STUDIO AIR: PART A CONCEPTUALISATION

AIR

JOURNAL A NURUL SYAHIRAH MUHAMAD STUDIO 10 ISABELLE JOOSTE 2018

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TABLE OF CONTENT INTRODUCTION

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PART A: CONCEPTUALISATION A.1 DESIGN FUTURING

CASE STUDY 1

CASE STUDY 2

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A.2 DESIGN COMPUTATION

CASE STUDY 3

CASE STUDY 4

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A.3 COMPOSITION/GENERATION

CASE STUDY 5

CASE STUDY 6

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A.4 CONCLUSION

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A.5 LEARNING OUTCOMES

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A.6 APPENDIX

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REFERENCES

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INTRODUCTION

My name is Nurul, and I am studying Architecture within the Bachelor of Environments at the University of Melbourne

Tools in Rhino to build a panel and fold material system.

During the process, I learn about the possibilities of using parametric software and knowing the relationships between digital realm and physical world.

Studio Air will be my first attempt in scripting algorithm using Grasshopper. I am excited to learn more about leading architectural practice and explore the vast potential of digital architectural design.

I started to have interest in architecture after I began to draw imagined places as described from reading children fictional books. Visualising the spaces through hand drawing and sketching teaches me to research further in order to understand the context of what am I creating. As I grow up, the technology is advancing forward and I have come to see the importance of digital design as a communication tool.

My exposure to digital theory and tools started in my first year in Designing Environment because I have a pure science and social science background. I gain more understanding of Rhinoceros and digital theory through my learning experience in Digital Design and Fabrication.

The project involved developing a speculative barrier as to establish personal space of one’s body. We used Paneling

In my opinion, architecture is a representation of the present knowledge and reflects the important values embedded in the society. Therefore, to understand the architecture, I need to read it from humanistic and technological perspective.

As I learn from other designs, it is my desire to build my skills and comprehension on digital design. With this, I can further explore the integration between natural and built environment.

a. The light cocoon, final prototype for digital design and fabrication. b. Internal pattern of the cocoon. c. The back view, the prototpe was produced through panlling tools in Rhino.

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CONCEPTUALISATION

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A.1 DESIGN FUTURING The world and all in it always changing. The seasonal response of flora and fauna is one example of how nature changes to accommodate their needs. Similarly with human being as they are progressively developing new technologies to solve any emerging issues. Human has the ability design, that is to imagine before taking an action.1 The act of design empower human to explore possibilities and reflect on subjective concepts.

Referring to the scale of issues at hand, designers are required to synthesis diverse demands to construct more informed design product. Therefore, interdisciplinary collaborations are needed to design a more preferable future.2 This can be done using contemporary technologies to compute an extensive design solutions and responsive to the design context.

In addition, a good design should be speculative and incite discussion so that people can understand the present more while thinking for a better future. Design is a form of critique, a tool to think and design is a process, never a destination. Hence, design methods embodied with ethical and sustainability will change how the future operates.

We design our future to be better than present. The design decision made will have impact on multiple field ranging from the physical ecosystem to the intangible social and economic world. In late 20th century, sustainability started to become a global issue as the world natural resources decreases, faster rate of climate change, excessive industrialisation and growing population. Thus, designers need to collaborate with multiple disciplines to develop a design process that can stir the journey to a more positive future.

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CASE STUDY 1 NATIONAL AQUATICS CENTRE, BEIJING PTW Architects, CSCEC, CCDI, and Arup The National Aquatics Centre also known as Water Cube was the aquatic venue of Olympic Games 2008 in Beijing.

The centre is visually complex with natural geometry of soap bubbles. The building faรงade is made from ETFE, passively heating the interior and maximising natural light, thus reducing energy consumption. Meanwhile, the building framework is computer generated design based on WeairePhelan structure, a minimal surface system which influence the structural integrity of the building and able to resist load failure in case of fire.3 The designers developed their own algorithm to generate the entire geometry of irregular size and shape that appears arbitrarily positioned and organic. The design outcome was able to create a comfortable environment to the user. So, as Olympic games building usually being neglected and underused after the event, people were debating over the possibilities of repurposing the Water Cube.

