falconer joel journal
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STUDIO AIR2014, SEMESTER 2, TUTOR: PHILIP BELESKYJOEL FALCONER
Table of Contents
4 Personal Profile
6 LAGI Precedents
8 LAGI Precedents
10 Design computation
12 FOrm manipulation
14 Performance Optimization
16 Composition /Generation
18 Composition /Generation
20 Conclusion
21 Learning Outcomes
22 References
22 Figures
23 Apendix: Sketchbook Sample
Cover Image: The roof of Norman Foster’s Smithsonian Institute extention.
Opposit: eAuthers Own Photograph
Joel Falconer
Born in Melbourne (1981).
Currently completing my 3rd year of bachelor
of environments at Melbourne university.
My interests lie in the exploration of parametric
design ‘s ability to assist in key global ecological
issues through design futuring, particularly in
the realm of Structural innovatoin and ESD-.
Such as we have never seen before, cutting
edge algorithmic computation and digital
fabrication has given us the ability to create
a form and technical system that is able to
emulate the way in which nature functions and
then incorporate withi every aspect of the built
environment to create a more human oreinted
urbanizm.
I am also interested in the way in which
Digital fabrication has the potential to draw
a strongly emotive and personal response
within individuals through developing complex
organic shapes and systems relating very
strongly to human biology
My previous work in 3D Mmodeling has
involved using the Rhino Interface to create
a ‘second skin’ Prototype for the Bachelor of
environment’s studio Virtual Environments.
In this Project I explored the way in which
psychological concepts of ‘Personal Space’
could be mapped and then translated into
PERSONAL PROFILE
Fig.1: Images of auther’s previous experiments in Rhino
I like the way in which local cultural traditions and
site conditions were strongly used as inspiration for
this project however I do feel that the lack of program
at ground level disconnects the project from any
deeply rooted human element which could truly
involve the public with the instillation and with the
renewable energy generation.
In the maple-leaf instillation, parametric design was
utilized to generate a sculptural wire-frame structure
that relates both the cultural and ecological context
of the site and to the renewable energy generation
brief of the LAGI group.
In a process of linear mapping of the key below
ground landfill gas deposits (a potential energy
source) the design team were able to inform the
placement of the frame structure so that it could be
used to extract an otherwise underutilized resource.
The instillation has also been given dual energy
generating ability through the capturing of solar
energy through ultra fine PV panels and gas
extraction that utilized.
LAGI PRECEDENTS
Fig.3: The form of the Maple leaf is derived from the logo of the local parks
Fig.4: The ground level program is under considered
LAGI PRECEDENTS
Through a series constantly moving ‘objects’,
each with the capacity to capture solar energy, the
designer has conceptualized an instillation which
displays high levels of power generation potential
and leaves the site beneath untouched to develop
as a green field space.
More than this, the project has the ability to
‘generate empathy, joy, excitement and admiration.’
1From spectators who are able to get wrapped up in
the spectacle of the fluid sculpture which could be
programmed through highly complex algorithmic
modelling to take on an infinite amount of sculptural
forms.
1 http://landartgenerator.org/LAGI-2012/EQL7FJ66/
This ‘dancing sculpture’ has the ability of direct
interaction with the public realm as the objects are
designed to float at the human plane with protective
devices that ensure a distance is maintained from
people. This constant, yet constantly ephemeral,
dance between the highly technical element and
the human element is an inspiring and poetic
project which could be seen as an analogy of the
relationship between man/nature and the physical/
digital landscape.
Fig.5: The thousands of independent elements, which have the ability to capture Solar energy, simulate a flock of birds by‘flying’ independent and yet related to each other through attractor/detractor programming.
Fig.6: Emotive patterns in which the nodes are are able to be be formed contain endless possibilities for interactoin with the public Fig.7 (opposite): Even though the ground level plane has been left to replenish as a green feeld the attraction of the nodes will cause public to come to the sapce to ‘play’ with the instilation
Computation has allowed the architect to enlarge
the potential of what and how they design and
fabricate. More than ‘computerisation’ ,which is the
act of digitizing existing process, computation is the
transformation of that process using the new digital
tools as a drivers behind the design process. By this I
refer to the major positive shift to occur in the design
industry as a result of parametric design; the move
away from a ‘top down’ methodology of design to one
which is ‘bottom up’.
Through using computation to drive the design
process, the emphasis can be placed on the ‘declaring
parameters of a particular design...not its shape.’1 In
this way the design can be liberated by the ‘ego’ of
the architect which (tends to) abide by a set doctrinal
principles of aesthetics or politics.
1 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3–62 pdf
In parametric design, the manipulation of parameters
and Algorithms is a more generative process which
can lead to designs that are either more rational
(because the tectonics have been based on specific
project structural/functional requirements rather
than desired form) and/or more experimental; because
the algorithmic process has enabled a highly complex
,organic or amorphous outcome which could never
have been considered by a form oriented architect.
