STUDIO AIR JinSu Lee597633

contentsPART A CONCEPTUALISATION A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Algorithmic Sketches References

PART B CRITERIA DESIGN B.1 Research Field B.2 Case Study 1.0 B.3 Case Study 2.0 B.4 Technique Development B.5 Prototyping B.6 Technique Proposal B.7 Learning Outcomes B.8 Algorithmic Sketches

PART C DETAILED DESIGN C.1 Design Concept C.2 Tectonic Elements and Prototypes C.3 Detailed Model C.4 Learning Outcomes

3 7 11 15 16 17

A.1 design FUTURING According to Tony Fry, design futuring means securing the future by design [3]. In other words, it is using design as a mean of buying us more time in this planet. Fry also claimed, “Whenever we bring something into being we also destroy something,” suggesting the importance of design in determining our future. All humans design - it is an activity that ensures our survival by taking advantage of our capacity for intelligent thought to create what we need. Be-cause it is an act of creation, designers need to acknowledge that they have a great responsibility for what they create, at the expense of what already exists. Therefore, design futuring requires designers to reconsider their role as facilitators rather than master builders. This means that designers need to redirect the practice towards one that is “sustain-able”, where designers have to educate the public about the role of design beyond aesthetics and acknowl-edge its potential in ensuring our survival.

Figure 1.1 Villa Savoye exterior perspective

Villa Savoye by Le Corbusier is considered one of the greatest works of modern architecture. It was considered revolutionary at its time due to its use of pilotis, strip windows, green roof, and free plan. All these, also known as the “Five Points of Architecture” has triggered a significant progress in ar-chitectural discourse in terms of compositional and tectonic strategy, wherein buildings are liberated from the constraints of the load-bearing walls. However, ironically, it also helped increase the role of design in defu-turing. The building, as is all Le Corbusier’s works, and consequentially most of modern architecture, heavily promoted the use of concrete, steel and glass as building material. All those are materials with high embodied energy. Extensive use of curtain walls that followed the spread of modernism resulted in buildings with poor insulation, high rate of heat exchange and thus low energy efficiency. It can therefore be beneficial to acknowledge buildings like Villa Sa-voye as a historical reference that can inform the direction of contemporary design practice towards futuring. Architects need to be critical of such build-ings and recognise their problems so as to ensure that they are not repeated for future projects.

Villa SavoyeLe Corbusier, 1929

Figure 1.2 Villa Savoye roof garden

Figure 1.3 Villa Savoye spiral staircase

Unlike Villa Savoye, Shigeru Ban’s paper pavilion is a project that is representative of a contemporary attempt of design futuring. Shigeru Ban is known for using paper as a structural material. This stems from his “no waste” philosophy. The goal is to minimise building waste as well as to prove the structural potential of paper as a material that is relatively weak but much more renewable and less energy intensive than other popular building materi-als such as concrete. The project proves how speculation is integral to design futuring, and how critical thought in turn is necessary to bring speculative design to reality. According to Dunne and Raby, speculative design is design that encourages people to imagine preferrable futures [2].In this case, what was being specu-lated was what if paper can be used as a commonplace building material. Such scenario is considered preferrable as it has the potential of slowing down the rate of defuturing as paper is a renewable material. While the value of this speculation alone is significant in triggering a progress in the architectural discourse, critical thinking brought this spec-ulation in effect through the aid of computational design tools. It is only by assessing the structural potentials of paper, as well as constant prototyping and testing, that the project can come to life. The next step is to ensure that the greater public is ready to acknowledge the value of the idea and embrace the practice of using paper as building material, which requires what Fry called “design intelligence”[3]. The use of computation in design will be discussed in the following section A.2 Design Computation.

IE Paper PavilionShigeru Ban, 2013

Figure 1.4 IE Paper Pavilion exterior

Figure 1.5 Structural connection detail

Figure 1.6 Interior corner

A.2 DESIGN COMPUTATION

Figure 2.1 Dongdaemun Design Plaze exterior perspective render

Figure 2.2 Fluid dynamics simulation

Dongdaemun Design PlazaZaha Hadid Architects, 2012

Dongdaemun Design Plaza by Zaha Hadid Architects is a project that utilises computational strategy across all stages of its design process. This is attributed to the use of Building Integrated Modeling (BIM) to simulate the project within the digital realm in order predict as closely as possible its performance when subject to real-world parameters. In this case, the form of the building is directly informed by fluid dynamics analysis as shown in Figure 2.2 and 2.3. Without paramettric modeling, it is impossible to attain such level of accuracy for fluid dynamics analysis. It would then be very difficult to translate said data into a built form. By utilising BIM, the design process was made much more productive as iterations can be made real-time. Flaws and inconsisten-cies can therefore be quickly identified and rectified all within the digital realm. Through this project it is clear that computation makes possible complex forms as well as levels of building performance that was never before imaginable.

