STUDIOAIR ARCHITECTURAL DESIGN STUDIO SEMESTER ONE 2014 SOPHIE STEWART
ARCHITECTURAL DESIGN STUDIO SEMESTER ONE 2014 SOPHIE STEWART ROSIE GUNZBURG & CAM NEWNHAM
Contents INTRODUCTION
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PART A: CONCEPTUALISATION
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DESIGN FUTURING
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PRECEDENT:WOODS OF NET
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PRECEDENT: SOLAR SHIFT
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COMPUTERIZATION
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CHINESE UNIVERSITY OF HONG KONG ARENA SHENZEN, 2012
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COMPUTATION
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NATIONAL ART MUSEUM OF CHINA
BEIJING, 2012
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RESEARCH PAVILION
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DAW / DOUBLE AGENT WHITE
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A.4 CONCLUSION
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A.5 LEARNING OUTCOMES
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A.1 REFERENCES
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A.2 REFERENCES
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A.3 REFERENCES
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INTRODUCTION
Hi, my name is Sophie, a third year Bachelor of Environments student majoring in Architecture. I was born, and grew up in Bendigo, before making the move to Melbourne to pursue my dream to study Architecture.
construction as I have seen first hand the time and passion that goes into designing and constructing timber pieces. The textures and unique grain of every piece of timber ensures that each piece of timber is its own.
From a young age I spent time at display homes of family friend/builder in Bendigo. I always had a keen interest in the design and presentation of these homes. I then came across the career or Architecture when my parents built our family home nearly 10 years ago. I was intrigued a the process, and also love the hands on work or the different trades.
I have gradually been learning a variety of different software packages over my time at university. My Rhino knowledge is drawn from Virtual Environments, and basic models used to present previous studio designs. I spent 6 weeks over the summer working at an Architectural firm in Bendigo, E+ Architecture, were I developed my skills in both Revit and the Adobe package.
I have a strong interest in new design ideas and techniques, as well as passive design techniques used in both residential and commercial buildings. I have a real appreciation for timber
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In Studio Air this semester I hope to develop an understanding of computation as a design process, and allow this to influence me in my future designs.
PART A: CONCEPTUALISATION
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A.1: DESIGN FUTURING
DESIGN FUTURING 'It has always been recognised that individuals, communities, races and even nations can be fated or made to dissapear but we are now at a point when it can no longer be assumed that we, en masse, have a future'1 1
Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice, pp. 1
Designing in the past decades has been directed towards designing against unsustainability. Humans are seen as treating the planet as an infinite resource, which is not the case. We as a planet, are using the renewable resources available to us, at a rate of 25 per cent quicker than they are renewed, This is a major issue. If we continue on this course, we are going to reach 'total chaos'. it is difficult to pin point the exact point of 'total chaos' however we are aware that it is approaching fast, and if we don't act now this will soon be a reality.
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''Design futuring' has to confront two tasks: slowing the rate of defuturing... and redirecting us towards far more sustainable modes of planetary habitation'1. It is our responsibility, as architects to step up, and be the change we need to see in the world. Advancement in technology is a key aspect, in assisting this change in the way society functions. Design needs to lead the way. The educating of society as a whole is a starting point in future proofing our planet from the destructive behavior we display. 1
Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice, pp. 6
A.1: DESIGN FUTURING
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Fig. 11 TArchdaily, 'Woods of Net / Tezuka Architects'
PRECEDENT:WOODS OF NET BY TEZUKA ARCHITECTS
Playground Crochet Woods of Net is a permanent pavilion located at the Hakone Open-Air Museum, Japan. In collaboration with structural engineers TIS & PARTNERS, this pavilion was created for Japanese net artist Toshiko Horiuchi Macadam to create a piece of unique artwork/play equipment. The solid exterior structure is made up entirely of timber, featuring 598 individual timber members. The techniques of joining the timber is derived from old Japanese wooden temples. The work of Toshika Horiuchi Macadam investigate a deeper understanding of weight and tension of materials, two key features of architectural designs1. Through weight and tension, the stregth 1
of materials and joining methods is clearly conveyed. A key feature of the Woods of Net Pavilion is the interactive nature of the design for both adults and children alike. This is an aspect which I have researched and explored as it relates to the brief of the Land Art Generator Initiative in Copenhagen. This design in created as a 'playground' for both adults and children alike. It is an escape from reality, and acts as a barrier breakdown between age groups. Therefore it is expected that the pavilion will be appreciated for many years to come, to both new and re-visiting people to the site.
