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Studio air Journal. Nicholas James Love// 542511



[A]ny serious “rethinking� of architecture at the start of this century cannot be undertaken without upsetting the structure and emphases of the traditional profession, [&] traditional typologies. Vidler, Anthony (2000).


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Content Page// Studio Air

Introduction & Previous work Page 07

Futuring// A1Design


Design Computation//


Computation Generation//

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Page 38

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Learning Outcome//

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Nicholas James Love

I was born in London but moved back to Melbourne at a young age. From day dot I’ve always been interested in some form of making. From toy contruction sets to car restoration there has consistantly been a project underway in the shed. During highschool’s later years this interest translated into a focus of built form. So here we are now. Back in year ten I thought there was simply nothing better than the work of Murcutt, Godsell and Katsalidis. University introduced me to Koolhaas and that ws great too. I do however I feel that there a more progressive and exciting things on the parametric horizon. So for now, I’m looking torwards them. I deeply enjoyed Virtual under the tutorship of Dave Lister. I dont have any black and white creative photos of me & my assignment due to the terentail rain on presentation day. Instead I’ll share a few happy snaps taken over the page. Things aside from architecture consists of photography, moments with friends and getting out of the city as much as possible. I have back packed through Europe & Asia which resulted in countless scars, adventures and new friendships. I will always hold fond ties with Coppenhagen as we lived with locals for two and a half months. I have already told them that myself and two others are designing an instalation for the desolate wharf across their river. They laughed. I find it rather exciting to be sitting on the cusp of a new period in our industry and I look forward to proving my Danish friends wrong in studio air this semester.


Previous work





Design Futuring// Week One


Design Futuring. Towards sustainability

The last decades of the twentieth century have been exponential times. While much of this advance, invention and development has been beneficial our consumer ethos and appetite for excess is unsustainable. The natural realm is passed the point where merely reducings our emmisions and recycling a little more will allow it to support us. It is on us as architects and creative minds a like to furture proof new builing typologies and practices that will ensure longevity and not exploit eco systems. As stated by Fry, design futuring has two main tasks, slowing the rate of defuturing and redirecting towards more sustainable living practices. He suggests that the creative industry must re-evaluate current practice and delve into what the essentials of sustainablity are. Our digital age really assits us with doing this if we learn to embrace new design methods. B.I.M and other forms of modellilng allow us to refine all elements of a structure to give maximum efficiencey. However we should look beyond on this to new materials that hold less embodied energy. The broader result of this is that our living routines must evolve. It should no longer be okay for 1500 kilograms of metal to be need to transport a 70 kilogram human. The same principal aplies for oversized suburban residential typologies. Densification must present an affordable and attractive option to the degenerate urban sprawl that occurs in Melbourne today. On a global scale precedents of the old european walking city should not be overlooked as they commonly present the roots of a sustainable urban plan, all we need to do is develop new age forms to apply to it. Relating back to the car analogy, if it is possible for cars to have automated sytems such as parking & winfshield cleaning, why is this self maintenance capability not so common in th ebuilt world. As architects much of what we will study tomorrow is already history. Our career work must be focused on motives of sustainable renewable practice, looking forward to new material technology systems that are adaptible, reusable and efficient to produce.


Figure set 001



Meteorosensitive Pavillion. HygroSkin was a collaboration between Achim Menges, Oliver David Krieg and Steffen Reichert. It is a research project that looks into the climate responsivness in facade systems. The pourus nature of wood is made use of to form a structure that is able to self regulate. When in thin profile wood is vunerble to airborne moisture and will contact and expand. This phenomenum is widely know throught the construction industry however only recently have projects such as HygroSkin and a few other alike chosen to exploit this. This example was chosen over others due to the way that it translates the characteristics of wood into something more applicible to architectural discourse. unlike some other meteorosensitive instalations the pavillion is occupiable able to to control and maintian a micro climate by ventelating or sealing itself. It is ideas such as this that are really pushing for future sustainibility as similar systems exist that make use of complex and energy consuming mechanical systems.

