STUDIO AIR 2017, SEMESTER 1, FINNIAN WARNOCK CHENG CHI YAU STEPHANIE
CONTENT INTRODUCTION
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A / CONCEPTUALISATION A.1 / DESIGN FUTURING
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A.2 / DESIGN COMPUTATION
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A.3 / COMPOSITION AND GENERATION
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A.4 / CONCLUSION
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A.5 / LEARNING OUTCOMES
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A.6 / APPENDIX - ALGORITHMIC SKETCHES
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INTRODUCTION
My name is Stephanie Cheng and I am a third year student studying in Bachelor of Environments, majoring in Architecture. I come from Hong Kong and it has been two years living and studying in Melbourne, which I enjoy a lot. Throughout the past two years, I have got in touch with a wide range of architecture with different forms and languages base on various site contexts. Thus, I have developed strong interest in the relationship of architecture, people and surrounding contexts. For me, architecture is a medium that expresses the surrounds, connects people with it, and creates different emotional and physical experiences. I think Studio Air is an opportunity for me to explore more on this relationship with a focus on abstract forms and geometries in architecture. Despite hand drawing, sketching and designing are always the most comfortable and convenient ways for me to present my thoughts since secondary school, it was not until I started to use digital software like Rhino3D and AutoCAD to work on my designs in Visual Environment and other design studios. After entering Air Studio, I have realised there are still a lot for me to explore and practice with the digital software. With the use of Rhino3D and Grasshopper, I hope to strengthen my skills on using technical software in order to present my ideas in the best way and articulate my theoretical knowledge to the design.
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CONCEPTUALISATION
Digital Design and Fabrication is the course that give students chances to encounter digital software fabrications for modelling. It was about producing a sleeping pod base on the analysis of skin and bone structures. Before using digital software, different media like paper and straws are used to carry out the basic analysis of the structural system. Rhino3D with Panelling Tools are then used to create several iterations digitally for analysis and come up with the final design. Since my design is made up of thousands of straws, it would be impossible to try different iterations simply by hand. Using Panelling tools to imitate the geometries and patterns of the skin part of the sleeping pod reduce efforts and time to try out different combinations. The digital design can also increase accuracy and efficiency to generate different possibilities of design. Yet, considering the limitation of the materials – straws and costs, we can only digitally design the outcome but fabricate it by hand. Neither using laser cut to trim the straws nor using 3D printing are the most cost-effective way to build the outcome. It was a pity that we do not have the chance to encounter digital fabrications, but I definitely developed alternative design methods with the use of technologies and would like to explore more in the future. Design for me is a continuous path of learning and discover new things, I hope to continue the journey in Air Studio.
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A / CONCEPTUALISATION Design is not just finding a single way to solve problems, it is to explore every possibility to achieve the objective in different situations.
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CONCEPTUALISATION
A.1 / DESIGN FUTURING
BACKGROUND With the anthropocentric mode of human that continues consume limited natural resources, we are facing a defuturing condition of sustainability, which comes along with different unpredictable climate problems (Fry, 2009). In the readings Design Futuring and Speculative Everything, they pointed out that we needed to change and redirect our modes and ways of design to achieve a sustainable future (Dunne & Raby, 2013). Followings are the three main concepts that I would like to discuss and further develop throughout the semester.
IDENTITY PROBLEMS AND LIMITATIONS
DESIGN INTELLIGENCE
Design speculation, mentioned by Dunne and Raby (2013, pp. 1-9), is the idea of exploring possible futures, and highlight limitations in the present that may lead to undesirable future, so that we can limit the problems and slow down the rate of defuturing.
Design Intelligence, introduced by Fry (2009), means to “make crucial judgements about actions that could increase or decrease futuring potential”. Similar to Fry’s view, Dunne and Raby (2013, pp. 33-45) also mention that being critical and skeptical on different assumptions could refine a design in a better way. Instead of having only one design solution, generating alternatives through critical design and allow common objectives to be achievable by different means are probably the best way to come up with a sustainable and desirable design (Fry, 2009). This is also the design aim of my Air Studio; not only finding a single way to solve the issue but to explore all possibilities that can achieve the design objectives.
