Studio: Air

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DESIGN STUDIO: AIR ABPL30048, SEMESTER 2, 2015 MICHELLE CURNOW 661589 TUTOR: BRAD ELIAS (GROUP FIVE)

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Transcript of Studio: Air

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DESIGN STUDIO: AIRABPL30048, SEMESTER 2, 2015

MICHELLE CURNOW 661589

TUTOR: BRAD ELIAS (GROUP FIVE)

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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

20. PART B: CRITERIA DESIGN

21. B.1 Research Field

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CONCEPTUALISATION 54

My name is Michelle. Having come from a more traditional art background, I have in the past shied away from digital design, however in the last twelve months I have really been able to grasp its significance and realise in order to be a successful designer I must align computation and digitalisation with my previously held notions of design.

I am fortunate to have seen a diverse range of architecture and cityscapes in my life time and I have always been 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 knew I wanted to study something which utilised my passion for expression through drawing, and I specifically chose Melbourne University because I was impressed with the focus on the environment and sustainable design. I am beginning to see how these concepts are closely linke to computational 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, 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 loking forward to the challenge of using Grasshopper to control and create three dimensional designs in Rhino. Despite my interest in compositional art, I do have a strong appreciation for Math. A particular 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 interested to see what I am able to achieve in this studio.

INTRODUCTION

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PART A:

CONCEPTUALISATION

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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. This is an excellent example of using computational design to assist in a complex situation, and demonstrates the possibilities which can be achieved.

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

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 forward thinking computational design experts (along with a huge budget) can lead to an innovative design that interacts with its environment and promotes sustainable alternatives, while still meeting the needs of its brief.

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/

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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]

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..

The two precedents I have selected are good examples of the use of computational design in two very different scenaios. Both projects 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.

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A.2. DESIGN COMPUTATION

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 the aforementioned 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 this is the Reichstag in Germany which uses its mirrored façade to reflect sunlight throughout the building, making it a 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

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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 computational design, buildings such as the Swiss Re Building 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. Without the use of computation, designing a building such as this would be far more complex, take a lot more time, and would require a much larger budget.

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 .4 This level of precision and performance would certainly not be possible without computational design, and the project is a good example of the relevance of skilled designers and their importance in design futuring.

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

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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)

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 more complex algorithms in Grasshopper to support our designs, I intend to gain a solid understanding of not only how to use the software to create algorithms, 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 and understanding.

A.5. LEARNING OUTCOMES

The study of computational design has provided me with a new way of looking at design projects. I am able to appreciate certain nuances which previously I may have overlooked. Instead of the usual daunting feeling I associate with new technology, I feel excited at developing new skills which will be relevant in my future career as an architect. If I had better understood the importance of modelling software and the results that could be achieved I am sure my final design from the subject ‘Virtual Environments’ would have been far more cohesive, however I still believe my previous experiences with Rhino have been beneficial in my learning process. Additionally, 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. I look forward to progressing on to Part B and further developing and fine tuning my skills.

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A.4. CONCLUSION

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A.6. APPENDIX - ALGORITHMIC SKETCHES

Following the demonstration videos which explained triangulation algorithms, I attempted to make sense of various algorithms and their practical purposes, by considering building facades i am familiar with.Using the obvious example of Fed Square, I used the voronoi compponent on a box, and then subracted polysurfaces after baking the geometry to Rhino.

Using the voronoi component to manipulate geometry in Rhino.

Federation Square, Melbourne

A.6. APPENDIX - ALGORITHMIC SKETCHES (CONTINUED)

After finding a n image of the Alibaba Headquarters in Hangzhou, China, I tried to recreate the 2D voronoi pattern they had used. The pattern is not the same, however the process they would have used to develop this facade would have followed the same principles.

Alibaba Headquarters, Hangzhou, China

Using the 2D voronoi and offset components to generate patterns.

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A.6. APPENDIX - ALGORITHMIC SKETCHES (CONTINUED)

Finally, here are some examples of geometry I have created in Rhino, and then used algorithms in Grasshopper to manipulate. The first is a cylinder, which I have used number sliders and varying degrees of rotation to alter its shape. By tweaking the number sliders I was able to make numerous iterations very quickly. I have included an interesting example below. The remaining iterations are more complicated and involved taking solids drawn in rhino and then using the Brep functions in Grasshopper to deconstruct and separate into the lists the faces and vertices. From there, usingnumber sliders, vector and movement components, along with the anemone plug in, I was able to generate a pattern on a controlled loop where triangles were formed along the surface edges of the original object at controlled lengths.

