Shahn Griffin | Architectural Studio Air ABPL30048 University of Melbourne by Shahn Griffin

STUDIO AIR ABPL 30048 SHAHN BHAL

TUTOR: BRADLEY ELIAS

“One day [Kahn] walked into a classroom and began a lecture with the words: “Light ... is.” There followed a pause that seemed seven days long, just long enough to re-create the world.” - Tom Wolfe, From Bauhaus to Our House 1

1. Tom Wolfe, From Bauhaus to Our House, 1 edn (United States: Farrar, Straus & Giroux, 1981).

MODULE A 006

01 DESIGN FUTURING 008 02 DESIGN COMPUTATION 016 03 COMPOSITION/GENERATION 028 04 CONCLUSION 044 05 LEARNING OUTCOMES 046 06 APPENDIX 046

MODULE B 062

01 RESEARCH FIELD: BIOMIMICRY 064 02 CASE STUDY 1.0: FLOCKING 068 03 CASE STUDIES 2.0,3.0 078 04 TECHNIQUE DEVELOPMENT 091 05 TECHNIQUE PROPOSAL 091 06 TECHNIQUE TECTONICS 098 07 LEARNING OUTCOMES 102 08 APPENDIX 109

MODULE C 117 01 DESIGN CONCEPT | DEVELOPMENT 02 TECTONIC ELEMENTS & PROTOTYPES 124 03 FINAL MODELS 138 04 LEARNING OUTCOMES 148

118

ABOUT ME My Name is Shahn. I’m a student. I study architecture. I like reading, I like computers and I like art. I also like photography, so I suppose I really only like architecture because its a synthesis of art and knowledge, so that’s cool. I’m not great at much, and I hate that I’m having to write this. This is not a CV, or a resume, I have no real background in grasshopper or rhino, so I suppose I’m a novice when it comes to this. I undertook a few weeks of Studio AIR last semester, but decided to take a reduced load for the remainder of my degree while I ‘find myself’ - so far that has been an exercise in total pointlessness and obsurdity. Anyway, this journal probably bears a lot of resemblance to my past submission - it’s hard to arrive at a different design thesis when the subject is exactly the same. I’m pretty relieved that this studio represents a shift away from Modernism, and the sort of banal and meaningless pop-architecture that most people love even though it’s ubiquitous, and that Architectural Design Studio: AIR makes an effort toward approaching a new aesthetic. In the same vein as the relationship between the modernists and the industrialists, a synthesis between computation and design can result in a new, responsive, and relevant architecture.

MODULE A CONCEPTUALISATION DESIGN FUTURING DESIGN COMPUTATION COMPOSITION/GENERATION CONCLUSION LEARNING OUTCOMES

CONCEPTUALISATION

A01 DESIGN FUTURING

‘Design Futuring’ is the design yet to come; The design which is needed to ensure that there is a future, coined by Tony Fry in his book of the same name. 2 We are faced with global issues, which will undoubtedly dictate the course of life and design. Global warming and Climate change are now regarded by many to be unquestionable truths - these are the forces to which good design must respond. We live in a world becoming increasingly more aware that our collective actions have consequences, and, moreover, that “{we as} humans live a contradiction. In our endeavour to sustain ourselves in the short term we collectively act in destructive ways towards the very things we and all other beings fundamentally depend upon.”2. We can say that for design to have a future, designers today must seek to aid society in realising the broader, inimmediate implications of their actions. The design yet to come is focused on an effort to prolong humanity. It is the obligation of designers today to question, discuss and emote through their work. With regards to architecture, the greater discourse is one now centered for the first time, on ideas which do not directly relate to style or form. It is the New Aesthetic, an aesthetic based upon issues of structure, environment, material and, above all, sustainability. The notion of designs considered as systems representing solutions rather than pieces of art or sculpture is a notion which will prolong humanity.

2. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, English Ed. edn (United States: Bloomsbury Academic, 2008).

Coop Himmelb(l)au Energy Roof Perugia, 2009 DESIGN FUTURING DESIGN PRECEDENT

FIGURE A01.1

Coop Himmelb(l)auâ&#x20AC;&#x2122;s Energy Roof Perugia is an energy conscious project the collective is currently planning for Perugia in Italy. In brief, the project is aimed at creating a new public space, and attraction, but also to create energy.

The project is of particular relevance to the course as it is indeed a work of pavillion architecture which has been built (or commissioned) to generate some level of energy. By the same token, the work is also relevant to the idea of design futuring.

The roof consists of both passive and active transparent glass photovoltaic panels, which are shaped by a steel structure, mediating between ideal angles for sun exposure and structural integrity of the pavillion.

The use of computer simulation (SOURCE) to dictate photovoltaic cell disposition is the only formal implication of computational design for this project, but the project is not intended to be an expression of computational design prowess, rather an communal expression of self suffience The Energy Roof also incorporates into its design and environmental consciousness. five wind turbines, which generate supplimentary energy when active.

3.COOP HIMMELB(L)AU, Energy Roof Perugia (2013) <http://www.coop-himmelblau.at/architecture/projects/energy-roof- perugia/> [accessed 5 August 2014]. 4. Innovative Methods in Product Design, ed. by Gianmaria Concheri, Roberto Meneghello, Gianpaolo Savio, Full Papers edn (Pardova: UniversitĂ degli Studi di Padova, 2011), p. 1020.

FIGURE A01.2

Tingwe Xu / Xie Zhang Membrane: A Proposal for Rising Sea Levels in New York, 2012 DESIGN FUTURING DESIGN PRECEDENT

FIGURE A01.3

Design Futuring is very much, contrary to the name, a necessity of design today. In response to a number of natural disasters and rapidly rising sea levels, Tingwe Xu and Xie Zhang , in a thesis project, designed a lattice building fabric - in essense a mangrovelike bib, not dissimilar from a mosquito-net - to protect that which architecture students lust for above all else - old buildings, but in the same manner that the Melbourne School of Design Building (John Wardel Architects &

NADAAA) incorporates an old facade in to a new building, the Membrane project embraces this juxtaposition of old and new, and as inhabitable space, as architecture - tangible, explorable, and experienced art. The perforated membrane prevents and protects from flooding in a similar way to mangroves. That is, through using fibrous vegetation to absorb and trap water, and subsequently, create a natural moisture barrier. The membrane acts as a habitat for vegetation,

FIGURE A01.4

design to be a soil substitute, and also as a pathway through and around buildings. And it is in this point that the value of the project is most evident. The speculative project is most important because it is designed to be inhabited and used, not ignored, not as a photovoltaic cell sitting on a flat roof, hidden by a parapet. This is a visible, usable solution to a pressing issue.

FIGURE A01.5

It has been speculated that underwater barriers can be used to prevent flooding, and indeed are being implimented in Venice currently, but with reference to the notion of Defuturing, this proposal is far more pertinent, as it causes one to consider climate change, and to consider ones actions. It brings in to light, through architectural discourse, the pressing issues of today, and is designed to be an active reminder of the need to be active in attaining a future for humanity.

5. Tingwe Xu and Xie Zhang, Membrane: A Proposal for Rising Sea Levels in New York (2013) <http://cargocollective.com/

upenn/MEMBRANE> [accessed 5 August 2014].

An Architecture of the future, and the architecture of today must stimulate, discuss, and create. As students of architecture, and architects of today, we are confronted with questions of how to build more sustainably; but the questions which are becoming more relevant and signficant to the discourse of today are questions which as how an architecture can impact culture to such an extent that it can drive a collective consciousness or community to examine and reconsider their actions. I am of the belief that for an architecture of today to be successful, that only through experience can a collective trully reach a revelation and change their beleifs. An architecture of today must be engaging, and interesting, drawing a community to participate in the discussion.

6. Paul Cattermole and Gwyn Headley, Building for Tomorrow: Visionary Architecture from Around the World, Illustrated,

Revised edn (New York: Thames & Hudson, 2013).

A02 DESIGN COMPUTATION

[A]ny serious “rethinking” of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, of traditional typologies, and of traditional modes of envisaging the architectural subject […]. 7

Design Computation is the use of algorithm or relationship between art and architecture. logic to create a result or outcome. whereby beauty and art is not in the design of the form, but in the design of the formula. We exist in a society which sees computation being used evermore extensively. However, it Computation results in impartial and efficient remains the case that in most cases, computation design solutions. Parameters which dictate is used in fields where rules and restrictions are and confine a design are used to explore the easily defined and reduced to boolean data relationship between factors which have a types: cases with only two outcomes, true or bearing over the design, but the relationship is false. conveyed in an unbiased manner. Design and Architecture is in the eyes of many, heavily related to, or an extension of art. And as such there are certain elements of architecture and design which are seen as incommunicable, and even, intangible. To teach a computer designerly thinking could be considered herecy. Computative Design represents a shift in the

This honest portrayal of natural relationships can create a breeding environment for ‘emergence’ to occur. Through computation a designer is actually able to create a system with its own behaviours and ‘personality’. The designer is no longer an active, intelligent creator, but rather a blind watchmaker.

7. Anthony Vidler, ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’, Harvard Design

Magazine, 11, (2000), 1-4 (p. 3).

COMPUTERIZATION

After creating or imagining a 3D form, the form is modelled digitally, tweaked and optimised. This process can be likened to computer aided design - the traditional (relatively speaking as the field has not existed in any notable sense for thirty years).

Computerization is the process of entering and storing data in a computer. With relation to design, computation can be viewed as a digital representation of a preconceived form or forms. The designer commands the computer, it is the paper on which his vision is drawn.

computers results in largely the same result it would have without them, albeit more quickly, but a design can be more considered and refined. Computerisation allows for the clear communication and expression of ideas in a relatively truthful way; It allows for the easy, accessible, universal portrayal of This is the dominant mode in which complex information, but computerisation computers are utilised in design today. does not represent the cutting edge, the avant garde. It is not a new approach to But the prevailing contention is that this design, merely an aided system. method is flawed. The current use of

8. Achim Menges, Sean Ahlquist, Architectural Design: Computational Design Thinking: Computation Design Thinking, ed.

by Helen Castle, AD Reader edn (London: John Wiley & Sons, 2011), p. 96.

