STUDIO

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P a r t A : C o n c e p t u a l i s a t i o n

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P A R T AC O N C E P T U A L I S A T I O N

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content

Page Introduction 4-5

PART A

A 1.0 Design futuring 6-7

A 1.1 Case Study 1 : Pabellón de la Sed 8-9 A 1.2 Case Study 2 : Qatar Education City Convention Centre 10-11

A2.0 Design Computation 11-12

A 2.1 Case Study 1 : Migrating Formations 13

A 2.2 Case Study 2 : PS_Canopy 14 A 3.0 Generation versus composition 15

A 3.1 Case Study 1 : La Familia Segrada 16-17

A 3.2 Case Study 2 : The FabPod - RMIT Design Hub 18

A 3.3 Case Study 3 : P_Wall 19

A 4.0 Conclusion 20

A 5.0 Learning Outcomes 21

A 6.0 References 22-23

A 7.0 Appendix - Algorithmic Sketches 25-31

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01 03 05 BACKGROUND

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2014, Studio Water - Alvaro Siza inspired proposal of Studley Park Boathouse, Kew.

Autodesk Revit & Rhino 5 for massing

2014, Studio Earth - Architectonic study for Herring Island Pavilion

Rhino 5 & Sketchup

2013 , Designing Environment - Proposal for South Lawn

Rhino 5 & Sketchup

Author’s own work. Digital sculpture - “Affection” , Grass-hopper scripting with Vray ren-dering

2014, Studio Water - Alvaro Siza inspired proposal of Studley Park Boathouse, Kew.

Digital sculpture - “My heart is frozen” , Grasshopper scripting with Vray rendering

Digital sculpture - “Glass toffee” , Grasshopper scripting with Vray rendering

I N T R O D U C T I O N

rt & Architecture has always been my passion. After working in engineering and computing for a while I decided to pursue my passion knowing that this would be my last opportunity to do so at my age.

I brought with me my maturity, established work ethics, experience in engineering and computing to this endeavour. Strong discipline and time management with razor sharp focus in my intention had helped me to explore architecture with vigour and enthusiasm.

My philosophy in architecture are to be critical and observant to the surrounding that gives us our inspiration, material and wisdom. Simplicity is paramount. Ornamentation is excess. Structural clarity is the holy grail.

Coming from the computing field, I understand the potential and possibilities of digital and generative design. I see design software as tool to enable exploration. Equally important for architecture students, manual drawing skills allows more expressive work to rather sterile computer generated images. A good balance of computer work couple with expressive drawings , in my opinion, will be able to explain the technical aspects of my design but also the emotive component which can relate better at the human level.

A In view of this balance, I have taken the initiative to self-learn major design tools such as Adobe Creative Suite (Photoshop, Illustrator and InDesign) as well as digital painting tools and software i.e. Corel Painter and Wacom digital tablet. As I also enjoys photography in my free time, I am able to include this as part of my overall creative offerings.

In addition, I am improving progressively in major 3D modeling and rendering tools such as Rhino 5, Autodesk Revit, 3DS Max, Maya and Vray/Keyshot/Maxwell for rendering. I am also exploring visual programming knowledge through Grasshopper, Processing 2 and Dynamo(+Vasari) however it’s a new frontier to me ,I look forward to finding opportunities to use some of these tools not just for form finding, performance analysis and generative art.

Digital and parametric design in architecture provides new and exciting area which I have vested interest in. In my opinion it’s the new style or ‘ism’ in architecture which is becoming more and more prevalent style post post-modernism. Computation work in architecture further extend the capability of contemporary design to be more responsive to its context and environment thus contribute toward the overall sustainability of the planet.

“ I seek creative freedom, explore new possibilities and innovation in my second coming.

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d e s i g n f u t u r i n g

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ur contemporary culture and how we design for our living is heading us towards destruction. Tony Fry in his book “Design Futuring : Sustainability, ethics and new

practice” pose us, the design community, with a challenge; to change our mindset and our design values to support sustainable future [21].

As part of the larger design community, Fry proposed the following broad ideas for our ‘design futuring’ :

1. Design is an agent of change and the community must be empowered to lead the transformation towards sustainability. [22]

2. Design must not hide behind the triviality of appearance and ‘style’ [23]

3. Sustainable design must depend on combination of nature and man-made ecology and not each in isolation.

4. We must foster design intelligence that have the ability to analyze forms and its context and make important decisions as part of the design process to improve futuring potential. [24]

5. We must support, participate and influence creation of design intelligence through design research and critical designs [25].

In view of the above, 2 case studies attached are precedents that display the capability and techniques gained through design intelligence. In Patrik Schumacher’s concept of architecture as an autopoietic system of communication[26], these examples form cycle of new ideas which becomes the basis of critiques and provide further improvements to the existing or generate new ideas which is necessary for architecture discourse.

