Alyse Knape - 759021 - Journal Part A

Studio Air, SEM 1 2018 ALYSE KNAPE // 759021 DAVID WEGMAN / T8

JOURNAL

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CONTENTS

0.0 FRONT END

In this section you will find; 0.0 Introduction to Studio Air Journal

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A CONCEPTUALISATION In this section you will find;

A1 Design Futuring A1.1 Case Study 1; Nordpark Railway Stations A1.2 Case Study 2; The Continuous Monument

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A2 Design Computation A2.2 Elytra Filament Pavilion A2.2 Case Study 2; Non Lin/Lin Installment

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A3 Composition // Generation A3.1 Case Study 1; Digital Grotesque A3.2 Case Study 2; Galaxy Soho

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A4 Conclusion

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A5 Learning Outcomes

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A6 Bibliography

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0.0 INTRODUCTION 0.0 INTRODUCTION My name is Alyse Knape and I am a third year student of the Bachelor of Environments at Melbourne University, undertaking a double major in Architecture and Urban Planning & Design, I was born and raised in Melbourne and have always held a fascination with exploring urban form and the interactions between people in built forms and voids. I developed a passion for Architecture in my later years of high school, and have developed this into a passion for planning and designing for humans during my time at Melbourne University.

Studio Air is my first experience with computational design and I am excited to explore this realm of Architecture. The foreign nature of the subjects’ focus presents a challenge for me and I am interested to see how the exploration of the computational design field will change my design abilites and critical thinking skills.

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Studio Earth Floating Pavilion

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Studio Earth Pavilion Model

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Urban Planning and Design; Carlton Map Analysis

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CONCEPTUALISATION ‘Architecture is constructed as an encounter between architecture and the public.

The computer lets architects predict, model and simulate the encounter between architecture and the public using more accurate and sophisticated methods’ - Stan Allen (1)

1. Brady Peters, “Computation Works; The Building Of Algorithmic Thought”, Architectural Design, 83.2, 8-15.

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A1 DESIGN FUTURING 01

Design Futuring is concerned with ‘Slowing the rate of defuturing

and redirecting toward far more sustainable planetary inhabitation’. (2) The ideology of design futuring highlights the need to change our institutional, economic and cultural structures to ‘redirect the practice’ of design ultimately to be strong against the ‘Accelerating defuturing condition of unsustainability’ (2) Current architectural approaches avoid placing emphasis on design futuring as a practice approach, with a coinciding lack of institutional ‘willingness’ to drive change.

For example, Green Star ratings are often achieved without follow-up (As-Built) evaluations, and shortcuts are taken to tick the appropriate boxes for the rating. The design and building of the MSD at The University of Melbourne is an example of missed opportunities in translating design outcomes to as-built sustainable building performance.

Zaha Hadid Architects’ series of train stations in Innsbruck highlights the significance of parametric design in responding to ecological and environmental challenges, giving respect to individual sites and their changing weather and climate conditions.

The use of variable parameters in this multi-unit design brings together design futuring thinking with parametric design to produce sustainable outcomes. Hadid and Shumacher (Architects) used the prefiguring ability of parametric design tools to ensure each station design adapted to unique contstraints, whilst upholding the same stylistic ideas and fluid forms throughout the different stations.

“Design names our ability to prefigure what we create before the art of creation”. (2) 8

CASE STUDY 1; NORDPARK RAILWAY STATIONS // ZAHA HADID ARCHITECTS // INNSBRUCK AUSTRIA

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This design technique has implications for how I could design in future to ensure that design is a thoughtful, site responsive process to produce sustainable outcomes. The exploration of parametricism could reveal abilities to produce more adaptive, variable scripts to alter design elements for site-specific contraints and opportunities.

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The use of computational design in combination with these production methods has seen the industry rapidly change and evolve to continue to produce higher-quality outcomes and contribute to ‘slow the rate of defuturing’.(2) Significantly, as highlighted by Schumacher ‘Parametricism is

Furthermore, the stations’ innovative us of double-curvature glass set a new benchmark in construction. The use of production methods including CNC milling and thermo-forming ultimately expanded the disciplines’ ability to produce high-quality outcomes with precise translations between design and fabrication.

eager to elaborate adaptive responses to diverse environmental parameters’. (3)

This provides a link between computational design (in parametric design styles), and design futuring possibilites.

