S T U D I O A I RIONA ORAMS 636508

SEMESTER 1, 2015

C O N T E N T S

Introduction 6

Part A

A 01: Design Futuring 8A 02: Design Computation 10A 03: Composition/generation 12Notes 14A 04: Conclusion 16A 05: Learning Outcomes 17A 06: Appendix 18

Bibliography 20

My name is Iona. I am a third year Bachelor of Environments student majoring in architecture at the University of Melbourne. My interests in architecture and art expand by the day, ranging from imperial Japanese art and architecture to the sculptures of Anish Kapoor.

I like architecture because it engages with the sensory experiences of humans as they use a space. It combines the pragmatic with the imaginative, giving way to so many possibilities with no single answer. I am particularly interested in social architectural projects which involve the public, as well as sustainablility in architecture, which I believe should be imperative to the projects of all architects.

I was introduced to the digital design basics of Rhinoceros 5 and Google Sketchup during a high school work experience placement. I was reintroduced to these programs in my first year of university, when I began using Rhino to create digital models of my designs. I learned to combine Rhino with other tools such as Photoshop to create digital presentation boards. I have gradually become more adept with Rhino, having explored many of its capabilities including its role in digital fabrication.

In the future I would like to better explore the possibilities of Grasshopper as an algorithmic modelling tool in architecture, in particular how it can contribute to the performance of buildings while also creating a new type of aesthetic. I am also interested in how algorithmic design can produce interesting textures and materials which may be utilised purely for aesthetics or tied in with the performance of the building.

I N T R O D U C T I O N

A B O U T M E

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I have been using the 3D modeling capabilities of Rhinoceros 5 for my two past studio subjects, Studio Earth and Studio Water. The above images are from my Studio Water presentation.

The brief required us to design a boathouse on the Yarra River in the style of an architecture master. My class studied the architecture of Le Corbusier, so I tried to emulate his use of form, materiality and proportion in my final design. I researched Le Corbusier’s idea of the ‘architectural promenade’ and decided that I wanted to continue the existing promenade through the site, into and around the boathouse. The three levels of the boathouse also played with openness and closedness through levels of light and exposure.

In doing this, I realised I have an interest in the use of natural light and shadow in architecture, and how light interacts with textures. I hope to explore this further through creating parametric surfaces is Studio Air.

I learned a lot from Studio Water, but I am looking forward to taking a different, more computer-based approach to design in Studio Air.

PAST WORKS

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Figure [I]: Interior view of Ali Qapu Palace1 Figure [II]: Exterior2

The Ali Qapu Palace in Isfahan, Iran, provides an insight into the history of performance design. The music chamber of the building demonstrates how the inricate manipulation of form can achieve performance outcomes related to the function of the building.

As shown in Figure [I], the walls and roof of the chamber contain intricate repeating Muqarnas designed to reduce the reverberation of music around the room.

When it was built, the music chamber of the palace was presumably used as a place for performances to royalty. Today, the Palace is used for tourism purposes.

As discussed by Michael Hensel in his article Performance-Oriented Design Precursors and Potentials, at the time when the Palace was built in the 17th Century, such intricate craftwork was used only employed when vast

amounts of wealth was available, and not in everyday buildings.3

Today, the introduction of digital design and performance analysis software means that performance design for acoustics is becoming more automated and widely used. In his article, Hensel describes the Strip Morphologies Screenwall, parametrically designed by Daniel Coll I Capdevilia using multiple layers and curves to experiment with environmental performance.4 This project is an example of the way in which algorithmic design can produce similar forms to those used by the Ali Qapu Palace.

Capdevilia’s Screenwall demonstrates the fact that historic precedents such as the Ali Qapu Palace will continue to inform contemporary and future performance design.

A 01. D E S I G N F U T U R I N G

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The Spanish Pavilion for the Shanghai World Expo in 2010 was designed by architects EMBT (Enric Miralles and Benedetta Tagliabue) and MC2 Structural Engineers. Although not designed parametrically, the pavilion is interesting as it introduces an interaction between existing textural elements and digitally designed forms. The pavilion was composed of a curved, free form using steel framework under woven wicker elements.

