The repetitive pattern makes it hard to be either hand-drafted or computer-drafted, but with parametric design tools, it is possible and also easy to reciprocate. In present days, the technology is advance, and it can help the fellow designers when they face some serious issues. This suggests that the designers are potentially heading towards a much more sustainable future.

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Simple geometry constitutes of four different kinds of triangular petals are interconnected to form the Voussoir Cloud, and this is done by RhinoScript, a 3D modelling tool. Before the construction of the structure in reality, the geometry that affects the stability and the materials to be used can firstly discovered with the aid of the computer. This is to ensure the sustainable form can be produced before it is too late. Thus, when the construction of the structure is commencing, there will be minimum to no changes, so no waste will be made.

The process of designing Voussoir Cloud strongly supports the idea of â&#x20AC;&#x153;design futuringâ&#x20AC;?, and helps to slow down the defuturing activities.

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CONCEPTUALISATION 11

Centre Pompidou-Metz • Shigeru Ban 8.

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CONCEPTUALISATION

The seamlessness between the interior and the exterior is achieved by using parametric modelling.

The laminated wood roof, with a haxagonal pattern, is made according to the fabric configuration of the Chinese bamboo-woven hat. Telfon-coated fiberglass membrane covers the vast timber roof. This is to allow the natural light to be filtered into the interior. A series of cantilevering kind of rectilinear tubes (floating above the ground) is shown in the main gallaries.

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The timber roof structure took around ten months to prepare. It took another four months for the installation of timber mesh. Every single beam is in unique proportions, because they were CNC-machined.

Moreover, the hexagon geometry concept is applied, as it is effective in joining the beams. This allows maximum roof tensility. The bolts usage for the joints provides the movement allowance as a precautionary step.1

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The material used in this project is mainly timber. Timber is inexhaustible and it is an easily recycled material.

The evolutionary principle in this project is the fusion of parametric design and the notion of sustainability.

This perfect combination suits the concept behind “design futuring”. Parametric modelling is efficient, and it is applied via the utilization of interconnecting beams. This produces a seemingly expanding roof, which caters the function of Centre Pompidou-Metz as a museum. It also make much more space to display the artworks. Parametric design is effectively used for maximum efficiency to be achieved, as it has the ability to create a complex digital design through timber panelling tools. In short, parametric design can indeed redirect human beings to a much more sustainable living environments.

1 “Centre Pompidou-Metz / Shigeru Ban Architects”, ArchDaily, 2014 <http:// www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>.

CONCEPTUALISATION 13

A.2.

DESIGN COMPUTATION

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CONCEPTUALISATION

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Shell Star Pavilion

With the advancement of technology, designing process is mostly aided by computer. In fact, computer helps to realise the concepts and ideas from the architects besides following the designersâ&#x20AC;&#x2122; instructions.

However, that creates an issue, because computer can only do what the human is asking for. Thus, human must put creativity into the computer, and this shows that the relationship between human and computer is important, so that a design can be produced.1 The development of technology is opening the opportunity for the designers to produce a unique outcome. The association between computers and designers helps to bring the ideas into realisation, as well as transforming the ideas and concepts into reality. This is often defined as computerisation. It is vital to know that computerisation is not constraint by the skills know by the designers, it is only limited by the imagination of the designers. It is clear that computer softwares are just tools for the designers to convey the ideas in a visual manner.

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Mercedes-Benz Museum

1 Kalay, Yehuda E.: Architectureâ&#x20AC;&#x2122;s New Media : Principles, Theories, And Methods Of Computer-Aided Design. - Cambridge, Mass. : MIT Press, 2004.

CONCEPTUALISATION 15

Shell Star Pavilion • Andrew Kudless / Matsys 13.

Shell Star Pavilion is a temporary pavilion. It is lightweight and it maximizes the spatial performance while putting the material and structure to minimum. This pavilion is located in Hong Kong, and it is created to be a gathering place for a special festival in December 2012. The concept behind this design is making a spatial vortex, so that the visitors will have the feeling of being drawn into the centre of the pavilion, and subsequently feeling drawn back to the larger festival site.1

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“Shell Star Pavilion « MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/category/projects/shell-star-pavilion/>.

