STUDIO AIR : JOURNAL A

ABPL30048

AIR Semester 2 2015

JOURNAL: PART A Yuliana Widjaja 657711

TABLE OF CONTENTS

Introduction Part A

Conceptualisation

A.1 A.2 A.3 A.4 A.5 A.6

Design Futuring Design Computation Composition / Generation Conclusion Learning Outcomes Appendix: Algorithmic Sketches

Hello.

Hi I’m Yuliana, a third year architecture student at the University of Melbourne. I was born and grew up in Indonesia and I’ve spent these last 3 years in Melbourne to pursue my passion.

My interest in architecture arose from my keen enthusiasm in crafts and Physics. It developed as my Dad, who works as property developer - once brought me to his work and I enjoyed the multidisciplinary working environments of construction industry. From that point, I realised that Architecture would be the perfect field for me as it combines all my interests into one.

Apart from being a student, I’m an adrenaline junkie and I have ticked skydiving, bungee jumping, and riding extreme roller coasters off my bucket list, yay! This may appear irrelevant to architecture, but it has changed the way I see things. I learned to dare to take any risk, for you will never know untill you try, and in the end you will only regret the chances you did not take.

Well, learning Software tools such as Rhino and Grasshopper is definitely out of my comfort zone. I first started to learn software when I was in first year university. From that time my skills developed progressively as I use them in my previous studios. I learned a lot from Studio Earth and Water, and I am looking forward to taking a more advanced more computerized design approach in Studio Air. I believe that creativity starts when you are not afraid of exploring new things.

Architecture Design Studio: Earth Semester 1 2015 Brief: a place for keeping secrets Software used: Sketch Up, Photoshop

GREAT THINGS NEVER CAME FROM COMFORT ZONE

[A]

CONCEPTUALISATION

Figure A1.1 The City of Dubai http://www.netflights.com/media/189038/dubai_01_681x298.jpg (accessed 10 August 2015)

[A.1] DESIGN FUTURING

Figure A1.2 Interior of Ski Dubai http://www.orbittourism.ae/wp-content/uploads/2015/05/ski3.jpg

Design is shifting towards sustainability since people are aware that we have reached a stage where the amount of resources required to sustain the human population exceeds what is available.1 The above pictures show a Ski Dubai in The United Arab Emirates. This is an example of unsustainable practice since they have wasted huge amount of energy to maintain the ice from melting in the middle of desert temperature. Instead of creating buildings that are “alien” to the surrounding environments, architects should integrate social and the environment when designing The word architect originates from Greek arkhitekton meaning ‘director of works’. Therefore architects play a big role in directing the future as they are - as the Greek definition of architect (arkhitekton) suggests - the ‘chief of buildings’.

The invention of computational approach might be a tool to help architects design buildings that incorporate with surrounding environments and social needs. The following precedents show how architects integrate the surrounding natural environment in their design.

1 Tony Fry, 2008, Design Futuring: Sustainaibility, Ethics, and New Practice (Oxford: Berg): 1.

[1] Endesa Pavilion

Barcelona, 2011 Areti Markopoulou and Rodrigo Rubio

Figure A1.3 The southwest facade of Endesa Pavilion http://www.archdaily.com.br/br/01-74952/pavilhao-endesa-iaac 1 Areti Markopoulou and Rodrigo Rubio, “Smart living Architecture: Solar Prototype�, Constructions: an Experimental Approach to Intensely local Architecture 85, 2 (2015), 129.

Figure A1.4 Endesa Pavilion Southwest elevation http://www.archdaily.com.br/br/01-74952/pavilhao-endesa-iaac

CONTRIBUTION TO THE IDEA

EXPANDING FUTURE POSSIBILITIES

In Design Futuring, users and the environment should be integrated in the design because designers design for them.

The logic of the algorihm is generated from the sun path diagram of the specific site. This means that the same algorithm can be applied to any countries by adapting the parameter of Sun Path data in the specific site.

Endesa Pavilion is a perferct precedent of sustainable design. The form of Endesa Pavilion follows the data of the solar path of their specific sites in Barcelona. As a result, the PV panels attached can generate doubled the energy required in the building. This is indeed what design future is looking for, as the resources generated outweigh the human needs.1

The form clearly indicates how the logic works. As Barcelona is located in the northern hemisphere, thus the south side is more likely to get direct sunlight.

For this reason, the southwest side of the pavilion has the most PV panels, to maximise the energy generated.