The nature of the structure meant that a high level of collaboration between the architects and engineers was required.7 This makes one consider the level of structural complexity involved in creating a building designed using free form NURBS curves created in Rhino. The use of 3D modelling opens up many possibilities in regards to form, however consideration must also be given to the way in which builders and engineers would realise a form.

For this reason, structural analysis software was used by the engineers to calculate the structural capacity of the steel framework and and allowed it to be manufactured with precision.

As revealed in the disparity between Figure [III] and Figure [IV], the textural qualities of the weaving were only able to be realised in built form, as the 3-dimensional model does not convey it well.

The detailed texture of the pavilion was created using handcrafted woven panels of different varieties. The intent of the designers was to demonstrate the widespread use of basket making throughout the world and the variety of weaving techniques available.

In a time when pure digitisation is becoming a norm, the inclusion of handcrafted elements adds social and cultural awareness to the design.

Figure [III]: The Spanish Pavilion, finished structure5 Figure [IV]: Computer render of interior6

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The use of computing in the architectural design process enables the architect to produce and test various design iterations without the exessive use of time and resources. As Brady Peters discusses in his article ‘Computation Works: The Building of Algorithmic Thought’ (2013), computation is not to be confused with computerisation. Computerisation is the use of the computer as a drafting medium, while computation is the use of the computer to generate modelling information as algorithms.9

In the history of architectural practice, architects carry a preconceived idea of a design and communicate it to others using various methods and mediums, such as sketching or drafting. With the rise of computing, the architect is now allowed to ‘sketch’ via the modification of algorithms.10 Instead of the modelling phase being used to represent and communicate an existing idea, computing allows it to be used in the generation of ideas.

A 02. D E S I G N C O M P U T A T I O N

As computing becomes increasingly incorperated into the design process of architects, so too will it change the construction industry. The introduction of digital performance analysis and digital fabrication are two features of computational design that are beginning to change the roles of architects, engineers and builders in the design process.

The parametrically designed roof of the Smithsonian building by Foster & Partners in Washington DC (Figure [V]) is an example of where computation has enabled the mass fabrication of structural components. Information was transferred from the final computer model to a plasma cutter, which then produced the steel components which comprise the roof sections.11 Computation has not only transformed the way in which architects design, but also the way in which structures are constructed.

Figure [V]: Roof structure of Smithsonian building8

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As mentioned previously, computational design causes the notion of a preconceived, fully formed idea to become less important. It instead allows the designer to experiement freely with 3D geometry and seemingly infinite possibilities using algorithms. On the one hand, computation opens up the possibility to create almost inconceivable geometries, whileon the other hand, there is still a need for achievable geometry. While not everything is possible, the introduction of performance analysis computing has enabled the virtual testing of geometries to occur.

Digital performance analysis has transformed the method of performance- and evidence-based design. Performance- and evidence-based design rely on the exact final outcome being unknown at the start of the design process14. It is instead modified based on results of performance analysis. Computing enables the use of environmental and structural performance simulations to come into play, enabling the designer to change and

adapt algorithms to optimise performance.15 Foster and Partner’s Swiss RE building in London (Figure [VII]) used digital performance analysis to evaluate the structural performance and wind loads of the building. As shown in Figure [VII], the building skin was then modified parametrically according to the results of the analysis.

The use of computing enables a different, more explorative design approach to be taken. Furthermore, it allows building analysis to occur alongside the design process, creating a more efficient work method. According to Yehuda E. Kalay in his article ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, the architectural deisgn process comprises of analysis, synthesis and evaluation as three separate steps.16 It can be said that computing blurs the boundaries between these steps, enabling two or more to occur simultaneously through the use of algorithmic modification and performance analysis software. This enables a more analytical and efficient design process.