The vitality of architecture as a field depends on its community to continuously produce critical designs [27] as ‘artefacts’ [28] and means of us to communicate to the wider public (outside of the autopoietic system of architecture) while enriching internally the architectural discourse.

BACKGROUND

ps canopyferda KOLATAN+erich SCHOENENBERGER, partners[20]

Design Futuring : A manifesto towards a sustainable future.

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his pavilion was built for 2008 Expo Zaragoza in Spain to promote water conservation and sustainability. It was conceptualised from the molecular structure of salt and strongly

represented by the form as well as its conceptual implementation of the salt mountain. The architects, Cloud9 and Enric Ruiz Geli were inspired by the water droplets on top of the salt mountain represented by the transparent bubbles on the structure [29].

The thematic approach of sustainable design not only reflected in the form but also its functions, construction material, process and technology. The structure was realized using pre-fabricated steel components and assembled using common construction techniques and technology [29]. This was intended to be easily assembled and disassembled after completion of the expo.

The sustainability theme is further extended to its use of material. The external geotextile skin, pneumatic ETFE panels are recyclable. Additionally ETFE has various advantages in comparison to other common building material such as glass. Its super lightweight, controllable light transmission qualities and has good insulation properties. [30]

The ETFE panels coupled with brine watering system and a cooling system for the air-filled pneumatic panels allows the structure to offset the heat gains from visitors and equipment [10]. This improved the cost of operating the building and more sustainable than the traditional air conditioning system. This is the same approach implemented for

T the Beijing National Aquatic Centre at a larger and permanent scale. [31]

I have chosen this example to illustrate few observable trends in contemporary modern architecture. The field of architecture has progressed alongside computer technology as means of form finding and no longer isolated as tools for drafting and modelling.

Computation works in architecture allows for performance analysis and optimised form finding. New research and leading edge technology allows design to response to its surrounding context.

The outcome of such research and new technology brings about a new ‘ism’ in post-modern architecture ;

Performalism = Form + Performance. [32]

The convergences of engineering, architectural sciences , mathematics and art have generated new building style that are dynamic as well as environmentally responsive.

The Thirst Pavilion, is one of many new breed of architecture testing and challenging the status quo by offering unique design that is responsive to its environment, implementing a

total sustainable solution through building material, construction method and reduction of energy usage. Innovative design like this provide critical design example for the broader architecture discourse that continues to improve itself moving forward.

c a s e s t u d y 1

P a b e l l ó n d e l a S e d

The Thirst Pavilion, the International Water Expo Zaragoza 2008, Zaragoza, Spain

Figure 1 : Salt watering system [3]

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Design

Cloud 9 : Enric Ruiz Gelli, Edouard Cabay, Patricio Levy, Miguel Carreiro, Andre Macedo, Rosa Duque Casas

Structural Engineers

Boma S.L. Augusti Obiol, Guillem Baraut, Antoni Orti

P E R F O R M A L I S MPritzker Architecture Prize winner Thom Mayne introduced the idea of performalism as separating the exterior skin of a building to response to the climate (form follow environment) [33] while the interior focuses on program/function. However, Neuman and Grobman [34] proposes the idea of computer based architecture that changes the idea of function to performance. Through computation, form in performative architecture is an outcome of performance analysis.

BACKGROUND

Figure 3 : Pabellón De La Sed [11]

Figure 2: Pabellón De La Sed in the evening. [9]

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idra tree, native to Qatar, a holy symbol to Islam and represent knowledge of the divine was the concept behind this entrance structure to the convention centre. The architect, Arata Isozaki, uses the structural optimisation approach in arriving to the optimal form

desired, mimicking the tree for the form desired.

Optimisation method known as extended evolutionary structural optimimization (EESO) [35] allows for sets of criteria i.e. material, loading profile and sites to compute the best and most optimal performing shape with least amount of material use. The optimization algorithm using the finite-element analysis to progressively remove unnecessary material and add material to support loading at load bearing points in repetitive computation cycle.

Similar automated form finding and optimization algorithms are now being used in larger architecture firms such as SOM

S (Skidmore, Owings & Merill),Figure 8, as well as Foster + Partners. It’s no longer a novelty approach in form finding nor it’s reserved for structural analysis alone.

Through its origin from the engineering field, architects and structural engineers are now collaboratively workimng together in form finding. Collaboration between these groups is critical to jointly define parametric constraints and performative goals of the projects.

