Y15 S2 | ISAIAH FINN | FINN WARNOCK

A I R

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CONTENTS

PART A:2 DESIGN FUTURING6 DESIGN COMPUTATION8 COMPOSITION/GENERATION10 CONCLUSION11 LEARNING OUTCOMES12 ALGORITHMIC SKETCHBOOK13 BIBLIOGRAPHY

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INTRODUCTION

Hi, my name is Isaiah and this is my second year in BENVS. Throughout primary school I always wanted to do architecture. I did art and VCD type subjects and really loved actually creating as opposed to learning. However, since coming to university and completing some work experience at an architecture firm I have realised that architecture is not for me. Luckily, I have found a passion for construction that I can pursue in the BENVS degree. Although I do not want to be an architect anymore I am still really interested in the latest architectural designs and I hope this passion will give me unique skills in the construction industry. My experience using Rhino can be summed up quite easily in one word ‘virtual’

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PART A: CONCEPTUALISATION

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In February of 2011 Christchurch was hit with a massive earthquake that severely damaged over half of the buildings in the Christchurch CBD, as well as approximately 100,000 suburban residencies. Many people who resided in Christchurch, before the earthquake, left due to the destruction. After visiting Christchurch in July 2015 myself, I noticed the bleak atmosphere that is apparent throughout the CBD even now, four years after the disaster. I took a tour through Christchurch at approximately 6pm on a weekday. The time of day when you would expect a city to contain the hustle and bustle of people leaving work bound home, or those coming into the city for a night of dining and entertainment. However, this was not the case. As I made my way through the city that is filled with empty lots where skyscrapers once stood, boarded doors of fancy hotels waiting to be demolished and the skeletons of scaffolding attempting to hold up what remains of historically significant buildings. However there was one building that shone as a beacon of hope for the people of Christchurch, The Transitional Cathedral, better known colloquially as The Cardboard Cathedral.

The Cardboard Cathedral was designed free of charge by Japanese architect Shigeru Ban. Ban has a very unique way of thinking about the use of materials in his projects. The majority of the cathedral is constructed out of cardboard. Cardboard is a material that most people would think of as weak and very susceptible to water damage. When questioned about his use of cardboard Ban responded that “I’m not interested in making trendy shapes. My designs naturally emerge from solving problems… I’m interested in materials that have limitations”1. Ban’s architecture is a bold step away from the common timber or steel construction materials that make up the vast majority of modern buildings. However, the building is not just iconic because of its unusual

DESIGN FUTURING//CARDBOARD CATHEDRALCHRISTCHURCH, NEW ZEALANDSHIGERU BAN//

choice of materials. It also demonstrates the power of architecture as a symbol. Towards the end of my tour through Christchurch, we came to the Cathedral. The cathedral was full of life and chattering, it was the only part of Christchurch where I had come across people who seemed to be truly happy. The cathedral was the first major building to be completed in Christchurch after the earthquakes. Victoria Matthews, Bishop of Christchurch Cathedral, said that “At this point, what [the city of] Christchurch needs above all else is something to celebrate, there’s been so much loss, so much sadness [and] we’ve said goodbye to so many things. To be able to put up this cathedral quickly and effectively and be able to worship there and invite people in will be absolutely terrific.”2.

The response that most people would think of in relation to architecture post disaster would be that of shelter. Although Ban’s cathedral is not directly sheltering people. It is acting as a symbol of hope that the people of Christchurch can be proud of, a symbol the shows that one day Christchurch will be rebuilt. It is not often that architecture can inspire a community in such a way. Although the cathedral was built as a temporary, 10 year, structure, the overwhelming positive reaction from the local and global community gives Ban hopes that the cathedral will be kept as a permanent part of Christchurch3. This project has the ability to dramatically change the perception of post disaster architecture. Ban has proved that providing hope for a community of people who have lost so much can be just as important as providing them with shelter.

