DESIGN STUDIO: AIRABPL30048, SEMESTER 1, 2015

MICHELLE CURNOW 661589

TUTOR: FINN WARNOCK (GROUP SIX)

3

TABLE OF CONTENTS

4. Introduction

7. PART A: CONCEPTUALISATION

8. A.1. Design Futuring

12. A.2. Design Computation

13. A.3. Composition/Generation

15. A.4. Conclusion and A.5. Learning Outcomes

16. A.6. Appendix - Algorithmic Sketches

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My name is Michelle. Having come from a more traditional art background, I have in the past shied away from digital design, and it has only been in the past couple of years I have really been able to grasp its significance anbd begin to embrace the idea of modern techology in design.

I spent most of my twenties travelling, and have been privileged to see a diverse range of architecture and cityscapes. In my wanderings I was always fascinated by how the layout of a city and its buildings are such a driving force in creating an impression and feel of a place, and it was this particular interest which led me to embark on a degree in Architecture. I always knew I wanted to study something which utilised my passion for expression through drawing, and so it was an easy decision once I made the choice to return to study as a mature age student at Melbourne University. Despite being from Adelaide, I chose Melbourne University because I was impressed with the focus on the environment and sustainable design.

The main challlenge I have faced so far in the degree is utilising the modern technology available to create and design. Having hand drawn a number of projects in my second year, I can certainly appreciate now how CAD technologies can save a designer a vast amount of time, and even promote creativity. Now I have come to realise this, it a matter of pushing myself out of my comfort zone to develop my digital skills.

My first experience with any type of digital design software was with Rhino in my first semester in the subject ‘Virtual Environments’. I found it challenging and quite overwhelming as I didn’t fully grasp the reasoning behind using such technology at first. In hindsight however, being thrown in the deep end was probably a good way to learn as it made other software programs seems a lot simpler.

I am excited by the challenge of using Grasshopper to control and create three dimensional designs in Rhino. Despite my interest in compositional art, I also have a strong appreciation for Math. Another interest of mine is crochet, and essentially the logic behind algorithms applies to this. Crochet patterns would look like code to anyone unfamiliar with the terminology, and creating a crochet pattern is really a string of inputs (stitches) which are continually repeated to achieve a desired outcome. The inputs can be altered and modified to create variances. The concept of using parameters and components with inputs and outputs makes logical sense to me, and I am excited to see what I can do in this studio.

INTRODUCTION

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7 CONCEPTUALISATION

PART A:

CONCEPTUALISATION

8 CONCEPTUALISATION

FIG.1 SAHMRI HTTP://WWW.PETERCLARKE.COM.AU/WP-CONTENT/UPLOADS/2014/04/SAHMRI_01.JPG

A.1. DESIGN FUTURING

SOUTH AUSTRALIAN MEDICAL HEALTH RESEARCH INSTITUTE, ADELAIDE 2013

WOODS BAGOT

The South Australian Health and Medical Research Institute (SAHMRI, see Fig.1.) was completed in December 2013 with a $200 million budget, using state of the art technology and innovative engineering techniques to design a building shaped by its needs and uses. The collaboration of teams from varying fields of expertise has resulted in a truly iconic building with a design that has won awards for sustainability and construction techniques.1 In his book ‘Design Futuring’, Fry emphasises the importance of the sharing of expert knowledge and collaboration.2 We can see in the design of SAHMRI how this can achieve outstanding results.

Among the stand out features of the building design is the continuous self supporting façade. Based on a pinecone skin, it is constructed of a structural steel triangulated diagrid frame, and a system of aluminium curtain walls on the east and west elevations.3 The diagrid pattern can also been seen in The Hearst Tower in New York, a project of Foster and Partners completed in 2006 which set precedents for ‘green’ buildings around the world, and it seems possible it may have been a precedent in this instance too.

