STUDIO AIR 2014, SEMESTER 2, TUTOR: Philip Belesky STUDENT NAME: Natasha Frohlich
Table of Contents 4 Introduction 4 About me 6 Part A: Conceptualisation 8
A.1. Design Futuring 8 LAGI Precedent 10 LAGI Precedent
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A.2. Design Computation 13 Benefits of using computers 14 Design Computation 15 Precedent, HSBC Building 16 Precedent, Heydar Aliyev Center 18 Precedent, Guggenheim Museum Bilbao
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A.3. Composition/ Generating 20 Shift from composition to generation 21 Precedent, God’s Eye 22 Parametric modeling and design 23 Santiago Calatrava 24 Precedent, Guangzhou Opera
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A.4. Conclusion
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A.5. Learning Outcomes
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A.6. Appendix - Algorithmic Sketches
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References
Introduction
About Me My name is Natasha, and I am currently a 3rd year student at the University of Melbourne, majoring in Architecture. i have always been interesting in Art, Architecture and other Creative fields and found that growing up in Hong Kong allowed me to explore all my hobbies in a culturally rich manner. Not only do I enjoy architectural design, but am highly fascinated by painting and photography. I find the works of architects Daniel Libeskind, Zaha Hadid and Shigeru Ban to be compelling, in particular the : - Michael Lee-Chin Crystal (Libeskind) - Heydar Aliyev Center (Hadid) - Japanese Pavillion at Expo 2000 (Ban) I have previously worked with Rhino in two different subjects and found that the range of techniques/ tools to be intriguing and interesting to work with. In a previous subject i experimented with Paneling tools and unrolling / exporting CAD files to be used in architectural modeling. In the prior design studio ‘Earth’, i worked with Rhino to create my final design (as shown in figure 1). I find that digital architecture allows architectural designs to be taken taken to the next level through creative development processes that could only be accomplished through digital design. FIG.1:
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CONCEPTUALISATION
FIG.1:
FIG.1:
CONCEPTUALISATION 5
PART A . CONCEPTUALISATION
A.1. - DESIGN FUTURING
FIG.1:
THE LIVING RIBBON -ARTIST TEAM: BRETT MACINTYRE AND ADAM PELISSERO -LOCATION: HALIFAX, CANADA -ENERGY TECHNOLOGIES: PHOTOVOLTAIC THIN FILM AND FOG HARVESTING NETS -ANNUAL CAPACITY: 1,500 MWH
ABOUT THE LIVING RIBBON: • 1.6KM IN LENGTH • 15M IN WIDTH • SURFACE AREA CALCULATES TO 24000M SQUARE
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CONCEPTUALISATION
THE LIVING RIBBON WAS INSPIRED BY THE NATIVE FLORA AND FAUNA , AND SEEKS TO IMPROVE THE SALINITY OF THE WATER BEING DISTRIBUTED ALONG THE COASTLINE. OVER THE YEARS, THE LIFE THAT THRIVES ALONG THE COASTLINE HAS BEEN AFFECTED BY GLOBAL WARMING AND CLIMATE CHANGE, THEREBY KILLING AND DECREASING THE PLANT LIFE ALONG THIS AREA. THE RIBBON WILL ACT AS A BALANCE BETWEEN THE EARTH AND SKY, AS WELL AS THE SEA AND LAND. BY UTILIZING PHOTOVOLTAIC PANELS AND FOG HARVESTINGNETS. THE STRUCTURE WILL BE ABLE TO HARVEST MOISTURE FROM THE AIR FOR SURROUNDING PLANT LIFE , AS WELL AS GENERATE UP TO 888KW OF SOLAR ENERGY PER DAY.
FIG.1:
THIS DESIGN CONTRIBUTES TO THE FIELD OF IDEAS BECAUSE IT INTEGRATES TWO TECHNOLOGIES, ONE THAT ACTS AS A TENSION, AND ANOTHER THAT ACTS AS COMPRESSION. IN DOING SO, THIS DESIGN HAS ALLOWED FOR ‘TENSEGRITY’, WHICH NOT ONLY MINIMIZES THE NUMBER OF CONNECTIONS TO THE GROUND (THEREFORE DECREASING NEGATIVE IMPACTS ON THE SITE THROUGH CONSTRUCTING A FOUNDATION) BUT ALSO ALLOWS FOR A MULTIPLE TECHNOLOGIES AND AN INCREASE IN ENERGY HARVESTED. ALTHOUGH THIS STRUCTURE WAS NEVER BUILT, SIMILAR TECHNOLOGIES HAVE BEEN CONSIDERED FOR OTHER PARTS OF THE WORLD, FOR INSTANCE, MIAMI. IN AN ARTICLE BY THE “SUSTAINABLE BUSINESS NEWS”, NOTIONS AND DESIGN IDEAS OF A ‘CLIMATE RIBBON’ HAVE BEEN CONSIDERED. SIMILAR TECHNOLOGIES ARE BEING CONSIDERED IN CITY PLANNING AND WITHIN SKYSCRAPERS. THIS GOES TO SHOW THAT THE THEORY IS APPRECIATED AND THAT THERE ARE POSSIBILITIES FOR EXPANDING UPON THIS DESIGN IN FUTURE YEARS.
