Steve Keogh Journal 1 by Steve

Design Studio: Steve Keogh 338541 Tutor: Bradley Elias

AIR

Contents Student Introduction 4-5 A1 Design Futuring - BIQ House 6-7 - Dome Over Manhattan

8-9

A2 Design Computation - National Bank of Kuwait

10-11

- Museo Soumaya 12-13 A3 Composition Generation - Spanish Pavilion 14-15

- nonLin/Lin Pavilion

16-17

Bibliography/Image References

18-19

INTRODUCTION - Steve Keogh

Currently at the tail end of an undergraduate architectural degree, it is interesting to reflect upon the winding road of ambiguity that led me to this point. Overwhelmed and desperately uninspired to spring into action following a demanding VCE year, I fell into a Science/Law double degree at Monash University in Clayton. Soon enough, however, I said my goodbyes to the universty life and entered into the workforce hoping to make my way as a landscaper.

Unfortunately the depth of my knowledge regarding digital architecture is quite minimal. Encouraged by tutors to work to my strengths, I delayed the conversion of written design to computer formats longer than would be advised. Nonethless, I am now quite proficient on both AUTOCAD and SketchUp and though it appears dauting, I am looking forward to broadening my skill set through the navigation and utilisation both Rhinoceros 5.0 and Grasshopper.

In the ensuing years I developed a passion for creation out of blood, sweat and tears. There is something intrinsically rewarding about looking back over your work at the end of a hard days toil and admiring your labours. Yet, after 6 long years working on both domestic and commercial projects, I finally hearkened once more to the call of university life. Wishing to expand upon my prior knowledge and experience, the logical course for me was within the Department of Design, Building and Planning. Indeed, my path up until now has been anything but clear cut, twisted and led astray by the musings of youth.

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A1. Design Futuring

BIQ House

Arup 2013 ‘It is hard to say what today’s dreams are; it seems they have been downgraded to hopes – hope that we will not allow ourselves to become extinct.’1 Evidently, a disheartened sentiment pervades the writings of Dunne and Raby, deflated by the stark reality of a world undone by the fires of industry. Nonetheless, they believe that the gateway to redemption lies with the reemergence of societal dreaming, unbound and uninhibited from the shackles of modern consumerism. The liberation of the mind will ‘provide platforms for further collaborative speculation’ and critical discourse. 2 All that is needed is a spark, and the revolutionary design and implementation of the BIQ house may provide just that. Composed of an integrated network of adjoining panels, the BIQ house is pioneering the use of biomass as an alternate energy source. Algal populations are synthesised and distributed within a closed loop façade system that captures heat as a photosynthetic byproduct when exposed to sunlight. Generated heat can be used for internal temperature regulation, stored for future consumption, or distributed to the external grid network servicing the municipality. Algal communities also contribute to reduced solar heat gain during the summer months resulting in reduced energy consumption and can be harvested to extract vital nutrients required within the pharmaceutical industry. 3 Whilst only a fledgling technology, the potential is enormous as ‘design speculations can act as a catalyst for collectively redefining our relationship to reality.’4 Visitors admire the stunning morphological union of two seemingly divergent personalities and begin to reshape their own attitudinal values towards intrinsic design initiatives across a variety of scales. In this way, design speculation serves as the medium for critical discussion and collaborative discourse. Additionally, Fry asks us to consider the notion of ‘redirection,’ as a pertinent way of shifting momentum rather than precluding it altogether. 5 The BIQ house does not attempt to condemn the use of fossil fuels nor does it address the problem of irresolute consumer patterns, but rather provides a convincing and futuristic alternative path to conventional energy derivation.6

1) Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press,2013), 1. 2) Dunne and Raby, Speculative Everything, 6. 3) Jan Wurm and Martin Pauli, “SolarLeaf: The world’s first bioreactive facade.” Architectural Research Quarterly 20, 01 (2016): 73-79. 4) Dunne and Raby, Speculative Everything, 2. 5) Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 10. 6) Fry, “Design Futuring,” 1-16.