Occupiable// Futured//Natural Oscillation//


Figure set 002


Hyper Membrane// By HYBRIDa

During the week I attended the Growing Smarter Material Systems Symposium II at the RMIT Design Hub. One of the presented projects was Hyper Membrane by HYBRIDa Architects. The membrane structure spans about twenty meters and currently resides at the Design Hub Museum in Barcelona. It was constructed after a 2.4 million euro government grant for the 7th European research project. HYBRIDa had been researching and prototyping systems similar to this but did not have the capital for a 1:1 prototype. The system is consists of single ‘S’ form components that make up a complex interwoven lattice. Due to actuators within the lattice the membrane holds muscular abilities and is able to flex or release. The result of this is a completely malleable structure that can adapt to limitless architectural and environmental contexts. Environmentally it may be hunkering down to avoid wind damage or exposing one side to the southern aspect of European sun. Architecturally the membrane was presented by HYBRIDa in examples that formed the facade of organic form high rise structures. Despite this my favourite example of possible applications is presented on page eighteen. I find the structual qualities of Hyper Membrane relevent and think that something so flexible would have a lot of potential within any design context.

Free form// Malleable//


Figure set 003


Hyper Stadium// By HYBRIDa

Depicted here is a possible extension of HYBRIDa’s Hyper membrane. The structure has been applied to a medium scale stadium and regulates the level of shelter for occupants. During the Growing Smarter Material Systems Symposium the director of HYBRIDa Jordi Truco presented and animation of the system opening and closing and it was rather spectacular. As shown above the membrane was not restricted to open or closed but also had a gradual continuum between booth extremes, as shown above. This type of application feels like it could hold an incredible amount of potential if it can be produced and constructed in a sustainable manner. Another thing that I find exciting is that after seeing a 20m built form of the Hyper membrane it is not hard to imagine this stadium concept being built. it doesn’t seem far fetched or too theoretical. One of the main things I feel that I may draw from this is the structual character of the interwoven carbon composite system. The way that it takes load and still remains flexible is quite an interesting quality, maybe it would be possible to allow this as a continual kenetic motion which could be translated into electricty//

Figure set 004




Algorithmic Task// Week One


Octi block array.

The algorithmic task this week was a simple array of a lofted curve. While exploring through grasshopper functions I discovered the octi block command. Feeling creative I decided that an array of this grid form would be far more interesting. After entering an array series why too large my comptuer almost melted. Shown above is a minimal portion of what was formed. As an overall system it could make an interesting facade or partition feature.



Coppenhagen, Nick Love 2012// 22

Coppenhagen, Nick Love 2012// 23


Design Computation// Week Two




Design Computation//

Since the turn of the millennium architectural culture has pushed for a step away from compositional design. Use of the digital in architecture has moved from being a documentation tool to a much more powerful computational tool. Within the first decade of the twenty first century digital design was essentially design that occurred in and out of the digital realm. A formal idea was either computerised or a simple curve linear surface was computed and then detailed. This is often referred to as digitised design or computerisation and while it held it merits it no longer is seen as a truly creative digital practice. Generative design endorses a whole new approach to the design process where algorithmic programming for a set of outlines and variables is done & formal composition come from the computation of this. Through this approach it is possible to script for material innovation, climatic variables and new tectonic methods. While humans are both creative and analytical thinkers, this methods employs the faultless and thorough manner of the computer to run monotonous data & processing, a task that would commonly render the human mind bored, distractible therefore resulting in errors. The systematic of computation is hugely beneficial in programing building performance simulators. Material qualities, microclimate functions and all aspects of a buildings operation can all be mapped and tested before contruction to maximise efficiency and passive sustainability. Computation based practice promotes an integrated design approach which allows further flexibilty towards the later stages of a design project. Due to the modelled nature, paramaters can be tweaked withought the need to redesign the entire work. This approach involves conceptualisation and critera design and detailing in early stages as once these are resolved the final built form can be computed in a reletively small amount of time. This frees up a design team for greater material and tectonic innovation. Complementing this is a flowing correlation between conception and construction through the use of modern fabrication machines. CNC, 3D printing and laser cutters are all able to produce accurate tangible forms of anything modelled digitally. Benefits for this are numerous as prototyping and model making is more automated and accessible resulting in more refined and thourough design solutions.


