AIRSemester 2 2015

JOURNAL:

PART AYuliana Widjaja

657711

ABPL30048

TABLE OFCONTENTS

Introduction

Part A Conceptualisation

A.1 Design FuturingA.2 Design ComputationA.3 Composition / GenerationA.4 ConclusionA.5 Learning OutcomesA.6 Appendix: Algorithmic Sketches

Hello.Hi I’m Yuliana, a third year architecture student at the University of Melbourne. I was born and grew up in Indonesia and I’ve spent these last 3 years in Melbourne to pursue my passion.

My interest in architecture arose from my keen enthusiasm in crafts and Physics. It developed as my Dad, who works as property developer - once brought me to his work and I enjoyed the multidisciplinary work-ing environments of construction industry. From that point, I realised that Architecture would be the per-fect field for me as it combines all my interests into one.

Apart from being a student, I’m an adrenaline junkie and I have ticked skydiving, bungee jumping, and riding extreme roller coasters off my bucket list, yay! This may appear irrelevant to architecture, but it has changed the way I see things. I learned to dare to take any risk, for you will never know untill you try, and in the end you will only regret the chances you did not take.

Well, learning Software tools such as Rhino and Grasshopper is definitely out of my comfort zone. I first started to learn software when I was in first year university. From that time my skills developed progressively as I use them in my previous studios. I learned a lot from Studio Earth and Water, and I am looking forward to taking a more advanced more computerized design approach in Studio Air. I believe that creativity starts when you are not afraid of exploring new things.

Architecture Design Studio: Earth Semester 1 2015Brief: a place for keeping secrets

Software used: Sketch Up, Photoshop

GREAT THINGSNEVER CAMEFROMCOMFORTZONE

[A]CONCEPTUALISATION

Figure A1.1 The City of Dubaihttp://www.netflights.com/media/189038/dubai_01_681x298.jpg (accessed 10 August 2015)

[A.1]DESIGN FUTURING

Design is shifting towards sustainability since people are aware that we have reached a stage where the amount of resources required to sustain the human population exceeds what is available.1

The above pictures show a Ski Dubai in The United Arab Emirates. This is an example of unsustainable practice since they have wasted huge amount of energy to maintain the ice from melting in the middle of desert temperature. Instead of creating buildings that are “alien” to the surrounding environments, architects should integrate social and the environment when designing

The word architect originates from Greek arkhitekton meaning ‘director of works’. Therefore architects play a big role in directing the future as they are - as the Greek definition of architect (arkhitekton) sug-gests - the ‘chief of buildings’.

The invention of computational approach might be a tool to help architects design buildings that incor-porate with surrounding environments and social needs. The following precedents show how architects integrate the surrounding natural environment in their design.

Figure A1.2 Interior of Ski Dubaihttp://www.orbittourism.ae/wp-content/uploads/2015/05/ski3.jpg

1 Tony Fry, 2008, Design Futuring: Sustainaibility, Ethics, and New Practice (Oxford: Berg): 1.

[1]Endesa PavilionBarcelona, 2011 Areti Markopoulou and Rodrigo Rubio

Figure A1.3 The southwest facade of Endesa Pavilionhttp://www.archdaily.com.br/br/01-74952/pavilhao-endesa-iaac

1 Areti Markopoulou and Rodrigo Rubio, “Smart living Architec-ture: Solar Prototype”, Constructions: an Experimental Approach to Intensely local Architecture 85, 2 (2015), 129.

Figure A1.4 Endesa Pavilion Southwest elevationhttp://www.archdaily.com.br/br/01-74952/pavilhao-endesa-iaac

CONTRIBUTION TO THE IDEA

In Design Futuring, users and the envi-ronment should be integrated in the design because designers design for them.

Endesa Pavilion is a perferct prec-edent of sustainable design. The form of Endesa Pavilion follows the data of the solar path of their specific sites in Barcelona. As a result, the PV panels attached can generate doubled the energy required in the building. This is indeed what design future is looking for, as the resources generated out-weigh the human needs.1

EXPANDING FUTURE POSSIBILITIES

The logic of the algorihm is gener-ated from the sun path diagram of the specific site. This means that the same algorithm can be applied to any coun-tries by adapting the parameter of Sun Path data in the specific site.

The form clearly indicates how the log-ic works. As Barcelona is located in the northern hemisphere, thus the south side is more likely to get direct sunlight. For this reason, the southwest side of the pavilion has the most PV panels, to maximise the energy generated.

