Moghaddam nazanin 684296 parta

STUDIO AIR 2017, SEMESTER 1, Jack Mansfield-Hung Nazanin Moghaddam Tabriz

TABLE OF CONTENTS Introduction A.1 Design Futuring Precedent 1 A.2 Design Futuring Precedent 2 A.2 Design Computation A.3 Composition / Generation A.4 Conclusion A.5 Learning Outcomes A.6 Algoritmic Sketches Bibliography

INTRODUCTION

I am Nazanin. I am in my third year of the Bachelor of Environments at the University of Melbourne, doing a double major in Architecture and Urban Planning and Design.

By studying both of these majors, I have learned how to both look at the big picture (the scale of the city) and details (experiences created in a built environment).

Throughout my studies I have realised that the applications of Architecture projects are beyond the physical boundaries of that building; it affects the lives of the people who use it, see it, and the community. In a world where “everything is connected to everything else” [1] (first rule of ecology, Barry Commoner, 1971), multidisciplinary knowledge is the key to understanding the issues our world is facing, and the way to find solutions for it.

Since a young age, I have been interested in good design. Whether it was building Lego models, drawing plans of my own future home, or observing the process by which electronic devices were designed and manufactured in my father’s company.

My passion for design became clear to me when I was asked by my father to do the 3D modelling of one of his new products. He had recently purchased a 3D printer for his company, and they wanted to create 3D-printed prototypes for their new project (in 2012, 3D printers were quite rare).

I was tasked with taking my father’s sketched design, using 3D modelling to work out the real-life dimensions of the product, and then 3D print it. On my own, I learned to use the design software SolidWorks, and how to operate the 3D printer. Despite the considerable challenge, I accomplished the task, without having any experience in product design or computer modelling. It was a unique opportunity, especially as I was able to work closely with the people who wanted to

4

CONCEPTUALISATION

turn my 3D model into a vacuum mould for mass production.

Using digital design allowed for a faster, cheaper, and more detailed design outcome. With the aid of digital design and 3D printing I was able to produce prototypes exactly how they would be in mass production, to make sure that all the details were correct and that any modifications in the new model would fit with the existing features of the model.

That project empowered me and helped me to understand my own potential, and the new direction the design world was heading in.

To me, mastering any design software seems easy, I just have to give it some time and practice.

I define design as art with a purpose. The purpose is to find a solution for a problem. The ‘design process’ is a rational way of finding the best solution (based on our values and objectives) for the problem that we are facing. My approach is heavily influenced from my experience as a practical physicist (I studied Physics at the University of Tehran before moving to Australia); where I developed a mindset of trying to describe physical events with mathematical models.

Good architecture is like good cake. It does its job, and does not have fondant on it. The first purpose of cake is to be eaten, but if it is decorated by something inedible, like fondant icing, the cake has failed its most important purpose.

The same logic applies to all of design - function is far more important that form. Function dictates form. If you are not meeting the function, you are just wasting resources.

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT) CONCEPTUALISATION 5

DESIGN FUTURING Half of a House Elemental, Chile The award-winning architecture firm, Elemental, is known for delivering creative solutions for low-income housing projects.

They created an out-of-the-box design solution when they were commissioned to deliver housing for the displaced people of a 2010 earthquake in Constitución, Chile. While a middle class family can live reasonably well in an 80m2 home, Elemental’s limited budget could only afford 40m2 per family. Additionally, the community of earthquake survivors did not want to live in apartments, because that meant they had no opportunity to expand their home in the future [2].

Therefore, the designers in Elemental had to innovate. The solution was to use the government budget to build half of a good house. The decision of what features would go into the Half-a-house came from consultations with the future residents themselves, who wanted the house to feature things they did not have the expertise to install themselves in the future, such as the structural frame, concrete floor, hot and cold water pipes, and bathtub. A notable omission was a hot water system, which the earthquake victims decided to make do without until they could afford to install one themselves [3].

6

CONCEPTUALISATION

Channelling people’s building capacity These half-built houses are a unique response from urban planners to the housing deficit in cities around the world.

The approach has its roots in a building methodology made popular by the 1972 essay, “Housing as a Verb,” by architect John F.C. Turner. Turner made the case that housing ought not to be a static unit that is packaged and handed over to people. Rather, housing should be conceived of as an ongoing project wherein residents are co-creators [4].

Elemental’s design solutions put a much higher priority on listening to the needs and wants of their future residents, rather than creating cookie-cutter high-rise apartments that have been done before and yielded mixed results.

This project is a great example of where the disciplines of urban planning, architecture, and participatory design can be combined to create a better solution.

CONCEPTUALISATION 7

DESIGN FUTURING BIG Bjarke Ingels Danish Architect Bjarke Ingels and his firm are internationally recognised for their creative design, for old problems.

Through their practice, they use a wide range of architects, urban planners, and landscape designers, as well as consulting with experts like social geographers and community activists based on the needs of each project. They believe that through asking the right question to the right person, they can have a better design outcome. The variety of backgrounds in their design team (both professionally and ethically) is a way to ensure their design will be as inclusive as their office team.

