Mitra_Sohan_791380_ Part A by Sohan Mitra

STUDIO AIR 2017, SEMESTER 1, SEAN GUY SOHAN MITRA, 791380

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Introduction My name is Sohan Mitra and I am from India. Having been educated in Anglo-Indian missionary school, I have learnt to appreciate the best of Western and Eastern culture. Such was furthered when I moved to Australia for my tertiary studies, I used the abundant resources available at Melbourne University to research for my history essays, to learn more about the parallel developments in architecture across the world. In one such instance I was fascinated to join a conversation about the origin of â&#x20AC;&#x2DC;the Bunglowâ&#x20AC;&#x2122;,coming from a Bengali heritage. At the Melbourne School of Design, the course so far has enabled me to think in a designerley perspective and also instilled in me the necessary design and representational skills through studio subjects. It is my ambition to use such skills to adequately research about the interactions of eastern and western architecture; then to use the present design technologies to bridge a designerly discourse. I believe that parametricism and related skills are necessary for effective, economical and efficient designs to be made reality right from conception. Having completed Digital Design and Fabrication, I acquired the necessary skills to digitally design and fabricate a piece of wearable architecture depicting personal space, once again I took the opportunity to be inspired by Indian dressing styles and its accomodation of personal space. It is through Studio Air that I envision to acquire the necessary skills in computational design techniques and to further my chosen personal design discourse with parametricism.

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Fig:1 Model photshoot of Digital Design and fabrication Personal Space Body Architecture Model

Fig:2: Design Studio Earth Final Presentation model.

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Previous Projects These projects are from my previous design studio subjects, namely Digital Design and Fabrication and followed by Deisgn Studio Earth.

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Conceptualisation With the advancement in technology, the architectural discourse must take in whatever improvements the world has to offer. With the shift from drawing to scripting, firms can save time, money and energy. Design parameters can be set to check the strength, durability, materiality, porosity and almost everything to ensure the constructability and to avoid mistakes that might be quite expensive to correct. Thus, I believe for efficient use of resources within the architectural realm, parametricism must be encouraged and eventually an upgradation of the discipline must take place.

Kartal Masterplan Location: Istanbul, Turkey FIG.1: RENDER OF THE KARTAL MASTERPLAN

FIG.2: RENDER OF THE KARTAL MASTERPLAN 8

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Client: Greater Istanbul Municipality and Kartal Urban Regeneration Association.

A.1. Design Futuring The Kartal Masterplan designed by Zaha Hadid with Patrik Schumacher is an exemplary computational design that uses an adaptable urban script that generates various different typologies of buildings based on demand in each new district. Thus, creating a porous, interconnected network of spaces throughout the city.1 Zaha Hadid architects in their design for the Kartal masterplan, used parametricism to connect the newly designed network with the existing urban structure. This they did by joining the major incoming connections from the surrounding areas. Such was brought about using the idea of a soft grid and a special algorithmic model. The configuration of the urban model was brought about by optimization of of the network structure with the minimized average detour factor and a dynamic urban grid.2

“The design idea ensures the calligraphy of an urban landscape underlies all the involved compositional tactics” Zaha Hadid Architects. “we are confronted with a new style rather than just with a new set of techniques. The techniques in questions – the employment of animation, simulation and formfinding tools, as well as parametric modelling and scripting - have inspired a new collective movement with radically new ambitions and values.”3 Such a design in the urban context can be called revolutionary in the sense that the use of newer techniques for form finding as well as parametric modelling and scripting has been used and the results were radical at the time. The use of parametricism was fairly done but the recognition associated with the Kartal plan being the winning design of the urban plan of the Kartal Masterplan 2006. Although not built, the recognition of being the winning project was very important to encourage the discourse of parametricism. Such urban use of parametricism will continue to be appreciated because it tests the new avant garde architecture. The use of parametricism can also be very economical given the fact that almost all design and construction parameters can be set as parameters and can be tested in a multitude of scenarios. Such experimentation in the digital design realm testing materiality and a multitude of parameters to avoid expensive mistakes in the building stages is revolutionary. Thus, in my opinion it is due to the associated efficiency that it will continue to be appreciated. In the Kartal redevelopment project, because of Patrik Schumacher’s association with Zaha hadid in the design process I feel that the theory of Architectural Autopoiesis by Schumacher was used.