Cylinder.

Two examples of spheres being altered in Grasshopper.

Cube.

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]

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PART B:

CRITERIA DESIGN

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The discussion in Part A surrounded the opportunities and limitations of using computational design in architecture. In Part B I will delve further into the discourse around digital design, narrowing my focus to the research field ‘Patterning’. Through innovative precedents, research, and my own experimental results in Grasshopper, I will develop a detailed understanding

of patterning in architecture.

Ornamentation has been in and out of favour since the 19th century, with everyone from John Ruskin to Robert Venturi venturing an opinion on its place within architecture. Significant architects in favour of ornamentation include Ruskin and Gotfried Semper. Ruskin celebrated the craftsmanship of ornament in the short lived gothic revival period, and later in the Renaissance revival period Semper articulated

his interest with polychromy patterning and decorated facades. However, with the rise of modernist architecture in the early 20th century, a backlash against ornamentation occurred, led by the vehemently opposed Adolf Loos. Modernists like Loos, Louis Sullivan, and Mies van der Rohe (amongst many others), and movements such as De Stilj are responsible for the stripped back facades modernist buildings have become known for. With functionality a driving factor behind the modernist ethos, an interest in

ornamentation only emerged again, in the form of post modernism, after cities had become saturated with the modernist style.

Much of the discourse around ornamentation relates to its lack of function and purpose. Architecture in the 21st century seeks to address this. Examples such as Centre Georges Pompidou present a mixture of functionality and art by displaying the services on the exterior, highlighting the pipes in bright primary colours. More frequently building shells are being designed by architects, without knowledge of the prospective tenant. This has led to buildings often having the exterior designed by one designer, and the interior by another. With a growing number of buildings being built which do not require a connection between exterior and interior, designers have begun looking instead to connect the buildings with their urban landscape (Moussavi, p17). The luxury of no longer needing to be bound by a buildings’ function presents a unique way for designers to dictate urban space.

B.1. RESEARCH FIELD

Less is a bore - Robert Venturi

Another building which addresses it relationship within its urban space through digital design is the William Barek Portrait Building. The civic section of Swanston Street unofficially begins at the prominent corner location of Portrait Building, and terminates at the southern end at the Shrine of Remembrance. Due to the significant location, design team ARM chose to represent the face of the historical land rights activist Will Barak, wanting to compliment the historic southern end of Swanston St with an equally historical representation at the northern end. In this example the design team have created a culturally significant façade through the use of computerisation. The design is made up of 3D translated panels, which form the balconies of the building. Shadows are created by carving negative space into the white balconies, which from a distance are viewed as a portrait of Barek.

These three examples of patterned facades are striking and represent outstanding results of what can be achieved using computational design, using three very unique ideas. SAHMRI and William Barek

The Woods Bagot’s SAHMRI Building mentioned in Part A, is an example of a building with a patterned façade that responds to its environment with a triangulated diagrid pattern that adjusts according to the position of the sun. The façade’s functionality works dually as a form of decoration. The design team at Herzog and De Meuron similarly produce aesthetically appealing yet performance driven designs. The de Young Museum in San Franscisco is an example of a building design dictated by environmental factors. The city of San Francisco has bird friendly building requirements, prompted due to large numbers of migrating birds colliding with large sheets of glass. The façade of de Young Museum is instead made from copper (a material that will slowly oxidise and blend in with its green surroundings) and lets light through perforated circles in its textured surface. The effect is said to resemble the effect of light filtering through tree branches, successfully achieved by layering two patterns on top of one another.

It can be argued that both of these examples represent parametric design. Neither building has a façade designed to meet a specific style for ornamentations sake. Rather, both designs took external factors into consideration, and then a relationship was created between these elements, which could be analysed and easily altered, and finally an end result was achieved. The results are both functional and eye catching. Woodbury (2014 p153) identifies the relationship building process as a key aspect in the parametric design process.

