ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR JOURNAL PART A

RESPONSIVE SKIN ABPL30048 ARCHITECTURE DESIGN STUDIO: AIR SEMESTER 2, 2017 PART A SHARLEEN WONORAHARDJO 784100

TA B L E O F C O N T E N T S 5 INTRODUCTION 7

A1 DESIGN FUTURING

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LIVING GARDEN HOUSE

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METROPOL PARASOL

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A2 DESIGN COMPUTATION

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ENDESA WORLD FAB CONDENSER

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ON-SITE FABRICATION OF A PARA-

METRIC BRICK FACADE

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A3 COMPOSITION/GENERATION

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NAWA PAVILION

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ELBPHILHARMONIE AUDITORIUM

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A4 CONCLUSION

A5 EARNING OUTCOME

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A6 APPENDIX - ALGORITHMIC SKETCHES

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REFERENCES

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INTRODUCTION

SHARLEEN WONORAHARDJO \sharlin wĹ?nĹ?rahardjo\ Born and raised in Jakarta, Indonesia since 1995. Grown into a family of architects, my mom especially, has made me wanting to go for the same path as well. If I would build my own house, I would incorporate the use of timber, glass and smooth concrete finish with a concealed facade. I would say food, travel, plants, and architecture as my favorites.

For the past 3 years, I would say that I am not as good with design technologies, especially in rendering and 3D softwares. But I could say that Im a person that is willing to learn. I prefer to always do rough sketch by hand and to also incorporate physical model to define my concept further. Frankly, as difficult a physical model is, I really do enjoy making it. Especially the ones that are intricate and challenging.

On the right are a few of my portfolio in previous design studios that I am proud of. Just in case you are wondering, I have also written on how to pronounce my name above, as a few people find it interesting to say my last name. Go ahead and give it a try! ;-) PHOTOSHOP

RHINO

AUTOCAD

GRASSHOPPER

INDESIGN

DESIGNING ENVIRONMENTS /2016 assemblage - smoothing

ARCHITECTURAL DESIGN STUDIOS: WATER /2016 TOYO ITO & KAZUYO SEJIMA - BOATHOUSE

ARCHITECTURAL DESIGN STUDIOS: EARTH /2017 HERRING ISLAND PAVILION

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A1.

DESIGN FUTURING

SUSTAINABILITY has been an on-going subject and has an direct obvious link with the condition of the environment in this millennial era. As Tony1 mentioned, people have been too dependant onto the pre-fabricated world without noticing the damage as a consequence towards nature, and to the future. As a dialectic of sustainment, when something is being created there will also be something that is destroyed in order for it to happen. This cycle would not end if change is not exerted, and will only lead to a question

“HOW MUCH LONGER DO WE WANT TO EXIST IN THIS WORLD?�

1 Tony Fry (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 2

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LIVING GARDEN HOUSE

KWK PROMES

/2009

KATOWICE, POLAND

Living with nature is the concept that LIVING GARDEN HOUSE is built upon. Without having any specific briefs of what the house would be like from the client, KWK Promes designed the house firstly by dividing the common area and the utmost private.

The ground floor, as it is a common area, it was completely opened towards the garden.

The idea is to have the living space to be completely integrated with nature. Not just by the opening, but also to put in environmental elements inside the rooms 2. As from the picture on the left, the dining area was added with grass as floors to bring the natural atmospheric into the space. It also have benefits of having a better microclimate and improving the air quality, which would resulting in a healthier area of living.

From just looking on the external of the house, it seem like it does not have much to explain.

But it has a meaning of representing the local Silesians. The gabled form of the house, together with the red bricks are the typical Silesian worker settlements 2.

As to how the house was designed, it will make the clients, as the occupier, to be aware that they are a part of a living community, which was the ecosystem. It brings human closer to the environment, to remind how both are actually connected to one another. Humans would not be able to live without the environment, and vice versa.

In all, this project could be an awakening of sustainably design also in redefining the relationship of human with the environment.