“Parametrically designed, it reacts to the data of its specific solar site, and via its flexible solar cells generates twice as much energy as it consumes.”

Figure A1.5 Endesa Pavilion section Figure A1.6 Endesa Pavilion components http://www.archdaily.com.br/br/01-74952/pavilhao-endesa-iaac

1 Areti Markopoulou and Rodrigo Rubio, “Smart living Architecture: Solar Prototype”, Constructions: an Experimental Approach to Intensely local Architecture 85, 2 (2015), 129.

[2] CH2 Building Melbourne, 2004 DesignInc Architects

Figure A1.7 The west facade of CH2 Building http://www.archdaily.com/395131/ch2-melbourne-city-councilhouse-2-designinc

Figure A1.8 CH2 Building west elevation Figure A1.9 CH2 Building north elevation Figure A1.10 CH2 Building detail of north elevation Figure A1.11CH2 Building south elevation http://www.archdaily.com/395131/ch2-melbourne-city-council-house-2-designinc

CH2 Building is a green building that achieve 6 Star Green Star Building. The design of this building is generated from the objective to maximise the wellbeing of its occupants (Indoor Environment Quality). This approach is a characteristic of Design Future, as sustainability looks after the people as well as the environment.

From the images on the left, it is evident that the facade is treated differently. The decision of each treatment is based on the surrounding environments to maximise passive design thus minimising the energy consumed by the building.

Melbourne is located in the southern hemisphere, thus the northern facade gets most direct sun light. For this reason, the window is getting smaller as it goes to the top of the building, so that occupants at the top do not get too much sunlight.

Furthermore, the amount of afternoon sunlight that gets into the building can be adjusted using operable timber panels in the western facade.

1 City of Melbourne. About CH2 Building, accessed 10 August 2015, from https://www.melbourne.vic.gov.au/Sustainability/CH2/ aboutch2/Pages/AboutCH2.aspx

Figure A2.1 TheThe curvilinear programmed wall by Gramazio & Kohler http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

[A.2] DESIGN COMPUTATION

Design is shifting towards sustainability since people are aware that we have reached a stage where the amount of resources required to sustain the human population exceeds what is available.1 The above pictures show a Ski Dubai in The United Arab Emirates. This is an example of unsustainable practice since they have wasted huge amount of energy to maintain the ice from melting in the middle of desert temperature. Instead of creating buildings that are “alien” to the surrounding environments, architects should integrate social and the environment when designing The word architect originates from Greek arkhitekton meaning ‘director of works’.

Therefore architects play a big role in directing the future as they are - as the Greek definition of architect (arkhitekton) suggests - the ‘director of works’.

The invention of computational approach might be a tool to help architects design buildings that incorporate with surrounding environments and social needs.

Computerization vs Computational It seems that the terms computerization and computation are often used interchangeably as the same thing, while in fact they have completely different meaning. Computerization is when one uses computer only for drafting tool, but the design method itself is still analog. On the other hand, computational technique makes use of computer capability to assist designers in solving complex issues, such as material optimization, digital materiality, digital fabrication, and efficient construction process1.

The following precedents show how architects integrate computational technique in their design process, allowing sophisticated solution to complex issues, which are hardly possible to be done manually.

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

[3] The Programmed Wall Zurich, 2006 Gramazio & Kohler

Figure A2.3 The fabrication process of programmed wall http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

“A robot is not only quicker, more precise, and more productive, but it also enables complex designs that are impossible for a human to build with that level of accuracy.”1 The first precedent of design computation is “The Programmed Wall” by Fabio Gramazio and Matthias Kohler. It was a research project in 2006 that investigate the design potential for brick using digital fabrication. At that time, it was considered a radical invention as it resolved the limited flexibility of brick modules to produce fluid form. It would be extremely difficult to produce complex curvilinear walls if using traditional design and construction methods since mason cannot lay the brick as accurately as computer does, even with extra tool.

Brick masonry construction has declided significantly in western countries due to high cost of masonry labor and long duration of construction process that causes even higher cost. 2 Thus, this research may brick back the popularity of masonry construction since it has solved the shortcomings of this method.

In addition to faster and relatively cheaper construction process, digital fabrication allows designers to supervise the construction process since the robot is controlled digitally.

In conclusion, there has been a change in the use of computer in design and construction indusry. Previously, computer was only used as a tool to digitize drawings, but today designers use computer to do the construction process, allowing accurate result and more resolved outcome.