NADAAA

FIGURE A02.1

Banq, 2008 DESIGN COMPUTATION DESIGN PRECEDENT

FIGURE A02.2

FIGURE A02.3

The commission for Banq, A restaurant in Boston, Massetchusetts, was won by NADAAA.9 The restaurant is in many regards, conventional. It uses what can be described as a regular layout - one which is dictated by the desires and demands of a client - meeting certain spatial requirements and access regulations. The formal resolution of the restaurant is the result of NADAAAâ&#x20AC;&#x2122;s ongoing exploration

FIGURE A02.4

of unusual formsâ&#x20AC;&#x2122; influence on space.10 But to achieve such unusual and intricate spaces with easily available materials and relatively conventional construction methods, computerisation is utilised. I have a stron appreciation for this project, mostly for the consideration for experience and phenomenon. Although this is not a new approach to design, the resuting form is an example of one which does initiate discussion and discourse.

FIGURE A02.5

9. NADAAA, BANQ 2008 (2008) <http://www.nadaaa.com/#/projects/banq/> [accessed 12 August 2014]. 10. Michael Hensel, Mehran Gharleghi, Architectural Design: Iran Past Present and Future, ed. by Helen Castle, May/June 2012 Profile No 217 edn (London: John Wiley & Sons, 2012), p. 23.

COMPUTATION

The design is completely the result of using digital technologies. Variables and parameters influence the result in a similar way to mathematics; the designer designs the system or equation, but the resulting design is not envisioned. This process can be likened to computer integrated design - a new way of viewing computers in the realms of design and manufacturing. The computer is no longer a tool which inhibits design, but a new aesthetic is created through them.

Computation is information processing using computers. Within the confines of design it can be viewed as affording a computer the opportunity to configer a design solution through interpretting user input (language).

would result in a change to the element.

Computation is a design formula. A move away, perhaps for the first time in Architecture, from formalism, it does not have to be digital, and indeed figures like Gaudi and more recently Eisenmann have Computation requires parameters or explored computation in some sense. inputs. It is concerned with creating solutions based on these inputs, and a Design is justified by clearly definied written system - a rule or algorithm. parameters, and the system, the algorithm which represents a truthful, impartial If an element is the result of computation, outcome. a change to any of the designâ&#x20AC;&#x2122;s parameters

8. Achim Menges, Sean Ahlquist, Architectural Design: Computational Design Thinking: Computation Design Thinking, ed.

by Helen Castle, AD Reader edn (London: John Wiley & Sons, 2011), p. 96.

FIGURE A02.6

MARC FORNES & THE VERY MANY 10 Sukkah City, 2010 DESIGN COMPUTATION DESIGN PRECEDENT

The project deals with designing a stable structure using a fragile, lightweight material.11 Through computation, the maximum and optimum stresses that the material was capable of were calculated. Using these capacities as the main parameters for the design formula, a form was resolved. This resulting form can be constructed of extremely lightweight materials. The system bears a lot of resemblance to other natural systems, particularly cells which grow based on the health of themselves and the system as a whole. We can therefore speculate that, as Sukkah City was programmed with a goal being to grow, using as parameters for growth such as time and randomness. Restrictions will have then been added, based on factors such as weight length and size. The surface pattern was likely decided upon through another algorithm, mediating between weight, flexibility, strength and ofcourse, fabrication restrictions. The most appealing aspect of this project to me is the notion that a form which bears incredible resemblance to other natural systems was created through exploring a very simple reltionship. The process of fabrication seems tedious, and extremely expensive, but the prototype was succesful in proving the design thesis at a large scale. FIGURE A02.7 FIGURE A02.8 FIGURE A02.9

11. Marc Fornes & THEVERYMANY, 10 Sukkah City (2010) <http://theverymany.com/constructs/10-sukkah/> [accessed 12

August 2014].

0101100100010111101010101101010 0101010010101001010101111111111 1000101001000001110010101000111 0011100000110101111101000101010 1100110010101001010101010101000 0011111101010101110101010100100

Computational Design represents a step away from the representational, and toward the relationship. Design Computation sets the stage for an interaction between design process and emergent technologies, whereby one simbioticly enhances the other. The resulting designs are the marriage of science, technology, and artistic culture; a synthesis of material culture and technologies. This relationship bears much resemblance to the relationship between modernist architecture and the growth of industry and mechanisation. In effect, within Computational Design, formation holds priority over form, and the designer becomes a design partner, concerned with th thinking of architectural generation through the logic of the algorithm. In this New Aesthetic, formal resolution and appearance is dictated by relationships, algorithm and â&#x20AC;&#x2DC;performanceâ&#x20AC;&#x2122;. Computation is to me, the central pilloti of the New Aesthetic of architecture. As our relationships with computers thrive, we can begin to move past the restrictions which certain programs or applications give us. The very Nature Of Code is the influencing factor in design, rather than the limitations which prevent fully formed ideas from being realised. The most interesting opportunity or area for exploration is, I believe, the process of manufacturing a phenomenon or experience through parameters. The limits of computation (as I understand it at this stage) lie in its honesty. Architects are auteurs who control the experience of participants, and so it is difficult to accept a lack of control with regards to a final outcome.

12. Kostas Terzidis, Expressive Form: A Conceptual Approach to Computational Design, eLibrary edn (London: Taylor &

Francis Group, 2005).

A03 COMPOSITION/GENERATION

Computation brings with it constraints. Computational designs are limited by logic and computational power, they must also follow rules. In a similar vein to the modernists, whose aesthetic was driven by material choices - the use of steel, masonry and glazing, the computationalists have their own aesthetic, and again sharing similarities with the modernists, we can view the aesthetic as a type of honesty. Computational design represents a desertion of some level of aesthetic or formal compositional control, in favour of a compositional control of function, embracing an algorithmic consideration to design. Composition generation refers to the implimentation of rules, restrictions and conditions to dictate how the design will logically evolve and respond to its environment, either in real time or through generation analysis. The nature of the relationship between computation, composition and generation can be described or defined as Digital Morphogenesis13 - formal development with regards to environment or conditions (changing variables parameters). This argument can be extended to the point where parameters can be used to not only be used as variables within a single equation, but can have functional relationships to broader algorithms, changing the breed of algorithm also.

13. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, 1 edn (London & New York: Routledge, 2014).

FIGURE A03.1

FRANCOIS ROCHE (NEW-TERRITORIES) I’VE HEARD ABOUT, 2006 COMPOSITION/GENERATION - RESPONSIVITY DESIGN PRECEDENT

‘I’ve heard about’ is a recent urban design experiment by Francois Roche. The project has no real control over aesthetic directly, but follows rules such as urban growth patterns, spatial needs, living requirements (most notably air and light) to create an urban environment responsive to population (and population growth). It is a generation based on componentry, digital morphogensis.

“I’ve heard about something that builds up only through multiple, heterogeneous and contradictory scenarios, something that rejects even the idea of a possible prediction about its form or growth or future topology”.14

changing environmental factors and parameters. The project is, as such, a true embodiment of Digital Morphogenesis, and indeed a responsive parametric process.

Within the confines of composition and generation in architecture, Francoise Roche concedes here the most intriguing works to me, that the formal resolution of this are works such as this, which project was not ideated by himself. completely and totally change The design is a formal resolution based on their environment, in in response to a system. It relies what could be described as Neue on generation to dictate form. Critical Regionalism. Although Fornes addresses and resolves architectonic details in The questions ”I’ve Heard About” ‘I’ve Heard About’, largely through raises for me are questions on computation and is limited in the role of time in Grasshopper. many ways by the use of easy Relatively easy to excecute through to attain materials and easy to Python and Processing, it appears fabricate techniques, Fornes has to be far more difficult through created a design with a formal using Grasshopper alone. resolution based almost entirely on

14. Francois Roche, I’ve Heard About (2005) <http://www.new-territories.com/I’veheardabout.htm> [accessed 19 August 2014].

FIGURE A03.3

Briefly, as a secondary point, Much of my interest in the project was derived from purely the images on this spread. Based purely on the factors of weight, height and span, the system is given rules for which to live by and grow by in a changing environment. It represents a holistic approach to design, an icorporation of structural design, architectural

FIGURE A03.4

design, and even given its environmental considerations, urban design as well. The structure has a clear and unique aesthetic. I find it intruiging that a beautiful aesthetic is not composed, but rather, generated. This project has given me a clear goal of just how much of a design one should strive to achieve through computation - as much as possible.

CHRISTOPH HERMANN BAROTIC INTERIORS I & II, 2011 COMPOSITION/GENERATION - ARCHITECTONIC FLUENCY DESIGN PRECEDENT

FIGURE A03.5

Christoph Hermann’s explorations in Barotic Interiors are exercises in achieving emergence when exploring the ‘system dynamic’. This is exploring the part to part and part to whole relationships. It is an explicit critique of contemporary interior spaces which are arranged only with reference to pragmatism. The projects gain their name

from the Baroque interiors which were so carefully considered and so thoroughly formally resolved. The projects take in to account various architectural elements, which serve different functions, such as structure and texture as dynamic inputs within an algorithm which realises a whole, complete system.

15. Christoph Hermann, Barotic Interiors I: Emergent Design (2014) <http://www.christoph-hermann.com/parametric-

architectures/emergent-design-barotic-interiors-2/> [accessed 19 August 2014].