Not just representing the local culture, it also has the purpose of creating a chance to design for the future. It has proven that it is actually possible to integrate the importance of the environment to a design.

“We live in the garden during the day and enclose in the cocoon at night – an idea derived from the past. our ancestors would harvest food in daylight while sheltering in the trees at night”

2 Magdalena Adamczak, Katarzyna Furgalińska, Jakub Pstraś, Aleksandra S ​ tolecka, Adam Radzimski, “Living-Garden House In Katowice / KWK PROMES” 14 Apr 2015. ArchDaily. <http://www.archdaily.com/> [9 Aug 2017]

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METROPOL PARASOL

J.MAYER.H ARCHITECTS + ARUP

/2011

SEVILLE, SPAIN

Plaza de la Encarnacion in Seville, Spain, has been widely known as world’s most fascinating cultural destinations.

Its attractiveness has been re-articulated with the development of the Metropol Parasol.

It became an identity, also as a contrasting contemporary urban centre in the middle of a dense antique buildings3.

J. Mayer .H and Arup developed the concept of Metropol Parasol to have the brief more than what was needed. It offers a great variety of activities including leisure and commerce. Other than the museum and farmers market, it also has an elevated plaza and multiple of bars and restaurants, located underneath and inside the parasol3.

This developmental project has the purpose as to ‘prepare an umbrella before the rains’. Back to 1970s, the site was used as a market place inside old buildings and was very disordered. Thus, by 1990s the city council decided to just torn down the building and change the function to be a parking lot 3.

They have design for the future not just towards the environment, but as well as to the population that keeps on growing as the city develops. As the number of people increased, the necessity of common places will also increase, especially with a city that is already very dense with buildings.

As time proceeds, the need of a market place was demanded by the people of the town. But at the same time, the council planned to use the site as an archeological museum. As a solution, they decided to organise an innovative design competition with both plans as a brief, and it was won by a German architect, Jürgen Mayer H Architects and Arup.

Metropol Parasol had been a project that initiates the dynamic development of culture and commerce of Seville. As it can be seen, it defined a unique relationship between the historical city and the contemporary project.

3 Karen Cilento. “Metropol Parasol / J. Mayer H + Arup” 24 Jan 2012. ArchDaily. <http://www.archdaily.com/201961/metropol-parasol-jmayer-h-arup/> [7 Aug 2017]

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A2.

DESIGN COMPUTATION

Within this millennial era, digital technology has been developed crucially especially in the design environment. Digital technology and humans have been working hand-in-hand as a symbiotic design system in generating an elaborated solutions of design problems, rather than just being used as a tool in documenting the process and executing orders.

The symbiotic design system between human and computer works by the collaboration of humanâ&#x20AC;&#x2122;s creativity and intuition with rationalising and the search abilities of a computer. Thus both will be able to achieve the well-defined solutions of a design problem. As per the previous part, the condition of todayâ&#x20AC;&#x2122;s environment encourage us, as designers, to engage a new design thinking. Therefore, design computation may perhaps be the new method to facilitate its process.

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ENDESA WORLD FAB CONDENSER

MARGEN-LAB

/2014

BARCELONA, SPAIN

This project is was built as a bioclimatic prototype dome, installed on the occasion of the 10th international conference on digital fabrication, BCN Fab10 4. It explores the connection between parametric design, passive climate strategies and local CNC manufacturing. The materials that are used, wood and linen, are renewable and are locally sourced from Barcelona.

The component logic of this pavilion is that entirely built with 20 components 4, made from digital fabrication and parametric design logic, which it simplify the prefabrication and the assembly process.

Although parametric design is relatively an uncommon idea in architecture, MARGEN-LAB came out with the idea of designing the pavilion to combine a concept of passive climate strategies together with CNC manufacturing5.

Through algorithm and scripting studies, the form was designed based on a regular icosahedron6. It has the purpose to minimise solar radiation in the summer and to allow greater sun penetration in the winter, to keep the optimal temperature inside the pavilion.

