A I R L u k e
A d a m s o n
S e m 1 , 2 0 1 6
Fig 1. Ideas Y Proyectos Dise単o Y Algoritmo 2014
CONTENTS PART A
PART B
PART C
Introduction A.1. Design Futuring A.2. Design Computation A.3. Composition/General A.4. Conclusion A.5. Learning Outcomes A.6. Appendix- Algorithimc Sketches B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique Development B.5. Technique: Prototypes B.6. Technique: Proposal B.7. Learning Objectives & Outcomes B.8. Appendix- Algorithmic Sketches C.1. Design Concept C.2. Tectonic Elements & Prototypes C.3. Final Detail Model C.4. Learning Objectives & Outcomes
A.1.
INTRODUCTION
Studio Earth Pavilion, 2015 Rhino & Photoshop
Studio Water Boathouse Archicad
Luke Adamson - 3rd Year Architecture. Growing up I have always had an interest in design, fostered in the early years of education before coming to fruition in studying at the University of Melbourne under the Bachelor of Environments. Architecture had always interested me through its ability to satisfy simplistic human needs while providing more than just the bare necessities, sculpting lanscapes and areas to create a broad spectrum and exerpiences. It has become increasingly obvious that technology plays a vital role in the architecture of today’s society. Various digital design ideas are available and employed in a plethora of ways. My previous experience with digital design methods has been highly self guided through practice in previous projects and side works. I have recently acquired industry experience in a small Architectural Firm in North Melbourne (Architecture Matters) completing small jobs with Archicad. I feel proficient and capable using Archicad, however my knowledge of 3d modelling programs like Rhino and Revvit are limited, leaving room for me to expand my knowledge base. Through my studies my interest in computer aided design has flourished and I harbour a thirst to learn anything that could be applied to the architectural field in my feature career.
A Fig 2. Fernando Romero and Mauricio Ceballos The Museo Soumaya 2015
PART A
CONCEPTUALISATION
Fig 3. Design, Development and Context Dutch Portfolio 2016
A.1.
Guggenheim Museum. FranK Gehry
Fig 4. Bruno Assumpção A Mcdonaldização Dos Museus 2012
Gehry uses a compilation of bold shapes and unusual post modern surfaces to create structures which challenge conventional architecture with bold ideas and statements. Known for his ambitious designs which tend to harbour complexity, Gehry is often criticized for not using his design space as a valued principle in his architecture. Some individuals loathe his designs and consider them a waste of important space. With that considered, many visionary architects can conflict with popular public opinion in search for a different kind of architecture. Gehry’s innovative visions and unique synthesis of design concepts have inspired visionary designers around the world. Thus Gehry has created a solution to some of the bland modernistic architecture of the end period of the 20th century which was riddled with overused typical design strategies and methodology. He inspired generations to follow who aim to create a visual spectacle recognizable on a world scale. One such artist is Zaha Hadid, a woman known global for her striking and unique design. Specifically speaking, Gehry’s designs (especially the Guggenhiem Museum pictured) are not a product of digital computation, rather a computerisation of previous sketch work which is further developed through computer aided design. However, his striking features, such as the fluid curves and unique internal structural systems, give way to new methods of design which begin to assimilate more and more with parametric design technologies.
Fig 5. Iwan Baan The New York Times 2013
A.1.
Heydar Aliyev Centre. Zaha Hadid
Fig 6. Zaha Hadid Architects Designboom 2011
Zaha Hadid has been a pioneer architect, through her unique design styles and by empowering women in a design typically crowded with prominent male figures. Taking inspiration from architects like Gehry, Hadid has patented flowing curved architecture which excludes sharp angles, eliminating stagnant planes as to emulate natural surfaces, with contradicting that with material choice. The Heydar Aliyev Centre exemplifies an advancement in thinking from Gehry’s designs, considering cultural and contextual factors. This building is a single continuous surface providing a variety of cultural spaces connected under one tapestry while simultaneously create separate private areas. Hadid is known for focusing on notions of space in a multitude of dimensions; not only the physical space created by architecture itself but also social and cultural spaces and the effect on those who utilise these areas. Her architecture is clever and engaging, never dull and boring. She asserts her views through her architecture knowingly recognizing that others may interpret things differently. Hadid continues to be appreciated as a female leader in architecture, encapsulating a modern world through her actions and designs, inspiring a generation to adopt their own unique characteristics and ways of thinking. While still not being digitally computed, Hadid’s work is a step beyond Gehry, considering factors which limit her architectural scope. Her working is moulded by parameters in real life situations, leading to a design which connects to the user on a different level.
