1

DESIGN STUDIO

AIR 2014 Journal

2

SEMESTER 2, 2014 SEONGHO BAE, 605311TUTORIAL 2, WED 1.15-4.15, BRAD ELIAS

3

CONTENTINTRODUCTION

4 ABOUT ME

5 EXPERIENCE

CONCEPTUALISATION

8 A.1 Design Futuring

14 A.2 Design Computation

20 A.3 Composition & Generation

29 A.4 Conclusion

30 A.5 Learning Outcomes

31 A.6 Algorithmic Sketches

32 A.7 Bibliography

4

My name is Seongho Bae and I am from Seoul South Ko-rea. My tertiary studies in Korea were in the field of Mechanical Engineering. Af-ter arriving in Australia in 2007, I completed a Diploma in Automotive Mechanics and was employed in this field. However, I later realized that my true passion was Ar-chitecture and enrolled in the Bachelor of Environments program at Melbourne Univer-sity.

From a very young age I have been interested in creative design and construction. As a child, I used to spend hours with my Lego set designing and building houses and city scapes. I hope to one day turn this childhood passion into a career to continue on to a Masters in Architecture to achieve this dream.

INTRODUCTION

5

My previous studies in Korea has provided me with an inter-mediate knowledge of AutoCAD but my exposure to paramet-ric design software has been rather limited. I am looking forward to learning programs such as Rhino, Grasshopper, InDesign and Photoshop this semester.

Through the course of my Bach-elor of Environments degree I have been exposed to design, construction and modelling through “Construction envi-ronments” and “Construction design” subjects. Examples of my designs are illustrated next.

6

A

Part A

CONCEPTULISATION

7

A.1 Design Futuring

A.2 Design Computation

A.3 Composition & Generation

A.4 Conclusion

A.5 Learning Outcomes

A.6 Algorithmic Sketches

A.7 Bibliography

8

A.1 DESIGN FUTURING> Tony Fry <

Human civilization is fast ap-proaching a perilous moment in its existence whereby the hu-man-centered “auto-destructive mode of being” of treating the earth as an unlimited resource at human disposal is taking the future away from ourselves and all other species that inhabit earth. Tony Fry terms this pre-carious situation of unsustain-ability “defuturing”.1

However, Fry argues that humans possess the unique ability to “prefigure what we create be-fore the act of creation” known as “design” which can be har-nessed to secure and reclaim our future.2 This idea of securing the future through sustainable design that minimizes negative impact of human construction on the environment is what Fry

terms “design futuring” as sus-tainable modes of living. According to Fry, design fu-turing needs to accomplish two primary goals.3 Firstly, slowing down the current rate of defu-turing. Secondly, envisioning more sustainable modes of liv-ing. With the advent of com-puter modeling software and the development of new technology the realm of possibilities has vastly increased in terms of de-sign futuring.

An interdisciplinary approach whereby artists, architects, engineers, and climate change/renewable energy specialists come together to develop sus-tainable, energy efficient de-signs and ways of living.

1. Tony Fry, Design Futuring: Sustainability (Ethics and New Practice, Oxford: Berg,2008), p. 1.2. Fry, p. 2.3. Fry, p. 6.

9

A.1 DESIGN FUTURING> Supertree Grove <

This architectural project by Grant Associates consists of a grove of vertical tree-like structures 25 to 50 meters in height which are designed to mimic the environmental func-tions of trees.4 Like trees they provide shade during the day. Moreover, these Super-trees are embedded with photo-voltaic cells that harvest so-lar energy throughout the day, which allows them to light up at night which mimic the pho-tosynthesis process.

Just as trees absorb rainwa-ter for growth, Supertrees harvest rainwater for use in irrigation and aesthetically pleasing fountain displays.5

These Supertrees also take in and expel air as a part of the cooling system. The trunk of Supertrees are also covered by planting panels which form a living skin of over 162,000 plants covering more than 200 species of ferns and tropical flowering climbers.6

Fig 1 : OCBC Skyway bridge at Supertree Grove computing design by Grant Associates

10

Fig 2 : Gardens by the Bay energy recycle concept diagram

Fig 3 : Supertree Grove entire view by computer image

11

An essential design concept to emerge from this piece of infrastructure art, which re-lates to design futuring, is an example of a self-sustaining architectural piece that mini-mizes human impact on the en-vironment while adding to the aesthetic appeal of the city scape.

This architectural project, which emphasized sustainable design, received multiple awards and accolades includ-ing World Building of the year award in 2012 for cooled con-servatories at the World Ar-chitectural Festival of 2012 an the BCA Green Mark Plati-num Award for environmentally-friendly buildings.7

It has also become a primary attraction of Singapore add-ing value to the city scape. The Supertree grove project shows that self-sustaining.Aesthetically pleasing designs can largely add value to city scapes while minimizing the carbon footprint and fossil energy usage.