The use of linen was fully operational in providing openings that allow wind to circulate inside the pavilion. Furthermore, the podium on which the pavilion stands serves as a reservoir for air to naturally ventilate the interior through a series of perforations in the floor.

It is not hard to see how influential the use of design technology in approaching a new way of design thinking. These digital technologies that are used are replacing the understanding of prefabrications. It managed to increase the productivity, and most importantly, it change the interaction between the designer and raw materials. Designers were able to play around with raw materials, as to learn how its natural principles were and to apply it into the design.

Combining it all with the digital power, it can be proven a smart way of how design should be approached in the 21st century, especially to overcome problems of the built environments these days.

4 “Endesa World Fab Condenser / MARGEN-LAB” [Endesa World Fab Condenser / MARGEN-LAB] 24 Sep 2014. ArchDaily. (Trans. Quintana, Lorena) . <http://www.archdaily.com/549830/endesa-world-fab-condensermargen-lab/> [ 5 Lydia, “Endesa World Fab Condenser | Margen LAB”[Endesa World Fab Condenser | Margen LAB]. Arch20. , <http://www.arch2o.com/ endesa-world-fab-condenser-margen-lab> [9 Aug 2017] 6 Peter Smisek, “Endesa World Fab Condenser by Margen-Lab” 26 September 2014. Mark Magazine. < http://www.mark-magazine.com/ news/endesa-world-fab-condenser-by-margen-lab> [9 Aug 2017]

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ON-SITE FABRICATION OF A PARAMETRIC BRICK FACADE SSTUDIOMM /2016

DAMAVAND, IRAN

Bricks are a universal material that has been used from one era to another. In making it more interesting and taking advantage of digital technology, Sstudiomm came up with an idea of assembling bricks to making it more interesting in vision.

Iran have brick construction as a long tradition, since clay and lime mortar are the most available materials found in the country7. The firm considers creating a parametric brick walls constructing based on the traditional methods of Iran. By using 3D modelling, Sstudiomm generated alternative brickwork patterns and created an addition of Iran’s ornamental character appear within the brickwork as shown on the picture on the left.

This project shows that even though digital technology is used, traditional construction methods can still be employed in delivering the outcome. Especially towards the building industries that do not have the access to fancy machineries and still rely on crafts. It opens digital technology and parametric design to a larger section of society, to make it even more possible for the world to begin on. It can all start from something small, to make a big change towards the future.

Sstudiomm developed various sophisticated patterns using Grasshopper algorithm and coding that would rotate the bricks ranging in 9 to 27 degrees depending on where the brick sits within the pattern7. After the form was generated, they laser cut the form into stencils.

These stencils are then used in assembling the bricks into a geometric pattern on site.

7 Marie Chatel. “”DIY For Architects”: This Parametric Brick Facade Was Built Using Traditional Craft Techniques” 23 Jul 2016.

ArchDaily. . <http://www.archdaily.com/791588/diy-for-architectsthis-parametric-brick-facade-was-built-using-traditional-craft-techniques/> [7 Aug 2017]

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A3.

COMPOSITION/GENERATION

Design technology in architecture has been developing rapidly and how people design changes into generating ideas. It can be seen various parametric buildings and structures have been built in different kind of ways. The presence of computer in design will aid architects also engineers in the sense of understanding the circumstances and the logic behind the design. Thus, it will also make them speculate more on how the design should develop even more based on the performance report received as a feedback.

With the feedback given back to the designers, buildings would tend to be relevant during its occupation, as the condition will always updating in the digital model itself. Therefore, the usage of digital computation should be understood further in utilising its capacity, to be intergrated naturally in the process of design. So there would not be a waste of creating complex models if at the end the delivery is not as expected by the occupants.

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NAWA PAVILION

OSKAR ZIETA

/2017

WROCLAW, POLAND

This project was a part of the European Capital of Culture celebrations in the theme of “Metamorphoses of Culture”. The concept behind was to create the impression of bionic shapes that are growing straight from the ground, with its metallic surface that reflects the surrounding environment with various different point of views depending on the weather and time of the day8.

