Stephen Khalek_538235

architecture design studio

AIRSemester One

2013

As a third year level Architectural de-sign student, I have previously learnt to engage with my design through physical methods. Primarily, I devel-oped skills throughout high school us-ing technical manufacturing methods such as vacuum moulding, lamina-tion, fibre glass modelling and various fusions of other techniques. This gave me a passion for realistic and physical interactions with my projects in which I have, thus far, continued into the first two years of architectural design. One skill that I have found engages similarly with designs is the use of watercolours. I have learnt the ef-fectiveness of this method to engage with and emotionally evoke respons-es in viewers, teaching me the impor-tance of multi-media presentation. Resultantly, I hope that this course will allow me to develop my ability to

utilise digital design theory and tools to engage in a different aspect of design, allowing me to engage in the realistic and the physical, however now in 3D conceptual spaces.

From this past work with Rhinoc-eros 5, my interest to engage with 3D digital design tools has grown at a phenomenal exponential rate. As I learn about the abilities of the pro-gram through the extensive use of the online tutorials, my conceptual framework for design possibilities has been networking uncontrollably. I can start to see and design within my head possibilities that would have been constrained by the use of modelling, sketching and the use of watercolours. I can thus realise how the use of digital design theory can create discourse for design.

Digital Design Theory

The identity of architecture has to be con-sidered as a constantly varying and develop-

ing set of rules and languages. Historically, the architectural mindset was narrowed to only use formal

architectural language though conventional design meth-ods. However, the fusing of ideas, norms and cultures through

globalisation, coinciding with the development of technology that offers new design methods, allows the architectural language

to diversify. Resultantly, the previous design ‘formalities’ no longer stand, new materials can be utilised and unconventional designs are

being explored and constructed. In essence the identity of architec-ture has changed forever through the process of continual discourse.

Wilson (2000) suggests that the finite algorithmic principles that CAD programs are scripted to should constrain design to unambiguous convention. However, ipso facto, the opposite stands true as CAD’s “ef-fective procedure” (Wilson, 2000) enables a rooting in reality without distracting the architect’s mind. In turn, this will allow responsive designs that demonstrate innovation, environmental response and relevance. CAD has already revolutionised the way designs are conceived, birthing limitless depth and breadth of conversation and communication into new design perspectives. CAD and more precisely, parametric modelling allows the exponential growth of architecture through discourse.

‘To make architecture is to construct knowledge’- Architecture is an Identity.

Dutton & Lian Hurst Mann, 1996

The Contemporary Arts Centre in Córdoba, Spain is a representation and interpre-tation of traditional geometric laws and recurring patterns as seen in traditional Islamic architecture. The complex 3D fluidity of the tessellating hexagonal shapes rejects the conventional ‘container’ building metaphor. Nieto Sobe-jano Arquitectos describe the homogeneous four walls and a roof shape to be ill-fitting for its globalised market of viewers. Resultantly, a building that has characteristics similar to a warehouse or factory; large con-crete pre-cast panels, continuous concrete floors and minimal win-dows creates an intervening sensation in comparison to other arts centres. This arts centre’s interest is on the non-linearisation of the interior yet the mimicking mirroring effect of the connect-ing rooms.

Furthermore, constructing small perforations to chan-nel beams of light from the facade not only makes the walls glow with the backlit illumination but also metaphorically questions the impenetrability of the uniform pre-cast concrete. Playing with light in this form is a reminder to Louis Kahn’s work in the National Assembly Building, Dhaka, Bangladesh, whereby he selectively utilises light to subconsciously warm interiors and create spatial hierarchy. The strict control of light flow was initiated during the modern-ist period and has been centralised by many famous designers since. It is especially seen in Tadao Ando’s work in the Church of Light.Throughout this period and continuing in the arts centre, the prioritisa-tion of light has allowed a new dimension of design discourse to develop to better incorporate hu-mans into the built envi-ronment.

