STUDIO AIR 2015, SEMESTER 1, TUTORS - SONYA NICK VORICH
PAST WORK
Hi, My name is Nick and am a third year student studying a Bachelor of Environments and majoring in Architecture at the Universty of Melbourne. I’ve been interested in the field of design since the early days of primary school, but only after undertaking a visual communications subject in highschool did I realise a passion for architecture.Growing up in the Melbourne suburbs I was always fascinated when making trips into town, at the scope of architectural styles that lay amongst this relatively young city. Consequently, my love for building design stemmed from my love of history and the enjoyment I got from witnessing gothic revival buildings on one corner and contemporary masterpieces on the next. My background from school was occupied by science and humanities subjects largely, so my design experience upon entering environments was limited. Although the architecture major was always in the back of my mind, the urban planning and construction majors were interesting areas and I’m glad was able to touch on them in my first year. My technical skills when it comes to design is limited as I haven’t formally used much of it within my subjects. Traditionally, I prefer to draw my designs which is what I did in the Earth studio as I find it easier to keep track of and develop my ideas. While my formal use of Rhino and autocad has been lacking, over the last year or so I’ve made a conscious effort to learn the programs at a basic level and look forward to furthering tht skill set.
2
CONCEPTUALISATION
My experience with parametrics is effectively none before this subject. I have always looked at algorithmic projects as being extremely advanced and almost out of reach for an undergraduate student, so to undertake a subject with Grasshopper at its core is daunting an exciting at the same time. The overwhelming impression I have when viewing parametric designs is that it creates an incredibly complex object that highlights the capabilities of the designer, but I’ve always wondered how necessary complexity is in achieving a functioning building. I think that the algorithmic approach definitely has a place in the future of architectural design if it continues in the direction its heading. This will ultimately create extremely complex forms that are almost impossible to concieve. I’d like to think that this approach could also aid in the quality of design and address important issues such as minimisation of resources and achieving more environmentally friendly buildings. This is one of the main objectives I have with Studio Air, which is to further understand this emurging field and where it can take us with future development. Overall, I think parametrics cannot be overlooked when discussing architectural discourse. The fact that undergraduate architecture degrees are taking the time to focus on it, proves this idea.
My past design work primarily comes from my studies in Designing Environments in first year and Studio earth in second year. As previously mentioned i havent utilised modelling programs for many projects besides for sketch up back in first year. Designing Environments involved the creation of an observation tower that would be placed in the middle of wilson square, outside the hall. While I was still new to the design process I chose to work with traditional drawing as well as a sketchup model to see which would work best.
My experience with Earth studio was slightly different with my tutor encouraging us to do much of the lead up exploration in the form of drawing. The aim of the project was to create a pavilion on hering island in South Yarra that would involve the notion of secrets. Due the larger part of the semester drawing out my ideas, I opted to hand draw the final project which was tough process in hindsight. While happy with the outcome I felt that a more detailed and informative perspective could have been achieved using a program such as Rhino.
DESIGNING ENVIRONMENTS: 1ST YEAR
STUDIO EARTH: 2ND YEAR
CONCEPTUALISATION 3
Table of Contents A.0 Design futuring A.2 Design computation A.3. Compistion/ Generation A.4. Conclusion A.5. Learning Outcomes A.6. Algorithmic tasks
A.1. DESIGN FUTURING Trifolium AR-MA| SYDNEY| 2014 The Trifolium project was aimed at adressing the immovability of architecture in this current age, where images have now become the primary mode of communication. The world of parametric design has largely fallen victim to this form of thinking, where a stunning render that perfectly highlights the inconcievable form is almost more satisfying than the actual concept being realised (Sam Spurr 2014). In a field where smaller scale parametrics are limited to computer rederings, the designers behind trifolium wanted to ultimately reconnect the architect with the means and method of making. The architect has ever so gradually been pushed out of the building process and Trifoliums lead designer Robert Besons intention was to highlight the possibilty and capability of architectural practices (Sam Spurr 2014). Consequently, his firm AR-MA took full control of the project including the design, fabrication, logistics and installation of all three thousand components. This extreme approach essentially transforms the entire process into a system that isn’t hampered by countless stakeholders whose involvment can greatly limit the flow of production. Apart from the pragmatic apparoach, this was also an experiment in understanding a design at its deepest level. AR-MA ‘s responsibilty in the production of materials and transport to site meant that they could understand every component and process that was taking place and allow them to see the consequences of one small change in the system.