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Figure 1; Congress Station (1)

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Figure 2; Hungerburg Station (1)

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Figure 3; Alpenzoo Station (1)

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Figure 4; Hungerburg Station (1)

1. “Nordpark Railway Stations”, Zaha Hadid Architects <http://www.zaha-hadid.com/architecture/nordpark-railway-stations/> [Accessed 1 March 2018].

2. Tony Fry, Design Futuring; Sustainability, Ethics And New Practice (United Kingdom: Berg, 2009), pp. 1-16.

3. Patrik Schumacher, “Parametric Patterns”, Architectural Design, 79.6 (2009) <https://doi.org/10.1002/ad.976>.

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A1 DESIGN FUTURING

CASE STUDY 2; THE CONTINUOUS MONUMENT // SUPERSTUDIO

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Speculative Design is concerned with ‘How things could be’. (1) It involves design practice which invokes critical thought, where ‘links are made between todays world and the suggested one’. (1) Significantly, this speculative design culture explains the use of design “To facilitate alternative visions, rather than define them, in order to achieve change’. (1). It has a strong link to the concept of ‘Design Futuring’ (2), as it is concerned with challenging the status quo of consumerist culture and pushing the boundaries for sustainable design and development outcomes.

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The work of Italian firm Superstudio encapsulates speculative design thinking by questioning and calling to attention social norms and suggesting alternative possibilties for our urban places. By doing so, Superstudio are incredibly effective in invoking critical thought of accepted norms and behaviours and ultimately shape/have shaped the ways designers think.

Superstudio’s piece ‘The Continuous Monument’ is a representation of the imposing grid plan of modern cities. It visualises this structured system as it supersedes the natural landscape beneath.

Thus ‘The city grid becomes at game-board of urbansim’ (3).

This work, among Susperstudios other works, were radical at the time of their production and pushed (and arguably, continues to push) the design profession to question how we, as a society, could move forward as propelled by design. The studio ultimately aimed to guide the way forward in terms of design thinking and consumerism, by offering directions, rather than providing an ‘ideal’ destination.

This work thrusts the importance a designer plays in shaping the future, and will impact me in terms of acknowledging this potency in each of my future design projects and works. It will cause me to look to push the boundaries of past designs and works to challenge the status quo.

“The future is already here - It’s just not evenly distributed” - William Gibson (3).

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Figure 1; The Continuous Monument (3)

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Figure 2; The Continuous Monument (3)

1. Anthony Dunne and Fiona Raby, Speculative Everything; Design, Fiction And Social Dreaming ([S.l.]: MIT, 2014), pp. 1-9, 33-45.

10 2. Tony Fry, Design Futuring; Sustainability, Ethics And New Practice (United Kingdom: Berg, 2009), pp. 1-16. 3.

3. arch122 assignment, arch122 assignment and Profilimin görüntüle, “THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION”, Arch122superstudio, 2018 <http://arch122superstudio.blogspot.com.au/2012/06/continuous-monument-architectural-model_15.html> [Accessed 1 March 2018].

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A2 DESIGN COMPUTATION 01

Design Computation explains the systems and processes of

design utilising the computer. Design computation tools have evolved radically in recent years to become a part of key architectural design language.

According to Oxman; ‘Design Computation refers to the process of design whereby formation precedes from, thus, design becomes the thinking of architectural generation through the logic of the algorithm’ (1).

Oxman also highlights the opportunites presented by studying biomimetic principles to ‘produce form in response to the conditions of the envioronmental context, producing a kind of second nature’. (1) This concept provides interesting direction for my work in Studio Air and beyond. The process of behaviours of natural systems present ample opportunites for adaptation into design algorithms to produce new work and continue to adapt outcomes.

Most recently, the links between conception and production have strengthened, with interesting and opportunisitc implications for the industry. Most interestingly, the links between design, production and evaluating operation and performance of buildings have strengthened.

This emerging design to fabrication to evaluation fabric will shape the way I design as a student of Architecture, and into my future career in the industry.