Archdaily, 'Woods of Net / Tezuka Architects' 7.
A.1: DESIGN FUTURING
Fig. 21 1 Flickr, Projectione
PRECEDENT: SOLAR SHIFT BY PROJECTIONiONE
Interactive Light Installation Solar Shift is a proposal for a new installation by PROJECTiONE LLC, a design / fabrication studio in Indiana. This studio focuses on digital tools, through analog methods such as models. I chose a project by PROJECTiONE as this focus relates closely to that of Studio Air, where we will be using Grasshopper to design and create an installation for the Land Art Generator Initiative in Copenhagen. The Solar Shift proposal is a submission EVV Arena Art Proposal in Evansville. The proposal focuses on the large outdoor public space of the site, and incorporates sustainable interactive lighting as a feature of the overall design. This proposal attracted my attention as I am interested in creating an installation for the Copenhagen site that will provide an interactive environment to aid in the teaching and awareness of renewable energy resources.
Through the use of motion sensors, LED lights and photovoltaic panels, the proposed installation will change in response to the different users' actions on site. The overall form on the Solar Shift installation is derived from the sun path diagram, to ensure the greatest amount of solar radiation is collected. It is a self-sufficient system which is ideal in educating the public about the use of solar energy1. It is inspiring to see a design form derived from a specific diagram, however creating an outcome which does not directly show the diagram in it. This is a possible option to explore when developing the form for the Copenhagen installation.
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Projectione, Evansville Arena Art Proosal
A.1: DESIGN FUTURING
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Fig. 31 Flickr, Projectione
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A.2: DESIGN COMPUTATION
COMPUTERIZATION According to Terzidis, computerization is the 'act of entering, processing, or storing information in a computer' 1 1
Kosta Terzidis, 'Algorithmic Architecture' (2012) (pp. xi)
Computerization is a process of producing an outcome based on preconceived design ideas to create an imaginable outcome In architecture today, most designs are created using computerization. This involves using the aid of a computer program in order to represent ones ideas in its overall form and outcome. The use of computerization assists designers and architects to produce well developed images and models of the design that can be communicated easily to the relevant trades for construction. Computerization has enable a quicker process of design development and presentation through the use of a variety
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of software such as Autocad and Revit. The software assists architectural firms working in groups on projects to allow continuous work flow. With the introduction of BIM modelling, this form of design is growing in popularity in many architectural firms, and will continue to develop in the future. It is argued however, that computerization merely presents ideas and designs in a visually appealing way, without assisting in the design itself. Architects and designs are restricted by the creativity of the human brain, and the ability to construct forms based on prior knowledge.1 1 Kosta Terzidis, 'Algorithmic Architecture' (2012)
A.2: DESIGN COMPUTATION
CHINESE UNIVERSITY OF HONG KONG ARENA SHENZEN, 2012 TOM WISCOMBE ARCHITECTS
Fig. 41 1
The Chinese University of Hong Kong Arena Sports Complex is design around the idea of a free or loose edge between exterior and interior space. The design merges the two together using shading features to delay the entry into the building.1 This design, although abstract in form, appears to have used computerization techniques in order to represent the ideas. Through the use of abstract geometries 1
Tom Wiscombe, 'Chinese University of Hong Kong Arena'
this form has been created which represents the design intent well. The technique of computerization is commonly used in architecture today, particularly as we move towards a Building Information Modelling (BIM) approach to architecture. This method incorporates preconceived ideas into a computerized form, however this computer aid benefits only the representation of the form, not the realization of the form itself.