Figure A1.5 Endesa Pavilion sectionFigure A1.6 Endesa Pavilion components

http://www.archdaily.com.br/br/01-74952/pavilhao-endesa-iaac

“Parametrically designed, it reacts to the data of its spe-cific solar site, and via its flexible solar cells generates twice as much energy as it consumes.”

1 Areti Markopoulou and Rodrigo Rubio, “Smart living Architec-ture: Solar Prototype”, Constructions: an Experimental Approach to Intensely local Architecture 85, 2 (2015), 129.

[2]CH2 BuildingMelbourne, 2004DesignInc Architects

Figure A1.7 The west facade of CH2 Buildinghttp://www.archdaily.com/395131/ch2-melbourne-city-council-house-2-designinc

Figure A1.8 CH2 Building west elevationFigure A1.9 CH2 Building north elevationFigure A1.10 CH2 Building detail of north elevationFigure A1.11CH2 Building south elevationhttp://www.archdaily.com/395131/ch2-melbourne-city-council-house-2-designinc

CH2 Building is a green building that achieve 6 Star Green Star Building. The design of this building

is generated from the objective to maximise the wellbeing of its occupants (Indoor Environment

Quality). This approach is a characteristic of De-sign Future, as sustainability looks after the people

as well as the environment.

From the images on the left, it is evident that the facade is treated differently. The decision of each

treatment is based on the surrounding environ-ments to maximise passive design thus minimising

the energy consumed by the building.

Melbourne is located in the southern hemisphere, thus the northern facade gets most direct sun

light. For this reason, the window is getting smaller as it goes to the top of the building, so that oc-

cupants at the top do not get too much sunlight. Furthermore, the amount of afternoon sunlight

that gets into the building can be adjusted using operable timber panels in the western facade.

1 City of Melbourne. About CH2 Building, accessed 10 August 2015, from https://www.melbourne.vic.gov.au/Sustainability/CH2/aboutch2/Pages/AboutCH2.aspx

[A.2]DESIGN COMPUTATION

Figure A2.1 TheThe curvilinear programmed wall by Gramazio & Kohlerhttp://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

Design is shifting towards sustainability since people are aware that we have reached a stage where the amount of resources required to sustain the human population exceeds what is available.1

The above pictures show a Ski Dubai in The United Arab Emirates. This is an exam-ple of unsustainable practice since they have wasted huge amount of energy to maintain the ice from melting in the middle of desert temperature. Instead of cre-ating buildings that are “alien” to the surrounding environments, architects should integrate social and the environment when designing

The word architect originates from Greek arkhitekton meaning ‘director of works’. Therefore architects play a big role in directing the future as they are - as the Greek definition of architect (arkhitekton) suggests - the ‘director of works’.

The invention of computational approach might be a tool to help architects de-sign buildings that incorporate with surrounding environments and social needs.

1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Computerization vs Computational

It seems that the terms computerization and computation are often used interchangeably as the same thing, while in fact they have com-pletely different meaning. Computerization is when one uses computer only for drafting tool, but the design method itself is still analog. On the other hand, computational technique makes use of computer capabil-ity to assist designers in solving complex issues, such as material optimi-zation, digital materiality, digital fabrication, and efficient construction process1.

The following precedents show how architects integrate computational technique in their design process, allowing sophisticated solution to complex issues, which are hardly possible to be done manually.

[3]The Programmed WallZurich, 2006Gramazio & Kohler

Figure A2.3 The fabrication process of programmed wall http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

The first precedent of design computation is “The Programmed Wall” by Fabio Gramazio and Matthias Kohler. It was a research project in 2006 that investigate the design potential for brick using digital fabrication. At that time, it was considered a radical invention as it resolved the limited flexibility of brick modules to produce fluid form. It would be extremely difficult to produce complex curvilinear walls if using traditional design and construction methods since mason cannot lay the brick as accu-rately as computer does, even with extra tool.

Brick masonry construction has declided significantly in western countries due to high cost of masonry labor and long duration of construction pro-cess that causes even higher cost. 2 Thus, this research may brick back the popularity of masonry construction since it has solved the shortcom-ings of this method.

In addition to faster and relatively cheaper construction process, digital fabrication allows designers to supervise the construction process since the robot is controlled digitally.

In conclusion, there has been a change in the use of computer in design and construction indusry. Previously, computer was only used as a tool to digitize drawings, but today designers use computer to do the construc-tion process, allowing accurate result and more resolved outcome.