1 Woods Bagot, South Australian Health and Medical Research Institute (SAHMRI), http://www.woodsbagot.com/project/south-australian-health-and-medical-research-institute-sahmri, [accessed 07 March 2015]2 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008)3 SAHMRI Ltd, Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahm-ri_-_11.2013.pdf, [accessed 07 March 2015]

The frame of SAHMRI is fitted with 6290 triangular glass panels, which are each fitted with a sunshade specifically tailored to that windows position to the sun. (see Fig.2.) This was achieved using a parametric computer modelling suite to determine how the Adelaide sun would fall on the glass of each window. The use of parametric software in this way creates a façade with an optimal passive solar performance. The façade is described as a ‘living organism’, which responds to sunlight, heat load, glare and wind deflection.1

1 John Byleveld, ‘Why the fuss about SAHMRI’s pinecone?’, Indaily, http://indaily.com.au/design/2013/09/16/why-the-fuss-about-sahmris-pinecone/, [accessed 10 March 2015]

FIG.2 SAHMRI FACADE HTTP://MEDIA3.ARCHITECTUREMEDIA.NET/SITE_

9 CONCEPTUALISATION

Along with other members, the collaboration of the architectural firm Woods Bagot and structural engineers Aurecon in the Integrated Design Team led to an engineering solution which met the structural support needs of the building while also staying true to the architectural vision. Woods Bagot envisioned a concept of a ‘floating building’ (see Fig. 4.) which did not have its back to any part of the city (partly due to its unique site geometry), and so the innovative solution to create ‘flower columns’ which reduced the loads of 36 upper floor locations to only six support locations on the ground level helped to achieve this. (See Fig.3.) The flower columns are the structural core and connect the building to the ground. Each column supports a total of 38,000kN, with the slender ‘arms’ carrying the weight via bearing and not with the use of bolts.1

The SAHMRI has become in a short time an iconic building in Adelaide. Its unique eye catching form stands out in a cityscape full of more conventional building types. The design shifts stereotypes of traditional medical research centres by creating an open and light filled building demystifying the role of researchers. (See Fig.5.) Its award winning design and interior facilities are hoped to attract researchers and scholars from around the world. It is considered a world class centre of research and the open spaced, transparent internal layout, is designed to promote collaborations between researchers and clinicians.2 It is a lot to expect from a building design, and it is too soon to tell if top researchers will be lured to the state to work at SAHMRI, but the building is a good example of how collaboration amongst skilled professionals and the use of the most cutting edge technology (along with a huge budget) can lead to an innovative, state of the art, sustainable building.

1 SAHMRI Ltd, Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahmri_-_11.2013.pdf, [accessed 07 March 2015]

2 John Byleveld, ‘Why the fuss about SAHMRI’s pinecone?’, Indaily, http://indaily.com.au/design/2013/09/16/why-the-fuss-about-sahmris-pinecone/, [accessed 10 March 2015]

SOUTH AUSTRALIAN MEDICAL HEALTH RESEARCH INSTITUTE, ADELAIDE 2013

WOODS BAGOT (CONTINUED)

FIG.3 FLOWER COLUMN HTTP://WWW.WOODSBAGOT.COM/WP-CONTENT/UPLOADS/2013/09/14.JPG

FIG.4. FLOATING BUILDING HTTP://WWW.WOODSBAGOT.COM/WP-CONTENT/UPLOADS/2014/07/SAHMRI_TREVORMEIN.JPG

FIG.5. SAHMRI INTERIOR HTTP://WWW.THELEADSOUTHAUSTRALIA.COM.AU/CUSTOM/FILES/DOCS/

10 CONCEPTUALISATION

CONTEMPLAY PAVILION, MONTREAL 2011

McGILL UNIVERSITY STUDENTS

A.1. DESIGN FUTURING

As the name suggests, the ContemPLAY Pavilion is for contemplation and play. It is a piece of street furniture made with locally sourced materials and technology, designed by students at Mcgill University, Montreal as part of the Directed Research Studio program (DRS), in collaboration with F.A.R.M.M (Faculty for Architectural Research and Media Mediation), under the leadership of several key people from various disciplines.1 (See Fig.6.) As well being an excellent demonstration of what can be achieved through the use of parametric modelling, the project is a good example of the potential of working with a trans disciplinary focus.