4. Gardens by the Bay, ‘Supertree Grove’, Gardens by the Bay (2014) <http://www.gardensbythebay.com.sg/en/the-gardens/attrac tions/supertree-grove.html> [accessed 20 August 2014]5. Gardens by the Bay6. Gardens by the Bay7. Gardens by the Bay

12

A.1 DESIGN FUTURING> Generating Energy Floor <

- Pavegen -

Pavegen has designed a floor tiling system which converts the kinetic en-ergy from footsteps into electricity that can im-mediately power pedestrian lighting, GPS systems and advertising signage or be stored in a battery.

The topmost surface of the flooring is made from 100% recycled rubber and base of the slab is constructed from 80% recycled materials. The system can also easily re-place existing flooring.8

The Pavegen is most suited to high urban environments with high foot-fall and provides a tangible means for urban dwellers to en-gage with renewable energy generation.

Fig 4 : Sustainable Dance Floor installed in gallery (Top)Fig 5 : Diagram of kinetic energy to electricity (Bottom)

8. Pavegen Systems, ‘Technology’, Pavegen Systems (2014) <http://www.pavegen.com/technology> [accessed 20 August 2014]

13

Pavegen has already launched the flooring sys-tem in a subway station, office complexes and in a sustainable dance floor environments in which the floor reacts and interacts visually with the dancer who generates kinetic en-ergy.9

Pavegen is currently look-ing into minimizing costs associated with the design in order to maximize util-isation and accessibility of the design so that they can be used widely in re-

tail and public spaces. The sustainable floor design provides great potential for energy self-sufficient cities in the future and en-visions a green city that is powered by those who walk in it.

This design could poten-tially counter the energy resource depletion effect associated with popula-tion growth given that more people walking in the city would mean more energy be-ing generated.

9. Pavegen System.

Fig 6 : Variety application with Pavegen systems

14

A.2 DESIGN COMPUTATION

Architectural design is an activity that requires both analytical and cre-ative intuitive thinking to provide solutions to problems.10

The primary benefit of using computers in this process lies in the op-portunity to combine the creativity and intuitive thinking of humans with the superior analytical and memory capabilities of computers to create a “Symbiotic design system” that provides more effec-tive solutions to archi-tectural design problems.11

To this end, computational systems have been devel-oped to provide design-ers assistance in vari-ous stages of the design process from software to aid in drawing geometri-cal shapes to parametric shapes. Nowadays, three dimension computer design programs provide more so-lutions to designer.

10. Kalay. Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2.11. Kalay. p. 3.

15

A.2 DESIGN COMPUTATION> DORIC COLUMNS <

Fig 7 : The world’s most complex architectural columns

16

Michael Hansmeyer argues that computational algorithms not only assist humans but vastly expands the range of design pos-sibilities and redefines the realm of conceivable and achiev-able geometrical shapes. For example, Hansmeyer demonstrates how a computer algorithm can be coded to fold a basic three dimensional cube in repeatedly which results in 400,000 sur-faces within 16 iterations.12

12. Michael Hansmeyer, ‘Building Unimagenable Shapes’, TED Talks (2012) <http://www.ted.com/talks/michael_hansmeyer_build ing_unimaginable_shapes> [accessed 20 August 2014]

Fig 9 : example of how he built the columns

17

Moreover, by specifying the po-sition of the fold and folding ratio within algorithm astound-ing physical forms can be cre-ated. In this instance, the architect does not envision or design the final form but rather the process that generates the form. This allows the architect to produce forms that are at the very edge of human visibility and conception which are impossible to draw by hand.

Using these algorithms, Hans-meyer has managed to create ex-tremely intricate pillar con-sisting of 16 million facades and 2700 layers which would be impossible without computation-al models.13 Though Hansmeyer’s project is still in the purely conceptual stage, it sheds light on the incredible ways in which computation processes can revo-lutionize architectural design processes and redefine practice.

13. Hansmeyer.

Fig 8 : close shot of complex architectural columns

18

A.2 DESIGN COMPUTATION> Fiera Milano <

The “New Milan trade fair build-ing” designed by Massimiliano Fuk-sas is a built example of how com-putational tools have been used in the design process. The 700 million dollar architectural project con-sists of a Fiera that encapsulates a 2.1 million square feet area and stretches over nearly a mile.13 Giv-en the sheer size of the building, computational tools played a crit-ical role in preserving the conti-nuity of the fluid canopy structure that stretches the entire length of the building.

This freestanding canopy which appears to float over portions of the building swoops down to the ground level in a parabolic vortex. Moreover, the building fuses multiple geometric shapes, curvilinear facades poised on tree-like columns with triangular planes as well as flat parts with rhomboidal panes. The massive scale of the design, the conti-nuity of the design over a large area, fluidity of shapes within the design have been achieved us-ing computational tools.