DESIGN COMPUTATION
The design process has been manipulated by computer aid as technology has developed, with both positive and negative results. Technology has boosted the synthesis of designs and ideas on a workable scale, allowing design fabrication through another medium. Many argue that this process has altered who can be now considered ‘designers’ by corrupting previous methods of creation, offering a disconnected solution to the problems faced, allowing people to stumble and adjust their way through projects. With that said, not everybody who can manipulate computer technology effectively can produce proficient designs. Thus, computer aided design (CAD) systems work as another weapon in a modern designers abilities. All fields of design have become accepting of new technologies, accommodating for flexibility in design techniques and systems. The construction industry has become heavily reliant on computer aid, to the extent that most would be lost without digital assistance. Computation fits within the void between visualization and creation. Designs are represented through technology which allows for development and improvement that is often not humanly possible. New design ideas can be discovered and controlled through altering parameters in design and altering computer generated algorithms. Documentation is produced at highly proficient levels with precise details, allowing the real world to be captured behind a screen and studied and altered in a mathematical fashion.
Fig 7 (Background). Yunus Emre Kara Parametric Design 2015
A.2.
Fig 8. ArchDaily “ICD-ITKE Research Pavilion 2013-2014
Fig 9. ArchDaily “ICD-ITKE Research Pavilion 2013-2014
A.2.
ICD-ITKE Research Pavilion ICD-ITKE University of Stuttgart
Fig 10 & 11. ArchDaily “ICD-ITKE Research Pavilion 2013-2014
This project puts contemporary design techniques in a unique light, culminating in research from a multitude of fields, including biologists, architects, engineers and paleontologists. Noting this is particularly interesting as a large majority of people think that computational design has streamlined the design process. The pavilion is a study of natural fiber composite shells, recreated with double layered lightweight fibers which were to reduce the need for structural framework, enabling more freedom within the design. The protective shells of beetles was studied and regarded as an efficient material use for maximum structural strength. 3D models were constructed with micro computer technology, allowing high resolution reconstruction and detailed analysis. ICD-ITKE used architectural prototypes throughout the design process with the use of robotic assistance. 36 geometrically unique modules were created through coreless winding with robotic arms. This allows for lightweight structural modules with high resource efficiency, no waste or off cuts. The total pavilion covers 50 square metres while only weighing 593kg. In this instance computer programs have allowed for complex arrangements abstracted from a seemingly simple shell structure, exploring the possibilities of material efficiency and spatial qualities.
Fig 12. ArchDaily Diyar Media Studio / ReNa Design 2015
A.2.
Diyar Media Studio ReNa Design.
Fig 13. ArchDaily Diyar Media Studio / ReNa Design 2015
Located in Teheran, Iran, this design studio embodies computational design qualities within its architectural decoration. The designers aimed to use algorithmically designed dynamic shapes in an elegant and fluid manner. A simple space is made interesting with complex geometries, depicting elements of traditional middle eastern architecture with technology. The whole design was crafted in extreme detail, with all elements considered as part of a larger algorithmic pattern. Even elements often disregarded as a design element like the air conditioning was designed to fit in. As can be seen, computer design has been a crucial part in this design. The wall design requires a complexity in construction that could not be created without the assistance of technology. The client benefits from the use of new age design techniques, allowing an otherwise blank space to become a canvas to create interest in the room, allowing modern and traditional architecture to collide. With technology continuing to develop, algorithmic architecture will continue on an upward trend.
COMPOSITION/GENERATION Often imagined as one in the same, design composition and generation share similar ideas yet possess qualities that make themselves distinguishable, often upon further investigation. Design composition denotes humanly crafting a design to fit a set of parameters or limits with the intention of creating better architecture. Design computation highlights the ability of scripts and algorithms to discover and model optimal designs and efficient architectural forms, typically defined with certain limits or formulae.
The National Gallery of Qatar serves of a perfect example that on first glance may convince the viewer that it is a generational structure, yet further research proves it is a computational piece. Inspiration was taken from the desert ‘Sidra Tree’ which is recognised as a beacon in the baron deserts throughout Qatar. The design studied the shape of the tree in order to create an efficient and practical design , while interior spaces are also closely alligned with energy and water saving strategies.
Fig 14 & 15. ArchDaily Qatar National Convention Centre / Arata Isozaki 2013
While drawing on information gathered, this building was architecuraly modified to produce a result that is visually stimulating and inspired by natural elements, however it is not considered to be a computer generated design.
This composite swarm prototype exemplifies generational design. Design director Roland Snooks created this sculptural piece through a swarm script which depicts analysis of social insects like ants and their behaviour as a group. This allows for structure, ornamentation and multiple surfaces to all be expressed in one form, optimizing material use and strength through complex algorithmic patterns.
Fig 16 & 17. Kokkugia Composite Swarm 2016
It is important to be able to recognise the differences between composition and generation. That isn’t to say that one method is preferable, rather that they are different ways about finding an architectural or design solution.
