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In the first days of my architecture course at Melbourne University I remember standing in the lobby of the old architecture building with a fellow student who was then part way through his second year. We were observing the plans of the new architecture building which was to replace the one we were currently standing in. I asked my friend “can you imagine designing this building yourself?� He told me that he could. Having barely started my course in architecture, and at that point not entirely sure that was what I wanted to do, I could not comprehend how one would go about designing a building so large, complex and attractive as this. The time and thought and number of hours that must go into planning such a thing, sorting out every little detail, providing as efficient a design as possible while not jeopardising the beauty of the thing. How does one deal with all of that? Where does one even start?
Now just having completed two years of this course I understand. Not to say that I myself could design a building such as the one currently under construction, buy that I can understand how it is done. I can discern the buildings parts, determine what drove the architect to place this window here, that wall there, and I can begin to see the concept, the idea behind the building itself. In two short years I have come to a point where I have an understanding of architecture that I couldn’t imagine having two years before. But my goal was never to understand how it was done. My goal was to learn how to do it myself. And for that I still have a long and exciting journey ahead of me. I like to see things built. I like to create an object myself. Conceptualise it, design it, and see made into a physical form, having an active hand in its construction. I like to do this because I like the stage which comes next. When I get to stand back and look at the thing I have made and know that I have made it. To know that someone is going to use this thing, enjoy it, be thankful for its existence, and that I was the person who gave it to them. To me this is the purpose of architecture; To create a solution to a problem and to do so in the most efficient and beautiful way possible. To physically create something according to a vision of the world which would see it made better than it currently is.
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Beauty The first sense Art The first word Then wonder Then the inner realization of form The sense of wholeness of inseperable elements Design consults nature [1]
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1 Marco Frascari, ‘The Tell-The-Tale Detail’, The Tell-The-Tale Detail, (1981), p.7.
MODULE A
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A.1 - DESIGN FUTURING Luminescent Solar Concentrators Jan Vorman - Dispatchwork David Benjamin - “Hy-Fi”
A.2 - DESIGN COMPUTATION
CONCEPTUALISATION 6 8 10 12
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Swarm Intelligence Messe Basel New Hall
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A.3 - COMPOSITION/GENERATION
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Emergent Design Son-O-House
A.4 - CONCLUSION A.5 - PARAMETRIC DESIGN VS TRADITIONAL ARCHITECTURE A.6 - APPENDIX Algorithmic Sketchbook
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“It seems strange then that when called upon to signify sustainability and the importance there of, the banal solution is reverting to imitations of nature to analogues of various green biological icons generally thought of as pretty pictures of nature. There is no provocation in stuffing a building full of vegetables and stating that the green stuff contributes to the interior climate through absorbing CO2. It generates no public awareness, no excessive experience, it is simply too comfortable. Speaking of comfortable and mundane, once you manage to brush the leaves and vines away, in search of the man made form, what you find is easily reduced to an ideal constructed in the 1920s: curtain walls and building masses that conform to the dated idea of modernity. The only innovation being that the roof garden has moved to the convenience of the interior.” [2] - An unsustainable lack of edge
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2 ‘An unsustainable lack of edge’ 120 Hours, (2014) < http://www.120hours. no> [Accessed 17 February 2014]
