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ARCHITECTURE DESIGN STUDIO: AIR

ABPL30048 2013

Ivan TangTutors: Chris, Rosie

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CONTENTS

00 INTRODUCTION

01 CASE FOR INNOVATION A.1 Architecture as a Discourse A.2 Computational Architecture A.3 Parametric Modelling a.4 Algorithmic Explorations a.5 conclusion a.6 learning outcomes

02 design approach b.1 design focus b.2 case study 1.0 b.3 case study 2.0 b.4 technique: development b.5 technique: prototypes b.6 technique proposal b.7 algorithmic sketches b.8 leaning objectives and outcomes

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03 project proposal c.1 gateway project: design concept c.2 gateway project: tectonic elements c.3 gateway project: final model c.4 Algorithmic sketches c.5 Learning objectives and outcomes

References

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ABOUT ME

My full name is Ivan Ho- Lun Tang but I prefer to be referred to as Ivan. I am currently a third year student studying Bachelor of Environments and majoring in Architecture at Melbourne University.

I am par cularly interested in the virtual side of designing due to the greater poten al and fl exibility it off ers compared to its physical counterparts and the prac cal uses it off ers for modern society.

I have had an eclec c, yet not extensive, experience handling computer- aided design so ware. I studied at Deakin University where the course has introduced me to AutoCAD and ArchiCAD which I both found useful in designing 2D and 3D structures while elimina ng the human error factor.

The Melbourne couse introduced me to RHINO and Indesign where I found the former allowed me to design more freeform and natural shapes compared to the more geometrically fi xated shapes in ArchiCAD I learnt. I understand the value of Digital Architecture and that its gaining momentum in the modern world, and am eager to learn and contribute what it has to off er.

INTRODUCTION | ABPL30048 ADS: AIR | PART 00 | INTRODUCTION

1IVAN HO- LUN TANG

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PREVIOUS WORKS

Virtual Environments (2011)The design criteria involved crea ng a 3D model using RHINO to be worn over a part of the body; using a natural process or pa ern as the ini al inspira on. My model was derived from water pa erns, par cularly the light manipula on passing through rippling water and the results the bending light creates.

It was from designing that I found the poten al of parametric design to design and fabricate complex forms effi ciently and accurately.

| PART 00 | INTRODUCTION | PREVIOUS WORKS

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1INSIDE OF VIRTUAL ENVIRONMENTS LANTERN MODEL, 2011

2 + 3ILLUMINATED LANTERN MODEL

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Part 1

case for innovation

01

A.1. architecture as a discourse

| ABPL30048 ADS: AIR | PART 01 | CASE FOR INNOVATION

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Architecture as an en ty is very ambiguous discipline too narrow to be understood through the scope of a singular discipline, but one which requires a collec on of in- depth prac ces.

In its social and urban environment, architecture has the power to infl uence its public domain, where “[it] is as much a philosophical, social or professional realm... and it is through the considera on of architecture as discourse that one can engage with it as visual culture” (Williams 2005). It is also able to refl ect the space it inhabits, but also one to invoke local feedback as a social mediator to engage and interact with the social masses.

As an ar orm, one may not see beyond the discipline’s sterotypes, and overlook the double standards that places architecture that diff eren ates itself from buildings. Williams (2005) outlines the high expecta ons imposed on what architecture should be- permanent, expressions/ statements of me peroids; superhuman standards that society expect from them.

As men oned above, urban spaces are a product of social spaces; with Henri Lefebvre describing architecture being the culmina on of experiences of the urban environment. Experiences where architectural elements are to be viewed through what role they play in the social system, and what the concequen al reac ons are from local society.Just as architecture are more than just fancy buildings designed for others to occupy, architecture can be seen as a social experiment; a discipline covering the network of debates, prac ses and philosophies about the built environment.

“...architecture is as much a philosophical, social or professional

realm as it is a material one, and it is through

the considera on of architecture as discourse that one can engage with it as visual culture.” (Williams 2005)1

ARCHITECTUREAS A DISCOURSE

1 Williams, R. 2005 ‘Architecture and Visual Culture’, in Exploring Visual Culture: Defi ni ons, Concepts, Contexts ed. (Edinburgh, Edinburgh University Press)

| PART 01 | CASE FOR INNOVATION | A.1. ARCHITECTURE AS A DISCOURSE

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The Sendai Mediatheque has been an interest of mine because of it’s styled to ressemble a series of trees as the “trunk” of the structure. What had a racted me was not only the simplicity of the design, but the characteris c of being the “roots” of a technological resource building.