NAWA Pavilion was built upon a unique method named FiDU, which was a metal-inflating process created by Zieta himself when he was doing his PhD8. This pavilion is also considered as the manifesto of FiDU, as its the first project to entirely use the technology.

The expected result out of FiDU is to have a ultralight and durable metal component, especially as they have a site constraint.

Thanks to the technology, they were able to carry the components to site by boat through the adjacent river. FiDU was done in three main steps: 2D metal templates was laser cut, their edges are then joined together by welding and finally compressed air is pumped into the object, allow it to inflate into its final 3D form.

The parametric design process of this project takes place during the generation of its form.

Computers were able to calculate possibilities of how the form would be possible in reality and model using the Grasshopper software, to accommodate the form to the terrain of the site8. Possible in the sense of getting it as light as possible, as thin as possible, but also durable to the expansion process, so it would not failed in the middle of the process.

Zieta left the results to be as organic as possible, as to allow for natural dents which happened on the process of making instead of a perfectly shaped pavilion, as nothing is perfect in nature. Also, he has the vision of extending the possibilities of FiDU more than towards architecture and the design world, rather towards the car industries as seen out of FiDU’s potential. Therefore, digital design technology has once again shown efficiency in whole sort of aspects. From time, materiality, site constraints and more.

8 Sabrina Syed. “Oskar Zieta Inflates Steel Arches With Air to Create This Lightweight Pavillion” 14 Jul 2017. ArchDaily. Accessed. <http://www.archdaily.com/875571/oskar-zieta-inflates-steel-archeswith-air-to-create-this-lightweight-pavillion/> [8 Aug 2017]

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ELBPHILHARMONIE AUDITORIUM HERZOG & DE MEURON /2016 HAMBURG, GERMANY

This project has a few different parts, but a part that would be discussed is the auditorium. It has began designed since more than 13 years ago, and resulted in a very awe. Herzog and De Meuron worked together with Benjamin Koren, founder of One to One studio, to design and fabricate the panels inside the auditorium.

Each panels were fabricated individually using the function of algorithms, 10,000 gypsum fibre acoustic panels in total, that covers the auditorium walls attaching to one another just like a puzzle9. It was not just the beauty, every of these cells has different functions.

Ranging from four to sixteen centimetres, these cells are designed to shape the sound inside the auditorium. The panel works when sound waves hits, the surface will either absorb or reflect them9. Each of the panel would not be a duplicate, they will altogether create a balanced reverberation across the entire auditorium.

s parameters, the algorithms will generate the cells clearly mapped aesthetically and acoustically functioning. It clearly shows that technology was able to solve complex problems by processing parameters then generates the most optimal solution to be used by the designers as the output.

”Thats the power of parametric design. Once all of that is in place, I hit play and it creates a million cells, all different and all based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control.”

- Benjamin Koren

There is not said that a human would not be able to do this without technology, but then on a scale this big, technology definitely plays its part well. Based on the requirements needed a

9 Elisabeth Stinson, “What Happens When Algorithms Design A Concert Hall? The Stunning Elbphilharmonie”, 12 Jan 2017. Wired. < https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/?mbid=social_fb> [9 Aug 2017] 10 Osman Bari. “The Parametric Process Behind the Hamburg Elbphilharmonie’s Auditorium” 19 Feb 2017. ArchDaily. <http://www. archdaily.com/805567/the-parametric-process-behind-the-hamburg-elbphilharmonies-auditorium/> [8 Aug 2017]

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A4. CONCLUSION

The inflexible modern practice and rational way of thinking in our era is slowly accelerating defuturism. The only way to slow down this destructing process is to change the way people think and adopt new way of design. Human and the environment is a pair that would not be able to be separated, hence the importance of the environment should not be left behind.