For each project, Bjarke Ingels’ firm goes through many variations of the concept design, models them, and discusses all the options. Their work is a massive team project, and the role of the design director is not to dictate tasks to the team members, but rather to listen to their ideas and coordinate the group.

Their office culture is the main reason behind their success.

8

CONCEPTUALISATION

CONCEPTUALISATION 9

DESIGN COMPUTATION

Traditional methods of Architectural design are slow and expensive. In today’s world, clients prefer quick, cheaper solutions. This calls for the design process to be faster and more efficient. This leads us to the question of finding the best tool that will allow us to achieve this goal.

Design computation, in simple terms, is a tool for designers to achieve what they want in a faster, a cheaper way. The cost of looking at many design variations in a computer is not comparable with making models of each of those ideas.

From the invention of paper to AutoCAD infinite space, from handcrafting the first models to fast 3D printing, we are making the same process more efficient. The designer has to do the same job when drawing on paper, or in AutoCAD. It depends on the skills of that designer to realise which one is easier for them to use.

It is hard to distinguish computation from computerisation.

My definition is when the design used to create the main idea is analog (paper and pen, cardboard and glue), and then a computer is used to document it, it is computerisation. It is similar to how renowned architect Frank Gehry used to do his projects, where his hand drawn sketches were given to a team of engineers to translate it into an accurate constructible model with the aid of a computer. Such design is not driven by computers.

On the other hand, a computation process can allow the designer to give feedback to the

10

CONCEPTUALISATION

computer, and apply it to their design.

Despite this, design computation is still only seen by many as ‘just a tool’ and isolated from the ‘real business’ of creative design [*].

Research Pavilion Achim Menges

A successful example of computation is ICD/ ITKE Research Pavilion by Achim Menges With a range of physical experiments, Menges models the behaviour of the material (in this project thin timber) and then with the data they developed their model.

The computer was responsible for understanding where and how the timer should be bent to be able to carry the weight of the whole structure.

Calculation for such material behaviour is beyond the abilities of a human. The high number of variables and parameters involved in stabilising the structure makes the math questions very difficult to understand, let alone calculate.

Moreover, conventional methods of form finding through modelling would not be accurate for such projects because the behaviour of the material will be really different at different scales. Additionally, there is no other way to accurately model all the load transfers with another material.

The computer can calculate the loads and stress points, and let the designer know which points of the structure are handling most of the load, and if it will fail or not.

CONCEPTUALISATION 11

COMPOSITION / GENERATION

I do not see anything but better future with the generative design.

I should mention that Computation generative design, is very similar in principles to Artificial intelligence.

It is based on the evolution model and genetic algorithm. if done correctly, it will result in the survival of the fittest. and how are we to argue that which structure, which built form will be the fittest for the world that we are living in.

Algorithms developed for computation design so far act only on the design task they are given. Additionally, the developments in AI directly affect algorithmic design methods and vice versa. as result in this part of my argument, I am referring to both AI and computation design.

Of course, the outcome of a generative design process depends on the limitations of the computer program and the information that human gives it.

A future that we can have a conversation with the computer, tell it to design a car for us, and it designs it, is nothing but magnificent. that future is actually already happening.

AI is getting better, maybe one day it can also be creative, then it will give us a design, both efficient, and creative.

then the question is that who is the designer? I say the beautiful brilliant mind who made the computer program, and also the human being the computer who was smart enough to understand what information they should put in.

I should not finish but mention that I do realise my opinions about generative design can be only a childish excitement, which is the lack of information about the possibilities of future. However, it is a path, worth taking. we might we pull by our robot masters in future, we might find a way not to. but how can I compare that it would be worse than the life that we already have?

In a world that humanity and our dignity is questioned by selfish actions of our politicians, maybe, only maybe AI would be the answer. of course, it depends on how we will design it.

12

CONCEPTUALISATION

CONCEPTUALISATION 13

CONCLUSION

Computation design can be used as a method to find design solutions that reaching them with

The goal is efficiency. To develop a method to solve complex problems, and to imagine possibilities of the new design era.

Using Computers in the design process, even if it only for computation of the design, is beneficial in terms of saying time and money.

Computation design has a bright future. we should not only use it to achieve forms, but rather we should take it into action, so solve problems, that we are incapable of, such as global warming, and design for a future that we do not know anything about it.

On the other hand, Computation which means using the computer as a creative agent in the design process opens new opportunities.

Computation in design is relatively a new method. and so far most of the projects that have used this method used it daily to achieve forms. However, to judge whether its design is computation or computerisation, we have to look at the whole process of design, and see if Computer has been used as a creative agent, or just as a passive tool?

Through my research, I come across ground breaking projects, where the computer is used as the main designer.

I want to explore the possibilities of using computers as an active designer in my design process in Studio Air. I want to explore the limits of its thinking and see what computers can do better than humans, and what humans can do better.