Figure A2.4 The curvilinear iterations http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

BASIC LOGIC Gramazio and Kohler started the design by creating possible iterations of curvilinear surfaces (Figure A2.4).

Next, they create the logic based on procedural logic of laying brick in traditional masonry.3 “A brick is laid to another brick, shifted, and perhaps rotated until the end of a row is reached. The next row is then shifted by half of the brick width, and the previous procedure is repeated, and so on until the desired height is reached.”4 This logic is applied to both vertical and horizontal direction, which eventually create a curvilinear wall (Figure A2.5).

1 Gramazio, F., & Kohler, M. (2008). Towards a digital materiality. In B. Kolarevic, & K.R. Klinger, Manufacturing material effects: rethinking design and making inarchitecture (p 113). NewYork: Routledge.

2 Kareem El Sayed Mouhammad. “Potential Innovative use of conventional building materials: Case Studies on Masonry and Stone Constructions”, Alexandra University. http://www.academia.edu/1454683/Innovative_use_of_conventional_materials 3 Nick Dunn, Digital Fabrication in Architecture (London: Laurence King Publishing, 2012),53.

4 Gramazio and Kohler, 2008.

Figure A2.5 The logic is applied in vertical and horizontal direction http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

[4] ICD/ ITKE Pavilion Stuttgart, 2010 Achim Menges

Figure A2.6 ICD/ITKE Research Pavilion 2010 http://icd.uni-stuttgart.de/?p=4458

Figure A2.7 FEM modelling showing the bending stress across the form http://icd.uni-stuttgart.de/?p=4458

ICD Pavilion is a research project by University of Stuttgart that uses innovative design process that is more efficient than in the past. In conventional design process, the form was generated first before moving to materiality. In contrast, the designers of ICD Pavilion started the project by studying the behavior of the material they would like to use. The test the bending stress of the material physically (Figure A2.8). Next, the results were then transformed into algorithms that would determine the form.

After setting the logic, the designers used software such as FEM Modelling to let computer generate the possible forms that satisfy the logic.1 This computational design technique is far more efficient than the conventional design process because the final form is structurally efficient since the form is generated from the behavior of the material itself.

This precedent shows that computational design technique allows designers to increase the efficiency in construction using the natural behavior of material using parametric algorithms.

1 Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in computational design Processes�, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2 (2012): 44-51.

Figure A2.8 Physical Experiment on bending behavior of material plywood strips http://icd.uni-stuttgart.de/?p=4458

Figure A2.9 Bending Stress data analysis http://icd.uni-stuttgart.de/?p=4458

Figure A3.1 The subdivided columns by Michael Hansmeyer http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1

[A.3] FROM COMPOSITION TO GENERATION

Not only can computer assist human in digital fabrication and construction, but also in generating forms. Generation is one of computational techniques that allow architects to explore forms during design process. So instead of composing the geometry from the start, designers create a constructive logic and let computer generates the forms, thus the outcome is emerging beyond the intellect of designers.

To use generative approach, architects need to generate an algorithm based on certain logic. The key feature of algorithm is that it is made of definite set of operations and is easy to follow1. The movement of each particle is affected by the relationship to its neighbors, and at the same time is affecting how the neighboring particles move. This simple rule results in unpredictable and infinite number of possible forms and the architect can then choose the best iterations amongst them.

However, despite the above advantages of using generative design approach in the design process, there are also disadvantages associated with it. One of the major problems caused by digital architecture is that it creates gap between the architects and the end products. This happens because some architects are lacking of algorithmic scripting skills, thus often they invite scripting experts to optimize the initial concepts they had2. In this case, the architects can only contribute to the concepts and overall shape of the building, but they cannot involve during the form generation process. Therefore it is necessary for architects to develop their knowledge in scripting to catch up with the trend of digital architecture.

The precedent in the previous section (A2 Design Computation) - the programmed wall- has given an idea of how the wall is generated from algorithm. The following precedents – Brass Swarm and Subdivided columns – will further demonstrate how architects can generate a complex from a basic logic using parametric design approach.

1 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11 2 Asterios Agkathidis and Elizaveta Edemskaya, “Vladimir Shukhov: A Critical Review on Digital Architecture,” eCAADe 33 (2015): 1.

