DESIGN STUDIO AIR

The University of Melbourne Ying Karen Chow

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TABLE OF CONTENTS

INTRODUCTIONPrevious Work

PART A. EO1 1: CASE FOR INNOVATION

A.1. Architecture as a DiscourseA.2. Computational ArchitectureA.3. Parametric ModellingA.4. Alogorithmic ExplorationsA.5. ConclusionA.6. Learning Outcomes

My name is Ying Karen Chow and I am from Hong Kong. I started studying in Australia at the age of 15 and right now I am a third year architecture student at the University of Melbourne. This is my third design studio so far throughout my degree of Bachelor of Environments.

I have learnt Rhino in my first year of University through the subject Virtual En-vironments but I have not really used it since mainly because I am used to work-ing with AutoCAD. I am excited to get a chance to learn about this software again and this time with Grasshopper and parametric design. Hopefully by the end of this course I will be more comfortable working with Rhino and become better in utilizing computation and digital modelling in the future.

INTRODUCTION

PREVIOUS WORK

Through out my study I was enrolled in the subjects Virtual Environments and design stu-dio Earth in the University of Melbourne. The photos on the left show the previous work I have done in Virtual Environments using Rhino. That was the first experience I have with simple digital fabrication. In this subject I have adopted the idea of Erosion to create this piece of model that could be wear around the body.

For the Unearthing project in the design studio Earth, the main project involved was to design a discovery centre for cultural exchange located on Herring Island. Though this project I have not used any digital software to help with my design as the studio recommend hand drawn sections and plans.

Sketch design of discovery centre for Herring Island

Project for Virtual Environments

PART A.EO1 1: CASE FOR

INNOVATION

We live in a world surrounded by architecture and for most people, architecture is a public work of art. However, when just viewing architecture as art, we have neglected a lot of different areas that architecture is actually in-volved in. This is where architecture as a discourse comes into place as it is more effective and clear if we were to exammine architecture in a more specific way. What I am interested in architecture as a discourse is to view ar-chitecture as something that is able to allow viewers to observe and interact with the natural environment; archi-tecture that is responsive and allows interactions and changes to happen according to the natural phenomena.

An example of natural process-responsive architecture is the temporary structure, the Blur Building, built for the Swiss Expo 2002 on Lake Neuchatel, in Swizerland. This blur pavillion is an architecture of atmosphere. It is a lightweight tensegrity structure using filtered lake water shot as a fine mist through 13,000 fog nozzles to create an artificial cloud. The center of the structure is the weather station where they created this weather system that controls the fog output in response to shifting the climactic conditions of temperature, humidity, wind speed and direction, and process the data in a central computer that regulates the water pressure in order to produce this mist of fog.1

This deisgn was something new and innovative, incorporating technology into architecture, setting out a new experience for users to experience a complete ‘white-out’ when entering this fog, erasing other senses such as visual and acoustic references.

1 Open Buildings , <http://openbuildings.com/buildings/blur-building-profile-2257>

RESPONSIVE ARCHITECTURE-INTERACTS WITH NATURAL PHENOMENA

The Blur Building (2002), Lake Neuchatel, Yverdon-les-bains, Switzerland, ar-chitect Diller Scofidio + Renfro (http://www.arcspace.com/features/diller--scofidio--renfro/blur-building/)

A.1 ARCHITECTURE AS A DISCOURSE

sun exposure and changing incidence angles during the different days of the year. The triangle panels are coated with fiberglass and are programmed to re-spond to the movement of the sun to mediate daylight and reduces glare. It has largely reduced the building’s need for air-conditioning by more than 50%!3 This has also promote sustainability use as the tinted glass that are used has al-low more natural light and less artificial light. The screen will close in evening and people would be able to see the fa-cade a little bit more.

Another interesting architecture that encounters the interaction between natural environment into the design is the Al Bahar Towers in Abu Dhabi. Abu Dhabi is known for its extreme weather conditions. In order to cope with the in-ternse heat and glare, Aedas Architects have designed a responsive facade as a shading device, which has taken cultur-al cues from the ‘mashrabiya’.2 The design has utilize parametric mod-elling for the geometry of the actuated facade panels. These panels acting as a screen, operates as a curtain walls to simulate their operation in response to

Responsive facade

Photo on Left: Close up of the facade responsive panels. Photo below: Al Bahar Towers (2012),

Abu Dhabi, architect Aedas Architects(http://www.archdaily.com/270592/al-bahar-

towers-responsive-facade-aedas/)