“A robot is not only quicker, more precise, and more pro-ductive, but it also enables complex designs that are im-possible for a human to build with that level of accuracy.”1

BASIC LOGIC

Gramazio and Kohler started the design by creating possible iterations of curvilinear surfaces (Figure A2.4). Next, they create the logic based on procedural logic of laying brick in traditional masonry.3

“A brick is laid to another brick, shifted, and perhaps rotated until the end of a row is reached. The next row is then shifted by half of the brick width, and the previous procedure is repeated, and so on until the desired height is reached.”4

This logic is applied to both vertical and horizontal direction, which eventually create a curvilinear wall (Figure A2.5).

1 Gramazio, F., & Kohler, M. (2008). Towards a digital material-ity. In B. Kolarevic, & K.R. Klinger, Manufacturing material effects: rethinking design and making inarchitecture (p 113). NewYork: Routledge.

2 Kareem El Sayed Mouhammad. “Potential Innovative use of conventional building materials: Case Studies on Masonry and Stone Constructions”, Alexandra University. http://www.aca-demia.edu/1454683/Innovative_use_of_conventional_materials

3 Nick Dunn, Digital Fabrication in Architecture (London: Laurence King Publishing, 2012),53.

4 Gramazio and Kohler, 2008.

Figure A2.4 The curvilinear iterations http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

Figure A2.5 The logic is applied in vertical and horizontal direction http://gramaziokohler.arch.ethz.ch/web/e/lehre/81.html

[4]ICD/ ITKE PavilionStuttgart, 2010Achim Menges

Figure A2.6 ICD/ITKE Research Pavilion 2010http://icd.uni-stuttgart.de/?p=4458

ICD Pavilion is a research project by University of Stuttgart that uses inno-vative design process that is more efficient than in the past. In conven-tional design process, the form was generated first before moving to ma-teriality. In contrast, the designers of ICD Pavilion started the project by studying the behavior of the material they would like to use. The test the bending stress of the material physically (Figure A2.8). Next, the results were then transformed into algorithms that would determine the form. After setting the logic, the designers used software such as FEM Model-ling to let computer generate the possible forms that satisfy the logic.1

This computational design technique is far more efficient than the con-ventional design process because the final form is structurally efficient since the form is generated from the behavior of the material itself.

This precedent shows that computational design technique allows de-signers to increase the efficiency in construction using the natural behav-ior of material using parametric algorithms.

1 Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2 (2012): 44-51.

Figure A2.7 FEM modelling showing the bending stress across the formhttp://icd.uni-stuttgart.de/?p=4458

Figure A2.9 Bending Stress data analysishttp://icd.uni-stuttgart.de/?p=4458

Figure A2.8 Physical Experiment on bending be-havior of material plywood stripshttp://icd.uni-stuttgart.de/?p=4458

Figure A3.1 The subdivided columns by Michael Hansmeyerhttp://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1

[A.3]FROM COMPOSITION

TO GENERATION

Not only can computer assist human in digital fabrication and construction, but also in generating forms. Generation is one of computational techniques that allow architects to explore forms during design process. So instead of com-posing the geometry from the start, designers create a constructive logic and let computer generates the forms, thus the outcome is emerging beyond the intellect of designers.

To use generative approach, architects need to generate an algorithm based on certain logic. The key feature of algorithm is that it is made of definite set of operations and is easy to follow1. The movement of each particle is af-fected by the relationship to its neighbors, and at the same time is affecting how the neighboring particles move. This simple rule results in unpredictable and infinite number of possible forms and the architect can then choose the best iterations amongst them.

However, despite the above advantages of using generative design approach in the design process, there are also disadvantages associated with it. One of the major problems caused by digital architecture is that it creates gap between the architects and the end products. This happens because some architects are lacking of algorithmic scripting skills, thus often they invite scripting experts to optimize the initial concepts they had2. In this case, the archi-tects can only contribute to the concepts and overall shape of the building, but they cannot involve during the form generation process. Therefore it is necessary for architects to develop their knowledge in scripting to catch up with the trend of digital architecture.

The precedent in the previous section (A2 Design Computation) - the programmed wall- has given an idea of how the wall is generated from algorithm. The following precedents – Brass Swarm and Subdivided columns – will further demonstrate how architects can generate a complex from a basic logic using parametric design approach.

1 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 112 Asterios Agkathidis and Elizaveta Edemskaya, “Vladimir Shukhov: A Critical Review on Digital Architecture,” eCAADe 33 (2015): 1.