‘Church of Light’Tadao Ando

‘National Assembly Building’Louis Kahn

‘Contemporary Art Centre’s Interior Hall’Nieto Sobejano Arquitectos

Contemporary Arts CentreNieto Sobejano Arquitectos

Precedent 1.1

A more radical discourse away from the era of container construction is MAD Architects’ Ordos Art and City Museum (2005). The exterior continu-ous surface was a conception of the “ever-evolving digital design tools” (Schumacher, 2011). Ordos is similar to the Contemporary Arts Centre in the way it appears to be impenetrable. The continuity of the outer shell and the minimised entrance suggests a sense of hostility. However, through the perspective of the interior, the light that pierces through the shell breaks down this conception. Resultantly, it opens to a seeming oasis of softwoods and omnipotent lighting from above. The similar conversational discourse of the hierarchical prioritisation of light through limiting its use demonstrates an architectural age whereby human interaction is the paramount prioriti-sation in design.

Precedent 1.2

Ordos Art and City Museum

MAD Architects

Kalay (2004) highlights that architec-ture originated when conception and construction were separated. This dissection allowed for the questioning of the practicality of building. It revo-lutionised a process that was purely centralised around constructing with-in the known realms of structures. In this case, the tessellating capabilities of the square and the truss nature of the triangle were the only fundamen-tals of construction.

However, paper allowed de-signers to test the realms of conceivable design and create outside the paradigms of real-ity.

Escher’s fascination with optical illu-sions and his ability to characterise the impossibility of reality into some-thing seeming plausible on paper is the perfect representation of the opportunities that paper design al-lowed.

Computing in the design process effectively did the same thing that pa-per did to design conception. Compu-tation has allowed for greater abstrac-tion of the design process. It allows the realms of reality to be further tested and realised. Without know-ing where the boundary between reality and fiction is, it is impossible to build to the edge. Computing revolutionises the regularity of space that has been design, into a space that is purposeful. It fully utilises the

rule based and constraint satisfaction methods of design and matches them with the unlimited imagination of its users. This new design process dem-onstrates a highly generative method of thinking and allows the commu-nication skills of design to match the user’s thought process so that no idea is lost amongst the way. However, this traditional perspective still only perceives computing to be a tool that aids design. In reality, computing has developed to be a design process in itself that allow ideas to be produced that would not have been conceived. Interactions with the pliable and mal-leable interface produce new ways of interacting with planes. Previously a plane or surface had only been considered to be a 2D interaction. Through computing, a surface can be considered a 3D unconventional platform; this plays with the idea that it could be unconstrained by planar lines.

When considering the design process, it can be classified either as problem solving design or puzzle making de-sign. The major difference being that problem solving encourages rational,

convergent thinking. Design needs to be a network of possibilities; it needs to incorporate divergent and creative thinking to achieve a goal. When discussing design perspective’s aim to solve a problem suggests there is a singular eventuality that needs to be achieved and once reached, it can no longer be satisfied.

However, through designing to reach a goal, there are “generalized prec-edents, metaphors and symbols” that direct the design solution. It is therefore that all of these things are considered and a network forms to express the possibilities that may eventuate. The ideology of the goal-based design perspective is that it is an evidence orientated design solu-tion. The endless possibility for the network of goals has instigated a paradigm shift in design that priori-tises continual improvement.

‘Computing effectively revolutionised the design process

like paper revolutionised construction’

Penrose Triangle, Mc Escher

Problem Solving or Goal Networking?