[5] Agent Bodies + Swarm Intelligence Melbourne, 2004 Kokkugia

Figure A3.3 Swarm Composite Kokkugia Research http://www.kokkugia.com/woven-composites

+

SWARM INTELLIGENCE

Figure A3.4 Swarm Intelligence Kokkugia Research http://www.kokkugia.com/filter/swarm-intelligence/ swarm-intelligence

Agent Bodies

Figure A3.5 Agent Bodies Kokkugia Research http://www.kokkugia.com/filter/agent-bodies/ agentbodies

Ronald Snooks is a Melbourne architect who has strong interest in computational design processes and robotic fabrication techniques. In his experimental architecture research called Kokkugia, he and his partner Robert Stuart- Smith explore generative design practices based on the logic of complex self-organizing behavior of systems1.

Two of the main research agendas that they are working on are Swarm Intelligence and Agent Bodies.

1. Agent Bodies is multi-agent used to design complex tectonics. The logic of it came from the conceptualization of ant bridges, which demonstrates the interrelated geometry of ant bodies when forming Ant Bridge.

2. Swarm intelligence is an algorithm that draws from the logic of collective behavior that happens intuitively, such as in flocking of birds and schooling of fish.

From these two logics, Ronald Snooks generate seven different forms, which are completely different one to another. It is interesting how simple logics can result in varied impressive results that you would not have expected that they all come from the same logic. Two of the researches are Brass Swarm (Figure A3.6) and Composite Swarm, shown in the previous page (FigureA3.3).

=

Brass Swarm

Figure A3.5 Brass Swarm Prototype in Shanghai 2015 http://www.kokkugia.com/filter/agent-bodies/brassswarm

1 Kokkugia, “Research Agendas�, accessed 9 August 2015, from http://www.kokkugia.com/filter/research/research-agendas

[6] Subdivided Columns Gwangju Design Bienalle, 2011 Michael Hansmeyer

Figure A3.10 Subdivided columns by Michael Hansmeyer http://www.michael-hansmeyer.com/projects/columns.html#20

Figure A3.11 Typical doric column used for setting the initial logic Figure A3.12a (above) The subdivision process in 2D Figure A3.12b (below) Variation of ratios in parameter http://www.michael-hansmeyer.com/projects/columns.html#20

BASIC LOGIC Subdivided columns consists of 2.7 m high different abstracted doric columns. In this project, Hansmeyer used typical doric column as the basic logic. The input form contains rules about the fluting, entasis, and proportion of doric column’s shaft, capital, and supplemental base1 (Figure A3.11).

GENERATIVE DESIGN APPROACH Next, the initial input goes through heterogeneous process of subdivision algorithm, which divides a surface into smaller surfaces. Figure A3.12a records the gradual process of subdivision in 2D form. It initially started with 3 lines, then they divided again and again, resulted in complex form on the right. Moreover, Hansmeyer did not only do sub-

division in XY plane, but also in Z direction, forming even more sophisticated results. During the subdivision process, Hansmeyer also varied the parameter of division ratio, shown in Figure A3.12b.

From this precedent, it is evident that generative method of designing has exceeded human intelligence as it allows exploration in 3D form which is impossible to be done by analog design due to physical constraints of 2D medium.

FABRICATION PROCESS However, the disadvantage of generative design occur when exploration go beyond the capability of fabrication technology.

For instance, Hansmeyer admitted the difficulty during the fabrication process of

Figure A3.13 Several iterations of subdivided columns Figure A3.14 Fabrication process of subdivided columns in Gwangju Design Biennale 2011 http://www.michael-hansmeyer.com/projects/columns.html#20

the subdivided columns for the Gwangju Design Biennale in 2011.

The columns were fabricated layer by layer using 2700 sheets of 1mm cardboard2. The sheet was individually cut by laser cutter, and stacked around a common core to hold them together.

The detailed curvy form makes it extremely difficult to be 3D printed as the parts are prone to breaking off.

architect designs a process “thatTheproduces a column, rather than designing a column directly.

“

Michael Hansmeyer

From Michael Hansmeyer’s experience, we learn that during generative design process, it is crucial to think of constructability as the limit of the exploration in generative process.

1 Michael Hansmeyer , “Subdivided Columns - a New Order”, accessed 10 August 2015, from <http://www.michael-hansmeyer.com/projects/columns_info. html?screenSize=1&color=1>.

2 Ibid

[A4] Conclusion In conclusion, we are now living in the era where the human population is significantly increasing, while on the other hand the resources are decreasing. Due to concern of insufficient amount of resources to sustain the needs of generations to come, human, inclusing designers, need to change their behavior and way of thinking. Design futuring looks towards sustainability, in which the design must incorporate with the environment so that it minimises negative impacts to the environment.