REDIRECTION Regarding the current design trend, a few main characteristics are identified in the readings. Human-centred, commercialized and marketled design are no longer the best way to reach a desirable future (Fry, 2009). We should establish new systems that can identify the problems of existing way of design, then develop sets of new directions and methods that are appropriate for different situation (Fry, 2009). In Studio Air, it is not about finding a general or universal practice that can solve any design issues; it is about changing our mind-sets and perspectives, then redirect our ways of thinking in order to generate methods that can deal with different situations.
It will be a continuous journey towards sustainability, efforts from the public and time are crucial to promote intelligence design. In order to achieve sustainable future, we would need to brainstorm and analysis all possible alternatives to face different situations.
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SUSTAINABILITY PAVILION DUBAI EXPO 2020 / GRIMSHAW ARCHITECT / 2016
FIG.1 SUSTAINABILITY PAVILION (GRIMSHAW ARCHITECT, 2016)
FIG.2 SUSTAINABILITY PAVILION (GRIMSHAW ARCHITECT, 2016)
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CONCEPTUALISATION
Facing the problem of limited natural resources, there is an urge to explore alternatives that can fulfil the needs of energy and reduce the usage of resources. Sustainability Pavilion, aims to promote ecology, sustainable technologies and design to the global audiences, is one of the three largest pavilion to be erected for Dubai Expo 2020 (Grimshaw, 2017). The pavilion illuminates the ingenuity and possibility of architecture with intelligent strategies for sustainable future living. The overarching structures are able to provide shade, collect fresh water form humid air, and generate energy form the large photovoltaic panels in order to be self-sustaining even in extreme climates (Grimshaw, 2017). This inspires me that design is not only think of ways that solve problems in short term, but also alternatives that help us to meet the design objectives in long term to develop a sustainable future.
Instead of sacrificing the future to sustain the excess of the present, we need to redirect our way of design to reduce the consumption of natural resources. The pavilion is able to minimise resource consumption by using flexible elements. Together with the self-sufficient characteristic of this national project, it leaves a strong social impact on the current and future generations to engage in environmental protection, and inspires the visitors to make use innovation in science and design to achieve sustainability (Stevens, 2017). Last but not least, the pavilion will continue be used as a science Exploratorium, which will constantly contribute ideas towards a desirable future. The architecture itself not only stands as a sustainable design, it also inspires and mobilizes people to engage in public discussion to strive for a better future, which I hope my future works can also be inspirational to positively influence the public on their way of thinking or living.
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WALKING CITY RON HERRON / ARCHIGRAM / 1964
FIG.3 “WALING CITY” DRAWING. (ARCHIGRAM, 1964)
FIG.4 “WALING CITY” DRAWING. (ARCHIGRAM, 1964)
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Design could also be critical that can inspire people to reflect on their current situation. Different form the Sustainable Pavilion, “Walking City� is a conceptual architecture design by British architect Ron Herron in 1964 from Archigram (Wpengine, 2002). The works of Archigram, whose projects were inspired by technology in the 1960s, are source of inspiration for later works of Richard Rogers, Renzo Piano, Future Systems and other architects (Merin, 2013). The nomadic city can move from place to place to find alternative economic and physical conditions. It would search for natural resources whenever their owner needed and once the resources were used up, it would shift to another place (Wpengine, 2002). Design is not just about the outcome but also the message behind it. This project is an example of speculative architecture; it is not a built project and may not be the best solution to cope with
current problems; and it was even preserved as a future ruined world of the consequence of nuclear war. However, it brings out the possible future that one day the natural resources like land and energy will be used up, and we can use it as tools to understand and reflect on the present situations in order to cope with the issues (Dunne & Raby, 2013). It inspires people to concern more about the relationship between nature, urban and people, and what possible futures will the current human-oriented society leads to. Despite the project was thought of a radical and controversial design, we can see it as a catalyst that inspires people to rethink from a different perspective – discuss and generate alternatives, for instance regenerate natural resources or use renewable resources, which can bring us to a sustainable and desirable future.