FUTHERMORE, THE DESIGN OF THE ‘LIVING RIBBON’ WISHES TO COMMEMORATE THE NATURAL BEAUTY OF ABU DHABI’S LANDSCAPE AND PROVIDE FRESH WATER FOR THE ECOSYSTEM. THE USE OF FOG HARVESTING NETS IS ESPECIALLY INTERESTING, AS IT ALLOWS FOR FOG TO PASS THROUGH THE NETS AND CONDENSE, CREATING WATER DROPLETS. THESE DROPLETS WILL BE ABLE TO PROVIDE WATER FOR THE SURROUNDING FLORA AND FAUNA, AS WELL AS HELP STABILIZE THE SALINITY OF THE WATER ALONG THE COASTLINE. NOT ONLY DOES THE DESIGN WISH TO IMPROVE UPON THE SITES NATURAL HABITAT, BUT ALSO SEEKS TO IMPROVE OUTWARDS.
CONCEPTUALISATION 9
A.1. - DESIGN FUTURING
FIG.1:
THE SOLAR CAIRN ARTIST TEAM: JULIANNE BROWN AND CHRISTIAN BROWN – ONION 3D DESIGN ARTIST LOCATION: NEW YORK CITY, US
THE SOLAR CAIRN FEATURES SEMITRANSPARENT SHAPES THAT FORM AN OVAL STRUCTURE. THESE SHAPES ARE CONSTRUCTED FROM PHOTOVOLTAIC THIN FILM, STATIONED OVER VARYING SIZES OF CURVED FRAMES. THE SOLAR CAIRN IS LOCATED ON A HILLTOP AND IS INTENDED TO BE USED BY BOTH PEOPLE AND NATIVE ANIMALS, AS THE STRUCTURE CATERS FOR BOTH. THE STRUCTURE IS STRETCH ACROSS 5 ACRES OF LAND ALONG THE LAGI DESIGN SITE AND SEEKS TO COMMEMORATE THE FRESHKILLS LANDFILL. NOT ONLY DOES THE DESIGN ACT AS A REMINDER OF THE NEGATIVE CONSEQUENCES OF “OVER CONSUMPTION”, BUT ALSO SERVES AS A BEACON OF HOPE TOWARDS RENEWAL AND THE FUTURE.
2012
EACH PHOTOVOLTAIC PANEL RANGES IN SHAPE FROM 5M TO 22.4M, THESE VARYING SIZES CONVEY THE NATURAL FLORA AND FAUNA, AS WELL AS PROVIDE COVER FOR NUMEROUS OCCUPANTS.
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CONCEPTUALISATION
FIG.1:
THE DESIGN: THE DESIGN CREATES AN OUTER BODY EXPERIENCE, AS IT MENTALLY TRANSPORTS ITS VISITORS FROM THE PAST, TO PRESENT AND THE FUTURE. THE INTERIOR SPACE FEATURES VARYING SURFACES, WHICH ARE CREATED USING RECYCLED MATERIALS. I BELIEVE THIS DESIGN IS RADICAL IN ITS WAY OF THINKING, AS IT UTILIZES THESE MANY RECYCLED MATERIALS TO ALLOW FOR DRAINAGE ON THE SITE.
THIS DESIGN CONTRIBUTES TO THE FIELD OF IDEAS BY UTILIZING RADICAL TECHNOLOGIES IN DIFFERENT WAYS. NOT ONLY DOES IT COLLECT AND STORE ENERGY, BUT THE 17FT CURVED PANELS ARE FASTENED TO THE GROUND USING A MESH GRID. THIS MESH GRID ALLOWS FOR EASY DRAINAGE AND A REDUCTION IN EROSION LEVELS. MOREOVER, THE MESH ALLOWS LOCAL BIRDS TO REST ON THE SITE, CREATING HARMONY BETWEEN NATURE AND THE STRUCTURE.