A.1 DESIGN FUTURING In a society where the very things that ensure the continuation of our day to day life are slowly but surely bringing about our destruction, a change in perspective is needed steer us off a path with an increasingly limited opportunity for a future. The effects of the unsustainable world we have been working so hard to create are coming to the forefront, along with the realization of our short sightedness in our prior practice of design and technology. To move forward this new knowledge must also come with a change of thinking, and most importantly, a change in how we design. To avoid the continuation of this destructive construction, we must stop designing for the present, and begin designing for the future. The counter to our unsustainable society is, of course, sustainable design, which has long been growing in effectiveness and use. However, with the development of new sustainable technologies occurring independently to the development of design practice, sustainable design in architecture has become merely a feature which architects can add to their buildings, often appearing somewhat as an afterthought. Furthermore it has become a fashion statement within the building industry. The promise of a green building being used as a selling point to those with a heightened environmental awareness. Or perhaps to those looking for a quick fix to satisfy their social obligation to “save the planet”. Design, and architecture in particular, needs to begin taking steps away from using sustainable technologies as an add on to building design, an economic or social bonus, and start properly integrating it in to the way we think about designing space. ‘Design futuring’ and ‘design intelligence’ are two terms outlined by Tony Fry in his book “Design Futuring”[3]. They basically outline a need to alter the way we think about design. In effect redesigning design. Currently, and in the past, design has been centred on the needs of the present, without much thought going towards the future. The development of technologies which generate power from unsustainable and damaging sources, such as fossil fuels and crude oils, are a prime example of this. To move in to a future of design which will enable the future of our society, we must start incorporating a design intelligence which takes in to account the effects a design will have on the future, and begin moving away from the technologies which are robbing us of one. 3 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, English Ed. edn (United States: Bloomsburry Academic, 2008)
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http://www.jetsongreen.com/2008/07/mits-covalent-s.html
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Luminescent Solar Concentrators “The luminescent species absorbs and re-emits incident solar radiation, which is guided to the edges of the plastic sheet by total internally reflection. Thin strips of photovoltaic material at the edge of these sheets convert the concentrated light into electricity” [4]
http://siser.eps.hw.ac.uk/research/concentrating-pv/luminescent-solar-concentrators-lscs
Effectively executing the same job as a standard photovoltaic solar panel, the Luminescent Solar Concentrator features a number of advantages which allow it to be used more subtely and aesthecially than its solar powered counterpart.
being effective in both direct and diffuse light. This give the LSC’s greater effectiveness in overcast conditioins and potential for use in northern European countries.
Comprising of a thin sheet of material, typically a polymer, doped with luminescent species such as organic dyes, quantum dots or rare earth complexes, [1] the Solar Concentrator is able to trap solar energy over a large area and direct it out the edges of the sheet. The device will only absorb a certain wavelength of light, determined by the colour of dye that is used, and this colour light will be concentrated and emitted out the edges of the sheet with a luminescent glow. The devices which actually collects the energy are the solar cells placed along the edges of the sheets, absorbing the concentrated light and converting it in to electricity.
The biggest advantage for this technology lies in its appearance. Each Solar Concentrator sheet will absorb one wave length of light, emmitting it out the edges and allowing all other wavelengths to pass through, leaving the sheet itself completely transparent. This effectively means that Luminescent Solar Concentrators are a type of glass which produces electricity. The potential uses for this product are endless, given that a stable and efficient prototype can be created. Just having these LSC’s replace glass windows or skylights could produce enourmous amounts of energy with literally no hindrance, aesthetically or obstructively, other than a little extra cost.
The Luminescent Solar Concentrator offers some significant advantages to solar panels, and some disadvantages. The technology is relatively new and is still being developed, working examples offering 7% efficiency compared to a potential 40% for silicon photovoltaics. (Though very recent prototypes are producing up to 20% efficiency.) However the concentrator system gives the LSC’s a significant advantage in collecting solar radiatioin,
Beyond the technologies potential ability to blend straight in to our current practices of building design, it provides opportunities through the very technology which makes it work. Each sheet absorbs one wavelength of light and emits it through the edges with a vibrant, luminescent glow. An aesthetic feature which could be put to use in architecture and art, and a technology which seems perfectly suited to the Land Art Genrator Initiative.