Figure [VI]: Swiss RE building, London12 Figure [VII]: Parametric model of building13

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A 03. C O M P O S I T I O N / G E N E R A T I O N

Architectural literature is currently undergoing a shift from the discussion of a predictable step-by-step design process to one which involves the largely unpredictable morphing of geometry based on algorithms. Architectural theory has undergone several shifts throughout history, changing the way in which architects practice. In fact, algorithmic exploration is not the only time when the design process was not based on a preconceived idea of the outcome. Before the Renaissance, buildings were not planned, but constructed by craftmen using pure construction knowledge, a compass and a rule.19 Architects such as Leon Battista Alberti introduced the notion of a top-down composition in architectural design, producing predictable outcomes.20

Interestingly, digital architectural theory has found a connection with the notion of the craftsman or master builder through the discussion of generation via algorithms:

a merge between conception and production21: much like prior to the Renaissance.

Algorithmic thinking has been influenced by the writings of various theorists and mathematicians, introducing the notion of a non-linear design and construction process.22 Generative design and the notion of infinite variability in form23 has come to define algorithmic thinking, leading to a new kind of architecture.

Orgone Reef, Figure [VIII], is a project by architect Philip Beesley which brings the notion of generative design into physical form. The kinetic hanging piece is composed of a Penrose tessellation embedded with digitally controlled microsensors, shown in detail in Figure [IX], enabling the matrix to physically respond to movement and air currents in the room.24 In a sense, this project is continously undergoing morphogenesis via its response to its context.

Figure [VIII]: Orgone Reef installation17 Figure [IX]: Individual component18

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Generative design opens the way for a new kind of architecture governed by algorithmic thinking and performance analysis. It enables the input of rules relating to the context of the site which govern the production of complex geometries.

A classic example of the benefits of generative design in the roof structure of Grimshaw’s International Terminal at Waterloo Station, London, shown in Figure [X]. An algorithm was used to design and manipulate the arches of the roof based on the contraints of the building site. The virual model was then built upon to include structural information, resulting in a sophisticated and successful design despite the complexity of the site.27

The role of performance analysis in generative design has the potential to increase the efficiency of buildings, not only structurally but also in terms of sustainability, in both an environmental and human sense. The reponsive facade of the Al Bahar Towers in

Abu Dhabi, designed by Aedas, uses generative parametric design paired with performance analysis to create a facade which transforms based on environmental conditions. As shown in Figure [XI] and [XII], the movement of the sun dictates the folding of fibreglass panels, reducing the need for air conditioning.28

While projects like these demonstrate the successful use of generative design, it is important that aspects of traditional design methods are still utilised.

For example, consideration of the context in which one is building must be just as detailed as before. Care must be taken as to the nature of the surrounding area, cultural customs, human activity and the environment.

While the increasing switch to generation and computation creates many exciting design possiblities, it must be incorperated into the design process carefully, enabling it to produce the best outcomes possible.

Figure [X]: Roof structure of International Terminal25 Figure [XI]: Facade of Al Bahar Towers26

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N O T E S

1 Ali Qapu Palace<https://photos.travelblog.org/Photos/196465/716528/f/6923907-Ali-Qapu-palace-0.jpg>

2 Ali Qapu Palace< http://www.iranreview.org/file/cms/files/palais-ali-qapu-iran-490345.jpg>

3 Michael Hensel, ‘Performance-Oriented Design Precursors and Potentials,’ Architectural Design, 78.2 (2008)< http://issuu.com/williamcheung/docs/volume78_issue02_2008_versatility_a> (p. 50.)

4 Ibid., p. 49.

5 Spanish Pavilion at Shanghai Expo 2010 <http://architype.org/wp-content/uploads/2012/12/spanish-pavilion-at-shanghai-expo2010-by-embt-miralles-tagliabue-1-750x500.jpg>

6 Spanish Pavilion<http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2009/08/spain-p.jpg>

7 Julio M. Calzon and Carlos C. Jimenez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai,’ Architectural Design, 4 (2010)< http://issuu.com/jojowasmydog/docs/ad_2010-4_2010-4-the_new_structuralism_design__eng> (p.55.)