Figure set 005


Although this project is reletively old I still find it both relevant and interesting. The project was undertaken to explore ways to facilitate hyper desification in Warsaw, Poland. It is clearly a computed design as a biomimicing form has been applied to a typical domino plan structure. ISAW explores the notion of two speperate programes coexisting side by side while being mutually independant. I chose to inlcude this precedent for different reasons. Upon first glace I found the thresholds between the two areas rather provocotive. While brainstorimng for conceptual ideas our group discussed a change of state for patrons to experience and while this is a very direct translation the iSAW programe depicted this well. Furthermore he manner that people can freely traverse the space created by the bioform is brilliant. This is something I want to explore further in part B.



Traverse// Biomimicry//

Figure set 006



Morphogenetic latice.

The occupyible nature of this form is what made think it was a relevant precedent. This latice seems to be a step closer to what I am wanting to achieve in the design component. Here members of Kokkugia has taken a planar hexagnoal latice and given it a set of parameters. A specific number of interactions between the two surfaces is defined by a variable integer. As well as this, the pourosity of the surfaces can be adjusted. The main thing I plan to draw on from this research project is that manner that two surfaces form meeting points as controlled by a variable. I think it is incrediby relevant to the occypiable mesh our group intends on producing. One thing however is that I feel that a non-Euclidean free radical form will be more fitting instead of hexagonal surface pattern. Ways to compute this kind of form is my next objective. It may be possible to occupy a three dimensional Brep with random points and then program free agents to commute between them. This may create the dramatic and higly random releationship that is inteded. Shown below are the primitive mesh forms that were used.

Occupiable// Mesh//


Figure set 007


Shellstar Pavillion// By MATSYS

Figure set 008

Shellstar Pavillion was Commissioned for Detour, an art and design festival in Hong Kong in December 2012. MATSYS implemented algorithms to maximise strucural enclosure while minimsing material use. The designer worked with the intent of the project being a small scale monument for the festival. Form finding was the intial design step in scritping this solution. Designers at MATSYS used vecotrs to project planr surfaces vertically to create formal enclosure. This is shown above. Surface optimisation was undergone next to ensure that the smaller planar form were able to warp to the overall curve of the larger system. this was done suing Python scripts. During fabrication each individual cell is labelled and sent to a fab lab for production. Essentially The Shellstar Pavillion is a large scale version of the virtual environments curriculum. It has been chosen as a precedent to show that this compositional approach to design is still implemented within a profssional scale. While this is practice that our LAGI entry want to steer away from, I do hold an appreciation for the aesthetics on the project. There is one element that may be relevant to our design intent. The manner that the arched structual forms congregate to dissperesed point is noteworthy and shall be drawn upon.

Congregation to point// 32


Design Intention//

Our group has met multiple times and even though it is early we are starting to conceive possible design directions we can look at. Motives of oscillation, flexibility have been explored through various precedents and we feel that these all have potential in sum. Further research will be needed however we have made the call to not think compositionally or formally. Our aim is to come up with the parameters and design typologies we want to address, then let generative computational methods produce the formal iterations//


Hydrokinetic// Tech


Hydrokenetic power generation converts the kenetic occilations of waves into useable energy. This complies will with the motives of flexible forms and natural occilation that i have been looking at. I feel that I’m starting to have an idea of what sort of parameters I what to involve within my later design. Depicted here are Wave Snakes. Their systems are of a serpentine form and float on the surface of a water body. As they kink and flex liquid inside the structures create alternating pressures which then drive hydrolic motors. A current built example is that of Pelamis that is currently operating off the coast of Portugal.

Figure 009



Algorithmic Task.

Shown here are some of my week two algorithmic tasks. I did go back and revisit a week one tutorial as a wanted to explore the piped voronoi cell commands. Over the page is a tunnel like form that used Pframes to splice up a lofted surface. I also started to explore the rendering capabilities within Rhino. Having a photography background helped hugely with this as lighting angle, focal lengths and view port composition all came intuitively//