I have chosen this example to highlight new collaborative workflow in the quest for new design and form in architecture. In this example, architecture and engineering had to come together to come up with a nature inspired design out of an engineering based analysis tools. Similar collaborations in the fields of mathematics and arts for examples had came out with interesting solutions to design problems .

q a t a r e d u c a t i o n c i t y c o n v e n t i o n c e n t r e

Arata IsozakiDoha, Qatar

Figure 4 : Qatar Educational City Convention Center , in the evening .[13]

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Figure 5 : Sprawling steel columns mimicking the Sidra tree [6]

Figure 6 : Atrium [7]

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Figure 7 : The evolution of form in the EESO application [8]

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Figure 8 : SOM, Commercial development project in Shanghai using gradient based optimisation algorithm[9]

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he pervasiveness and availability of computing system and computing power has begun making significant inroad in all aspect of human

civilization including design as many feared or anticipated. Design process consists of 4 interrelated phases [36] , see Fig. 18 by which all have been completely automated or highly dependent on computing. The question is, if what Kalay [37] is saying that design is the symbol of human intelligence, has computers taken over our unique characteristic as intelligent being and we are succumb to the power of computation work in all of our design process and form finding in architecture?

Computerisation to Computation

From its early appearance, the increase of computing power had lead to gradual shifting our traditional design process particularly in the communcation phase. 2D drawings and drafting are now completely “computerised”. However computation is beginning to play a significant role in problem solving phase with advancement in knowledge system (BIM) and scripting tools for environmental and performance analysis. To our advantage, computation work had taken over the processing of vast amount of data and converting them into meaningful analysis that can influence architectural design process. This analysis allows for further explorative study for new ideas and provide the basis in the next stage of the design cycle i.e. the solution synthesis[37].

As solution synthesis is an intuitive process of human intrinsic ability, computation work is now able to assist in expanding designer’s capability to solve even more complex problems by giving a wider spectrum of perspective for more informed decision making and creative insights [38].

Form finding tools in computation work can greatly assist us in exploring new forms and design similar to the traditional approach of form finding such as plasticine , paper cuts etc. This point is where we can decide whether we will succumb to machine to decide our design or use the “suggestive” forms as informed creative “insights” that we can develop along with our creative expression.

Performance Oriented Design

As part of the strive for “Design Futuring” where we must consider our built environment in sustainable fashion, this is where the role of computation becomes clearer. Computation work had led to new area in architecture called performalism (Performance and form design) or performative architecture. Performance-oriented design uses the vast computation power and scripting tools to create customise analysis for optimal solution that is climate responsive and while offering aesthetic innovation.

New collaborative workflow Computation works have also redefine how architects works. New breed of architects with programming and scripting skills not only generate 3D models but also provide existing archtectural practice new approach in design exploration, performance simulation as well as fabrication.

Schumarcher’s vision of autopoietic system of architecture [39] described the building of architecture’s design intelligence through external inputs and internal knowledge accumulation. These external inputs are multidiciplinary participations in research and design from different field of studies such as engineering, biology, arts and mathematics offering new collaborative culture in computation work. For example,

TD E S I G N C O M P U T A T I O N

ANALYSIS

SYNTHESIS

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Figure 18 Major phases in architectural deisgn process [21]

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tools such as traditional FEM (Finite element method) finding its way into architectural design process. Originating from the structural engineering field it had cross-over as an architectural form-finding tool aswell. This cross-over introduces new collaborative approach between architecture and other fields to fully utilised innovations offert by the counterparts.

New geometries, new opportunites

Generative processes and techniques from topological, non-Euclidean geometric spaces, parametric design and morphogenesis [40] had introduced new shapes and forms never before achievable through traditional design process.

The introduction of free-form non-Euclidean geometries through NURBS (non-uniform B-spline) method supersede the traditional forms of point ,lines and planes.The expanded geometric vocabulary gave architects more flexibility to express their design. Consequently, these new shapes had also stimulated new material culture[41] and introduced the integrated digital fabrication technique which is now redefining the architectural design and material production simultaneously. Digital Fabrication, New efficiency

With the whole workflow from designing to “making” (fabrication) is now completely within the digital realm, it is also making significant impact on the production/construction process[42].

This convergence, representation and production, will significantly change the building industry in the very near future once the current technology can be scaled up to practical industrial use.In line with the idea of sustainable build environment, digital fabrication

D E S I G N C O M P U T A T I O Noffers efficiency and reduction of material wastage. The impact of this offering pose an interesting social and economic dilemmas which is ongoing debate on the future of architecture and building industry.

Digital shift in architecture

Computation work in architectural design process marked a new shift in Architectural expression similar to the preceding shift to Modernism from classical architecture. Introduction of new building material and technology during the Industrial revolution introduced the Art Nouveau style with its organic and free forms from the ideas of Viollet Le-duc, Victor Guimar and Antoni Gaudi. Similar shift from modernism to post-modenism was observed from 1920s onwards [45].