8 Smithsonian Institution< http://www.bradypeters.com/uploads/1/6/2/9/1629522/1328130_orig.jpg>

9 Brady Peters, Smithsonian Institution Washington DC, USA, 2004-2007Foster + Partners, <http://www.bradypeters.com/smithsonian.html> [accessed 18 March 2015]

10 Ibid.

11 Will Hunter, ‘Foster & Partners solves a roofing condundrum at Washington DC’s Smithsonian,’ BD Online, (2008)< http://www.bdonline.co.uk/foster-and-partners-solves-a-roofing-condundrum-at-washington-dc%E2%80%99s-smithsonian/3110742.article>

12 Swiss RE Headquarters< http://files.modulo.net/chunks/image/5093d6a522e7b953720022ff/s500x360/507822c622e7b9d50d000001_509d41de22e7b94539000027.jpg>

13 Swiss RE Geometry< http://spirals.homestead.com/Culture/Architecture/SwissREGeometry_edited-1_op_771x663.jpg>

14 Rivka Oxman, ‘Performance-based Design: Current Practices and Research Issues,’ International Journal of Architectural Computing, 1.6 (2008)< http://cumincad.architexturez.net/system/files/pdf/ijac20076101.pdf> (p.5.)

15 Ibid. (p.6.)

16 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) p. 5 - 25

17 Orgone Reef< http://www.philipbeesleyarchitect.com/sculptures/0126manitoba_orgone/cover.jpg>

18 Orgone Reef< http://philipbeesleyarchitect.com/sculptures/0126manitoba_orgone/cambridge2.jpg>

19 Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) p. 5 - 25

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20 Ibid.

21 Ibid.

22 Ibid.

23 Ibid.

24 Philip Beesley, Orgone Reef< http://philipbeesleyarchitect.com/sculptures/0126_Orgone/index.php> [accessed 19 March 2015]

25 International Terminal, Waterloo< http://grimshaw-architects.com/media/cache/d1/6a/d16a7e4d50e08c7b821291390fd826f8.jpg>

26 Al Bahar Towers< http://happypix.co.in/files/techzug/imgs/arch/albahar_abu_dhabi_11.jpg>

27 Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p. 3-62

28 Karen Cilento, Al Bahar Towers Responsive Facade / Aedas, (Arc Daily, 2012)< http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed 20 March 2015]

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A 04. C O N C L U S I O N

The concepts and precedents analysed above summarise aspects of my intended design approach. Design Futuring considered the impact designs have upon the future. In analysing one historic precedent and one contemporary precedent introducing digital design, an understanding of how such designs change architectural practice was formed. Design Computation explored the way in which computing is shaping achitecture, and provided a fundamental basis for undertsanding what computational design is. Finally, Composition/Generation explored the way in which the field of architecture is being influenced by generative design as opposed to conventional compositional design. In conclusion, I believe algorithmic modelling paves the way for a new, efficient design process.

In my further exploration and use of computation in architecture, I intend to make use of the way in which algorithms can contribute to sustainable design but remain sensitive to the cultural context in which it is built. I am particularly interested in how findings from a site analysis can dictate the entire algorithm.

A new aesthetic also emerges from the use of computing in design. I aim to explore the relationship between form and function and how parametric forms influence the atmosphere of a place.

Through this design approach, I hope my design can provide something visually dynamic to the site, while still holding a relationship to the natural surrounds. I hope the design will have minimal impact on the environment while still meeting the needs of users. I also hope to benefit my own architectural knowledge through the use of new tools and approaches to design.

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A 05. L E A R N I N G O U T C O M E S

Exploring the possibilities of computation has enabled me to deeply consider what might be considered as less conventional design approaches. In my research of past design theory, I was able to fully grasp the way in which new digital design theory can shape architectural practice.