Fig 10 : Swoop down canopy at Fiera Milano Fig 11 :Fiera Milano main street view

13. Archdaily, ‘New Milan Trade Fair / Studio Fuksas’, Archdaily (2012) <http://www.archdaily.com/248138/new-milan-trade-fair- studio-fuksas/> [accessed 20 August 2014]

19

Fig 12 :Fiera Milano bird eyes view

20

A.3 COMPOSITION & GENERATION

The increasing use of computa-tional tools in the design pro-cess also marks a shift towards parametric/generative design thinking rather than focussing on the composition or organisa-tion of geometric elements into planes like in compositional ar-chitecture.

Parametric design begins with an initial set of parameters and generates geometry based on the relationships between these pa-rameters. Algorithms are used to generate a hierarchical struc-ture of geometrical relation-ships which permit generation of designs which explore the entire range of design solutions that the initial set of parameters al-low.14

This process is heavily support-ed by the use of parametric mod-

elling software such as Rhino and Grasshopper. This shift in design thinking added an experimental flavour to the design process as a younger generation of archi-tects began to use algorithms to explore design possibilities.

Moreover, new design tools were also introduced to bridge the gap between the virtual design space and the physical fabrication pro-cess which enabled computer driven manufacturing. This allowed for a seamless transition between the design and manufacturing process-es which has rendered computation in architecture an “integrated art form”. Biomimicry constitutes a dynamic new are of parametric design which attempts to emulate naturally occurring forms and structures to produce sustainable design solutions that are in sync with the natural environment.

14. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, eds 2014), p. 2.

21

A.3 COMPOSITION & GENERATION> The Dragon Skin Pavilion <

The Dragon Skin Pavilion in Hong Kong is an example of parametricism in practice. The pavilion is constructed from an innovative, environmental-ly sustainable material called “post-formable plywood” which can be easily bent without ex-cessive heat.15

Computational design tech-niques were used to generate the dragon skin design and dig-

ital fabrication methods were used to execute the construc-tion process without the need for conventional architec-tural communication methods such as plans and drawings. A computer programmed 3D master models generated the cutting files with algorithms enabling precise calculation of slots within each rectangular com-ponent so that the components could slide into each other.

15. Singhal. Sumit, ‘Dragon Skin Pavilion in Kowloon Park, Hong Kong by Emmi Keskisarja, Pekka Tynkkynen & Lead’, Aeccafe Blogs (2012) <http://www10.aeccafe.com/blogs/arch-showcase/2012/03/27/dragon-skin-pavilion-in-kowloon-park-hong-kong-by- emmi-keskisarja-pekka-tynkkynen-lead/> [accessed 15 August 2014]

Fig 13 : The Dragon Skin Pavilion in Hong Kong by Night

22

Moreover, gradually shifting po-sitions and angles needed to be incorporated into the design so as to give the final assembled pavilion a curved form. This was accomplished using computationaltools and parametric techniques.

The final product was a free-standing light-weight structure accomplished entirely through digital design, fabrication and manufacturing technology.16

Fig 14 : processing of each dragon skin plywood panel

16. Singhal.

Fig 15 : Interior perspective images of Dragon skin pavilion

23

24

A.3 COMPOSITION & GENERATION> C Wall <

Fig 16 : Hexagonal honeycomb pattern wall in biomimicry shape

25Fig 18 : Design process of C-Wall

Fig 17 : Hexagonal honeycomb model

26

Fig 19 : use Voronoi component to create smooth finished joints to developed design

27

The C wall is a honeycomb shaped design that readily adapts to different spatial needs. The ma-terial used in the design is a mixture of plaster and elastic fabrics which renders the entire structure highly pliable.17

Computational tools are used to adapt the structure to physical needs. For example, the paramet-ric software generates a cloud of points which are then turned into 3D cells. The Cells are then transposed on to two-dimensional sheets and cut using CNC technol-ogy and reassembled in a larger size.

The key feature of this design is the underlying concept of biomim-icry. Taking a cue from bee hives which freely adapt to the spatial restraints of their environment. The C wall uses honeycomb-like structures to form a flexible wall that adapts to the space in which it is located.

17. Susy Di Monaco, ‘Biomimetic in Architecture and Design’, Architectura Take Away (2010) <https://translate.google.com/translate? sl=auto&tl=en&js=y&prev=_t&hl=en&ie=UTF-8&u=http%3A%2F%2Farchitetturatakeaway.blogspot.com.au%2F2010_11_01_ar chive.html&edit-text=&act=url> [accessed 18 August 2014]

28

“When architects have a sufficient under-standing of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for archi-tecture.”