4 ‘Luminescent Solar Concentrators’, Siser, (2014) < http://www.mhra.org.uk/ Publications/Books/StyleGuide/StyleGuideV3_1.pdf> [accessed 1 April, 2014]
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Fig. A.1.02
Jan Vorman Old buildings become ragged and run down. Holes begin to appear, jeopardising structural integrity and appearance. Sometimes holes are replaced with mortar and brick, not always of the same style or colour as pre existing bricks, but often they are left open. This is where Jan Vorman comes in. Literally walking around the city armed with a bag full of lego blocks[5], Jan Vorman looks for any kind of hole, crevice or missing brick where he can perform his art. The rules are simple, find the blocks, whatever the shape or colour, and fill the hole[6]. Bring the structure back to its complete form, but enhanced with something that could only come out of its destruction. A playful beauty that seems to come straight from the imagination of a child. Where most would walk past a crumbling wall and curse the deteriorating state of their city, blaming some other person for the eyesore that has crossed their path, Jan Vorman sees a canvas. And why shouldn’t he. Old and deteriorating architecture is found all over the world, as we move on to new and improved technologies but cant bring ourselves to forget the beauty of an older style. But these buildings deteriorate none nonetheless,
Fig. A.1.03
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5 Vidar, ‘Lego - Lets color the world!’, Street Art Utopia (2011) < http://www.streetartutopia.com/?p=1279> [Accessed 1 April, 2014] 6 Jan Vorman, ‘Dispatchwork’, Jan Vorman < http://www.janvormann.com/testbild/ dispatchwork/> [Accessed 1 April, 2014] 7 Map, Dispatchwork < http://www.dispatchwork.info/> [Accessed 1 April, 2014]
Dispatchwork often not much is done about it. This is art with a purpose. To make the most out of a wreckage. To bring the broken back to life by making features of its faults. To fill an empty, unused and unwanted hole with something more special than what originally lay there. And its message: pure childish beauty. It pays no mind whatsoever to style. It does not attempt to create any form of order. Or to be attractive. Or to become anything other than itself. It simply is. The art is called Dispatchwork, and it has taken off around the world[7]. Led by Vorman and a small team, the work has spread out of Europe and is now invading cracks in pavements and loose bricks everywhere. An online database tracks where around the world the art has popped up as new people send in photos of their â&#x20AC;&#x2DC;patchesâ&#x20AC;&#x2122;. This is art on a global scale, spreading beyond its creator and being accessed by anyone who wishes to partake. A public art not only for display, but one which anyone can immerse themselves in. The rules are simple: find a crack in a building and fill it with lego. Then watch the smiles of those who discover it. Fig. A.1.04
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Fig. A.1.06
David Benjamin The winning project of this years MoMA Young Architects Program is an installation that gives ‘organic architecture’ and entirely new meaning[8]. The Young Architects Program (YAP) gives emerging architects the opportunity to design and present innovative projects, asking architects to design a temporary, outdoor installation which provides shade, seating and water while also addressing environmental issues. David Benjamin, founder of “The Living”, has definitely accomplished that with his installation he proposes to literally ‘grow’ from the ground up. The winning project of this years MoMA Young Architects Program is an installation that gives ‘organic architecture’ and entirely new meaning. The Young Architects Program (YAP) gives emerging architects the opportunity to design and present innovative projects, asking architects to design a temporary, outdoor installation which provides shade, seating and water while also addressing
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“Hy-Fi”
environmental issues. David Benjamin, founder of “The Living”, has definitely accomplished that with his installation he proposes to literally ‘grow’ from the ground up. While sustainable architecture has become an integral part of any new building design, it is often still added in almost as an afterthought. The building is designed and then the architect thinks of how he can insert some sustainable elements in, rather than designing the building with sustainability in mind from the beginning. In this regard Hy-Fi is different, it is entirely constructed from sustainable design and technology. Being more of an installation than a building Hy-Fi does not have to respond to the problems faced when designing more permanent structures. However it represents the direction architecture has been heading in for some time and clearly outlines a next step for the profession: the full integration of sustainable technologies into the design process.
Fig. A.1.07
Fig. A.1.09
Fig. A.1.08
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“The first Crystal Palaces and Eiffel Towers of the Information Age have just been built over the past few years”[9] - Branko Kolarevic
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8 Avinash Rajagopal. “Behind “Hy-Fi”: The Organic, Compostable Tower That Won MoMA PS1′s Young Architects Program 2014” 17 Feb 2014. ArchDaily < http://www.archdaily.com/477912/behind-hy-fi-the-entirely-organiccompostable-tower-that-won-moma-ps1-young-architect-s-program-2014/> [Accessed 1 April, 2014] 9 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3.