CONCEPTUALISATION

This pavilion is parametrically-modeled, so it can maximize the spatial performance while minimizing structural support and material usage. The designing process is broken down into different stages. This is enabled by computational skills.

Grasshoper, one of the Rhino plugin, and Kangaroo, physics engine plugin, are used for the form-finding process. It is arranged into catenary-like thrust exterior surfaces, that alligned for the structural vectors. Hence, the minimal structural depths can be calculated. After that, the surface was optimised producing cells that compose the form which is able to move by bending a bit during construction, so that the curvature can take shape.

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The introduction of parametric design has made the design process becomes much more easier, especially generating a complex form. The design outcomes and what human able to create have been increased significantly with computational tools. This actually encourages creativity, in turn leading to a doorway of opportunities.

Although computer helps to simplify complicated process that the human brain cannot easily interpret, it is still human who controls the how the design should look like. Also, the successfulness of a design is judged by the human instincts. It is true that computer can help us in design, but the final design outcome still depends on the designers.

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CONCEPTUALISATION 17

Mercedes-Benz Museum • UN Studio 17.

Mercedes-Benz Museum uses sophisticated geometry to synthesize programmatic and structural organizations. This results a new landmark architectural building, where it celebrates a remarkable car. The geometric model rests on the trefoil organization. The program is scattered over the surfaces where it rises incrementally from ground level, and spiraling around the central atrium. The experience of the MercedesBenz Museum starts when the visitors are traveling up via the atrium to top level from where they proceed to the two main ways that unfold in a chronological manner as they go down through the building. There are two main trajectories. One is the truck and car collection and the other is the historical displays (Legend rooms). The trajectories spiral down on the perimeter of display platforms. They intersect with one and another at several points ,and this allows the user to change routes.1 1 18

“Mercedes-Benz Museum By Unstudio”, Unstudio.com, 2016 <http://www.unstudio.com/projects/mercedes-benz-museum>.

CONCEPTUALISATION

Mercedes-Benz Museum is actually an example of computerisation. As told earlier, ths museum is based on the trefoil idea. The musuem space creates a chronological timeline, where it circulates the building from the top to the bottom. Before the use of computers in visualizing the design, some features such as the infrastructures, programmes and sometimes even structures are thought using strong physical design model. Now, with computeraided modelling tool, the large column-free space and the twisted concrete work can be achieved within the architectural design to suit its main purpose as a display platform.

Both of the computer softwares as well as the human minds can be thought as an on-going development. The word “computation” slowly overtakes the word “computerisation”. Computation allows the imagination and creativity of the designers to go wild. By design computation, it is meant to generate some design using softwares without having initial thought to the design. It allowas the exploration and the generation of some unexpected outcomes. For example, a mroe creative, complex and playful geometry may be formed without being limited by some unforseen factors.

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CONCEPTUALISATION 19

A.3.

COMPOSITION / GENERATION

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CONCEPTUALISATION

Living in the modern days, this era is machine-driven, and thus leading the designers and the architects to explore new generation of language and form. The age of digitisation helps improving the construction methods and fabrication and the design process.1 Compostion-based era, where the design revolved around space and mass, has slowly moved to generation-based era. Generating with unique and unexpected results activates the mind of the designers, thus allowing their imagination to run wild and freely.

When a designer uses computation purely to design, further options can be discovered through modification work that alters with the model. This process is known as â&#x20AC;&#x153;sketching by algorithmâ&#x20AC;?. Algoritm is a technique or recipe in doing something. Therefore, designers have to adapt the concept of algorithmic thinking to understand the process and final results of the code generated. Also, it is important to know how to change the codes to discover new options as to achieve new design potentials.

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Subdivided Columns - A New Order

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The abstract relationship occuring around us leads human to imitation and the exposure of new concepts and propaganda. Via the exploration of the digital tools with parameters, tectonics and materials of production machinery, designers could produce a much more responsive design. They also explore how the surroundings respond.