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Portrait Building in particular would have been near impossible to achieve without the use of digital design, given the sheer complexity surrounding both projects. The ability to develop such sophisticated levels of patterning has only been possible through the availability of new technologies in recent years. Fast emerging technologies have led to design firms having dedicated technology teams, like the twelve person Digital Technology Group at Herzog and de Meuron (Peters, 2014). Teams like this example are there to support the design intent using computation, and as Strelke states, they are there to find the right tool to support the concept, and not the other way around. Strelke also explains the importance of fabrication as a tool to support computation design, although he mentions there are often restrictions with contracts which prevent collaboration between architects and fabricators. These type of issues certainly need addressing in the future to truly capitalise on the opportunities available. Conversely, design theorist Mario Carpo argues that architecture is the one field that for the most part rejects ‘communal making’ (Rowe & Canaris, 2014). It could then be argued that relying on specialised design teams such as the one previously mentioned, in fact limit an architects’ growth, and prevent us from becoming experts in our own field (Rowe & Canaris, 2014). Discourse such as this, really serves to further press upon myself and fellow students the importance and significance of the technical skills we are developing in this studio.

It is not about designing a building using digital tools, but rather to design a building that could not be designed or built without them. - Mario Carpo

B.2 CASE STUDY 1.0

Many of the iterations from this section were done to experiment with the variety of patterning techniques available in Grasshopper. As often as possible I tried to incorporate two patterns into one design as the case study, de Young Museum has in its façade. I felt this was the prevailing aspect of the design and so I tried to repeat it through my experiments. Therefore the criteria I used to select what I considered “successful” designs were chosen based on the way the two patterns reacted with each other, and have primarily been selected due to the visual effect they provide. The designs I have selected incorporate patterns that I see could potentially work as facades, and have room for further development. At this stage I am only beginning to explore the different ways I can create effects with patterns on surfaces and so my selection criteria is purely based on this visual aspect, however as I mentioned in B1, I believe it is important that patterning be used to serve a purpose and/or provide a function.

I was disappointed with the results from using Image sampler. Without considering the complexity of the iteration I was asking Grasshopper to produce, I tried to substitute the repetitive patterning geometry used in an image sampler definition, with another image sampler definition. Understandably this crashed my computer, however I did find it frustrating to have my creativity limited by the power of my laptop. In hindsight, even if this had been successful, if I had then chosen to fabricate the design, the cost would be extremely expensive, given the amount of time the laser cutter would need to produce such a complex design.

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Cull Pattern and Point Charge examples Height of cones affected by point charge Increased height of cones

Geometry Change Geometry Change Cull Pattern Altered

Cull Pattern Altered Two separate patterns combined Point Charge used to affect geometry size

One point charge, centered Geometry change, cull patterns used Image sampler pattern combined with a second

Combining OMA Tribune pattern technique with case study 1 pattern

Geometry Change Image Sampler

Image Sampler Image Sampler Image Sampler

Circle patterns using 2d radial Grid

Extruded cylinders, attached spheres to centres Moire pattern

Moire pattern- changed angle rotated Moire pattern- reduced angle rotatedMoire pattern- very askew

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B.3. CASE STUDY 2.0

The building I have chosen for Case Study 2.0 is the Dior building in the Ginza district in Tokyo, Japan. The façade was designed by Japanese architect Kumiko Inui, and is made of two overlapping sheets of aluminium to create an optical illusion. The patterning technique is known as a moiré pattern, and is created by overlaying two surfaces which are slightly obscure to one another, reaching a blurred /hazy effect. Inui accomplishes this effect using two sheets of white aluminised steel. The outer skin is made up of panels that are punctured with thousands of small holes, patterned in Dior’s signature motif, while the inner façade repeats the same pattern, scaled down to 30% the original size. In the evening the inner skin is illuminated with fibre optic lighting emphasising the design. The outcome is both smooth and textured to the human eye.Inui is well known for her eye catching facades and has successfully achieved this with the Dior building in Ginza. The result is an understated building which stands out amongst a sea of garish designs, accurately referred to as the ‘iPod of Tokyo architecture’ in one review.

After analysing the façade’s form, I realised in fact it was made of only three panels, which had then been rotated to create the larger pattern. After discovering this it was relatively easy to reverse engineer this project. I divided a surface into a repeating circle pattern, and then used the cull pattern to remove the circles I didn’t require. Then I divided the same surface again with another (smaller) circle pattern, and extruded the result. Once setting up each of the three patterns, I then only needed to rearrange the panels to form the Dior pattern. I repeated this process for the inner façade (but did not perforate the circles), and I made them 1/3 the size of the original panels. The result turned out quite well.