[5]Agent Bodies + Swarm IntelligenceMelbourne, 2004Kokkugia

Figure A3.3 Swarm Composite Kokkugia Researchhttp://www.kokkugia.com/woven-composites

+

SWARM INTELLIGENCEFigure A3.4 Swarm Intelligence Kokkugia Researchhttp://www.kokkugia.com/filter/swarm-intelligence/swarm-intelligence

Agent BodiesFigure A3.5 Agent Bodies Kokkugia Researchhttp://www.kokkugia.com/filter/agent-bodies/agentbodies

=

Ronald Snooks is a Melbourne architect who has strong interest in computational design processes and robotic fabrication techniques. In his experimental architecture research called Kokkugia, he and his partner Robert Stu-art- Smith explore generative design practices based on the logic of complex self-organizing behavior of systems1.

Two of the main research agendas that they are working on are Swarm Intelligence and Agent Bodies.

1. Agent Bodiesis multi-agent used to design complex tectonics. The logic of it came from the conceptualization of ant bridges, which demonstrates the interrelated geometry of ant bodies when forming Ant Bridge.

2. Swarm intelligenceis an algorithm that draws from the logic of collective behavior that happens intuitively, such as in flocking of birds and schooling of fish.

From these two logics, Ronald Snooks generate seven different forms, which are completely different one to another. It is interesting how simple logics can result in varied impressive results that you would not have ex-pected that they all come from the same logic. Two of the researches are Brass Swarm (Figure A3.6) and Com-posite Swarm, shown in the previous page (FigureA3.3).

Brass SwarmFigure A3.5 Brass Swarm Prototype in Shanghai 2015http://www.kokkugia.com/filter/agent-bodies/brass-swarm

1 Kokkugia, “Research Agendas”, accessed 9 August 2015, from http://www.kokkugia.com/filter/research/research-agendas

Figure A3.10 Subdivided columns by Michael Hansmeyerhttp://www.michael-hansmeyer.com/projects/columns.html#20

[6]Subdivided ColumnsGwangju Design Bienalle, 2011Michael Hansmeyer

BASIC LOGICSubdivided columns consists of 2.7 m high different abstracted doric col-umns. In this project, Hansmeyer used typical doric column as the basic log-ic. The input form contains rules about the fluting, entasis, and proportion of doric column’s shaft, capital, and supplemental base1 (Figure A3.11).

GENERATIVE DESIGN APPROACHNext, the initial input goes through het-erogeneous process of subdivision al-gorithm, which divides a surface into smaller surfaces. Figure A3.12a records the gradual process of subdivision in 2D form. It initially started with 3 lines, then they divided again and again, resulted in complex form on the right. More-over, Hansmeyer did not only do sub-

division in XY plane, but also in Z direc-tion, forming even more sophisticated results. During the subdivision process, Hansmeyer also varied the parameter of division ratio, shown in Figure A3.12b. From this precedent, it is evident that generative method of designing has ex-ceeded human intelligence as it allows exploration in 3D form which is impos-sible to be done by analog design due to physical constraints of 2D medium.

FABRICATION PROCESS

However, the disadvantage of gen-erative design occur when explora-tion go beyond the capability of fab-rication technology. For instance, Hansmeyer admitted the difficulty during the fabrication process of

Figure A3.11 Typical doric column used for setting the initial logicFigure A3.12a (above) The subdivision process in 2D Figure A3.12b (below) Variation of ratios in parameterhttp://www.michael-hansmeyer.com/projects/columns.html#20

The architect designs a process that produces a column, rather than designing a column directly. Michael Hansmeyer

“

“

the subdivided columns for the Gwangju Design Biennale in 2011.

The columns were fabricated layer by layer using 2700 sheets of 1mm card-board2. The sheet was individually cut by laser cutter, and stacked around a common core to hold them together. The detailed curvy form makes it ex-tremely difficult to be 3D printed as the parts are prone to breaking off.

From Michael Hansmeyer’s experi-ence, we learn that during genera-tive design process, it is crucial to think of constructability as the limit of the exploration in generative process.

1 Michael Hansmeyer , “Subdivided Columns - a New Order”, ac-cessed 10 August 2015, from <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1>.

2 Ibid

Figure A3.13 Several iterations of subdivided columnsFigure A3.14 Fabrication process of subdivided columns in Gwangju Design Biennale 2011http://www.michael-hansmeyer.com/projects/columns.html#20

[A4]Conclusion

In conclusion, we are now living in the era where the human population is significantly increasing, while on the other hand the resources are decreasing. Due to concern of insufficient amount of resources to sustain the needs of generations to come, human,

inclusing designers, need to change their behavior and way of thinking. Design futuring looks towards sustainability, in which the design must incorporate with the environment

so that it minimises negative impacts to the environment.