Composition/ Generation// Week Three


Composition/ Generation//

Generative forms are redefining the nature of architecture. The power of the digital is transcending the limits of the human formal intellect as they are able to articulate much more than the human brain is willing to. One use of the computer is simply a tool to advance realization, produce complex forms and assist with documentation and presentation. Often referred to as computerization, ideas are conceived non digitally then translated through CAD to be detailed and refined. While the majority of digital architects could quite safely be sectioned into this category, it is widely accepted that this manner is not considered to be digital design. On the other hand are those that believe that real digital creativity only comes through a generative approach. Here scripting, programming and algorithmic thought are the elementary kit of parts for conjuring form. Computational methods are able to negotiate vastly more complex situations and create sophisticated solutions that are still fully aware of the initial scripted constraints. buildability, climatic response, material tendencies and formal adaptability are all common parameters which can be defined on outset to ensure a successful solution. Within the current industry many of these projects are undergone as design based research however we are seeing more and more being translated into built form. This shift from Composition to Generation has seen repurcussions of change throughout the industry. Architects are now writing programs to use to explores the versatility of space defined by rule based logic and the actual make up of a design firm is changing. There are four ‘ways in which these designers are organised: the internal specialist group, the external specialist consultancy, the computationally aware and integrated practice, and the lone software developer/designer.’ Peters (2013) Various design firm fall into differnet catergories andnwithouth going into them all it is important to notice that industry sharing and collabrotation through social and digital media gives widespread access to knowledge and expertice of any of the four types of practice. Online community culture and a free approach to intellectual property accelerates the spread of knowledge, methodology, ideology and codes. There are however limitations and concerns for A generative approach. Front loading and planning ahead formally can contrain a projects creativity. Major changes can be detrimental as they may result in the need to complettely re-script an algorithm. The coherence between authors can be problematic as deducing from an unfamiliar deffinition can be incredibly difficult. However these concerns are not something to detrimentally impede the progress of computatonal design. The results of generative architecture is the unprecedented notion that architectural discourse is entering an period that may not be either formally or rationally defined. Personally, I feel that our era is similar to the precusors of Modernsim during the 1890’s in that something revolutionary and complettely unseen before in architectural discourse is on the cusp of revolutionism how we approah built form.


Figure set 010


Sao Paulo bridge// Robert Stuart-smith

Figure set 011

The bridge was design to provide a foot link between commercial offices and a high end retail mall. the formal attributes of this project came about purely through the structual needs of the bridge span. As seen in the figures oppostie load and material stress modelling was undergone to define where additional support was needed. The result of this were the four forms are both structually integral and homogenous with the entire bridge structure. As a personal note I really appreciate the material considerations in the design. A composite polymer/fibre was specified in the project due to it’s local abundance and ability to take up the complex forms. This is such an important thing as materials sourced from distant producers contain large embodied resources in their transit. Such thinking is vital within projects to keep ecological impacts to a minimum//



Playground in Berlin// Marysol Kraviez & Wu Difeng.

Figure set 012


Shown here is a masters project from Dessau Institute of Architecture. It was chosen to be presented in the Parametric Biennal in Beijing. The desingers have explored a geometries ability to play on it’s occupants perception of space. The design constist of twoparametirc shapes. The overlying undulated structure and the entanlged tecnticles that work to interferre and corrupt it. The way that people pass thorugh the structure promotes interaction of various sorts. The continual tenticle form inside obstructs and rediticts routes, while also playing with views and light. The designers intent in this was to propose the question to occupants of where they really are. While being very philosophical in explanation I think the radical formal composition is a well executed gesture. While it does seem a little pathogentic i do feel that the interwoven nature of the tentciles is something to look back to//


Parco dei Pini// Proliferation of networks.

Figure set 013


This project is difficult to define. It’s original is an Italain institutional publication which was unable to be translated this making it’s dicussion rather difficult. There is one element though that I find incredibly relevent to the design direction I am considering. The way that network paths are occuring across a reletively unorganised plane is similar to what I want to founding parameters of our LAGI entry to consist of. From enduring loose tranlations I able to assume that points of interaction were mapped across a widespread urban system. These points were then computed to form a generative banner/ wall that surrounded the area.



Conclusion// Part A.