ARTICLE 08

66

Precedent 2.1

Precedent 2.2

Transitionally speaking, designers are not only designing physical spaces but they are also designing the tools to design the physical spaces (Peters & Kestelier, 2013). Through the process of writing and modifying algorithms, the way in which spaces are designed is changing and is stylized by the computing designer. For instance, Kalay (2004) suggests that the design process is primarily an analysis of a problem, secondarily, the synthesis of a solution and finally a process of evaluation. Computation allows the analysis of the problem and the evalu-ation – the rational processes, to be minimized and largely incorporated into the phase

of solution synthesis. This will allow time to be allocated to the divergent thinking process of creation, thus al-lowing for a greater investigation into what could be created. The devel-opment of this process is no longer stagnant. The reliance on computing has only been around for a short time in comparison to architectural design. However, already we have seen radi-cal innovations that though traditional design methods, would have never been conceived. Not only this, but the process of design is radically increased. Thus, large-scale construc-tion projects, such as Skidmore, Ow-ings & Merrill’s Infinity Tower, Dubai, 2012 can be-

come feasible to create. The complex-ity of this building, in itself, could not have been constructed without the utilization of computation fabrica-tion, thus we see unification between the design and construction. Ironi-cally, this almost seems cyclical as it was for this very reason, as argued above, that architectural design was developed in the 15th century, so that conception and construction could be separated. However, today, archi-tectural design has reached a point that it should be a holistic ensemble rather than dissected components, thus proving the necessity for compu-tational design.

Infinity Tower, Dubai, Skid-more, Owings & Merrill

Lines of Continuity

Museo SoumayaFerdanando Romero

The perfect proof that contin-uous development and design through computation can have incocievable outputs, unimag-ined by those before us. This building encapsulates the prac-ticality of construction with the innovation and conceputalisation of an architect.

Precedent 2.2

Role Of Computation Computational methods were critical in the design of Museo Soumaya, not only for the aesthetical balance and parabolic geometries but further for the structural design. In the different computa-tional models we can see various elements being tested, including the interactions of wind, the load bearing elements and the ventilation paths. These models could have been calculated almost simultaneous to the design of the building, allow-ing the form to be integrated into the function effectively. This is a revolutionary parametric way to think about design and enhances consistency for a holistic proposal rather than one segmented through the varying stages of hand drawing or 2D CAD design.

The Transition of Design Paradigms

Design should follow the ideological belief of Gemba Kaizen - the ideology of continuous improvement

- Masaaki Imai, 1997 -

When considering the design process, it can be classified either as problem solving design or puzzle making design. The major difference being that problem solving encourages rational, convergent thinking. Design needs to be a network of possibilities; it needs to incorporate divergent and creative thinking to achieve a goal. When discussing design per-spective’s aim to solve a problem suggests there is a singular eventuality that needs to be achieved and once reached, it can no longer be satisfied.

However, through designing to reach a goal, there are “gen-eralized precedents, metaphors and symbols” that direct the design solution. It is therefore that all of these things are considered and a network forms to express the possibilities that may eventuate. The ideology of the goal-based design perspective is that it is an evidence orientated design solu-tion. The endless possibility for the network of goals has in-stigated a paradigm shift in design that prioritises continual improvement.

Necessity for Organics...the blue planet - 3XN

As designs begin to encumber many human aspects into their form, they should begin to become more natural. By undertaking an organic form, the constructs will be a valued part of the domain, effectively fusing the built and biological to create symbiosis within the architecture and an envi-ronmental ecosystem.

Precedent 3.1

Precedent 3.2Agora Gardens, TaipeiVincent Callebaut Architectures

Organics:Designed with a

Double Helix structure

The Future of Humanistic Parametric Design

Precedent 3.2

Symbiosis in Design

This has been seen in Vincent Callebaut’s Agora Gardens, whereby we can see the successful integration of a very humanly associable DNA like structure, a sustainable ecosystem and the compartmentalisation of each apartment to promote individuality in this densely constructed apartment block with a fixed central core. This design (currently under construction) shows the feasibility, innovation and ingenuity that allows parametric modeling to be so positively diverse.

The design space is a very important concept in association to the feasibility of designs through the process of computation. The available design space through conventional design methods is narrow and a template design is usually decided upon early within the design process. The intro-duction of parametric modeling has allowed this to change so that the design space is very diver-gent and expansive. Furthermore, a more regu-lar occurrence is that many different template designs will be explored before a final solution is actually concluded upon. This allows a much broader design perspective that will allow for the integration of complex design ideas.