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A.2 / DESIGN COMPUTATION CREMATORIUM OF KAKAMIGAHARA JAPAN / TOYO ITO / 2006
FIG.5 FRONT VIEW OF CREMATORIUM OF KAKAMIGAHARA. (TOYO ITO, 2006)
FIG.6 ROOF OF CREMATORIUM OF KAKAMIGAHARA. (TOYO ITO, 2006)
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FIG.7 DISPLAY OF STRUCTURAL FEEDBACK ON THE PANEL SYSTEM UNDER STRETCHING PRESSURE. ( PUGNALE, 2007)
BACKGROUND In this week readings, they mainly describe about the basic theories of computation, as well as how the engagement of computers affects architectural design processes. In general, there are three main benefits brought by computation and will be discussed in the following passage. DEVELOP DESIGN VARIABLES Computation can widen the range of conceivable and achievable geometries, and hence develop alternative design solutions for architects to evaluate. Non-Uniform Rational B-Splines (NURBS), for instance, is a curve representation that can generate smooth and continuous curves, which can be easy modified in parametric modeller by its controlled points (Issa, 2010). Computer’s high level of generative variability can help to achieve actualization of complicated designs and provide different choices for architects to create diverse geometries, applying on various parts of the building like facades, screens, roofs and so on (Oxman & Oxman, 2014). Toyo Ito’s (2016) Crematorium of Kakamigahara is one of the design using parametric modeller to define its form of roof. Once providing a set of boundary conditions, In this case the roof boundary and position of columns, the computer will generate a set of solutions, architects will then only need to evaluate the solutions according to their structural behaviours and choose the best solutions (Pugnale, 2013).
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RESONANT STRING SHELL SICILY / VILLA RENNISI IN MUSICA / 2012
FIG.8 RESONANT STRING SHELL IN 2015. (VILLA PENNISI IN MUSICA, 2015)
FIG.9 SOUND DISTRIBUTION FROM SOURCE IN DIFFERENT DIRECTIONS. (ROSARIO, 2015)
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FIG.10 SOUND RATE ANALYSIS FROM SOURCE (CENTRAL) TO AUDIENCE (RIGHT) AFTER OPTIMISATION. (ROSARIO, 2015)
OPTIMISE DESIGN Architectures can be optimised in terms of its structure and performance. With the use of digital software, like Rhino and Grasshopper, to modify and evaluate complex parametric curves and surfaces, can provide a higher flexibility to optimise the objects using control points and achieve the most desirable form (Issa, 2010). Resonant String Shell at Villa Pennisi in Musica is an example of using digital form finding process to generate a shell that can amplify and project the sound according to a certain directivity (Villapennisi inmusica, 2016). By using digital software to study the distributions and directions of sound rays, and then change the structural and panels’ shapes, a cost effective structure with simple manufacturing is generated. Computation improves the performance of design and can even reduce the time and cost for constructions. ENHANCE COMMUNICATIONS
Collaborative design between architect and engineer can be achieved by establishing a common language through computer software, and hence improves the accuracy and efficiency of the construction. Instead of just begin a design thinker and researcher, with the help of parametric modellers (Grasshopper), scriptable mediated variability and performance simulation software, architects can convey all details of their design accurately to the engineer and builder (Kalay, 2004). Thus, reduce the possibility of having design errors and improve the communication between architects and construction industries.
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A.3 / COMPOSITION AND GENERATION AAMI PARK STADIUM MELBOURNE / ARUP AND COX ARCHITECTS / 2010
FIG.11 OVERVIEW OF AAMI PARK STADIUM. (ARUP, 2015)
FIG.12 GSA MODEL OF AAMI PARK STADIUM SHOWING THE WIREFRAME OF COMPLEX GEOMETRY. (OASYS, 2016)
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FIG.13 RENDERING OF AAMI PARK STADIUM. (COX ARCHITECTS, 2009)
BACKGROUND This week readings mainly cover about how generative design approaches, including algorithmic thinking, parametric modelling and scripting, impacts on the design processes of architectural projects. This approach mainly focuses on the process of design, where different solution candidates are explored and pruned before deciding the final solution. Benefits and potential issues of generation will be discussed in the following. PREDICTION AND SIMULATION Using of 3D modelling and computer technology, building performance, material, tectonics and parameters of production machinery can be simulated and predicted before the construction of the building (Peters, 2013). With the performance feedback generated at different stages in the design process, it helps people to analyze various design options and create a more responsive design. AAMI Park, the Melbourne Rectangular Stadium, used Generative Component (GC) to test alternative geometric configurations of the roof structure and preset the final geometry for fabrication and construction (Arup, 2015). Not only the structural performance and form of the building, the experience within the building such as circulation, natural light and ventilation are also predicted and analyzed by computer. These facilitates people to generate comprehensive designs based on every factors and possibilities that may affect the outcome.