FIGURE A03.6 FIGURE A03.7 FIGURE A03.8

FIGURE A03.9

A lot of my interest in the project lies in the manner in which voids are created in a surface, and how these voids are used as points of interaction between â&#x20AC;&#x2DC;floorsâ&#x20AC;&#x2122;. The outcome is beautiful, and formally, unintended. This is indeed an example of emergent architecture, whereby the low-level inputs create something much more meaningful than the sum of their individual parts, but this is emergent design with coherency and control. This control comes through the use of inputs as parameters, which can be changed extremely easily and confined in an intuitive way. This is the benefit of parametric design over algorithmic design as a greater field - the manner in which variables can be easily changed for purely aesthetic or human reasons - the designer retains some control over his work, and I can see where, in some circumstances, pure math cannot achieve an aesthetic or feasible outcome.

16. Christoph Hermann, Barotic Interiors I: Emergent Design (2014) <http://www.christoph-hermann.com/parametric-

architectures/emergent-design-barotic-interiors-2/> [accessed 19 August 2014].

FIGURE A03.10

KOKKUGIA FIBROUS HOUSE COMPOSITION/GENERATION - MATERIALISATION DESIGN PRECEDENT

Kokkujia is an architectural research firm focused primarily on generative design strategies including algorithmic design in architecture. The Fibrous House is concerned with the generation of a form based upon purely material concerns.

The project focuses on the generatng of â&#x20AC;&#x2DC;volatile fibrous assemblagesâ&#x20AC;&#x2122;.18 A variable population or density of these volatile fibres emerges based on material characteristics. Anchor points are specified, from which the material strands organise themselves to support a volume. The aggregation of these assemblages is based on material properties. The fibres are stronger together.

unlike something seen outside of computational architecture and design. The importance of attractivity and interest in a project should not be understated, and a wealth of value in this project is in the aesthetic of its expression of strength and tensility.

It is worth considering how a design such as this could respond to environmental factors, and if Although, subjectively, within the i were able to create something confines of this subject, a focus similar, I would be intruiged by on structural responsivity has the possible results of attempting less merit than a design which to make the assemblages and grows purely in response to its materials themselves react to environment, the formal resolution changing conditions such as heat, is so attractive, and in many ways light or wind.

17. Kokkugia, FIBROUS HOUSE (2012) <http://www.kokkugia.com/fibrous-house> [accessed 19 August 2014].

FIGURE A03.11

FIGURE A03.12

The fibrous house project is in many ways similar to the aforementioned Francois Roche project. Both projects are explorations primarily in structure, however the fibrous house considers material properties to define a structure, as opposed to the opposite. The result is one which is in many ways, more similar to construction in nature (biomimicry) than conventional building.

Design is a profession centered around creating comfort, and facilitating life and laziness. Through computation and generation, design becomes its own organism, a natural process which is created, exists and grows, within, a system. A design should, like an organism, change, react, and evolve in its system, in order to prolong the existence of itself and its environment. Computation is already being used in practice to materialise and fabricate, to analyse performance. These were previously taken in to account by the architect, who internalises these factors, and arrives at a design response based on a justified mediation between them. The role now changes to identify the underlying needs which an architecture fulfills, and creating a system in which a pure architecture can flourish; a system which allows these factors to grow and emerge. Resulting in an objective and synthesised relationship between theory and nature. The flocking of birds and fish is detirmined by numberous low-level factors. Each bird is influenced by the bird beside it, and through a desire purely of safety,we observe from a high-level, the emergence of unique forms and patterns. Design through computation and generation can be likened to this process. Through creating rules, algorithms and defining behaviour, the properties of building elements such as materiality or structure can dictate its own formal resolution.

18. Georg Flachbart, Disappearing Architecture: From Real to Virtual to Quantam, ed. by Georg Flachbart and Peter Weibel,

1 edn (Basel: Birkh채user, 2005), p. 96.

A04 CONCLUSION

GOOD DESIGN 19 IS INNOVATIVE MAKES A PRODUCT USEFUL IS AESTHETIC MAKES A PRODUCT UNDERSTANDABLE IS UNOBTRUSIVE IS HONEST IS LONG-LASTING IS THOROUGH DOWN TO THE LAST DETAIL IS ENVIRONMENTALLY FRIENDLY IS AS LITTLE DESIGN AS POSSIBLE

Before undertaking Studio AIR, my design philosophy centered around a group of guidelines which I would strive to measure my designs against - these guidlines or rules which would dictate the processes of ideation and realisation are Dieter Ramsâ&#x20AC;&#x2122; ten principles of good design. The Studio has thus far caused me to reconsider the validity of the arguments when applied to architecture and when applied to design of today. The ten do still, for the most part, hold true. Toward a new architecture, design must be innovative and useful, as must a design portray honesty and be enviornmentally friendly - perhaps the most relevant point in architectural discourse currently. The ten do need to however, be reconsidered. Good Design is as little formal design as possible; A well considered formula is still required, (good design must also therefore, be thorough), but as little consideration for form as possible can result in the most thought-

provoking unique and interesting designs, which announce themselves and reflect their very nature. Good design does not need to be unobtrusive; good design does not need to be aesthetic; good design must first make a statement, and bring in to light the defining issues of our time, this is our duty as designers and architects. The Land Art Generator Initiative calls for a sculpture which above all, makes users consider energy use, clean energy generation, and the implications of humans actions at a broad, indirectly observable scale. To effectively achieve this, a design should represent the new aesthetic, in an effort to create an architecture which is engaging and able to alter and influence culture at large - bringing the consideration of issues so pressing and important to today, into the social zeitgeist.

19. San Francisco Museum of Modern Art, SFMOMA Presents Less is More, the Design Ethos of Dieter Rams (2011) <http://

www.sfmoma.org/about/press/press_exhibitions/releases/880> [accessed 19 August 2014].

A05 LEARNING OUTCOMES

I wrote after the first three weeks of my first undertaking of this studio, that “Since the beginning of the semester I think my view of architecture as a whole has changed. Having some background in programming, the process of algorithmic thinking is not entirely novel, but until this stage it has been relatively unrelated in my approach to architectural design. Computation is something used with such prevalence in architecture today, but to be on the cutting edge is to create a formula and not a form.” Now, I write this torn. This studio is a lot of work, it’s extremely interesting, but no ideas seem to be my own, and there’s a sense that I’m no longer a designer, but just a small part of a large system, influenced by a body of knowledge. (not my own, but that of whatever resources I find online) my machine does the majority of my work. I’m yet to feel fulfilled by ‘creating’ something. Perhaps after fabrication those feelings will change. I loathe analogue model making so at least digital fabrication may present some sort of greater relief.

BIBILOGRAPHY A collection of textual and visual references

1. Tom Wolfe, From Bauhaus to Our House, 1 edn (United States: Farrar, Straus & Giroux, 1981). 2. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, English Ed. edn (United States: Bloomsbury Academic, 2008). 3. COOP HIMMELB(L)AU, Energy Roof Perugia (2013) <http://www.coop-himmelblau.at/architecture/projects/energy-roof- perugia/> [accessed 5 August 2014]. 4. Innovative Methods in Product Design, ed. by Gianmaria Concheri, Roberto Meneghello, Gianpaolo Savio, Full Papers edn (Pardova: Università degli Studi di Padova, 2011), p. 1020. 5. Tingwe Xu and Xie Zhang, Membrane: A Proposal for Rising Sea Levels in New York (2013) <http://cargocollective.com/ upenn/MEMBRANE> [accessed 5 August 2014]. 6. Paul Cattermole and Gwyn Headley, Building for Tomorrow: Visionary Architecture from Around the World, Illustrated, Revised edn (New York: Thames & Hudson, 2013). 7. Anthony Vidler, ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’, Harvard Design Magazine, 11, (2000), 1-4 (p. 3). 8. Achim Menges, Sean Ahlquist, Architectural Design: Computational Design Thinking: Computation Design Thinking, ed. by Helen Castle, AD Reader edn (London: John Wiley & Sons, 2011), p. 96. 9. NADAAA, BANQ 2008 (2008) <http://www.nadaaa.com/#/projects/banq/> [accessed 12 August 2014]. 10. Michael Hensel, Mehran Gharleghi, Architectural Design: Iran Past Present and Future, ed. by Helen Castle, May/June 2012 Profile No 217 edn (London: John Wiley & Sons, 2012), p. 23. 11. Marc Fornes & THEVERYMANY, 10 Sukkah City (2010) <http://theverymany.com/constructs/10-sukkah/> [accessed 12 August 2014]. 12. Kostas Terzidis, Expressive Form: A Conceptual Approach to Computational Design, eLibrary edn (London: Taylor & Francis Group, 2005).

13. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture, 1 edn (London & New York: Routledge, 2014). 14. Francois Roche, I’ve Heard About (2005) <http://www.new-territories.com/I’veheardabout.htm> [accessed 19 August 2014]. 15. Christoph Hermann, Barotic Interiors I: Emergent Design (2014) <http://www.christoph-hermann.com/parametric- architectures/emergent-design-barotic-interiors-2/> [accessed 19 August 2014]. 16. Christoph Hermann, Barotic Interiors I: Emergent Design (2014) <http://www.christoph-hermann.com/parametric- architectures/emergent-design-barotic-interiors-2/> [accessed 19 August 2014]. 17. Kokkugia, FIBROUS HOUSE (2012) <http://www.kokkugia.com/fibrous-house> [accessed 19 August 2014]. 18. Georg Flachbart, Disappearing Architecture: From Real to Virtual to Quantam, ed. by Georg Flachbart and Peter Weibel, 1 edn (Basel: Birkhäuser, 2005), p. 96. 19. San Francisco Museum of Modern Art, SFMOMA Presents Less is More, the Design Ethos of Dieter Rams (2011) <http:// www.sfmoma.org/about/press/press_exhibitions/releases/880> [accessed 19 August 2014].