Tom Wiscombe, 'Chinese University of Hong Kong Arena'
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A.2: DESIGN COMPUTATION
COMPUTATION
Fig. 51 1
Robert Studart-Smith, 'National Art Museum of China'
'Computation is the processing of information and interactions between elements which constitute specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complete order, form and structure.'1 1
Kosta Terzidis, 'Algorithmic Architecture' (2012)
The development of technology has had undeniable influence on all aspects of the world today. In particular it has enabled architects to not only represent their ideas and designs digitally, using both two dimensional and three dimensional software, but also to assist in designing arrangements, shapes and forms which had never before been considered1. Computational design has influenced Architecture in recent times. It has allowed for the creation of unique, algorithmic, complex forms using software such as Grasshopper. Future architecture may develop closer to a dominant use of computation in order 1 12.
Kosta Terzidis, 'Algorithmic Architecture' (2012)
to generate algorithmic designs. Computational design causes shifts in the way the architectural profession is viewed. Many people utilising this form of design argue that 'it has renewed the architect's traditional role as the master building empowered with the understanding and ability to digitally create the material realm'2 The variety of forms which can be generated using computational techniques is limitless, however lack of knowledge of the programs used to develop these forms can significantly diminish the advantages and potential outcomes of this design technique. 2
Oxman and Oxman, 2014, pp. 5
A.2: DESIGN COMPUTATION
NATIONAL ART MUSEUM OF CHINA
BEIJING, 2012
ROBERT STUART-SMITH, ROLAND SNOOKS (KOKKUGIA LTD) + STUDIO ZHU PEI
Fig. 61 1
This proposal was established for a competition for the National Art Museum, China. The competition entries were required to work with the metaphor of the cloud, as well as the typology of podium and object. A swarm-based algorithm was used to create the form of the design, an example of a computational design. This example demonstrates the flexibility, and design options provided through computation. Forms such as this can be produced relatively easily, with no pre conceived idea of how this end product may appear.1 Terzidis believes that a computer is a partner in the design process, rather than an extension of the human minds.
Robert Studart-Smith, 'National Art Museum of China'
'procedure of calculating'2 Computation is the generation from undefined or unclear ideas into a form that can be applied to briefs, and constructed. In the above form algorithmic technology, allows for the design of an abstract form which stretches the creativity and imagination of the average architect. In this case, this form has been applied to a museum setting. The benefits of the computational approach in the instance are the free flowing, complex forms created, which stretch further than that of the human mind. It is evident that it takes great skill and expertise to adopt the computational approach to architecture of today.
According to Terzidis, computation is the 1
Robert Studart-Smith, 'National Art Museum of China'
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Kosta Terzidis, 'Algorithmic Architecture' (2012) pp.xi 13.
A.3: DESIGN COMPOSITION/GENERATION
RESEARCH PAVILION ICD AND ITKE, 2012
The Research Pavilion was designed by both students and academics from the University of Stuttgart's Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE). The academics and students researched into the layers and load bearing efficiency behind a lobster's exoskeleton. The pavilions spans eight meters with a four millimeter composite shell.1 This pavilions demonstrates a computational technique of designing to form a uniquely fabricated form. The fabrication of this form is the aspect that entices the mind. The structure is fabricated from resin-saturated glass, and carbon fibers which are put into place by 1
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Dezeen, 'Research Pavilion by ICD and ITKE'
a robot. This recent fabrication process has been utilized to create the thin, structure through the wrapping of the fibers. An algorithm is a set of instructions in the form of a code, which can be understood by the computer. This form of designing, has enhanced the use of computation in the architectural field. Creating multiple design options simply involves altering the algorithmic code, to produce a new result.2 Algorithmic Architecture has allowed the designers to create a more responsive design with increased efficiency, within a shorter time frame. 2
Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought',
A.3: DESIGN COMPOSITION/GENERATION
'Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs'. 1
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Peters, Brady. (2013) 'Computation Works:The Building of Algorithmic Thought',
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Fig. 71 Dezeen, 'Research Pavilion by ICD and ITKE'
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A.3: DESIGN COMPOSITION/GENERATION
Fig. 81 1 16.