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CASE STUDY 1; ELYTRA FILAMENT PAVILLION// LONDON, UK // ARHCIM MENGES

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The design of Archim Menges’ Elytra Filament Pavilion in London is based on the fibrous structures of the hardened forewings of flying beetles; otherwise known as Elytra. The fabricated cells are designed to respond to data collected by sensors in the canopy fibres regarding inhabiation and use patterns. The pavillion thus becomes a live research project.

This project provides an interesting precedent for it use of design computation throughout design, production and operation of the pavillion. I think this is interesting in terms of the paradigm shift it represents; the fields of design, fabrication, production and engineering are merging as technologies advance.

This project is significant because it explores the ‘transformative power’ of robot technology as it emerges as a key tool in computation design and fabrication. It allows for performance-oriented design in an optimal form; with the pavillion’s fibres changing to react to its uses.

This presents a considerable impact to the design and fabrication industry and the outcomes able to be produced in the built environment.

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Figure 1; Elytra Pavillion Robots (2)

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Figure 2; Elytra Filament Pavillion Interactions (2)

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Figure 3; Elytra Filament Pavillion Construction (2)

1. Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London, New York: Theories of the Digital in Architecture, 2013), pp. 1-10.

2. Jessica Mairs, “Achim Menges Unveils Plans For Robot-Built Pavilion In V&A Courtyard”, Dezeen, 2018 <https://www.dezeen.com/2016/02/04/achim-menges-elytra-filament-pavilion-robot-built-victoria-albert-museum-london-engineering-season/> [Accessed 3 March 2018].

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A2 DESIGN COMPUTATION

CASE STUDY 2 NON LIN/LIN PAVILION // ORLEANS, FRANCE // MARC FORNES/THEVERYMANY

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Marc Fornes, in collaboration with his studio TheVeryMany, designed, manufactured and constructed the Non Lin/Lin Pavilion as ‘A prototype which engages in a series of architecural experiments’.(1) This process of ‘Design Computation’ (2) redefines the practice of fabricating double-curved surfaces in its use of ‘Intensive Curvature’, rather than previously explored ‘Extensive Curvature’.

Fornes defines ‘Intensive Curvature’ as; ‘The optimising of doublecurvature by fixing a maximum radius and moving through tubular elements, made up of multiple splits and merges, rather than using planar elements’. (1) His exploration of this type of form-finding and fabrication impacts the range of achievable geometries in relation to previous architectural theory - namely the extensive curvature works of Frei Otto. The outcome is the ability to create coherant environments from a set of linear developable elements.

The implications of Fornes’ pavilion, (among his other research and works), includes the ability to analyse his precedents in terms of these building forms which are developed through custom computational protocols and parameters.

Particularly, I can learn from Fornes’ investigations and design interpretations in terms of form-finding, form-description, information modelling, generational hierarchy and digital fabrication. This may translate directly into Studio Air, manifesting in investigations of ‘how nature would solve a problem’ in order to amend and develop my design work.

The computational nature of this form generation will allow for controllability on a specific local-level, as was used in Fornes’ Non Lin/ Lin Pavilion.

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Figure 1;Non Lin/Lin Pavilion; Built Model (1).

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Figure 2; Intensive Curvature Digital Model (1)

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Figure 3; Intensive Curvature Digital Model (1) 1. “PROJECTS”, MARC FORNES / THEVERYMANY, 2018 <https://theverymany.com/projects#/constructs/10-frac-centre/> [Accessed 4 March 2018].

2.Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London, New York: Theories of the Digital in Architecture, 2013), pp. 1-10.

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A3 COMPOSITION//GENERATION 01

The concepts of ‘Design Futuring’ and ‘Design Computation’ have begun to be weaved into the architectural language as the industry and the broader community push for more sustainable design, built and performative outcomes. This shift from a ‘compositional’

design approach to a ‘generative’ approach is characterised by increasing uses of computational algorthimic design methods, contrast to previous analog methods.

The main change between composition and generation is the process by which design is informed. In compositional architecure (literature and practice), composition is often informed by political, ideological or other ideas (aesthetic, personal). The shift to generational design signifies a move toward developing outcomes to complex problems through simulation, material composition, tectonics and mechanical parameters of production and fabrication.