The project showcases the latest cutting edge processes made available through parametric modelling and digital fabrication. The pavilion, comprising of over three thousand unique pieces of plywood, sheet metal and tubing, is a three dimensional mobius strip with a triangular truss support. (See Fig.7. and Fig.8.) To resolve the issue of the continuing curvature of the mobius strip, the team used the Grasshopper software to create a program which would provide them with various solutions/mock ups that could be altered by easily by varying the inputs.

1 Beth Buczynski, McGill University Students Build Twisted ContemPLAY Pavilion Out of Locally Sourced Materials, (2012) http://inhabitat.com/mcgill-university-students-build-twisted-contemplay-pavil-ion-out-of-locally-sourced-materials/ [accessed 07 March 2015]

FIG.6. CONTEMPLAY PAVILION HTTP://ASSETS.INHABITAT.COM/WP-CONTENT/BLOGS.DIR/1/FILES/2012/09/CONTEMPLAY-PAVILION-2-537X302.JPG

FIG.7. AERIAL VIEW HTTPS://FUTURESPLUS.FILES.WORDPRESS.COM/2011/10/CONTEMPLAY-PAVILION-5.JPG

The program dealt with four main elements: defining the volume of the structure, designing the structural system, the designing and mapping of the cladding onto the frame, and resolving the connection points of the elements ready for fabrication. In this way the team behind the pavilion optimised the digital technology into guiding the design, allowing them to explore design possibilities far more rapidly than would be available without parametric modelling.1

1 FARMM, ContemPLAY Pavilion, (2015) http://farmmresearch.com/projects/contemplay/ [accessed 07 March 2015]

11 CONCEPTUALISATION

CONTEMPLAY PAVILION, MONTREAL 2011

McGILL UNIVERSITY STUDENTS (CONTINUED)

The structural system of the pavilion is a space frame, twisted and attached to itself, creating the moire effect through two layers of cladding. (See Fig.10.) This combination of the mobius strip and moire illusion, is designed to manipulate the viewers perception and facilitate contemplation. (See Fig.9.)

One hurdle the team faced was the intricate number of angles that needed to be accommodated by steel joints. This task would have been excessively time consuming to conduct manually by measuring each of the joints, but through the use of digital technology it was able to be resolved easily.The team were also able to minimise wastage of materials using the program RhinoNest during fabrication. This program places and orients the pieces for cutting on to the sheet, maximising the paper sheet – an example of an intelligent design practice.1

The pavilion has been donated to the public and is appreciated by the people of Montreal as an interesting combination of street furniture, shelter and art. The materials chosen to build with are fully recyclable, and the construction process is completely reversible, meaning it can be (and has been) completely disassembled and moved throughout the city to various locations. The pieces are all lightweight removing the need for heavy machinery to be involved in the relocation of the pavilion..

I think the two precedents I selected are excellent examples of the use of digital modelling to create projects which use the latest technology, while still expressing creativity through intelligent design solutions. Despite the obvious size and budget difference between the two projects, they both have created thoughtful and sustainable architecture that is socially relevant and reflects the needs of their respective communities.

1 FARMM, ContemPLAY Pavilion, (2015) http://farmmresearch.

com/projects/contemplay/ [accessed 07 March 2015]

FIG.8. SPACE FRAME AND TRUSS HTTP://PUBLICATIONS.MCGILL.CA/ENGINEERING-EBULLETINS/FILES/2012/02/ACTUAL-STAGE.JPG

FIG.9. ELEVATION. HTTPS://FUTURESPLUS.FILES.WORDPRESS.COM/2011/10/21.JPG

FIG.10. CLADDING HTTP://AD009CDNB.ARCHDAILY.NET.S3.AMAZONAWS.