14

CONCEPTUALISATION

Computation design, almost like developing super smart AI, is inevitable. We better understand it and learn to control it for our own benefit, before it gets late.

LEARNING OUTCOMES

Closely focusing on the application of computation in architecture have definitely expanded my knowledge. before the start of Studio Air, I had a wage idea about the application of computation and generative design daily in industrial design. I have realised that buildings and architecture are in some aspects more complicate than bicycle handles. Therefore developing and algorithm to design buildings completely on its own is not possible yet, but it is achievable. I was introduced to the arguments about the role of the designer when we use computers.

We also talked a lot about the role of the designer when forms are being popularised by non-designers (celebrities). what wold it means to design in such world, and the question is that are not we already in such situation?

Moreover, tough the process of doing studio tasks, updating journal, and algorithmic sketchbook, I once-more, realised tat I need to work much better on my time management, but there is ALWAYS something unexpected happening, which sends you back to the counsellor’s office and asking for an extension.

CONCEPTUALISATION 15

16

CONCEPTUALISATION

ALGORITMIC SKETCHES

CONCEPTUALISATION 17

CABANON DE VACANCES

18

CONCEPTUALISATION

Interior of Cabnon is designed around dimensions of the human body. I would like to explore the possibility of doing the same process, design with grasshopper. in a way that I can define the human to computer, and ask it to design a place for sitting, sleeping and dining for it. which will be repeating Courbusier’s design process

Model of Cabanon in Rhino I modelled Cabanon in Rhino as a simple cube with a half pitched roof. At this stage of my practice with grasshopper I decided to devote more time to learning the program, that details of the Cabnon model.

CONCEPTUALISATION 19

EX 1: HELMET Lofting I decided to cover the whole building with a new structure.

Almost like a helmet.

Qualities of this space depend on the material that it will be made of. Here I changed its material to a transparent one, to see its relation with the Cabanon.

This curvy shape is in juxtaposition with the sharp edges of Cabanon, and there are many useless spaces between this two forms. It is simply a cube covered with a sphere. there are lots of weird spaces left in between the two forms. Which makes this not a material efficient and function-able design solution.

20

CONCEPTUALISATION

CONCEPTUALISATION 21

EX 2: ARMADILLO Box Morph I developed teh previous concept by Box Morphing over the lofted surface. However, I needed to change my curves in order to run the box morph command. The first lofted surface was too complicated to be Box Morfed.

It was mainly an exercise, but then allowed me to explore different shapes.

It made it look harsh, and dangerous.

Almost like an armadillo By removing some of the box morphs effect of light changes.

22

CONCEPTUALISATION

I WAS ABLE TO EXPLORE MANY VARIATIONS OF THEY SHAPE BY CHANGING THE NUMBER ROOF THE SEGMENTS ON THE SURFACE, AND THE SAME OF THE INPUTED GEOMETRY TO THE BOX MORPH COMMAND.

CONCEPTUALISATION 23

EX 3: BOX MORPH + HEXAGON Developed on the Armadilo design, I chnaged the geomethry for Box Morph to a Hexagon.

It creates a light mesh structure. The hexagon shape can be efficinet in fabrication.

24

CONCEPTUALISATION

CONCEPTUALISATION 25

EX 4: REFLECTION Box Morph The Outline of the main curves are a reflection of side view of Cabanon. I tired to make the half pitched room of Cabnon compleate.

Algoritem is the same as first Box Morph exercise.

I chnaged the ancor points of the curves to create a wave effect in the overall shape.

26

CONCEPTUALISATION

CONCEPTUALISATION 27

BIBLIOGRAPHY

1- Farnam Street, 2016, Four rules of ecology, Vied at 07/08/2017 <https://www.farnamstreetblog.com/2016/04/four-laws-ofecology/> 2- Aravena , A. 2014, My architectural philosophy? bring the communities into the process, TED Talks, Viewed at 27/07/2017, <https:// www.ted.com/talks/alejandro_aravena_my_architectural_philosophy_bring_the_community_into_the_process> 3- Greenspan, S. 2016, Half a house, 99% Invisible, Viewed at 27/07/2017, <http://99percentinvisible.org/episode/half-a-house/> 4- Zilliacus, A. 2016, Half a house builds a whole community: elemental’s controversial social housing, Arch Daily. Viewed at 27/07/2017 <http://www.archdaily.com/797779/half-a-house-builds-a-whole-community-elementals-controversial-social-housing> *- Frazer, John H. (2006). ‘The Generation of Virtual Prototypes for Performance Optimization’, in GameSetAndMatch II: The Architecture Co-Laboratory on Computer Games, Advanced Geometries and Digital Technologies, ed. by Kas Oosterhuis and Lukas Feireiss (Rotterdam: Episode Publishers), pp. 208-212

28

CONCEPTUALISATION

CONCEPTUALISATION 29

30

CONCEPTUALISATION