involves creating radical shapes that require new construction techniques. Beson provided a sound example of this vogue attitude by ultimately creating a new fabrication software from the ground up, allowing his team to erect the pavillion in just one week (Max Homei 2014). A surprising outcome and one that is further testament to the parametric movement was the fact that the actual form and asethetic composition of Trifolium was the component that altered the most. This was due to hurdles faced by AR-MA in fabrication and construction and highlights the flexibility of these new softwares.
FIG.1: TRIFOLIUM, AR-MA ARCHITECTS, SYDNEY 2013-14/ EXTERNAL VIEW
SCAF, the orgaisation that commissioned the project understands the pavilion is not intended to become a national icon or tourist landmark, but rather a tool that ignites discussion, inspiration and curiosity in the smaller number of architects and students that will come to visit (Max Homei 2014). It is hoped that it not only encourages the parametric phenomonem, but the possiblity and more importantly, the positive and negatives - of considering the design and farbication process as a whole. A similar project was conducted by the University of Melbourne construction students when they succeeded in designing and erecting a post-formed funicular structure that was designed using digital tools and constructed by hand.
While this small project won’t be experienced by a large number of people, it stands as a symbol of innovation and experiementation which represents the architectural discourse of the present time. This discourse is one that
FIG.2: TRIFOLIUM, AR-MA ARCHITECTS, SYDNEY 2013-14/ INTERNAL VIEW
6
CONCEPTUALISATION
CONCEPTUALISATION 7
YAS VICEROY HOTEL ASYMPTOTE| ABU DHABI | 2009 The Yas Hotel located in Abu Dhabi is one of the many structures built in the multi-billion dollar Yas marina, but one of particular technological elegance (Asymptote 2015). The main body of the hotel itself is not the centre piece by any means, instead, it serves a far more functional purpose which is to significantly insulate the 500 room complex from the roar of F1 cars that wind around the building. Asymptote architects efforts to create a landmark was undoubtably solidified by the addition of a parametrically driven canopy that sweeps across the two seperate structures. Described by lead architect as an ‘atmospheric veil’, the enormous shell is designed to connect all the elements within the complex. The complexity and elegance of the structure was only realised due to Asymptotes ongoing efforts to push the boundaries in and realise abstract mathematical models. Hani Rashid, coprinciple of Asymptotes wanted to explore the movement of a building, or perceived movement (Dezeen 2009). This was achieved by the 5,800 diamond shaped glass panels of varying size that make up the canopy. The design of which, exploits the suns rays at different times of the day to produce a shimmering effect as people move around the site. The original and most extreme version of the proposal sort to further develop this idea of movement by transforming the shell into an intelligent or responsive skin, as each individual panel would pivot via elecronic triggers. While this didn’t eventuate due to costing reasons, the final outcome stands as an exeptional example of architectural vision. While the impressive structure may not be replicated in other major cities, Asymptotes triumph with this particular project is how well the design responds to the context in which it was built. The sweeping veil or exoskeleton is one that compliments the character of Abu Dhabi and the eliptical buildings making up the hotel seek to imitate the large cruiseliners that will make there way into the Yas Marina (Dezeen 2009). Ultimately, it stands not as only as a
successful example of parametric modelling, but transforms the harsh geometric forms and large steel frames necessary for construction into an undulating surface that is soft and light in appearance. Nothing short of ambitious, the original idea to automate the gridshell would have not only created another layer of compelxity, but also highlights one particular direction that parametric and algorithmic design is moving towards (ARUP 2013). The ability for architects such as Asymptote to realise impossible forms could be further developed with the addition of moving parts. One of the biggest things this project offers to architecture and parametric design is the incredible construction process that allowed it to become a reality. A revolutionary shoring system was used that involved reinforced towers in order to support each 30 tonne steel ladder, making up the twisting canopy (RMD Kwikiform 2010). RMD construction utilised 3-D modelling software ‘Locus’ to allow them to erect the 217 steel ladders with zero tolerance on site, which is usually impossible with traditional methods (RMD Kwikiform 2010). Although a relatively recent project, the combination of architectural ambition, construction skill and parametric software will influence the success of other projects around the world as it stands as proof of architectures discourse at this moment in time.