Dezeen, 'Research Pavilion by ICD and ITKE'
A.3: DESIGN COMPOSITION/GENERATION
DAW / DOUBLE AGENT WHITE MARC FORNES & THEVERYMANY
'Double Agent White functions to achieve a maximum degree of morphological freedom, structural continuity, visual interplay, and logistical efficiency within a minimum degree of components, and performative hierarchies'1 1
Theverymany, Atelier Calder
The Double Agent White installation is composed of nine intersecting spheres, forming a continuous surface. The installation is made from aluminum sheets and can be disassembled into its individual components and compacted into a 427cm by 366cm by 274cm crate.1 This project is the sixth installation of a series of prototypical architectures which use parallel agents systems to produce developable fragments for fabrication of double curved surfaces.2 Computational architecture has enabled this fluid form to be created and 1 2
fabricated to allow it to be assembled and disassembled as required. Due to the emphasis on computational techniques, as shown in this installation, I question the future of the architecture profession. There is potential for computers to take over the whole design process, and could therefore eventually replace architects altogether. This would allow for economical and efficient designs, however would take away the personal aspect of architectural design, and may be difficult to incorporate client's specific ideas into the design.
Architectural Record, 'Marc Fornes/TheVery Many' Theverymany, Atelier Calder
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A.4: CONCLUSION
A.4 CONCLUSION 'When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture'.1 1
Peters, Brady. (2013) 'Computation Works:The Building of Algorithmic Thought', pp. 12
The design approach investigated in this journal involves the direction us as architects need to take to reverse societies destructive behavior of our planet and its renewable resources. Education is the major driving factor of the design. Education is a major step toward a sustainable society. It is the responsibility of a multitude of people in order to create this awareness and educate people on the issues of 'total chaos'. With this in mind, design is a key way in which awareness can be generated. Through the use of algorithmic software, and parametric modelling, uniquely creative installations, beyond the capabilities of the human mind can be generated which will draw the public to these places, indirectly creating this awareness. Another
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key aspect to be incorporated into the design is an element of playfulness and entertainment. In order to get the public's attention and support for the design, it is essential to create a design which allows public use, as a sort of new generation playground. This design approach allows the education of sustainability and renewable resources inadvertently through engaging and entertaining measures. The public can benefit from this in that it will enable the creation of an interactive community place for recreation and pleasure. This will also be the first stage for architects and designers to move forward in pursuing this shift in behavior of society.
A.5: LEARNING OUTCOMES
A.5 LEARNING OUTCOMES Architectural computing was a new concept to me before starting this studio class. I had previously worked with Rhino to create preconceived ideas (computation), however the introduction of Grasshopper has drastically changed the possible outcomes as a result. Algorithms and parametric modelling are still relatively new concepts to me, and I am slowly understanding the basics behind these concepts. After investigating precedents, I am intrigued by the varying types of architecture, from buildings to installations which can be produced through the use of algorithms. After watching the weekly tutorials and attempting to experiment beyond their content, I have realised that I still have a long way to go before I can produce anything close to those forms explored
as precedents in this journal. With this in mind, I am eager and confident that I am gradually learning, and will continue to develop my Grasshopper skills to create an interesting outcome which creates awareness of sustainability and renewable energy types. After being introduced to Grasshopper this year, I have come to the conclusion that this software could have greatly increased the complexity and creativity of my lantern design from Virtual Environments in 2012. I wish to continue with the use of this software throughout my education and career. Who knows, maybe one day I can create something as complex, and exquisite as Michael Hansmayer's 'unimaginable shapes'.1 1
TedTalks, 'Michael Hansmeyer
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A.6. Appendix - Algorithmic Sketches
A.6 ALGORITHMIC SKETCHES The algorithmic sketched produces in part A have helped me develop my understanding of grasshopper as a design software. The tutorials are very helpful in guiding you towards a desirable outcome for that specific technique. I do however, find it difficult to extend beyond the tutorials, likely due to my low level of grasshopper knowledge which is progressing week by week.
These images show morph box patterning being applied to a donut shaped lofted surfaces. The surface has been divided and then deconstructed to form a surface box, which then is linked to create a box morph. This is one of many iterations which can be created using this tool by simply changing the input brep/mesh. The image to the left shows a pentagonal pyramid being applied to the surface.