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One step I could have taken further to replicate the design would have been to fill the pattern on the inner façade, as that may have achieved a more striking affect. In addition I was unsure of the spacing between the two panels and so when overlaying the two I had to guess the distance. Different offsets would obviously achieve different results. Overall though I am very happy with my reverse engineer and think my design very closely resembles Inui’s pattern. I think it would be interesting to develop this design further in many ways. Different patterning techniques could certainly be explored, and I think it would be interesting to combine the image sampler in the design so that the illuminated pattern was something more detailed. Furthermore, I have been exploring ideas for my own Part C design proposal for a design that incorporates solar power, while provoking discussion about Australia and our emissions targets for 2020, and so I wonder if I could incorporate this technique into that idea in some way. One way could be to use the image sampler to project a perforated pattern of a wind turbine, which is then illuminated in the same way as the Dior building is at night, but through using solar power.

B.4. DEVELOPMENT

Steps involved in reverse engineer:

1. Create a surface and divide into points (U=22, Y=10). Use points to form circle centres.2. Create an individual list for each row, then create individual cull patterns.3. Repeat step one using circles with a smaller radius. 4. Remove circle centres.5. Extrude surface.6. Repeat steps one -five, to form the patterns on the other two panels, then join panels to form pattern.7. Use the same steps to create inner facade, but do not remove the circle centres.

1 . 2 . 3 .

4 . 5 . 6 .

7 . 8 . 9 .

Throughout the development phase I have been able to explore many of the patterning techniques associated with Rhino. After using the cull pattern extensively while completing my reverse engineer of Dior Ginza, I attempted to create my own patterns using a similar process. These were fairly successful, but ultimately did not pose much of a challenge, nor stray too far away from the original definition. I then looked at overlaying image sampler patterns with textured patterns, but I could not see a possibility for workign anything like this into the design brief. I continued to experiment with moire patterns, (using a hexagonal grid), and then investigated the graph mapper component. I found the patterns I could make using this component were quite interesting to look at, and could potentially make an intersting facade on a building. I also explored using the curve attractor on a pattern of offset rectangles, which again, gave an interesting result. Both the graph mapper iterations and the curve atractor iterations gave a result I would like to explore further, however I feel they are quite removed from the original definition I was using, as they only use make one patterned surface. It felt to me that the essence of the definition I began with was the effect provided from combining two patterned facades, and so I also feel like I should explore the possibility of using a moire pattern in my design. At this stage I feel I need to continue to experiement and explore further grasshopper definitions before I could possibly decide how i would like to proceed.

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B.5. PROTOTYPING

At this stage in the design process I am still not entirely sure what form my design will take. I have a fairly strong concept, which I will detail shortly in my proposal, however I have not yet reached a decision on how to encomapass this concept into a physical design. Therefore in the prototype stage I have looked at various patterning techniques and the various effects that can be achieved, as this is what I have been studying, and am hopeful I may be able to incorporate an aspect of this into my design proposal.Images 1 & 2 are early examples of layering two patterns to recreate the moire effect I discussed in B3. Image 1 is not patricularly effective, however in Image B we can see the distinct circular pattern which is forming as a result of the overlapping grid patterns.Images 3 & 4 show the effect of layering parallel lines slightly askew. The optical illusion is quite effective in both of these images, and tends to me more so the further from the image you move. As I have been specifically looking at building facades which include two skins, I would like to work an effect of this type into my design, but I am unsure yet how I will tie it in., as I still feel it is important that I do not use a type of style/pattern purely for onramentatioinal purposes.

After considering ways that i could use patterning in a functional way in my design, I began to explore the use of weaving in architecture.By using two different types of materials, in jxtaposing colours, a patterning effect is able to be achieved in a functional way, as the woven design could then form some sort of structure. I have generated a random pattern, but a more detailed and precise design could easily be achieved. I used cardboard in my basic prototyping, but any flexible material such as bamboo could also be used. The additional benefits of using bamboo are its durability, strength and is completely recyclable. This fits in with the design brief which specifies the use of renewable sources within the design.I will need to explore further, but it seems possible that I could also combine this idea with my earlier patterning work, by creating two woven facades, slightly offset from one another,. to achieve the previosuly mentioned moire effect.In this way, from a ditance the design will provide a visual effect, while up close it could allow users to interact with it by exploring the two different layers.

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B.6. PROPOSALBased on the research I have conducted these past few weeks on patterning, and keeping the project brief in mind, I want to design an Interactive sculpture/artwork assembled in the form of wind turbines to provoke discussion on Australia’s 2020 renewable energy targets. Using the precedent of ARM’s Portrait building, and Dior Ginza, the aim is to find the form of the project using patterning techniques such as image sampling, point attractors and/or cull patterns, incorporating small solar panels into the design so as to illuminate the wind turbines at night. Data and statistics relating to Australia and other countries renewable energy targets will also be incorporated into the design. I have not identified a specific form as yet, howver through my experimentation in the prototyping phase, it is likely I will attempt to use weaving techniques, and a sustainable material such as bamboo in my design.The location chosen is the Contemplation Gardens at the Abbotsford Convent. The reason I chose this location is due to its accessibility by the general public.

