Studio

A ir

529133

Sarah Luong

S1-2015

ContentsIntroduction

Design Futuring

Part A

A.1 Design Computation

A.2 Composition/Generation

A.3 Conclusion

A.4 Learning outcomes

A.5 Appendix: Algorithmic sketches

References

I, Sarah Luong from Melbourne am currently beginning my third year studies of the Bachelor of Environ-ments. Why architecture? You ask…Architecture is the amalgamation of science and arts, as well as craft and thought, and being a capricious person with broad interests, this is the ideal discipline for me. My main form of expression is through writing rather than visual com-munication (other than emoticons), but I like to challenge myself and hope to improve through sheer stub-bornness. Anything tech-y makes me nervous, and ironically it is the way of the future in architecture design, thus it is something that I need to embrace

or at least become familiar with.My exposure to digital design came from studies in Virtual environments, Visualising Environments and Rhino, Revit and 3d Max short courses (through RMIT and UniMelb). Unfortu-nately, due to a forgetful and absent-minded nature, I am still not very competent in these programs:(I am looking forward to learning paramet-ric and digital design and have always wanted to learn computer programing. Given that Studio Air teaches technical skills that are an offshoot to programing, I can now begin to tick it off the bucket list :)

Digital design ethicsDigital design, which arose from anthropogenic activity of technological progress, is given a heroic welcoming as a solution to prevent or at the least slow down the process of human extinction. There is a false precon-ception in regards to the technological advance to the natural environment that exists on a continuum, where-by a progress in one is proportionate to the degradation of the other, “Whenever we bring something into being we also destroy something,” 1 There is great optimism of how a reconfigured design practice, what Tony Fry consider as “redirective practice”2, could potentially be the saviour by reversing the de-futuring condition of sus-tainability. Design becomes more unsustainable when it

is becoming more demo-cratic through the facili-tation of technology, this problem is addressed through Tony Fry’s ar-ticle whereby he pos-tulates that as a result, there is a harmful accu-mulation of superficial and trendy design is in favour of a culturally and economical sensitive design.2The knowledge-creation gap that exists in people who dabble in democratic design is considered the major condition to overcome to improve the sustain-ability of the design process. This could be done by breaking down the specialisation of the design discipline, which has created “design in-telligence” that is ex-clusive to only design-ers. The dissemination of “design intelligence” can mobilise people and technology to create a system whereby cre-ation is less unsustain-able. Thereby, closing the knowledge-creation gap that would foster a more sustainable future.

Large scale education of design sustainability is dif-ficult to achieve, however we are laying foundations for this “dissemination of design intelligence” to occur, by teaching first principles of sustainability in early education such as primary schools.

Sustainability and digital design aesthet-

icsThere is tension between ecology and technology, most notably in terms of digital design’s attempt to be more inclusive of biological systems. If is not the answer to re-versing the anthropocene to a holocene timeframe, but a facilitator to how to balance between the two. This is usu-ally expressed with adoption of natural environments in a contained space eg. Green roofs, an contained aquarium etc…A deep understanding of the underlying ecological and biological system is only reserved for those who are aware of design intelligence3, for example, parametric design has embraced bio-mimicry and nature’s fractal system as a process of design that expresses in the per-formance rather than just the aesthetic nature of a build-ing.

Digital design aestheticsThe aesthetics of digital design can be seen as a sty-listic device, and is considered avant-garde in the pres-ent as it is still at its beginning stage, therefore does not have the theoretical and philosophical discourse to give it legitimacy.4 This is problematic as it augments a super-ficial appreciation for digital design from lay people, or those who are in the field but are out of date with current practice. Method for critique has not been disseminated beyond the discipline of architecture, thus only contained within the architecture profession, resulting in promoting an elitist culture.A self absorbed elitist mindset is a hindrance to elliviate or at the best, eliminate the the gradual process of de-futuring.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg). pg.42. 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg)3. 4.Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley),

D E S I G N

F U T U R I N GThe computerisation and computation of architecture design.