Khan Shatyr Entertainment Center

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Brady Peters and Xavier De Kestelier, Computation Works.

CONCEPTUALISATION 21

Subdivided Columns – A New Order • Michael Hansmeyer 21.

“The traditional notion of an architect having a vision of a building and then drawing it either on paper or on a computer and then constructing it isnt really how architecture works, and in reality, the computer has a lot of influence on design.” “[There are] unseen objects that await us, if we as architects begin to think about designing not the object, but a process to generate objects.”

-Michael Hansmeyer 22

CONCEPTUALISATION

In designing the structure of the Subdivided Columns, Michael Hansmeyer involves the creation of algorithm.

A generative dessign process is used, and the algorithms are tweaked each time, so the result of the columns follow an identical aesthetical rule, but they do not actually motifs or surfaces in common. They together create a cohesive language, that shared in their fabrication and and materiality process. Unlike conventional architecture, the creation is holistical and down to its tiny surface details imitates a single process.

1mm sheets (in a contouring model) are used to constrcuct a full scale model. Poles, which run through a core, hold them together.

To sum up, Hansmeyerâ&#x20AC;&#x2122;s work is more than just producing complex sculpture, but he also uses the method of computation to design and construct structures. It also explores the efficiency of materials and the way to maximise structural integrity through the integration of materials and mathematics.

Clearly, these form cannot be imagined by human rationale and it is beyond human limits. Hansmeyer also explores the nature processes and later extracts them into an algorithm to produce something new. He experiments the columns with an input which perform the subdivision process, so they are different among the individual components. Initially, four cylinders were used in the algorithmic definition. However, each cylinder has its own local parameter settings. Running the process again and again with different parameters can create infinite numbers of columns. They can later combined together to form new columns, eventually form new generations of columns.1 22.

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1 â&#x20AC;&#x153;Michael Hansmeyer - Computational Architecture: Subdivided Columnsâ&#x20AC;?, Michael-hansmeyer.com, 2016 <http://www.michael-hansmeyer.com/projects/columns_ info.html?screenSize=1&color=0#undefined>.

CONCEPTUALISATION 23

Khan Shatyr Entertainment Center â&#x20AC;˘ Foster + Partners 24.

Khan Shatyr Entertainment Center is a massive transparent tent. It is located in Astana (capital city of Kazakhstan). It is constructed in neofuturist style. This project was disclosed by Nursultan Nazarbayev, the President of Kazakhstan on December 9, 2016.

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CONCEPTUALISATION

The Entertainment Centre comprises a cable net structure. It forms an envelop which encloses a three levels base building with retail, entertainment and leisure facilities.

There are difficulties with computational design and generation. One of them is that the forms and the outcomes are very complex. It is hard to represent them in 2D documentation and physical model. However, 3D printing has the potential to overcome this issue.

In this project, Foster + Partners used 3D printing extensively for the first time. This help to facilitate rapid prototyping. Hence, several design choices could be created every day.1

To generate a wide range of enclosure forms, parametric design tools were utilised. An algorithm was written for the form-finding process. The algorithm is used to simulate the structural strength of the cable net form structure. This is later developed into the final form.

In a nutshell, design generation aids the design team to quickly produce more than a few design options in a shorter period of time. The algorithm behind it was used for further developing and to define the building from.

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1 â&#x20AC;&#x153;Khan Shatyr Entertainment Centre | Foster + Partnersâ&#x20AC;?, Fosterandpartners. com, 2006 <http://www.fosterandpartners.com/projects/khan-shatyr-entertainmentcentre/>.

CONCEPTUALISATION 25

A.4. CONCLUSION In fact, the future lies in the hand of the person who designs and creates. Algoritmic thinking and parametric design creates a new fashion of thinking. Firstly, human must think of the future in order to have the ability for designing the future. As designers who bring new ideas, we must change the operating way as we are the person who can bring most impact to our surrounding.