Figure 2.3 Fluid analysis diagrams

Computation is often confused with computerisation. While com-puterisation deals with the use of computers to operate functions that are otherwise still operable in the analogue realm, computation means the ac-tual act of logical calculation. Thus, computation can be computerised when the logical operation occurs digitally. Architecture has been widely computerised when the use of CAD and digital modeling tools replaced analogue drawing and model making. It has made the design process more efficient, but does nothing to change it. The use of digital computation in design, on the other hand, has the ability to change the design process into a more digitally integrated one, what Oxman and Oxman called “digital continuum” [5]. As all stages of the design process from conceptualisation to fab-rication can occur seamlessly within the digital realm. Within this continuum occurs a “feedback loop,” wherein designers take problems from the design outcome and redesign it in the digital realm, only to test it again physically to discover more fallacies. In this, digital computation brought the design process from one with a disjunction between concept to construction, back to a practice of craftsmanship [4]. The difference is that, because it occurs digitally, the range and complexity of problems that can be solved and solu-tions that can be produced is much greater.

Al Bahar TowersAedas Architects, 2012

Al Bahar Towers by Aedas Architects is a project that uses computational strategy in its facade design. The climatic requirements of the project site - Abu Dha-bi - involves very high temperatures, strong sunlight exposure and little to no rainfall throughout the year. This calls for an efficient shading device for the building. The result is a responsive facade made up of modules that can provide shading in varying degrees depending on the sunlight exposure of each face of the facade. By breaking up the facade into small modules, the degree of responsiveness can be much greater. Computation is needed to calculate the amount of sunlight received by each face division for a specified timeframe. The obtained data is then be used to determine the degree of openness of each module. This project proves the benefit of computa-tion in designinig buildings of high performance requirements. Without digital tools, the decision of how much shading is needed for each facade is entirely dependent on estimation rather than accurate determination. A better performing building are much more materially efficient, produces less waste, and can inherently last longer. As such, computation can greatly enhance architects’ capability for design futuring.

Figure 2.4 Al Bahar Towers facade detail

Al Bahar TowersAedas Architects, 2012

Al Bahar Towers by Aedas Architects is a project that uses computational strategy in its facade design. The climatic requirements of the project site - Abu Dha-bi - involves very high temperatures, strong sunlight exposure and little to no rainfall throughout the year. This calls for an efficient shading device for the building. The result is a responsive facade made up of modules that can provide shading in varying degrees depending on the sunlight exposure of each face of the facade. By breaking up the facade into small modules, the degree of responsiveness can be much greater. Computation is needed to calculate the amount of sunlight received by each face division for a specified timeframe. The obtained data is then be used to determine the degree of openness of each module. This project proves the benefit of computa-tion in designinig buildings of high performance requirements. Without digital tools, the decision of how much shading is needed for each facade is entirely dependent on estimation rather than accurate determination. A better performing building are much more materially efficient, produces less waste, and can inherently last longer. As such, computation can greatly enhance architects’ capability for design futuring.

Figure 2.5 Al Bahar Towers facade detail

Figure 2.5 Aperture module in different shading conditions

A.3 COMPOSITION/GENERATION

Figure 3.1 ICD ITKE Research Pavilion 2013/2014

Composition is an age-old design methodology that is concerned with the careful arrangement of parts to form a harmonious whole. The act of composition can be dictated by programmatic requirements, as in Rem Koolhaas’ design approach, or can be completely arbitrary or based on a particular imbued meaning, as in Daniel Libeskind’s Jewish Museum. In either case, composition is highly subject to each designer’s ego. The designer decides a particular final form that becomes the goal of the entire design process. Generative design, on the other hand, is design that is based on algorithms. Wilson, Robert and Frank defined an algorithm as “a recipe, method, or technique for doing something” [1]. Thus, generative design is the complete opposite of composition as there is no predetermined final form. Designers design the process rather than the outcome. Because of this, high levels of complexity can be achieved with very simple rules that are applied to different parameters.

ICD ITKE Research Pavilion 2013/2013 incorporates biomimetic principles inspired by the fibrous formation of beetle shells. The initial step of the design process involves creation of modules made of fibres winded and tensioned between two effector frames. The fabrication process is entirely robotic, such that the way fibres are winded is programmed specific to each module’s structural requirement.The form of the pavilion is generated by how the modules can be arranged such that one module holds up the next. Thus, the pavilion is self-support-ing. Because the final form is unprecedented and entirely dependent on the structural capacity of each module, the project is highly process-centric and hence generative. The architects’ role is to define how to program the robots to produce ideal fibre threading arrangement for each module.