This project epitomises the efficiency of mate-riality and constructability, which could only be achieved if it is done correctly in the initial stage of design. By adopting current technological programs to ensure the constructability of the building before it actually materialises, Foster + Partners have saved the cost of waste, and has also mainstreamed in the assembly of the exter-nal cladding, therefore the erection of the building

was a quicker process than traditional con-struction methods. 1 It also has adopted principles of envi-ronmental building systems by implement-ing double skins and installing PVC panels to one side of the build-ing, to achieve not just textural roofing aesthet-ics, but also to offset its emissions, as the project aims to be car-bon zero.2 This project is the epitome of the application of “design intelligence” and is the beginning of critical design whereby reduc-ing the emissions of the building, has allowed it to meet the problems of climate change due to carbon emissions.

1. http://www.fosterandpart-ners.com/projects/masdar-institute/2. http://www.archdaily.com/91228/masdar-institute-foster-partners/

A.1 Design ComputationThis pavillion opposes the conventional idea of technology, not only for the facade, but can be adopted in other aspects of architecture. The significant and defining feature of the pavilion is the organic flow of the timber mate-rial that is used inside. This could only eventuate within the advanced techno-logical time that we are currently in, as the timber redifines itself as a material used for construction. The curve linear form was digitalised, and construction was only possible with the milling pro-cess of 3D modelling.1,2 This project is an exampler of how the fabrication pro-cess has caught up with the designer’s complex form finding intent. Architect’s in the past have always been able to further their knowledge in the field of aesthetic and design research and experimentation. The resulting products are of complex, and valuable, however the construction process in thwe past made it un-feasible for these designs to eventuate into built form. This has lead to an array and acceptance of “paper architecture” in the discourse of architecture. Hitherto, imagination could not be physically expressed, and the advances in fabrication technology has opened a plethora of new avenues in of built forms.

1. http://snohetta.com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion2. http://www.dezeen.com/2011/11/01/norwegian-wild-reindeer-centre-pavilion-by-snohetta/

Tverrfjellhytta, Norwegian Wild Reindeer Pavilion

Snøhetta

The Knowledge Centre, Masdar Institute of Technology Foster + Partners.

A.2 Composit ion GenerationProgress of fabrication technology has augmented the importance of technol-ogy in architecture, however design-ers was one step ahead through utilis-ing parametricism to improve design outcomes. This is an example of using algorithms to create detailing for a fa-cade rather than the use of parametric design to generate an architectural form. This seemingly complex geometry that surrounds what is simply three boxes adjoined, was created by a simple algorithm and constructed with standard aluminium, which al-lows for a more complex and layered approach to designing a building.1 The pattern was created with the in-tent of framing city views within the social space of the building, but also a pattern that would successfully re-flect light to the surrounding buildings.2 A reliance of the parametric script it-self was favoured over the process of just selecting the most appropriate ma-terials. Herzog & De Meuron utilised “parametric script that translated two-dimensional elevation designs into a three-dimensional model replete with all fabrication information, allowing fast revisions during design development.also allowed more control over light .”3

1. http://www.herzogdemeuron.com/index/projects/complete-works/201-225/213-messe-basel-new-hall.html2. http://www.archilovers.com/teams/109713/herzog-de-meuron-architekten.html#projects3. http://archrecord.construction.com/projects/portfolio/2013/05/1305-Basel-Convention-Cen-ter-New-Hall-Herzog-and-de-Meuron.asp

Herzog & De MeuronMesse New Hall, Basel.

This project was produced by SOFT-lab for the annual San Gennaro Festival.It was a multidisciplinary approach, as the designers were in need of spe-cialist fields such as engineers and the materials fabrication company to erect the structure.1This epitomises the use of parametric design as a specialist tool that architects used to lead the construction team.The parametric design, is not purely created arbitrary for an aesthet-ics purpose, but is sensitive to the surrounding area as it is site spe-cific. The San Gannaro North Gate, could only be placed in this site as there were specific mathematical constraints that are uniquely present within the site. This structure would fail if it was to be erected elsewhere as the tensive rope that holds it in place would not be able to fit else-where as it is reliant on the surround-ing building to keep it in place.2

Creating a structure within the physi-cal site parameters, has lead more legitimacy to this project. It looks impressive and innovative, but it also is aware of its surrounding. The installation ismade of 4224 laser cut panels. Each panel is a unique shape and printed with acustom color. The panels are connected us-ing over 6,000 aluminum grommets.3