FIG.3 YAS HOTEL, ASYMPTOTE ARCHITECTS, ABU DHABI, 2009/ EXTERNAL VIEW
The Yas Hotel remains a landmark in the Yas Island precinct and the ‘technologically elegant’ canopy continues to play host to the Abu Dhabi Grand Prix, where spectators enjoy the complex LED lighting system that transforms the veil at night.
FIG.4: YAS HOTEL, ASYMPTOTE ARCHITECTS, ABU DHABI, 2009/ UNDER THE CANOPY
CONCEPTUALISATION 9
A.2. DESIGN COMPUTATION
FIG.5 WATER CUBE, PTW ARCHITECTS, BEIJING 2008
FIG.6. KAOHSIUNG PORT, REISER UMEMETO, 2010
While the design process has undoubtably never been the same since the birth of digital design technolgy, the major part of the process which parametrics and computer aided design seeks to improve is that of communication. Prior to the turn of the millenia, parametrics was an emerging technology that designers were exploring in order to move away from representational architecture. It wasn’t until the latter part of the ‘folding’ movement where parametric design became apart of the logic in design thinking (Oxman & Oxman 2014).
added ability to realise complex form. However, this is limited and often restricted by the communication between computer and human, where it is relatively smooth one way (computer to human), but can be frustratingly restricted the other way (human to computer) (Kalay & Yehuda 2004). Therefore, the complex process of creating certain programs to aid in this communication is carried out by a select few knowledgable individuals. This may further restrict the possibilties to the ideas and understanding of one individual.
The primary benefit of computation that influened this period was its ability to create and modulate differentiation in a particular aspect of a design on varying scales (Oxman & Oxman 2014). An early example of this can be seen in Frank Gehrys Guggenheim Museum in Bilbao, where computational design allowed for the undulating, ‘single piece’ of steel to be realised. This building, while not necessarily digital in its design, but rather production highlights the transitional period between the old and new (Oxman & Oxman 2014). It was examples such as this which encouraged the acceptance of new technologies and proved that it could in fact revolutionise the process of design. Computation opens up a large variety of compositional possibilites and an
One major problem with computational design is the computer itself. They can follow instructions and decipher information flawlessly and consistently, but are incapable of making anything new (Kalay & Yehuda 2004). Consequently, there wil be no improvement to the concievability of architectural design as that remains purely within human imagination, but an improvement to achievability of more complex attempts. The speed at which such softwares were introduced could also have a negative effect on our ability to concieve, design and think creatively in future years (AIACC 2012). Students and professionals in the industry need to move quickly in order to keep up with changing programs, which means a large amount of time is devoted to them. This could
10
CONCEPTUALISATION
potentially lead to individuals only bothering to attempt what is achievable on a computer. A major concern with this siuation would be the difficulty in escaping the ‘parametric aesthetic’ and the development of new styles in the future (AIACC 2012). Whilst undoubtably influencial designs, examples such as Greg Lynns ‘Blobwall’ or the more widely recognised ‘water cube’ by PTW architects highlight the focus on creating extraordinary aesthetics rather than a holistic design. Paul Goldberger (2008) addressed this problem when the ‘water cube’ was completed for the 2008 Olympic games. He argued that its innovation and engineering genius cannot be denied, however, it highlights mankinds unyielding desire to announce themselves as the best, through infrastructure. The hype of the Olympic games blinded many in relation to the buildings impact on Beijing and the ultimate lack of change it brought about (Goldberger 2008). Sadly, it appears as though these new parametric and digital softwares have in some ways been used to feed this over indulgence.