The design process here is through the critical
and sophisticated manipulation of these inputs. By
‘defining the relationships’ between elements of the
project the designer is now able to quickly generate
multiple iterations of potential designs from which
suitable results can be selected.In this process she is
also able to ‘go beyond the intellect of the designer...
through the generation of unexpected results.’2
2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
DESIGN COMPUTATION
As Woodbury et al. also point out - ‘The system
takes care of keeping the design consistent with
the relationships and thus increases designer
ability to explore ideas by reducing the tedium of
reworking.’ 3
Another benefits of Parametric design are that it
enables ease of change through every step of the
process without having to re-construct the entire
work. One can adjust parameters which are
‘downstream’ causing all resultant relationships
to alter ‘upstream’ . Not only does this aid the
creative ‘sketching’ process but it can also have
huge cost-benefit justifications by eliminating
the need to spend time reworking and reworking
the design with each change.
3 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170
Figure 8: Images showing the design process for the CD/ITKE Research Pavilion 2011. Through parametric computation; form, structure and materiality were reimagined. The design process was inseperable from robotic fabricatoin with the designer once again havin physical involvement with fabrication.
FORM MANIPULATION
One of the broadest conceptions of parametric
design is that it is simply a tool to create a fluid
amorphous architecture purely for the sake of
‘showing off’ by your ability to manipulate a more
traditional geometry. Although this occurs and can
often be very shallow application of parametric
process, parametric can also lead to some very
sensitively designed spaces with an organic
variability and complex form which matches
complex nature of the environment and the human
user’s of the building. This is exemplified in
R.U.R.’s proposal for the Shenzen Airport in China’s
Quangdong Provence. Here the firm created a shell
structure of a ‘twisted grid of skylights’ which
allowed for customization of space according to
human needs, optimal light intake and permeability
where it was/wasn’t appropriate and the use of the
shell to act as a way-finding and human element
within what would otherwise be large anonymous
international airport .
Figure 9: Detail of roof showing a gridded diamond pattern which takes on an organic quality`
Figure 10: The shell structure is also able to act as a way-finding device and breaks up an otherwise homogeneous space
In the design process RUR discuss how parametric
gave the opportunity to maintain the structural
systems whilst the inputs changed (based on
additional data). According to the architect the
project was a method of ‘humanizing technology
rather than merely represent it.”1 As was outlined
in their website they transformed the paradigm
of the traditionally constructed concrete form
through parametric’s ability to generate ‘mass
customization’.
1(http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)
“The driver of the algorithm was the
need to allow the appropriate amount
of light into light into the space whilst
maintaining thermal performance and
distribute the mass of the structure to
allow for constructibility. “2
2(http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)
Great examples of the use of computational design
to create optimal performance can be found in
the Nicholas Grimshaw’s International Terminal at
Waterloo station in London by Nicholas Grimshaw
(Figure 11) and the Smithsonian Institute update by
Foster + Partners (figure 12).
Through early adoption of parametrics Grimshaw
was able to generate 36 Dimensionally different but
identically configured three-pin bowstring arches.
The shape of these arches was generated based
on an input of structural performative parameters
related to site conditions, structural requirements
and program requirements etc. “Instead of
modelling each arch separately, a parametric model
was created based on the underlying design rules
in which the size of the span and the curvature of
individual arches were related”1 This modelling was
then used to inform the design and construction of
the rest of the structure and cladding resulting in a
form which was both highly efficient and a ‘bottom
up’ generated design rather than ‘top down’ .
In Norman Fosters project parametrics was used to
analyse solar intake and acoustic performance of a
space- “computer code was used to explore design
options and was constantly modified throughout
the design process. It was also used to generate the
final geometry and additional information needed
to analyse structural acoustics performance, to
visualise the space and to create fabrication data
for the physical model.”2
1 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3–62 pdf2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15
PERFORMANCE OPTIMIZATION
Fig.11 Waterloo Train Station Nicholas Grimshaw: Each individual element was derived from the parametrics of site constraints and structural requirements
Fig.12: Smithsonian Institute Foster and Partners : Light and acoustic parameters resulted in a waved courtyard roof structure.
The architectural firm of Gramazio Kohler have
created wine store-house with a facade that
replicates grapes that have fallen into a basket
. They did this through an algorithmic program
which ‘simulated gravity’ dropping representations
of grapes into a set parametric space. Parameters
such as light/air allowance into the internal build
were also set. The result of this programming was
then translated into a digital image and fed to a
robotic fabricator to precisely recreate through the
precise placement of the 20,000 bricks that the
facade required. 1
1 http://www.gramaziokohler.com/web/e/projekte/52.html
This project demonstrates the potential benefits
of computational design and robotic fabrication
to both , create a seamless and efficient work-
flow from design to fabrication, and the ability to
generate a design motif that would be impossible
by the human intellect.
This types of construction does however miss
out on the potential of ‘bottom up’ design process
made possible by parametrics. The resultant form is
still a construct of an Architects ‘genus loci’. It also
really only utilizes parametrics to create a surface
effect and again loses out on the potential to either
examine structure innovations or environmental
benefits bought by Parametric modelling.
