Rupert Reed - 925635 'Part A'

STUDIO

AIR

Rupert Reed - 925635

Con

A

tion

iza tual cep

“DNA is the most powerful and generative code and we hope to reach this level of sophistication in our design�

- Bradley Elias (Lecturer)

Table of Contents -

A.0 Introduction A.1 Design futuring

1.1 - Precedent 1, Kartal Pendix by Zara Hadid

1.2 - Precedent 2, the Walking City by Archigram A.2 Computation

2.1 - Precedent 1, Flight Assembled Architecture

by Frac Centre OrlĂŠans

2.2 - Precedent 2, Li-quid by Wonderlab A.3 Composition/Generation

3.1 - Precedent 1, Bloom - Alisa Andrasek + Jose Sanchez

3.2 - Precedent 2, HoaxUrbanism Casey Rehm/ Studio Kinch

A.4 Conclusion A.5 Learning Outcomes A.6 Appendix , Algorithmic Sketches A.7 References

0.0 Introduction Achievements

2012 Studio Arts 3/4 year 12 Photography and Digital Imaging Prize.

2015 University of Toronto First Year High Achievers, work published.

About Me

Rupert Reed B. Arts majoring in Architectural Studies, University of Toronto, CAN [2015-2017] B. Environments [ARCH], University of Melbourne, AUS [2017, Present]

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I have studied Architecture since 2015, I commenced my degree at University of Toronto, Canada and completed 2 years of study overseas. After the completion of my second year of study I was offered a job at DKO architecture Melbourne where I have now been for 12 months. The opportunity and experience at DKO architecture was influential in me making the move back to Melbourne where I grew up and finished high school. I joined The University of Melbourne’s Environments Program in the second semester of 2017 and plan on completing my studies here.

Skills

My expertise primarily reside in ArchiCAD due to my extensive use of the program in my professional experiences at DKO Architects.

However, I am also very comfortable using all of the relevant Adobe programs. My skills in Rhino are limited and Grasshopper inexistent, however I am open minded and excited to understand these processes throughout Studio Air.

The University of Melbourne Melbourne School of Design Faculty of Building and Planning Bachelor of Environments [ARCH] Architecture Design Studio - Air [ABPL_30048_2018_SM1] Produced by Rupert Reed Tutor: Sean Guy

A.1 Design Futuring Design Futuring adapts the way in which design and architecture is defined. No longer should the human be the immediate focus of design and the architect the sole creator – rather design futuring embraces alternate disciplines and aims to become more sustainable for the future. Instead architecture should embrace nature and create a better and more harmonizing future in which the desires of both humans and nature are equally influential in creating a more composed ecosystem. In order to achieve such

harmony, it is imperative architects use the knowledge of alternate disciplines to inform design – and that designs embraces new technologies, for this opens a new realm of possibilities, previously unimaginable. With such embracement of nature, technology and other disciplines the future of design appears optimistic.

Figure 1 - Patrcik Schumaher Adaptive Urban Fabric

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Precedent 1 Kartal Pendix - Zara Hadid Zaha Hadid’s urban design is complementary with Schumacher’s concepts of architecture, through it embodiment of a shift in architectural thinking, “from drawing to scripting, and the related shift from static components to parametrically conceived generative components”.1 Zaha Hadid was perhaps the most influential for her ability to not compromise design for practical constraints. This is explicitly seen in her urban master plan Kartal Pendik (not built) which acts as an embracing organism that links and flows with little consideration of efficiency in form; usually at the forefront of architectural rational. Kartal Pendik master plan shows a urban plan foreign from preexisting architectural thought, a plan that has embraced script and alternate disciplines to create a harmonizing society that is all intrinsically linked in design + flow. No longer do buildings seem exclusive, rather the city appears to act as one organism - a living system created through scripts. Through Zaha’s recreation of architectural boundaries she redefined architecture and removed the modern ideology that buildings were merely “a machine for living in” and rather popularized the glamorous possibilities of architecture.2 Figure 3 - Zaha Hadid plan of Kartal Pendix

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Figure 3 - Zaha Hadid, Kartal Pendix 1. Schumacher, P. (2011), The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 2. Le Corbusier. (1923) ‘Towards and Architecture’ (Getty Publications).

Precedent 2 The Walking City - Archigram Archigram contributed to architecture in a revolutionary manner that redefined the way of thinking about space, the potential for sites and consequently architecture. The walking city was not a built project, however it is the conceptualization of space that was so influential.

Furthermore it was the visual conventions and graphic tools of illustration and it’s ability to become so recognized through magazines that further alluded the importance of paper architecture in the professions development. Archigram being based in North America can still be seen to influence current Canadian architects which clearly follow similar principles of design - seen in the works of Ron Keenberg and Peter Busby in there raw and ambitious industrial style.

The rational of Archigram however could be seen to contradict the concepts of Schumacher and Hadid’s work as they create their own context, rather than working with it. Although despite the differences between the two architects the consistency of movement and flow is depicted in both works. The Walking City and Kartal Precinct both embody these ideologies in very different ways. The Walking City

movement is physical in the fact that the city physically moves across the landscape. Whereas Zaha Hadids Kartal Precinct is a more symbolic gesture of flow and harmony - a movement that is stagnant yet gives the impression of life, within the structure. Both works are incredibly influential in design futuring and will remain as iconic projects in shaping the future of architecture and design.