When I first began my research, I had a basic understanding of the notion of ‘parametric,’ but knew little about the concepts of computing and the meaning of algorithmic design. An aspect of computing which I can now say draws my interest is the use of performance analysis to generate parametric designs. In my past project, discussed in the Introduction, I can see how performance analysis could have radically changed the way I thought about the design. With my new knowledge, I feel I would have made the design more complex geometrically, perhaps allowing it to respond kinetically to the movement of the water or boats.

I now realise the potential of computing in many areas of the design industry, and how it could change the way in which many buildings, even cities, function.

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A 06. A P P E N D I X

These sketches demonstrate my explorations in Grasshopper using video tutorials, as well as my own experimentation with the variety of components in Grasshopper. Having researched many precedent projects which use basic parametric design, I am developing my understanding of how algorithmic software such as Grasshopper is used.

I selected these sketches because they display a number of Grasshopper components which I may be able to use in my future design. They represent my exploration of lofting, mapping objects to surfaces, placing contour lines on surfaces and exploring the way in which data is organised in Grasshopper.

These sketches also demonstrate the use of generative methods to produce design outcomes. While there was no brief or constraints in these miniature designs, I had no preconceived idea of what would be produced, only a rough idea of which instructions to deliver. A lot of experimentation occurred when producing these sketches, highlighting the experimentational nature of algorithmic design as discussed earlier.

Figure [A] Figure [B] Figure [C]

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Figure [D] Figure [E] Figure [F]

Figure [A]: This sketch explores the Map to Surface command. After lofting two curves together, I drew a sphere using Grasshopper and connected it to planes which were spread across the surface.

Figure [B]: This sketch also explores the Map to Surface command, this time using two dimensional Voronoi lines.

Figure [C]: Here, I used the Contour command to place lines across the surface. I then created tubes from those lines.

Figure [D]: In this sketch I explored the Project command, projecting contours onto the XY plane, before lofting surfaces between the contours and hiding the original surface to create an interesting series of planar elements.

Figure [E]: In this sketch I experimented with placing objects onto a different suface, this time using diamond-like shapes, which I created in Grasshopper. I explored the Rotate command to rotate the diamonds to a 45 degree angle.

Figure [F]: Similar to above, except I explored the selection of specific lists of data, namely the Cull command. I then rotated every second row of diamonds to produce an interesting outcome.

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B I B L I O G R A P H Y

Beesley, P Orgone Reef< http://philipbeesleyarchitect.com/sculptures/0126_Orgone/index.php> [accessed 19 March 2015]

Calzon M. Julio and Carlos C. Jimenez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai,’ Architectural Design, 4 (2010)< http://issuu.com/jojowasmydog/docs/ad_2010-4_2010-4-the_new_structuralism_design__eng> (p.55.)

Cilento, K Al Bahar Towers Responsive Facade / Aedas, (Arc Daily, 2012)< http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/> [accessed 20 March 2015]

Hensel, M ‘Performance-Oriented Design Precursors and Potentials,’ Architectural Design, 78.2 (2008)< http://issuu.com/williamcheung/docs/volume78_issue02_2008_versatility_a> (p. 50.)

Hunter, W ‘Foster & Partners solves a roofing condundrum at Washington DC’s Smithsonian,’ BD Online, (2008)< http://www.bdonline.co.uk/foster-and-partners-solves-a-roofing-condundrum-at-washington-dc%E2%80%99s-smithsonian/3110742.article>

Kolarevic, B Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) p. 3-62

Kalay, Y. E Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) p. 5 - 25

Oxman, R ‘Performance-based Design: Current Practices and Research Issues,’ International Journal of Architectural Computing, 1.6 (2008)< http://cumincad.architexturez.net/system/files/pdf/ijac20076101.pdf> (p.5.)

Peters, B Smithsonian Institution Washington DC, USA, 2004-2007Foster + Partners, <http://www.bradypeters.com/smithsonian.html> [accessed 18 March 2015]

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