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Figure 1.1: BIQ House biomass facade

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A1. Design Futuring

Dome Over Manhattan

Richard Buckminster Fuller

1960 In his article ‘Design Futuring: Sustainability, Ethics and New Practice,’ Fry contends that anthropogenic influence, facilitated by impetuous design and conceited ego, has disfigured the global environment so profoundly that the persistence of humanity can longer be assured.7 He is vexed by the misdirection and trivialisation of contemporary design practice, and challenges the antediluvian ideology embedded within current, fashionable design conception and maturation. Unfortunately, however, the systematic regulation of today’s economy ensures that ‘whole continents of social imagination’ are ‘swallowed up’ by the ruinous arm of neoliberal capitalism. 8 As such, Fry’s thoughts are echoed in the sentiments of Dunne and Raby, whom would also seek to preclude this damning influence of capitalism through ‘speculative design,’ a notion of conceptualisation that ‘thrives on imagination.’9

Figure 1.3: The geographical distribution of the proposed dome

On face value, Fuller’s proposal of a geodesic dome over Manhattan would appear to align with the bold, whimsical teachings of Dunne and Raby, yet diverges abruptly from the urban ideology preached by Fry. Fuller believed that the integration of a self-regulated environment beneath the dome would significantly reduce energy consumption associated with seasonal temperature fluctuations within individual dwellings.10 Yet, Fry urges us to consider the concept of ‘design intelligence,’ an astute notion regarding the ‘exploration of how things come into being and act beyond their mere function as material or immaterial objects;’ a concept which appears unforgivingly absent from the crux of Fuller’s plan.11 Issues pertaining to solar reflectance and absorption, maintenance schemes, ingress and egress, societal segregation and vilification, as well as the topographical positioning are simply not revealed.12 Thus, herein lies a great paradox between the two articles; on the one hand we must entertain the notion of unbound, creative dreaming, and on the other, we must balance this creative license with scholarly collaboration, verification and judicious thought. Nonetheless, Fuller must be commended for his ability to transcend the ‘layer of designer gloss’ that often pervades and indeed corrupts an artist’s imagination, guiding it down a misguided and often linear path of flawed architectural conception.13 Whilst his idea was never realised, it did inspire meaningful contemplation, innovation and heightened environmental awareness.14

Figure 1.2: Fuller’s Dome encapsulating a portion of Manhattan

7) Fry, “Design Futuring,” 1. 8) Dunne and Raby, Speculative Everything, 8. 9) Dunne and Raby, Speculative Everything, 2.

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10) Laura Kurgan, “Threat Domes,” ANY: Architecture New York 17, 20 (1997): 31-34. 11) Fry, “Design Futuring,” 12. 12) Kurgan, “Threat Domes,” 31-34. 13) Dunne and Raby, Speculative Everything, 8. 14) Kurgan, “Threat Domes,” 31-34.

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Figure 2.1: Bird’s eye view of the fins adorning the building’s sides

A2. Design Computation

National Bank of Kuwait

Foster + Partners

2013 Parametric modelling is an innovative field of design fabrication that incorporates specific design parameters to facilitate enhanced geometric exploration. The manipulation of these variables permits the efficient generation of numerous iterations within specific, predefined boundaries.15 For example, driven by unique, locally defined climatic conditions, the National Bank of Kuwait engages parametric modelling software to derive numerous prototypical variants in response to explicit design intent. The shape, orientation and dimensions of east orientated shading fins was fast tracked through the computation of numerous archetypical derivations, not feasible with traditional software. Performative analysis of each variant determined the most appropriate compositional morphology to counteract environmental factors pertaining to solar radiation, prevailing wind conditions and acoustic performance.16