CONCLUSION Architecture is in a transformative phase. Developing technologies, materials, ways of thinking and reacting are all leading us into an ever changing design change. The current trajectory of architecture is continuing in an unsustainable manner. Perhaps the most prominent problem riddling most design fields, it is interesting to see movement towards correcting issues that may be fundamental to our survival as a species. As such, architecture professionals, students and visionaries alike are beginning to work with environmental protection and conservation as an engrained design concept. With technology continually changing and evolving, architecture is undergoing a transformative phase. New ways of designing allow for efficiency and accuracy, while also bringing new concepts and methodology to this progressive craft. Parametric design and algorithmic logic provide interesting ways of expressing design ideas while simultaneously providing a variety of methods to solve existing design problems. Incorporating already tried and tested means of design with everything that is constantly being developed and released provides a system where architecture can prosper and ultimately improving society on a global scale. Moving forward, architecture ought to continually be approached with interdisciplinary thinking, utilized all these exciting technology to its full effect. I plan to exercise my powers as a student of architecture to incorporate many professions into create a design solution for the Merri Creek brief.
LEARNING OUTCOMES Entering this subject with little knowledge of parametric design, the readings and lecture content have successfully introduced the concept and helped distinguish various similar terms. Alongside this, class discussion about the reading content and problems that have been encountered through weekly work has extended my knowledge. By coalescing with peers I have managed to overcome existing boundaries in my technological skill set and increased confidence levels in my abilities. Paramount to this subject is creating another facet in my design thinking, revolving around parametric design and using algorithms to produce an outcome. With the initial introduction phases complete, I am eager to see what how my design thinking develops into the Merri Creek project.
Fig 18 (Background). Esteban Castro Chacon, Marcin Komar, Aikaterini Papadimitriou, Yilin Yao Fibro City 2015
APPENDIX
Arc curves overlaid
Within the sketchbook I sought to manipulate what was taught in the tutorial videos through similar examples of my own creation. This was to allow myself to create scripts that had the same base concept, yet provided results of a completely different nature. Perhaps what was most satisfying was finding the angle of each image that created the most artistic outcome.
Spheres of different radius circled
Manipulation of grid network
REFERENCES Cover Page - Bolojan, Daniel, “Ubiquitous Urbanism Studio Zaha Hadid”, Non Standard Studio, 2013 <https://nonstandardstudio. wordpress.com/2013/03/19/1762/> [accessed 9 March 2016] Figure 1 Produccionalgoritmica. “Ideas Y Proyectos”, diseño y algoritmo, 2014 <https://produccionalgoritmica.wordpress. com/2014/05/02/ideas-y-proyectos/> [accessed 11 March 2016] Figure 2 “Architecture-Photos: The Museo Soumaya \ Fernando Romero And... (Neomexicanismos)”, Bloglovin’, 2015 <https://www. bloglovin.com/blogs/neomexicanismos-12532299/v-architecture-photos-museo-soumaya-fernando-4119746651> [accessed 11 March 2016] Figure 3 “DUTCH PORTFOLIO | DESIGN, DEVELOPMENT & CONTEXT”, Dutch Portfolio, 2016 <http://dutchportfolio.com/> [accessed 17 March 2016] Figure 4 Assumpção, Bruno, “A Mcdonaldização Dos Museus”, OBVIOUS, 2012 <http://lounge.obviousmag.org/olho_sobre_ tela/2012/04/a-mcdonaldizacao-dos-museus.html> [accessed 14 March 2016] Figure 5 Lau, Maya. “Who’S Winning The Architecture Arms Race?”, Nytimes.com, 2016 <http://www.nytimes.com/interactive/2013/10/13/ magazine/look-architecture-arms-race.html?_r=1&> [accessed 14 March 2016] Figure 6 “Zaha Hadid Heydar Aliyev”, designboom | architecture & design magazine, 2011 <http://www.designboom.com/architecture/ zaha-hadid-heydar-aliyev-cultural-centre-progress/> [accessed 14 March 2016] Figure 7 “Effect”, Pinterest, 2016 <https://www.pinterest.com/ pin/119275090108970549/> [accessed 14 March 2016] Figure 8, 9, 10 & 11 “ICD-ITKE Research Pavilion 2013-14 / ICDITKE University Of Stuttgart”, ArchDaily, 2014 <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 15 March 2016]
igure 12 & 13 “Diyar Media Studio / Rena Design”, ArchDaily, 2015 <http://www.archdaily.com/593966/diyar-media-studio-rena-design> [accessed 15 March 2016] Figure 14 & 15 “Qatar National Convention Centre / Arata Isozaki”, ArchDaily, 2013 <http://www.archdaily.com/425521/qatar-national-convention-centre-arata-isozaki> [accessed 15 March 2016] Figure 16 & 17 “Composite Swarm - Kokkugia”, Kokkugia.com, 2016 <http://www.kokkugia.com/Composite-Swarm> [accessed 15 March 2016] Figure 18 “Parametric World”, Parametricworld.tumblr.com, 2016 <http://parametricworld.tumblr.com/> [accessed 16 March 2016]