A . 2 DESIGN COMPUTATION
Architectural design as a practice is transforming from a pen and paper medium to the digital realm. Computer aided drawing systems are becoming a major tool in both the designing and presentation of projects, and with this comes completely new methods and ways of thinking about design. Computerization of design has already seen a massive change in the forms produced in architectural practice. Projects such as Gehryâ&#x20AC;&#x2122;s Guggenheim Museum radically change our ideas of what architecture is and can be, leading us away from any previous knowledge of the craft into completely new territories. But design computerization is just the beginning of architectures evolution in the Information Age. Computerization being the use of CAD programs to assist in the formation of concept and design, while still relying on the explicit creation of an overall form and layout. Generally this manifests as the integration of parametric design to an element of the building, such as a facade, or the use of computational models to create a form upon which functional aspects are explicitly placed. Emerging from CAD technologies, however, is a completely new way of thinking about design: computation. Closer to designing a set of rules for design than an actual design itself, design computation relies completely on parameters to produce a form. Using parameters and algorithms allows us to create extremely complex, responsive and even intelligent forms. In many ways it is a more basic and pure way to design. True design computation takes the project out of the creators hands, breaks away from any desires, ideas or prejudices he has and creates a form which responds specifically to context and the guidelines set. The question is, however, will these new ways of thinking about design give us the tools we need to combat the unsustainable mindset our society has adopted?
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Fig. A.2.02
Individually each ant in a colony does not possess any significant level of intelligence, yet the colony as a whole is capable of performing some extremely complex tasks. Instead of individual intelligence the ants possess swarm intelligence, which involves making decisions based on interactions between individual ants rather than from a colony head. When one ant comes across another they exchange information on a local level which in turn determines how each ant continues to behave. This method of informing and responding only at a local level spreads throughout the colony from ant to ant to create a collective intelligence in which all parties have an individual function.[10]
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In a form of biomimicry, swarm intelligence is beginning to find a place in architecture and urban planning. In an architectural setting a form is generated from a starting point from which it grows. As the form expands each element responds to its immediate surroundings, taking information from both the surrounding context and the form of which it is a part, and moves forward in a response to these factors. Adapting to context at a local level rather than overall, the form created will be far more organic and responsive to context. It could see architecture Fig. A.2.03
Fig. A.2.01
Swarm Intelligence and urban design moved away from the idea that a building is a form in itself and can be placed anywhere, to a thinking that involves the surrounding context very intimately in the design.
F a c a d e
R e f o r m a t i o n s
Kokkugia
The project shown was produced by Kokkugia,[11] the collaboration between Roland Snooks and Robert Stuart-Smith, and involves the gradual reformation of a facade. Starting with a smooth surface at one end, an algorithm is made which involves the surface reacting to itself and to the changes that those reactions make. The swarm intelligence used almost creates a form of moving architecture as we can trace the reshaping of the facade from start to finish, observing the reactions grow more and more out of control. A clear representation of swarm intelligence in action. Swarm intelligence is an ongoing research topic of Kokkugia in the fields of architecture and urban design. Projects involve architectural forms as well as urban planning proposals. However at this stage in the development of swarm intelligence as a form of parametric design for architecture, many of the projects seem to have a much stronger sculptural aspect than a functional one. 10 Marco Dorigo and Mauro Birattari, â&#x20AC;&#x2DC;Swarm Intelligenceâ&#x20AC;&#x2122;, Scholarpedia, (14 January 2014) < http://www.scholarpedia.org/article/Swarm_intelligence> [Accessed 2 April 2104]
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/2013/02/herzog-de-meuron_13.html
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Fig. A.2.06
Messe Basel Exhibition Hall
Herzog & De Mueron
Fig. A.2.04