FURTHERMORE, THE DESIGN IS INTEGRATED WITH OAK TREES, WHICH PROVIDES ACORNS AS A SOURCE OF NOURISHMENT FOR LOCAL WILDLIFE. THIS INCORPORATION INTO THE DESIGN OF THE SITE EMPHASIZES ITS UNITY BETWEEN HUMANS AND NATURE. THE PHOTOVOLTAIC PANELS NOT ONLY ACT AS A SHADING DEVICE FOR VISITORS, BUT ALSO TRANSFORM SUNLIGHT INTO ENERGY.
LASTLY, THIS DESIGN COULD BE EXPANDED FOR FUTURE POSSIBILITIES BY BEING INCORPORATED INTO PLAYGROUND AND PARKS. THE DESIGN IS NOT ONLY AESTHETICALLY PLEASING, BUT COULD ALSO PROVIDE SOLAR ENERGY.
CONCEPTUALISATION 11
A.2. - DESIGN COMPUTATION
FIG.1:
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CONCEPTUALISATION
THE BENEFITS OF USING COMPUTERS IN THE ARCHITECTURAL DESIGN PROCESS: THERE ARE NUMEROUS BENEFITS TO USING COMPUTERS IN THE ARCHITECTURAL DESIGN PROCESS, NOT ONLY DOES CAD AND CAM ALLOW FOR QUICK AND EASY CHANGES TO ARCHITECTURAL DESIGNS, BUT IT ALSO BENEFITS THE DESIGN PROCESS. COMPUTING IN THE ARCHITECTURAL DESIGN PROCESS ALLOWS USERS TO “GENERATE AND EXPLORE ARCHITECTURAL SPACES”, THEREFORE ENABLING USERS TO EXPLORE THERE DESIGN FROM BOTH EXTERIOR AND INTERIOR PERSPECTIVES. THIS BENEFITS DESIGNERS BY ALLOWING THEM TO VISUALIZE, CONSTRUCT AND EXPERIMENT WITH SPACES WITHOUT HAVING TO PHYSICALLY BUILD MODELS. COMPUTER AIDED DESIGN ALLOWS FOR DESIGNERS TO EXPERIMENT WITH THEIR DESIGNS IN AN EASY AND FLEXIBLE NATURE. FOR EXAMPLE, A SINGLE DESIGN CAN BE ALTERED AND IF THE OUTCOME IS NOT DESIRABLE, REVERSING THE CHANGE IS ONLY A FEW CLICKS AWAY. THIS NOT ONLY SAVES TIME AND MONEY, BUT ALLOWS FOR A GREATER UNDERSTANDING AND DEVELOPMENT OF THE DESIGN PROCESS. FURTHERMORE, SOFTWARES, SUCH AS RHINO AND GRASSHOPPER, ALLOW FOR THE COMMUNITY/ USERS TO SHARE THEIR EXPERIENCE WITH THE COMPANY. THIS ENABLES PROGRAMS TO BENEFIT FROM THE LEARNING EXPERIENCE OF ITS USERS, AS WELL AS STORE INFORMATION THAT COULD IMPROVE THE SOFTWARE, AND FURTHERMORE, ALLOW FOR TEMPLATES AND GUIDELINES. BY INCORPORATING COMPUTING INTO ARCHITECTURAL DESIGN, COMPUTING CAN RE-DEFINE THE DESIGN PRACTICE BY TAKING DESIGN A STEP FURTHER. THESE PROGRAMMES ALLOW USERS TO EASILY WRITE AND MODIFY DESIGNS AND EXPERIMENT WITH DIFFERENT MATERIALS AND COLOURS, THEREBY EXPERIMENTING WITH THE AESTHETICS OF THE MODEL WITHOUT ACTUALLY HAVING TO PHYSICALLY BUILD ONE. “WHEN ARCHITECTS HAVE A SUFFICIENT UNDERSTANDING OF ALGORITHMIC CONCEPTS, WHEN WE NO LONGER NEED TO DISCUSS THE DIGITAL AS SOMETHING DIFFERENT, THEN COMPUTATION CAN BECOME A TRUE METHOD OF DESIGN FOR ARCHITECTURE” COMPUTATION ALSO ALLOWS FOR UNIQUE OPPORTUNITIES AND INNOVATIVE DESIGNS BY ALLOWING DESIGNERS TO FABRICATE THEIR DESIGNS/ MODELS FROM THE COMPUTER BLUEPRINTS. THIS UNIQUE OPPORTUNITY ALLOWS DESIGNS TO BE TECHNICALLY ACCURATE