Based on what has been discussed, technological design that incorporates algorithmic thinking and computational design may have been the resolution for this problem. As we adopt this new method of design, humanâ&#x20AC;&#x2122;s intuition and computerâ&#x20AC;&#x2122;s rationality will be able to generate a solving solution of an adapted design towards nature.

By understanding the logic and utilising to its capacity of design computation, we would be able to stimulate its logic and could be further speculated to our design. It does not always need for the technology to be all fabulous, it can always start from something small. Slowly for a better future!

A5. LEARNING OUTCOMES

In these past few weeks, I have learned the importance of using design technology in architecture and design realm. I did not realise at how the future is depending on design rather than the way people live. I see algorithmic design as something that is complex but also simple at the same time. Once you put it in, it will do its own magic. But for you to have an input, you should be able to understand the logic behind it. Which I am not capable of as of now.

It would be skeptical if I said that computers are smart. Because at the end of the day, the ones who made those technologies are again, human.

The outcome from exploring while completing the algorithmic sketchbook made me realised how interesting computation is, and not just computerisation, which definitely a new design method for me in generating ideas.

Hopefully, I would also be one of the masters that could make a change towards defuturism with the use of design computation.

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A6.

VORONOI 2D

VORONOI 3D

CONTOURING

APPENDIX - ALGORITHMIC SKETCHES

IMAGE SAMPLER COLOR BRIGHTNESS

IMAGE SAMPLER RGBA COLORS

IMAGE SAMPLER GREEN CHANNEL

IMAGE SAMPLER COLOR HUE 27

REFERENCES

Adamczak, Furgalińska, Katarzyna , Jakub Pstraś, Aleksandra ​Stolecka, Adam Radzimski, “Living-Garden House In Katowice / KWK PROMES” 14 Apr 2015.

ArchDaily. <http://www.archdaily.com/> [9 Aug 2017] Bari, Osman. “The Parametric Process Behind the Hamburg Elbphilharmonie’s Auditorium” 19 Feb 2017. ArchDaily. <http://www.archdaily.com/805567/ the-parametric-process-behind-the-hamburg-elbphilharmonies-auditorium/> [8 Aug 2017] Chatel, Marie. “”DIY For Architects”: This Parametric Brick Facade Was Built Using Traditi,onal Craft Techniques” 23 Jul 2016. ArchDaily. . <http://www. archdaily.com/791588/diy-for-architects-this-parametric-brick-facade-wasbuilt-using-traditional-craft-techniques/> [7 Aug 2017] Cilento, Karen. “Metropol Parasol / J. Mayer H + Arup” 24 Jan 2012. ArchDaily. <http://www.archdaily.com/201961/metropol-parasol-j-mayer-h-arup/> [7 Aug 2017] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg) “Living-Garden House In Katowice / KWK PROMES” 14 Apr 2015. ArchDaily. Accessed 9 Aug 2017. <http://www.archdaily.com/618747/living-garden-house-inkatowice-kwk-promes/> Lydia, “Endesa World Fab Condenser | Margen LAB”[Endesa World Fab Condenser | Margen LAB]. Arch20. , <http://www.arch2o.com/endesa-world-fab-condenser-margen-lab> Smisek, Peter, “Endesa World Fab Condenser by Margen-Lab” 26 September 2014. Mark Magazine. < http://www.mark-magazine.com/news/endesa-world-fabcondenser-by-margen-lab> [9 Aug 2017] Stinson, Elisabeth, “What Happens When Algorithms Design A Concert Hall?

The Stunning Elbphilharmonie”, 12 Jan 2017. Wired. < https://www.wired. com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie/?mbid=social_fb> [9 Aug 2017] Syed, Sabrina. “Oskar Zieta Inflates Steel Arches With Air to Create This Lightweight Pavillion” 14 Jul 2017. ArchDaily. <http://www.archdaily.com/875571/ oskar-zieta-inflates-steel-arches-with-air-to-create-this-lightweight-pavillion/> [8 Aug 2017]

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