A.2. DESIGN COMPUTATION

12 CONCEPTUALISATION

The use of contemporary design techniques such as parametric modelling has allowed for intelligent design to be implemented in modern architecture. Without the analytical capabilities of computer aided design, buildings such as the Swiss Re Building (or The Gherkin as it is known) may not have been possible. The Swiss Re’s specific shape was chosen after extensive parametric modelling techniques were applied to determine the aerodynamics of the building to reduce the wind turbidity associated with tall buildings.1(See Fig.11.) By applying 3D modelling techniques, the form can be easily analysed and modified within software’s capabilities, giving the designer more time for other tasks.

While computer aided design in this sense (analysing data to provide rational solutions) is extremely time efficient and successful, providing the parameters are correct, the weakness in computer aided design lies in our ability to communicate our ideas to computers, and can result in designers relying completely on the capabilities of the software with little of their own creative input.2Despite this, computer aided design techniques have completely changed the design industry. The history of design has evolved from a compositional process with the introduction of 2D computer aided design in the 1980’s, to the game changing software available today which is only limited by the designers imagination. 3

The Endesa Pavilion in Barcelona is another building designed with the use of parametric modelling techniques. The building is an excellent example of design futuring, allowing its form to be dictated by sustainability and not the opposite as in many building designs.(See Fig.12. and Fig.13.) Like the SAHMRI, The Endesa Pavilion has an exterior which optimises its solar performance, with each solar panel carefully positioned and sized based on the data collected which was then fed into software and analysed. The result is a design with photovoltaic panels collecting the optimal amount of sunlight to convert to energy, while also controlling the amount of sunlight entering the building. The building runs at 150% efficiency and generates enough energy for itself and then some.4 This level of precision and performance would certainly not be possible without computation in design.

1 Foster and Partners, 30 St Mary Axe, (2015) http://www.fos-terandpartners.com/projects/30-st-mary-axe/ [accessed 12 March 2015]2 Yehuda .E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press 2004), p. 83 Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–104 co.Design, Shaped By Algorithms, A Solar Powered Pavil-ion That Soaks Up Maximum Rays, (2015) http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays [accessed 11 March 2015]

FIG.13. PV PANELS HTTP://AD009CDNB.ARCHDAILY.NET/WP-CONTENT/UPLOADS/2012/09/505BE65928BA0D2715000218_

FIG.12.ENDESA HTTP://AD009CDNB.ARCHDAILY.NET/WP-CONTENT/UPLOADS/2012/09/505BE68F28BA0D271500021B_ENDESA-PAVILION-IAAC__MG_0358-528X351.JPG

FIG.11. SWISS RE HTTPS://LH6.GOOGLEUSERCONTENT.COM/-5LV8JFFYODK/TYP6V0EWM3I/AAAAAAAAAAU/HQRCLJRRRP4/S1600/GHERKIN+SOURCE+2.JPG

Digital modelling and generative design began in the form of 2D programs that were used to assist architects with drawing their designs, and have since developed to sophisticated 3D software using parametric design techniques, as well as algorithmic additions such as Grasshopper. As mentioned previously, the use of this type of software allows for accuracy and rapid solutions to design problems, resulting in highly efficient building designs such as Swiss Re. Software like grasshopper does not require prior knowledge of programing or scripting, giving designers the ability to create designs that are easily able to be modified interactively.1

Design practices such as Foster and Partners are using parametric modelling and algorithmic thinking to create cutting edge designs that make them leaders in innovative architectural designs. They are using the latest technologies to design sustainable buildings which specifically cater to the needs of their environments. An example of theirs (which I haven’t already mentioned) is the Reichstag in Germany which uses its mirrored façade to reflect sunlight throughout the building making it highly energy efficient building. (See Fig.15. and Fig.16.) Foster and Partners have a dedicated team for generative design (Specialist Modelling Group) who are experts in non standard architecture using parametric processes and scripting. It is of little surprise that they are able to continually produce contemporary relevant designs, such as the Smithsonian Institute in Washington where a single code was written and used to generate and modify the roof geometry as required based on data analysed regarding structural and acoustical performance.2(See Fig.14.)