FIGURE A01.1 - Energy Roof Pergia, COOP HIMMELB(L)AU. Available at <http://www.coophimmelblau.at/uploads/made/uploads/images/Projects/0906_CRP%20Perugia/S_0906_ R02_1097_772_90.jpg>. [accessed: 5 August 2014] FIGURE A01.2 - Energy Roof Pergia, COOP HIMMELB(L)AU. Available at <http://www.coophimmelblau.at/uploads/made/uploads/images/Projects/0906_CRP%20Perugia/S_0906_M60_ MP_1097_731_90.jpg>. {accessed: 5 August 2014] FIGURE A01.3 - Membrane, Tingwe Xu / Xie Zhang. Available at <http://payload97.cargocollective. com/1/5/162968/4259161/1-iconic_640.jpg >. [accessed: 5 August 2014] FIGURE A01.4 - Membrane, Tingwe Xu / Xie Zhang. Available at <http://payload97.cargocollective. com/1/5/162968/4259161/10-structure_640.jpg >.[accessed: 5 August 2014] FIGURE A01.5 - Membrane, Tingwe Xu / Xie Zhang. Available at <http://payload97.cargocollective. com/1/5/162968/4259161/12-new%20layer_640.jpg>. [accessed: 5 August 2014] FIGURE A02.1 - BanQ, NADAAA. Available at <http://www.nadaaa.com/wp-content/uploads/2011/09/ Banq_02.png>. [accessed: 12 August 2014] FIGURE A02.2 - BanQ, NADAAA. Available at <http://www.nadaaa.com/wp-content/uploads/2011/09/ Banq_19.png>. [accessed: 12 August 2014] FIGURE A02.3 - BanQ, NADAAA. Available at <http://superfab.co/wp-content/uploads/2014/02/ nadaaa03.jpg>. [accessed: 12 August 2014] FIGURE A02.4 - BanQ, NADAAA. Available at <http://www.nadaaa.com/wp-content/uploads/2011/09/ Banq_11.jpg>. [accessed: 12 August 2014] FIGURE A02.5 - BanQ, NADAAA. Available at <http://www.nadaaa.com/wp-content/uploads/2011/09/ Banq_01.jpg>. [accessed: 12 August 2014] FIGURE A02.6 - 10. Sukkah City, THEVERYMANY. Available at <http://theverymany.files.wordpress. com/2010/09/100921_tvm_sukkah_03_s.jpg?w=500&h=386>. [accessed: 12 August 2014] FIGURE A02.7 - 10. Sukkah City, THEVERYMANY. Available at <http://theverymany.files.wordpress. com/2010/09/100726_onlafest_striplettes-004_curl_ps_fornes_s.jpg?w=500&h=500>. [accessed: 12 August 2014] FIGURE A02.8 - 10. Sukkah City, THEVERYMANY. Available at <http://theverymany.files.wordpress. com/2010/09/dsc_0045_dlight_ps_tvm_s.jpg?w=500&h=752>. [accessed: 12 August 2014] FIGURE A02.9 - 10. Sukkah City, THEVERYMANY. Available at <http://theverymany.files.wordpress. com/2010/09/dsc_0076_auto_ps_tvm_ss.jpg?w=500&h=332>. [accessed: 12 August 2014]

FIGURE A03.1 - I’ve Heard About, Francois Roche. Available at <http://thefunambulistdotnet.files. wordpress.com/2010/12/hypnos4.gif>. [accessed: 19 August 2014] FIGURE A03.2 -I’ve Heard About, Francois Roche. Available at <http://www.new-territories.com/ I’vehe2.jpg>. [accessed: 19 August 2014] FIGURE A03.3 -I’ve Heard About, Francois Roche. Available at <http://www.new-territories.com/ I’vehe17.gif>. [accessed: 19 August 2014] FIGURE A03.4 -I’ve Heard About, Francois Roche. Available at <http://www.new-territories.com/ I’vehe18.gif>. [accessed: 19 August 2014] FIGURE A03.5 - Barotic Interiors II, Christoph Hermann. Available at <http://www.christoph-hermann. com/wp-content/uploads/2011/10/generative-architecture-digital-baroque-christoph-hermann-02470x235.jpg>. [accessed: 19 August 2014] FIGURE A03.6 - Barotic Interiors I, Christoph Hermann. Available at <http://www.christoph-hermann. com/wp-content/uploads/2011/10/generative-architecture-christoph-hermann-10-470x235.jpg. [accessed: 19 August 2014] FIGURE A03.7 -Barotic Interiors II, Christoph Hermann. Available at <http://www.christoph-hermann. com/wp-content/uploads/2011/10/generative-architecture-digital-baroque-christoph-hermann-05470x235.jpg>. [accessed: 19 August 2014] FIGURE A03.8 -Barotic Interiors II, Christoph Hermann. Available at <http://www.christoph-hermann. com/wp-content/uploads/2011/10/generative-architecture-digital-baroque-christoph-hermann-04470x235.jpg>. [accessed: 19 August 2014] FIGURE A03.9 -Barotic Interiors I, Christoph Hermann. Available at <http://www.christoph-hermann. com/wp-content/uploads/2011/10/generative-architecture-christoph-hermann-05-470x235.jpg>. [accessed: 19 August 2014] FIGURE A03.10 - Fibrious House, Kokkugia. Available at <http://payload197.cargocollective. com/1/2/68467/6249723/kokkugia_fibrousHouse_chunk_01_640.jpg>. [accessed: 19 August 2014] FIGURE A03.11 - Fibrious House, Kokkugia. Available at <http://payload197.cargocollective. com/1/2/68467/6249723/plan_splines_640.jpg>. [accessed: 19 August 2014]

A06

Appendix - Algorithmic Sketches

53 53

WALKING BASIC AUTONOMOUS BEHAVIOUR

55 55

AGGREGATION APPLICATION WITH VOLUME IN THREE DIMENSIONS

57 57

FIBROSITY BASIC SELF ORGANISING SYSTEMS BASED ON THE WORK OF FREI OTTO

59 59

61 61

MODULE B CRITERIA DESIGN RESEARCH FIELD CASE STUDY 1.0 CASE STUDY 2.0 TECHNIQUE: DEVELOPMENT TECHNIQUE: PROPOSAL TECHNIQUE: TECTONICS LEARNING OBJECTIVES AND OUTCOMES ALGORITHMIC SKETCHES

CRITERIA DESIGN

B01 RESEARCH FIELD | BIOMIMICRY

FIGURE B01.1

FIGURE B01.2

“In contemporary architectural design, digital media is increasingly being used not as a representational tool for visualization but as a generative tool for the derivation of form and its transformation - the digital morphogenesis... The predictable relationships between design and representations are abandoned in favor of computationally generated complexities. “1 Digital morphogenesis is the process of formal development through computation, which allows for conceptual design to bear new complexities and intricacies. Through a set of predefined rules and constraints, a designer is able to create controlled, but perhaps unexpected outcomes. The basic logics or rules which define a shape, structure or behaviour, become drivers of formal resolution.

consideration for natural phenomena provides a unique opportunity to shape the future through manipulating the variables in the laws of nature “Recent discourse on digital morphogenesis in architecture links it to a number of concepts including emergence, self-organization and form-finding.”2

“A better understanding of biological morphogenesis can usefully inform architectural designing because 1)architectural designing aims to resolve challenges that have often already been resolved by nature;2) architectural designing increasingly seeks to incorporate concepts and techniques,such as growth or adaptation,that have parallels in nature;3) architecture and biology share a common language because both attempt to model With respect to considering the direction of growth and adaptation (or morphogenesis) in contemporary design and architecture, the silico.”2

FIGURE B01.3

The adaptability and complexity of natural phenomena is contrasted by the apparent simplicity of their logics. Complex behaviours can be modelled as a combination of relatively simple conditions. This potential, to derive an intricate form from a complex combination of simple equations (emergence) is the principle driver for choosing to explore Biomimicry as a primary research field. The use of generative algorithms to resolve form, result in a design without a designer. When emulating nature through computation, the designer is a blind watchmaker who creates an environment in which a design can emerge.

This module will explore and dissect: Flocking Craig Reynolds’ BOIDS; and Force simulations Serroussi Biothing Pavillion and iwamotoscott’s Voussoir Cloud. As flocking, attraction, and extraction/ performance (respectively) are extremely potent metaphors for consumption and energy use. Although a digitally morphogenic design moves away from the traditional parti, the driving concepts behind a piece of architecture or sculpture (metaphor) are what gives it potency.

The 2014 Land Art Generator Initiative (København, Denmark) calls for a design which reflects in aesthetic the city and country’s clean energy initiatives. The competition represents an ideal opportunity for the application of a digitally morphogenic architecture.

1. Branko Kolarevic, ‘Digital Morphogenesis and Computational Architectures’,, 2000 2. Stanislav Roudavski, ‘Towards Morphogenesis in Architecture’, International Journal of Architectural Computing, 7.3, (2009),

B02 CASE STUDY 1.0

FIGURE B02.1 Flocking with JAVA

In Depth Exploration and Replication Main Focus: Flocking | BOIDS, 1987, Craig Reynolds Flocking (Swarming, Flock Behaviour, Swarm Behaviour, crowd behaviour) is the collective motion of a group of self-driven, autonomous agents; Flocking is exhibited by insects, birds, fish, and bacteria, and arises from simple rules which each individual component or agent follows, through these rules the collection of agents move in a pattern together.