With the advancement of parametric and computational design, desginers can now produce things which are beyond our limitations. Also, they can experiment and simulate with the new technology before bringing the design into reality.

When computation is used to conceptualise an idea, it is important to have a thought about the materials as well.

Designers have to think about the way on how to work with the materials, as this can greatly reduce wastage, cost and time. With the aid of computer softwares, an interactive relationship which brings benefits to the design process can happen. It becomes more easier to understand as we are no longer restricted by the limtations of human minds. We just have to change and modify things via a set of parameter.

We are not only design in a sense with just practical involvement, but also a strong concept is vital to help guiding designers through the design process. It is not being constraint by the design concept. However, we have to continue generating and exploring the best idea by using computation.

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CONCEPTUALISATION

A.5. LEARNING OUTCOMES Unlike previous studios I had attended, Air Studio is completely different. This studio is almost entirely based on concept, and I think this is interesting. From researching a numbers of precedents, I learnt that the range of possibilities for architecture is really broad. It inspires me to think more critically and analytically about the significance and methodology of design.

Conventional processes have become increasingly archaic, which I think this is an ignorant way in designing. Based on my experience on Grasshopper as a first time user, I feel overwhelming, but I belive that this is an insightful learning experience. The design outcome is always beyond my expectation, which I never apply this skill in my previos studio. If I had the chance to improve the past design, I would definitely incorporate the knowledge I learnt and going to learn during this semester.

CONCEPTUALISATION 27

A.6. APPENDIX - ALGORITHMIC SKETCHES

Single attractor point is used as the parameter to create this form. It looks like a contour form, and I believe further tweaking this form, for example loft it so they become a smooth surface, can generate contour digital model.

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CONCEPTUALISATION

This is created by multiple attractor points. This form is created when I placed the points not only at xy-plane, but also the z-plane. It represents a twisting movement, and I feel amazing when I generate this form unexpectedly.

Despite the messy look, I found this form has the potential for my future design project (ceiling design). It is generated by using series, so it will produce an array of different design form combined together.

CONCEPTUALISATION 29

REFERENCES “Centre Pompidou-Metz / Shigeru Ban Architects”, ArchDaily, 2014 <http://www. archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>.

Fry, Tony, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008).

Kalay, Yehuda E.: Architecture’s New Media : Principles, Theories, And Methods Of Computer-Aided Design. - Cambridge, Mass. : MIT Press, 2004.

“Khan Shatyr Entertainment Centre | Foster + Partners”, Fosterandpartners.com, 2006 <http:// www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/>.

“Mercedes-Benz Museum By Unstudio”, Unstudio.com, 2016 <http:// www.unstudio.com/projects/mercedes-benz-museum>.

“Michael Hansmeyer - Computational Architecture: Subdivided Columns”, Michael-hansmeyer.com, 2016 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0#undefined>.

“Shell Star Pavilion « MATSYS”, Matsysdesign.com, 2016 <http:// matsysdesign.com/category/projects/shell-star-pavilion/>.

“VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com, 2016 <http:// www.iwamotoscott.com/VOUSSOIR-CLOUD>.

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CONCEPTUALISATION

IMAGES 1.