Just as a modern architectural structure can represent elements of the modern world, the Sendai Mediatheque represents, at least to me, how extensive the informa ve or technolical reality has become apart of the modern world. Yet I fi nd that this building isn’t solely u litarian, but it also serves to have a natural, aesthe c purpose.

Ito, T. 1995-2001, Sendai Mediatheque, photograph, viewed 16 Mar. 2013, <h p://3.bp.blogspot.com/_Ien3q8fUKFQ/TD65YksgrwI/AAAAAAAABk8/nY4HW2COLZ4/s1600/Sendai+Mediatheque+2.jpg>

Sendai Mediatheque1995-2001Toyo Ito

| A.1. ARCHITECTURE AS A DISCOURSE | TOYO ITO | SENDAI MEDIATHEQUE

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The Farnsworth House has been an interest to me because it focuses on the connec ons between the individual and society. The inhabitant should be able to coexist with the present culture, but by adhering to a structured framework in order to coexist. Just as a building can be an extension of its user’s personality, I believe the Farnsworth House enables the ability for people to reconnect with the natural surroundings; an issue that has become increasingly apparent in today’s society.

Mies Van Der Rohe, L. 1945-51, ‘Farnsworth House’, photograph, viewed 16 Mar. 2013, <h p://www.designinforma onalliance.org/sites/default/fi les/visits-discoveries-images/farnsworth_house_gmad06_3_0.jpg>

While some buildings can be built purely for u litarian purposes, I view the Farnsworth House as living alongside its inhabitant. Physical elements such as the ligh ng and switches are concealed to provide subtle ligh ng, an aspect I fi nd appealing as it bathes its surroundings in a glow than as harsh ligh ng.

Farnsworth House 1945-51Ludwig Mies van der Rohe

1SENDAI MEDIATHEQUE2FARNSWORTH HOUSE, PHOTOGRAPH

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| ludwig mies van der rohe | farnsworth house

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Part 1

case for innovation

01

A.2. computational architecture

| ABPL30048 ADS: AIR | PART 01 | CASE FOR INNOVATION

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“In a radical departure from centuries old radi ons and norms of architectural design, digitally-

generated forms are not designed or drawn as a conven onal understanding

of these terms would have it, but they are calculated by the chosen

genera ve computa onal method.” (Kolarevic, B. 2003)1

1 Kolarevic, B. ‘Architecture in the Digital Age: Design and Manufacturing’, (New York, London, Spon Press, 2003)

| PART 01 | CASE FOR INNOVATION | A.2. COMPUTATIONAL ARCHITECTURE

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introduction to computationalarchitectureThe role that computers play in design processes are not intended to formulate ideas for the architect, but to supplement and aid them by crea ng virtual replicas of ideas to test its desired eff ect coincides with those intended by the architect.

As well as to generate virtual designs, CAD programs conforms to ra onal forms that are restricted to a series of parameters to refl ect the refi nement process based on the fi nal product’s feasibility and ability to meet the design’s criteria.

As a major issue for designers is to create 3D designs, computers subs tutes much of the physical dra ing or sketching to reduce me and eff ort spent by designers on a process.

Two paradigms of the architectural design process involves the trasi ons Puzzle Making and Problem Solving to produce goals andsolu ons to suit problems as well as to a ain goals to fulfi l expecta ons. As computers follows mul ple parameters pre- programmed,their generated designs are ra onal and rule based to constrain to the limita ons of the project.

| A.2. COMPUTATIONAL ARCHITECTURE | COMPUTATIONAL ARCHITECTURE

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computational architecture

The role that contemporary computa onal designs play in the design process should, as Yehuda Kalay argues, be one that assists its designer by taking care of the minor specifi ca ons and detailings while the designer focuses on fulfi ling the goals set to develop the project’s expecta ons.

This ensures CAD systems to bolster the designer’s toolkit by making changes to the design when the designer changes the specifi ca ons to save me and eff ort otherwise consumed when dealing with a hand-drawn equivalent. Computer so ware can also help visualise complex forms and aid in the fabrica on process by fabrica ng the desired components to be assembled.

Addi onally, such techniques also eliminated the factor of human error during the dra ing phase, where minor discrepancies can have detrimental concequences in the fi nal product. The computa on method allows the poten al of architectural designs not to be limited by the designer’s visualisa on and the fabricator’s abili es.

As the developed design is refi ned by way of ra onalisa on, the refi nement process works to iden fy problems and solve them by imposing constraints that makes the fi nal outcome possible to fabricate.

| A.2. COMPUTATIONAL ARCHITECTURE | COMPUTATIONAL ARCHITECTURE

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Due to the computa onal architecture, various design methods have evolved. One of the intriguing computa onal architectural discourse is topology. Topology allows the designer to focus upon the intrinsic, qualita ve geometric forms unaff ected by changes in size or shape; allowing them to focus more on the rela onal structure between an object’s edges and ver ces rather than its geometry outline.

