A I RL u k e A d a m s o n S e m 1 , 2 0 1 6

Fig 1.Ideas Y ProyectosDiseño Y Algoritmo2014

CONTENTSIntroduction

PART AA.1. Design Futuring

A.2. Design ComputationA.3. Composition/General

A.4. ConclusionA.5. Learning Outcomes

A.6. Appendix- Algorithimc Sketches

PART BB.1. Research FieldB.2. Case Study 1.0B.3. Case Study 2.0

B.4. Technique DevelopmentB.5. Technique: Prototypes

B.6. Technique: ProposalB.7. Learning Objectives & OutcomesB.8. Appendix- Algorithmic Sketches

PART CC.1. Design Concept

C.2. Tectonic Elements & PrototypesC.3. Final Detail Model

C.4. Learning Objectives & Outcomes

A.1.

INTRODUCTION

Studio Earth Pavilion, 2015Rhino & Photoshop

Studio Water Boathouse Archicad

Luke Adamson - 3rd Year Architecture.

Growing up I have always had an interest in design, fostered in the early years of education before coming to fruition in studying at the University of Melbourne under the Bachelor of Environments. Archi-tecture had always interested me through its ability to satisfy simplistic human needs while providing more than just the bare necessities, sculpting lanscapes and areas to create a broad spectrum and

exerpiences.

It has become increasingly obvious that technology plays a vital role in the ar-chitecture of today’s society. Various digital design ideas are available and employed in a plethora of ways. My previ-ous experience with digital design meth-ods has been highly self guided through practice in previous projects and side works. I have recently acquired indus-try experience in a small Architectur-al Firm in North Melbourne (Architecture Matters) completing small jobs with Ar-chicad. I feel proficient and capable us-ing Archicad, however my knowledge of 3d modelling programs like Rhino and Revvit are limited, leaving room for me to ex-

pand my knowledge base.

Through my studies my interest in com-puter aided design has flourished and I harbour a thirst to learn anything that could be applied to the architectural

field in my feature career.

AFig 2.Fernando Romero and Mauricio CeballosThe Museo Soumaya2015

PART A

CONCEPTUALISATION

Guggenheim Museum.FranK Gehry

A.1.

Fig 3.Design, Development and ContextDutch Portfolio2016

Gehry uses a compilation of bold shapes and unusual post modern surfaces to create structures which challenge conven-

tional architecture with bold ideas and statements.

Known for his ambitious designs which tend to harbour complexity, Gehry is often criticized for not using his design space as a valued principle in his architecture. Some individu-als loathe his designs and consider them a waste of important

space.

With that considered, many visionary architects can conflict with popular public opinion in search for a different kind of architecture. Gehry’s innovative visions and unique synthesis of design concepts have inspired visionary designers around the

world.

Thus Gehry has created a solution to some of the bland modernistic architecture of the end period of the 20th century which was riddled with overused typical design strategies and

methodology. He inspired generations to follow who aim to create a visual spectacle recognizable on a world scale. One

such artist is Zaha Hadid, a woman known global for her striking and unique design.

Specifically speaking, Gehry’s designs (especially the Guggenhiem Museum pictured) are not a product of digital

computation, rather a computerisation of previous sketch work which is further developed through computer aided design.

However, his striking features, such as the fluid curves and unique internal structural systems, give way to new methods of design which begin to assimilate more and more with parametric

design technologies.

Guggenheim Museum.FranK Gehry

Fig 4.Bruno AssumpçãoA Mcdonaldização Dos Museus2012

Heydar Aliyev Centre.

Zaha Hadid

A.1.

Fig 5.Iwan BaanThe New York Times2013

Heydar Aliyev Centre.

Zaha Hadid

Zaha Hadid has been a pioneer architect, through her unique design styles and by empowering women in a design typically

crowded with prominent male figures.

Taking inspiration from architects like Gehry, Hadid has patented flowing curved architecture which excludes sharp angles, eliminating stagnant planes as to emulate natural surfaces, with contradicting that with material choice.

The Heydar Aliyev Centre exemplifies an advancement in thinking from Gehry’s designs, considering cultural and contextual

factors. This building is a single continuous surface providing a variety of cultural spaces connected under one tapestry while

simultaneously create separate private areas.