Personal Image

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Personal Image

3. http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693868_ voussoir_cloud_1307120287_isar_vc_3144jt.jpg 4. http://images.adsttc.com/media/images/5332/4e2e/c07a/80cb/6b00/008f/ large_jpg/POMPIDOU_METZ_292.jpg?1395805731 5. http://payload.cargocollective.com/1/4/140786/1871783/ISAR%20VC%203141JT_1_1040.jpg 6. http://www.bdonline.co.uk/Journals/Graphic/p/r/g/21petal.gif 7. http://payload.cargocollective.com/1/4/140786/1871783/VC%20Petal%20Formation_12_1040.jpg 8. http://www.centrepompidou-metz.fr/sites/default/files/imagecache/ gallery_home_780x800/gallery-home/web-rh1896-0229parvis_0.jpg 9. https://upload.wikimedia.org/wikipedia/commons/c/cb/La_ charpente_du_Centre_Pompidou_Metz_(4925751298).jpg 10. https://upload.wikimedia.org/wikipedia/commons/c/cb/La_ charpente_du_Centre_Pompidou_Metz_(4925751298).jpg 11. http://ms00.mask9.com/mt0x0001/10015/image/201211/1121/work-shell- star-pavilion-by-andrew-kudless-and-riyad-joucka-p1-mask9.jpg 12. http://s.embark.org/0.9.0/media/820x400/Germany/images/ Stuttgart/mercedes-benz-museum-stuttgart-germany.jpg 13. http://matsysdesign.com/wp-content/uploads/2013/01/ShellStar-7849.jpg 14. http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-1.jpg 15. http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-2-620x388.jpg 16. http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-3-620x387.jpg 17. https://upload.wikimedia.org/wikipedia/commons/1/1a/Mercedes-Benz_Museum_201312_02_sunset.jpg 18. http://www.dutchdesignevents.com/dutchartevents/wp-content/uploads/image-import/_ NAfjRvSvsIg/TO617DXiQtI/AAAAAAAAAzE/Nj6j8QdslXU/s1600/Mercedes_Benz_Museum.jpg CONCEPTUALISATION 31

19. http://www.michael-hansmeyer.com/images/columns/columns_m1.jpg 20. http://hf00ycdnev-flywheel.netdna-ssl.com/wp-content/uploads/2014/08/01_2011FD24_443.jpg 21. http://www.michael-hansmeyer.com/images/columns/columns1.jpg 22. http://1.bp.blogspot.com/-d46ixA7EMwI/TZeYWoTsI7I/AAAAAAAAEeQ/TmTUPETqNfw/s200/slice1.gif 23. http://4.bp.blogspot.com/-kE8qehiC9ss/TZeYXWSJs0I/AAAAAAAAEeU/VH941nswbrM/s200/slice2.gif 24. http://www.archello.com/sites/default/files/imagecache/media_image/ KZAstanaEntertainment%20Center%20VF%20Matt%20Wilson2012.06.04.jpg 25. http://www.bradypeters.com/uploads/1/6/2/9/1629522/5418720_orig.jpg

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CONCEPTUALISATION

CONCEPTUALISATION 33

PART B

CRITERIA DESIGN

B.1.

RESEARCH FIELD

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CRITERIA DESIGN

As previously discussed in Part A, materiality and its method of construction are crucial aspects when utilizing parametric modeling. It is due the fact that material can directly affect the buildability and aesthetical feature of the final result. It is a challenge to explore the material performance within the digital model. However, this offers broad opportunities to architects and designers in their design at the same time.

The concept of material performance is mostly explained as enhancing the capabilities of the materials or employing the properties of the materials to inform the design. Nevertheless, a second approach is arising with the help of parametric design tools. In fact, it is unnecessary to improve the material properties, that are being researched, but it is important to take advantage of the properties of the materials in the form-finding activity.

According to Achim Menges, design computation gives a powerful intervention for both informing the process of design via specific material characteristics and behaviour, and later informing the organisation of material and matter across multiple scales rest on the feedback from the environment.1 This approach is called â&#x20AC;&#x153;morphogenetic designâ&#x20AC;?, where the materials form the shape in time.

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Achim Menges, Material Computation (Hoboken, N.J.: Wiley, 2012).

Timber products are the main focus in my design studio.

Different timber products have different purposes, for example, different furniture and tools, and different parts of houses. Today, timber materials are mostly treated with chemicals. If this is not done, the timber structures might keep changing all the time. Although this is one of the design flaw, this actually can be overcome by using the parametric design tools, so that the nature of the timber materials can be fully utilised.

CRITERIA DESIGN

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CASE STUDY 1.0

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CRITERIA DESIGN

CRITERIA DESIGN

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REFERENCES Menges, Achim, Material Computation (Hoboken, N.J.: Wiley, 2012).

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CRITERIA DESIGN

CRITERIA DESIGN

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