These precedents suggest parallel indicators to the profound and transformative shift that we are experiencing at the moment. It’s to suggest that it’s an inevitable change for architecture with the digital design process, the new material culture coupled with the confronting question of sustainability of our built environment. These factors have accelerated the push towards design computation. As a result, design computation can now claims its rightful role in the architectural design process.

BACKGROUND

Metropol Parasol Redevelopment of Plaza de la Encarnación, Seville

Jürgen Mayer H, J Mayer H Architekten, Berlin[20]

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c a s e s t u d y 1 : D I G I T A L F A B R I C A T I O N

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Figure 9 Formal variation responding to light, shade, opacity and structure [11]

M I G R A T I N GF O R M A T I O N S

Ali Rahim and Hina JamelleNew York, 2008

igrating Formations illustrates the convergence of the designing process with the “making” process where the computation work fed directly into the robotic manufacturing techniques [46].

It provides an insight of what is possible in future for architectural constructions. The convergence of design and the making process through the robotic manufacturing technique removes the traditional construction technique i.e. formwork etc. while integrating the structure and the skin into a single form.

This is groundbreaking as digital fabrication reduces material and labor waste by eliminating the construction material and labour required for constructing the formwork. This idea ties back to the whole concept of design futuring and sustainable future.

The design also challenges the traditional concept of a wall by introducing the elements of “formal, spatial and opacity”[46] into a single form of a wall. Computation work allows for the designers to control the variations (formal, spatial and opacity) of each sides of the wall to achieve their design goals.

Although the design, in my opinion, focuses only on aesthetic and sensory affects, it’s however offers possibilities in real world applications with the manufacturing techniques and integrated wall system.

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c a s e s t u d y 2 : M o r p h o g e n e s i s

P S _ C a n o p yp l u r i p o t e n t d e s i g n s t r a t e g i e s

su11 architecture+designNew York, 2009

Design

Richard Baxley, Hart Marlow

Partners in charge : Erich Schoenenberger and Ferda Kolatan

S_Canopy is a speculative design meant to instigate critique and explore new method of form finding. Exploring the morphogenetic concept from the Biologist Sean B. Caroll’s “Body Part” where he argues

that in a cell development, a “gene toolkit” generate an algorithm for the cell to create different body parts from the same “instructions” [47].

Variations in the design outcomes are driven by this parametric dependencies set through the specifications of the local condition and materiality. The different forms generated are meant to challenge the conventional definition of architectural elements such as columns,

shade/roof and seating/counters. Through the “gene-toolkit” idea, different forms can be explored using the core algorithm.

Parametric modeling also allowed exploration of the performative potentials of the design. Varying the local conditions will result in an optimised shading qualities of the roof.

This precedent illustrate the role of computation work, which allows for experimental exploration of new expressions in architectural forms through morphogenetic parallel. Intrinsic to the exploration is the analysis of performative potentialities as part of form finding. Together they display great potential of computation work in architectural disgn process.

PThe evolution of forms occurs through changes in development

Sean B. Caroll

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Figure 10 Gene toolkit script varying parameters to local environment and materiality[12]

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omposition versus generation in an ongoing debate with the advent of parametric architecture which introduces the concept of iterative

generation. Composition according to Jacques Lucan refers to the formative architectural ideas[48] during the process of designing prior to the emergence of the final work. Lucan further elaborated,

‘composition is antecedent to “styles”, or, to put it another way … a given composition can be dressed in several different “styles”.’ [48]

In essence, composition is the inputs while the style is the outcome. Generative (and generation as the outcome) in contrast is purely a digital process specifically the process in parametric modeling. Lee, Gu and Williams refer generative as the exploratory process in parametric design where variations (generation) are ‘generated’ by changing design parameters, ‘topological’ relationship and algorithmic rules sets in the design script. They further claimed that this process is a creative process [49] thus putting it at the same analogy to composition.

Generation in digital design process

allows for designers/architects to explore architectural spaces by varying parameters that relate to placement of architectural elements, configuration and their relationships [50]. These variations are coded through algorithms into scripts and computer programs.

With increasing processing power of computers, architects can solve more complex design problems using parametric modelling. The most apparent benefit of use of generative approach in architectural design process is tied to the word “parameter” itself. The ability to set parameters that are changeable greatly assist designers to change design on the fly and view the outcome on the screen. In turn, decision-making can be more precise and prompt from analysis generated from computation work. Efficiency is the by product of this approach.

The biggest shortcoming of generative design is the programming skills required to code the script and algorithm in visual programming software such as Grasshopper (in Revit), Dynamo (in Vasari) or Processing, to name a few. Peters refers these group as new breed of designers that he classify as

computational designers [50] . They have skills to understand design requirements and translate them into script/program for design exploration. The computational designers would be well verse in algorithmic thinking to solve design problems as they will take on the “interpretive role to understand the result of the generating code” [50] .