Flocking was simulated through computation by Craig Reynolds in Boids (1987). 3 He stated in â&#x20AC;&#x153;Flocks, herds, and schools: A distributed behavioral modelâ&#x20AC;?, that there are three main rules which define crowd behaviour. 4

Avoid Collision/Crowding (Separation) The movement of Boids can be considered: Steer to avoid crowding local flockmates Organisms are first and foremost concerned Chaotic with their own wellbeing. Agents will not Groups of Boids will split and act erratically collide with one another. Orderly Adhere to Neighbours (Allignment) Boids will adhere to groups and move in Steer towards the average heading of relatively linear, expected directions or flockmates It is safest to follow those around you, as they Emergent. are likely acting with regards to threats or Boids will act unexpectedly. Groups will split opportunities and reunite Move to Point of Safety (Cohesion) Steer to move toward the average position (center of mass) of local flockmates To survive, it is safest to be within the center of a group of those close by. All agents have some wish to be at the centre of those close to them.

FIGURE B02.2 Agent Behaviours - Nature of Code

3. Daniel Shiffman, The Nature of Code, 1.0 edn ([n.p.]: Daniel Shiffman, 2012). 4. Craig Reynolds, RED3D, Boids: Background and Update (2001) <http://www.red3d.com/cwr/boids/> [accessed 12 September 2014].

PSEUDOCODE

CLASSES ===================================================== class__’boid’

FIGURE B02.3 Ornament and Emergence in Flocking

Recreating BOIDS in Grasshopper. Boids are in essence, vehicles. Their steering behaviour is defined by Seperation, Alignment, and Cohesion, but there are other factors which need to be addressed to recreate the simulation. The vehicle class needs a starting position and a velocity, but the algorithm also a feedback loop in which each vehicle can observe the new position of vehicles from their new position. [Time isn’t native in Grasshopper so this can prove to be quite difficult]. I recreated Boids using C# in Grasshopper, using Grasshopper’s native variable input sliders to adjust the magnitude of various steering factors in addition to the number of Boids, their trail size, and defining attractors and obstacles in Grasshopper as an expansion on the original equation. Because of the logic’s relation with time, the capture methodology for the iterative matrix relied on interval-timed screen capturing.

VEHICLE/BOID PROPERTIES ===================================================== prop__’boidLocation’ prop__’boidSpeed’ prop__’tailLength’ prop__’initalPosition’ prop__’cohesionRadiusMagnitude’ prop__’separationRadiusMagnitude’ prop__’alignmentRadiusMagnitude’ ADDITIONAL CLASSES ===================================================== class__’attractor’ class__’obstacle’ RULES ===================================================== if__BoidLocation is within seperationRadiusMagnitude then__steer to avoid seperationRadiusMagnitude if__BoidLocation is within cohesionRadiusMagnitude then__steer to cohesionRadiusMagnitude if__BoidLocation is within alignmentRadiusMagnitude then__steer to Direction of alignmentRadiusMagnitude Movement ADDITIONAL RULES ===================================================== draw__’tailLength’ if__BoidLocation is within obstacleRadiusMagnitude then__steer to avoid obstacleRadiusMagnitude if__BoidLocation is within attractorRadiusMagnitude then__steer to attractorRadiusMagnitude VARIABLES - PARAMETERISED IN GRASSHOPPER ===================================================== def__’speedOfBoid’ def__’initalPosition’ def__’cohesionRadiusMagnitude’ def__’separationRadiusMagnitude’ def__’alignmentRadiusMagnitude’ def__’obstacleRadiusMagnitude’ def__’attractorRadiusMagnitude’ def__’tailLength’

ITERATIVE MATRIX Recreating BOIDS in Grasshopper

PARAMETER KEY SEED SEPARATION ALLIGNMENT COHESION

ITERATIVE MATRIX Recreating BOIDS in Grasshopper

PARAMETER KEY SEED SEPARATION ALLIGNMENT COHESION

Post-Analysis I found the best aesthetic results were results which captured the moments before and after cohesion, the point of emergence, where random behaviour becomes a complex, intricate and aesthetic form.

B03 CASE STUDY 2.0

FIGURE B03.1 FIGURE B03.2 Serroussi Pavilion

Replication 01: Serroussi Pavilion, 2007, BIOTHING Biothing’s Serroussi Pavillion is a pavilion of intricate and detailed form, realised through the mimicry of natural phenomena - in many ways, the epitome of digital morphogenesis. “Serroussi Pavillion was ‘grown’ out of self-modifying patterns of vectors based on electro-magnetic fields (EMF).” - BIOTHING5 The Pavillion is created through visualising the effects of attraction and repulsion within electromagnetic fields. By use of vector analysis, it is possible to consider how particles or waves would react when placed within an environment affected by multiple EM fields.

5. Alisa Andrasek, /////SEROUSSI PAVILLION /PARIS//2007 (2013) <http://www.biothing.org/?cat=5> [accessed 12 September 2014].

ITERATIVE MATRIX Recreating the Serroussi Pavillion in Grasshopper

PSEUDOCODE

def__’attractor(Position,Shape,Magnitude)’ def__’repulsor(Position,Shape,Magnitude)’ def__’field’__asResultant__of’attractor’,’repulsor’ def__’NURBSgeometry’ divide__’NURBSgeometry’ at__’controlPoints’Location__analyise’Field’ move__’controlPoints’__’resultantForceMagnitude ’units__in__’resultantForceDirection’ ===================================================== DEFINE ATTRACTORS (POSITION, SHAPE, MAGNITUDE) DEFINE REPULSORS (POSITION, SHAPE, MAGNITUDE) DEFINE FIELD BASED ON RESULTANT FORCES DEFINE GEOMETRY TO BE AFFECTED BY FIELD DEVIDE NURBS GEOMETRY IN TO CONTROL POINTS ANALYISE VECTOR FIELD AT LOCATION MOVE CONTROL POINTS BASED ON MAGNITUDE AND DIRECTION OF RESULTANT FORCES

PARAMETER KEY SEED DIV NO RADIUS VECTOR

ITERATIVE MATRIX Recreating BOIDS in Grasshopper

Post-Analysis The notion that intricate and complex forms can be arrived through well thought out algorithm, but simple logic is (in a similar manner to Flocking) what drew me to explore this case study in more depth, as opposed to the performative and sustainability issues concerns which were the focus of iwamotoscottâ&#x20AC;&#x2122;s Voussoir Cloud. The results which appealed most to me were those which created â&#x20AC;&#x2DC;unexpectedâ&#x20AC;&#x2122; results, where the opening radius was too large for the proximity to other guide curves, resulting in a pattern resembling flow-lines.

B03 CASE STUDY 3.0

FIGURE B03.3 FIGURE B03.4 Voussoir Cloud

Replication 02: Voussoir Cloud, 2007, IWAMOTOSCOTT IWAMOTOSCOTTs’ Voussoir Cloud represents a project dealing with force simulation and material performance. Based on the Gaudi’s research of hanging chains and the catenary form, Voussoir cloud’s form is found through defined through relaxing a material within certain form and force restrictions. The result is a digital design derived from nature, and realised through lightweight tesselation. The sculpture assumes a form based on age old computational principles.6 The appeal of this project to me lies in firstly the sculptural quality created at ground level, but secondly, and moreover, the consideration for material performance - material sustainability a requisite for a future architecture.

6. Stephanie Lin, VOUSSOIR CLOUD (2013) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 12 September 2014].

ITERATIVE MATRIX Recreating BOIDS in Grasshopper

PSEUDOCODE

def__‘region’ def__‘n’Points def__‘forceValue’ def__‘springValue’ populate__‘region’__with__‘n’Points voronoi__ref__‘n’Points def__‘PillarRegionB’__closestboundaries__to__List‘n’ scaleXY__‘n’__def__‘PillarRegionA’ move__‘-y’units__dir‘Z-Axis’

start__loop move__‘pillarRegionB’__‘+y’units__dir‘Z-Axis’ ‘+springValue’__units move__‘pillarRegionA’__‘-y’units__dir‘Z-Axis’ ‘+forceValue’__units loft__‘pillarRegionB’__‘pillarRegionA’ convert__mesh end__loop

PARAMETER KEY SEED XY - SCALE Z - SCALE VECTOR

Post-Analysis The sketches resulting from these experiments were relatively uninspring when compared with the Flocking and Seroussi Pavillion sketches. Aesthetically, the form is (to me) less interesting. The material performative aspect of the design however (what drew me to it initially) still interests me greatly

B04 TECHNIQUE: DEVELOPMENT

B05 TECHNIQUE: PROPOSAL

! NOTE: MORE IN-DEPTH TECHNIQUE DEVELOPMENT MOVED TO MODULE C

COUNTRY

PRODUCT OF ORIGI N

DISTAN

CE TRAVE LLED

EMBODIE

D ENERG Y

BIKE DENMARK

19,400KM

PROBABLY

STILL A LOT

$429

FIGURE B05.1 RefshaleĂ¸en

FIGURE B05.2 Ticket Design for the Mileage Market

Denmark and in particular Copenhagen have extreme efforts to lower emissions and non-renewable energy consumption.7 The Land Art Generator Initiative calls for (among other things) a piece of land art which formally reflects this initiative and brings a new perception of energy use. For a design to successfully meet the brief, this is perhaps the most important factor. My design is aimed at inspiring a new way in which people view energy use. Similar to the effect the Goods and Services Tax had on taxation in Australia, the goal of my program is for site users to think about how much energy they are using when purchasing a good.

7. LAGI, The Design Guidelines (2014) <http://landartgenerator.org/designcomp/> [accessed 12 September 2014].

I invested most of my efforts in the simulation of Boids and Flocking behaviour, and although I am to this point quite pleased with the resulting geometry, the form is not resolved in an aesthetic which reflects the intricacy and biomimetic nature of the behaviour. My explorations elsewhere were an attempt to perhaps rationalise the resultant geometry. The explorations which will be undertaken at a later time: - Further exploring the BOIDS definition and conveying proximity - Manipulating the exported linework created through flocking experimentation using techniques such as field analysis and minimal surfaces - as well as attempting to resolve form through other (non biomimetic) techniques such as sectioning.