1. https://www.behance.net/gal-lery/2357886/San-Gennaro-North-Gate2. http://inhabitat.com/nyc/softlabs-colorful-sculpture-brings-a-modern-twist-to-little-italys-san-gennaro-festival/san-gennaro-north-gate-by-softlab-10/3. http://softlabnyc.com/portfolio/san-genarro-north-gate/

San Gannaro North GateNew YorkSOFTlab

A.3 Conclusion A.4 Learning outcomes

Architectural computerisation has been well em-braced already in the field as a necessary tool that helps with drafting and promoting efficiency in the conventional design practice. New software available has now become a game changer and has re-invent-ed architectural practice by allowing an alternative method of faster generative design.Generative designs differs from conventional de-sign methods as the final product is created from an analysed process, instead of the designer having a preconcieved idea of a design. Forefathers of gen-erative design, such as Antoni Gaudi, Frei Otto etc...had to rely on analogue methods of researching and discovering new forms.New technology has enabled a digitalised version of the generative design process to keep up with the experimentation and design analysis.Out of the method of digital generative design pro-cess, parametricism enables the designer to rapidly create many different options to be customised to the brief and the site. Producing also a greater number of results, that are also better designed due to its precision. Parametricism has allowed generative de-

sign to flourish through the dependence of scripting and algorithmic thinking. As a result, iterations could be rapidly created and customised and more pos-sibilities, that are beyond the architect’s imagination, could be realised.Parametricism goes beyond the being canonnised as just another “style” and “ism”, it is more than mere looks. It can confidantly participate in the architec-tural discourse as a legitimate method to respond to a context and performance demands. It is up to the designer and their intentions to take parametricism and turn it into a legitimate design.The new wave of digitalisation of architecture, and specifically parametricism, allows innovative and performance driven design to be realised into built form. No longer is there debate over the old adage of form follows function, as the most successful feature of parametric design is that it does not compromise form for function. It enables the designer to indulge in both! Picturehttp://www.suckerpunchdaily.com/wp-content/uploads/2013/08/maquette-1_FRONT.jpg

Upon my commencement of Studio Air, I have no theoretical knowledge of parametric design. My misconceptions derived from my exposure to parametric design through only on a visual basis and was not motivated into delv-ing deeper into the subject matter. I wrongly believed that it was a shortcut to produce a “wow factor” and was not substantial enough in its own right. However, through the readings and the study of the precedents, I have become aware of my ignorance in parametri-cism and generative design. This is the “design intelligence” that people lack as fore mentioned. I have always struggled with finding iterations for my design, and with coming up with a design arbitrarily. Had I have known about gen-erative design, I would be able to work at a faster rate in my previ-ous studio designs. The technical skills are immensely important, as it is an essential tool in communi-cating my ideas across.

Left picturehttp://www.suckerpunchdaily.com/2014/10/30/plyground/#more-37820

A.5 Appendix:Algorithms ReferencesFront Coverhttp://www.suckerpunchdaily.com/wp-content/uploads/2014/10/1_FRONT.jpg

Introduction pictureLuong, Sarah. At Nara. 2015.

Design Futuring

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-453. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wi-ley), pp. 1-28

A1. Design computation1. http://www.fosterandpartners.com/projects/masdar-institute/2. http://www.archdaily.com/91228/masdar-institute-foster-partners/3. http://snohetta.com/project/2-tverrfjellhytta-norwegian-wild-reindeer-pavilion4. http://www.dezeen.com/2011/11/01/norwegian-wild-reindeer-centre-pavilion-by-snohetta/

A2. Composition/Generative1. http://www.herzogdemeuron.com/index/projects/complete-works/201-225/213-messe-basel-new-hall.html2. http://www.archilovers.com/teams/109713/herzog-de-meuron-architekten.html#projects3. http://archrecord.construction.com/projects/portfolio/2013/05/1305-Basel-Convention-Center-New-Hall-Herzog-and-de-Meuron.asp4. https://www.behance.net/gallery/2357886/San-Gennaro-North-Gate5. http://inhabitat.com/nyc/softlabs-colorful-sculpture-brings-a-modern-twist-to-little-italys-san-gennaro-festi-val/san-gennaro-north-gate-by-softlab-10/6. http://softlabnyc.com/portfolio/san-genarro-north-gate/