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A.6. Appendix pp - Algorithmic g Sketches
These spherical shapes show a development of varying both the geometry inputs of the algorithm, and the pipe thicknesses. A variety of star shaped, closed loop shapes and triangular shapes have been used to create these examples. The pipe tool is a simple way in which a completely different form can be created using the same algorithm. This pipe structure could be incorporated into a future design using LED strips inside the tubes to create the interactive installation which is hoped to be achieved.
This simple geometry is formed by offsetting planar curves. Although simple, this form may enable an interactive semi open space to be created for the Copenhagen installation
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A.6. Appendix - Algorithmic Sketches
The above image demonstrates the use of the voronoi tool to create patterns. These patterns can then be projected onto a surface/form. An advantage of this form of patterning, using the cull and jitter components, randomised patterns cam be created which are not symmetrical.
This image shows the use of contouring and laying out the elements of a form. This will be a particularly useful skill in the final stages of this semester when it comes to modelling the final installation design. This is a quick, and relatively simple method of unrolling an object to be submitted to the fablab for printing.
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A.1 REFERENCES Archdaily, 'Woods of Net / Tezuka Architects' <http://www.archdaily. com/39223/woods-of-net-tezuka-architects/p1050761/> [accessed 12/03/14] Archdaily, Woods of Net / Tezuka Architects (Image, Online) http://www.archdaily.com/39223/woods-of-net-tezuka-architects/ p1050761/ Flickr, Projectione (Image, Online) http://www.flickr.com/photos/projectione/5616901204/ Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 116 Projectione, 'EVV Arena Art Proposal' <http://www.projectione.com/evansville-arena-art-proposal/> [accessed 12/03/14]
A.2 REFERENCES Kalay, Yehuda E. (2004). Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kosta Terzidis, 'Algorithmic Architecture' (2012) <http://reader.eblib.com. au.ezp.lib.unimelb.edu.au/(S(3rq0eqjd1tcr1525r00bdn50))/Reader.aspx?p=27029 8&o=102&u=8%2fzZUIPgFd5ZHT%2bxuaXqfw%3d%3d&t=1395820041&h=65CDE5 8918C5C381D1582CA744005D4A7F25E5D5&s=11775254&ut=273&pg=1&r=img &c=-1&pat=n&cms=-1> [12/03/14] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 110 Robert Studart-Smith, 'National Art Museum of China' <http://www.tomwiscombe.com/project_005.html> [accessed 19/03/14] Robert Studart-Smith, National Art Museum of China, (Image, Online) http://www.robertstuart-smith.com/filter/projects Sean Ahlqist and Achim Menges, 'Introduction', in Sean Ahlquist and Achim Menges (eds), Computational Design Thinking (Chichester, UK: John Wiley & Sons) Tom Wiscombe, 'Chinese University of Hong Kong Arena' <http://www.tomwiscombe.com/project_005.html> [accessed 19/03/14] Tom Wiscombe, Chinese University of Hong Kong Arena, (Image, Online) http://www.tomwiscombe.com/project_005.html
A.3 REFERENCES Architectural Record, 'Marc Fornes/TheVeryMany' <http://archrecord.construction.com/features/designvanguard/2013/1312-Marc-Fornes-TheVeryMany-slideshow.asp?slide=2> [accessed 25/03/14] Dezeen, 'Research Pavilion by ICD and ITKE' <http://www.dezeen. com/2013/03/05/research-pavilion-by-icd-and-itke/> [accessed 25/03/14] Dezeen, 'Research Pavilio by ICD and ITKE' (Image, Online) http://www.dezeen.com/2013/03/05/research-pavilion-by-icd-and-itke/ Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83, 2, pp. 08-15 Ted Talks, 'Michael Hansmeyer' <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes#> [accessed 27/03/14] Theverymany, 'Atelier CALDER' <http://theverymany.com/constructs/12-atelier-calder/> [accessed 25/03/14] Theverymany, 'Double Agent White' (Image, Online) http://theverymany.files.wordpress.com/2012/01/dsc_0759_ps_fornes_s.jpg