Therefore, two years after the event, Water Cube was upgraded to be a water-theme park which include comprehensive utilities for public to use. And recently, the Water Cube will be renovated to be an ice rink for Winter Olympic in 2022.4 The repurposing a building by changing its function illustrates the idea of sustain-ability of an architecture and also benefits the society that live in the surrounding area.

a. The Water Cube seen from outside b. The condition of Water Cube during the Olympic games c. Transformed to be one of the largest water park d. An architectural model of ice rink for the upcoming Winter Olympic

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CASE STUDY 2 ROCK PRINT GRAMAZIO KOHLER AND SKYLAR TIBBITS Rock Print is an installation at the Chicago Architecture Biennial in 2015. It is a stack of stone piled up on top one another with string in between it. The string was laid by a robotic arm while the stone and formwork were put by people. After the formwork was removed, the unbounded stone were scrap of from the structure, to revealed a form underneath. The process of laying down the string and stone is similar to 3D powder printing method. The designer explained that the structure strength is reliant on ‘jamming phenomenon’, resulting from crammed stones and string’s binding tension.5 The structure is a sustainable construction because it can be deconstruct and reassemble again when needed, just like a dry masonry construction. The use of simple material also makes the construction economical to be done, whenever the robotic technology is easily accessible by the designers. In this installation, the movement of the robotic arm is predetermined by algorithmic pattern, thus allow a uniformity of putting the string to get a structurally sound form ad avoid human error. Therefore, Rock Print illustrated the possibility of reducing construction waste and achieve sustainability by being a reusable and recyclable structure.

a. The Rock Print during the exhibition. b. The production process of laying down the string. c. The formwork c. Dconstruction process after exhibition.

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A.2 DESIGN COMPUTATION Design process in architecture evolves from a craftmanship to analog drawings and to digital computing. Computation is the act of processing information with physics as the reference by using digital technology. Computing has change architectural design process from abstract or visual ideation to a more comprehensive construction design through collaborative approach. The language used in computing democratise the role of design and make the practice more competative.7 Thus, diverse solutions are available and make digital architecture more accessible by the masses. A range of aspects in design can be improved, focusing to the materiality, production process and building performance.

Furthermore, there are talks that architecture will be an automated process, thus require minimal human intervention. This cannot be true because the computer is only a tool for designers to communicate better. Computing also might cause designers to become more technology dependent and has less physical contact with the material until the prototyping stage. Therefore, design computation should complement either by additive method or formative method using machines such as laser cutter, CNC machines and 3D printing.8 Recently, virtual reality and holograms are more advance tools that allow designers to visually analyse their designs. Nevertheless, designers should be aware of real world restrictions such as regulations, changing environment, social and economic interventions, because these factors cannot be simulated in a computer system.

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CASE STUDY 3 ELBPHILHARMONIE, HAMBURG HERZOG & DE MEURON

The Elpholharmonie has a dynamic central auditorium, visually look like a monochromatic coral reef from 10,000 different acoustic panels covering the ceiling and walls.

The interior of the auditorium is intentionally shaped to be organic using parametric tools.10 Therefore, the acoustic designer of the hall use computation to his advantage so that the user of the hall can have the best acoustic experience. Unlike traditional box or circular concert hall, it is difficult to get acoustic propagation and reverberation with non-uniform surfaces. Therefore, the designers needed to develop a system of individual acoustic panels with it’s own unique surface to achieve the functionality of the hall. Initially, the acoustic team collect the data of sound movement in the hall. Then, with the data collected, they compute an algorithm that will determine the optimal sound map based on the hall’s geometry and materiality.11 The seashell surface is used as the base geometry for the surface because the designer want to create a soft sound reverberation.12 After the scripting, the acoustic panels are generated by the computer, resulting in the best selection of pragmatic solution, beautiful to look at and respecting the occupants.

However, the project was built over the estimated time and cost.13 Supposedly the use of computational design technique can fasten the fabrication and assemblage process of the project, but it did not happened in this project. It might be cause by the research done during the design stage and the time taken to develop the algorithm.

Nevertheless, the hall illustrates that computing helps the designer to ease their work in some way, but they need to work hard to create the automated process. Therefore, it is true that while we are progressing forward with computation tools, there are many aspects that need to be improved.

a. The NURB cell geometry with its generation parameters b. Elpholharmonie from the outside c. The main auditorium hall d. Texture surface of the acoustic panels

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CASE STUDY 4 ICD/ITKE RESEARCH PAVILLION 2016-17 ACHIM MENGES Achim Menges research is an impressive effort that aid in assimilation of computation, engineering and biomimicry to design a performative structures. He works together with a multidisciplinary team which allow his team to extract knowledge from nature and synthesize into a physical interpretation. Nature is the best source of concept for designers to design by computation because the automated process run by the computer is based from a logical system, things that definite and objective. Although, the use of nature as inspiration is common in design, technology and computing revolutionise the design process to present a better articulated outcome. Therefore, Menges collection of works are the examples of experimental design that influence the how man create things in the future.

This particular research pavilion is a lightweight long span construction made up from an engineered fibre composite.

