conceptualisation PART A
CONTENTS
Namaste, it's me! A.1. Precedent 1 A.1. Precedent 2 A.2. Precedent 1 A.2. Precedent 2 A.3. Precedent 1 A.3. Precedent 2
A.1. Design Futuring
A.2. Design Computation
A.3. Composition/Generation
A.4. Conclusion A.5. Learning Outcomes A.6. Algorithmic Sketches References
NAMASTE I'm Shubhi!
Being a two year old victim of being crushed under architecture school, I've well and truly fallen in love with the rush of pulling an all nighter, regret everything I made in first year, and I thought I skipped the experience of the whole 'teen phase' in my life.... But, right about now is the peak of my teen emotions getting the best of me and I feel like the world is ending. I'm just about getting used to the work ethics of an architecture student, and see myself doing somewhat, somewhere, somewhen inside this area of design. I can say this confidently and with pride, I am a creative weirdo and I can't change that, which is why I'm here, doing Air. This course was a pathway into me laying the foundations for a design career and as I experience this subject, I feel more and more interested in what else it has to offer. I have always enjoyed architectural studios more than anything and I look forward to learning and discussing new and old concepts and expanding my computation knowledge through the classwork. I'm well practiced in basic Adobe Creative Cloud (Photoshop, InDesign), and have an intermediate level of understanding of AutoCad, Rhino and SketchUp. My existing knowledge of algorithm based programs is close to zilch, which I aim to grow extensively by the end of this semester.
A.1. Design Futuring
A.1. Precedent 1
“All ends meet in the “Endless” as they meet in life. Life’s rhythms are cyclical. All ends of living meet during twenty-four hours, during a week, a lifetime. They touch one another with the kiss of time. They shake hands, stay, say goodbye, return through the same or other doors, come and go through multi-links, secretive or obvious, or through the whims of memory.”1 (Friedrick Kiesler) In the reading, Design Futuring, the idea of redirection is strongly discussed; the idea of using the great power of design and “reorienting it”2 sustainably, for the better of our future. The cause of choosing Kiesler’s Endless House as a precedent relates back to this perspective of redirection and suggests a system that points to new forms of architectural “knowledge and action that have sustainabilty.”3 The purpose of Kiesler’s conceptual architectural model was to combine the spiritual with the practical and also his way of representing his views on metaphysics through design. He explores abstract concepts in his design, such as “connectivity, correalism and biotechnique”4, to deliver new ideas of viewing architecture and design. To demonstrate connectivity, Kiesler uses curvilinear structure that is built with just concrete, with no structral seams in the construction. Correalism, the constant association amongst man and nature, implied that Kiesler thought of the rooms of this space as expansions of the groups of its occupants.
The Endless House by Fredrick Kiesler, 1920s Image source: MoMA, Endless House: Intersections of Art and Architecture June 27, 2015-March 6, 2016 The Museum of Modern Art
1 The Endless House, Reality Bytes: Selected Essays 1995–2015, ed. by Bart Lootsma, (Birkhäuser, 2016), pp.56-57, (p. 57) 2 Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 (p.10). 3 Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 (p.11). 4 Wikipedia contributors, ‘Endless House’, Wikipedia, The Free Encyclopedia, 12 January 2018, 08:52 UTC, <https://en.wikipedia.org/w/index.php?title=Endless_House&oldid=819970390> [accessed 15 March 2018].
A.1. Precedent 1
Friedrick Kiesler was a solid devotee to a versatile spatial idea, one that must be equipped for giving an ideal reaction to the changing social concerns and employments of its inhabitants. The underlying state of the Endless House demonstrates a smoothed spheroid, which turned into a reason for his Manifesto of Correalism. One of his fundamental contentions for the shape is that it depends on a lighting framework; a shape that would enable sufficient light to achieve each edge of the room without being separated by corners and inside dividers of a regular building. The house recieved much appreciation however it was labeled “ too revolutionary to build”1. Kiesler’s work of the Endless House was an attempt at displaying the importance of the merge between art and life in the eyes of a common man. The criticism received for this piece, found in research, is regarding the degree if dissimilarity between the incomparable and outstanding potential of his models and the seemingly underdeveloped drawings produced to represent his theory. I, personally, am of the opinion that this is a CRITICAL DESIGN that expands a designer’s horizon to, as mentioned in the reading, Speculative Everything, “fully engage with and design for the complexities of human nature”2, which to be honest, can be quite ugly. The form of sustainabilty shown is the level of indeterminancy of spacial functions. Unlike other modernist architects at the time, Kiesler’s focus for this biomorphic design was not merely to present more nature inspired practice than other Modernists, but also practical to expand future possibilities, through his sustainable outlook to art and design.