Crucially, according to Shelden; “These computational tools and techniques will significantly affect the processes of design and delivery, the definition of the discipline of architecture, and the connection of the work to us and society’. (1) As this new architecural language begins to weave itself into practice, processes and methods should continue to be evaluated against their benefits and disadvantages to ensure the original desired outcomes of sustainable ‘design futuring’ are being achieved.

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CASE STUDY 1; DIGITAL GROTESQUE // CENTRE POMPIDOU // MICHAEL HANSMEYER & BENJAMIN DILLENBURGER

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The Digital Grotesque II is an installation piece in The Centre Pompidou in France. It is made up of 260 million individual facets @ one-tenth-of-a-millimetre resolution; a 3D printed grotto which ‘demonstrates how computational design and additive manufacturing can make new architectural worlds tangible”. (2) This design work uses a geometric input which is subdivided algorithmically to create form. Form is then created using 3D printing (additive manufacturing); erasing the need for analog design, documentation or construction detailing altogether.

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durable materials and minimise structural inadequacies. Crucially, the design and fabrication of the grotto provokes thought for what else could be possible in future.

This installation has opened me up to the poosibilities of generative approaches to design and the opportunities in 3D printing and modelling. It has sparked a curiosity in additive manufacturing methods.

This work is interesting because its form/composition is not rational; it does not follow precedent or mimic other structures or processes.

Instead, the designers have allowed for viewer interpretation and experience. This practice is significant because it causes boundaries of thought to be pushed and provoked.

Not only do opportunties arise for design and fabrication methods and outcomes, but also for the language of architecture to evolve. This installation shows what can be achieved through generative processes of design.

Significantly for the industry, this grotto signifies the revolutionary ability to use mechanical fabrication methods to produce strong,

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Figure 1; Digital Grotesque Grotto (2)

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Figure 2; Digital Representation Grotto (2)

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Figure 3; 3D Printed Grotto Module (2)

1. Brady Peters, “Computation Works; The Building Of Algorithmic Thought”, Architectural Design, 83.2, 8-15.

2. “Digital Grotesque”, Digital Grotesque <https://digital-grotesque.com> [Accessed 10 March 2018].

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A3 COMPOSITION//GENERATION

CASE STUDY 2; GALAXY SOHO // BEIJING, CHINA // ZAHA HADID & MICHAEL SCHUMACHER 01

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Compositional design has ‘qualitative evaluation methods (rational), which put a strain on creative productivity’. (1) In contrast, generative design approaches are (characterised by parametric / algorithmic thinking) “Is marked by its aims, ambitions, methodological principles, and evaluative criteria” - as defined by Patrik Schumaker.

(2) The implications of Schumacher’s statement encompass the advantages of the use of generative design processes to respond to complex and specific site and environmental conditions and constraints.

Zaha Hadid and Patrik Schumachers design of the Galaxy Soho exhibits the unique opportunities and outcomes presented through the use of generative architectural approaches, which would not otherwise be possible in compositional design approaches.

The design was inspired by ancient Chinese terraced rice fields and is centred around the idea of the traditional chinese courtyard.

The use of parametric design in the design process of this structure amalgamates the complexities of curvilinear geometries and allows ZHA to address their intent to create a completely unique and new form which mimics the qualities of the traditional chinese courtyard.

The downfall of this process is the actual interpreted ‘fit’ of this structure in its urban context. Although parametricm was utilised to produce a unique building, the mass and positioning of this architecture does not quite respond to the immediate surrounding of the site. In its aim to be linked and fluid, the design has almost cut itself off from ‘the outside’.

The office building composes ‘5 continuous, flowing volumes that work with soft, malleable volumes connected by multiple stretched bridges’.

(3)

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Figure 1; Galaxy Soho (3)

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Figure 2; Urban Context, Beijing (4)

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Figure 3; Parametric Design of Galaxy Soho (3)

1. Yehuda E Kalay, Architecture’s New Media (Cambridge Mass: The MIT Press, 2004), pp. 5-25.

2. Patrik Schumacher, “Parametric Patterns”, Architectural Design, 79.6 (2009) <https://doi.org/10.1002/ad.976>.

3. “Galaxy SOHO - Architecture - Zaha Hadid Architects”, Zaha-Hadid.Com <http://www.zaha-hadid.com/architecture/galaxy-soho/> [Accessed 11 March 2018].