The contention here is that does the algorithmic thinking to ‘generate’ design is as ‘creative’ as composition in the traditional design process? Can architects be both designers and programmers? Terzidis argues that the role of architect has now change from ‘architecture programming’ i.e. creating and planning of space to ‘programming architecture’ which reflect the shift from composition to generation.

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BACKGROUND

Tensengrity Structure [13]

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c a s e s t u d y 1c o n t i n u i t y a n d p a r a m e t r i c m o d e l l i n g

s A g r a d a f a m i l i a

BACKGROUND

Computer generated model of the nave of Familia Sagrada [11]

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Figure 11: Collaborative “parametric model sharing” ,

Smartgeometry 2010 [13]

Figure 12: Digital fabrication - robotic cutting machine use for the project[14]

Figure 13 : The vaults of the central and lateral nave.

Antoni GaudiBarcelona, Spain

a Familia Segrada is an architectural artefact as well as an ongoing development and could be finished some time in the first third of the

21st century. Antoni Gaudi’s innovative form finding method has been the basis of form fining study. With the advent of parametric design it has been precedent of choice in the field.

Inspired by rock formations of the Spanish mountains [52], Gaudi was able to work-out the complex three dimensional forms of his design through mathematics some 133 years before design computation even exist. To continue Gaudi’s legacy, Mark Burry, the executive architect used parametric modeling technique to intrepret Gaudi’s design intentions and “reverse engineer” his original model to complete the design development and construction of the church [53].

To generate the unique hyperboloid surfaces, parametric modelling was also used in production of the building material (stones)through an off site pre fabrication using computer driven milling machinery [54].

As the construction is funded through donation, the design development is part of a joint multi-diciplinary research and design collaboration involving “parametric model sharing” [55]. It is a collaboration of dispersed design and research teams worked on the same parametric model to come up with an optimised design. This highlights the new collaborative workflow as an outcome from computation work that promote efficiency and working culture.

What I found interesting with this project is that the apparent example between composition in traditional architectural design process versus the contemporary digital design counterpart, generation. Antoni Gaudi’s composition of Segrada Familia was in response to the wave of Art Nouveau style in Spain called Mordenisme. His composition uses many geometrical chosen for their formal, structural, acoustical and constructibility. This is prior to any form of computation technology. In constrast the current work inspired by Gaudi’s composition are done through generation from the computation work.

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c a s e s t u d y 1 : p e r f o r m a t i v e d e s i g n

The FabPod - RMIT Design Hub

RMIT Research Team: Mark Burry, Jane Burry, Nick Williams, John Cherrey, Daniel Davis, Alex Pena de Leon

RMIT University , Melbourne

he FabPod project was a response to the challenge of designing an enclosed meeting area within the working environment on level 9 in the new Design Hub at RMIT.

Inspired from the anecdotal observations of the interior space of Gaudi’s Familia Segrada Church in Barcelona, Spain, a multi-disciplinary team researched the sound diffusing properties of hyperbolic surfaces [56] to come up with an interesting design that resolved the problem of creating a small enclosed area in an open planned setting.

This case study highlights the opportunity of computation work specifically in the area of scripting culture that allows generation of performative surfaces to resolve design problem from environmental influence. While the area of acoustic reverberation and sound absorption is well studied and implemented in concert halls and quiet rooms, sound/noise diffusion is a new area of research [57].

Scripting allows for versatility in the generative design while the team search for optimal design in the area of material performance, prototyping and production of the final structure. Each area of studies will fed their results into the overall core algorithm producing a sample design then further optimised in the next iterative generative cycle until all design specifications are met [58].

As the “making” process is also integrated, each cycle will produce a physical prototype. This prototype will undergo testing and the results are fed back into the script for further optimisation. This approach opens up real world application where design can really be tested for real world scenario. Such opportunity not only revolutionise the architectural design process but also impact the material culture and building industry. Sustainable building material that can be pre-fabricated off site while accurate material cost will reduce wastage. These are some of the many benefits propagated through the workflow induced from the scripting approach.

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Figure 14 Fab Pod at RMIT Design Hub[16]

Figure 15 Responsive acoustic surface[17]

Figure 16 The frame was cut on a five axis router[18]

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c a s e s t u d y 2 : p e r f o r m a t i v e s k i n

P _ W a l l

MATSYS

Gallery, Knowlton School of Architecture, Ohio State University, Columbus, Ohio, 2006

BACKGROUND

Matsys P_Wall installation at Banvard Gallery, Knowlton School of Architecture, Ohio State University, Columbus, Ohio[19]

_Wall is an outcome of the performative analysis of material and geometry to produce a unique wall design and tiling system. The design itself refers to the characteristics of human skin; the bulges, crevices, folds and cleavages.

This project illustrate the self-organization properties of an elastic material under force i.e. the constraint system [59]. Combination of material analysis through physical material experimentations and scripting of the constraint system were used to produce such dramatic effect.