Giorgini V. 1962, ‘Liberty Centre’, photograph, viewed 23 Mar. 2013, < h p://archpaper.com/uploads/Giorgini_LibertyAerial.jpg>

vittorio giorginiliberty centre (1962)

As the topological transforma ons aff ect the rela onal structure, this can in turn change the object’s resul ng form. A par cularly interes ng element of topology is its dominance over the forms of the rela onal structure.

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| A.1. ARCHITECTURE AS A DISCOURSE | vittorio giorgini | liberty centre

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An interes ng example of topological architecture was Vi orio Giorgini’s wire- mesh construc on Liberty Centre constructed in upstate New York, designed to be a community centre for the town of Parksville. The structure is comprised of mul ple curvatures similar to those found in a mobius strip.

Giorgini V. 1962, ‘Liberty Centre’, photograph, viewed 23 Mar. 2013, < h p://cdnimg.visualizeus.com/thumbs/d3/5b/architecture,rebar,reinforced, concrete,under,construc on-d35b013ac109d0 4ca5cca79e8dab-5d1_h.jpg>

This structure was constructed in 1976 by students of the Pra Ins tute under Giorgini’s supervision, and was intended to be concreted yet was eventually demolished due to a lack of funding.

As such, the topology has the eff ect to “blur” the dis nc ons between the exterior and interior spaceso to avoid the dis nc ve quali es between “inside” and “outside”.

1BIRD’S EYE VIEW OF LIBERTY CENTRE2LIBERTY CENTRE, PHOTOGRAPH

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| A.1. ARCHITECTURE AS A DISCOURSE | vittorio giorgini | liberty centre

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Part 1

case for innovation

01

A.3. parametric modelling

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At fi rst glance, Parametricism seems to allow designers to access a new dimension of designing possibili es. I fi nd that the act of simply defi ning the design’s parameters allows a wider freedom to fabricate ideas, and that much of the workload is removed and taken care of by the so ware. It would seem like the ideal answer, with Patrik Schumacher hailing parametricism as a “creditable, sustainable answer to the crisis of modernism that resulted in 25 years of stylis c searching” (Schumacher 2010).1

An excep onal element in the realm of parametrics is also its defi ni on as a program where the style or design can be researched. However its key feature also seems to be the limita on of the stylewhere the created form may only exist in a laptop or computer so ware. Preceeding styles, including modernism and deconstruc vism, share dis nguishing features that are defi ned as a style.

1 Schumacher, P. 2010, ‘Patrick Schumacher on Parametricism- “Let the style wars begin”’, Architect’s Journal, Greater London House, Hampstead Road, London, viewed 30 Mar. 2013, < h p://www.architectsjournal.co.uk/the-cri cs/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.ar cle>

Parametricism, on the other hand, relies more on the rela onships between the nodes within a system for the form’s aesthe c value. Would architecture reach a point where designing becomes less from the human factor, but a product of algorithms and mathema cs?I believe that parametric architects need to consider more about the nodes and how they relate to each other to con nue thinking crea vely.Just as pens, erasers and rulers can aid the designer, the computer is also a tool to bolster the individual’s work. But they should be careful that their designs are not reduced to computerised limita ons and parameters, but control these tools to support the designer, rather than replace them.

| PART 01 | CASE FOR INNOVATION | A.3. PARAMETRIC MODELLING

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The Yorkshire Diamond consists of a diamond la ce structure made up of infl atable tubes with an excavated interior. The la ce structure is arranged to the atomic structure of a diamond and the tubing pa erned geometrically. Each tube has been precision cut by a computer controlled cu ng machine to ensure each component and shape is uniform when it’s infl ated.

I fi nd that using computer so ware has allowed this design to be possible, even with scale models it would be virtually impossible to fabricate the individual piece, much less determine without virtual simula on whether it its possible to build.