1 “Kartal Masterplan”, Zaha Hadid Architects, 2018 <http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/> [Accessed 10 March 2018] 2 Olgu Çalışkan, “Parametric Design In Urbanism: A Critical Reflection”, Planning Practice & Research, 32.4 (2017), 417-443 <https://doi.org/10.1080/02697459.2017.1378862>. 3 Parametricism - A New Global Style For Architecture And Urban Design”, Patrikschumacher.Com, 2018 <http://www.patrikschumacher.com/Texts/Parametricism%20-%20A%20New%20 Global%20Style%20for%20Architecture%20and%20Urban%20Design.html> [Accessed 13 March 2018]. Design Studio Air Journal A

plug-in city FIG.3: IMAGE OF THE PLUG-IN CITY BY PETER COOK

FIG.4: DRAWING OF THE PLUG-IN CITY

Archigram, Peter Cook.

A.1. Design Futuring The Plug-In City proposed in 1964, although never built instilled discussions around architecture, technology and society.1 It opened a fascinating conversation into urbanism, reversing perceptions and the role of infrastructure in a city.

FIG.5: DRAWING OF THE PLUG-IN CITY

The Plug-In-City by Peter Cook when presented was a very provocative as it was a hypothetical fantasy city. The concept was based upon the ‘Plug-Ins involving architecture as a part, like apartments or offices being plugged into a main framework of the city. It is a constantly evolving mega structure as the ‘Plugins’ are constantly moved around using cranes. The idea of the plug-in city instigated a theoretical discourse of having rapid change in the urban environment. The appreciation of this project will continue because of its radical design thinking in the time of its advent. Further, it instigated the theoretical impulse of modernism.2 The Plugin city was completely a hypothetical city and thus it was entirely looking into the future advent of technological advancement to envision it becoming reality. Such can be seen with the extensive use of cranes to shift modular parts of the entire architecture and the intricate complexity associated with the services in regards with the movement of the modular pieces.3

1 Gill Merin, “AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2018 <https://www. archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [Accessed 7 March 2018]. 2 Gill Merin, “AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2018 <https://www. archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [Accessed 7 March 2018].

3 Deborah Asher Barnstone, “Archigram: Architecture Without Architecture”, The Art Book, 13.2

(2006), 56-57 <https://doi.org/10.1111/j.1467-8357.2006.00679_2.x>.

FIG.6: DRAWING OF THE PLUG-IN CITY

Ai Build Project name: Thallus

FIG.7: IMAGE OF THE THALLUS

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A.2. Design Computation Thallus is a completely 3D printed structure using premium polylactide plastic, it uses hot wire cutting technology and automated additive manufacturing.1 Thallus uses advanced manufacturing and computational methods to experiment with form and [pattern and eventually the structure.2 The structure was presented for the Milan Design week 2017 and also exhibited at Maxxi in Rome.3 The robotic additive manufacturing was undertaken by Ai build.

FIG.8: IMAGE OF THE THALLUS IN LIGHT

AI build’s mission is to enable factories of the future with artificial intelligence using autonomous large scale 3D printing. They envision a future of manufacturing being easy, smart, affordable and sustainable. They use the power of computing to create the best possible manufacturing process for a design outcome, such would decrease the use of material, making the process easier and affordable. Further, their aim to use artificial intelligence to expedite the process can only come about using computing. Computing can also assign various parameters that when lined to a multitude of other parameters, the results obtained are quite intricate and can be justly said that are beyond imagination for the layman. Thus, with research in this field, it can truly redefine a practice just like AI build is envisioning to use artificial intelligence. The changes associated with the design and construction industry include designing in the material space digitally, thus designers can test the real world problems associated with construction of the design way before the construction phase thereby avoiding expensive mistakes.4 Such can be seen here with Ai build focussing on using artificial intelligence in manufacturing lines. Computation can achieve very complex and intricate geometries which would otherwise be very difficult to envision. It is because computation taking place in computers and as such computers are equipped with analytical tools and can produce a multitude of achievable results.5 Computation contributes to evidence and performance -oriented design by expediting the tests associated with design, making better tested results to be made in the real world.