1: “Endless Houses Or Vast Potatoes? The Impossible Architecture Of Frederick Kiesler - Los Angeles Review Of Books”, Los Angeles Review Of Books, 2018 <https://lareviewofbooks.org/article/endless-houses-or-vast-potatoes-the-impossible-architecture-of-frederick-kiesler/#!> [Accessed 17 March 2018]. 2: Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014).
Image Source: The Endless House Plan, 2018 <https://www.moma.org/calendar/exhibitions/1529>
A.1. Precedent 2
“LISI: Living inspired by sustainable innovation... designing, building, and operating the most cost-effective, energy-efficient and attractive solar-powered house.”1 (ArchDaily, 2013) The LISI home is a fitting example for the development of changes made in design thinking for the future. The primary motivation of the design was to bring together the “state of the world”2 and the “state of the design”3 and offer a space that is relevant and addresses undermined problems of today: Climate change. The reading, Design Futuring, unforgivingly blames lack of public consciousness and superficial designers for not confronting major current concerns that are acting as enzymes for defuturing our world. The LISI home and its success of being built and performing well, positions people to really believe in resilient methods of design, as it ensures its ability to provide comfort in low energy costs and maintains the character of being ‘one with nature’. The designers of this home aim to “redirect us towards far more sustainable modes of planetary habitation”4 and embrace the true outlook to design practice -- providing a picture a new form of design process that makes a significant difference within the social, cultural and political aspects of society. Promoting this way of thinking reminds us that DESIGN IS THUS NOT MERELYTO BE SEEN AS
The LISI by Team Austria, 2013 Image source: Public Relations for Research and Education
“PURELY APPEARANCE AND PERFORMANCE”5, yet it is so much more. If confronted strategically, it has the power to revolutionise how we live. The LISI, as I see it, is a design innovation that plays a role in finding and implementing the cure to an extremely rapid condition affecting the health of Earth. It displays positive change to slow down the rate of defuturing through its quality open plan, offering “optimal communal space as well as ventilation and light control”6. (Nicole Jewell, Journalist at Inhabitat, 2013) Now, although Team Austria’s vision, LISI, is sustainable, environmentally, I would argue its ability to sustain versatile climate zones, especially ones with high levels of humidity and minimal wind, as the house is an open plan. This is another perspective to ponder upon-- What is the meaning or degree or forms of sustainability necessary to improve the future for the next generations? However, as the reading, Design Futuring, suggests, design and its motive “unfolds as a continuous process”7-- it must become a ‘redirective practice’ -- design strategies must be implemented step by step and developed in the process for it to solve any problem, and this precedent inpires change. 1: “Solar Decathlon 2013: Team Austria Wins Top Honors”, Archdaily, 2018 <https://www.archdaily.com/438022/solar-decathlon-2013-team-austriawins-top-honors> [Accessed 17 March 2018]. 2, 3, 4, 5, 7: Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 6: Nicole Jewell and Nicole Jewell, “Team Austria’S LISI Solar Decathlon Home Keeps Cool With A Movable Exterior Curtain”, Inhabitat.Com, 2018 <https://inhabitat.com/team-austrias-lisi-solar-decathlon-home-keeps-cool-with-a-movable-exterior-curtain/> [Accessed 17 March 2018].
Terminology Computerisation: architects use the computer as a virtual drafting board making it easier to edit, copy and increase the precision of drawings. Computation: allows designers to extend their abilities to deal with highly complex situations.
A.2. Design Computation
Heydar Aliyev Centre, Zaha Hadid Architects, 2007-2012 Image source: Zaha Hadid Architects
A.2. Precedent 1
“During the last decade, innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.”1 The Heydar Aliyev Centre is a design of computation, redefining the possibilities of architecture in our current and future world, yet it remains a target of criticism for its mass scale of materiality and some could even say, it is an exploitation of parametric design accessability. It can often be taken for granted in the field of architecture. The building, nonetheless, is an enmoring case of how parametric design can be used as a “facility for the control of topological relationships enables the creation and modulation of the differentiation o f the elements of a design”2. (Oxman, Theories of Digital in Architecture, 2017) It provides the opportunity to go absolutely wild and solve complex arrangements of form, structure and function within the desired design. Zaha Hadid Architects is continually stressing a parametric procedure, and it is apparent in every proposal offered by the firm. They are well and truly in the centre of synthesizing material culture, with the merge of computer and architecture, and have contributed greatly in evolving the relationship between man and machine. In this building, they could not have achieved such soft risings and smooth folds and tuck-ins without entirely depending on digital design. Some argue that emergence of computation has reduced creativity for organic design and restriction in perspective of art has formed inside this realm of numbers and technology. There has been a loss of materiality in the process of digitalising, I believe; however, numbers are an infinite space that only increase the flow of creative ideas in an unimaginable and unique format. It has totally changed conventional forms of architecture, in the sense, it enables more control over materials and design, as well as granting the priviledge of ‘breaking the rules’.