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SMITHSONIAN INSTITUTION WASHINGTON DC / FOSTER + PARTNERS / 2007
FIG.14 INTERIOR OF SMITHSONIAN INSTITUTION. (FOSTER + PARTNERS, 2007)
FIG.15 GEOMETRY OF THE ROOF, SMITHSONIAN INSTITUTION. (FOSTER + PARTNERS, 2007)
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CONCEPTUALISATION
FIG.16 GEOMETRY SKETCH OF ROOF STRUCTURE, SMITHSONIAN INSTITUTION. (PETERS, 2007)
ACCURACY AND EFFICIENCY To construct complex architectural projects, high accuracy of models are required to simulate the building and communicate with people like engineers and clients. Scripting is one of the approaches that engineers or architects will create their own design software and integrate into the actual design processes (Peters, 2013). This approach can allow precise control over the parametric design of the building. Smithsonian Institution in Washington by Foster + Partners develops a script that can generate the entire roof geometry and evaluate the performance (Peters, 2004). The computer-generated model can give accurate control towards the roof system and efficiently generate thousands of different options through scripting (Peters, 2013). This shorten the design generation and analysis cycle and reduce the possibility of errors during design at the same time. HUMAN INVOLVEMENT IN DESIGN PROCESS Despite all the convenience and advantages of using generation as a design approach, there is possibility that it may obscure and divert from the real design objectives and create an isolated outcome (Brady, 2013). There is no doubt that algorithmic thinking is an effective procedure by assigning tasks for computer to do (Wilson & Keil, 1999). Yet due to lack of human involvement in the generative process, even though it can come up with a unique composition, it may lost the initial idea and concept behind the form. Thus, I think computation should be integrated as a supportive tool to extend our ability in the design process, rather than using it obsessively to create something based on the appearance.
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A.4 / CONCLUSION
FIG.17 BANQ RESTAURANT BY OFFICE DA (HORNER, 2008)
FIG.18 GREEN VOID BY LAVA (LAVA, 2008)
DESIGN APPROACH
DESIGN METHODS
From the lectures, readings and case studies, there are a few concepts would like to apply on my future design works.
After the study of various cases, I am quite interested on the sectioning and geometry. In the example of sectioning, Banq Restaurant by Office dA, the layers of plywood with contouring create the smooth topography from the ceiling to the walls and columns. With the imitation of natural landscapes, all the structural elements extrude from 2D panels to 3D structures and act together as a whole. The uses of materials can be reduced due to the spanning of each panels and create different experiences from front to side views.
SUSTAINABLE - to develop design that focus on the relationship between human, urban and natural environment instead of being humanoriented. The design should be sustainable in long term and minimize the impacts to the natural environment. GENERATIVE – to be generative with the help of computation but not using it obsessively. Explore every possibilities and develop alternatives that can achieve the objectives. CRITICAL – to be critical and sceptical on different assumptions that could refine the design in a better way. Identify the issues of each design candidates, think of solutions to minimise the problems and generate a comprehensive design.
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CONCEPTUALISATION
For the example of geometry, Green Void by LAVA, it applies the concept of minimal surface to create the organic form that stretches between wall, ceiling and floor. With the use of digital design and manufacturing, it creates a lightweight structure with repetition of geometries that can be fabricated in short period of time. With the use of computation, I believe I can learn from these techniques and apply on my future works.