1 ”Zaha Hadid Architects Unveils New Experimental Structure Using 3D-Printing Technology”, Archdaily, 2018 <https://www. archdaily.com/871659/zaha-hadid-architects-unveils-new-experimental-structure-using-3d-printing-technology> [Accessed 6 March

2018]. 2 ”Thallus For White In The City – Zaha Hadid Architects”, Zaha-Hadid.Com, 2018 <http://www.zaha-hadid.com/2017/04/05/thallus-

for-white-in-the-city/> [Accessed 7 March 2018].

FIG.9: CLOSE-UP IMAGE OF THE THALLUS IN LIGHT

3 ”Ai Build - Thallus”, Ai-Build.Com, 2018 <http://ai-build.com/thallus.html> [Accessed 16 March 2018]. 4 Rivka Oxman, “Digital Architecture As A Challenge For Design Pedagogy: Theory, Knowledge, Models And Medium”, Design Stud-

ies, 29.2 (2008), 99-120 <https://doi.org/10.1016/j.destud.2007.12.003>. 5 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Design Studio Air Journal A

FIG.10: MEDIATED MATTER RESEARCH GROUP EXPERIMENTS

Neri Oxman, Mediated Matter Research Group MIT

FIG.11: MEDIATED MATTER RESEARCH GROUP EXPERIMENTS WITH SHAPES

FIG.12: NERI OXMAN VIEWING THE LIVING WALL

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A.2. Design Computation The mediated matter group at the Massachusetts Institute of Technology conducts research focussed at the intersection of computational design, digital fabrication material science and synthetic biology. Such research is then applied to design across scales.1 Using robotic additive manufacturing techniques, the group created a aqueous material formation. The project combines a crustacean derived material- chitin, found abundantly on earth with synthetic biology to redefine the material and functional aspects of structures .The structures represented here are made from chitin, once printed the structures find its form through evaporation and it degrades through evaporation and degrades on contact with water.2 As such it shows an interaction with the sciences in design and the formation of the design was expedited and tested firstly in the digital space using computational techniques. Its functional purposes include: temporary architectural constructs and proposed applications include: storage of water, conversion of sunlight into biofuel. This process shows that with the help of computational techniques a research project can be formed and created, as such the materiality can be put as a parameter and tested. Such tests would be necessary to have a better final product. It was revolutionary in the sense that such design research caters for a more sustainable future. The use of chitin, being a biodegradable material found abundantly and then to fuse it with living matter that conducts biological functions like creation of biofuel from sunlight would hugely benefit the ever increasing polluted cities. Potential use would be on building façades and also to improve the interior spaces of buildings.

STRUCTURES

1“Water-Based Digital Fabrication Platform Environment |”, Matter.Media.Mit.Edu, 2018 <http://matter.media.mit.edu/environments/ details/water-based-digital-fabrication-platform> [Accessed 9 March 2018]. 2 ”Water-Based Digital Fabrication Platform Environment |”, Matter.Media.Mit.Edu, 2018 <http://matter.media.mit.edu/environments/ details/water-based-digital-fabrication-platform> [Accessed 9 March 2018].

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composite SWARM

FIG.13: SWARM BY KOKKUGIA

KOKKUGIA

FIG 15

FIG 14 FIG 14 ,15,16 SHOWING VARIOUS DETAILS OF THE COMPOSITE STRUCTURE.