Figure 4 - Drawing by Archigram - The Walking City

Figure 4 - Drawing by Archigram - The Walking City

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A.2 Design Computation Computing has the opportunity to effect design in two major ways, either being defined by computation or the process of computerization.

Computation refer to a re-designing of the practice known as architecture - a procedure in which the design process is ruled by the computer and the architect to an extent is no longer the “master� of the creative process (bottom-up design).1 Whereas in computerization the creativity and design process still lie within the hands of the architect

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and the computer aids in creating a more efficient design process (top-up design). The process of bottom-up design creates an array of endless possibilities within the creative field and re-define the term creativity. A future that embarrasses computation will be unpredictable, exciting and revolutionary in all fields of design.

Figure 5 - Fibrocity UCL Bartlett 1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Precedent 1

Flight Assembled Architecture, 2012 FRAC Centre OrlĂŠans The project Flight Assembled Architecture by Gramazio Kohler portrays the ideologies of Computerization in which technology has permitted for design and production to be achieved in a more efficient manner.

Within this project 4 drones are used to assemble an architectural sculpture in front of a live audience. Such a design process would not be attainable without technology, in the effortless and productive manner it was achieved. While having the drones coded to place the rectangular ‘brick like objects’ allowed for a far greater level of efficiency through removing the inevitability of human error. This project depicts the opportunities that innovative technology presents, however in this design the architect is still the master and consequently such a project displays the opportunities of computerization not computation.

Figure 6 - Elevation and plan of FRAC Drone made Structure

Figure 7 - Photograph by FRAC of Drone in action

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Precedent 2

LI-QUID - Wonderlab Wonder lab on the other hand “has renewed the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material rhelm”.1 Their designs embody the ideology of computation as design and creativity to an extent is no longer in the hands of the ‘creator’ - rather the designer guides the computer to undergo the creative process of design. Wonder lab use scientific research in the behavior of matter alongside computing to open new protocols in construction. The project titled LI-QUID uses 3D printing – computational physics – robotics and simulation to create incredibly complex intricate designs well beyond human rational. The complexity of these projects displays how computation can widen the range of achievable geometries that were available prior to the development of scripting and design computation. The development of projects like Wonder lab’s, exhibits the exciting future that computation permits and displays the limitless realm of possibilities for future designers and architects.

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Figure 8- Photograph by Wonderland of 3D printer in action

Figure 9 - LI - QUID 1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

A.3 Composition/Generation Computation permits for architects to use algorithms to create both complex models and analysis performance. It is these new-found abilities that has developed the architect’s tools from pen and pencil to a new-found tool that has the potential to replace architectural traditions. The technologies used in the process of computation “go beyond the intellect of the designer… through the generation

of unexpected results”.1 The concepts of design generation has the potential to both redefine the role of the architect and architecture as a profession.

Figure 10 - Gillies Retsin, Discrete Elements 11 11 1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Precedent 1

Bloom - Alisa Andrasek + Jose Sanchez The project bloom embodies the ideologies of computation and generation on multiple levels of complexity. The vibrant pink garden/ park was made using algorithms which initially created a bench formation (the first seed) from which the designers intended the structure to grow. In order for growth, the algorithm was programmed to create additional piece to which the community could add onto the initial forms and generate new structures, shapes, forms and uses etc. This ideology that after the initial seed was planted – being the bench, that the final outcome was unknown to the creator, embraces the concept of generative design in the real world. This projects unpredictability/generation comes in two parts, one being in the algorithms creation of the bench and the second being the publics putting together of the puzzle – such unpredictably sees bloom as an exemplary example of the endless possibilities of creativity that generative design permits and displays how the ideologies of generative design can be taken from the digital world and implement in the real world.

How to Play: Step 1 - Connect individual pieces.

Step 2 - Discover sequences you like.

Step 3 - Put them together.

Figure 11- Bloom Kit of Parts

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Figure 12- Bloom in the park render

Precedent 2

HoaxUrbanism Casey Rehm/Studio Kinch Hoax Urbanism is a project that uses neural network models to create built landscapes using artificial intelligence on previously barren scenes. The algorithms collect data from built environments and after analyzing the data develop patterns which informs the algorithms. In order to map the buildings it acquired functions (being built form) and two domains X,Y (X being the Built landscapes and Y the Barren).1 From analyzing an array of satellite imagery; it was able to place the functions (buildings) on the barren domain [figure 1], creating a urban landscape [Figure 2]. This project like ‘Bloom’ had an unpredictable outcome, however in ‘HoazUrbanism’ the final outcome lay completely within the algorithm and to an extent the computer was the ‘master’ of creating the final outcome. Studio Kinch’s use of using algorithms in conjunction with artificial intelligence to create generative design displays another potential leap forward in the future of architectural discourse, adding another layer to the philosophies of computerization.

