AIR
Semester One 2013
architecture design studio
Stephen Khalek_538235
Digital Design Theory
As a third year level Architectural design student, I have previously learnt to engage with my design through physical methods. Primarily, I developed skills throughout high school using technical manufacturing methods such as vacuum moulding, lamination, fibre glass modelling and various fusions of other techniques. This gave me a passion for realistic and physical interactions with my projects in which I have, thus far, continued into the first two years of architectural design. One skill that I have found engages similarly with designs is the use of watercolours. I have learnt the effectiveness of this method to engage with and emotionally evoke responses in viewers, teaching me the importance of multi-media presentation. Resultantly, I hope that this course will allow me to develop my ability to
utilise digital design theory and tools to engage in a different aspect of design, allowing me to engage in the realistic and the physical, however now in 3D conceptual spaces. From this past work with Rhinoceros 5, my interest to engage with 3D digital design tools has grown at a phenomenal exponential rate. As I learn about the abilities of the program through the extensive use of the online tutorials, my conceptual framework for design possibilities has been networking uncontrollably. I can start to see and design within my head possibilities that would have been constrained by the use of modelling, sketching and the use of watercolours. I can thus realise how the use of digital design theory can create discourse for design.
‘To make architecture is to construct knowledge’ - Architecture is an Identity. Dutton & Lian Hurst Mann, 1996
The identity of architecture has to be considered as a constantly varying and developing set of rules and languages. Historically, the architectural mindset was narrowed to only use formal architectural language though conventional design methods. However, the fusing of ideas, norms and cultures through globalisation, coinciding with the development of technology that offers new design methods, allows the architectural language to diversify. Resultantly, the previous design ‘formalities’ no longer stand, new materials can be utilised and unconventional designs are being explored and constructed. In essence the identity of architecture has changed forever through the process of continual discourse. Wilson (2000) suggests that the finite algorithmic principles that CAD programs are scripted to should constrain design to unambiguous convention. However, ipso facto, the opposite stands true as CAD’s “effective procedure” (Wilson, 2000) enables a rooting in reality without distracting the architect’s mind. In turn, this will allow responsive designs that demonstrate innovation, environmental response and relevance. CAD has already revolutionised the way designs are conceived, birthing limitless depth and breadth of conversation and communication into new design perspectives. CAD and more precisely, parametric modelling allows the exponential growth of architecture through discourse.
Contemporary Arts Centre
‘Church of Light’ Tadao Ando
Nieto Sobejano Arquitectos
The Contemporary Arts Centre in Córdoba, Spain is a representation and interpretation of traditional geometric laws and recurring patterns as seen in traditional Islamic architecture. The complex 3D fluidity of the tessellating hexagonal shapes rejects the conventional ‘container’ building metaphor. Nieto Sobejano Arquitectos describe the homogeneous four walls and a roof shape to be ill-fitting for its globalised market of viewers. Resultantly, a building that has characteristics similar to a warehouse or factory; large concrete pre-cast panels, continuous concrete floors and minimal windows creates an intervening sensation in comparison to other arts centres. This arts centre’s interest is on the non-linearisation of the interior yet the mimicking mirroring effect of the connecting rooms. Furthermore, constructing small perforations to channel beams of light from the facade not only makes the walls glow with the backlit illumination but also metaphorically questions the impenetrability of the uniform pre-cast concrete. Playing with light in this form is a reminder to Louis Kahn’s work in the National Assembly Building, Dhaka, Bangladesh, whereby he selectively utilises light to subconsciously warm interiors and create spatial hierarchy. The strict control of light flow was initiated during the modernist period and has been centralised by many famous designers since. It is especially seen in Tadao Ando’s work in the Church of Light. Throughout this period and continuing in the arts centre, the prioritisation of light has allowed a new dimension of design discourse to develop to better incorporate humans into the built environment.
Precedent 1.1
‘National Assembly Building’ Louis Kahn ‘Contemporary Art Centre’s Interior Hall’ Nieto Sobejano Arquitectos
Ordos Art and City Museum
MAD Architects
Precedent 1.2
A more radical discourse away from the era of container construction is MAD Architects’ Ordos Art and City Museum (2005). The exterior continuous surface was a conception of the “ever-evolving digital design tools” (Schumacher, 2011). Ordos is similar to the Contemporary Arts Centre in the way it appears to be impenetrable. The continuity of the outer shell and the minimised entrance suggests a sense of hostility. However, through the perspective of the interior, the light that pierces through the shell breaks down this conception. Resultantly, it opens to a seeming oasis of softwoods and omnipotent lighting from above. The similar conversational discourse of the hierarchical prioritisation of light through limiting its use demonstrates an architectural age whereby human interaction is the paramount prioritisation in design.