1: Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014). 2: Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014).
Image source: ArchDaily
A.2. Precedent 2
Parametric design used in a field other than architecture has fascniated me, as the purpose of it in this case is completely different and focuses on an individual rather than a community. It is almost a scaled down model of representing elements of digital architecture. Similar to precedent 1, computation has enabled such expansion of innovation, influencing all of design as a whole. In this example, the course at Penn Design architecture school studied the relevance of garment design, process and systems and their capability to “redefine current architecture elements”1, for example, “envelope, structure, seams, tectonics”2 and subtle elements which brought about this 3D printed dress. Technique explored in the study was ancient pleating using parametric design. This is an example of utilising an ancient form of art and innovating it for current day use. I view this as preservation of historical craftsmanship, sustaining the old by merging it with new technologies and adapting a practical approach to achieve total functionality. Design computation, as I’ve previously mentioned, opens doors to unique design opportunities that could not have been explored a few decades ago. I think, although there are draw backs, as stated in reading Design Futuring, “whenever we bring something into being we also destroy something,”3 computation holds a promising future with so many ideas to innovate and produce with all their quirkiness, detail and accuracy. The complex-looking geometric pattern adopted in this example justifies, exceptionally, the power of digital design; delivering a feeling of invinsability; broadened horizons and wings to fly much higher through “simple procedures of extrusion, seam lines and contours.”4
1,2,4: 3D Printed Dress, Relevance of Garment Design to Redefine Architecture, ed. by Musab Badahdah, Benita Trenk (PennDesign Architecture School, 2018). 3: Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16 (p.4).
3D printed Dress, Penndesign Architecture School, 2018 Image source: ArchReporter.com
A.3. Composition/Generation
A.3. Precedent 1
“History and new; tradition and innovation.”1 The idea of the relation between creation and destruction is touched upon in A.2. The famous saying, “to gain something, you lose something”, superbly applies to the transition from COMPOSITION to GENERATION in architectural design. This project interest me for this topic, since it is a play of two generations and eras, with two opposing design methods, yet combined into one architectural structure. And there’s no attempt of trying to hide one from another. They both stand opinionated, connected and with presence of individuality. Its an opportunity for creating dramatic new architecture with potential of being an extraordinary and unique public attraction, using generative approaches. Here an ensemble is created, which “regenerates the urban significance.. solves the complex functional issues, and dramatically improves exhibitions, facilities, programming and amenities”2. It is no secret by now that computation is redefining architecture. Although this example does not qualify exactly under composition vs generation, it does architecturally show the growth or change in design procedures throughout time. When debating the old and the new, I’d like to state analogies written in Design Futuring (I keep referencing this article as I believe it is an informative and detailed introduction reading on how to confront new sustainable design), which I feel mirrors closely to this concept: “the omelette at the cost of the egg, the table at the cost of the tree”3, if I elaborate, to an extent, the new at the cost of the old. This is an age of instead of architects using programs, they are creating and innovating them. But that costs them the rawness of sketching and drawing on the screen, due to the taking over of scripting on softwares like Grasshopper and Maya.
1, 2: Marcus Fairs, “Daniel Libeskind At Royal Ontario Museum | Dezeen”, Dezeen, 2018 <https://www.dezeen. com/2007/05/14/daniel-libeskind-at-royal-ontario-musem/> [Accessed 17 March 2018]. 3: Introduction, Design Futuring: Sustainability, Ethics and New Practice, ed. by Tony Fry (Oxford New York: Berg, 2009), pp. 1-16
Royal Ontario Museum (old, left), Toronto, 1914 Royal Ontario Museum (new, right), Toronto, Daniel Libeskind, 2007 Image source: Dariyan Group
This case study follows a form-finding algorithm that was used to create the cable-net structure of the building, by generating many forms of parametric models (above). This provided architects with reliable unique designs that can portray many variations, thus enabled them to explore even deeper before deciding a winner. Since this is the tallest tensile structure in the world, it was imperative to have an accurate cable arrangement/system. This can only be achieved through generative design.
