AIr
Architecture design Studio Jonathon Belotti (539430) Semester 1 2013
Design Approach
Contents 1
Design Focus- Structure
design Focus
Metropol Parasol
STRUCTURE It is not necessarily explicit, but always implicit in the design of buildings. Structure, as it relates to architecture and construction, is a body or a system of bodies capable of supporting loads, and resolving them into a stable equilibrium.1 It is a constant restriction on architecture, governing material use, form, and scale. Though it is conceivable, a paper thin layer of concrete cannot serve as a roof structure, and it thus architectural unfeasible despite its aesthetic utility in architecture form. The Wyndam Gateway Project, it is argued, ought to be an installation drawing from the theory of parametric and computational architecture, and designed by its methods, technologies and processes. As a computationally design installation, there is potential for complexity in the composition, interrelation and organisation of its elements. This is exemplified by the striking Metropol Parasol in Seville, Spain. Designed by JĂźrgen Mayer-Hermann, its form is intricate and complex, its untested and experimental laminated wooden structure encountering structural issues that increased costs. The instability of the structure was eventually corrected by application of high-performing glue though this precedent design still demonstrates the importance
ARCHITECTS: jurgen mayer h Location: Seville, spain 2005-11
of good structural design as a complement to good parametric design.2 Good Structural Design will enable the physical realisation of an ambitious, intricate and mathematically complex installation, in general effort directed towards the solving of structural problems frees up the design to explore further computer-aided design potentials. On a more sombre economic note, consideration of structure can save money in construction and material costs. Norman Foster’s Heart Tower utilised a diagonally gridded steel structural (a Diagrid), which required 21% less steel tonnage than a conventional steel structure.3 Structure in parametric and computational discourse can be identified as containing a few current activities. The first is the exploration and experimentation with the grid as an organisational structure, translatable into physical structure. The orthogonal grid has long been utilised to organisation building elements for the withstanding of loads, and it reflects closely our abstracted understanding of gravitational and lateral load on structure. However, the orthogonal grid is just one type of the lattice algebraic structure.4 In modernistic architecture, rectilinear 3 dimensional
Hearst Tower
ARCHITECTS: Norman Foster Location: New York, USA 2006
metropol parasol
KING Cross Station consourse ARCHITECTS: John mcaslan Location: london, uk 2012
lattices could be easily related to the rectangular mass employed predominantly by architects. However, within a parametric landscape, constantly producing curvilinear and blob-like volumes (or ‘soft’ form)5, the rectangular grid is less relatable and useful to organise building elements into a structure.
loading and force equilibrium are being resolved in structure in more complex ways, and the physical eventuality of these solutions is the lattice of structural elements. Examples of this can be seen in John McAslan’s Kings Cross Station Concourse and the Japan Pavilion by Shigeru Ban. Both use a lattice of structure members (steel Mathematically complex, though visu- and bamboo respectively) to span a ally intuitive, lattices can be created space. The evolution in structure is that conform to the new forms and striking when these works of archivolumes of computational architecture. tecture are considered against post Currently the omnipresent issues of and lintel, truss, or arch structures.
Japan Pavilion
ARCHITECTS: Shigeru Ban Location: hannover, Germany 2000
KING Cross Station consourse
Screencapture of grasshopper with karamba plugin modules utilised to inform, in real time, the designer of the effects of loading on parametric geometry
A second activity of Architects and engineers related directly to structure is the linking of structure to parametric geometry.6 Structure is effectively understood visually, showing elements and how they are being influenced by forces. Graphic statics are a collection of geometric algorithms based on vector calculus that aide in the finding of equilibrium solutions, where a form is stable and at rest.7 In computation, work has been done to enable programs to better link the geometric design process to the structural analysis process of Graphic Statics.
for Grasshopper 3d that does exactly this, enabling designs to test structural feasibility during form-finding processes, and also structural optimisation after form has been finalised.9 Being a finite element program, structure is analysed by inputting material and structural properties into a mesh, which through algorithmic calculation yields the expected response of the geometry to tensile and compressive loading.10
Currently, designers can use a program to have an immediate and dynamic connection between the geometry, its structure and themselves.11 Because There has been success and currently of research and development into the parametric models of geometry can linking of structural analysis to parabe analysed to inform designs to a de- metric geometric models within the signs structural feasibility, especially in design workspace, architects increasthe early stages of parametric design. ingly have an amplified ability to create 8 Karamba is a finite element program form that is considerate of its structure.