FIGURE B05.3 Form Influenced by Attractors, Site Acting as Repulsor

FIGURE B05.4 Finding Paths Based on Closest Path and Desired Path

The mileage market is aimed at achieving just this, by labelling goods with the amount of energy used to make them, and the distance the some of its parts had had to travel. The market will sell anything from fruit to bicycles - as the product itself is not important, rather, the embodied energy it represents. The decision to create a market place is grounded in the logic that market places are consumption hubs, in which the majority of the worlds population buy goods to fuel national

and global economies, but at the same time, an incredible amount of energy is devoted to putting these goods up for sale. A market is a really effective facilitator to enable people to consider energy use. Market places and shopping centres represent an organised chaos - people flock to these locations, hunt for the best deals and buy in to the latest trends. The parallels between this behaviour and flocking are numerous.

FIGURE B05.5 Site Manipulated by Solar Arc LUMINESCENT SOLAR CONCENTRATOR

CIRCUTRY HOUSING

PV CELL

FIGURE B05.6 Site Populated with Luminescent Solar Concentrators

FIGURE B05.7 Luminscent Solar Concentrator Construction

The Land Art Generator Initiative calls for the consideration that the proposal generates energy. In this subject, we are constrained to using solar energy.

have to be visible. In moving toward the aesthetic of digital morphologies and green energy, the importance of this cannot be understated.

While the site is so expansive, the whole of which cannot feasibly be used as a market place, the whole of the site can be used for energy use. The design will facilitate the use of Luminescent Solar Concentrators. These are semitransparent, luminescent lenses, which focus and reflect solar energy on to photovoltaic cells. The advantage of this is that the PV cells do not require direct exposure to sunlight, and thus do not

“Good Design must be of it’s place” The strength of using generative algorithms to discern form such as BOIDS allows for a design to be unique to site conditions. The form of the market housing is derived from experimentations with BOIDS which are attracted to the site, and repulsed by its boundaries.

FIGURE B05.8 FIGURE B05.9 Section, Prototype on Topology

FIGURE B05.10 Plan, Prototype

FIGURE B05.11 Experimenting with Solar Array

FIGURE B05.12 FIGURE B05.13 Perspectives, Prototype on Site

At the present stage, I am still unhappy with the resultant form, and am focusing primarily on the use of other software packages to realise the biomimetic form through biomimetic tectonics, manipulating the NURBS curves in to isosurfaces. I am however, pleased with the output geometry, and am confident in its sculptural potential as a framework for the rest of the design.

B06 TECHNIQUE: TECTONICS DIGITAL PROTOTYPE

FIGURE B06.1 Kogod Courtyard Roof

Grounding the Material, Structural and Energy Generation using real world considerations. incorporating Luminscent Solar Concentrators and PhotoVoltaic Cells. B06 is concerned with considering real world, tectonic details. the following experimentation is concerned with facilitating solar technology structure, or integrating particular technologies with the design, most notably the integration of Luminescent Solar Concentrators (aforementioned in B05).

FIGURE B06.2 Approximating Geometry through Sectioning

FIGURE B06.3 Integration of Solar Array to Geometry

The inital experiments concerned with discerning a form from the BOIDS ouput geometry were not entirely fruitful, however they serve a representational purpose, and illustrate the output geometry in three dimensions, as meshes or BReps. Most experiments involved dividing the output curves and creating geometries at division intervals. By dividing the geometry outputted via

the boids algorithm, fixing points for the implimentation of Luminescent Solar Concentrators were found.. This involved drawing and itemising points on adjacent curves. This output geometry was the only result which I found aesthetically pleasing, and accurately portrayed the dialogue between cohesion and consumption (by reacting directly to the proximity of adjacent curves.)

Incoming Solar Radiation

Luminescent Solar Concentrator acts as lens, focusing light

Light Focused on to Cell

Hidden PV Cell generates current from the focused radiation

PV Cells Housed within Pipe Geometry

Luminescent Solar Concentrator Exposed to Light

FIGURE B06.4 Luminescent Solar Concentrator’s Function

FIGURE B06.5 Integration with Geometry acting as Housing

For the incorporation of Solar Energy in to the BOIDS geometry, which would serve the purpose of housing the mileage market, the implimentation of Lumiscent Solar Concentrators was considered as opposed to regular photovoltaic cells.

incorporates photovoltaic cells in to the surface provided by the BOIDS geometry. This hollow tubing provides a conduit for electrical wiring as well. The LSC’s are planar surfaces which run between the two closest BOID paths.

As LSC’s are transparent, they are suitable to use as both a pavillion roof material, and as a light source. The design at which I’ve arrived thus far

It should be noted that this is not a final design choice, but the dominant consideration at this point in the design process.

Although a basic form has been realised, the goal of achieving an isosurface or other biomimetic, natural structure has not.

101

B07 LEARNING OBJECTIVES AND OUTCOMES

“What is Open-Source and why do I feel so Guilty” In Jacob Thornton’s 2012 presentation at dotJS, the twitter creator (@FAT) spoke on the increasingly widespread use of open-source software platforms as a driver for swift development in recent years.8 After this module, I find myself asking the same questions as he: Why do I feel so guilty? We’re given such powerful tools in this studio for the realisation of interesting and extensively intricate, complex forms. These tools and definitions, which represent months of research and development, are offered to us, for free. They are available online, for free. But at the same time, this style of education, consisting of youtube and Lynda tutorials is fast becoming the dominant mode of teaching in the internet age. The liberation of information is resulting in an exponential rise in creativity.

8. Jacob Thornton, what is opensource and why do i feel so guilty? (2013) <http://byfat.xxx/what-is-opensource-and-why-do-i-

feel-so-guilty> [accessed 12 September 2014].

103

I use these powerful tools elsewhere, particularly those concerned with fabrication. While theyâ&#x20AC;&#x2122;re only so applicable to other studioâ&#x20AC;&#x2122;s (most people still want to live in a box with four walls, a floor and ceiling), these techniques can be applied at a superficial level, creating interesting easily facades and interior sculpture.

simple, low-level, basic inputs can result in a complex and intricate geometry is still very much fuelling my commitment to the subject, but now I am faced with the difficult and seemingly impossible task of fabricating and architectonically translating an intricate, delicate and complex geometry, in a manner which reflects these qualities.

This subject however allows for the exploration of computation at the base level of design, the level which allows for digital morphogenesis.

Although I have made several explorations, this particular area is one I would like to resolve further through use of other software packages and techniques - and have started to investigate in particular, the possible the implementation of particle systems and isosurfaces. My goal is for my outcome to reflect the new architectural language, of organic tectonic expressionism, to create

The complexities of a form or geometry inspired by nature is what drew me to investigate biomimetic systems and natural phenomena. The notion that very

FIGURE B07.1

‘rien ne tient en place’ - nothing holds it in place: Liberation of Information

a form in which ornament, materiality and structure are equally represented and interweaved. That having been said, the geometries which have been designed in the system I’ve constructed are precisely what I envisioned to create. I spent the vast majority of this module focusing on creating a flocking system in the Grasshopper environment, and although the output is not finally resolved, the synthesis between the initial form finding technique and program is what I wanted to focus on - using digital media as a generative tool for the generation of form. While the geometry approximation techniques I have explored thus far have not

satisfied my desire for the formal resolution of this particular project, I have already had use for them for other endeavours (in particular contouring/sectioning). As a result of this, during this module, I have seen my software package of choice move from Revit to Rhino/Grasshopper for most architectural applications. Although this subject is largely speculative, I’m already beginning to use computational techniques for the transformation of geometry in other endeavours (more traditional studios), and am able to facilitate the creation of something digitally, which I myself, could not design - MY digital morphologies.

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BIBILOGRAPHY A collection of textual and visual references

1. Branko Kolarevic, ‘Digital Morphogenesis and Computational Architectures’, in Constructing the Digital Space: Sigradi, ed. by José Ripper Kós, Andréa Pessoa Borde and Diana Rodriguez Barros(Rio De Janeiro: , 2000). 2. Stanislav Roudavski, ‘Towards Morphogenesis in Architecture’, International Journal of Architectural Computing, 7.3, (2009), 345-374. 3. Daniel Shiffman, The Nature of Code, 1.0 edn ([n.p.]: Daniel Shiffman, 2012). 4. Craig Reynolds, RED3D, Boids: Background and Update (2001) <http://www.red3d.com/cwr/boids/> [accessed 12 September 2014]. 5. Alisa Andrasek, /////SEROUSSI PAVILLION /PARIS//2007 (2013) <http://www.biothing.org/?cat=5> [accessed 12 September 2014]. 6. Stephanie Lin, VOUSSOIR CLOUD (2013) <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 12 September 2014]. 7. LAGI, The Design Guidelines (2014) <http://landartgenerator.org/designcomp/> [accessed 12 September 2014]. 8. Jacob Thornton, what is opensource and why do i feel so guilty? (2013) <http://byfat.xxx/what-is-opensource-and-why-do-i- feel-so-guilty> [accessed 12 September 2014].

