ARCHITECTURAL DESIGN STUDIO: AIR

PART A: CONCEPTUALISATION

MINH Y TIEU 643679 SEMESTER 1, 2015

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TABLE OF CONTENTS 4. Introduction

Part A: Conceptualising 5. A.1. Design Futuring 10. A.2. Design Computation 14. A.3. Composition/ Generation 18. A.4. Conclusion & A.5. Learning Outcome 20. A.6. Algorithmic Sketches 23. Bibliography

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INTRODUCTION

My name is Minh Tieu, 3rd year undergraduate undertaking Bachelor of Environments, pursuing a career in the designing industry of Architecture. Many are

intrigued by the simplicity of modern architecture or the detailed ornamentations of the ancient world; as they are pleasing to the eye. I like pretty things, like many

others, we share similar perception of things viewed by our eyes. However, I am more intrigued by the emotions that are embodied within the designs, like the abstractions

that Frank Gehry; I’m intrigued by the bold concept of abstractions.

The older I, now, am more startled by the concept of sustainability and defuturing. “To be human is to refuse to accept the given as given”, as humans are categorised as

more intelligible than other living species such as plants and animals; we disposes nature for our benefits- causing defuturing. I am very intrigued by the ideas of

speculative designs. As “dreams are powerful. They are repositories of our desire. They animate the entertainment industry and drive consumption. They can blind people to reality and provide cover for political horror…people are complicated,

contradictory, and even neurotic, but not design”

Algorithmic designs and the concept of parameters are new to me; it feels very ‘technical’. I was introduced to Rhinocerous and Grasshopper in Virtual Design studio,

and developed my skills in Rhinocerous, AutoCAD and Adobe Photoshop in subsequence studios. I love model making/ fabricating/ laser cutting despite the cost

and stress that are acquired from mistakes; I guess we all learn from mistakes.

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PART A: CONCEPTUALISATION A.1. DESIGN FUTURING

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O-14 is innovative exterior solar shading that constructed based on perforated exoskeleton [1]. The structure and skin of the office complex is inverted, offering new speculation of tectonics and space. The concrete shell of the tower accumulates an efficient structural

exoskeleton that frees the core from lateral forces- column free interior. The exoskeleton is a new innovative design in which enables minimal core constructions; parting from

traditional structural convention of columns. Traditionally, the core of the building is enlarged for bearing the lateral forces in most curtain wall office buildings; by placing the

lateral bracing in the perimeter help to minimise vertical forces.

The design exploits the efficiency of a web system to generate a diagrid shell that offers minimal structural members [2]. This modulation of systematic analysis and construction

allows the design to maintain its basic structural form; and adding a variety of visual aesthetics. The varying openings in the shell enable penetration of natural sunlight,

creating an ever changing interior atmosphere. Thus, “…the pattern of the design is a combination of a capillary branching field, gradients of vertical articulation, opacity,

environmental effects, a structural field, and a turbulence field.”[3]

The shell plays the role of an aesthetic element as well as the primary structural element of the design, in which requires the partnership of architects and structural engineers.[5]

It’s important that architects and engineers work together and seize for the most efficient and effective in constructing designs. Instead of complying traditional theories of

constructions, a more new and advanced systematic of webbing is introduced; parting from traditional standard glass cladding and innovating new curtain walls as fitting

solutions to given briefs. The size and placements of openings are arranged in which to maximise the efficiency of the wall; channelling the gravitation and vertical lateral loading

on the building. This was carried by numerous iterative analysis and systematic calculations. Dissolving from traditional conventions of an office building; with the ever

changing problematic world, it is important to speculate our designs and advance from the traditions for greater futuring.[6]

0-14 TOWER, DUBAI 2010 RESIER AND UMEMOTO WITH YSRAEK A SEINUK

1. Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx 2. Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx 3. Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx 4. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 5. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

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EMBT SPANISH PAVILION, EXPO 2010, SHANGHAI ERIC MIRALLES, BENEDETTA TAGLIABUE

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The Spanish pavilion for the Expo 2010 in Shanghai was designed by the architectural firm EMBT (Enric Miralles and Benedetta Tagliable) [6] in collaboration with the structural

engineers of MC2. It is a very innovative design idea in terms of using complex geometries, merging architectural design with engineer’s rhematic thinking. The structure appears like

a warped fabric, constructed with steel and wicker. Engaging with woven architecture that are objected to merge with primeval crafts

aesthetic, a weaving of complex non- linear network that are envisioned for the future.