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FIG 16

A.3. Design Composition/ Generation Composite Swarm is an architectural prototype which was made using digital techniques like robotic fabrication, composition materials and algorithmic design. The structure is highly complex and have intricate ornamentation, using algorithmic techniques the form was made structurally stable and minimised the use of material. The project used a swarm algorithm based on the self organising behaviour of ants to integrate the compresses surface, structure and ornament into a single form.1 This structure combines a fibre-composite and a flexible foam material, both of these elements are too flexible to be independently supporting, however a combination of them created a highly rigid result. The structure is stable because of corrugations on the composite surface and double curvature of the overall surface. Thus, it is the complexity and the ornamental patterns of the form that make it efficient. It can be seen that the designers of the project explored how the structure, surface and the ornamentation solutions can be bridged to make an expressive form. The algorithmic approach taken here is a connection of components. Firstly an algorithm based on the social aspect of ants followed by the surface algorithm to make a continuous manifold surface and finally the ornamental component. Such a connection between the stated algorithmic components created a complex structural and ornamental structure. The installation was fabricated by laminating glass fibre and polyurethane components. The mould for the surface was robotically and CNC milled from foam. Then it was coated with epoxy to achieve the smooth finish. The components were infused with epoxy resin and laminated between two layers under high vacuum pressure. This project tests the composite tectonics in a smaller scale for future use in the architectural built scale.2 This project adequately shows how the architectural literature is shifting from composition towards generation. It is due to the extensive research done in the computational techniques that such shift is brought about. It is through computational techniques that the algorithm of the behavior of the ants could be integrated into the generative design of the swarm and made real using 3D fabrication techniques. This was developed in Kokkugia, which is an independent design lab by Ronald Snooks and Robert Stuart Smith who have separate architecture practices of their own. Thus, adheres to the discourse taken by computational design groups kept independent in various big firms like Foster+partner’s Specialist Modelling Group. 1“Composite Swarm - Kokkugia”, Kokkugia.Com, 2018 <http://www.kokkugia.com/Composite-Swarm> [Accessed 10 March 2018]. 2“Composite Swarm - Kokkugia”, Kokkugia.Com, 2018 <http://www.kokkugia.com/Composite-Swarm> [Accessed 10 March 2018].

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FIG 17: A NEW ORDER COLUMNS BY MICHEL HANSMEYER

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A.3. Design Composition/ Generation This project is the conception and design of a new column using subdivision to explore an intricate system of ornamentation. One such column was subdivided into 5.8 million faces. In the process an input form algorithm was created having parameters containing data about the column shaft, capital and supplemental base and also has information about its fluting and entasis. The input form was tagged to create a subdivision process to distinguish between individual layers. This allowed changes to be made within the local parameters having a heterogeneous application.1

A New Order (2010) Michael Hansmeyer

Thus, by using this technique Michael Hansmeyer designs a process that produces a column rather than designing a column directly. Thereby by varying the parameters numerous permutations of the columns can be created.2 Unlike, traditional methods of designing, this computational process allows a change to occur in all scales with a simple change in one of the parameters. A full scale column of 2.7 meters was fabricated using a layered model of 1mm sheet. The sheets was laser cut and then stacked onto each other using a pole in the central core. It can be seen that an age old concept of column design can be accentuated by creating an interesting new order being very intricate in its ornamentation. Also, a multitude of design outcomes can be achieved by changing the parameters. Thus, is a good example of a generative design process where algorithmic thinking, parametric modelling and scripting has been adequately used.

1 ”Michael Hansmeyer - Computational Architecture: Subdivided Columns”, Michael-Hansmeyer.Com, 2018 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1> [Accessed 13 March 2018]. 2 “Michael Hansmeyer - Computational Architecture: Subdivided Columns”, Michael-Hansmeyer.Com, 2018 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1> [Accessed 13 March

2018].

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A.4. Conclusion To conclude, my journey so far in Design Studio Air has been really interesting because of discoveries in parametricism and also by reading about various theorists in this discourse. I found Patrik Schumacherâ&#x20AC;&#x2122;s Autopiosis of Architecture to be particularly interesting, further the research along with the precedent researches we can tell that computation is being increasingly used in the design world. I hope to incorporate cultural influences in the computational exercises we will be doing in regards to the brief.

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A.5. Learning Outcomes By engaging in this subject, I have learnt a lot about the use of computational techniques in the design world and also have tested some of my ideas as guided by the class exercises. It is definitely rewarding because of the complicated outcomes and the learning of the process around it. I have learnt that using computational design methods, architects can now design in the material world digitally. Thus potentially all construction problems can now be tested in the design world. Looking at Archigramâ&#x20AC;&#x2122;s envision then and the present scenario or developments in design has made he to believe that the future of design is very much around computational designing.