Various Architects 2009, ‘Yorkshire Diamond’ (Cafe- Lounge Interior), viewed 01 Apr. 2013, <h p://ad009cdnb.archdaily.net/wp-content/uploads/2009/02/1264202964_cafeloungeinterior.jpg>

Various artistsyorkshire diamond(2009)

| A.3. PARAMETRIC MODELLING | VARIOUS ARTISTS | YORKSHIRE DIAMOND

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The la ce structure incorporates established infl atable technology to create a stable 3D structure; adding stability to a mul ple domed units made up of a triangulated network of tubing with double layered cushions. Due to the pressurisa on system and the closely monitored fans installed, the structure will remain structurally rigid; even when the surface has been pierced or damaged.Various Architects 2009, ‘Yorkshire Diamond/ Yorkshire Renaissance Pavilion’, viewed 31 Mar. 2013, <h p://www.archicentral.com/wp-content/images/1125720871_diagram-ligh ng.jpg>

1DIGITAL PHOTO OF YORKSHIRE DIAMOND2PROPOSED MODEL OF CAFE- LOUNGE INTERIOR3 + 4NATURAL VENTILATION AND DOUBLE- LAYERED SKIN OF THE LATTICE STRUCTURE’S TUBING

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The structure weighs seven tonnes , consists of 98 seperate towers and made up of over two thousand unique pieces. The design is based on a triangular grid, with each of the towers 3.8 meters high each built from about 600 wooden parts intersec ng the sculpture at a precise angle of 25 degrees whilst immita ng the tower’s founda on pa ern.

Libeskind, D. 2005, ‘Futuropolis’, photograph, viewed 01 Apr. 2013, <http://www.designtoproduction.ch/content/view/12/41/>Libeskind, D. 2005, ‘Futuropolis’, photograph, viewed 01 Apr. 2013, <http://www.designtoproduction.ch/content/view/12/41/>

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One benefi t of parametric design, such as Vectorscript, allows designers to model their parametric model digitally. The Futuropolis design is a seemingly complex structure based on simple parameters and defi ni ons set out by the designers that the computer obeys to digi se the proposed form.

With the help of parametric design so ware, Daniel Libeskind has been able to fabricate the Futuropolis sculpture within two weeks and saving over 70% of produc on costs.

Libeskind, D. 2005, ‘Futuropolis’, viewed 01 Apr. 2013, <http://dinofracchia.photoshelter.com/image/I00008CkvgIjpi1w>

The structure incorporates simple virtual parameters to create principles and limita ons for the Vectorscript so ware to use to digi se the sculpture. The design is based on an algorithm to restrict the design to manufacture and construct the sculpture to serve as the basis for manufacturing and construc ng the structure.

Daniel LibeskindFuturopolis (2005)

1 + 5FUTUROPOLIS, PHOTOGRAPH2ASSEMBLY PROCESS OF FUTUROPOLIS SCULPTURE- INDIVIDUAL PIECES ARE ASSEMBLED TOGETHER IN GROUPS3VIRTUAL OUTLINE OF MODEL, ENLARGED SECTION OF ONE ELEMENT SHOWS HOW THE PIECES CAN FIT TOGETHER4TECHNICAL SPECIFICATION OF CONNECTION

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Part 1

case for innovation

01

A.4. algorithmic explorations

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I’ve extended on the grasshopper commands covered in the weekly tutorial videos, with my fi rst a empt created by combining a few of the commands to experiment with the result.

As I understand the parametric so ware processes the inputs via the command, I have experimented with the poten al models by feeding suceeding commands with respec ve inputs. Compared to crea ng from RHINO or physical dra ing, parametric modelling reduces much of the workload I would have undertaken.

This research, I believe, has worked to further expand on the poten al of the used commands, and to explore the extent that the parametric design can be taken. On the le are a sequence of stages to develop the form using poten al Grasshopper commands, though much of the work came through trial and error. While most of the designing workload was gone, it was replaced with compu ng inputs and outputs to reach the fi nal outcome.

| PART 01 | CASE FOR INNOVATION | A.4. ALGORITHMIC EXPLORATIONS

1 - 4DELAUNAY EDGES COMMAND CREATED FROM LOFTED SURFACE USED5 - 6SUBTRACTING ELEMENTS FROM VORONOI 3D COMMAND

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Part 1

case for innovation

01

A.5. conclusion

A.6. Learning outcomes

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| 01 CASE FOR INNOVATION | A.5. CONCLUSION | A.6. LEARNING OUTCOMES

The introduc on of parametric so ware has created new poten als and possibili es in Architectural design.The use of parametric modelling has allowed the crea on of new architectal structures to be possible. Such building structures allows the form to become more organic and fl uid, allowing more freedom to designer’s poten al. As the form responds to its immediate environment to aff ect the audience’s experience, a well- designed form will create discourse in the local popula on to encourage social discussions and debates.

Just as architecture can be seen as a social experiment; parametric modelling is the design medium where the network of architectural conversa on can exist and thrive in the built environment.

a.5. conclusion

From my experiences with parametric modelling over the past few weeks, I realise this new discipline requires a new way of thinking. Unlike the RHINO so ware during Virtual Environments, parametric modelling requires understanding of how elements of the nodes relates to one another.Ini ally, my opinions was that architectural compu ng aids the designer but feared it removed the human input from the design process. While the algorithms control the resul ng form, it is humans who designed the algorithms, and the human element will be ever- present in architectural prac se.