Hadid is known for focusing on notions of space in a multitude of dimensions; not only the physical space created by

architecture itself but also social and cultural spaces and the effect on those who utilise these areas. Her architecture is

clever and engaging, never dull and boring.

She asserts her views through her architecture knowingly recognizing that others may interpret things differently.

Hadid continues to be appreciated as a female leader in architecture, encapsulating a modern world through her actions and designs, inspiring a generation to adopt their own unique

characteristics and ways of thinking.

While still not being digitally computed, Hadid’s work is a step beyond Gehry, considering factors which limit her

architectural scope. Her working is moulded by parameters in real life situations, leading to a design which connects to the

user on a different level.

Fig 6.Zaha Hadid ArchitectsDesignboom2011

DESIGN COMPUTATION A.2.

The design process has been manipulated by computer aid as technology has developed, with both positive and neg-ative results. Technology has boosted the synthesis of designs and ideas on a workable scale, allowing design fabrication through another medium. Many argue that this process has altered who can be now considered ‘designers’ by corrupting previous methods of creation, offering a disconnected solution to the problems faced, allowing people to stumble and adjust their way through projects.

With that said, not everybody who can manipulate com-puter technology effectively can produce proficient designs. Thus, computer aided design (CAD) systems work as another weapon in a modern designers abilities. All fields of design have become accepting of new technolo-gies, accommodating for flexibility in design techniques and systems. The construction industry has become heav-ily reliant on computer aid, to the extent that most

would be lost without digital assistance.

Computation fits within the void between visualization and creation. Designs are represented through technol-ogy which allows for development and improvement that is often not humanly possible. New design ideas can be discovered and controlled through altering parameters in

design and altering computer generated algorithms. Documentation is produced at highly proficient levels with precise details, allowing the real world to be cap-tured behind a screen and studied and altered in a math-

ematical fashion.

Fig 7 (Background).Yunus Emre KaraParametric Design2015

A.2.

Fig 8.ArchDaily“ICD-ITKE Research Pavilion2013-2014

Fig 9.ArchDaily“ICD-ITKE Research Pavilion2013-2014

ICD-ITKE Research PavilionICD-ITKE University of

Stuttgart

This project puts contemporary design techniques in a unique light, culminating in research from a multitude of fields,

including biologists, architects, engineers and paleontologists. Noting this is particularly interesting as a large majority of people think that computational design has

streamlined the design process.

The pavilion is a study of natural fiber composite shells, recreated with double layered lightweight fibers which were to

reduce the need for structural framework, enabling more freedom within the design. The protective shells of beetles was studied and regarded as an efficient material use for maximum

structural strength.

3D models were constructed with micro computer technology, allowing high resolution reconstruction and detailed analysis.

ICD-ITKE used architectural prototypes throughout the design process with the use of robotic assistance. 36 geometrically

unique modules were created through coreless winding with robotic arms. This allows for lightweight structural modules with high resource efficiency, no waste or off cuts. The total pavilion covers 50 square metres while only weighing 593kg.

In this instance computer programs have allowed for complex arrangements abstracted from a seemingly simple shell

structure, exploring the possibilities of material efficiency and spatial qualities.

Fig 8.ArchDaily“ICD-ITKE Research Pavilion2013-2014

Fig 9.ArchDaily“ICD-ITKE Research Pavilion2013-2014

Fig 10 & 11.ArchDaily“ICD-ITKE Research Pavilion2013-2014

A.2.

Fig 12.ArchDailyDiyar Media Studio / ReNa Design2015

Diyar Media StudioReNa Design.

Located in Teheran, Iran, this design studio embodies computational design qualities within its architectural decoration. The designers aimed to use algorithmically designed dynamic shapes in an elegant and fluid manner.

A simple space is made interesting with complex geometries, depicting elements of traditional middle eastern architecture

with technology.

The whole design was crafted in extreme detail, with all elements considered as part of a larger algorithmic pattern. Even elements often disregarded as a design element like the

air conditioning was designed to fit in.