Figure 13- Natural Landscape

Figure 14 - Generated landscape 13 Studio Kinch (2018). HoaxUrbanism. Available at: http://www.kinch-d.com/Graphics-HoaxUrbanism

A4 Conclusion Through the evolution of technologies, it is inevitable that architecture and design as we know it is on the cusp of redefining itself.

The role of the architect/designer appears to be shifting from the master of outcomes to the creator of algorithms. With such an adaption in the architectural profession there is also a shift in the focus of design – to adapt for and with nature. Parametric design, permits for an analysis of performance and the inclusion of alternate disciplines, aids in our understanding of how the built environment interacts with nature. Having this information should allow for us to build and design with the best interest of nature in mind and consequently

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create a more harmonizing relationship between the built and the natural.

From studying the precedents, it is evident that computation and parametric design is already prevalent in architecture. The artificial intelligence used in Hoax Urbanism and the Bottom-up design process, stands out to me as something exciting as the result is unknown and the creative process (to an extent) taken out of our hands.

I believe that the results from these technologies will create a built environment that better interacts with nature and create societies with aesthetics beyond the intellect of human rational.

A.5. Learning Outcomes Studio Air has altered my way of thinking about architecture and the design process. Previous to this studio the architectural greats and Le Corbusier in particular, had shaped the way I thought about design. With people and program at the forefront of my design decisions. Previously I saw houses as “machines for living” 1 and buildings built in relation to program. Studio Air has opened my mind and changed the my perception on design and excited me for the future. I am still skeptical of how computation will be developed on a mass scales - as I fear that developers and budget constraints will initially halter its adoption.

However I agree and am optimistic like Bradley Elias that similar to abstract art it will eventually be adopted widely implemented across the design world and celebrated in years to come; as the creative realm that computation and parametric design permits, is too rich to ignore and must be implemented into design if we are to design to the best of our abilities.

1. Le Corbusier. (1923) ‘Towards and Architecture’ (Getty Publications). 15 15

A.6 Appendix This Design Matrix shows the production of columns that i created throughout the first few weeks experimenting within Grasshopper. The columns as they progress take on more of a traditional Greek form and become increasingly complex in geometry which is what i intended. I aim to further explore the design manipulation tools that grasshopper has to offer and enter more of a design generation realm than what currently exists.

‘‘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.”

- Brady

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I believe that these 3 columns were my successful, as the proportions mimics that of Greek columns and the geometry represents the inspiration of Storey Hall, RMIT. I wanted the columns to depict the random diamond like geometry of the pen-rose tiles that make up the facade of Storey Hall and these columns started to represent what i was aiming to achieve. Seen in the harsh unpredictable geometries that wrap around and compose the columns form - reminiscent of Storey Halls pen-rose tiles.

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A.7. References Image Sources Front Cover + Contents Page images sourced from - https://www.daghancam.com/uclbartlett-2013-14 Figure 1 Zaha Hadid Architects, Urban Fabric, (n.d.). http://marketurbanism.com/2016/05/19/the-bottomup-urbanism-of-patrik-schumacher/ [15 March 2018].

Figure 2 Zaha Hadid Architects (2006). Kartal Masterplan. Available at: http://www.zaha-hadid.com/ masterplans/kartal-pendik-masterplan [15 March 2018].

Figure 3 Zaha Hadid Architects (2006). Kartal Masterplan. Available at: - https://www.pinterest.com.au/ pin/550916966888436137 [15 March 2018].

Figure 4 Archigram (1964). The Walking City. [image] Available at: https://archkiosk.wordpress. com/2013/11/10/cities-on-the-move-from-archigram-to-cruise-ships/ [Accessed 15 Mar. 2018].

Figure 5 Fibro City UCL Bartlett - https://www.daghancam.com/ucl-bartlett-2013-14 Figure 6 Gramazio Kohler Architects (2012). Flight Assembled Architecture, 2011-2012 FRAC Centre Orléans. Available at: https://magaceen.com/en/innovation/digital-building/html [15 March 2018].

Figure 7 Gramazio Kohler Architects (2012). Flight Assembled Architecture, 2011-2012 FRAC Centre Orléans. Available at: http://www.gramaziokohler.com/web/e/installationen/209.html [15 March 2018].

Figure 8+9 Wonderlab (2016). LI-QUID. Available at: http://www.w-o-n-d-e-r-l-a-b.com/portfolio/li-quid/ [15 March 2018].

Figure 10 – Retsin, G. (2015). Discrete elements. Available at: http://www.archreporter.com/discrete-elementsusing-generative-algorithms-create-architectural-space [15 March 2018].

Figure 11 + 12 Andrasek, A. and Sanchez, J. (2012). BLOOM. Available at: https://www.archdaily.com/269012/ bloom-a-crowd-sourced-garden-alisa-andrasek-and-jose-sanchez [15 March 2018].

Figure 13 + 14 Studio Kinch (2018). HoaxUrbanism. Available at: http://www.kinch-d.com/GraphicsHoaxUrbanism [15 March 2018].

18 search?q=HoaxUrbanism+Casey+Rehm%2FStudio+Kinch&rlz=1C1CHBF_

References Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Le Corbusier. (1923) ‘Towards and Architecture’ (Getty Publications).