Figure 2.2: The parametrically created fins

Parametric modeling has also ‘renewed the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm.’17 Form is no longer dictated by standardised parts or manufacturer’s specifications, as the architectural conception and articulation of material geometry has permitted absolute governance over the morphological composition of a building. In the aforementioned precedent, the conceptualisation of specialised longitudinal fins ensures that authoritative jurisdiction has once again returned to Vitruvian origins. The mitigation of external influences ensures that the prerogative of design now lies with the architect alone.18 There are, however, those who question the capacity of parametric instruments to align with the ‘poetics of construction’ within a capitalist regime.19 Unchartered technology coupled with great expense usually leads to orthodox form. Indeed, ‘CAD might conspire against creative thought’ as impulse and flair are bound by the aptitude of the handler to comprehend and exploit design software, not to mention the inherent limitations of the software itself. 20 Elias also alludes to the stylistic inhibitions of the Building Code of Australia and observes the marginalisation of small scale university projects as the forerunners of this cutting edge technology. 21

15) Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014) 1–10. 16) Dusanka Popovska, “Integrational Comuptational Design: National Bank of Kuwait Headquarters,” Architectural Design 83, 2 (2013): 34-35. 17) Oxman and Oxman, Theories of the Digital, 5. 18) Oxman and Oxman, Theories of the Digital, 1-10. 19) Oxman and Oxman, Theories of the Digital, 6. 20) Bryan Lawson, (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179 21) Bradley Elias, in conversation with Semester 2 Studio Air Class, Melbourne University, August 9, 2016.

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A2. Design Computation

Museo Soumaya

Fernando Romero and Armando Ramos

2011

Foresight is an essential component necessary to facilitating design, and without it the process of affecting change will be considered a slapdash mockery of trivial intent and flawed temporality. It is essential that design be a consideration of systematic thought based on empirical data analysis and reference to past enterprise for guidance. In this way, design teams can pursue meaningful solutions based on merit and virtue ‘rather than waste their time searching for unsuccessful ones.’22 Conversely however, a case study into the Museo Soumaya would appear to contradict this logic in its entirety. Indeed, Romero and Ramos contend that ‘one of the challenges was how to realise this ambitious project without precedent or local expertise.’23 The structural matrix separating the building’s external façade from the internal environment is composed of ‘not a single repeating strut,’ and as such, the design team could not rely upon past innovation. 24 Strangely, however, the cladding element of the building’s façade was preordained and remained an inexorable factor to be contended with through reverse engineering. The prescribed hexagonal units had to be geometrically manipulated in order to maintain harmonious spacing’s between repeating units and was only achieved through the parametric assignment of family groups. Yet the key to the future lies buried in the past and it would appear a very brash, even conceited statement to stand alone in world spiraling swiftly into the abyss. 25

Collaboration, however has been attributed to the success of the now acclaimed Museo Soumaya, which insofar, appears to be a recurring thread throughout all of the prescribed literature. The rising complexity of parametric modelling techniques compared with traditional two-dimensional software programs demands relentless communication from the outset. Indeed, collaborative discourse together with the analysis of past projects straddling similar design problems has been hailed as the future of ‘solution synthesis’ and the use of computers has fast tracked this process through quicker response times and reduced critical error. 26 As such, even though this project did not engage with historical anecdotal evidence per se, Kalay would see it prescribed as the harbinger for future parametric endeavor. 27

Figure 2.3: The complex hexagonal geometry adorning the building’s facade was created using computational design techniques

22) Yehuda Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)5-25. 23) Fernando Romero and Armando Ramos, “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design 83, 2 (2013): 66-69. 24) Romero and Ramos, “Bridging a Culture,” 67. 25) Romero and Ramos, “Bridging a Culture,” 66-69. 26) Kalay, “Architecture’s New Media,” 10. 27) Kalay, “Architecture’s New Media,” 5-25.

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Figure 3.2: The interior facade of the Spanish Pavilion