Screencapture of a grasshopper geometry that is being visually informed by structural analysis. The use of specific modules allows the geometric elements to represent, force magnitude, force type and force direction as well as remain ing a dynamically modifiable geometric form
Finally, the exploration of form in the parametric/computational landscape has been aided by greater understanding of deeper biological, chemical and atomic structure in science. Contemporary architectural practice is increased by observed to be expressive of these unseen structures in nature, whether or not the mathematical significance of those structures has been utilised in the building. The Harpa Concert Centre by Henning Larsen Architects is one such building that is expressive of structure that is not necessarily an embodiment of its own structure.12 Its form was partly inspired by the structure of
basalt crystals (see right) However, the Water Cube by PTW Architects, while being inspired by soap bubbles cellular structure that forms the geometric organisation of its steel beam skeleton, and the result was a highly stiffened building capable of remaining static if turned on its side.13 Aranda\Lasch Architecture also, quite uniquely, have utilised the structure of quasi-crystals to produce variation and infinite combination in form from a small set of repeated elements. The result is a structural entity of similar structural quality to a rectangular grid structure, though with differences in form and possibility.14
harpa concert centre ARCHITECTS: Henning larsen Location: reykjavik, iceland 2011
Beijing Aquatic centre ARCHITECTS: PTW architects Location: beijing, china 2008
Beijing Aquatic centre
quasi-crystal structures architects: aranda\lasch
Footnotes
1 Pullan, Wendy, Structure (Cambridge: Cambridge University Press, 2000) 2 Carrasco Purull,Gonzalo & Livni, Pedro, Paranormal Activity: Metropol Parasol and other Para-tech. (2011) <http://vostokproject.com/2011/05/27/paranormal-activity-metropol-parasol-and-other-para-tech/> [accessed 8 April 2013] 3 Sveiven ,Megan, Flashback: Hearst Tower / Foster and Partners (2012) <http:// www.archdaily.com/204701/flashback-hearst-tower-foster-and-partners/> [accessed 8 April 2013]. 4 , Lattice (order) (2013) <http://en.wikipedia.org/wiki/Lattice_(order)> [accessed 8 April 2013]. 5. Schumacher, Patrik, Patrik Schumacher on parametricism- ‘Let the style wars begin’ (2010) <http://www.architectsjournal.co.uk/the-critics/patrik-schumacheron-parametricism-let-the-style-wars-begin/5217211.article> [accessed 27 March 2013]. 6 Preisinger, Clemens. "Linking Structure and Parametric Geometry." Architectural Design 83, no. 2 (March 2013): 111 7 Lachauer, L., Junhjohann, H., Kotnik, T.: Interactive Parametric Tools for Structural Design. In: Proc IABSE-IASS (2011) 8 LACHAUER L., KOTNIK T., “Geometry of Structural Form”, in CECCATO C., HESSELGREN L., PAULY M., POTTMANN H. and WALLNER J. (eds.), Advances in Architectural Geometry 2010, Springer, Heidelberg, pp. 201 9 Preisinger, Clemens. "Linking Structure and Parametric Geometry”, 112 10 Widas, Peter, Introduction to Finite Element Analysis (97) <http://www.sv.vt. edu/classes/MSE2094_NoteBook/97ClassProj/num/widas/history.html> [accessed 8 April 2013]. 11 LACHAUER L., KOTNIK T., “Geometry of Structural Form”, 201 12 Henning Larsen Architects (2011) <http://www.dezeen.com/2011/08/25/harpaconcert-and-conference-centre-reykjavik-by-henning-larsen-architects/> [accessed 8 April 2013]. 13 ‘Bubble Engineering’, Catalyst, ABS Television, 26 March 2009. <http://www. abc.net.au/catalyst/stories/2526116.htm> 14 Burrichter, Felix, Document No. 158—In the studio with Aranda\Lasch (2012) <http://documentjournal.com/document-no-158/> [accessed 8 April 2013].
STRUCTURE CASE STUDY 1.0
1.- A simple loft
2.- Using LunchBox we used the command random quad panels
3.- After we used the random split command and separated the quad panels into two different surfaces. We then used an offset to move some of the panels away from others?
4.- Applying the same concept on a torus surface and changing the panels to diamond panels we get the next outcome. The beginning definition is the next one:
5.- We then created a plane that intersected the torus through the middle and used a bolean operation to cut our original form in half.
The use of the plugin LunchBox for grasshopper is of great help to create forms more attached to reality. Not only because the structures are used frequently but also because it has been proven they work. In this exercise we attempted on creating a structure for a promenade, some of the panels were randomly deleted allowing natural light and ventilation into the walk. The center could be used as a garden with different kinds of plants and some benches for the people who are tired of walking to go rest.
We later applied diamond structure to the surface and with number sliders we were able to change the number of diamonds we got on the surface
Experimenting a little we found out how the geometry of the surface changed according to the changes we made with the number sliders to the U and V division parameters.
We later applied diamond structure to the surface and with number sliders we were able to change the number of diamonds we got on the surface
Experimenting a little we found out how the geometry of the surface changed according to the changes we made with the number sliders to the U and V division parameters.