1 Stavric Milena and Marina Ognen, Application of Generative Algorithms in Architectural Design, acadamia.edu, http://www.wseas.us/e-library/conferences/2010/Faro/MACMESE/MACMESE-27.pdf [ac-cessed 17 March 2015]2 Brady Peters, Computation Works: The Building of Algo-rithmic Thought, Architectural Design, (2013) https://app.lms.unimelb.edu.au/bbcswebdav/pid-4660708-dt-content-rid-16293382_2/courses/ABPL30048_2015_SM1/ABPL30048_2014_SM2_ImportedCon-tent_20140709012321/Peters%20-%20Computation%20Works_The%20Building%20of%20Algorithmic%20Thought%2C%20pp%208-13.pdf [accessed 17 March 2015]

A.3. COMPOSITION/GENERATION

FIG.16. INTERIOR HTTP://WWW.GLOBEIMAGES.NET/DATA/MEDIA/180/REICHSTAG_DOME_BERLIN_GERMANY.JPG

FIG.15. REICHSTAG HTTP://C1038.R38.CF3.RACKCDN.COM/GROUP2/BUILDING19971/MEDIA/05LP1FZ.JPG

FIG.14. SMITHSONIAN ROOF HTTP://MEDIA-CDN.TRIPADVISOR.COM/MEDIA/PHOTO-S/01/0D/15/B5/SMITHSONIAN-AMERICAN.JPG

13 CONCEPTUALISATION

While generative design approaches clearly are beneficial to fast, flexible design and are integral in encouraging the design of complex building structures which respond to their environments, there are some limitations to be considered. Brady (2013) mentions how designers who use and create script are not considered the norm, and while their designs are often celebrated it creates a distinction of scripting as a niche field and ‘isolated craft’, instead of it becoming a mainstream practice amongst designers. Some other misconceptions about parametric design which can lead to its misuse that I identified include the common reference of parametric design as a ‘style’ rather than a method used to control design complexity in a process. 1 This misrepresentation can relate to Brady‘s(2013) earlier comments regarding it becoming a niche skill. Rather than parametric design being admired as a optional style choice it should be embraced by designers as a required skill set. Another limitation identified is that parametric modelling can only be effective if the designer is explicit in his or her inputs. Maximum design flexibility and solutions can only be achieved depending on the information provided. Finally, some degree of skill and mathematical knowledge (or a willingness to learn) is required in design computation as without an understanding of the consequences of processes and parameters, parametric modelling will not be beneficial .

1 Gursel Dino, Creative Design Exploration By Parametric Generative Systems In Architecture, (2012) http://jfa.arch.metu.edu.tr/archive/0258-5316/2012/cilt29/sayi_1/207-224.pdf [accessed 18 March 2015]

A.3. COMPOSITION/GENERATION (CONTINUED)

14 CONCEPTUALISATION

The building examples provided in A1 explain how architecture can be a platform for innovative ideas, both technical and creative and demonstrate how other disciplines can learn from one another. There are many facets to designing, and the sharing and collaborating of knowledge will always be relevant if we are designing towards a future that is sustainable.By using the computational approaches detailed in A2 and further elaborated on in A3, providing we as designers have the foundational knowledge required to use software such as Grasshopper, and are prepared to invest time and effort into developing and enhancing this knowledge, we should be able to utilise parametric modelling to create better – to intelligently design.As we will shortly be delving further into the use of recursion in parametric design to create our installation, I intend to gain a solid understanding of not just how to use the software to create algorithms to aid design, but also why it works the way it does. In this way I will be able to remove limitations on my design which may have been imposed through lack of skill.