Khan Shatyr Entertainment Centre, Astana Foster + Partners, 2010 Image source: Fosters + Partners:
Clearly, generative is preferred approach to all design today, it arrives with its own disadvantages, for example, it lacks a clear theoretical framework and is definitely not cost-friendly. The significance of criticising generative design is highly placed due to its rising popularity.
A.3. Precedent 2
A.4. Conclusion
Part A of this journal has been a journey of exploring past works of architects that support discussions initiating on the current state of design approach and the necessity of truly understanding Sustainment, in order to grow into a potential future; the emergence and impact of computation in the practice of architecture; and finally the critical distinction between the stage of composing (Composition, e.g. computerisation) and the stage of generating (Generation, e.g. computation). Generative approach is an advancing process that has proven to provide access to creating quick, informed, and unique designs that are easily editted and promote experimentation. I intend to lead a path towards the generative approach, as I believe it is more relevant to current times and will facilitate to enable exploration of the â&#x20AC;&#x2DC;impossibleâ&#x20AC;&#x2122; zones of design. This is beneficial to my way of thinking as an architecture student. It allows me to use variations of the same design to experiment with design, therefore, strengthening the result of the final product/structure. I am provided with a simpler platform that allows quick judgement of whether or not my design is aiming towards change and responding to current climate concerns. This approach is a pathway to having the freedom to change ways of thinking and living in the future, for the benefit of our community/world.
A.5. Learning Outcomes
I feel most of my learning experience of Grasshopper has been through the process of completing classwork requirements. It urged me to go online and watch tutorials to get accustomed to how to operate this complex system. I have gained insight through research and readings about the rapid rise of change through the introduction of algorithmic networking in the practice of architecture. How much it has influenced the future design approaches and procedures? I have asked myself many questions, not just about the current affairs of the world, but also about me and my own blockages that potentially act as obstacles. Iâ&#x20AC;&#x2122;ve taken up the role of a problem solver and designed products that represent my thoughts and will assist the forming of an analysis on personal issues. I have learnt that as soon as you give a project some meaningful context, the value of the outcome will be much higher quality and much appreciated than just designing for a distant brief. This is something I wish I had known during my past projects. I would reach the point of blank, no ideas, a lot less.
A.6. Algorithmic Sketches
Crown Chakra Conceptual Design To achieve this form, I started off with exploring and experimenting with circular floral designs. this design happened after changing few numbers on the Grasshopper network panel. I decided to make the flower shape more complex to symbolise my personal problem of thinking too much and developing a fear of incomplete work.
Natural Network Conceptual: Mind Shell Networks prove the strength in loops and connectivity, which are both topics discussed in the interpretation of the Crown Chakra. This natural network is inspired by the functionality of the human brain. The process involves the forming of the great human brain, however the end product is only the shell. The design demonstrates the blockage of the fear of the incomplete. It is a symbolism of the result of one trying desperately to create their consistent loop, however somewhere, always, imperfect.
References
Fry, Tony, Design futuring: sustainability, ethics, and new practice/Tony Fry (New York: Oxford, Berg, 2009) Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014) Dunne, Anthony, and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014) “Endless Houses Or Vast Potatoes? The Impossible Architecture Of Frederick Kiesler - Los Angeles Review Of Books”, Los Angeles Review Of Books, 2018 <https://lareviewofbooks.org/article/endless-houses-or-vast-potatoes-the-impossible-architecture-of-frederick-kiesler/#!> [Accessed 17 March 2018] Jewell, Nicole, and Nicole Jewell, “Team Austria’S LISI Solar Decathlon Home Keeps Cool With A Movable Exterior Curtain”, Inhabitat.Com, 2018 <https://inhabitat.com/team-austrias-lisi-solar-decathlon-home-keeps-cool-with-a-movable-exterior-curtain/> [Accessed 17 March 2018] Fairs, Marcus, “Daniel Libeskind At Royal Ontario Museum | Dezeen”, Dezeen, 2018 <https://www.dezeen.com/2007/05/14/daniel-libeskind-at-royal-ontario-musem/> [Accessed 17 March 2018] “Endless Houses Or Vast Potatoes? The Impossible Architecture Of Frederick Kiesler - Los Angeles Review Of Books”, Los Angeles Review Of Books, 2018 <https://lareviewofbooks.org/ “Discrete Elements | Using Generative Algorithms To Create Architectural Space”, Archreporter.Com, 2018 <http://www.archreporter.com/discrete-elements-using-generative-algorithms-create-architectural-space/>