ICD ITKE Research Pavilion 2013/2014University of Stuttgart, 2013

Figure 3.2 Concept diagrams

Figure 3.4 Subdivided Columns

Subdivided Columns is one of Michael Hansmeyer’s projects that uses subdivision algorithm to create intricate ornamentation on topological surfaces. This project exemplifies how generative design works by applying a simple set of rules recursively, applying variables each time, to generate a highly complex outcome. In other words, the architect design the process that enables him to produce columns of such complexity, rather than designing the columns themselves. This project also demonstrates clearly how generative design is distinct from composition by establishing an order that is based on the level of subdivision applied as opposed to the Vitruvian/Classical Orders that are based purely on compositional strategies. 3D printing enables the fabrication of the columns to the exact level of intricacy by using additive techniques (i.e. adding materials layer by layer). Because of that, the ornamentation also be-haves structurally and one is inseparable from the other.

Subdivided ColumnsMichael Hansmeyer, 2009

Figure 3.5 Subdivided Columns

A.4 CONCLUSION

A.5 learning outcomes

In conclusion, algorithmic thinking in design has much more potential than just making complex forms. Computational design using algorithms can help realise design futuring. This is because such strategy allows architects to deal with problems of much higher levels of complexity, which matches the interconnected nature of real-world problems. Architects can therefore concentrate themselves entirely on process-finding, or finding the best possible methodology or approach, rather than focusing too much on realising a predetermined formal outcome.

I have learned that algorithm-based design, as with softwares like Grasshopper, allows a new way of designing that is much more process-based than ever and opens up much more possibilities in addressing the brief. I realised proficiency in parametric modeling and computation is valuable as with it, design responses can be made as responsive as possible to environmental variables of the site and therefore can generate much more varied and complex outcomes without sacrificing performative requirements. Finally, I also learned that it is important to take a holistic approach when designing, because everything is fundamentally interrelated and subject to dynamic changes.

A.7 ALGORITHMIC SKETCHBOOK

This is my algorithmic exploration of using attractor point on a circle-filled square grid to control the scaling of each circle. The circles closest to the attractor point are made to have the greatest percentage of down-scaling. This is useful as a patterning strategy for controlling things such as facade apertures as in Al Bahar towers (pages 9-10), when using environmental inputs such as sunlight hours.

reference list

image reference

1. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press)2. Dunne, Anthony & Raby, Fiona (2013). Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) 3. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–164. Kalay, Yehuda E (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) 5. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) 6. Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

A.1 Design FuturingFigure 1.1 www.archdaily.comFigure 1.2 www.archdaily.comFigure 1.3 www.archdaily.comFigure 1.4 www.archdaily.comFigure 1.5 www.archdaily.comFigure 1.6 www.archdaily.com

A.2 Design ComputationFigure 2.1 www.zaha-hadid.comFigure 2.2 www.zaha-hadid.comFigure 2.3 www.zaha-hadid.comFigure 2.4 www.archdaily.comFigure 2.5 www.archdaily.comFigure 2.6 www.archdaily.com

A.3 Composition/GenerationFigure 3.1 www.archdaily.comFigure 3.2 www.archdaily.comFigure 3.3 www.archdaily.comFigure 3.4 www.michael-hansmeyer.comFigure 3.5 www.michael-hansmeyer.com

B.1 RESEARCH FIELD

Figure 4.2 Pinwheel tiling

PATTERNING Patterning is the repetition of similar or identical units to form a particular sequence. Patterns in architec-ture has been widely used as a category of ornament. Far-shid Moussavi stated that ornaments can be categorised into three categories, depth (form, surface, screen and structure), material (visible/invisible, tangible/intangible), and affects (interplay between depth and material) [1]. More recently, patterns in architecture has been used be-yond mere decorative functions.

Federation Square by LAB Architecture is an ex-ample of a project that uses patterning to produce affects. In this case patterning is applied to the building skin as facade cladding. The pattern is a result of pinwheel tiling, an a-periodic tiling with fractal behaviour where one tile of right-angle triangle can be infinitely rotated to form a big-ger tile of the same geometry.

Figure 4.1 Federration Square

Figure 4.3 Federation Square tiled facade

The affects produced by this pattern is a result of the use different materials (sandstone, zinc and glass) for each tile of the pinwheel pattern for different facade orientations, thus affecting how the building is shaded as well as internal privacy. This proves that patterning has great potential as a technique as it allows the production of unique effects with variation of singular elements based on simple rules.