An approximation of the surface was done through scripting of a sine waveform and the constraint points. The actual self-organization property of the liquid plaster before it sets and material property of the elastic nylon form work as the constraint system were studied through physical experimentation.

This is an interesting examples that highlights gap between what the digital modeling can represent, from the result of the physical experimentation actually produced. It also offers an interesting challenge to me to find novel ways in mimicking nature in my quest to solve problem in the site, Merri Creek.

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Figure 17 : Transformation of image into constraint points through the use of custom rhinoscript[20]

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rchitecture is in a verge of transformation. It’s at a point where the role of architecture is in question. Our built environment and the path we take as an architect at the present

trajectory will lead us to unsustainable future. A new attitude needs to be adopted that require us as the builder of the future built environment to be sustainable in our design. The design futuring aims to build new design intelligence and empower us to become the agent of change. This mind-set will instill the idea of using our design as a means to push sustainability.

In doing so, our design must take advantage of computing not just for automation (computerisation) in our design workflow. We have in our disposal the computation work that can augment our creative intelligence to design our built environment to be sustainable and climate responsive while providing efficient use of space and function.

Architecture is also in the verge of transformation of style. A style that is driven by new geometries and computational techniques. Parallel to the shift from classical to modernism, digital design is transforming the way we express our “modernity”. We must not however become complacent and let computation work to express itself though our design. We must instead embrace computation

A work as means to find an expressive form that will perform to function and its environment. Algorithmic thinking, parametric modelling, parametricism and generative design are among many developing approaches that we can use to express our design.

Architecture as an autopoietic system as suggested by Schumacher will thrives with the new shift to digital design. Our speculative and built architectural works will instigate critiques and become ‘architectural artefacts’ . In turn they will build upon overall architectural design intelligence. The case studies in this documents are examples of the accumulation of architectural design intelligence.

To contribute as part of the design futuring and propose a design for critique, I would like to introduce the approach of performative and parametric modeling to resolve one of the Merri Creek environmental problem caused by man-made infrastructure. Using performative design approach, I intend to balance the design aesthetics to the environmental response. The existing built environment has already affected the natural habitat for wild life as well as its human counterpart. The design intention is to lessen the impact of man made infrastructure on its natural environment while offering a biomimicry driven design that’s pleasing to the site users.

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he readings introduces a critical concept of Design Futuring which I found very relevant in building my architectural philosophy and influence my design expression. The readings also have given

me the distinction between the various terms such as algorithmic thinking, parametric modelling and generative design. I have developed my own perspective on the argument of the role of digital design and computation work in architecture through the selection of case studies .

The class discussions so far was also instrumental in forming my own opinion about the subject matter. I was able to see through other people’s eyes what is their stand on this matter . As a result I can formulate my arguments better while be inclusive of others ideas and opinion .

This initial experience through the readings and algorithmic sketching solidify my interest in design computation and gave me the enthusiasm, confidence ands clarity on what I needed to do to move on to the next phase. It by gave me the “why” and “how” behind the project. Furthermore, it’s quite invigorating be able to explore ideas and forms though the generation instead of the traditional compositional technique I encountered in my other studios.

It’s also a confronting experience with the idea of developing forms using scripting without knowing the final form. This is different to traditional design process which I would start by sketching ideas and improving my ideas with full view of what I wanted to design.

With clearer view of the tasks ahead, I am quite keen to explore this new way of design thinking.

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augments the intellect of the designer and increases capability to solve complex problems.

- Brady Peters and Xavier De Kestelier

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R E F E R E N C E S

R E F E R E N C E S

21 Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009). p1-422 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p623 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p6 24 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1025 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1226 Patrik Schumacher, The Autopoiesis of Architecture. [Electronic Resource] : A New Framework for Architecture, Ebl (Chichester : John Wiley & Sons., 2011).p 2.