Part A has brought discussed many relevant aspects of contemporary Architectural discourse. Design futuring is an essentain design consideration to make halt the unsustainable manner that society opperates in. We as Architects must look for new innovation in materialology, tehnology and methodology that will allow built structure to be sustainable. This is most likely to be achived through proper digital practice and design computation. Where structures and processes can be simulated ad refined to ensure maximum opperating, contruction efficiency and occupant effeciency. This can also be accounted for within the early design process through algorithmic thinking and generative design. minimising material use, ensuring buildablity and amoung many more are all parameters that can be scripted into the very roots of a design. From the research I have been able to develop a reasonably clear idea of what my design approach may contain. Our group plans to use kinetic wave motion to creatie power as it is passive and ties in well with coppenhagen’s long maritime culture. This technology is going to be incorporated into a point congregating mesh system that will be structually flexible and occilate from the kinetic wave motion and the human occupation of its form. We are commiting to not thinking formal though and our mesh system is going to be generated by algorithmic. This is going to be a leading element of research as we will need to compute multiple iterations. Our rough idea is of setting points then using free agaents and walker scripting to execute formal generation of a mesh like system.

‘A naturally oscillating mesh system aided by human interaction creating electrical energy through kinetic motion’



Learning Outcomes// Part A.

During the Part A stage I feel that I have probably ladvanced the most with regards to my coputational skills. Before this semester Only had a very limited understnding of Rhino through Virtual and had never been exposed to Grasshopper before. The algorithmic tasks along with weekendly research initiatives definitely helped consolodate my thinking towards Parametric Architecture as a discourse of its own. I know that I have picked up a lot more than what I write about and am keenly looking forward to getting stuck into some more advanced computation within part B. What I want to further develop is my programming ability in regards to creative more random and free form iterations. I want to push to step away from the typical commands of Rhino and Grasshopper.



Bibliography// Part A

Vidler, Anthony (2000). ‘Review of Rethinking Architecture and The Anaesthetics of Architecture by Neal Leach’, Harvard Design Magazine, 11, pp. 1-4, p. 3 Figure set 001 - HYBRIDa (2013) Digital Images from: HYBRIDa, Source < hypermembrane-hibrida/#prettyPhoto> Accessed Thursday March 27th 2014. - Achim Menges, (2013) Digital Images taken from Achim Menges, HYGRO METEROSENSITIVE PAVILLION. Source <> Accessed 24th March 2014.

Figure set 002 - Achim Menges, (2013), Digital images from Achim Menges, HYGRO METEROSENSITIVE PAVILLION. Source <> Accessed 19 March 2014.

Figure set 003 HYBRIDa (2013) Digital Images from: HYBRIDa, Source <> Accessed March 27th 2014.

Figure set 004 HYBRIDa (2013) Digital Images from: HYBRIDa, Source <> Accessed March 27th 2014.

Figure set 005 MATSYS

(2013) Digital Images from MATSYS, Shellstar Pavillion. Source <> Accessed March 26th. Digital Images taken from KOKKUGIA, iSAW. Source <> Accessed 20th March 2014. Digital images taken from KOKKUGIA , Morphogenic Latice. Source<> Accessed March 19th 2014.

Figure set 006 KOKKUGIA (2007) Digital Images from KOKKUGIA, iSAW. Source < iSAW> Accessed 20th March 2014.

Figure set 007 KOKKUGIA (2009) Digital images from KOKKUGIA , Morphogenic Latice. Source<> Accessed March 19th

Figure set 008 MATSYS (2009) Digital Images from MATSYS, Shellstar Pavillion. Source <> Accessed March 26th 2014.

Figure 009 PELAMIS (Date Unknown) Digital image Pelamis Wave. Source< news/142/Pelamis-Wave-Power-awarded-MRCF-grant-funding> Accessed 19th March 2014.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Figure set 010 Kraviez, M & Difeng, W (2012) Digital Images from Arch2o. Source< playground-in-berlin-marysol-kraviez-wu-difeng/#prettyPhoto> Accessed 27th March 2014. - SMITH, Robert S (2012) Digital images taken from Robert Stuart-Smith. Source< http://www.robertstuart-smith. com/rs-sdesign-sao-paulo-bridge-design> Accessed 22nd March 2014.

Figure set 011SMITH, Robert S (2012)

Digital images from Robert Stuart-Smith. Source<> Accessed 22nd March 2014.

Figure set 012 Kraviez, M & Difeng, W

(2012) Digital Images Arch2o. Source<> Accessed 27th March 2014. 50

Nicholas Love_Part A  
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