Computational approach, unlike computerization, uses computer as a tool in assisting designers to analyse and solve complex problems, thus giving the most efficitent solu-tion to minimise the impact on environment. For instance, The position of PV panels in Endesa pavilion is based on the computational data of sun path in Barcelona. The ar-

chitect used parametric design to create the form that can optimise the input of radia-tion energy to every single PV panels. This is impossible to be done manually without the aid of computer, therefore computational technique is critical for designers to achieve

Design Future.

In addition to that, computational architecture includes generative design approach which enable designers to generate complex forms. With this method, instead of com-posing the geometry from the start, designers start with making algorithm that makes the logic of movement. Next, the computer will create infinite number of possible out-comes based on the logic, and designers can choose several iterations that work and they can develop them even further. This allow designers to come up with unexpected

yet interesing discoveries.

Within these three weeks, I realised that computational technique really is a beneficial approach in designing. It brings many disadvantages, such as for exploring new mate-rial, material optimisation, and increasing efficiency of construction. More importantly, it helps architects to generate forms beyond 2 dimensional medium which was previo-ulsly a limitation when using analog design method. Generative design approach al-

lows designers to come up with complex forms beyond the imagination of the design-ers themselves.

In some cases the exploration may go too far and create issue during the fabrication , such as in Hansmeyer subdivided columns project. However, I believe that in the future

the fabrication technology will get more advanced and able to accomodate the exploration of generative design approach.

As the advantages overcome the disadvantages, I believe that generative design approach will replace the analog design approach and become the trend in years to

come (or even now). For this reason, I think it is important for me to learn algorithmic software such as Grasshopper for my future career in architecture practice.

[A5]Learning Outcome

[A6]Appendix:

Algorithmic Sketches

These are the first attempt of my exploration on Grasshopper. At this stage, due to my limited understanding on Grasshopper inputs, the exploration is based on trial and

error, thus the results are random and some of them are failed.

I played a lot wih triangulation inputs, such as octree, voronoid, and metaball. I combined the triangulation inputs with surface commands such as pipes and lofts

to create geometry.

This exercise has given me a better understanding on how computational design strategy in the precedents work. Different inputs and variable parameters can result

in various complex iterattions, which often create unpredictable yet interesting outcome.

Week 1

In the second trial, I tried to experiment with surface panelling. I create two different geometries, which are circles and lines,,as

the panels on lofted curves.

I did not expect the outcome would be this interesting. The panels create shadows when rendered, causing even more dramatic

effect.

Week 2

In this exercise, I experiment with contours and geodesic inputs. From the contour lines, I also try to divide it into points, and use octree, shown at the bottom right images. However, this experiment failed because the points are too close to one another, thus the boxes are concentrated to one area only.

I also played with changing the contours in X, Y, and Z direction and it came up with interesting result (top right image)

I look forward to continue learning Grass-hopper throughout the rest of this semester and I believe that this will help my design process in the future.

Week 3

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

Markopoulou, A. & Rubio, R. “Smart living Architecture: Solar Prototype”, Constructions: an Experimen-tal Approach to Intensely local Architecture 85, 2 (2015).

City of Melbourne. About CH2 Building, accessed 10 August 2015, from https://www.melbourne.vic.gov.au/Sustainability/CH2/aboutch2/Pages/AboutCH2.aspx

Gramazio, F., & Kohler, M. (2008). Towards a digital materiality. In B. Kolarevic, & K.R. Klinger, Manufac-turing material effects: rethinking design and making inarchitecture (p 113). NewYork: Routledge.

Mouhammad,K. “Potential Innovative use of conventional building materials: Case Studies on Masonry and Stone Constructions”, Alexandra University. http://www.academia.edu/1454683/Innovative_use_of_conventional_materials

Dunn, N. Digital Fabrication in Architecture (London: Laurence King Publishing, 2012),53.

Fleischmann, M. et. al, 2012. “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2, pp 44-51.

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

Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press).

Agkathidis, A. & Edemskaya, E. 2015. “Vladimir Shukhov: A Critical Review on Digital Architecture,” eCAADe (33).

Kokkugia, “Research Agendas”, accessed 9 August 2015, from http://www.kokkugia.com/filter/re-search/research-agendas.

Hansmeyer, M. “Subdivided Columns - a New Order”, accessed 10 August 2015, from <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=1> .

Bibliography