A3. Composition/Generation

Spanish Pavilion

Enric Miralles and Benedetta Tagliabue

2010

Peters argues that ‘computation also has the potential to provide inspiration and go beyond the intellect of the designer,’ mediated by ‘the generation of unexpected results.’28 It is within these unimagined derivations that new possibilities may be explored and utilised to promote more efficient and effective avenues of design. Indeed, the proficiency of computational software was not lost on the designers of the Spanish Pavilion in Shanghai, China. The axial division of complex geometry through Rhino simplified the process of steel fabrication; a feedback loop enabled efficient revision of geometrical properties to devise components that best ‘exploits the potential structural advantages of its form;’ and a single, dynamic geometric model enabled universal understanding of the building’s systematics for all design teams. 29 The furtherance of this last point may indeed become a moot point of future architectural design as computational models remain pertinent in the occupational phase of construction, relaying integral information that can be utilised in future modelling ventures. Computation also ‘lets architects predict, model and simulate the encounter between architecture and the public,’ the benefits of which pertain to a universally harmonious building of enhanced contextual presence within the environment. 30 More importantly, the progressive nature of the digital realm will permit the synthesis of melodious form, congruent with ‘the creation of meaning,’ a notion that frequently evades modern day architectural form. 31 In this way, a design brief demanding the seamless integration of futuristic design ideology within a culturally enlightening medium became a reality. Initially, the curvaceous form required to encapsulate the design intent proved troublesome to comprehend. Yet computational maneuvering led to the revelation that this geometry, ‘when adequately configured’ would ‘behave in an optimal, structural way.’32 In other words, the envelope would support itself, if designed correctly, thereby negating the need for incoherent and financially problematic ancillary supports. Nonetheless, Peters asserts that the current, unwavering attitude of designers predominantly adheres to the ‘lone gun mentality,’ which diverges from a computational vernacular consistent with collaboration and enhanced conceptual analysis. 33 Nonetheless, as computation is slowly integrated within the design curriculum, we will begin to reap the benefits of enhanced performative deisgn.

Figure 3.1: The intelaced facade was made possible through computational design 28) Brady Peters, “Computation Works: The Building of Algorithmic Thought,” Architectural Design 83, 2 (2013): 10. 29) Julio Martinez Calzon and Carlos Castanon Jimenez, “Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai,” Architectural Design 80, 4 (2010): 52-59. 30) Peters, “Computation Works,” 13. 31) Peters, “Computation Works,” 13. 32) Martinez and Jimenez, “Weaving Architecture,” 55. 33) Peters, “Computation Works,” 15.

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Figure 3.3: The complex geometry of Forne’s work stands testament to the variability within parametric design

A3. Composition/Generation

nonLin/Lin Pavilion

Marc Fornes

2011

Schumacher, contends that computational design is often ‘misunderstood as expressions of artistic or technophilic exuberance,’ oblivious and ill-equipped to deliver real world buildings on a rapidly imploding earth. 34 Whilst not a building per se, the nonLin/Lin Pavilion, acts as ‘a way station along the route from avant-garde speculation to mainstream realisation’ and showcases computation as a very real technology capable of fusing expressive construction techniques within deliverable constraints. 35 Close inspection of Forne’s work exemplifies the capacity of computation to attain a high degree of intricacy through geometric variation whilst remaining both economical and feasible as a built structure.

The algorithmic logic behind this fluid and flowery composition also demonstrates how easy it is to conform with fabrication limitations. More to the point, Schumacher deems parametric computation as the only apparatus capable of walking stride for stride with recent developments within the engineering industry, and thus ensuring that collaborative discourse remains a mainstay in future design schematics. It is for these reasons, that the nonLin/Lin Pavilion should be used as an informative example to help wrench parametricism out from the vice like grip of marginalised design and into the forefront of contemporary building. 36

34) Patrik Schumacher, “Parametricism 2.0: Gearing Up to Impact the Global Built Environment,” Architectural Design 86, 2 (2016): 10. 35) Schumacher, “Parametricism 2.0,” 14. 36) Schumacher, “Parametricism 2.0,” 14-16.

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Bibliography Calzon, Julio, and Jimenez, Carlos. “Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai,” Architectural Design 80, 4 (2010): 52-59. Dunne, Anthony, and Raby, Fiona. Speculative Everything: Design Fiction, and Social Dreaming (MIT Press,2013), 1-9, 33-45. Elias, Bradley. In conversation with Semester 2 Studio Air Class, Melbourne University, August 9, 2016.