CONCEPTUALISATION 13
A.2. - DESIGN COMPUTATION
SOME PEOPLE BELIEVE THAT DUE TO THE COMPLEX NOTIONS ASSOCIATED WITH COMPUTER DESIGN, THAT THE DESIGN PROCESS CAN BE NEGATIVELY AFFECTED. NOT ONLY DO THEY SUPPOSEDLY STUNT CREATIVE THINKING, BUT THEY ALSO LIMIT THE GEOMETRIES AND INNOVATIVE DESIGN IDEAS (THROUGH RESTRICTED OPTIONS IN THE CHOSEN SOFTWARE). ALTHOUGH SOME CONSIDER DESIGN COMPUTATION TO BE A NEGATIVE IMPACT ON ARCHITECTURAL DESIGN, THERE ARE MANY REASONS TO SUPPORT IT. AS MENTIONED PREVIOUSLY, COMPUTING AFFECTS THE DESIGN PROCESS IN MANY WAYS. NOT ONLY DOES IT ALLOW FOR EASIER COMMUNICATION BETWEEN ARCHITECTS AND CLIENTS, BUT IT ALSO ALLOWS DESIGNERS TO EXPERIMENT WITH MULTIPLE DESIGN STRATEGIES. WHAT ARE THE MAIN DIFFERENCES BETWEEN COMPUTATION AND COMPUTERIZATION? COMPUTATION ENABLES ARCHITECTS / DESIGNERS TO EXPAND THEIR POTENTIAL AND COPE WITH ELABORATE SITUATIONS. NOT ONLY DOES IT DO THIS, BUT IT ALSO ALLOWS THEM TO USE THE COMPUTER TO TAKE CARE OF INFORMATION AND PROCESS IT THROUGH A KNOWN MODEL, KNOWN AS AN ALGORITHM. THIS DESIGN APPROACH ALLOWS FOR THE EXPLORATION OF NEW IDEAS AND ENABLES DESIGNERS TO INVESTIGATE AND CONSIDER ARCHITECTURAL SPACES AND IDEAS THROUGH ALGORITHMS. ALTHOUGH SOUNDING SIMILAR, COMPUTERIZATION IS IN FACT COMPLETELY DIFFERENT. WHILE COMPUTATION ALLOWS DESIGNERS TO CREATE DESIGNS USING A STRICT SET OF RULES, COMPUTERIZATION ACTS AS A ROUGH OUTLINE AND MAKES IT EASIER FOR DESIGNERS TO CREATE, EDIT, COPY AND ACCURATELY DRAW IDEAS. COMPUTERIZATION IS USED WHEN ARCHITECTS DIGITIZE THEIR DESIGN IDEAS USING SOFTWARE TO INCREASE THE PRECISION OF THEIR DESIGNS.
FIG.1:
“ IT IS POSSIBLE TO CLAIM THAT A DESIGNER’S CREATIVITY IS LIMITED BY THE VERY PROGRAMS THAT ARE SUPPOSED TO FREE THEIR IMAGINATION” - TERZIDIS, KOSTAS (2009).
FIG.1:
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CONCEPTUALISATION
FIG.1:
FIG.1:
THE HSBC BUILDING, HONG KONG THE HSBC BUILDINGS MOST INTRIGUING FEATURE IS THE EXTERIOR STRUCTURE AND NONEXISTENT INTERIOR SUPPORTING STRUCTURE. IN ADDITION TO THIS, EACH LEVEL / FLOOR OF THE STRUCTURE IS DESIGNED TO MOVE FLEXIBLY IN CASE OF SEISMIC SHIFTS. THIS ELEMENT WAS MADE POSSIBLE BY USING DIGITAL DESIGN TECHNOLOGIES AND BY DOING SO REDUCED THE NEED FOR MORE ADJUSTMENTS. THIS BUILDING IS AN EXAMPLE OF HOW COMPUTER-AIDED DESIGN CAN IMPROVE AND PROVIDE A UNIQUE OPPORTUNITY TO RESPOND TO DESIGN PROBLEMS. THIS IS A GREAT ACCOMPLISHMENT, AS BUILDINGS WOULD PREVIOUSLY HAVE TO MANIPULATE THE FOUNDATION THAT THE BUILDING STOOD ON, WHEREAS NOW, THROUGH PREFABRICATION AND CAD, THESE PROBLEMS ARE ONLY A MINOR ASPECT.