vision is that of Kaohsiung Port and Cruise Service Center by Reiser Umemoto. The building provides the surrounding skyline with a poetic undulation of smooth, twisted steel with a horizontal, low lying tail end that culminates into a vertical tower at the other (Cilento 2010). This design appears equally determined to impress the public as it does to ultimately serve them effectively. The smooth exterior is mirrored in its function as an elevated boardwalk amplifies pedestrian traffic along the water and through the building (Cilento 2010). This elevated level connects the public to a pop music centre and shopping district. The projects contribution to the local economy highlights an important step in this debate over computational design and the attitude required when moving forward.
A balance between this desire to demonstrate innovation through beauty as well as the ability to address real spatial problems is necessary if parametric design is to be effective. One such project which sort to achieve this
CONCEPTUALISATION 11
A.3. COMPOSITION/ GENERATION
FIG.7 CITY HALL, FOSTERS AND PARTNERS, LONDON, 2002
The benefits of parametric and computer design were realised when scripted algorithms were developed, leading to performance design. This revolution allowed architects and those involved in the construction process to design to certain performance parameters involving the structure and energy of a project (Oxman & Oxman 2014). This step forward that took place at the turn of the 21st century had such an impact on how buildings were conceived as it coincided with the industries focus on ‘sustainable architecture’. The environmentally friendly design is one that is bound by performace parameters and requirements such as carbon emmissions, material embodied energy and heating and cooling use etc. The industry was no longer focussing on the aesthetics and spatial qualities of a building, but rather how well it responded to certain regulations. The new theory arising around 2004 was in support of using procedural design and scripting algorithms as opposed to traditional compositional and representational design.
12
CONCEPTUALISATION
FIG.8 FED SQUARE, LAB ARCHITECTS, MELBOURNE,
This shift in how generative architecture, coupled with advanced scripting algorithms that dealt with building performance was perceived is demonstrated through Foster & Associates, London Town Hall (Oxman & Oxman 2014). Completed in 2002 it was an early example of a new age of eco-friendly infrastructure. Architects used software to produce the bulbous shape which alledgedly reduced energy emmission by reducing the surface area of the building. The design also includes natural ventillation for offices and the use of photovoltaic cells to generate electricity for the cooling system (Foster & Partners 1998). Unfortunately, the building wasn’t received as well as expected due to energy saving additions underperforming in relation to the actual carbon footprint produced (The Gaurdian 2008. The London city hall, along with its neighbour ‘Swiss Re’ did however, set a precedence for how new technologies such as performace scripting were going to be used at the time. Although not living up to performance expectation, they unknowingly created a benchmark which encouraged all future large scale projects to
seriously consider using scripting algorithms and performance models as part of their design process. The fear of many in regards to software based tools was the detachment it may produce between designer and design. Professor John Frazer from AA - who lead the way in computational design processes - believes that allowing softwares to fill in parts of a buildings form or even generate its own leaves little time for restfulness and reflection and ultimately a less personal outcome (Krish 2012). This process can be seen in LAB Architectures development of Federation Square. Although a design that is now adored by the surrounding city, its design devlopment highlights a slight detachment between human creativity and computer generated design. LAB initially began the plan views as two lines with a number of points at which they could bend, in order to develop a general form and understanding of how it would sit on the site. They then placed these initial forms into generative software which took the basic components and essentially extrapolated
hundreds of versions. They then shortlisted the most effective ones and chose one to work off. Although there is undoubtably the element of human choice amongst the process, the ability to essentially ‘window shop’ where all the design is computational and the best option is chosen seems too much like a shortcut. Fortunately, this process hasn’t engrained itself in architectural practice, but still remains one of generative designs shortcomings. One of the more recent devlopments in the industry is a focus on natural systems and using environmental systems to create more organic structures that benefit ecosystems. Processes such as biomimicry and digital morphogenesis harness the benefits of computational design and use it to create a ‘second nature’.