Computational approach, unlike computerization, uses computer as a tool in assisting designers to analyse and solve complex problems, thus giving the most efficitent solution to minimise the impact on environment. For instance, The position of PV panels in Endesa pavilion is based on the computational data of sun path in Barcelona. The architect used parametric design to create the form that can optimise the input of radiation energy to every single PV panels. This is impossible to be done manually without the aid of computer, therefore computational technique is critical for designers to achieve Design Future.

In addition to that, computational architecture includes generative design approach which enable designers to generate complex forms. With this method, instead of composing the geometry from the start, designers start with making algorithm that makes the logic of movement. Next, the computer will create infinite number of possible outcomes based on the logic, and designers can choose several iterations that work and they can develop them even further. This allow designers to come up with unexpected yet interesing discoveries.

[A5] Learning Outcome Within these three weeks, I realised that computational technique really is a beneficial approach in designing. It brings many disadvantages, such as for exploring new material, material optimisation, and increasing efficiency of construction. More importantly, it helps architects to generate forms beyond 2 dimensional medium which was previoulsly a limitation when using analog design method. Generative design approach allows designers to come up with complex forms beyond the imagination of the designers themselves.

In some cases the exploration may go too far and create issue during the fabrication , such as in Hansmeyer subdivided columns project. However, I believe that in the future the fabrication technology will get more advanced and able to accomodate the exploration of generative design approach.

As the advantages overcome the disadvantages, I believe that generative design approach will replace the analog design approach and become the trend in years to come (or even now). For this reason, I think it is important for me to learn algorithmic software such as Grasshopper for my future career in architecture practice.

[A6] Appendix: Algorithmic Sketches

Week 1 These are the first attempt of my exploration on Grasshopper. At this stage, due to my limited understanding on Grasshopper inputs, the exploration is based on trial and error, thus the results are random and some of them are failed.

I played a lot wih triangulation inputs, such as octree, voronoid, and metaball.

I combined the triangulation inputs with surface commands such as pipes and lofts to create geometry.

This exercise has given me a better understanding on how computational design strategy in the precedents work. Different inputs and variable parameters can result in various complex iterattions, which often create unpredictable yet interesting outcome.

Week 2 In the second trial, I tried to experiment with surface panelling. I create two different geometries, which are circles and lines,,as the panels on lofted curves.

I did not expect the outcome would be this interesting. The panels create shadows when rendered, causing even more dramatic effect.

In this exercise, I experiment with contours and geodesic inputs. From the contour lines, I also try to divide it into points, and use octree, shown at the bottom right images.

However, this experiment failed because the points are too close to one another, thus the boxes are concentrated to one area only.

I also played with changing the contours in X, Y, and Z direction and it came up with interesting result (top right image) I look forward to continue learning Grasshopper throughout the rest of this semester and I believe that this will help my design process in the future.

Week 3

Fry, Tony. 2008. Design Futuring: Sustainaibility, Ethics, and New Practice (Oxford: Berg).

Markopoulou, A. & Rubio, R. “Smart living Architecture: Solar Prototype”, Constructions: an Experimental Approach to Intensely local Architecture 85, 2 (2015).

City of Melbourne. About CH2 Building, accessed 10 August 2015, from https://www.melbourne.vic. gov.au/Sustainability/CH2/aboutch2/Pages/AboutCH2.aspx Gramazio, F., & Kohler, M. (2008). Towards a digital materiality. In B. Kolarevic, & K.R. Klinger, Manufacturing material effects: rethinking design and making inarchitecture (p 113). NewYork: Routledge.

Mouhammad,K. “Potential Innovative use of conventional building materials: Case Studies on Masonry and Stone Constructions”, Alexandra University. http://www.academia.edu/1454683/Innovative_use_ of_conventional_materials Dunn, N. Digital Fabrication in Architecture (London: Laurence King Publishing, 2012),53.

Fleischmann, M. et. al, 2012. “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2, pp 44-51.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2.

Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press).

Agkathidis, A. & Edemskaya, E. 2015. “Vladimir Shukhov: A Critical Review on Digital Architecture,” eCAADe (33).

Kokkugia, “Research Agendas”, accessed 9 August 2015, from http://www.kokkugia.com/filter/research/research-agendas.

Hansmeyer, M. “Subdivided Columns - a New Order”, accessed 10 August 2015, from <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1> .

Bibliography