1 David Cohn, ‘Perspective of Nave Structure’, in The Architecture Review (London: EMAP Publishing Limited, 2012). <http:// www.architectural-review.com/Journals/2012/07/23/p/e/i/Nau-trams-interior_vector.jpg> [accessed 19 March 2015]. 2 Ferda Kolatan and Erich Schoenenberger, ‘Ps Canopy’, ed. by(http://www.suckerpunchdaily. com/PS_Canopy_lg.jpg , 2014). [accessed 13 March 2015]3 Luis Ros, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 54.4 ———, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 54.5 Unknown photographer, ‘Pabellón De La Sed. Zaragoza’, ed. by 02_psed.zgz_.jpg (Madrid: Arenas&Asociados, 2008).6 Nelson Garrido, ‘Qatar National Convention Centre’, 2013. http://static.dezeen.com/uploads/2013/08/dezeen_Qatar- National-Convention-Centre-by-Arata-Isozaki_3.jpg7 ——— ‘Qatar National Convention Centre’, 2013. http://static.dezeen.com/uploads/2013/08/dezeen_Qatar- National-Convention-Centre-by-Arata-Isozaki_5.jpg8 Jane Burry, and Mark Burry, The New Mathematics of Architecture (London : Thames & Hudson, 2010). p.1309 Cameron Talishi and Lauren Stromberg, ‘Som, Commercial Development Project, Shanghai, China 2011’, (Chichester John Wiley & Sons, 2013). p5510 Jürgen Mayer H, Metropol Parasol, 2005 (http://src.holcimfoundation.org/img/f0c99194-38a3-428b-92d4-59ab62fa99f3/ EU05_00079_bearb_02b.jpg). [accessed 13 March 2015]11 Yasha Grobman, and Eran Neuman, Performalism : Form and Performance in Digital Architecture (London Routledge, 2012). p.96-9712 Ferda Kolatan and Erich Schoenenberger, ‘Ps Canopy’ 2011 (http://www.suckerpunchdaily.com/wp-content/ uploads/2011/02/canopy-a.jpg). [accessed 13 March 2015]13 Enrico Dini, ‘Parametric Model HSaring’ 2010 (http://www.australiandesignreview.com/wp-content/uploads/old_ img/4465907806_6f7f2245ba_o.jpg). [accessed 13 March 2015]14 Mark Burry, ‘Robotic stone cutting machinery’ 2013 (http://www.sial.rmit.edu.au/wp-content/uploads/2013/06/Robot- stone-cutting.jpg). [accessed 13 March 2015]15 unnamed, ‘Nave of Sagrada Familia’ ,2011 (http://upload.wikimedia.org/wikipedia/commons/b/ba/Sagrada_Familia_ nave_roof_detail.jpg). [accessed 13 March 2015]16 John Gollings. ‘Fabpod RMIT’ ,2013 (http://www.danieldavis.com/wp-content/uploads/2013/06/20130316_DX_0283- cooler.jpg). [accessed 13 March 2015]17 Daviel Davis, ‘Responsive acoustic surface modelling’ ,2011 (http://www.danieldavis.com/wp-content/uploads/2013/06/1_ sphere_circa_201101.png). [accessed 13 March 2015]18 Nick William, ‘5 axis router’ ,2011 (http://www.danieldavis.com/wp-content/uploads/2013/06/5axBiesse.jpg). [accessed 13 March 2015]20 Andrew Kudless , ‘P_Wall Ohio Process Summary” , 2006 (http://matsysdesign.com/wp-content/uploads/2009/06/ process_sum.jpg). [accessed 13 March 2015]21 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass. : MIT Press, 2004). p. 10