CONCEPTUALISATION 13
A.4. CONCLUSION Undeniably important and vast in possibility, parametric and generative modelling or digital architecture will hold a fundemental position in future architectural design. Altering the discourse in design thinking almost two decades ago, the acceptance of such mediums ultimately presented architects and engineers with a way to respond to the ever-increasing list of 21st centruy demands. As most forms of technology does, software based design and the complexity in which its used experienced rapid expansion which brought the industry away from the traditional, representational approach and brought forward the power of generative based design and algorithmic thinking. Although this process has exhibited some limitations, an interesting and new opportunity sits in front of digital design which offers a exciting an different direction. Biomimicry will be further explored throughout the semesters studio as it seeks to take the harsh, ‘parametric aesthetic’ and sometimes impersonal composition of computational design and give it purpose through the form of nature. It not only offers aesthetic purpose, but allows us to create structures that will harmonise with its surroundings through the inspiration and incorporation of the environments own systems that function so effortlessly. It is important for digital architecture to advance with something to guide it as it should not and cannot be responsible for creating the inpiration, but rather used as a tool to realise it. Biomimicry therefore, acts as our inspiration as it responds to nature, with nature. It seeks to benefit not just the skyline, but all those who interact with the building on the ground level, including - and most importantly - the ecosystem that already exists. One of the biggest challenges is finding a way to create something that doesn’t just have a minimal impact on the area, but actually benefits it in someway.
A.5. LEARNING OUTCOMES Digital design using algorithmic modelling such as Grasshopper was always something that I new the industry was utilising and developing, but have been hesitant to learn it because of its perceived complexity. Due to my age, computer modelling has almost always presented examples to look at because it only came into popular use within the last couple of decades. It was interesting to research the transformation from representational architecture into generative approaches and how quickly it came into affect. I wasn’t surprised by this realisation because of how rapid any form of technology develops in todays age. What I was most interested to discover was that scripted algorithms that led to software enabling performance modelling for structure and energy have been around for quite a while in comparison to digital architectures lifespan. This obviously resulted in BIM programs such as Revit. I find it interesting therefore, that these programs haven’t been fully harnessed by the industry yet, considering how much time its had to adjust. Similar to myself avoiding Grasshopper, I think professionals are hesitant to use such programs because of the complexity associated with algorithms. Before the subject began, I assumed Algorithmic programs such as Grashopper were similar to Rhino in terms of how objects were transformed. I was completlely new to creating definitions via the connection of wires to and between different functions. A crucial thing I now realise is that when it comes to programs such as Rhino, it’s about ‘What you do to an object?’ and algorthmic programs it’s ‘How you get to an object?’. Moving ahead with this in mind, I think my progress has been increasing slowly through the algorthmic exercises, but consistently. I understand that there isn’t a formula to follow when it comes to using Grasshopper but rather knowing what function you have at your disposal through experience of using them. One past project which I think could been improved with Grasshopper and algorithmic modelling is my Studio Earth Pavilion (page 5) which I hand drew. Computational modellling I have a come to realsie, is excellent for randomising objects and my array of concrete pillars could have been developed far quicker and more effectively with this process.
14
CONCEPTUALISATION
CONCEPTUALISATION 15
A.7. ALGORITHMIC EXPLORATIONS These sketches represent the firt stages of explorationa nd experiementation in Grasshopper. The weekly exercises provided invaluable experience with the software as they let us test our skills through our own interpretation and understanding of the tutorial videos. To follow along with videos, step by step, was beneficial for completing the finished product and introducing us to the basic functions. However, the broad parameters set during the algorithmic exercises such as to create a sea sponge or tree branch, allowed for much deeper learning and confidence in navigating the Grasshopper program.