CONCEPTUALISATION 15
A.2. - DESIGN COMPUTATION
‘HEYDAR ALIYEV CENTER’ ZAHA HADID’S ‘HEYDAR ALIYEV CENTER’ IS A INTRICATE BUILDING LOCATED IN BAKU, AZERBAIJAN. THE BUILDING FEATURES A DISTINCTIVE STYLE THAT COULD NOT HAVE BEEN ACCOMPLISHED WITHOUT THE USE OF DIGITAL DESIGN. THE BUILDINGS SKIN WAS ONE OF THE MOST DIFFICULT DEISGN ASPECTS TO ACHIEVE AND FEATURES A CEASELESS FREE-FLOWING FAÇADE THAT INCORPORATES COMPLEX TECHNICAL SYSTEMS. THROUGH THE USE OF SOPHISTICATED COMPUTING, THE CONTINUOUS CURVILINEAR FORM HAS BEEN ACCOMPLISHED. THIS BUILDING IS A FINE EXAMPLE OF HOW COMPUTATION IMPACTS THE RANGE OF ACHIEVABLE GEOMETRIES. THE USE OF COMPUTER-AIDED DESIGN HAS ALLOWED FOR FLUIDITY IN THE STRUCTURE, WHICH IS A UNIQUE OPPORTUNITY OF MODERN DIGITAL DESIGN. COMPUTATION ALLOWS FOR INNOVATIVE IDEAS IN THIS DESIGN BECAUSE THE SHAPES STRUCTURE IS ABLE TO MIRROR AND RESPOND TO THE TOPOGRAPHY OF THE SITE. FIG.1:
FIG.1:
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CONCEPTUALISATION
COMPUTING HAS BEEN USED TO RE-DEFINE PRACTICES HERE BY UTILIZING DIGITAL DESIGN TO FORM THE FRAME SYSTEM. THE FRAME ALLOWS FOR THE BUILDING TO INCORPORATE A FREE FORM COMPOSITION. NOT ONLY DID THIS BENEFIT THE OVERALL SHAPE OF THE BUILDING, BUT ALSO SAVED AN IMMENSE AMOUNT OF CONSTRUCTION TIME (SIMILAR TO FRANK GEHRY’S GUGGENHEIM MUSEUM BILBAO). THE ARCHITECTURAL COMPOSITION IS COMPLEX AND MAY NOT HAVE BEEN ACHIEVABLE WITHOUT CAD. DUE TO THE SHAPE INTEGRATING STRUCTURE WITH A SEEMINGLY EFFORTLESS GEOMETRY, THE BUILDING MATERIALS AND MERE SCALE WERE EXTREMELY DIFFICULT TO ACCOMPLISH. HADID CREDITS CAD AND CAM FOR RESOLVING ALL CONSTRUCTION PROBLEMS, FOR EXAMPLE: EXTERNAL LOADS, MASS PRODUCTION, ISSUES ASSOCIATED WITH TEMPERATURE VARIATION, AS WELL AS EARTHQUAKES.
FIG.1:
FIG.1:
CONCEPTUALISATION 17
A.2. - DESIGN COMPUTATION
FIG.1:
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CONCEPTUALISATION
FRANK GEHRY’S GUGGENHEIM MUSEUM BILBAO: THE GUGGENHEIM MUSEUM BILBAO IS ONE OF THE EARLIEST EXAMPLES OF ARCHITECTURE TO WELCOME COMPUTER-AIDED DESIGN. THE SURFACE OF THE STRUCTURE WAS ONLY ATTAINABLE THROUGH THE USE OF DIGITAL DESIGN SOFTWARE’S AND COULD NOT HAVE BEEN ACCURATELY ACCOMPLISHED WITHOUT IT. THIS ALLOWED GEHRY TO CREATE FREE-FLOWING FORMS, A CONCEPT THAT WAS BELIEVED DIFFICULT, IF NOT IMPOSSIBLE TO ACCOMPLISH WITH SIMPLE DESIGN. GEHRY DESIGNED THE BUILDING TO CAPTURE THE LIGHT THROUGH THE USE OF SEEMINGLY RANDOM CURVES/ FORMS. THE BUILDING IS AN INTRIGUING EXAMPLE OF CONTEMPORARY ARCHITECTURE AND WAS COMPLETED WITHIN BUDGET AND ON TIME. GEHRY CREDITS THIS TO THE USE OF DIGITAL DESIGN, AS IT ALLOWED HIM TO REALISTICALLY ENVISION THE DESIGN OUTCOME AND CONTROL COSTS THROUGH THE USE OF PRECISE MATERIAL MEASUREMENTS. COMPUTATION AND COMPUTERIZATION ADVANTAGES: THERE ARE MANY ADVANTAGES ASSOCIATED WITH THE USE OF DIGITAL DESIGN, SOME OF THESE INCLUDE: PERFORMANCE EASE OF USE SHARING IDEAS SCALE
CONCEPTUALISATION 19
A.3. - COMPOSITION/GENERATION
FIG.1:
THE SHIFT FROM COMPOSITION TO GENERATION:
ALGORITHMS:
ARCHITECTURE IS BEING RECONSTRUCTED AND DEFINED THROUGH THE PRACTICE OF COMPUTATION. NOT ONLY DOES COMPUTATION ALLOW FOR EFFICIENT DEVELOPMENT AND A WIDE RANGE OF POSSIBLE GEOMETRIES, BUT ALSO IT CREATES A NUMBER OF OPPORTUNITIES IN DESIGN PROCESSING AND FABRICATION.