FIGURE B01.1 - A Flock of red-winged blackbirds forms and reforms over California’s Sacramento Valley, Lukas Felzmann. Available at <http://cdni.wired.co.uk/1920x1280/s_v/swarm2.jpg>. [accessed: 5 September 2014] FIGURE B01.2 - Biomimicry: Bone Structure, A Robinson. Available at <http://www.fourthdoor.co.uk/ unstructured/images/unstructured8/biomimicry_in_architecture7b.jpg>. {accessed: 5 September 2014] FIGURE B01.3 - Swan Lake: Digital Morphology, Janine-Opal Fischer. Available at <http:// digitalmorphology.files.wordpress.com/2009/09/swanlake-3-final-option-122.png?w=720&h=548>. [accessed: 12 September 2014] FIGURE B02.1 - Flocking in JAVA, Illogic Tree. Available at <http://www.nadaaa.com/wp-content/ uploads/2011/09/Banq_19.png>. [accessed: 12 September 2014] FIGURE B02.2 - Steering Behaviour, in ‘The Nature of Code’, 2012. Daniel Shiffman. FIGURE B02.3 - Swarm Intelligence, Tyler Johnson. Available at <http://thefunambulistdotnet.files. wordpress.com/2010/12/hypnos4.gif>. [accessed: 19 September 2014] FIGURE B03.1 - Seroussi Pavillion, Biothing. Available at <http://www.tb-cms.org/data/ artwork/657/10072_artwork_detail.jpg>. [accessed: 19 September 2014] FIGURE B03.2 - Seroussi Pavillion, Biothing. Available at <http://www.new-territories.com/I’vehe17.gif>. [accessed: 19 September 2014] FIGURE B03.3 - Voussoir Cloud, IWAMOTOSCOTT. Available at <http://fellowfellow.com/wp-content/ uploads/2012/02/alan-s-lu-voussoir-cloud-02.jpg>. [accessed: 19 September 2014] FIGURE B03.4 - Voussoir Cloud, IWAMOTOSCOTT. Available at <http://38.media.tumblr.com/tumblr_ lmhanzl26P1qbq6rto1_1280.jpg>. [accessed: 19 September 2014] FIGURE B06.1 - Kogod Courtyard Roof, Andrew Prokos. Available at<http://andrewprokos.com/d/ kogod-courtyard-architectural-detail-4?g2_itemId=7407&g2_serialNumber=7>. [accessed: 19 September 2014] FIGURE B07.1 - rein ne tient en place, @FAT. Available at <http://img.svbtle.com/inline_ fat_24225100114824_raw.jpg>. [accessed: 19 September 2014]

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B08 Appendix - Algorithmic Sketches

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MODULE C DETAILED DESIGN DESIGN CONCEPT TECTONIC ELEMENTS & PROTOTYPE FINAL MODELS LEARNING OBJECTIVES AND OUTCOMES

DETAILED DESIGN

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C01 DESIGN CONCEPT TECHNIQUE DEVELOPMENT

Following the interim presentations following the completion of Module B, I was prompted to re-evaluate my approach to structure, address the needs of the program, and also to divise a method in which to ground the conceptual project in reality. This module will focus largely on the latter, as it is by and large the most important aspect to consider, but will also make attempts to address the other needs of the project. The chosen method which will be discussed at length later, was to adopt curve approximation through division, and standard units. On structure, as a critique during the interim presentations I was told to try to rationalise a structure in a manner which â&#x20AC;&#x2DC;didnâ&#x20AC;&#x2122;t look too much like a rollercoasterâ&#x20AC;&#x2122;. I made efforts to rationalise a structure building on the work completed with rationalising form. Being a market place, my design needed in some way to incorporate stalls, I felt given the nature of the concepts at work behind the design of the marketplace, the stalls needed to be customisable (different for each owner) and reflect an organic form. Before this however, I was still unsatisfied with the form created by the BOIDS algorithm, and felt the need to transform the output linework in to a form which reflected the biomimetic aesthetic of the process of flocking.

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FIGURE C01.1 ISOLINES: 2 Dimensional Isosurfaces

Above we see a two-dimensional application of metaballs. In essense these are isolines. balls are drawn around the lines and in close proximity to another, the balls will join to create one form. An isosurface is a three-dimensional representation of this concept. It is an analog surface that represents joints and intersections within a volume of space. By measuring proximity to surounding lines and points of their intersection, spheres and cylinders around joints and lines are created (based on inputs such as vector strength) and the isosurface approximates these aggregates into one form.1

3. Valery Adzhieva, Maxim Kazakovb, Alexander Paskoc, Vladimir Savchenkoc, â&#x20AC;&#x2DC;Hybrid system architecture for volume modelingâ&#x20AC;&#x2122;, Computers & Graphics, Volume 24.Issue 1, (2000), 67-78.

FIGURE C01.2 Site Portion Having Been Isosurfaced

For the application of this process to my design, I chose to consider a small portion (one for which the derivation will be shown later in this module). The computational effort to achieve this was huge, and I am still dissapointed that I was unable to (using the software package of Rhino and Grasshopper) consider a larger portion of the design. The process to achieve this form was as follows:

input linework as curves divide curves into points at these points, produce vector field of x strength as expanding sphere create spheres surrounding fields join spheres where they intersect output mesh then relaxed

The form which was achieved was exactly the aesthetic which I envisioned from the outset of this subject, I was extremely dissapointed that I was unable to compute more of the design.

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DUPLICATED AND OFFSET

INPUT CURVES

2 2

1 1 2

1 1

PATTERNED

To rationalise the output geometry of the BOIDS algorithm, I decided to impliment the use of division, and curve approximation through lines. The curves of the output geometry were in essence divided in to an equal number of parts. Between the ouput points created, straight lines were drawn and from these lines, a pattern was defined by which every third line segment was defined as a column or structural support section, and every other segment was defined as a stall segment. Considering

the

incorporation

Luminescent Solar Concentrators, I resorted to duplicating the output geometry of the BOIDS algorithm and offsetting this. The process was then repeated, and lines representing the Luminescent Solar Concentrator Panels were placed in between the stall sections of a stall segment, and its recently created twin stall segment. This offset was done in a manner such that the panels would be placed at roughly, a 45* angle to ground, although this changes slightly due to changes in surface height.

DIVIDED

PSEUDOCODE 1

RESULTANT PATTERN AND STRUCTURE: AREA OF DETAIL FOCUS

FIGURE C01.3 The BOIDS output geometry was duplicated, offset and divided

def__‘curve’ divide__‘curve’__into__x__‘segments’ draw__‘points’__at__‘segment’EndPoints draw__‘line’__from__EndPointA__to__EndPointB def__‘pattern’__1,2,1__ def__‘line’__as__‘line1,line2,line1’

This represented a point of defeat for me personally, as it was at this point I came to realise that my refined design concept would not fairly represent the process and inital sketches which I wanted to.

def__‘line1’__as__‘stall’ def__‘line2’__as__‘column’

Although the derivation of form was logically sound, I was unhappy with the necessary simplifications

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C01|02 TECTONIC ELEMENTS & PROTOTYPES

FIGURE C02.1

FIGURE C02.2

FORM FOCUS

PROCESS OUTLINE

For this module, I chose to pay attention to just one segment of my design. The chose segment represents a portion of an output line and its â&#x20AC;&#x2DC;twinâ&#x20AC;&#x2122;, in which two stalls are shown, as well as two columns. The overall process on which C02 will focus is illustrated above (right). A simplified form is created, from which joints and a material cladding system is realised.

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FIGURE C02.3 JOINTS

TECTONIC ELEMENTS & PROTOTYPES JOINTS

The Joints were the most difficult element of the segment to consider, as they would require such a high resolution such that they could only be 3d printed, and not accurately approximated through techniques such as waffleing and sectioning. Although there is a possibility that they could have been fabricated by using a 2.5 dimensional CNC divice, this would have represented a lot more cost and effort. The joints were created by drawing spheres at the points at which lines would intersect. The lines were divided and piped between the end points and the nearest point along the line. The line themselves were then piped to a much smaller radius, representing the structural members which would be used in construction. This process had been completed parametrically, but at this point the output geometry was baked for refinement and booleaning. The spheres and end point pipes were booleaned together, and from this form, the member pipes were â&#x20AC;&#x2DC;subtractedâ&#x20AC;&#x2122;, creating a hole for them to fit during construction. The final form of the joints was meshed and 3D printed. Although this process was timely and expensive, there was no apparent alternative

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FINS SPAN THE LENGTH OF THE MEMBER, WITH NOTCHES (NOT ILLUSTRATED) TO SPACE EACH MEMBER EVENLY. THE VARYING HEIGHT OF THE FINS ARE DICTATED BY THE VARYING RADII OF THE CIRCLES THEY INTERSECT

CIRCLES OF VARYING RADII ARE EVENLY SPACED ALONG THE MEMBER.

FIGURE C02.4 CLADDING

TECTONIC ELEMENTS & PROTOTYPES CLADDING

In an effort to maintain an aesthetic which reflected minimal surfaces and isosurfacing, a cladding system was created which would house structural members. This material system makes the structure appear smaller toward the centre of the member, and larger at the points which members meet, in a somewhat (vaguely) similar manner to isosurfacing. For the cladding I chose to create a waffle grid that would, to some extent, approximate the investigations in to isosurfacing and minimal surfacing. The most efficient manner to construct these required me to create my own definition for fabrication, due to the radial nature of the components. The choice to do this was heavily influenced by my tutor. In effect, the cladding system consists of circles of varying radii, smaller toward the center of the member, equally spaced. â&#x20AC;&#x2DC;Finsâ&#x20AC;&#x2122; which are of the same height as the radius of each circle, are created to approximate the desired height in the third dimension, while also providing notches for which to equally space the circles. A void is created for which structural members can rest within. I chose to adopt two styles of cladding, one employing a four-fin system, and the other a three fin system. I was, overall, more impressed with the aesthetic of the three-fin system, however, the four-fin system would more easily be applied in the real world as it would allow a natural fitting for Luminescent Solar Concentrators to be fitted.