My second sea sponge attempt was a coral that involved lofted columns in Rhino which were then transformed in Grasshopper.
The sketches that were selected highlight not just the most successful outcomes, but the gradual increase in ability and willingness to push the boundaries. The most important element is that these sketches stand to represent the outcome of learning through visual demonstration and applying ones own interpretation and previous skillset, in the space of two weeks. The most successful of these outcomes is not the finished products, but the ability to realise that algorithmic modelling is not like traditional 3D softwares. After the first week I began to understand that this form of design is all about ‘How you are going to get there?’ and which steps will provide you with the outcome your looking for or perhaps a completely unexpected one. Arguments in Part A, among other things, addressed the potential for parametric design to create detachment and ultimately dictate the process. I think the algorithmic exercises so far, have demonstrated this to some degree. I began most of them with an image I wanted to replicate, however, due to my basic skillset and understanding of the program I quickly realised that I would just have to settle for whatever Grasshopper produced because there wan’t enough advanced knowledge to apply detailed transformations. I think that as my skillset increases, outcomes should hopefully represent my intentions more and more, but it will be interesting to observe that process.
16
CONCEPTUALISATION
My first attempt was to construct a traditional circular sea sponge using a morphed sphere to begin with and applying extruded circles on the surface.
This tree branch was constructed entirely from one single point, using and array of dots to dictate the path of the tree. Each branch was created in a different way using an list item to pinpoint where each branch would stem from.
The second tree branch was lofted in rhino first, then its shadow line was offset and multiplied then extruded vertically to create an imprinted driftwood pattern on the surface to give it texture. This technique was taken from the AA’s ‘driftwood’ construction.
CONCEPTUALISATION 17
REFERENCES AIACC, ‘Parametric Design: A Brief History - AIACC’, 2012 <http://www.aiacc.org/2012/06/25/ parametric-design-a-brief-history/> [accessed 17 March 2015] ARUP, Yas Hotel (2013) <http://www.arup.com/Projects/Yas_Hotel.aspx> [accessed 10 March 2015]. Asymptote architecture, ‘Asymptote Architecture’, 2015 <http://www.asymptote. net/#!yas-slide-show/cau8> [accessed 11 March 2015] Cilento, Karen, ‘Kaohsiung Port Terminal / Reiser + Umemoto’, ArchDaily, 2010 <http://www.archdaily. com/96053/kaohsiung-port-terminal-reiser-umemoto/> [accessed 18 March 2015] Dezeen , The Yas Hotel by Asymptote (May 2009) <http://www.dezeen.com/2009/05/14/ the-yas-hotel-by-asymptote/> [accessed 10 March 2015]. Goldberger, Paul, ‘Out Of The Blocks - The New Yorker’, The New Yorker, 2008 <http://www. newyorker.com/magazine/2008/06/02/out-of-the-blocks> [accessed 18 March 2015] Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004), pp. 5-25 Max Homei, AR-MA Trifolium (2015) <http://www.sherman-scaf.org.au/exhibition/ar-ma-2014/> [accessed 9 March 2015]. Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-10 Redboxmedia.com, redbox, ‘City Hall | Projects | Foster + Partners’, Fosterandpartners.com, 1998 <http://www.fosterandpartners.com/projects/city-hall/> [accessed 18 March 2015] Sam Spurr, Trifolium (October 2014) <http://www.architectureau.com/> [accessed 9 March 2015]. RMD Kwikiform, Yas Hotel, Innovative Shoring Solutions (2010) <http://www.rmdkwikform. com/projects/yas-hotel-2innovativeshoring/> [accessed 10 March 2015]. The Guardian, ‘Public Building CO2 Footprints Revealed’, 2008 <http://www.theguardian.com/environment/gallery/2008/ oct/02/energyefficiency.carbonemissions?intcmp=239#/?picture=338198107&index=5> [accessed 18 March 2015]