As I want my design to provike thought and conversation amongst the general public, the Contemplation Gardens seemed like a suitable site,a s it is a large open area where in the warmer weather people linger and spend time in. In addition the garden has certain areas which recieve a lot of sunlight, which will be necessary if I want to incorporate solar lighting into my design.At this point in time the drawbacks to my design is the lack of a fully formed physical design idea, which consequentially has hampered my prototyping expreimentation. The next week I will need to spend forming a solid plan, rather than just a concept of what I want to achieve, so that i can focus my eforts on designing and developing my idea.As discussed in the interim presentations, I also may be trying to incorporate too many ideas into one project, so from this point onwards I will be shelfing the wind turbine design idea for another time, and instead focus on the incorporating solar power into a patterned facade in a meaningful way.

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B.7. LEARNING OUTCOMES

Objective 1. “interrogat[ing] a brief” by considering the process of brief formation in the age of optioneeringWith my design proposal I have suggested a project that will meet the objectives of the brief by provoking dialogue amongst humans. The built project is intended to intervene in our everyday lives and make us question and challenge our reluctance as a country to step up as a leader in climate change.

Objective 2. developing “an ability to generate a variety of design possibilities for a given situation” by introducing visual programming, algorithmic design and parametric modelling with their intrinsic capacities for extensive design-space exploration;I began this studio with an extremely limited knowledge of Rhino and Grasshopper, and I am now confident in my ability to generate a variety of different design possibilities using computational design methods. My work in B2,B3 and B4 are evidence of the progress I have made, and the many hours I have put in to building my ability.

Objective 3. developing “skills in various threedimensional media” and specifically in computational geometry, parametric modelling, analytic diagramming and digital fabrication;My weakest area still is fabrication, as at this stage my experience is quite limited. I intend in Part C to dedicate my time to improving my expertise in this area in order to develop a more rounded set of skills. I am starting to feel confident using parametric modelling and digital design methods, due tothe amount of effort I have dedicated to learning these skills as evident in Part B of this journal, and I know the next step is to become just as familiar with digital fabrication.

Objective 4. developing “an understanding of relationships between architecture and air” through interrogation of design proposal as physical models in atmosphere;My design concept relies on the space surrounding it to provide the impact intends. The air in between both patterned screens creates a physical space/air that was not defined before. The concept of a ‘wind turbine form’ is a further abstraction on the ‘air’ theme of the studio.

Objective 5. developing “the ability to make a case for proposals” by developing critical thinking and encouraging construction of rigorous and persuasive arguments informed by the contemporary architectural discourse

By completing the required readings, attending lectures, involving myself in class discussions, asking questions, and conducting my own research, I am enabling my learning experience and development of critical thinking skills, in particular in this journal through applying this knowledge in the analysis and critique of the case studies.

Objective 6. develop capabilities for conceptual, technical and design analyses of contemporary architectural projects;

I have met this objective through my critique of precedents and case studies, such as the Portrait Building, SAHMRI, de Young Museum and Dior Ginza. Furthermore I have developed and applied this knowledge in class discussions.

Objective 7. develop foundational understandings of computational geometry, data structures and types of programming;

These skills have been developed from an almost non existent level to a level where I am comfortable creating definitions and developing existing definitions. This is evident in my reverse engineer example where I successfully recreated the pattern on the Dior Ginza façade, and is also evident through my results in the weekly quizzes.

Objective 8. begin developing a personalised repertoire of computational techniques substantiated by the understanding of their advantages, disadvantages and areas of application.

I have begun to meet this objective in the area of patterning through my experimental efforts in case studies 1 and 2. I have a good understanding of where and when certain components are best used, and their advantages/disadvantages. For example the cull pattern component which I used to recreate the Dior Ginza façade, while it provides a very precisely replicated design, is very time consuming and on much larger designs it may not be an efficient use of time. By creating patterns which use the same pattern at various rotations, this cuts down on the number of patterns that need to be created. Fabrication costs are also a consideration when using patterning techniques, as is the cost of laser cutting and or using the raster effect (which I initially thought would be a good way to capture an ‘image sampler’ design, prove very costly on large projects.

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