COMPOSITION /GENERATION
Fig.13: Images from the discovering of form through the simulation of gravity
Fig.14: Screen shot from film showing robot fabrication technique.
Fig.15 (opposite): Internal /external view of the winery showing play of light through the apertures. .
S.O.M. Architects have developed a broad base
of research and projects which have explored the
potential for parametric modelling.
Figures 16 show a process of ‘form’ and
‘structural’ finding for a high rise prototype
within a densely populated urban environment.
They have manipulated a lofted circular floor
plate through parameters of environmental and
programmatic factors. This project specifically
examined the effect of light pollution on/from
the adjacent buildings within a built up urban
context. Through a series of iterations they were
able to quickly and efficiently generate a broad
range of options from which to choose suitable
forms from the next phase in the design process.
Although this conceptual notions of circular floor
plan was predetermined parametric was used in
an exploratory process in which the designers
were provide with design choice based on optimal
performance, rather than subjective aesthetic
preferences.
COMPOSITION /GENERATION
Fig.16: Showing the evolution of the design process from setting original parameters to final potential constructable object.
In figure 17 likewise SOM were able to use parametric
inputs of force and material characteristics to
resolve a structural elements for a bridge as a
-apart of a high rise complex project.
Figure 18. is the result parametric design which
strived for circular concentric floor-plates. With
‘commercial (marketing) constraints’ inserted .
Structure was explored trying to find ‘maximum
and minimum’ thresholds. This lead to a ‘tear-drop
shape’ form witch was found to be the optimal
‘minimum material’ structure. “This tear-drop
structure came as a “surprise” of the designers
whom were expecting conically tapered shape.”1
Although this is an interesting case of ‘bottom
up’ design it is disappointing that one of the key
parameters is the potential for marketability rather
than ESD principles.
1 Besserud, K., Katz, N. and Beghini, A. (2013), Structural Emergence: Architectural and Structural Design Collaboration at SOM. Archit Design, 83: 48–55. doi: 10.1002/ad.1553
Fig.17: Showing the use of Parametrics to discover optimal structure
Fig.18: Parametrically generated tear-drop structure .
CONCLUSIONThe critical element of Parametric/ Algorithmic
design is to stay true to the principles of “bottom
up” deign rather than “top down.” Only by doing
so and by exploring the potentials of material and
structure and by keeping an open mind to the
outcomes, will designers be able to unlock the full
potential of the process and develop exciting and
advanced structures that will relate to the human
condition within us all and take us through to the
21st century in a sustainable manner.
LEARNING OUTCOMESOne of the key learnings that I have derived from
the course thus far is a much deeper understanding
of how Parametric architecture can go beyond the
anonymous ‘futuristic style’ (of say Zaha Hadid)
or the gimmicky Blobby architecture that often
grabs design headline. It can also be utilized to
develop highly rational (if stylized) structural
buildings which maximize efficiency and respond
to the varying nature of the social and ecological
environment. It can also develop intricate
buildings which challenge what we once knew
about structure and fabrication by synchronizing
the this process and taking cues from nature to
create highly advanced structural systems and
sustainable building envelopes.
I now know that Parametric Algorithmic design (a
c phrase which I used to be quite afraid of) is really
just a new/efficient/challenging mode of design
exploration which removes the designer from any
preconceived notion of what their design will result
in and opens them up to potentialities they have
not previously been able to generate let alone
consider.
Image: Author’s Own Photograph
Besserud, K., Katz, N. and Beghini, A. (2013), Structural Emergence: Architectural and Structural Design
Collaboration at SOM. Archit Design, 83: 48–55. doi: 10.1002/ad.1553
Derix, C. and Izaki, Å. (2013), Spatial Computing for the New Organic. Archit Design, 83: 42–47. doi: 10.1002/
ad.1552
Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press,
2003) Suggested start with pp. 3–62 pdf
Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2,
pp. 08-15
Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by
Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 ed. by Rivka Oxman and Robert
Oxman (London; New York: Routledge), pp. 153–170
http://www.gramaziokohler.com/web/e/projekte/52.html
(http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)
http://landartgenerator.org/LAGI-2012/EQL7FJ66/
REFERENCES
FIGURESCover Image: http://www.fosterandpartners.com/projects/smithsonian-institution/ Overleaf: Author’s own photograph. 1.2. Authors own images3. 4. LAGI 2012 - MAPLE LEAF
PHIL CHOO, CHULHO YANG, SEUNG RA, SUNG-YEOUL LEE
5.6.7. Lagi 2012 - Greenfield and constelation Carlos Campos + Yamila Zynda AIub et al.8. http://icd.uni-stuttgart.de/?p=6553
9..10. (http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)
11.(waterloos.1 (http://grimshaw-architects.com/project/international-terminal-waterloo/)12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 13.14.15. http://www.gramaziokohler.com/web/e/projekte/52.html
16.17.18. Besserud, K., Katz, N. and Beghini, A. (2013), Structural Emergence: Architectural and Structural Design Collaboration at SOM. Archit Design, 83: 48–55. doi: 10.1002/ad.1553
APENDIX: SKETCHBOOK SAMPLE