4. Amy Frearson, “Galaxy Soho By Zaha Hadid Architects Photographed By Hufton+Crow”, Dezeen <https://www.dezeen.com/2012/11/15/galaxy-soho-by-zaha-hadid-archi-

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A4 CONCLUSION Part A explored the use of design computation methods and developing algorithmic thinking to respond to growing needs for sustainable ‘futuring’ design outcomes. It explores the changing language of architecture from traditional analog methods to evolving digital parametric tools to augment the intellect of a designer, increasing the opportunity and ability to solve complex problems.

I intend to use the precedents explored to expand my knowledge base and push my design work to create something new and unique, in relation to my brief for Studio Air. I hold significant interest in the topics of 3D printing (Digital Grotesque) and in the opportunity for computation to extend from design and fabrication to performance analysis. Although I may not be able to touch on the analysis side of this in the short semester, it has sparked a curiosity which I am sure will be ongoing throughout my future in the design profession.

I am excited to be a part of the generation of student architects who is exploring the possibilites of computational design methods and tools and I am looking forward to seeing where I can apply these skills and knowledge in future. I believe the idea of ‘Formation precedes form’ creates an interesting implication for the design field, in that it provides the opportunity to reduce unsustainable production and build outcomes before leaving the computer. Through prototyping and testing, I believe much more sustainable outcomes will continue to be produced using parametric design methods.

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A5 LEARNING OUTCOMES In my research into architectural computing design methods and tools, I have found that I have re-ignited a passion and genuine interest in the field of Architecture.

By looking to ground-breaking and innocative precedents, I can see the immense opportunities to effect change in the built environment, which ultimately impacts people. This is what I am interested to build on in my time in Studio Air and beyond.

Before this research, I was mostly unaware of â&#x20AC;&#x2DC;Computational Designâ&#x20AC;&#x2122; and its tools and outcomes. My previous experience in this field has been limited to other Architecture subjects, which have only briefly touched on the subject.

Having this knowledge now, I can see that the use of tools such as Rhino // Grasshopper would have been useful in producing more unique, controllable outcomes in past assignments and interest projects. Producing variations on the computer before fabrication allows for controlled outcomes and this would have saved time and definitely produced more interesting outcomes for my past works.

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A6 BIBLIOGRAPHY assignment, arch122, arch122 assignment, and Profilimin görüntüle, “THE CONTINUOUS MONUMENT: AN ARCHITECTURAL MODEL FOR TOTAL URBANIZATION”, Arch122superstudio.Blogspot.

Com.Au, 2018 <http://arch122superstudio.blogspot.com.au/2012/06/continuous-monument-architectural-model_15.html> [Accessed 1 March 2018] “Digital Grotesque”, Digital Grotesque <https://digital-grotesque.com> [Accessed 10 March 2018] Frearson, Amy, “Galaxy Soho By Zaha Hadid Architects Photographed By Hufton+Crow”, Dezeen <https://www.dezeen.com/2012/11/15/galaxy-soho-by-zaha-hadid-architects-photographed-by-hufton-crow/> [Accessed 12 March 2018] Fry, Tony, Design Futuring; Sustainability, Ethics And New Practice (United Kingdom: Berg, 2009), pp. 1-16 “Galaxy SOHO - Architecture - Zaha Hadid Architects”, Zaha-Hadid.Com <http://www.zaha-hadid. com/architecture/galaxy-soho/> [Accessed 11 March 2018] Kalay, Yehuda E, Architecture’s New Media (Cambridge Mass: The MIT Press, 2004), pp. 5-25 Mairs, Jessica, “Achim Menges Unveils Plans For Robot-Built Pavilion In V&A Courtyard”, Dezeen, 2018 <https://www.dezeen.com/2016/02/04/achim-menges-elytra-filament-pavilion-robot-built-victoria-albert-museum-london-engineering-season/> [Accessed 3 March 2018] “Nordpark Railway Stations”, Zaha Hadid Architects <http://www.zaha-hadid.com/architecture/nordpark-railway-stations/> [Accessed 1 March 2018] Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London, New York: Theories of the Digital in Architecture, 2013), pp. 1-10 Peters, Brady, “Computation Works; The Building Of Algorithmic Thought”, Architectural Design, 83, 8-15

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