BRADY PETERS

29

A.4 CONCLUSION

In line with the design fu-turing ideology, sustainable designs that minimize the neg-ative impacts of human con-struction on environment and promote more sustainable mode of living will be a primary focus of my design approach. Given the LAGI 2014 emphasis on infrastructure art with generating clean energy.

I will also attempt to incor-porate energy generation ele-ments into my design taking a cue from public artworks like the Supertree Grove. Adopting the computational approach to architecture which encourages a symbiotic relationship be-tween the human designer and

computational algorithms to facilitate and enhance the design process, paramet-ric modelling computation-al tools such as Grasshop-per will be used achieve a design solution that meets the specifications set out by the LAGI initiative.

I will also attempt to learn design from nature and use biomimicry parametric tech-niques to produce a design that takes into account the unique environmental fac-tors of the Copenhagen site and blends into while add-ing value to the Copenhagen city scape.

30

A.5 LEARNING OUTCOMES

During last 3 weeks, I learnt about algorithms and paramet-ric design and the reasons why designers and architects need to be able to use parametric software for their prospec-tive design projects. Before I started this subject, I did not know how to use paramet-ric designs with composition.

In previous studio subjects, I relied heavily on hand drawing and geometric model making in the design process which was restricted to geometric shapes such as flat, triangular or rectangular surfaces. A major limitation of this approach was that I was limited to geometric shapes in my designs and was not able to incorporate curvilin-ear elements into my designs. Therefore, I am very keen to learn software such as Rhinoc-eros with Grasshopper which would enable me to do this.

For the past three weeks, I have been learning basic Rhi-no and Grasshopper which is a

sub-program for Rhino to de-sign complex an accurate forms.A primary area of difficulty for me has been generating vec-tor concepts in 3D as I have no prior experience in this area. However, I am gradually gaining confidence in combining differ-ent forms and using curvilin-ear elements in complex design.

The weekly readings have provid-ed me with a clear understand-ing of design concepts and how a carefully thought-out concept underlies every major design.

From the outset of this sub-ject, the course readers and program tutorials have helped me improve my design skills and critical thinking skills required to transform design concepts into design projects. Therefore, I believe that this subject will help me develop my design skills immensely and I am looking forward to learning more sophisticated technolo-gies within the next nine weeks.

31

A.6 ALGORITHMIC SKETCHES

So far, I achieve this stage from nothing but this is just begin of un-derstand about parametric software. It is very different concept com-pared to what I know about design programs. Basically, start with scale and depend on dimention to desigm something but Grasshopper is not the limited of scale so I just start

with design and reform to what I want scale by adjustable sliders. Also could save so much time when fix the size or change to different form. I am looking forward to explore and discover the possibilities of param-eties software to generate design which is linking to efficiency.

32

BIBLIOGRAPHY

Brady, Peter., ‘Computation Works : The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013), pp. 8-15.

Fry. Tony, Design Futuring: Sustainability (Ethics and New Practice, Oxford: Berg, 2008)

Gardens by the Bay, ‘Supertree Grove’, Gardens by the Bay (2014) <http://www.gardensbythebay.com.sg/en/the-gardens/attractions/supertree-grove.html> [accessed 20 August 2014]

Grant Associates, ‘Gardens by the Bay – Competition’, Grant Associates (2012) http://www.grant-associates.uk.com/projects/gardens-bay-competition/ [accessed 15 August 2014]

Hansmeyer. Michael, ‘Building Unimagenable Shapes’, TED Talks (2012) <http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes> [accessed 20 August 2014]

Monaco. Susy Di, ‘Biomimetic in Architecture and Design’, Architectura Take Away (2010) <https://translate.google.com/translate?sl=auto&tl=en&js=y&prev=_t&hl=en&iWe=UTF-8&u=http%3A%2F%2Farchitetturatakeaway.blogspot.com.au%2F2010_11_01_archive.html&edit-text=&act=url> [accessed 18 August 2014]Archdaily, ‘New Milan Trade Fair / Studio Fuksas’, Archdaily (2012) <http://www.archdaily.com/248138/new-milan-trade-fair-studio-fuksas/> [accessed 20 August 2014]

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, eds 2014)

Pavegen Systems, ‘Technology’, Pavegen Systems (2014) <http://www.pavegen.com/technology> [accessed 20 August 2014]

Singhal. Sumit, ‘Dragon Skin Pavilion in Kowloon Park, Hong Kong by Emmi Keskisarja, Pe-kka Tynkkynen & Lead’, Aeccafe Blogs (2012) <http://www10.aeccafe.com/blogs/arch-show-case/2012/03/27/dragon-skin-pavilion-in-kowloon-park-hong-kong-by-emmi-keskisarja-pekka-tynkkynen-lead/> [accessed 15 August 2014]

Yehuda E, Kalay., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aid-ed Design (Cambridge, MA: MIT Press, 2004)

33