‘Computing effectively revolutionised the design process like paper revolutionised construction’
Problem Solving or Goal Networking?
rule based and constraint satisfaction methods of design and matches them with the unlimited imagination of its users. This new design process demKalay (2004) highlights that architec- onstrates a highly generative method ture originated when conception and of thinking and allows the communication skills of design to match the construction were separated. This dissection allowed for the questioning user’s thought process so that no idea of the practicality of building. It revo- is lost amongst the way. However, this traditional perspective still only lutionised a process that was purely centralised around constructing with- perceives computing to be a tool that in the known realms of structures. In aids design. In reality, computing has this case, the tessellating capabilities developed to be a design process in of the square and the truss nature of itself that allow ideas to be produced the triangle were the only fundamen- that would not have been conceived. Interactions with the pliable and maltals of construction. leable interface produce new ways of interacting with planes. Previously However, paper allowed dea plane or surface had only been signers to test the realms of considered to be a 2D interaction. conceivable design and create Through computing, a surface can outside the paradigms of real- be considered a 3D unconventional platform; this plays with the idea that ity. it could be unconstrained by planar lines. Escher’s fascination with optical illusions and his ability to characterise When considering the design process, the impossibility of reality into someit can be classified either as problem thing seeming plausible on paper solving design or puzzle making deis the perfect representation of the sign. The major difference being that opportunities that paper design alproblem solving encourages rational, lowed. Computing in the design process effectively did the same thing that paper did to design conception. Computation has allowed for greater abstraction of the design process. It allows the realms of reality to be further tested and realised. Without knowing where the boundary between reality and fiction is, it is impossible to build to the edge. Computing revolutionises the regularity of space that has been design, into a space that is purposeful. It fully utilises the
Penrose Triangle, Mc Escher
convergent thinking. Design needs to be a network of possibilities; it needs to incorporate divergent and creative thinking to achieve a goal. When discussing design perspective’s aim to solve a problem suggests there is a singular eventuality that needs to be achieved and once reached, it can no longer be satisfied. However, through designing to reach a goal, there are “generalized precedents, metaphors and symbols” that direct the design solution. It is therefore that all of these things are considered and a network forms to express the possibilities that may eventuate. The ideology of the goalbased design perspective is that it is an evidence orientated design solution. The endless possibility for the network of goals has instigated a paradigm shift in design that prioritises continual improvement.
Precedent 2.1
Lines of Continuity Museo Soumaya Ferdanando Romero
Transitionally speaking, designers are not only designing physical spaces but they are also designing the tools to design the physical spaces (Peters & Kestelier, 2013). Through the process of writing and modifying algorithms, the way in which spaces are designed is changing and is stylized by the computing designer. For instance, Kalay (2004) suggests that the design process is primarily an analysis of a problem, secondarily, the synthesis of a solution and finally a process of evaluation. Computation allows the analysis of the problem and the evaluation – the rational processes, to be minimized and largely incorporated into the phase
of solution synthesis. This will allow time to be allocated to the divergent thinking process of creation, thus allowing for a greater investigation into what could be created. The development of this process is no longer stagnant. The reliance on computing has only been around for a short time in comparison to architectural design. However, already we have seen radical innovations that though traditional design methods, would have never been conceived. Not only this, but the process of design is radically increased. Thus, large-scale construction projects, such as Skidmore, Owings & Merrill’s Infinity Tower, Dubai, 2012 can be-
come feasible to create. The complexity of this building, in itself, could not have been constructed without the utilization of computation fabrication, thus we see unification between the design and construction. Ironically, this almost seems cyclical as it was for this very reason, as argued above, that architectural design was developed in the 15th century, so that conception and construction could be separated. However, today, architectural design has reached a point that it should be a holistic ensemble rather than dissected components, thus proving the necessity for computational design.
The perfect proof that continuous development and design through computation can have incocievable outputs, unimagined by those before us. This building encapsulates the practicality of construction with the innovation and conceputalisation of an architect.
Infinity Tower, Dubai, Skidmore, Owings & Merrill
Precedent 2.2
Role Of Computation Computational methods were critical in the design of Museo Soumaya, not only for the aesthetical balance and parabolic geometries but further for the structural design. In the different computational models we can see various elements being tested, including the interactions of wind, the load bearing elements and the ventilation paths. These models could have been calculated almost simultaneous to the design of the building, allowing the form to be integrated into the function effectively. This is a revolutionary parametric way to think about design and enhances consistency for a holistic proposal rather than one segmented through the varying stages of hand drawing or 2D CAD design.
Precedent 2.2
The Transition of Design Paradigms When considering the design process, it can be classified either as problem solving design or puzzle making design. The major difference being that problem solving encourages rational, convergent thinking. Design needs to be a network of possibilities; it needs to incorporate divergent and creative thinking to achieve a goal. When discussing design perspective’s aim to solve a problem suggests there is a singular eventuality that needs to be achieved and once reached, it can no longer be satisfied.
However, through designing to reach a goal, there are “generalized precedents, metaphors and symbols� that direct the design solution. It is therefore that all of these things are considered and a network forms to express the possibilities that may eventuate. The ideology of the goal-based design perspective is that it is an evidence orientated design solution. The endless possibility for the network of goals has instigated a paradigm shift in design that prioritises continual improvement.