A.5 / LEARNING OUTCOMES
FIG.19 RHINO RENDERING OF SLEEPING POD’S FRAME (CHENG, 2016)
FIG.20 PHYSICAL MODEL OF THE SLEEPING POD (CHENG, 2016)
DESIGN PROJECT: SLEEPING POD / 2016 Beside all the new concepts we explored in the lectures and readings, the introduction of Grasshopper also help me to better simulate an idea without the need of fabricating the physical model. In my Digital Design and Fabrication project, even though there is a lot of ideas in mind, but only using Rhino3D and Panelling tools are not enough to model the ideas accurately. I believe using commands like “BiArc” in Grasshopper to create and adjust the frameworks of the sleeping pod; and using “Loft” to simulate the skin of the sleeping pod can improve the efficiency by testing different form of the pods in a short time.
On the other hand, with the use of Grasshopper, it can increase the accuracy of the dimension of each components of the sleeping pod. Due to lack of experience of using digital software to generate a form, we used to have dimension error when we transform the model from virtual to physical model. Using software to adjust the shapes but not by hand can create a more precise model. In the following projects, I hope to make use of computation to strengthen my design ideas so that I can better communicate my thinking to others visually.
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A.6 / APPENDIX - ALGORITHMIC SKETCHES
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CONCEPTUALISATION
These two examples are generated from week 1 and 2 tutorial respectively. The left one was done during week 1, using three curves with different height then distribute spheres along Z-axis. After adjusting the size of spheres, density of spheres in U and V directions, the final form is generated. The bottom one created in week 2 uses “Radians” to convert an angle specified in degree to radians, then rotate the object and extend it along Z-axis. Together with the use of “Pipe” to create radial needles on one side of the loft surface. This form is inspired by my previous project – the sleeping pod that use straws as the skin. The growth of the object with twisting give a sense of dynamic movement, which I found it really interesting.
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REFERENCE Arup. (2015). AAMI Park Stadium. Retrieved from http://www.arup.com/projects/aami_park_stadium_ melbourne Dunne, A., & Raby, F. (2013). Speculative Everything: Design Fiction, and Social Dreaming. MIT Press. Fry, T. (2008). Design Futuring: Sustainability, Ethics and New Practice. Oxford: Berg. Grimshaw. (2017). Dubai Expo 2020 Sustainability Pavilion. Retrieved from https://grimshaw.global/ projects/dubai-expo-2020-sustainability-pavilion/ Issa, R. (2010). Essential Mathematics for Computational Design (2nd ed.). Robert McNeel and Associates. Kalay, Y. E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press. Lynch, P. (2016). Grimshaw to Design Sustainability Pavilion at Expo 2020 Dubai. Retrieved from http:// www.archdaily.com/794961/grimshaw-to-design-sustainability-pavilion-at-expo-2020-dubai Merin, G. (2013). AD Classics: The Plug-In City / Peter Cook, Archigram. Retrieved from http://www. archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram Oxman, R. & Oxman, R. (2014). Theories of the Digital in Architecture. London, New York: Routledge, 1–10 Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. Architectural Design, 83(2), 08-15. Peters, B. (2007). Smithsonian Institution. Retrieved from http://www.bradypeters.com/smithsonian.html Pugnale, A. (2013). Computational Morphogenesis with Karamba/Galapagos – Test on the Crematorium of Kakamigahara – Meiso No Mori – Toyo Ito. Retrieved from http://www.albertopugnale.com/2013/03/25/ computational-morphogenesis-with-karambagalapagos-test-on-the-crematorium-of-kakamigaharameiso-no-mori-toyo-ito/ Stevens, P. (2017). Expo 2020 Dubai: Grimshaw Details Plans for Sustainability Pavilion. Retrieved from http:// www.designboom.com/architecture/expo-2020-dubai-grimshaw-sustainability-pavilion-01-19-2017/ Villapennisi Inmusica. (2016). Resonant String Shell. Retrieved from http://www.vpmusica.com/en/ Wpengine. (2002). Walking City, from Archigram. Retrieved from https://www.seasteading.org/2011/03/ walking-city-archigram/
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