I M A G E S

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R E F E R E N C E S

BACKGROUND

Author’s own work. Digital sculpture - “Green tubes” ,

Grasshopper scripting with Vray rendering

27 Anthony Dunne, and Fiona Raby, Speculative Everything : Design, Fiction, and Social Dreaming (Cambridge, Massachusetts: The MIT Press, 2013). p.3428 ———, The Autopoiesis of Architecture. [Electronic Resource] : A New Framework for Architecture, Ebl (Chichester : John Wiley & Sons., 2011). p 129 Luis Ros, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 52.30 Annette LeCuyer, Efte : Technology and Design (Basel: Birkhäuser Basel, 2008). p.3031 ———, Efte : Technology and Design (Basel: Birkhäuser Basel, 2008). p.8632 Yasha Grobman, and Eran Neuman, Performalism : Form and Performance in Digital Architecture (London Routledge, 2012). p.533 Lance Hosey, ‘Performalism : A Budding Design Movement Asks: What Does It Mean for a Building to Perform?’, Architect, 06/2010 2010. (http://www.architectmagazine.com/sustainability/performalism.aspx). [accessed 13 March 2015]34 ———, Performalism : Form and Performance in Digital Architecture (London Routledge, 2012). pp.10-1135 Jane Burry, and Mark Burry, The New Mathematics of Architecture (London : Thames & Hudson, 2010). pp. 13036 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass. : MIT Press, 2004). p. 1037 ———, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass. : MIT Press, 2004). p. 11-1238 Brady Peters, and Xavier De Kestelier, Computation Works : The Building of Algorithmic Thought, Architectural Design: [V. 83, No. 2] (Chichester : John Wiley & Sons, 2013). p. 1039 ———,The Autopoiesis of Architecture. [Electronic Resource] : A New Framework for Architecture, Ebl (Chichester : John Wiley & Sons., 2011).p 340 Branko Kolarevic, Architecture in the Digital Age : Design and Manufacturing (New York, NY : Spon Press, c2003., 2003). p. 341 ———, Architecture in the Digital Age : Design and Manufacturing (New York, NY : Spon Press, c2003., 2003). pp. 6-742 Nick Dunn, Digital Fabrication in Architecture (London : Laurence King Publishing, 2012). p. 643 ———, Digital Fabrication in Architecture (London : Laurence King Publishing, 2012). p. 645 Branko Kolarevic, Architecture in the Digital Age : Design and Manufacturing (New York, NY : Spon Press, c2003., 2003). p. 546 ———, Performalism : Form and Performance in Digital Architecture (London Routledge, 2012). p9647 Dimitris Kottas, Digital Architecture (Barcelona : Linkbooks, 2013., 2013). p.13648 Jacques Lucan, Composition, Non-Composition : Architecture and Theory in the Nineteenth and Twentieth Centuries, Essays in Architecture (Lausanne, Switzerland : EPFL Press ; Abingdon, Oxford : Routledge, 1st ed., 2012). p49 JuHyun Lee, Ning Gu, and Anthony P. Williams, ‘Parametric Design Strategies for the Generation of Creative Designs’, International Journal of Architectural Computing, 12 (2014), pp. 265.50 ———, Computation Works : The Building of Algorithmic Thought, Architectural Design: [V. 83, No. 2] (Chichester : John Wiley & Sons, 2013). p. 1051 Kostas Terzidis, Algorithmic Architecture (Oxford : Architectural, 2006). p. prologue xii52 La Sagrada Família Foundation, ‘Basilica De La Sagrada Familia - Architecture’, La Sagrada Família Foundation (<http://www.sagradafamilia.cat/sf-eng/docs_instit/historia.php> [Accessed 19/03/2014 2014].53 RMIT University, ‘Basilica De La Sagrada Família: Glory Facade’, RMIT University, (2014) <http://www.sial.rmit.edu.au/portfolio/basilica-de-la-sagrada-familia/> [Accessed 19/03/2014 2014].54 RMIT University, ‘Basilica De La Sagrada Família: Passion Facade’, RMIT University, (2014) <http://www.sial.rmit.edu.au/portfolio/passion-facade/> [Accessed 19/03/2014 2014].55 RMIT University, ‘Basilica De La Sagrada Família: Sala Creuer Construction’, RMIT University, (2014) <http://www.sial.rmit.edu.au/portfolio/sala-creuer-construction/> [Accessed 19/03/2014 2014].56 Daniel Davis, ‘Fabpod’, Daniel Davis, (2013) <http://www.danieldavis.com/fabpod/> [Accessed13/03/2014 2014].57 Mark Burry, ‘Fabpod’, Mark Burry, (2014) <http://mcburry.net/fabpod/> [Accessed 19/03/2014 2014].58 ———,‘Fabpod’, Daniel Davis, (2013) <http://www.danieldavis.com/fabpod/> [Accessed 13/03/2014 2014].59 Carlo Aiello, Evolo 6: Digital and Parametric Architecture. ed. by Paul Aldridge Carlo Aiello, Anna Solt, Jung Su Lee. Vol. 6 (New York: Evolo, 2014), p. 312.

a l g o r i t h m i cs k e t c h e s

24

a p p e n d i x

25

biomimicry - original branch as inspiration

referencing curves from tracing of original picture

Wireframe permutations - 1 - Original mesh 2-4 are variation of mesh smoothing

11

12

13

14

26

From point to line to complex surfaces - algorithmic thinking

GENERATION - CHANGING PARAMETERS AND TYPES FOR EXPLORATION

Creation of series of points from a sine wave to create major branchCreate a circle on each point , each with with unique diameter

Loft all circular cross section curves to create a single surface

Join all parts together

Converting (BREP) surfaces to mesh

Exploring meshing technique using weaverbird plug-in

Thickening mesh using weaverbird plug-in

Selected points for branching Repeat (2) for each sub-branches

Repeat (5) for all branches

11 1312

15

14

16

17

18

19

110

27

ALGORITHMIC SKETCHES

Selected points for branching Repeat (2) for each sub-branches

Repeat (5) for all branches

Type 1

Type 2

Rendered

Rendered

panelling - mapping single object across surface

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contouring - in x direction

* Thickness added to show fabrication possibility

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ALGORITHMIC SKETCHES

Rendered

Contouring technique uing 2 surfaces - main branch with a sine wave surface

contouring - surfaces together

30

Duplicating branches into a composition through generatioN

Algorithm

- weld all mesh to ensure continuing on all veryices

- adding frame to each faces of the mesh

- thickening the surface using weaverbird plug-in

- replicating 1 original instance into 3 instances

- rotating each to achieve an overall composition

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Rendered

ALGORITHMIC SKETCHES

a mistake can be beautiful!

Accidently morph multiple surfaces together by accident.