The design composes of complex, irregular, free form curves that can be problematic when applying with traditional structural design[7]. However, with the application of archetypal

structural systems, enables the geometries to be further exploited and used to their advantages[8]. The building was configured as an attempt to find a structural system that complies with its form in creating a coherent structure. Challenging the tensibility of the

double curvature, when this geometry is configured adequately would then provide an optimal construction. The spatial double orthogonal layer of tubular grids that forms the

facades[9], with the double curvatures the building are structurally responsible for different loading and forces that are applied (live- loads/winds/self-weight/ seismic force).

With such structural complexity, it is important that the building is built to establish its structural capacity to withstand natural climate on existing site.

This design is very inspiring and innovative, as it conspires architects and engineers [10] to

create such organic form. Channelling the speculative future, in which engineers must be open-minded, a catalyst in coherently redefines the relationship between architectural

and structural means. Thus, expanding the field of possibilities and futuring by eliminating restrictions; providing a new world of speculation by parting traditional contemporaries.

EMBT proposed this project as an innovative handicraft technique of applying wicker into constructions. The wicker basket array moulds the pavilion into a tubular metallic

structure, sustaining a wicker grid that filters natural light and functioning as a climatic membrane. This new language of materiality is implemented to future bridge design

between East and West, and among Spain and China.

6. Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 7. Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 8. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT 9. Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 10. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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PART A: CONCEPTUALISATION A.2. DESIGN COMPUATION

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DESIGN COMPUTATION “COMPUTERS, BY NATURE, ARE SUPERB ANALYTICAL ENGINES”

Resolving recurrent ever changing problems is an important aspect towards the design process, designers are confronted with uncertainties that are very problematic[11].

Designing deals with a wide spectrum of measures and constraints such as site conditions, climates, costs, functionality etc.; designers must then be analytical as well as creative.

These problems may be interrelated with subdivisions of data but human’s ability to store and recall memories are restricted. On the other hand, computer by nature are analytical

engines in which are used to our own advantage when programmed correctly. They are able to search through data and correlate facts very quickly, with impeccable data storage. Computation advances design process through a teachable manner where design methods

of successful solutions are recorded, taught, learned then applied and improved. Computation advances drawing conventions and scaling, this enables a flow of

communication between architects, builders, clients; permitting more people to be involved in the design process. Designs can be experimented and tested before

constructions, also, designers are able to develop and create more intricate designs.

Prior to the Renaissance, buildings were being constructed rather than planned; this process of design is very costly[12], ineffective and is a very slow process. By expanding

the level of communications without designs; enabled a broader communication between architects and engineers. Accommodating new futuring developments and theories,

interrelating architectural theories with science application.

Parametric designs are introduced as logical digital design in which focuses on schematic relationship between geometries, multiplicity and variations. Thus, developing sets of

rules and algorithmic procedures; providing structural calculations and recording its energy and structural performances.

Digital morphogenesis[13], a process in which develop shapes through computation, combining “…tectonics of digital material and performative simulation to create naturally

ecologic systems… computational modelling of natural principles of performative design of material systems that we can potentially create a second nature, or a sounder architecture with respect to material ecology…” reading 2. Revolutionising digital architecture in a more

‘natural’ matter, enabling construction of organic forms. .

11. · Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 12. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 13. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

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GUGGENHEIM MUSEUM BILBAO, SPAIN 1997 FRANK GEHRY

Computation enable mathematical calculation of building’s structures and materiality, parting from traditional conventions as solutions can be pushed even more in a more speculative manner. The collaboration between architects and engineers made free- form geometries possible. In Frank Gehry’s Guggenheim Museum Bilbao[14], computation has allowed him to translate his poetic curves into structural forms. The design dissolves away from traditional museum, with distinctive titanium curves and geometries of varying materiality (stone, glass, titanium)[15]. As designs are generated in a more logic and algorithmic manner, thus, enabling digital fabrications that are aloe more efficiency- reducing waste. Parting from traditional construction to innovative “file to factory” and Computer Numerically Controlled (CNC) fabrication.

14. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 15. Guggenheim. “Guggenheim Museum Biblbao”. “The Solomon R. Guggenheim Foundation (SRGF) 2015”.Web.15.March.2015. http://www.guggenheim.org/guggenheim-foundation/architecture/bilbao

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RAVENSBOURNE COLLEGE OF DESIGN AND COMMUNICATION GREENWICH PENINSULA, LONDON

FOREIGN OFFICE ARCHITECT (FOA)

Structural engineers Adams Kara Taylor (AKT) articulated a theory of practise for architectural structural engineers[16], in which they referred to as ‘design engineering’; a collaboration between architects and engineers. Instead of engineers rationalising architect’s design, they empathise; “…that requires inhabiting the mind of the architect…while thinking with the knowledge of an engineer”. Foreign Office Architects (FOA), Ravensbourne College, London, 2010 was inspired by gothic rose windows and flower patterns, an abstract interpretation of nature; using computation in generating systematic tiling.

16. Dezeen Magazine. “Ravensbourne College by Foreign Office Architects”. Web.17.March.2015. http://www.dezeen.com/2010/9/13/ravensbourne-college-by-foreign-office-architects/

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PART A: CONCEPTUALISATION A.3. COMPOSITION & GENERATION

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SMITHSONIAN INSTITUTION, WASHINGTON DC 2007 FOSTER AND PARTNERS

The Smithsonian Institution, Foster and Parners, Washington DC 2007 [17]; was designed using a computer program that were written by Brady Peters, member of

Foster and Partners’ Specialist Modelling Group (SMG). Computing was used to explore and constantly modifying the geometry of the roof. The generative process

of iterations was used to carry out analytical data of structural concepts, environmental control, lighting and acoustic performances. The structural and

fabrication concepts are closely related to the existing environment conditions. The diagrid is constructed with glass that is precisely fixed into steel frames without

using secondary glazing bars. The columns supporting the tubular roof are part of the ventilation system; treated air comes in about the courtyard slab and exists

through the louvres.

17. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

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JAMESON HOUSE, VANCOUVER 2011 FOSTER AND PARTNERS

Computation had profound effects upon traditional design methods and fabrication, enabling designers to deal with more complex design composition, form and structure[18].

Algorithms embedded within digital software allow designers to explore architectural compositions through scripting and modification. With the ever changing parameters and designing environments, with the help of technology, we are now enabling to exploit and

comprehend a wide spectrum of flexibility. Computation is now necessity to fabricating and constructing highly complex models, making the process a lot faster.

Computation creates a relationship between the virtual environment and the existing physical environment, enable designers to further exploits building’s system and

environments in generating efficient designs. With the advance in computation, designers are able to compose analytical designs, how forms interact with climatic changes/

landscape/lighting etc. The design of the Jameson House by Foster Partners was developed in corresponding to climatic changing REF [19], seasonal sun paths, prevailing winds,

humidity levels, air temperature and the precipitation rates of Vancouver. Generative design process in hands enable designers to generate countless iterations very quickly,

thriving for the most effective and efficient outcome. Design processes in the digital world are recorded in terms of algorithmic activities. In the context of computing and

computerising, computerising can offer unexpected speculative outcomes- feeding potential inspiration that exceeds beyond designer’s intellectual. This may be conceived as

‘fake’ creativity; however, architects are now able to generate their own computer software. Thus, when designers have sufficient knowledge towards the concept of

algorithm, ‘digital’ are merged into the design process instead of being seen ‘different’. In designing a sustainable design, we must have vast knowledge towards the functionality of ecological systems; the interconnectedness between human and nature as they coexist. In

computing, to generate a successful design we must thoroughly comprehend the capability of computation.

18. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 19. Dezeen Magazine. “Jameson House by Foster + Partners”. Web.17.March.2015. http://www.dezeen.com/2012/01/27/jameson-house-by-foster-partners/

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PART A: CONCEPTUALISATION A.4. CONCLUSION

A.5. LEARNING OUTCOME

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A.4. CONCLUSION .

, The digital world have profound impacts upon the development of the new world. As

algorithmic entities enables architects to generate and further exploit architectural spaces in term of its composition. With constant changing in parameters, it is important that we

store and recall data for further possibilities. However, as human our data storage is limited, computer itself are capable of storing unlimited data. Thus, enable designers to analyse forms and space in a more complex spectrum- more potential possibilities. The

subject of computerization may be used to excel design’s intellectuals providing unexpected speculative design. In the near future, when computational software and

programs are thoroughly examines, the new world of digital will excel into an even larger spectrum of possibilities and flexibilities. My intended design approach is through the

design process of composition and generation, as it is important to correspond to existing environment conditions to generate a successful outcome. In the context of the

interrelatedness between humans and nature as they coexist and it is important for humans to be engaged spiritually with the design for a long term sustainability. .

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A.5. LEARING OUTCOME

In Studying the theory and practise of architectural computing, I now have a broader and deeper understanding towards the possibilities of computation. Tutorial discussions helps with exploring the readings and topic of the lectures. I find it very interesting to learn new

terms such computing/ computerisation and composition/generation; with embedded meanings. Imp very inspired by the concept of composition- generation, in obtaining the

most effective outcome. How structures corresponds to the architectural design, exceling traditional structural formwork and materiality.

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PART A: CONCEPTUALISATION A.6. ALGORITHM

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PART A: ALGORITHM .

Metaball: create point like electrical charges and fits a curve threshold where the charge is equal to certain value

Voronoi 3D: reference box using a geometry parameter

Octree: populate geometry to create some points, fitting boxes around the curve so that

every box contain curves. 21

PART A: ALGORITHM .

Box Morph : planar surface turn into complex- good for representation not

fabricated geometry. Mesh is applied creating interesting

patterns of geometry as the surface is curved.

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PART A: BIBLIBIOGRPAHY .

- Calzon, Julia Martinez and Jimenez, Carlos Castanon. (2010) ‘Weaning Architecture Structuring The Spanish Pavilion Expo 2010, Shanghai’,Architectural Design, pp. 55-59 - Council on Tall Buildings and Urban Habitat. “O-14, Dubai” in “CTBUH Journal 2010 issue III”. Web. 15.March.2015. http://www.ctbuh.org/TallBuildings/FeaturedTallBuildings/ArchiveJournal/O14/tabid/1818/language/en-GB/Default.aspx - Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 - Dezeen Magazine. “Jameson House by Foster + Partners”. Web.17.March.2015. http://www.dezeen.com/2012/01/27/jameson-house-by-foster-partners/ - Dezeen Magazine. “Ravensbourne College by Foreign Office Architects”. Web.17.March.2015. http://www.dezeen.com/2010/9/13/ravensbourne-college-by-foreign-office-architects/ - Dezeen Magazine. “Spanish Pavilion at Shanghai Expo 2010 by EMBT”. Web.15.March.2015. http://www.dezeen.com/2010/04/26/spanish-pavilion-at-shanghai-expo-2010-by-embt/ - Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 ·- Guggenheim. “Guggenheim Museum Biblbao”. “The Solomon R. Guggenheim Foundation (SRGF) 2015”.Web.15.March.2015. http://www.guggenheim.org/guggenheim-foundation/architecture/bilbao - Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 - Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 ·

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