B.2 case study 1.0

M.H. De Young MuseumHerzog and De Meuron, 2008

Herzog and De Meuron’s projects are known for using patterning in manners that extend beyond deco-ration. The patterns used in their projects are fundamen-tally performative and highly computation-based. Unique scripts are written for each project [2]. De Young Museum is one of their projects that uses patterns that produce visual and tactile affects by playing with materialitiy and depth. The facade panels are made of copper that changes colour over time by undergoing the natural process of patination (oxidation of copper to form a layer of blue-green coating). Each panel is filled with perforations with varied sizes over circular dents that together form an image. By controlling the behaviour of the scaling of each perfora-tion and the pulling distance for each dentures, different images can be created. Figure 5.2 Copper facade patination process

Figure 5.1 De Young Museum facade pattern

exploration matrixSP

ECIE

S 1

SPEC

IES

2SP

ECIE

S 4

SPEC

IES

3

selection criteria successful species1. Controlled Shading/Daylighting

2. Filtration Capacity

3. Ligtweight Material System

Voussoir CloudIwamotoScott, 2008

Voussoir Cloud is an installation structure made of three-dimensional “petals” made of thin fold-ed wood laminate. The petals are meant to work like the voussoir modules that make up a traditional vault. The tectonic system therefore becomes both mass-modular and lightweight. I chose this project as my first precedent because I would like to explore patterning beyond sur-face application as I have done in Case Study 1.0. The project conveys how patterns can be generated out of structural necessity and based on material properties. The arrangement of petals and the voids that occur in beetween creates a self-sup-porting pattern that lets in light into the room, therefore acting as surface, screen and structure all at once.

Figure 6.1 Voussoir Cloud

Figure 6.2 Voussoir Cloud fabrication diagram

B.3 case study 2.0

REVERSE ENGINEERING

Step 1 Populate boundary with points Create voronoi cells

Step 2 Loft between scaled cells and boundary cells

Step 3 Create welded mesh

Step 4 Mesh relaxation Step 5 Sierpinski Triangle subdivision to create modules

MoMA PS1 ReefIwamotoScott, 2008

IwamotoScott’s MoMA PS1 Reef demon-strates the use of patterning with material performance to create a canopy surface that produces exaggerated climatic effects indoors. The material behaviour that is explored in this project is its tendency to have forced curvature. Starting with an orthogonal base grid, fabric hung on

it of different lengths result in circular perforations of different sizes depending on the fabric length and the grid spacing. Image sampling decides the regions where the fabric pieces need to drape more loosely and has smaller perforation, and where it needs to be more tensile and have bigger perforation.

REVERSE ENGINEERING

Figure 6.4 MoMA PS1 Reef fabrication diagrams

Japan PavilionShigeru Ban, 2008

In Shigeru Ban’s Japan Pavilion, I explored patterning as structure. The project employed a structur-al lattice of diagonal/diamond grid made of paper tubes. I am interested in figuring out the joining system at the intersection between each paper tube segments.

REVERSE ENGINEERING

B.4 technique development

Voussoir Cloud

Japan Pavilion

MoMA PS1 Reef

De Young Museum

SURFACE

STRUCTURE

MATERIALITY

PATTERNINGPrecedent Projects Chosen Techniques

Attractor-based Sampling

Base mesh with Relaxation

Paneling on Structural Grid

SPECIES 1

SPECIES 2

SPECIES 3

SPECIES 4

B.5 prototyping Based on my explorations in Case Study 1.0 and 2.0, my design intent is to apply patterning principles and embed in them a structural logic so as to devise a self-supporting materi-al system. In order to do this, I decided to explore circle packing by using plastic bottle sections. Circles are naturally stable shapes. Plastic bottles of different types have a variety of cir-cles with different diameters, depths, and thickness. Through the prototypes, the group attempted to test different joining techniques between the circles so as to make them as packed as possible and hence self-supporting. The group tested two different methods;1. Cable tie - cable ties fastened to each plastic bottle section and tied to the adjacent ones. This method failed2. Mesh - a length of fishing line is stretched through a series of bottle section. Line sections are crossed over one another to form a mesh that can be suspended form anchors (i.e trees).