Creating both functional exhibition halls and new public spaces, the new Messe Basel Exhibition Hall is very site and context specific, as all Herzog & De Mueron buildings are. Replacing two out of date exhibition halls with a modern three storey extension, it boasts large and uninterrupted halls on the second and third level, elevated off the ground to provide new public spaces for the city[12]. The idea of a penetrable design blurring the lines between exterior and interior and blending in to the surrounding environment is not a new idea for the Swiss design practice, and is apparent here not only through the plan and layout, but also through some of its external features. The parametrically designed facade serves a number of purposes for the overall building. Consisting of strips of undulating aluminium stacked on top of one another, the facade gives the building a texture and appearance which becomes its identity, and exhibition in itself[13]. Firstly it aims to differ from standard practice in exhibition hall design, which is largely determined by the layout of the halls themselves and is expressed in more of a functional manner than aesthetic. The variations in the orientation of the aluminium strips also serves to aid the buildings integration into its context, with the pattern becoming more â&#x20AC;&#x2DC;openâ&#x20AC;&#x2122; above building entrances and specified locations in its immediate surroundings. This is a good example of a building which uses computerization as a tool to aid its design. Differing for design computation in that the overall form and layout and building features are planned explicitly through more direct methods, the project employs digital techniques as an aid and alternative form of representation. It also relies on the technologies to create some aspects which would be hard to conceive of otherwise. However the power of this computerization becomes abundantly clear in designs such as this, where its use on the facade is the buildings
http://europaconcorsi.com/projects/223351-Herzo ages/3882831
Fig. A.2.05
http://www.dexign.co/architecture/mes
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“Empowered by advances in scripting interfaces and knkowledge of computer programming, these designers are actively creating their own design software. While these small offices have not yet built many projects, they are, for their size, very relevant to architectural practice as a whole.”[ 1 4 ] - Brady Peters
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11. Roland Snooks, ‘Facade Reformations’, Kokkugia, (2011) < www.kokkugia.com/ facade-reformations> [Accessed 2 April 2014]. 12. Herzog & De Meuron Basel, ‘213 Messe Basel - New Hall’, Herzog & De Meuron Projects, (2014) < http://www.herzogdemeuron.com/index/projects/completeworks/201-225/213-messe-basel-new-hall.html> [Accessed 2 April 2014]. 13. “Messe Basel New Hall / Herzog & de Meuron”, ArchDaily, (14 Feb 2013) < www. archdaily.com/332188/messe-basel-new-hall-herzog-de-meuron/> [Accessed 2 April 2014]. 14. Brady Peters, Computation Works: The Building of Algorithmic Thought, (2013) p.11.
C O M P O S I T I O N A . 3 /G E N E R A T I O N As design computation as a practice evolves, CAD technologies develop, and skill sets are maintained by those at the forefront, parametric design begins to move out of the drawing room and into the physical realm. This brings with it and endless stream of both exciting new possibilities and technical difficulties to overcome.
This shift from composition to generation has manifested in two main areas: in conjunction with pre-existing notions of architectural design, and as a new and holistic method of designing. While projects forming from a purely algorithmic basis still appear largely as art installations or merely developed concepts, the ideas of parametric design are propelled forward by its use in conjunction with formal ideas, as it is adopted by pre-existing architecture firms adapting to new technologies and opportunities. The later being generally seen largely as computerization rather than computation, pioneers of algorithmic design would see architectural design taken further out of the designers hands and into a realm where context and the rule set plays a greater role. While high profile buildings see to its introduction to the general public, and parametric art installations reveal its developments to the architecture community, the driving force behind design computations transition from composition to generation lies in its programmers. Constructing the scripts and algorithms which make parametric design accessible on a large scale, programmers are in effect re-inventing the way we design. Each upgrade to the programs we use to design means a multitude of new design opportunities, as well as quicker and more efficient designing. And beyond the programs which help us create a form, there are now a number of methods which help to move these designs in to the real world. With scripts to calculate anything from structural integrity to methods of fabrications like tessellation or stripping, design computation is moving from the screen and into the physical realm.