A.5. LEARNING OUTCOMES

The study of computational design has really opened my eyes up to a new way of looking at design. Instead of the usual daunting feeling I associate with new technology, I am excited at developing a new skill set. If I had better understood the importance of modelling software and the benefits that could be achieved I am sure my design from the subject ‘Virtual Environments’ would have been far more cohesive, and I would have certainly spent less of the semester feeling bewildered. I have really enjoyed the Grasshopper tutorials over the past few weeks. The logical side of algorithms appeals to me, and as with most subjects, the more I learn and read about the processes the more sense they make, and the more confident in my ability I feel.

15 CONCEPTUALISATION

A.4. CONCLUSION

16 CONCEPTUALISATION

A.6. APPENDIX - ALGORITHMIC SKETCHES

After getting the hang of the basic concept of lofting two shapes together in Rhino, in Fig.17. and Fig.18. I explored on the internet other ways which I could maniuplate form. I followed several tutorials which showed me how to add additional number sliders to control various aspects of my design, including; number of sides of polygon, filleted or sharp corners, the distance between my lofted shapes, and the degree of rotation. Instead of just following along and selectingthe correct parameters and components, i made sure I understood the role each played in the simple vase design. In Fig.2. I also tweaked the points at the bottom of the vase to see what sort of pattern I could make.Fig.3. is an iteration from Week Two. Again, after following along on in class I attempted to recreate the process on my own, again using number sliders to easily tweak and modify the design. Even in these simple shapes it is apparent to me that algorithm software such as Grasshopper can aid a designer in disovering many possible solutions to a problem - providing the designer has an understanding of how to use the software.

FIG.19. SURFACE SPHERES

FIG.18. VASE TWO

FIG.17. VASE ONE

REFERENCE LIST

Buczynski, Beth. 2012. McGill University Students Build Twisted ContemPLAY Pavilion Out of Locally Sourced Materials, http://inhabitat.com/mcgill-university-students-build-twisted-contemplay-pavilion-out-of-locally-sourced-materials/ [accessed 07 March 2015]

Byleveld, John. 2013. Why the fuss about SAHMRI’s pinecone?, Indaily, http://indaily.com.au/design/2013/09/16/why-the-fuss-about-sahmris-pinecone/ [accessed 10 March 2015]

Co.Design. 2015. Shaped By Algorithms, A Solar Powered Pavilion That Soaks Up Maximum Rays(2015) http://www.fastcodesign.com/1670678/shaped-by-algorithms-a-solar-powered-pavilion-that-soaks-up-maximum-rays [accessed 11 March 2015]

Dino, Gursel. 2012. Creative Design Exploration By Parametric Generative Systems In Architecture, http://jfa.arch.metu.edu.tr/ar-chive/0258-5316/2012/cilt29/sayi_1/207-224.pdf [accessed 18 March 2015]

FARMM, 2015. ContemPLAY Pavilion, http://farmmresearch.com/projects/contemplay/ [accessed 07 March 2015]

Foster and Partners, 2015. 30 St Mary Axe, http://www.fosterandpartners.com/projects/30-st-mary-axe/ [accessed 12 March 2015]

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

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

Milena, Stavric and Ognen, Marina. Application of Generative Algorithms in Architectural Design, acadamia.edu, http://www.wseas.us/e-library/conferences/2010/Faro/MACMESE/MACMESE-27.pdf [accessed 17 March 2015]

Oxman, Rivka and Robert Oxman, eds 2014. Theories of the Digital in Architecture (London; New York: Routledge)

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

SAHMRI Ltd. 2013. Facts about SAHMRI, https://www.sahmri.com/user_assets/7167676ad14cf552ceb0972e5d4aa1cbac881a2f/facts_-_sahmri_-_11.2013.pdf, [accessed 07 March 2015]

Woods Bagot, South Australian Health and Medical Research Institute (SAHMRI), http://www.woodsbagot.com/project/south-australian-health-and-medical-research-institute-sahmri, [accessed 07 March 2015]