The research explores how the leaf miner moths built its own cocoon and the biological process is analysed to create a new type of fibre. They also accessed how the cocoon works structurally. After the data collected, the engineers works on scripting the data into parametric software. Hence, the pavilion is designed to have a continuous filament with little formwork, similar to how the moth does; by using robotic arms and unmanned aerial vehicle (UAV).9 This illustrates the aid of automated construction in materialise complex geometries from computation approach. However, the scale of pavillion is limited to the machine capability, location to fabricate and the transportation size. These limitation will be able to overcome by creating the structure on site or prefabricated in smaller units.

a. Leaf miner moths in its cocoon b. The finished pavilion cantilevered c. Fabrication process done offsite d. Perfomative simulation and analysis e. Close up on the cocoon’s texture f. The principle of biological weaving applied to the pavilion.

This pavillion shows how computational design can benefits from learning nature principles of material and construction method. It is about understanding the natural process and instead of imitating it, designers should design by using the principles. The data incorporated into the algorithm helps the designers to create a performative design and control the parameters. Also, the remote controlled technologies help designers in fabrication process and achieve high quality result. a 18

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A.3 COMPOSITION / GENERATION Architecture has always been designed from a composition approach. The architect might start composing the spatial sequence through the plan and sectional drawings. In history the composition of a building are influenced by some guiding line such as axis, grids or the building program and intentional design. The analog process of composition will later inform the overall feature of the building. This method is a top down composition method as the final form of building are governed by rules.

With computation, architects have more freedom in designing a form. The transition from composition to generative approach is able to be done using parametric software in response to complex and dynamic contexts.

Designers can explore more designs and be experimental, producing unintended forms.14 The organisation of internal parametric architecture is defined by the overall form created. To say parametric is a random process is true in the latter process. Designers are the one that set up the algorithm; a set of rules that are unambiguous and simple to follow.15 Only after the generation of the scripts, designers allow the computers to process the input data, producing something that difficult to make by human hand.

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CASE STUDY 5 THE BIONIC PARTITION AIRBUS EMERGING TECHNOLOGiES AND CONCEPTS Generative design is a technology mimicing nature method in generating form through evolution. This Airbus research team designed a partition in the aeroplane that need to be lighter than current partition. The team use cloud computing and generative design software to quickly construct more than 10,000 design choices, and they select the best to test the configuration and learn what works and what does not works. They 3D printed the components and assemble them together. This process allow the designers to make a form that human could not create.

The team learn the principles behind the growth of slime mold and mammal bones.16 Then, they create an algorithm based on the data they collect. The slime mold algorithm gives result of a lattice structure that is optimised to use the least amount of material. While the mammal bones algorithm is used to find the grid structural pattern that stand high stress and weight less. Therefore, the team are able to create a stronger, thinner and lighter partition that improve the efficiency of an aeroplane.17 This also compliment the sustainability idea in design futuring because with this design, the Airbus can save more travelling fuel and use less material to build the aeroplane. This partition project for Airbus shows that generative design is the new way of engineering and construction.

a. The biological principles are used as the algorithm b. Partition prototype c. 3D printing the components d. Comparision of performance of old and new partitions e. Partition optimization using generative design.

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CASE STUDY 6 CARAPACE MASKS MHOX DESIGN Carapace is a section of exoskeleton or shells of animals such as crustaceans and arthropods. The carapace is used by animals to protect their body from external harm.

The shape of carapace is different to each species and the texture of voids on the surface of carapace gives the shell’s stiffness and transpiration capability. MHOX Design create a generative strategy to control the morphology design of a carapace for their masks products. The studio concept for Carapace masks is to blur the limit between natural and artificial human body part.

They research on the factors that generates the animal carapace and write in algorithm into a generative simulation.

Then, the generative simulation bio-digitally grow a predefined shape of mask. The mask shape is formed using 3D scanning, hence allowing the mask to fit neatly onto the user. The mask grow according to the mask area allowing the computer to identify the carapace structure, stiffness and permiability.18 The result of the generation process allow thousands creation of carapace masks that respond to the input data from the face scanning and design intention.

a. Part of ‘A Glossary of Surface Sculpturing’ by Rick Harris showing microscopic carapace surface. b. The carapace mask fitted to the wearer head c. The experiment to find the texture d. Software that grow carapase mask digitally

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A.4 CONCLUSION In summary, computational design is a respond to technological advancement and notion of sustainability and speculative design. The ability of designers to integrate and collaborate with other people from other sector has open up various possible solutions to reoccurring issues at any area of the society. Computation has developed to a level where designers have more control on their designs while having more freedom in the design process. The connectivity of research, design stage, optimisation and fabrication has change how thing are made now and the future. Generative approach in designing also aid designers in experimenting and grow and curate their designs instead of designing.

Designing is ever more complex now and exploration to the unprecedented solutions is significant in creating a better world to live in. The innovations done by these researchers and designers will shape the technologies used in the future. From simple daily technology to mass manufacturing machines, computation has already be one of the important part in changing how people live, work and play. Democratisation of design enable a person with zero computational background to design things that will help them in anyway, anywhere in the world.