Design should follow the ideological belief of Gemba Kaizen - the ideology of continuous improvement - Masaaki Imai, 1997 -
Precedent 3.1
Necessity for Organics... the blue planet - 3XN
As designs begin to encumber many human aspects into their form, they should begin to become more natural. By undertaking an organic form, the constructs will be a valued part of the domain, effectively fusing the built and biological to create symbiosis within the architecture and an environmental ecosystem.
Precedent 3.2
Agora Gardens, Taipei Vincent Callebaut Architectures
The Future of Humanistic Parametric Design
Organics: Designed with a Double Helix structure
Precedent 3.2 The design space is a very important concept in association to the feasibility of designs through the process of computation. The available design space through conventional design methods is narrow and a template design is usually decided upon early within the design process. The introduction of parametric modeling has allowed this to change so that the design space is very divergent and expansive. Furthermore, a more regular occurrence is that many different template designs will be explored before a final solution is actually concluded upon. This allows a much broader design perspective that will allow for the integration of complex design ideas.
Symbiosis in Design This has been seen in Vincent Callebaut’s Agora Gardens, whereby we can see the successful integration of a very humanly associable DNA like structure, a sustainable ecosystem and the compartmentalisation of each apartment to promote individuality in this densely constructed apartment block with a fixed central core. This design (currently under construction) shows the feasibility, innovation and ingenuity that allows parametric modeling to be so positively diverse.
Southern Cross Station Grimshaw Architects & Jackson Architecture Generic forms of irregularity are beginning to emerge as a norm in parametric design. Parametric design, can be considered to be stemming two paths; the first being a new design style like modernism or brutalism. Alternatively,
the generic type produced by parametric design could in fact be a limitation of the design method.
The problem is that it creates a flexible but singular and uniform object. Through conventional design methodology it was possible to segment, disjoin or break up the design.
The single uniform principle is a regular occurrence as already noted in; Ordos art and city museum, Museo Soumaya and The Blue Planet. Furthermore, there are other structures that look almost identical, for example, from objective analysis, Melbourne’s Southern Cross Station looks almost identical to Skidmore, Owings & Merril’s Convention Centre in Tanggu, China, 2009. This reintroduc-
es the idea of ‘the container’ and proposes the container no longer has four walls and a roof
but instead the ‘new container’ is a parametrically designed single surface. This is a result of genetic algorithms.
Convention Centre, Tanggu Skidmore, Owings & Merril
Uniformity in Discourse
MusĂŠe des Confluences, Lyon, France Coop Himmelblau (2001-2014)
Precedent 3.3
v
Discourse:
The development of the multisensory parametric modeling into geometries The rough sketches for MusĂŠe des Confluences started as humanistic, rounded and soft. With the introduction of the parametric modeling allowed the design path to be altered to analyse strict geometries whilst retaining the ultimately heterogeneous design.
Precedent 3.3
Experimentation in Grasshopper The experimentation into Grasshopper demonstrated to me the flexibility of the designing interface. The manipulability of objects is the key strength of this parametric modeling type. In comparison to conventional hand drawn methods, a lot of the designs and details that we have seen above could not have been constructed without the insight of parametric modeling. It instigates a paradigm shift that shifts into a whole new framework of considering three dimensional design. However, the most important aspect of parametric modeling is its ability to rapidly expand ideas based off a goal. For example, to design in an organically progressive style, small elements can be changed to have large affects on the core design.
Conclusion: Through the formation of this investigation of the expression of interest, the role of parametric design has been discussed to investigate the current organic discourse in architectural design. The birth of parametric design allowed for more holistic and realistic creation of buildings. The design process of architecture is no longer slow and stagnant but now diverse and dynamic. Resultantly, this should allow for the creation of buildings that also follow this principle.
A Design Intervention: Jan Gehl describes cities based off pace. There is the 5km hour city or the city at a walking pace, the 60km hour (driving pace) and the city from a bird’s eye perspective. His ideology stipulates that the pace in which humans transcend cities is too fast. Therefore, it is necessary to slow down. Gehl aims to create liveable cities. His ideas were implemented in the closure of Swanston Street in the heart of Melbourne becoming a non-driving street and he has had a large influence in the Danish model of a riding city. He aims to create cities that are far more liveable. However, what he neglects is that even at 5km/hr people are too preoccupied with the multisensory complexity of street level living that they neglect to look up. This makes it impossible to appreciate the true architecture of the city. Why should this be neglected and why don’t architects attempt to change this perception? The reason for this may be the lack of continuity between the earth and buildings. The buildings should be organic and seemingly spawn from the ground. Therefore, if there are no lines of disruption and no planar discontinuities then there is no reason that there should be a visual disruption. People will therefore begin to appreciate buildings as a whole. Lynn (1998) begins to discuss these ideas when discussing blobs, Architectonics and Topology. By fusing boundaries like Alejandro Zaera-Polo & Farshid Moussavi in their Yokohama Port Terminal, it is possible to achieve this organic appearance. Conclusively, this will hopefully be achieved through the utilisation of parametric modelling as conventional boundaries and lines are always reinvented through continual discourse.