Generic forms of irregularity are beginning to emerge as a norm in parametric design. Paramet-ric design, can be considered to be stemming two paths; the first being a new design style like mod-

ernism or brutalism. Alternatively, the ge-neric type produced by parametric design could in fact be a limitation of the design method.

The problem is that it creates a flexible but singular and uniform object. Through conventional design methodology it was possible to segment, disjoin or break up the design.

The single uniform principle is a regular occurrence as already noted in; Ordos art and city museum, Museo Soumaya and The Blue Planet. Further-more, there are other structures that look almost identical, for example, from objective analysis, Melbourne’s Southern Cross Station looks almost identical to Skidmore, Owings & Merril’s Conven-tion Centre in Tanggu, China, 2009. This reintroduc-

es the idea of ‘the container’ and proposes the container no longer has four walls and a roof

but instead the ‘new container’ is a para-metrically designed single surface. This is a result of genetic algorithms.

Uniformity in Discourse

Convention Centre, TangguSkidmore, Owings & Merril

Southern Cross StationGrimshaw Architects & Jackson Architecture

Musée des Confluences, Lyon, France

Precedent 3.3

Coop Himmelblau (2001-2014)

v

Discourse:The development of the multi-sensory parametric modeling

into geometries

The rough sketches for Musée des Confluences started as humanistic, rounded and soft. With the intro-duction of the parametric model-ing allowed the design path to be altered to analyse strict geometries whilst retaining the ultimately het-erogeneous design.

Precedent 3.3

Experimentation in GrasshopperThe experimentation into Grasshopper demonstrated to me the flexibility of the designing interface. The manipu-lability of objects is the key strength of this parametric modeling type. In comparison to conventional hand drawn methods, a lot of the designs and details that we have seen above could not have been constructed without the insight of parametric modeling. It instigates a paradigm shift that shifts into a whole new framework of considering three dimensional design. However, the most important aspect of parametric modeling is its ability to rapidly expand ideas based off a goal. For example, to design in an organically progressive style, small elements can be changed to have large affects on the core design.

Through the formation of this investigation of the ex-pression of interest, the role of parametric design has been discussed to investigate the current organic dis-course in architectural design. The birth of parametric design allowed for more holistic and realistic creation of buildings. The design process of architecture is no longer slow and stagnant but now diverse and dynamic. Resultantly, this should allow for the creation of build-ings that also follow this principle.

Jan Gehl describes cities based off pace. There is the 5km hour city or the city at a walking pace, the 60km hour (driving pace) and the city from a bird’s eye perspective. His ideology stipulates that the pace in which hu-mans transcend cities is too fast. Therefore, it is necessary to slow down. Gehl aims to create liveable cities. His ideas were implemented in the closure of Swanston Street in the heart of Melbourne becoming a non-driving street and he has had a large in-fluence in the Danish model of a riding city. He aims to create cities that are far more liveable. However, what he neglects is that even at 5km/hr people are too preoccupied with the multisensory complexity of street level living that they neglect to look up. This makes it impossible to appre-ciate the true architecture of the city. Why should this be neglected and why don’t architects attempt to change this perception? The reason for this may be the lack of continuity between the earth and buildings. The buildings should be organic and seemingly spawn from the ground. Therefore, if there are no lines of disruption and no planar discon-tinuities then there is no reason that there should be a visual disruption. People will therefore begin to appreciate buildings as a whole. Lynn (1998) begins to discuss these ideas when discussing blobs, Architectonics and Topology. By fusing boundaries like Alejandro Zaera-Polo & Farshid Mous-savi in their Yokohama Port Terminal, it is possible to achieve this organic appearance. Conclusively, this will hopefully be achieved through the utilisation of parametric modelling as conventional boundaries and lines are always reinvented through continual discourse.

Conclusion:

A Design Intervention: