A I R MONICA SUTISNA 614340 SEMESTER 1 2015

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TABLE OF CONTENT

INTRODUCTION005 About me

CONCEPTUALISATION

006 A.1 Design Futuring 008 Zootopia/ Bjarke Ingels Group Tree Works and Other Instalations/ ILKKA HALSO

012 A.2 Design Computation014 Shenzhen Bao’an International Airport/ Studio Fulkas Research Pavilion 2010/ ITKE

018 A.3 Composition/ Generation020 Esplanade Theatre/ DP Architect & Michael Wilford Digital Grotesque/ Michael Hansmeyer

024 A.4 Conclusion

025 A.5 Learning Outcome

026 A.6 Algorithmic Sketches

028 Reference

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ABOUT ME

My name is Monica Sutisna and I am 21 years old. I am currently on my third year stuying Bachelor of Environment majoring in Architecture in the University of Melbourne. I have been passionate about anything that is related with design and arts since I was really young. i have al-ways known and never doubted myself that when I grow up, I want to be an architect. i learn that being an architect is not only about designing something but also understanding of how the design can be build and work in order to satisfy the users. i have fallen in love with japanese architecture since I started studying architecture for its great simplici-ty and neatness. However this subject I will be exploring and designing something that is complex through technology.

This will be one of the very challenging subject for me because of the software and technology that I need to adapt, understand and get famil-iar with in one semester. However, the challenge that I get every week is also exciting becasue I am able to learn and gain new knowledge that will be very important in my future architecture career.

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DESIGN FUTURING

Sustainability has been a serious issue that people are trying to encounter in order to create a better world for the fu-ture. The number of people in this planet is growing rapidly and with the advanced technology that are used to extract natu-ral resources has resulted in a defuturing condition of unsustainability. First we need to understand the impact of cre-ating something will result in destroying something else then we take this under-standing into an action. As architects we need to be able to understand that we are responsible for the building that we have design and build and so we need to make sure that they do not bring neg-ative impact to the world that is already damaged.

With design we can change the problem that already exsist. The two purposes of ‘design futuring’ are one to slow down the rate of defuturing and to lead us to have a more sustainable living planet.

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It was criticised in the reading that the use of program and software creating pattern where people can put in some data, results or vari-ations will come out and we can just pick our selection. This resulted in the loss of signif-icant and style in the world of design. How-ever is it what everybody is doing right now? we depend on technologies so much such as both 2D and 3D softwares.

As designers we need to keep adapting to the current style and design tool so that we can keep moving forward to the future and not left behind. It is also important to intergrate any design with sustainability in order to pro-duce a functional and beneficial for the user and surroundings.

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ZOOTOPIA BJARKE INGELS

GROUP

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Fig. 1.1 Experience from inside the traveling tube

BIG has a very interesting concept for this in progress project which is to cre-ate a free and interactive relationship between users or visitors (human) and residents (animals). Instead of capti-vating and limiting the space of living for the animals like any traditional zoo, this project has proposed to let visitors experience the real habitat of differ-ent animals. Though it has introduced many man-made inventions and tech-nology, this could be bring positive im-pact especially for the animals as the captivity in traditional zoo has resulted in stress and many death.

The high number of death in many tra-ditional zoo could result in defuturing as well because animals have been an important part of our lives and if their number is decreasing that would mean that the poeple in the future will not be able to enjoy or learn about them as much as we do now. Hence it is a very sustanable project to create a comfort-able living space for the animals so that they can live as long as they could.

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Fig. 1.2 The overview to Zootopia

Tree Revolutions 1, 2008100 cm x 132 cm edition 650 cm x 66 cm, ,edition 10

TREE WORKS AND OTHER INSTALLATIONS

ILKKA HALSO

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Fig. 2.1 Tree Revolution 1, 2008

Evolution Of Tree, version 2.1 Inside, 2006140 cm x 300 cm triptych, edition 6

70 cm x 150 cm, one piece ,edition 10 A Finnish artist, named Ilkka Halso, studies the relationships between ar-chitecture, technology and nature in a natural environment settings. Ilkka ways of connecting nature and architecture is by protecting the trees with scaffolding or any structural elements use to build a construction.

I feel like this is a very interesting prece-dent becuse when i relate it to the pur-pose of design future which is to pro-vide sustainability, this project remind us that we have destroyed alot of nature significantly as population is growing, more resources are needed, more lands or areas that are cleared to build homes and facilities, and we should preserve what we have destroyed.

It is an action of rescuing and cur-ing nature in a very artistic way where nature is given ‘treatment’ or ‘medical care’ to show the urgent of giving back to the nature. The use of scaffold sends a message such that why can’t we try to build back the nature with the same tools that we use to build such complex or big buildings.

“ i show ironic visions of mans re-lation to nature and his confidence in technology in solving problems caused by his own activities. I builded fictives restoration sites. Scaffolding are cover-ing objects of nature instead of houses and man-made objects. Trees, boulders, rock faces and fields are under repair”- ILKKA HALSO

His work actually make me question what is ‘sustainable’ really? We try so hard to use renewable energy, provide green spaces and use materials that are less harmful to the nature which actually links back to the reading De-sign Future by Tony Fry that no matter what we do, we will still destroy nature and remove sources but atleast we can slow down the process or defuturing by restoring the nature or give back to it.

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Fig. 2.2 Evolution of Tree, version 2.1 Inside, 2006

DESIGN COMPUTATIONTechnological advance has been very important element of architecture for so many years as it allows architects to have a more complex design. People are becoming more and more used to develope ideas in computerization softwares be-cause it is faster to work on, more accurate in terms of scal-ing and measuring also it gives a better perspective of how the design will look like in real life.

However, design computation is different from computeriza-tion though they might sound similar. What is design compu-tation and what beneficial it has in designing point of view? Design computation is a new way of exploring design with parametric method also producing it with a different stream of tectonic as well as material creativity. This innovation has put production of design into another level as people will becoming more creative and what was impossible to be build or design in the pas is now possible. Complex design is now becoming into reality as materials and products can be test-ed outside site by using robot or other technology.

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This approach is about problem and solution. Designers are said to be problem solving as they try to find solutions, they will try

and test until the right solution meets their satisfactionary. Trying and testing the formulae combinations is very important in using computation softwares because it is the way we can learn to be-come more creative and innovative in terms of our design prod-

uct. Though computation can be programmed, will not make arithmetical mistakes and have abundant space to store informa-tion, it is only capable of following instruction and lack of creative intelligence . Hence computation is very beneficial and productive

when human’s imagination that could be brought into reality is put together with computation.

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SHENZHEN BAO’ AN INTERNATIONAL AIR-

PORTSTUDIO FUKSAS

The concept of the new Terminal 3 for Bao’an Inter-national Airport by Massimiliano Fuksas is an en-

closed space structure with a perforated cladding of a stretched metal sheet that consist of 400,000 individ-ual sheel component and 60,000 different facade ele-

ments. In this article, the founding partner of Knippers Helbig Advanced Engineering and Head of Institute

of Building Structures and Structural Design (ITKE) at The University of Stuttgart, Jan Knippers mentioned

that computation design provide a great opportunity to structural engineers in terms of removing the tra-ditional way of model thinking and to create a more

complex design forms.

The parametric model was developed using two soft-ware which are Rhinoceros and Microsoft’s Exel where

knowledge of specialized software is not required which result in the forming of universal communica-

tion between architects and engineersThough it has a very complex geometry, it does not lose its function-ality. The double layer skins allow the space to have enough natural light as part of the cladding can be

open. This shows how much change and innovative a design could have with the use of technology.

“The introduction of computational

design offers the potential break

through these barriers of model

thinking in structural engineering”-

Knippers Helbig Engineering

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Fig. 3.1 Overview the airport

Fig. 3.2 The interior of the airport

RESEARCH PAVILION 2010

ITKE

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Fig. 4.1 Top view of the Pavilion

In 2010 the Institute of Computa-tional Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) designed and construct-ed a contemporary research pavilion which was to demonstrate a material that can be develop by performing computational design, simulation and production process in architecture.

This pavilion is the result of com-putational design which to explore the physical behaviour and material characteristic. The material used for this project is birch plywood strips as it is elastic and has bending be-haviour.

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Fig. 4.2 The bending test of the plywood material

The whole construction is made of 6.5 millimeter think birch plywood sheets with a diameter of more than twelve meters. it has 80 different strip pat-terns and the connection between one strips to the other are changing re-sulting in more than 500 geometrically unique parts to prevent concentrated bending moments.

This is a very relatable precedents be-cause of the use of technology to build and manufacture the pavilion and computation to design and test the ability of the material. Design futuring also played a role in this pavilion be-cause plywood is a very sustainable material.

PARAMETRIC MODELLING

Parametric modelling is a digital design tool which based on algorithmic instructions that allows designer to control

and have accuracy of the outcome of the form, construc-tion and design process. What is algorithmic is computing aspect? Algorithmic is a form of method or techniques

to get computer to do something in a more particular and operational way so that computer can follow.

With the increase of improvement in terms of simulation ability and efficiency, architects can predict, model and

simulate the product that can be use as a sophisticated tool between the architects and the public. Furthermore

with this revolutionary of computation tool, the result will not only simulate and communicate the construction form of a building but also the true experience and conceptual logic behind it. Digital tools give the ability to evaluate the design performance of an architectural project at any stages. Design opportunities becomes greater as people are getting more experimental by solving problems with

algorithmic method and they realise that now it could go beyond what it can used to be.

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Computation has become a very crucial part in architectu-al practice becaue it does not only work as a design tool but also how can the complexity of design itself be build in a real world.

The Chief Executive of Foster + Partners, Mouzhan Majidi said: “This hasn’t simply transformed what we can design - its had a huge impact on how we build”

There used to be a boundary between virtual design world with the physical environment however with this tool de-signers are able to learn more about building systems and environments. Basically the tool allows designer to real-ly have the most obvious vision of how the building will look like when it is buid, how is it going to work in terms of functionailty and sustainability. Research, trial and error are fundamental in this new way of designing be-cause with that the result wil become more efficient and reliable. Parametric modelling and the use of algorithmic method should be adapted in architectural world because it leads people to have new creativity and exploration.

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Fig. 5.1 The Interior of Esplanade

The skins of the Esplanade theatre is in-spired by durian plant which has a shad-ing system that resnponse according to sun angles.

DIVA plug-in in Rhinos first developed by the Grauate School of Design at Har-vard University which allows users to evaluate an environmental performance that inlcudes climate based daylighting and single therma zone energy. The use of this software has been very benefi-cial because it allows designers to find a maximum result in making a very sus-tainable building. The different angle of triangle shaped alumunium in the facade allows maximum natural light enetering the space.

Hence the shape of the building does not contribut to the beauty of aesthet-ic aspect but also the amount of light could enter the internal space.

Computation has given the designer so much control on how much light could enter into the space. By adapting to the technology, people can have fully control on the level of performance of their buildings.

This precedent shows how much digital tool has contribute in providing a sus-tainable space for the people. it shows that the building does not only have such a complex geometry but also has a function that has been modified to have the best possible outcome.

THE ESPLANADE THEATRE

DP ARCHITECT & MICHAEL WILFORD

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Fig. 5.2 Esplanade Theatre from outside

DIGITAL GROTESQUE

MICHAEL HANSMEYER

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Fig. 6.1

“In the Digital Grotesque project, we use these algorithms to create a form that appears at once synthetic and organic. The design process thus strikes a del-icate balance between expected and the unexpected, between control and relinquishment. The algorithms are deterministic as they do not incorpo-rate randomness, but the results are not necessarily entirely foreseeable. In-stead, they have the power to surprise.” - BENJAMIN DILLENBURGER

This project is an order between cha-os and order, natural and artificial. The perception of the shape is in the eye of beholder. It is the result of material and fabrication exploration with the use of technology which is a human-scale enclosed structure with a high level of complexity and detail with a size of a 3.2 meter high and 16 square meter large room.

Digital Grostesque is designed by al-gorithm where high level of complexity can be explained, made and commu-nicate through the digital tool which is impossible to be sketched by hand. The accuracy of each section and detail of the design can be directly rendered into reality. With a total of 260 million indi-vidual character of the geometric mesh is controled by an input.

Though there is a limitation of 3D Print-ing in terms of scale and material costs, the use of sand-printing technology help them to overcome these issue.

This precedent shows how far technolo-gy can be push in architectural to create such a unique space and experience for the user.

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Fig. 6.2 The 3D model of Digital Grotesque

CONCLUSION

Architects responsible with what is built and what will be build in this world. As the world is growing significantly, more natural resources are taken away and more land is used to satisfy human needs. With the use of technology, ar-chitects can control the outcome and function of the building in a more de-tail scale. In order to really make use of this digital tools, they need to make sure that the design does not have a good aesthetic aspect that could be enjoyable for people to see but also has functionality that could be sustainable for the future.

Technology has put architectural world into a more innovative design that has more potential in bringing benefits to the society and also greater opportunity in designing something which was prob-ably impossible to be brought into re-ality in the past. When building system can be controlled and supervise with the use of digital tools, it becomes more effective.

It is a challenge for architects to create a more sustainable living space where the reality is that we are using natural resources faster than its rate of produc-tion. Perhaps with the help of technol-ogy and digital tools, there born a new system to create a functional, systemat-ical and sustainable living space to slow the rate of defuturing.

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LEARNING OUTCOMES

i have learn the meaning of parametric design, what algorithm can do to con-trol a design and how can technology be beneficail in terms of sustainability. Before taking this subject, my knowl-edge of design in architectural world is bounded by physical aspect and sus-tainabilty. My knowledge of the appliac-tion of technology in buildings are very limited which I did not know many fa-mous buildings that really make use of digital tools.

When researching for precedents, I was very facinated and amused by the ad-vance technology and how much bene-fits it has given to the people.

By doing the conceptualisation of stu-dio air, I have clear understanding the difference of computerization and com-putation.

Without any learning drive, these tech-nologies will mean nothing as millions of errors, trial and research are part of the effort designers have put to improve the architectural world.

Being creative is great but when these creativity is combine with computation it would have more significant. Hence I keep reminding myself not to give up whenever I get stuck with formating and matching formulae in Grasshopper because it is hard but with practice i will definitely get use to the program.

The engineers and architects who are absolutely willing to learn and adapt to the new system where computaion be-comes a communication tools are very inspiring.

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ALGORITHMIC SKETCHES

1 2

a b

From 1-5 I have tried to transform and modify with the tool of catanery. From

the very simple links to the more compli-cated where I tried to add more inputs.

The more input I tried to put in, the more interesting outcome it produced which makes me want to keep trying and see

what other tools I can use to modify the outcome.

I have many error outcomes too that might be very challenging because I get really stuck. This exploration result in a

complex looking geometry

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REFERENCE

[1] Tony Fry, Design Futuring: Sustainabili-ty, Ethics and New Practice (New York Berg, 2009), pp 1-16

[2] Zootopia. (No publication date). Retrieved from http://www.big.dk/#projects-zoo

[3] Fabrizi, M. (2014). The Paradox of Nature Preservation: Works by Ilkka Halso. Retrieved from http://socks-studio.com/2014/03/04/the-paradox-of-nature-preserva-tion-works-by-ilkka-halso/

[4] Chin, A. (2010). Ilkka Helso: Nature Res-cue. Retrieved from http://www.designboom.com/art/ilkka-halso-nature-rescue/

[5] Fabrizi, M. (2014). The Paradox of Nature Preservation: Works by Ilkka Halso. Retrieved from http://socks-studio.com/2014/03/04/the-paradox-of-nature-preserva-tion-works-by-ilkka-halso/

[6] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

[7] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

[8] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Meth-ods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

TEXT

[9] Knippers, J. (2013). From Model Thinking to Process Design. Retrieved from http://knippershelbig.com/sites/default/files/pdf/from_model_thinking_to_process_design_jk_2013.pdf

[10] ICD/ITKE Research Pavilion 2010. (no publication date). Retrieved from http://www.achimmenges.net/?p=4443

[11] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Ency-clopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

[12] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Archi-tectural Design, 83, 2, pp. 08-15

[13] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Archi-tectural Design, 83, 2, pp. 08-15

[14] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Archi-tectural Design, 83, 2, pp. 08-15

[15] Diva For Rhino. (2014). Retrieved from http://diva4rhino.com/

[16] Digital Grotesque. (No publication date). Retrieved from http://www.michael-hans-meyer.com/projects/digital_grotesque.htm-l?screenSize=1&color=0#10

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REFERENCE

IMAGES

Fig. 1.1 Experience from inside the traveling tube <Retrieved from http://www.big.dk/#projects-zoo>

Fig. 1.2 The overview to Zootopia <Retrieved from from http://www.big.dk/#projects-zoo>

Fig. 2.1 Tree Revolution 1, 2008 <Retrieved from http://ilkka.halso.net/>

Fig. 2.2 Evolution of Tree, version 2.1 Inside, 2006 <Retrieved from http://ilkka.halso.net/>

Fig. 3.1 Overview the airport <Retrieved from http://www.archdaily.com/472197/shenzhen-bao-an-inter-national-airport-studio-fuksas/>

Fig. 3.2 The interior of the airport <Retrieved from http://www.archdaily.com/472197/shen-zhen-bao-an-international-airport-studio-fuksas/>

Fig. 4.1 Top view of the Pavilion <Retrieved from http://www.achimmenges.net/?p=4443>

Fig. 4.2 The bending test of the plywood mate-rial <Retrieved from http://www.achimmenges.net/?p=4443>

Fig. 5.1 The Interior of Esplanade <Retrieved from http://www.dpa.com.sg/projects/esplanade/>

Fig. 5.2 Esplanade Theatre from outside <Retrieved from http://www.dpa.com.sg/projects/esplanade/>

Fig, 6.1 <Retrieved from http://www.michael-hans-meyer.com/projects/digital_grotesque.html?screen-Size=1&color=0#10>

Fig. 6.2 The 3D model of Digital Grotesque <Re-trieved from http://www.michael-hansmeyer.com/projects/digital_grotesque.html?screenSize=1&col-or=0#10>