AN ALGORITHM IS A METHOD FOR DOING SOMETHING, ESSENTIALLY IT IS A STRICT SET OF RULES THAT ARE EASY TO COMPREHEND. ALTHOUGH MANY PEOPLE THINK THAT ALGORITHMS ARE CONFINED TO NUMBERS ONLY, HOWEVER THIS IS NOT THE CASE, AS ALGORITHMS CAN BE AS SIMPLE AS A CATEGORIZED LIST OF WORDS. ALGORITHMS ILLUSTRATE HOW SOMETHING IS COMPUTED INSTEAD OF WHAT THAT FUNCTION MAY BE. ALTHOUGH THERE IS A CONNECTION BETWEEN COMPUTATION AND ALGORITHMS, IT IS EXTREMELY LIMITED.
DESIGN TACTICS HAVE CHANGED IMMENSELY IN MODERN ARCHITECTURE, FROM CREATING INTRIGUING PRELIMINARY DESIGNS TO GENERATING MULTIPLE OPTIONS OF HOW THE FORM MAY BE CONSTRUCTED
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CONCEPTUALISATION
“GOD’S EYE” – CHRISTINA GALANOU AND CHRYSTALLA KOUFOPAVLOU **** RE WRITE INTO PARAGRAPH *** + EDIT IMAGES / QUALITY PRECEDENT: •ADVANCED COMPUTER AIDED DESIGN •“GOD’S EYE” – CHRISTINA GALANOU AND CHRYSTALLA KOUFOPAVLOU •INTERWEAVED DOUBLY CURVED SURFACES •SKIN = WEAVE CLADDING •^ THIS WAS EXPERIMENTED USING DIGITAL SIMULATION AND FULL SCALE MOCK UPS • THROUGH DIGITAL DESIGN FOUND THAT THERE WERE NUMEROUS CONSTRAINTS, HOWEVER THEY CHNGED THE MATERIALS AND CONSTRUCTION METHOD DUE TO TESTING •MADE FROM CORRUGATED CARDBOARD STRIPS WEAVED ONTO THE SECONDARY
CONCEPTUALISATION 21
A.3. - COMPOSITION/GENERATION
FIG.1:
FIG.1:
GENERATIVE DESIGN: GENERATIVE DESIGN IS THE METHOD IN WHICH THE OUTCOME OF A DESIGN IS CREATED USING AN ALGORITHM, USUALLY THROUGH THE USE OF A COMPUTER PROGRAM, SUCH AS GRASSHOPPER AND RHINO. THIS METHOD OF DESIGN ALLOWS FOR FAST AND EASY EXPLORATIONS OF DESIGN POSSIBILITIES AND DIMINISHES THE NEED FOR REPETITIVE TASKS.
PARAMETRIC MODELING: SANTIAGO CALATRAVA, A NOTABLE SPANISH ARCHITECT USES GEOMETRIC TRANSFORMATION TO EXPERIMENT WITH PARAMETRIC MODELING. THESE TRANSFORMATION ALLOW HIM TO TRANSLATE SHAPES BOTH VERTICALLY AND HORIZONTALLY, TWISTING ASPECTS OF A STRUCTURE TO CREATE A MORE INTERESTING SHAPE AND/OR SOLVE DESIGN PROBLEMS. MANY OF HIS DESIGN ARE NOTED AS BIO-MORPHIC AND ALLOW FOR THE STRUCTURE TO SEEMINGLY COME TO LIFE.
FORM GENERATION: FORM GENERATION IS THE DEVELOPING OF NUMEROUS ALTERNATIVE SOLUTIONS FOR THE DESIGN IDEA, GENERALLY IN A PRACTICAL AND FORMAL MATTER, I.E GENERATING FORMS TO SOLVE THE DESIGN PROBLEM.
THERE ARE MANY GENERATIVE TOOLS THAT AID IN THE DEVELOPMENT OF NEW STRUCTURAL SYSTEMS, FOR EXAMPLE, PARAMETRIC MODELING ALLOWS FOR EASY DEVELOPMENTS. KATHERINE LIAPI DESIGNED A WAY FOR ARCHITECTS/ DESIGNERS TO USE TENSEGRITY TO ENVISION FRAMEWORKS (AS SHOWN IN FIGURE ___ ).
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CONCEPTUALISATION
PARAMETRIC DESIGN: PARAMETRIC DESIGN USES A NUMBER OF ALGORITHMS AND VARIABLES TO CREATE A MATHEMATICAL ORDER, ALLOWING FOR GEOMETRIC RELATION AND THEREBY ALLOWING DESIGNERS TO GENERATE SPECIFIC DESIGNS. ARCHITECTS ARE NO LONGER CONSTRAINED TO TOOLS, AS THERE IS NOW THE OPTION TO CREATE AND DESIGN YOUR OWN TOOLS. THIS FUNDAMENTAL DESIGN APPROACH DECREASES THE OVERALL EFFORT NEEDED TO CREATE A SHAPE, AS IT ELIMINATES THE ENERGY DEDICATED TO CREATING AND TESTING OPTIONS. PARAMETRIC DESIGN ISN’T NECESSARILY A WAY OF CONSTRUCTING A SOLUTION, BUT ABOUT GENERATING A WIDE RANGE OF POSSIBLE DESIGN OUTCOMES.
FIG.1:
FIG.1:
CONCEPTUALISATION 23
A.3. - COMPOSITION/GENERATION
FIG.1: PRECEDENT 2: •
GUANGZHOU OPERA
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BY ZAHA HADID ARCHITECTS
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CONTEMPORARY APPROACH WITH CULTURAL TRADITIONS
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CURVACEOUS FORMS
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GLASS CLAD STEEL FRAME
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2010
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1800 SEAT AUDITORIUM OF THE OPERA HOUSE
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^ACOUSTIC TECHNOLOGY
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DESIGN – NATURAL LANDSCAPE INTEGRATED WITH ARCHITECTURE
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DESIGN INCORPORATES PRINCIPLES OF EROSION, GEOLOGY AND TOPOGRAPHY
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INTERIOR STRUCTURE: CUSTOM MOULDED GLASS FIBRE REINFORCED GYPSUM UNITS HAVE BEEN USED FOR THE INTERIOR
^ RE WRITE ALL INTO PARAGRAPHS + COMMENT ON GENERATIO NO DESIGN ********
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CONCEPTUALISATION
FIG.1:
CONCEPTUALISATION 25
A.4. - CONCLUSION
**** RE WRITE INTO PARAGRAPHS **** A4 – CONCLUSION
PART A SUMMARY: •
LAGI DESIGN COMPETITION
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RENEWABLE ENERGY IN DESIGNS
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COMPUTATION AFFECTING THE DESIGN PROCESS
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COMPUTATION ….
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COMPOSITION TO GENERATION …. ?
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GENERATION IN THE ARCHITECTURAL DESIGN PROCESS?
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INTENDED DESIGN APPROACH? THERMAL DESIGN?
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IT IS INNOVATIVE BECAUSE IT COMBINES TECHNOLOGIES?
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SIGNIFICANCE OF DESIGNING THIS WAY?
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^ BETTER FOR THE FUTURE
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^RENEWABLE ENERGY
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^ OUR FUTURE IS IN DIRE NEED OF CHANGING THE EFFECTS OF CLIMATE CHANGE AND GLOBAL WARMING
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^ ALLOWS FOR STRUCTURES/ BUILDING DO HAVE MULTIPLE FUNCTIONS