As can be seen, computer design has been a crucial part in this design. The wall design requires a complexity in construction that could not be created without the assistance of technology. The client benefits from the use of new age design techniques, allowing an otherwise blank space to become a canvas to create

interest in the room, allowing modern and traditional architecture to collide.

With technology continuing to develop, algorithmic architecture will continue on an upward trend.

Fig 13.ArchDailyDiyar Media Studio / ReNa Design2015

COMPOSITION/GENERATIONOften imagined as one in the same, design composition and generation share similar ideas yet possess qualities that make themselves distinguishable, often upon further

investigation.

Design composition denotes humanly crafting a design to fit a set of parameters or limits with the intention of

creating better architecture. Design computation highlights the ability of scripts and algorithms to discover and model optimal designs and efficient

architectural forms, typically defined with certain limits or formulae.

The National Gallery of Qatar serves of a perfect example that on first glance may convince the viewer that it is a generational structure, yet further research

proves it is a computational piece.

Inspiration was taken from the desert ‘Sidra Tree’ which is recognised as a beacon in the

baron deserts throughout Qatar.

The design studied the shape of the tree in order to create an

efficient and practical design , while interior spaces are also

closely alligned with energy and water saving strategies.

While drawing on information gath-ered, this building was archite-curaly modified to produce a re-

sult that is visually stimulating and inspired by natural elements,

however it is not considered to be a computer generated design.

Fig 14 & 15.ArchDailyQatar National Convention Centre / Arata Isozaki2013

This composite swarm prototype exemplifies generational design. Design director Roland Snooks created this sculptural piece through a swarm script which depicts analysis of social insects like ants and their behaviour as a group. This allows for structure, ornamentation and multiple surfaces to all be ex-pressed in one form, optimizing ma-terial use and strength through com-plex algorithmic patterns.

It is important to be able to recognise the differences between composition and generation. That isn’t to say that one method is preferable, rather that they are different ways about finding an architectural or design solution.

Fig 16 & 17.KokkugiaComposite Swarm2016

CONCLUSIONArchitecture is in a transformative phase. Developing

technologies, materials, ways of thinking and reacting are all leading us into an ever changing design change.

The current trajectory of architecture is continuing in an unsustainable manner. Perhaps the most prominent problem riddling most design fields, it is interesting to see

movement towards correcting issues that may be fundamental to our survival as a species. As such, architecture professionals,

students and visionaries alike are beginning to work with environmental protection and conservation as an engrained

design concept.

With technology continually changing and evolving, architecture is undergoing a transformative phase. New ways of

designing allow for efficiency and accuracy, while also bringing new concepts and methodology to this progressive craft.

Parametric design and algorithmic logic provide interesting ways of expressing design ideas while

simultaneously providing a variety of methods to solve existing design problems. Incorporating already tried and tested means of design with everything that is constantly being developed and released provides a system where architecture can prosper

and ultimately improving society on a global scale.

Moving forward, architecture ought to continually be approached with interdisciplinary thinking, utilized all these exciting technology to its full effect. I plan to exercise my powers as a student of architecture to incorporate many professions into

create a design solution for the Merri Creek brief.

LEARNING OUTCOMESEntering this subject with little knowledge of parametric de-sign, the readings and lecture content have successfully intro-duced the concept and helped distinguish various similar terms. Alongside this, class discussion about the reading content and problems that have been encountered through weekly work has extended my knowledge. By coalescing with peers I have managed to overcome existing boundaries in my technological skill set

and increased confidence levels in my abilities.

Paramount to this subject is creating another facet in my de-sign thinking, revolving around parametric design and using algorithms to produce an outcome. With the initial introduction phases complete, I am eager to see what how my design thinking

develops into the Merri Creek project.

Fig 18 (Background).Esteban Castro Chacon, Marcin Komar, Aikaterini Papadimitriou, Yilin YaoFibro City2015

APPENDIX

Within the sketchbook I sought to manipu-late what was taught in the tutorial vid-eos through similar examples of my own creation. This was to allow myself to cre-ate scripts that had the same base con-cept, yet provided results of a completely

different nature.

Perhaps what was most satisfying was find-ing the angle of each image that created

the most artistic outcome.

Arc curves overlaid

Spheres of different radius circled

Manipulation of grid network

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