Therefore, computational technology is the way forward, by revolutionising design thinking and skills using contemporary tools.

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A.5 LEARNING OUTCOMES i Throughout three weeks of Studio Air, I have more understanding on contemporary design theory and design development. Although I know the design world already use digital tolls to create products but I never know how it works.

Thus, learning about design futuring, computation and generative design is only a part of a whole paradigm in the digital technology. This understanding gives me the ability to plan for my design technique for the next part of Studio Air; developing a techtonic system using computational methods and produce experimental prototypes.

I also able to develop basic grasshopper skills and understanding the how data is being transferred in an algorithm. However, currently I still trying to figure out either my understanding on grasshopper is right or not.

I will learn more as I am progressing little by little. If I am given a chance to improve my past project, I will use grasshopper instead of paneling tools to design the project.

This is because it is easier to manipulate the parameter in grasshopper rather than doing it from scratch again in paneling tools. It saves more time using grasshopper software.

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A.6 APPENDIX

Trying the triangulation components on a sphere and cylinder. Notice that some component remain sphere.

I did try to use metaball on curve surface but it can’t. Maybe works on flat surface and refer the geometry to the curved surface?

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Weird shapes emerged. The final iteration looks like a mutant fish.

Triangulation on a chair made from a surface

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Now triangulation on a closed surface. Just to see if there is any difference.

The shape is not shrinking enough, looks like a huge dried apricot rather than a chair.

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Section actually does not work using grasshopper.

I give up and just use planar surface instead. And, There is one line that is not continuous? Might be a mistake from lofting? somewhere?

I manage to follow do the Sectioning vertically, [0208 AA Driftwood]

Making a tube/pipe

Quite straight forward. I supposed to triangulate the surface.

Finally a table. I just trim of the unwanted part.

Did not know if there is any component in grasshopper that can help.

I remember seeing someone do something like this in DDF last year.

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I am trying to make a table out of this shape, but this is what happened.

REFERENCES 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 2

11. Nushmia Khan, Quartz Media, An algorithm designed a Hamburg concert hall’s interior, creating the “ideal acoustic experience”, <https://qz.com/894929/an-algorithm-designeda-hamburg-concert-halls-interior-creating-the-ideal-acousticexperience/ > [14 March 2018]

2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 4-6

3. Tristram Carfrae, ‘ArchitectureAU’ Engineering the water cube <https://architectureau.com/articles/practice-23/> [11 March 2018]

4. Han Bingchen, ‘People’s Daily’ Beijing to set new example for sustainable Olympics (2 March 2018)<http:// en.people.cn/n3/2018/0302/c90000-9432174.html> [11 March 2018]

5. Rory Stott, ‘ArchDaily’, Gramazio Kohler and Skylar Tibbits’ “Rock Print” Is a Gravity-Defying Pile of Stones (15 October 2015) <https://www.archdaily.com/775343/ gramazio-kohler-and-skylar-tibbets-rock-print-pushes-thelimits-of-stone-structures-at-chicago-architecture-biennial> [15 March 2018]

6. Gramazio Kohler, ‘Research’ Rock Print http:// gramaziokohler.arch.ethz.ch/web/e/forschung/297.html> [15 March 2018]

7. Kalay, Yehuda E. (2004). Architecture’s New Media:Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 7-10

12. Nagata Acoustics, Facts Sheet Elbphilharmonie, <http:// www.nagata.co.jp/e_sakuhin/concert_halls.html> [14 March 2018] 13. Wikipedia, Elbphilharmonie, <https://en.wikipedia.org/ wiki/Elbphilharmonie> [14 March 2018 14. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 15. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11 16. Jeff Kowalsku, ‘Redshift Autodesk’, It’s Alive! How Generative Design Marries Nature With Technology to Bring Objects to Life (February 2015) <https://www.autodesk. com/redshift/how-generative-design-marries-nature-withtechnology-to-bring-objects-to-life/> [15 March 2018] 17. Autodesk, Generative Design at Airbus: Reimagining the Future of Air Travel <https://www.autodesk.com/customerstories/airbus> [15 March 2018] 18. MOHX, Research: Carapace <http://mhoxdesign.com/ carapace-en.html> [15 March 2018]

8. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62 9. Archimmenges, ICD/ITKE Research Pavilion 2016-17, <http://www.achimmenges.net/?p=19995> [12 March 2018] 10. Osman Bari, ArchDaily, The Parametric Process Behind the Hamburg Elbphilharmonie’s Auditorium (February 2017) <https://www.archdaily.com/805567/the-parametric-processbehind-the-hamburg-elbphilharmonies-auditorium> [12 march 2018]

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