2 Arch Daily, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/>3 Arch Science, <http://www.archiscene.net/firms/aedas/al-bahar-towers/>

Panels for Turbulent Line(2011), Brisbane Aus-tralia, architect Ned Kahn

<http://nedkahn.com/>

COMPUTATIONAL ARCHITECTUREA.2

Computing has largely affect the architecture industry. Computation, different to comput-erisation, allows designers to go beyond their abilities to deal with highly complex conditions when it comes to designing a building. It does not simply allow architects to use the computer as a virtual drafting board for just simply copy and paste. Instead, it provides a platform for ar-chitect where they chose to put the conventional style and aesthetic of what architecture should be aside, to negotiate and influence the interrelation of datasets of information, as well as the capacity to experiment and generate much more complex order, and both static and dynamic transforma-tion of form and structure that go beyond the in-tellect of the designer.4

Computational tools has largely increase the ef-fiency of design process. It has provide the abil-ity to construct complex models of buildings and give performance feedback on these models. 5

Refering to my architecture as a discourse, I am interested in seeing how architects and design-

ers have make use of the digital technol ogy to create something that is responsive to the natural environment.

One of the examples I found is the Turbu-lent Line in Brisbane, completed in 2011. It is an Urban Art Project designed by the col-laboration of Ned Kahn, Hassell Architecture (Sydney) and Brisbane Airport Corporation. It is an eight-storey and 5000 sqm kinetic facade for the car park at the Brisbane Air-port Domestic Terminal. The facade has cre-ate a direct interface between the built and the natural environments where the entire eastern side of the facade will appear to rip-ple fluidly as the wind activates 250,000 sus-pended aluminum panels.6 It response to the

4 Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2, P. 115 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 6 UAP, <http://www.uap.com.au/art/infrastructure/brisbane-domestic-terminal-car-park/>

ever- changing patterns of the wind. Moreover, the design has also thought of environmental benefits such as shad-ing and natural ventilation for the inte-rior of the carpark; as sunlight pasases through this kinetic facade, the interior of the carpark will create intricate pat-terns of light and shadow. This kinetic facade has certainly left a mesmerising impression for the public.

Turbulent Line(2011), Brisbane Australia, architect Ned Kahn< http://www.uap.com.au/art/infrastructure/brisbane-domestic-terminal-car-park/>

Computational tools can now apply realistic constraints to computer generated models. Com-puters are logical and rational. They are correctly programmed and follow a set of rules and guidelines and come up with the most logical conclusion. And this is where the designers come into place, where the architect have to use of their imagination and utilize these computer soft-wares to realise their design and ideas. Moreover, it has also allowed better communication in conceptual sketching of algorithmic concepts.7 Online platform such as the grasshopper com-munity provided a forum for designers to share and gain knowledge of digital tools and other algorithm which can then be adapted into their own design. Computation does not just simply provide the making of digital tools for designers, it also generate and explore architectural spaces and concepts through the writing and modifying of algorithms that relate to element placement, element configuration and the relationships between elements.8 Now the designs that were once being considered as unrealistic could possibly be conceived and developed into functional realities.

According to Kolarevic’s article Architecture in the Digital Age, Advances in representational technology have largely affected design methods and output. There is this sudden interest and fascination with ‘blooby’ forms created by a three-dimensional digital modeling software based on NURBS (Non-Uniform Rational B-Splines). These are parametric curves and surfaces that could allows even more complex forms to exist using only a minimum amount of data and rela-tively few steps for shape computation.9 So nowadays most digital modeling programs rely on NURBS to construct complex surface models. And this new form of undulating, sinuous skins has become buildable within a reasonable budgets.

One of the important things about computing architecture is that both the architects and the use of computational design have to be flexible in order to adapt and accommodate the con-stantly changing industry and the parameters of architectural design.10 Combing with the new approach in the use of materials like steel and glass, this invention of computer-aided design has given architects the opportunity to design out of the scoop, out of the traditional ways, to make their endless imagination become possible and appreciate by the public.