STRUCTURE
CASE STUDY 2.0 king’s Cross Concourse
the abandoned Tensegrity model
This model was developed as a repeatable stackable structural module, much resembling the structural arrangement of the Beijing Water Cube.
Prototypes
This model however is the beginnings of a geometry that acheives stability with tensegrity. However, the design turned out to not a viable within the Grasshopper design space.
PLate structure model Materials used in modelling the Grasshopper sketches should, I beleive only neccessarily reflect the structural qualities of the true material. This also, need only be taken as far as neccessary for modelling, as in, wood is a n adequate representative material for steel, as small scales, although not being structurally equivical. The phenomenalogical features of the material, its touch, appearance, sound etc need only be bonuses of representation. The importance of any model is in its ability to demonstrate the structural logic. How elements of a model fit together, and their orientation is a big issue to overcome. This paper model is crudely and unrealistically bonded with adhesive. The use of adhesive structural bonding is not unheard of, the Metropol Parasol in space required it. However this fabrication of a portion of an algorithmic sketch uses adhesive inappropiately. Card is not an ideal construction materal, platics or wood could serve better.
TECHNIQUE PROPOSAL
Currently of grasshopper techniques do not respond to topography. The forms are quite easily manipulated to be situated comfortably within the site boundaries though it is certain that there in not an intelligent relationship between the structural algorithms in Grasshopper 3D and the site. However the techniques we have employed that are based around the use of algorithm modules that can develop structures that within a computational design space. That itself is quite groundbreaking however the design also have shown they have potential to be highly efficient, flexible and adaptable to the needs of the client.
Form follows structure These linework explorations were created around the idea creating a decorative cladding, to alter the structures form, that would be developed directly from the formal characteristics of the structure. Although it is visually interesting to see the design self-referencing its own structure within its form, I was decided that this type of decorative cladding was ad-hoc and unneccessary.
Learning objectives and outcomes
Earlier readings on the discourse surrounding the emerging parametric and computational theory and practices within architecture, greatly aided in investigations of the Gateway brief. Reading about recent and current work and research utilising the capabilities computational tools and programs, I felt confident shaping a design approach that could sensitively respond to the brief, the challenges of design and the limitations of computational tools and programs. Choosing to explore the changes in structure in Architecture, the study of relevant precedents helped to form convictions as to the proper direction for a parametric exploration. Most powerful were the ideas that computational design, with its complex mathematics, could free structure from its long-serving partner, the orthogonal grid. The Hearst Tower by Norman Foster employed recently a dia-grid in place of an orthogonal, rectilinear, and traditional lattice to arrange its structural steel members. The result was more efficient, utilising less material. I was heartened, believing that new approaches would not just bring different structures, but better structures. It seemed that the new relationship between computer and designer could provide a strong rational for a
design, solving an important issue in the creation of architecture, stability. Unfortunately what followed was a confidence shaking, productivity destroying lesson in the difficulties of designing within a computational design space. It was an objective to “generate a variety of design possibilities”, instead I feel our efforts produced little possibility and instead a variety of different broken algorithms. LunchBox was suggested as a starting point for exploring structure in Grasshopper, but as a starting point it was facile. Everything happened so easily, and this seemed to be because LunchBox could neatly perform the limited tasked it was designed to, with little input, thinking or understanding from we, the designers. Having recreated the form of the Hearst Tower structure and the Kings Cross Concourse, I gained no real understanding of why these structures were stable or useful. Recognising the limitations of the LunchBox plug-ins, the group made forays into the Kangaroo plug-in, but with what could not be described as success. A lack of understanding of both the programmes workings and the deeper algorithmic workings turned out more ‘broken algorithms’. This disconnection between the designer’s intentionality and
the creative process was a new and difficult problem to deal with. This was in part due to structural analysis being a foreign skill to the architecture student (engineers business), and also the added difficulty of tackling with this skill within the computational domain. These things compounded the difficulty of the task, which led to a certain feeling for me, of being lost at sea. What has eventuated was a somewhat myopic and tunnel vision approach to our design. We wanted the Kangaroo, and subsequent Karamba, plug-ins to function! This became also our entire goal, we needed to demonstrate the ability of Grasshopper 3D as a computational design space to deal with the architectural problem of achieving structural stability and efficiency for the parametric ‘soft’ and ‘complex’ forms being produced. Stepping back from working in Grasshopper, I believe I regain the clarity to “make a case for proposals”. Even with an admittedly limited reading through of contemporary architectural discourse, an argument has formed that I believe can combat accusations of superficiality, vacuity and purposelessness aimed at the developing parametric designers. We have found that when it ‘clicks’, designers can have a powerful immediate interaction with structure as it relates to parametric geometries.