Conclusion In sum, it was found that computational modelling has become an influential tool within most contemporary design circles. Architects can now test numerous best fit scenarios through the rapid manipulation of numerous variables, which until recently, would have been considered a timeworn pipedream by most software developers. This efficient method of sifting through countless design parameters ensures that the most beneficial, and economically viable model is selected to be built, which in a time of rapid defuturing, seems a pretty pertinent and influential power to have. Nonetheless, this technology is still a marginalised frontier that has not yet gained momentum within global architectural groups and may, as Schumacher contends, benefit from an innovative marketing campaign aimed at shedding the ambiguity surrounding its contentious avante garde tag. 37 This introductory period has opened my eyes to the unworldy power that now lies at the fingertips of designers from all walks of life to affect change. Be it small, medium or large scale projects, it is now our prerogative to utilise such a gift to redirect our tumultuous conditions and stay the hand of doom knocking so eagerly at the door. Although a little apprehensive at first, I now look forward to working in unison with Grasshopper to explore the relationships between the natural and built environments regarding the Merri Creek initiative kicking off in the not too distant future.

Fry, Tony. Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 1-16. Kalay, Yehuda. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004)5-25. Kurgan, Laura. “Threat Domes,” ANY: Architecture New York 17, 20 (1997): 31-34. Lawson, Bryan. (1999). ‘’Fake’ and ‘Real’ Creativity using Computer Aided Design: Some Lessons from Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity & Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pp. 174-179

Images Cover photo - Zaha Hadid, No Title, n.d. http://www.arch2o.com/10parametric-plugins-every-architect-should-know/ Figure 1.1 - Arup, SolarLeaf - Bioreactor Facade, 2013, computational sketch, http://www.arup.com/projects/solarleaf Figure 1.2 - R. Buckminster Fuller, Save Our Cities’, 1960, http://www.treehugger. com/urban-design/look-bucky-fullers-dome-over-new-york-city.html Figure 1.3 - R. Buckminster Fuller, A Look At Bucky Fuller’s Dome Over New York’, 1960, http:// www.treehugger.com/urban-design/look-bucky-fullers-dome-over-new-york-city.html Figure 2.1 - Foster + Partners, National Bank of Kuwait, 2013, computational model, http://www.fosterandpartners.com/projects/national-bank-of-kuwait/# Figure 2.2 - Foster + Partners, National Bank of Kuwait, 2013, computational model, http://www.fosterandpartners.com/projects/national-bank-of-kuwait/# Figure 2.3 - Esteban Sosa, Museo Soumaya, Mexico City, 2013, photograph, https://500px. com/photo/41383030/museo-soumaya-plaza-carso-by-esteban-sosa Figure 3.1 - Paul Brogna, Spanish Pavilion, 2010, photograph, https://angel.co/ projects/39923-2010-world-expo-spanish-pavilion?src=user_profile

Oxman, Rivka, and Oxman, Robert. Theories of the Digital in Architecture (London; New York: Routledge, 2014) 1–10.

Figure 3.2 - Shen Zhonghai KDE, Spanish Pavilion, 2010, photograph, http://architypereview.com/project/spanish-pavilion/

Peters, Brady. “Computation Works: The Building of Algorithmic Thought,” Architectural Design 83, 2 (2013): 8-15.

Figure 3.3 - Francois Lauginie, nonLin/Lin Pavilion/Marc Fornes, n.d., photograph, http:// www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes/tvm_f-lauginie_014_1280

Popovska, Dusanka. “Integrational Comuptational Design: National Bank of Kuwait Headquarters,” Architectural Design 83, 2 (2013): 34-35. Romero, Fernando, and Ramos, Armando. “Bridging a Culture: The Design of Museo Soumaya,” Architectural Design 83, 2 (2013): 66-69. Schumacher, Patrik. “Parametricism 2.0: Gearing Up to Impact the Global Built Environment,” Architectural Design 86, 2 (2016): 8-17. Wurm, Jan, and Pauli, Martin. “SolarLeaf: The world’s first bioreactive facade.” Architectural Research Quarterly 20, 01 (2016): 73-79.

37) Patrik Schumacher, “Parametricism 2.0: Gearing Up to Impact the Global Built Environment,” Architectural Design 86, 2 (2016): 8-17.

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