Computing in Architecture

7 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), P.58 Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 P. 119 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 1510 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 15

alise the space and here, this fluid structure and the roof canopy has allowed the public to engage with the natural environments, bathing the area with warmth through day-light.

in the image, it also provided ad-ditional information to analyse the structural and acoustic per-formance of the building, as well as creating fabrication data for physical models for them to visu-

The Smithsonian Insti-tution in Washington DC is another example of using computer pro-gram for generation. It was designed by Foster + Partners in 2007. The geometry of the roof was generated by a sin-gle computer program written by Brady Peters, who was one of the ar-chitects in the Foster and Partner’s Group. As explained by Gregg Lynn, the design of this fully glazed roof cano-py has utilized digital computering and spe-cifically parametric de-sign in optimizing the structural ability to hold the roof plus providing natural lighting to the courtyard at the same tie. The computer code was being used efficent-ly to explore design op-tions, modify and assist the progress.11 With the help of the computer program, it does not only generate the final geometry as we can see

Detail of the roof over the courtyard of the Smithsoni-an Institution Patent Office

Building (2007), Washing DC, architect Nigel Young/

Foster + Partners< http://www.bradypeters.

com/smithsonian.html>

11 Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 P. 11-12

PARAMETRIC ARCHITECTURE

Parametric modeling is essentially a generative tool that allows designers and architects to approach design with a more efficient way. What makes parametric de-sign unique is that it is the parameters of a particular design that are declared, not its shape. So instead of the traditional way of designing the shape of the building, now architects are designing a set of principles encod-ed as parametric equations with specific instances how the design could be generated.12 The set of parametric equations describe the relationships between objects and thus defining an associative geometry and by simply as-signing and changing different values to the parameters equations can create different objects, geometry or con-figurations. This way interdependency between objects are established and the object behavior can be trans-formed easily.13

12 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-4813 Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 P. 11

A.3

The International Terminal at Waterloo Station in London designed by Nicholas Grimshaw and Partners is a clear ex-ample of conceptual and developmental benefits through us-ing a parametric approach to design. The architects has made use of parametric model which allowed easy adjustment and interactive refinement to the size of the roof span and the curvature of each individual arches that are related. Hence by assigning different values to the span parameter, 36 di-mensionally different yet topologically identical arches were generated and were inserted into the final geometric model, which successfully fit well with the asymmetrical geometry of the platforms.14

As shown through this project, it is clear that parametric modeling allows for rapid design development and modifica-tions. It allows information and instruction that was set early in the design development to be automatically updated over design changes.

International Terminal, Waterloo Station (1993), London, UK, architect Nicholas Grimshaw and Partners.Both image: <http://grimshaw-architects.com/project/interna-tional-terminal-waterloo/>

Parametric defini-tion of the scaling factor for truss geometry of the truss span for the waterloo station.

14 Grimshaw Architects, <http://grimshaw-architects.com/project/international-terminal-waterloo/>

the Articulated Cloud (2004), Pittsburgh Children’s Museum, Pittsburgh, PA, architect Ned Kahn <http://nedkahn.com/portfolio/articulated-cloud/>

new set of opportunities which allows the de-signers to further explore and develop. How-ever, a limited in creativity is shown as the 3D modeling programs are not capable for develop-ing architectural thinking and design creativity as they are just working in precise dimensions and pure forms.16

In the article written by Burry, he proposed architects to get familiar with scripting, a me-dium that ‘allows the user to adapt, customize or completely reconfigure software around their own predilections and models of working.’17 He believes that it is through scripting that archi-tects or designers will be able to take full con-trol in his design process through designing its own rules and constrains to generate his own design.18 This brings architecture design to a whole new level where instead of creating forms that are provided by the software, you generate your own design process and forms through a bottom-up approach.

I would also like to talk about the ‘Articulated Cloud’ designed by Ned Kahn. Similar to the fa-çade at the car park in Brisbane airport, the three-storey steel and glass building’s appearance chang-es according to the variations of light conditions, weather, as well as the time of the day. An alu-minum space frame supports the articulated skin so it appears to be floating in front of the building. The main energy to generate this skin change is through wind. The wind activate the façade which consist of thousands of translucent plastic flaps and which cause this scene as though the build-ing is being enveloped by a digitized cloud. The skin also acts as a protective layer to reduce heat gain on the glass façade and since it’s composed of glass, it is visible throughout the interior of the museum. 15

In this example it has demonstrated that a design framework can incorporate parametric design and to manipulate the façade at the same time modu-lated by natural environments. The design has combined the material behavioral characteristics with parametric principles. The building becomes performative, responsive to the environment and continues to fascinate the public by keeping it un-predictable.

Essentially one of the biggest benefits of using par-ametric modeling is that it has introduce a whole

15 Ned Kahn Articulated Cloud, <http://nedkahn.com/portfolio/articulated-cloud/> 16 Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-4817 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), P. 818 Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), P. 13.