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STRUCTURAL JOINTS

CLADDING SYSTEM

EXPOSED (UNCLAD) STRUCTURAL MEMBERS (CAN EXTEND TO ANY HEIGHT TO ACT AS BORED PIERS)

FIGURE C02.5 DIGITAL PROTOTYPE OF STANDARDISED FOCUS DETAIL

TECTONIC ELEMENTS & PROTOTYPES DIGITAL FORM

As stated earlier, I chose to focus on a portion of an output line and its â&#x20AC;&#x2DC;twinâ&#x20AC;&#x2122;, in which two stalls are shown, as well as two columns. The reason behind choosing this as my considered detail was the complexity. This region encompasses four four-way intersections, two three-way intersections and one two-way intersection. The portion was also chosen because these units are repeated (albeit intersecting at different angles) throughout the design, so logically, any given other segment would not differ too drastically from this. Opposite is the portion of the design/structure focus. Not shown is the cladding, as it was designed in two dimensions. The area focuses on the vertical supports for the structure, now redesigned to resemble wishbone columns. These columns will rest partially subterranian, with the vertical elements acting as bored piers.

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OUTPUT LINE

LINE DIVIDED

SPHERES CREATED AT END POINTS

PIPES CREATED FROM DIVISION POINT TO END POINTS. FORMS ARE BOOLEANED

MEMBER SPANS THE TWO MIDPOINTS BETWEEN END POINTS AND NEAREST DIVISION POINT

TECTONIC ELEMENTS & PROTOTYPES PROCESS

RIBS ARE CREATED AT MIDPOINTS BETWEEN DIVISION POINTS, THESE ARE OF DIFFERING RADII. THIS DISTANCE DEFINES THE DISTANCE OF THE MATERIAL CLADDING

FINS ARE CREATED USING THE VARYING RIB HEIGHTS

FIGURE C02.6 PROCESS

Above is overall logic for the process of joining and cladding. Curves are first divided, with end points then being defined. Joints are created from creating spheres from these end points, and piping between the end of the intersecting lines, and the next division point. From these division points, the length for cladding is achieved, and this provides the one changing variable to detirmine the form of the cladding. (Although other variables such as material thickness, division number, and circle radius are alterable parameters, these did not change in the process of fabrication). 133

STALL REGIONS ARE DEFINED AND DIVIDED BY LENGTH OF MATERIAL

AN INPUT IMAGE IS CREATED AND WILL DICTATE THE EXTENT TO WHICH A SECTION WILL BE PULLED IN THE Z DIRECTION

RESULTANT FORM IS ORGANIC, WITH HIGHEST POINTS AT SUITABLE, ‘SHELF HEIGHT’

FIGURE C02.7 ON STALLS

TECTONIC ELEMENTS & PROTOTYPES ON STALLS

The program of a mileage market calls for the design of stalls at which goods can be sold. The process for designing these stalls is the result of sectioning. I felt that this created an aesthetic which reflected the domestic architecture of Denmark (where the mileage market is concerned with proximity of goods to the point of their consumption, considering the â&#x20AC;&#x2DC;localâ&#x20AC;&#x2122; is of immense importance) while also reflecting the aesthetic of computational design thinking. The stalls are created from an input jpeg, black and white with a resolution of 500px by 500px. The height of a section is defined by the percentage of white a pixel is, with black being ground level, and white being the height of a shelf (around 80cm). Using this form of input gives the stall operators a lot of freedom for the design of their own stalls, while also allowing for a consistant aesthetic for the market.

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TECTONIC ELEMENTS & PROTOTYPES PROTOTYPING STRUCTURAL MEMBERS AND CLADDING

FIGURE C02.8 PROTOTYPES

Shown here are members using a three and four-fin system, with the latter two clad in heatshrink. The aesthetic of the members which used heatshrink was more appealling, but for the model I felt the members without heatshrink better conveyed the cladding system used.

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C03 FINAL MODELS

139

FIGURE C03.1 FINAL FORM - STRUCTURE

FIGURE C03.2 FINAL FORM - RIBS

FIGURE C03.3 STALLS

FIGURE C03.4 FINAL DETAIL MODEL

FINAL STRUCTURAL/DETAIL MODEL SCALE 1:50

The model conveys the structure of the form focus, as well as the path through the market, and the stalls.

LASER CUT ASSEMBLAGES, MDF 3D PRINTED JOINTS, POWDER

The Luminescent Solar Concentrators (which lie above the path in between segement members) have not been conveyed.

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GEOMETRY IS PLACED ON SITE

EVENLY SPACED, INTERSECTING PLANES ARE CREATED

WHERE INTERSECTIONS BETWEEN PLANES AND GEOMETRY OCCUR, CIRCLES ARE DRAWN FOR GEOMETRY TO BE FED THROUGH

FIGURE C03.5 APPROXIMATING THE FORM USING SECTIONING DIGITAL PROCESS AND REALISATION

EARLY APPROXIMATION OF GEOMETRY SCALE 1:50 STEEL WIRE, SECTIONED USING GENERIC PAPER STOCK, LASER CUT MDF CONTEXT

This was an attempt to place the form in its context by examining the relative location of the BOID output geometry at set distances. Intersecting planes are created and evenly spaced, and at points of intersection, circles are drawn. This was a quick method for approximating the form at a poor level of resolution, but could be completed at home using a household CNC device, the printer.

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The 3D print represents a loose approximation of the final form, mostly because due to scale constraints, the members are not representative of their real world diameter or thickness.

FINAL CONTEXT MODEL SCALE 1:1500 3D PRINT, POWDER LASER CUT, MDF SITE

FIGURE C03.6 LANDSCAPE

FIGURE C03.7 DETAILS AND SHORTCOMINGS

FIGURE C03.8 DETAILS AND SHORTCOMINGS

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FIGURE C03.9 FINAL MODEL 1:50

FIGURE C03.10 FINAL MODEL 1:50

FIGURE C03.11 FINAL MODEL 1:1500

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C04 LEARNING OBJECTIVES AND OUTCOMES

“Architects have made architecture too complex. We need to simplify it and use a language that everyone can understand.”2 Toyo Ito upon being awarded the Pritzker Prize in 2013, claimed that architects have made architecture too complex. This module indeed made me believe the statement to be more valid than before. The task of approximating and realising a simplified, fabricatable model of what was initially a complex and intricate form results in a loss of potency. I feel as though the more refined a concept becomes, the less I seem to appreciate the thought and consideration which has gone into it. Although I now feel as though I have a much greater understanding of my project, in terms of its structure and construction, I’ve also fell out of love with it. Perhaps this is to say that I havent achieved what was expected by this studio, but I think that it’s more an issue of perfection vs completion.

2. AP, Pritzker Prize winner Ito seeks ideas in nature (2013) <http://bigstory.ap.org/article/pritzker-prize-winner-ito-seeks-

ideas-nature> [accessed 31 October 2014].

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At the beginning of this subject I set out to redefine my rules of good design, with a newfound knowledge and interest in generative, biomimetic architecture. Upon completion of Module B, my rules had definitely changed. While I have undoubtedly learned a lot in the undertaking of Module C, more than in the two modules combined, the process of rationalisation doesn’t present the same interest that the experimentation in Modules A and B did. I can’t help but to feel unhappy with my results. I should firstly say this subject has inspired me to fabricate digitally for other endeavours.

Although I feel as though I have achieved what I aimed to in this Module, rationalising structure and form of my design in to relatively standard units, the process was in no way as enjoyable as the speculative and experimentative sketchings of the earlier stages of the subject, and I feel as though my progress, as a result, plateued. I talked previously of ‘a form in which ornament, materiality and structure are equally represented and interweaved’. and this is the aspect of my learning which I feel is unfulfilled. It was my wish to create something intricate and complex,

FIGURE C04.1

‘Toyo Ito’- Gateway Japan Architecture is Too Complex

but intricacies and complexities require time, effort and money to properly flesh out. Although it may seem like an excuse, most Archtecture students will say after completing any studio, no matter how long the studio runs, that they needed more time. Gropius called architecture the ‘Gesamtkunstwerk’3 - a complete or whole work of art. I think that there definitely is a battle between perfection and completion, and for all architecture students, the end of a studio presents them with this moment, no matter how far realised their design was until this point.

Although I strived toward creating a work of art, I am not, nor may I ever have been, satisfied with the results of my labour. I am however, satisfied beyond belief, at what the subject has tought me. The heavy work load has resulted in an extensive amount of learning. While I will never be pleased with the aesthetic of the work, the level of detail of the models, or the rushed ending to the subject, I am however, extremely pleased with the learning and thought behind it. Architecture is too complex, but with complexity comes immense value.

3. Walter Gropius, The New Architecture and The Bauhaus, trans. by Morton Shand, 1 edn (Massechusetts: MIT University Press, 1965).

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BIBILOGRAPHY

1. Valery Adzhieva, Maxim Kazakovb, Alexander Paskoc, Vladimir Savchenkoc, â&#x20AC;&#x2DC;Hybrid system architecture for volume modelingâ&#x20AC;&#x2122;, Computers & Graphics, Volume 24.Issue 1, (2000), 67-78. 2. AP, Pritzker Prize winner Ito seeks ideas in nature (2013) <http://bigstory.ap.org/article/pritzker-prize-winner-ito-seeksideas-nature> [accessed 31 October 2014]. 3. Walter Gropius, The New Architecture and The Bauhaus, trans. by Morton Shand, 1 edn (Massechusetts: MIT University Press, 1965).

FIGURE C04.1 - Toyo Ito, Gateway Project. Available at < http://www.gatewayjapan.com/sites/ default/files/styles/940x400/public/Designer_toyoIto.jpg?itok=X-pGFbtX >. [accesed: 31 October 2014]

ACKNOWLEDGEMENTS

HELP MERITS RECOGNITION THANKS BRAD, YOU PROVIDED A LOT OF DIRECTION AND TOLD ME WHAT TO DO WHEN I DIDNT KNOW

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