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Fig. A.3.01
Emergent Design
Sigmund Freud Pavillion
Christaph Hermann Working with a process similar to swarm intelligence, emergent architecture is the generation of space from local interactions within a complex system.[15] Rather than designing as a whole, this process proposes designing in small parts which respond to thier local environment. Taking in to account the surrounding context, contours, architecture or objects, as well as its own form, the design grows from its landscape as an integrated part, rather than an addition. Forming around the parameters of assisting the existing qualities of the site, a recreational park, and fulfilling the brief requirements in terms of spatial qualities, this pavillion attempts to integrates itself into its environment. Using emergence as a design tool the project examines the extensive layout of the park, viewing it as a singular
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system, an open and permeable form is produced, flowing in to its surroundings and negating the usual segregation between site and building.[16] Emergent design is being used to build with the site, whether natural or man-made, rather than viewing it as a blank slate to be altered at will. This takes the design out of the pre-influenced mind of the architect and gives it wholly to the context. Site specific and site sensitive architecture has been attempted time and time again, with varying results, but this method of design is a definitive step towards truly working with site and context, and with nature, to produce a more sustainable architecture.
Fig. A.3.02
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Son-O-House N O X a r c h i t e c t u r e Edwin van der Heide While it is more challenging to create a properly functioning building using parametric design, it is quite possible to produce art installations or pavilions, having less formality and simpler structural requirements. Designed from an analysis of typical movements of the human body, the Son-O-House is an example of design computation which has come to life. Information about â&#x20AC;&#x2DC;action-landscapesâ&#x20AC;&#x2122; throughout a house on a large and small scale become the parameters which determine the shape of the design, which is constructed using a structural skeleton of steel beams clad in a skin. Not only consisting of a parametrically design form, this pavilion also features a sort of parametric function. Equipped with twenty speakers, twenty three sensors and a set of rules for the
generation of sound, the space creates a sound environment which is dictated by the movements of its users. Altering and updating the composition with movement within the structure, the system stores previously played sound for re-use, meaning the song is ever changing and evolving. With the ever upgrading technologies, it is only a matter of time before parametric design moves beyond the installation and is capable of forming more complex structures.
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15. Roland Snooks, ‘Emergent Field’ Kokkugia, (2003), <http://www.kokkugia.com/ Emergent-field> [Accessed 3 April 2014] 16. Christoph Hermann, ‘Sigmund Freud Paviilion’, Portfolio by Chrishoph Hermann <http://www.christoph-hermann.com/parametric-architectures/parametric-architecture-pavilion/#> [Accessed 3 April 2014] 17. Edwin van der Heide, ‘Son-O-House’, Interactive sounding architecture < http:// www.evdh.net/sonohouse/> [Accessed 4 April 2014]
A.4 C O N C L U S I O N Throughout the part 1 of the Design Studio Air course I have found myself faced with a completely new set of design tools and ideas. The introduction of parametric design is a large step away from my usual ‘think up a form in my head and then try to reproduce it’ approach. When starting to use Grasshopper as a modelling tool I had to get used to the idea of ‘letting go’ of my designs. I always have an idea of how I want a design to turn out, but trying to reproduce this with Grasshopper proved largely unsuccessful. Adapting to parametric design rather than explicit is something that takes a little getting used to, but with the continued use of the programs it becomes easier and easier. Within parametric design itself I have become interested in a number of certain fields. The foremost of these are the ideas of ‘swarm intelligence’ and ‘emergence’. Architects have long tried to find ways to make a structure more contextually sensitive; blend in to the landscape, have a minimum footprint on the environment and still function efficiently for its desired purpose. Designing in terms of emergence, from the landscape up and with context constantly in mind, seems like a good step towards these desires. Computational architecture has an enourmous amount of promise in a large number of areas, but it is still lacking it an ability to fit in to a real world context, at least as far as large scale and functional buildings go. However the technologies are noticably developing fast and with each new script or algorithm created unlimited opportunities are unlocked.