ALOGORITHMIC EXPLORATION

A.4

Using grasshopper for this purpose is convienent as if we were to update all the curves, all the arch created will up-dates automatically as well. Dividing curve is useful as if we were to work with real dimensions with real materials.

I have also explore a bit of sectioning after watching the tutorial on AA Driftwood surfaces, as many designers and architects out there has also used this similar kind of way to design and build. I went on and try out to cre-ate a simple surface using curves and circles and used it as a input to test out some of the inputs in grasshopper. Sectioning is different to lofting or extruding with only one solution, instead it seperates the whole into various of

Throughout the start of the semester I have followed the tutorials and done some alo-gorithmic exploration with grasshopper plugin in Rhino. Firstly I have done a trial for using simple curve. I believe that the curve function is very important in desiging a geometry as curves provides a sense of fluidity and flow. The goemetry can be smooth and give people a sense of harmonious. I have used the input Arcs to create some arcs between the two curves.

Grasshopper plugin for sectioning

Grasshopper plugin for generating arc

trials on creating arcs

trial on sectioning

layers but still can be combine as a whole. I found this very interesting and useful as the resulting outcome could create a strong visual impact.

I have also try to create a gridshell by using some tree explode compo-nents to create a definition to loft some of the curves I have drawn and using the shift list component to create a pattern of points to fit the geodesic curves through.

I believe that these explorations would be able to apply to the desgin for the gateway project as I am in-terested in designing something that is eye catching which stands out and symbolise an welcome en-trance for the visitors.

Trials on pattern manipulation

Explorations on creating a gridshell

Grasshopper plugin for pattern manipulation

Grasshopper plugin for creating a gridshell

A.5 CONCLUSION

A gateway is a symbolic door opening to the visitors and welcoming them into the city or area. I believe that the design should not only create a visual impact to the visitors, but should also be performative and func-tionable. I am interested in designing something that is able to adapt to the surrounding environmental and weather changes and respond to the effect caused by them to make the design more interesting and innovative.

By utilizing the natural environment as the driving force of the movement of the structure, this could raise awareness to environmental sustainability by promoting the use of natural resources instead of power. Parametric modeling allows us to manipulate and explore the outcomes in a more convienent and accurate way thus widening the possible outcomes that could be generate with different shapes and geometry. I believe that the generated outcome will benefit both the users and the city by providing more functions such as allowing connection between places more effi-ciently. Overall the design should fit in within the landscape so as to mini-mize the damange to the natural environments as well as creating a nice and harmonious scenary for the public.

Through various readings and online tutorials provided, they have raised my interest and widen my view of computing in the architectural industry. I am fasinated by how quickly a simple shape could be changed by simply adjusting the ex-perimental data through my explorations with Grasshopper in Rhino. My understanding of architecutral computing has developed greatly by studying some of the precedents on how the architects have made use of the benefits through parametric modeling such as the efficiency of designing and to make changes and adjustment to the design by manipu-lating the equations that are written and set in the software. It allows architects and designers to quickly try out different materials and provide easier interaction with industrial ma-chines such as laser cutters, thus models that have organic shapes could be produced in a more accurate way. After learning more about parametric design, I believe that I could definitely improve the design that I did for the body lantern project in Virtual Environments, where at that time I had no experience on how to utilize the computer software to generate the design into something more complicated and beautiful. I am now more confident to refine the simple triangle-pattern model and to produce a much more inno-vative and delicate structure in manipulating the shapes, ge-ometry and patterning through parametric modeling.

LEARNING OUTCOMESA.6

making progress of the project of body lantern in Virtual Environments

Reference:

Arch Daily, <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas/>

Arch Science, <http://www.archiscene.net/firms/aedas/al-bahar-towers/>

Brady Peters, <http://www.bradypeters.com/smithsonian.html>

Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71.

Computation Works- The Building of Alogorithmic Thought: Volume 83, Issue 2 < http://app.lms.unimelb.edu.au/bbcswebdav/pid-416194-dt-announcement-rid-12019919_2/courses/ABPL30048_2013_SM1/Com-putation%20Works%20-%20The%20Building%20of%20Algorithmic%20Thought.pdf>Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48

Grimshaw Architects, <http://grimshaw-architects.com/project/international-terminal-waterloo/>

Ned Kahn Articulated Cloud, <http://nedkahn.com/portfolio/articulated-cloud/>

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28.

Open Buildings , <http://openbuildings.com/buildings/blur-building-profile-2257>

Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116.

UAP, <http://www.uap.com.au/art/infrastructure/brisbane-domestic-terminal-car-park/>

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25