If I had this knowledge during Virtual Environments, the fi nal product would be very diff erent as a new dimension of poten al ideas would be availible to explore. Addi onally, the algorithmic codes would reduce the workload to give freedom to discover new designs.

a.6. learningoutcomes

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Part 2

DESIGN APPROACH

02

B.1. DESIGN APPROACH

| ABPL30048 ADS: AIR | PART 02 | DESIGN APPROACH

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Following discussions with the group members, the parametric approach was decided to be Geometry as the project’s main design principle. The principles of ordered and geodesic shapes created means the model would be ra onalised and harking towards the computa onal approach to parametricism, yet promises complex and intricate forms whose buildability is only possible by the poten al of Parametricism.As a parametric approach, Geometry is believed to support Parametricism as the style uses ra onal logic computa onal design as key defi ni ons for the generated form, while Geometry relies on logical reasoning and quan fi able parameters as its forms’ style. But Geometry isn’t restricted within the confi nes of conven onal geometrical shapes, instead uses “animate geometrical en es- splines, nurbs and subdivs”, as argued by Patrick Schumacher as elements in a system (Schumacher, P. 2010)1. Yet while such argument only sees Geometry as building elements, it leaves li le for the design approach alone to make up the overall form; and may rely on other approaches to enhance the form for a more complex result.

The SG2012 Gridshell incorporates geometry and structure for the mber’s self- standing framework. Pa ern is present by the arrangement of straight wooden beams along geodesic lines and material performances by researching and exploi ng the mber in an eff ec ve and natural manner (Smart Geometry, 2012)2.Geometric designing can focus on the construc on of the form, and may rely on simple rules for the so ware to follow. Such rules may include minimising the surface tension, as demonstrated in the Green Void’s freely stretched surface within its space to produce a naturally fl owing form. This can also ensure a minimal maintenance required and a rapid installa on peroid (Pohl, E. B. 2008)3.

DESIGN FOCUS | PART 02 | DESIGN APPROACH | B.1. DESIGN FOCUS

1 Schumacher, P. 2010, ‘Patrik Schumacher on parametricism - ‘Let the style wars begin’, Architect’s Journal, Greater London House, Hampstead Road, London, viewed 09 Apr. 2013, <h p://www.architectsjournal.co.uk/the-cri cs/patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.ar cle>2 Smart Geometry, 2012, ‘Gridshell, Smart Geometry’, MATSYS, 4881 Sha uck Ave. Oakland, CA, viewed 10 Apr. 2013, <h p://matsysdesign.com/category/projects/sg2012-gridshell/>3 Pohl, E. B. 2008, ‘Green Void/ LAVA’, Archdaily, viewed 10 Apr. 2013, <http://www.archdaily.com/10233>

“Instead of classical and modern reliance on rigid geometrical fi gures – rectangles, cubes, cylinders, pyramids and spheres – the new primi ves of parametricism are animate geometrical en es – splines, nurbs and subdivs.” (Schumacher, P. 2010)1

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Part 2

DESIGN APPROACH

02

B.2. CASE STUDY 1.0

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| PART 02 | DESIGN APPROACH | B.2. CASE STUDY 1.0

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DISPERSED SPAR

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AM

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Using the Case Study VoltDam as the basis, the variables of the number of elements (# Points) present and the organisa on of them (Seeds #) were used to experiment diff erent possible outcomes. These selected variables were found to have a profound change on the form’s overall result. The inten on of this process was to fi nd what eff ects the dispersal and quan ty of the elements can have on a given space, with a crowded space being ideal for enclosing and lanke ng while a par al space would divide the no on of internal and external spaces- with large generated gaps producing viewports to the other side.

| PART 02 | DESIGN APPROACH | B.2. CASE STUDY 1.0

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| PART 02 | DESIGN APPROACH | B.2. CASE STUDY 1.0

ORGANIZED

Understanding what eff ect changing one variable can have can help develop the model’s poten al, or by selec ng the most eff ec ve elements for their overall result.Experimen ng with variables like the number of points generated within a 2D space or dispersion of elements (in this case, the cones) doesn’t result in a linearly fi xed change. Instead, the varia on as the inputs are slightly altered would dras cally change the organisa on of the shapes, while introducing more cones disperses the other cones in the space. However other variables may only slightly change elements, such as the cone’s height, radius and open hole size.