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A.5 design computation vs traditional architecture Ways of thinking within the parametric design community differs greatly from the ideas of those who practice traditional methods of architecture. Most notably is the difference in views towards their own designs. While the traditional architect will feel a certain protective possession over his design, a computational architect wishes only to share what he has created. This comes from one fundamental difference. The traditional architect explicitly and holistically designed everything in that building. He placed each wall specifically, determined its shape and form, layout and materials, from the depth of the footings to the material of the roof cover. It is completely his creation, and any experience the buildings occupants gain from that was entirely his doing. Having spent some time working in construction, and on the rare occasion having been able to have a hand in the design, and always a hand in the construction, I know this feeling well. In fact it is the driving force behind my desire to be an architect. The computational architect, on the other hand, did not explicitly design his building. Yes he produced it, but in a second hand way. Computational architecture works on the general idea of a concept and the input of a set rules to produce a series of outcomes. While the archi-
tect tells the program how to design, it is not he himself who does the designing. It seems to me that this could be likened to a head of an architecture firm with a team of designers working under him. The man in charge receives the brief and hands it over to his team, perhaps with a few guidelines towards the projects outcome. He may have taught his design team everything they now, he may be an influential boss leading by example, but he has no more interaction with the project until his team hand him the final product. And though his name may appear on the design, was he really the designer, or was he just a middle man? In my research I have come across a number of exciting and amazing methods of design computation. One such method was emergent design. This involves the input of a set of data and rules relating to the context of the site, the buildings structural and functional requirements and running them through an algorithm which designs each part of the building at a local level in response to all these factors, as well as its own form. This technology is amazing, there is absolutely no doubt about that. It has the ability to produce an efficient, beautiful and sustainable design, directly responding to each site specifically. And best of all it is the first potential urban design master plan that doesnâ&#x20AC;&#x2122;t involve a thousand of the same building sitting in a row.
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But where is it going from here? Can and will computational design get to the point where it involves the input of every bit of data about the buildings context and function to a program which than calculates the most efficient form? Where, then, is the need for the architect? Design computation is taking the design out of the architects hands, but is this the future of architecture? Or its end?
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And is it selfish of me to ask that question? Or is it just my duty, along with other architects, to let go of my desires in favour of a better design?
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REFERENCES 1.
Marco Frascari, ‘The Tell-The-Tale Detail’, The Tell-The-Tale Detail, (1981), p.7.\
2.
‘An unsustainable lack of edge’ 120 Hours, (2014) < http://www.120hours.no> [Accessed 17 February 2014]
3.
Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, English Ed. edn (United States: Bloomsburry Academic, 2008
4.
‘Luminescent Solar Concentrators’, Siser, (2014) < http://www.mhra.org.uk/Publications/Books/StyleGuide/StyleGuideV3_1. pdf> [accessed 1 April, 2014]
5.
Vidar, ‘Lego - Lets color the world!’, Street Art Utopia (2011) < http://www.streetartutopia.com/?p=1279> [Accessed 1 April, 2014]
6.
Jan Vorman, ‘Dispatchwork’, Jan Vorman < http://www.janvormann.com/testbild/dispatchwork/> [Accessed 1 April, 2014]
7.
Map, Dispatchwork < http://www.dispatchwork.info/> [Accessed 1 April, 2014]
8.
Avinash Rajagopal. “Behind “Hy-Fi”: The Organic, Compostable Tower That Won MoMA PS1′s Young Architects Program 2014” 17 Feb 2014. ArchDaily < http://www.archdaily.com/477912/behind-hy-fi-the-entirely-organic-compostable- tower-that-wo moma-ps1-young-architect-s-program-2014/> [Accessed 1 April, 2014]
9.
Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3.
10.
Marco Dorigo and Mauro Birattari, ‘Swarm Intelligence’, Scholarpedia, (14 January 2014) < http://www.scholarpedia.org/ article/Swarm_intelligence> [Accessed 2 April 2104]
11. 12.
Roland Snooks, ‘Facade Reformations’, Kokkugia, (2011) < www.kokkugia.com/facade-reformations> [Accessed 2 April 2014].
13.
“Messe Basel New Hall / Herzog & de Meuron”, ArchDaily, (14 Feb 2013) < www.archdaily.com/332188/messe-basel-new- hall-herzog-de-meuron/> [Accessed 2 April 2014].
14.
Brady Peters, Computation Works: The Building of Algorithmic Thought, (2013) p.11.
15.
Roland Snooks, ‘Emergent Field’ Kokkugia, (2003), <http://www.kokkugia.com/Emergent-field> [Accessed 3 April 2014]
16.