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A.6. Appendix

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Using the various parametric modelling tutorials in the seminars, I have constructed some of these.

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Bibliography 1. Peters, Brady, “‘Computation Works: The Building Of Algorithmic Thought’”, Architectural Design, 2013, p. 14\

2. “Composite Swarm - Kokkugia”, Kokkugia.Com, 2018 <http://www.kkugia.com/Composite-Swarm> [Accessed 10 March 3. “Michael Hansmeyer - Computational Architecture: Subdivided Columns”, Michael-Hansmeyer.Com, 2018 <http://www. michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1> [Accessed 13 March 2018]

4. “Kartal Masterplan”, Zaha Hadid Architects, 2018 <http://www.zaha-hadid.com/masterplans/kartal-pendik-masterplan/ 5. Çalışkan, Olgu, “Parametric Design In Urbanism: A Critical Reflection”, Planning Practice & Research, 32 (2017), 417-443 <https://doi.org/10.1080/02697459.2017.1378862>

6. “Parametricism - A New Global Style For Architecture And Urban Design”, Patrikschumacher.Com, 2018 <http://www.pa Parametricism%20-%20A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.html> [Access 7. Merin, Gill, “AD Classics: The Plug-In City / Peter Cook, Archigram”, Archdaily, 2018 <https://www.archdaily. com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> [Accessed 7 March 2018]

8. Barnstone, Deborah Asher, “Archigram: Architecture Without Architecture”, The Art Book, 13 (2006), 56-57 <https://doi.o

9. “Zaha Hadid Architects Unveils New Experimental Structure Using 3D-Printing Technology”, Archdaily, 2018 <https://ww com/871659/zaha-hadid-architects-unveils-new-experimental-structure-using-3d-printing-technology> [Accessed 6 Marc 10. “Thallus For White In The City – Zaha Hadid Architects”, Zaha-Hadid.Com, 2018 <http://www.zahahadid.com/2017/04/05/thallus-for-white-in-the-city/> [Accessed 7 March 2018] 11. “Ai Build - Thallus”, Ai-Build.Com, 2018 <http://ai-build.com/thallus.html> [Accessed 16 March 2018] 12. Oxman, Rivka, “Digital Architecture As A Challenge For Design Pedagogy: Theory, Knowledge, Models And Medium”, Design Studies, 29 (2008), 99-120 <https://doi.org/10.1016/j.destud.2007.12.003> 13. “Water-Based Digital Fabrication Platform Environment |”, Matter.Media.Mit.Edu, 2018 <http://matter.media.mit. edu/environments/details/water-based-digital-fabrication-platform> [Accessed 9 March 2018] 14. “Water-Based Digital Fabrication Platform”, STARTS PRIZE, 2018 <https://starts-prize.aec.at/en/ water-based-digital-fabrication-platform/> [Accessed 10 March 2018]W 24

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h 2018]

/> [Accessed 10 March 2018]

atrikschumacher.com/Texts/ sed 13 March 2018]

org/10.1111/j.1467-8357.2006.00679_2.x>

ww.archdaily. ch 2018]

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Bibliography (Images) Fig 1 and 2 Http://Www.Zaha-Hadid.Com/Masterplans/Kartal-Pendik-Masterplan/, 2018 <http://www. zaha-hadid.com/masterplans/kartal-pendik-masterplan/> [Accessed 8 March 2018]

Fig 3 Https://Www.Moma.Org/Collection/Works/797, 2018 Fig 4,5,6 , 2018 <https://www.archdaily.com/399329/ad-classics-the-plugin-city-peter-cook-archigram> [Accessed 12 March 2018]

Fig 7, 8, 9 Http://Ai-Build.Com/Thallus.Html, 2018 Fig 10, 11, 12 , 2018 <https://starts-prize.aec.at/en/water-baseddigital-fabrication-platform/> [Accessed 6 March 2018]

Fig 14, 15, 16, 2018 <http://www.kokkugia.com/Composite-Swarm> [Accessed 6 March 2018] Fig 17 Http://Www.Michael-Hansmeyer.Com/ProjectsColumns.Html?Screensize=1&Color=1, 2018

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