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30mm25mm60mm65mm70mm

JOINT TYPE 1 - CABLE TIE

JOINT TYPE 2 - FISHING LINE MESH

PACKING CATCHMENT/FILTRATION SHADING EFFECT

JOINT TYPE 1 - CABLE TIE

PACKING CATCHMENT/FILTRATION SHADING EFFECT

JOINT TYPE 1 - CABLE TIE

B.6 technique proposal Based on the algorithms studied and prototypinig at-tempts, the group proposes to build a canopy that utilises plastic bottle sections as modular units that can be patterned across the surface and create different shading effects by either catching or filtering organic litter such as leaves. As different PET bottle sections have different degrees of perforation, i.e. the bottom one is completely enclosed at the bottom, the middle one is entirely hollow and the topmost one is converging like a cone and 10% hollow, they can be made into different components with different functions, from catchment to filtration. However, as the prototypes have shown, it is difficult to make PET bottle sections self-supporting due to the material property of plastic. Also, the algorithm should be more refined so as to incorporate site characteristics more, i.e. tree canopy densi-ty and positions along the pathway, which could make the form of the canopy more concrete.

COULSON RESERVE SHARED PATHWAY

B.7 learning outcomesObjective 2 - Developing “an ability to generate a variety of design possibilities for a given situation” by introduc-ing visual programming, algorithmic design and parametric modellingBy doing the case studies I have been able to adopt algorithmic methods to generate a multitude of design possibilities. I learned therefore that process-based design is more productive than restricting myself to a predetermined formal solution.

Objective 3 - Developing “skills in various three-dimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabricationI have become more proficient in using Grasshopper to accomplish all of the above. I found that it is especially powerful as a generative tool. I missed out on using it for digital fabrication as my prototypes have been largely based on found objects.

Objective 5 - Developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourseI found that my argument could have been developed further by supporting it more with my case studies and by having a concrete technique that is specific to the site.

COULSON RESERVE SHARED PATHWAY

12 3 Days

Yr1Yr2Yr3Yr4Yr5

Household s

Bottles Collection

Assembly

Display

Disassembl y + Recycling

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Timescal e referenc e

c.1 design concept

SITE AREA

Summe r Break

Timefram e

Households

Schools

Merri Creek Management Committee

refined technique

c.2 tectonic elements/prototypesST

EP 0

.0

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3.0

Effects

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5.0

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4.0

Devising polyhedra PET bottle joints with opening size based on

Hypothetical detailing of joints, taking into account opening diameter, recesses and inter-panel connection slots

Deciding on 26.5mm radius opening with 4mm wide recesses along the opening perimeter

Testing different materials and widths of elastic bands for elasticity upon loading - decided on clear elastics

Testing 1.5mm plywood as fabrication material and cable ties as inter-panel connection

Attempted to pack PET bottle sections using cable ties/fishing line as mesh

Attempted to use PET bottle sections as self-supporting material system

Intended to create alternated shading effect where PET bottle sections either catch/let through falling leaves

Determining type of elastic band that is elastic enough to produce a legible curvature, yet constrains it to above human height

Deciding on 26.5mm radius opening with 4mm wide recesses along the opening perimeter

Testing 1.5mm plywood as fabrication material and cable ties as inter-panel connection

STEP

6.0

Deciding on 26.5mm radius opening with 4mm wide recesses along the opening perimeter

Testing 1.5mm plywood as fabrication material and cable ties as inter-panel connection

Testing different clear elastic band widths upon loading with acrylic tetrahedron joint for maximum elasticity

6mm wide clear elastic band

elastic band anchor piece

side tetrahedra faces (holds space-filling bottles)

bottom joint face (holds anchoring bottle)

fina

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25mm hole diameter -

26.5mm hole diameter 1.5mm perimeter recesses 5mm frame offset

2.5mm frame offset

26mm - 27mm hole diameter

[X mm + 5mm intervals]

1mm - 1.75mm perimeter recesses

5mm frame offset

Bottle Cap Type 126.25mm hole diameter

Bottle Cap Type 228.75mm hole diameter

14mm frame offsetBottle Cap Type 11.5mm perimeter recesses

Bottle Cap Type 21mm perimeter recesses

fabrication

materiality/effects

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c.3 deTAILED MODEL

A'

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Plan 1 : 100

Section A-A' 1 : 100

Human territory

TransitionNature territory

PET Bottles

c.4 learning outcomesIn overall, I have enjoyed this studio.

Having learned this subject, I found the potential of computation design, while encouraging myself to think about architecture in more depth.I think architecture should convey not only the requirements of clients, but also a particular message/meaning, and this makes architecture different from other kinds of art.Furthermore, designers must take responsibility for their design outcome. Through this project, I am satisfied by the outcome in that I can actually fabricate the design myself and turn it into a real project. Also, it allows me to experience a different approach in architecture due to the involvement of computational strategies.However, computation design methods could encourage people who misunderstands its capacities to use it to generate “strong forms” without considering the true complexity of architecture.