Christoph Hermann, ‘Sigmund Freud Paviilion’, Portfolio by Chrishoph Hermann <http://www.christoph-hermann.com/para metric-architectures/parametric-architecture-pavilion/#> [Accessed 3 April 2014]
17.
Edwin van der Heide, ‘Son-O-House’, Interactive sounding architecture < http://www.evdh.net/sonohouse/> [Accessed 4 April 2014]
Herzog & De Meuron Basel, ‘213 Messe Basel - New Hall’, Herzog & De Meuron Projects, (2014) < http://www.herzogdemeu ron.com/index/projects/complete-works/201-225/213-messe-basel-new-hall.html> [Accessed 2 April 2014].
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Figure A.1.01 - Luminescent Solar Concentrators, Available at <http://www.jetsongreen.com/2008/07/mits-covalent-s.html> Figure A.1.02 - Dispatchwork, Jan Vorman Available at <http://www.raiscuola.rai.it/gallery-refresh/restaurare-con-i-lego-il-genio-di-jan-vormann/98/2/default.aspx>
Figure A.1.03 - Dispatchwork, Jan Vorman Available at < http://www.streetartutopia.com/?p=1279> Figure A.1.04 - Dispatchwork, Jan Vorman Available at < http://www.streetartutopia.com/?p=1279 > Figure A.1.05 - Dispatchwork, Jan Vorman Available at < http://www.demaravillas.com/2010/03/dispatchwork/dispatchwork-10/ > Figure A.1.06 - “Hy-Fi”, David Benjamin Available at <http://www.archdaily.com/473947/the-living-wins-p-s-1-with-compostable-brick-tower/> Figure A.1.07 - “Hy-Fi”, David Benjamin Available at < http://thelivingnewyork.com/hy-fi.htm > Figure A.1.08 - “Hy-Fi”, David Benjamin Available at <http://www.archdaily.com/473947/the-living-wins-p-s-1-with-compostable-brick-tower/> Figure A.1.09 - “Hy-Fi”, David Benjamin Available at < http://archpaper.com/news/articles.asp?id=7086 > Figure A.2.01 - Facade Reformations, kokkugia Available at < http://www.kokkugia.com/facade-reformations> Figure A.2.02 - Facade Reformations, kokkugia Available at < http://www.kokkugia.com/facade-reformations> Figure A.2.03 - Facade Reformations, kokkugia Available at < http://www.kokkugia.com/facade-reformations> Figure A.2.04 - Messe Basel Exhibition Hall, Herzog & De Meuron Available at <http://europaconcorsi.com/projects/223351-Herzog-de-Meuron-Messe-Basel-New-Hall-/images/3882831> Figure A.2.05 - Messe Basel Exhibition Hall, Herzog & De Meuron Available at <http://www.dexign.co/architecture/messe-basel-new-hall/> Figure A.2.06 - Messe Basel Exhibition Hall, Herzog & De Meuron Available at < http://afasiaarq.blogspot.com/2013/02/herzog-de-meuron_13.html > Figure A.3.01 - Sigmund Freud Pavilion, Christaph Hermann Available at < http://www.christoph-hermann.com/parametric-architectures/parametric-architecture-pavilion/> Figure A.3.02 - Sigmund Freud Pavilion, Christaph Hermann Available at < http://www.christoph-hermann.com/parametric-architectures/parametric-architecture-pavilion/> Figure A.3.03 - Son-O-House, NOX Available at <http://unamaquinalectoradecontexto.wordpress.com/2011/08/27/nox-lars-spuybroek-3/> Figure A.3.04 - Son-O-House, NOX Available at <http://unamaquinalectoradecontexto.wordpress.com/2011/08/27/nox-lars-spuybroek-3/> Figure A.3.05 - Son-O-House, NOX Available at < http://nanjoo.tistory.com/entry/%EB%B8%94%EB%A1%9C%EA%B7%B8-%EC%98%A4%ED%94%88 > Figure A.3.06 - Son-O-House, NOX Available at < http://www.projetoblog.com.br/2011/son-o-house-por-nox/ >
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A.6 A P P E N D I X Algorithmic sketchbook
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