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IT CAN BENEFIT EVERYONE IN THE FUTURE, AS WELL AS SURROUNDING AREAS (DEPENDING ON WHAT RENEWABLE ENERGY TECHNOLOGIES ARE USED)
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I CAN BENEFIT FROM IT BY LEARNING NEW TECHNOLOGIES AND LEARNING TO DESIGN SAFELY? / WITHOUT USING TOO MUCH ENERGY
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CONCEPTUALISATION
A.5. - LEARNING OUTCOMES
BY LEARNING ABOUT WHAT ALGORITHMS ARE AND WHAT ARCHITECTURAL COMPUTERING IS, MY IDEA OF DESIGN HAVE CHANGED AND AM ABLE TO CREATE ARCHITECTURAL DESIGNS IN NEW AND EXCITING WAYS. FURTHERMORE, BY UNDERSTANDING THE DEFINITIONS OF COMPUTING AND COMPUTERIZATION I AM ABLE TO DIFFERENTIATE BETWEEN DIFFERENT NOTIONS OF DESIGN IN ADDITION TO THIS, I LEARNT ABOUT HOW COMPUTING CAN BE USED TO RE-DEFINE PRACTICE AND HOW IT AFFECTS THE DESIGN PROCESS. BY USING COMPUTER AIDED DESIGN, THE DESIGNERS CAN EXPAND THEIR CAPABILITY TO HANDLE INTRICATE SITUATIONS AND COMPUTER AIDED DESIGN ALLOWS DESIGNERS TO CREATE COMPLEX SHAPES AND FORMS, BY CREATING FRAMEWORKS AND PROCESSING INFORMATION THROUGH ALGORITHMS. BY EXPERIMENTING WITH GRASSHOPPER I HAVE BEEN ABLE TO CONSTRUCT COMPLEX FORMS THROUGH RHINO AND INVESTIGATE ALTERNATIVE DESIGN RESULTS. UNDERSTANDING DEVELOPED THROUGH SEMESTER: MY UNDERSTANDING HAS DEVELOPED THROUGHOUT THE SEMESTER BY GAINING A BETTER COMPREHENSION OF WHAT COMPUTATION, COMPUTERIZATION AND ALGORITHMS ARE. FURTHERMORE, I HAVE BEEN ABLE TO DEVELOP A SKILLS IN NEW COMPUTER DESIGN SOFTWARE, WHICH WILL ALLOW ME TO IMPROVE ON MY DESIGN APPROACH HOW COULD I HAVE USED BY KNOWLEDGE TO IMPROVE A PAST DESIGN? WITH THIS NEW UNDERSTANDING OF COMPUTER-AIDED DESIGN, I COULD HAVE IMPROVED A PAST PROJECT BY EXPLORING A MORE DETAILED DESIGN PROCESS. BY BEING ABLE TO EXPERIMENT USING GRASSHOPPER, MY PAST DESIGN STUDIO PROJECT COULD HAVE BENEFITED FROM A WIDER RANGE OF DESIGN OPTIONS. MOREOVER, I MAY HAVE BEEN ABLE TO TRIAL WITH PARAMETRIC DESIGN AND INCORPORATE A MORE INTERESTING FAÇADE DESIGN. THE LATEST ALGORITHMIC SKETCH TASK (TASK 3) IS ESPECIALLY RELEVANT, AS IT ALLOWED FOR THIS.
CONCEPTUALISATION 27
A.6. - APPENDIX - ALGORITHMIC SKETCHES
FIG.1:
FIG.1:
HOW DID MY RESEARCH EXTEND THE MATERIAL IN TUTORIALS: MY RESEARCH EXTENDED THE MATERIAL IN TUTORIALS BY ALLOWING ME TO GAIN A BETTER UNDERSTANDING OF THE REASONING BEHIND EACH EXPERIMENT, SYMBOL AND ALGORITHM. FURTHERMORE, BY RESEARCHING EXISTING PROJECTS, I WAS ABLE TO UNDERSTAND AND GENERATE NEW IDEAS, AS WELL AS INCORPORATE THEM INTO MY DESIGNS. THE PRECEDENTS I RESEARCHED PROVIDED AS USEFUL EXAMPLES FOR EACH DESIGN THEORY, AS WELL AS ACT AS INSPIRATION FOR FUTURE ARCHITECTURAL DESIGNS.
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CONCEPTUALISATION
FIG.1:
FIG.1:
REASONS FOR CHOOSING THESE SKETCHES: THESE ALGORITHMIC SKETCHES WERE CHOSEN BECAUSE THEY BEST EXEMPLIFY MY UNDERSTANDING OF COMPUTATION. IN ADDITION TO THIS, THESE DESIGNS WERE THE MOST INTERESTING FOR EACH OF THE CHOSEN TASKS WHAT NEW KNOWLEDGE, NEW UNDERSTANDING OR NEW CREATIVE IDEAS DO THEY REPRESENT? THESE ALGORITHMIC SKETCHES HAVE ALLOWED ME TO GAIN A NEW UNDERSTANDING AND PERSPECTIVE ON COMPUTER-AIDED DESIGN. THE USE OF GRASSHOPPER IN THE DESIGN PROCESS WAS NEW TO ME, AS I HAVE ONLY EVER DESIGNED IN RHINO BEFORE. HOWEVER, THESE TASKS REPRESENT A NEW WAY OF DESIGNING AND ACT AS INITIAL IDEAS FOR FUTURE PROJECTS,
CONCEPTUALISATION 29
IMAGE REFERENCE LIST:
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CONCEPTUALISATION
REFERENCES:
CONCEPTUALISATION 31