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Figure 1 (above): Cardboard Cathedral Figure 2(below): Carboard Cathedral under construction

1. Andrew Barrie, ‘Christchurch Transitional (Cardboard) Cathedral’, Architecture New Zealand, 3(2013), 30-36 (p. 35)2. Barbara Porada, Shigeru Ban’s Cardboard Cathedral Underway in New Zealand, < http://www.archdaily.com/345255/shigeru-bans-cardboard-cathedral-underway-in-new-zealand> [accessed 30 July 2015}3. PoradaFigure 1. Japan Times, Cathedral Made of Cardboard Opens in Earthwuake Hit Christchurch, < http://www.japantimes.co.jp/news/2013/08/15/asia-pacific/cathedral-made-of-cardboard-opens-in-earthquake-hit-christchurch/> {accessed 3 August 2015}Figure 2. Inhabitat, Shigeru Ban’s Temporary Cardboard Cathedral Breaks Ground in New Zealand, < http://inhabitat.com/shigeru-bans-temporary-cardboard-cathedral-breaks-ground-in-new-zealand/christchurch-cardboard-cathedral-shigeru-ban-lead/> {accessed 3 August 2015}

A.1 Design Futuring

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For many modern architects and designers the idea of a building being sustainable is of paramount importance. Commonly, the idea of being sustainable is for a building to be able to sustain itself, primarily in regards to energy consumption, while having minimal impact on the environment around it. However the architects and designers at Family New York and PlayLab are challenging the emphasis of sustainability, instead aiming for productivity.

The Plus Pool is a project that aims to construct a pool in the Hudson River that filters out the contaminants of the river water to a point where it is deemed safe to swim in. The construction of this project began in August, 20154. The project aims to have many positive impacts for the environment and the people of New York. Public pools and baths have been an integral part of community culture since the times of the Ancient Greeks. This project will give residents of New York a chance to connect with their city in a way that was never been before possible. As all the water from the pool is simply filtered, people will be swimming in water from the Hudson River.

Community involvement is one of the driving factors behind the Plus Pool project. But the project is incorporating community involvement in a revolutionary way. The project raised over $41,000 on the crowdfunding website Kickstarter, which was used for initial testing of the filtration systems. The project has since raised over $270,000 by allowing members of the community to purchase and personalize tiles which

DESIGN FUTURING//+POOLBROOKLYN, NEW YORKFAMILY NEW YORK & PLAYLAB//

4. Dong-Ping Wong, Forget sustainable, productive architecture is the next big thing: Dong-Ping Wong at TEDxDumbo, <https://www.youtube.com/watch?v=ZVsZQ9at1Ww> [accessed 3 August 2015]5.Chelsea Blahut, Plus POOL Hosts Fall Swim Benefit in Brooklyn, < http://www.architectmagazine.com/design/plus-pool-hosts-fall-swim-benefit-in-brooklyn_o> [Accessed 3 August 2015]Figures 3&4. Chelsea Blahut, Plus POOL Hosts Fall Swim Benefit in Brooklyn, < http://www.architectmagazine.com/design/plus-pool-hosts-fall-swim-benefit-in-brooklyn_o> [Accessed 3 August 2015]

will eventually be used to construct the pool deck area5. This new approach to funding allows the community to show its support for projects they want. In most architectural projects the community have very little say, however, in the case of Plus Pool the community have the ultimate say. If the community did not think this was a good idea, then they would not fund it and it ultimately would not happen, in a way it is like a form of architectural democracy.

The idea that this pool will be not sustainable, but productive, is something that is revolutionary to the world of architecture. Instead of the designers designing it to have minimal impact on the environment around it, they want it to have a massive impact on the environment (a positive one). Although the water filters are not large enough to have a significant, short term impact on the rivers overall water quality. What the project stands for is important for two main reasons. Firstly, the significant hype surrounding this pool is inspiring and it raises the issue of the water quality in a positive manner. If you want people to realise and care about an issue first they must be educated about it, the people of New York will be reminded of the poor river quality every time they visit the pool. Secondly, This project can inspire other architects to think about their designs as part of a system, and instead of trying to isolate a design from the system, they can use it to benefit the system and the environment that surrounds it.

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Figure 3: Plus Pool architectural representation in Hudson River

Figure 4: Plus Pool representation of personalised tiles

A.1 Design Futuring

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The introduction of computers and design computation into the architect’s range of design tools has radically changed the way architects design and communicate.

The National Bank of Kuwait Head-Quarters designed by Fosters + Partners’ utilized parametric modeling to create a building that was not only on the forefront of modern aesthetic design but also heavily influenced by specific performance parameters. The Specialist Modeling Group were in charge of developing a parametric model that responded to the local climate. They wanted to create a system that would protect the eastern and western facades from sunlight while still letting light into the northern façade. The solution was a series of fins. The geometry of these fins were precisely determined by performance parameters modeled in the parametric model6. The use of design computation as a design tool allows architects to design structures based on specific sets of information which without the aid of computers may have taken much more time.

Design computation, however, is not just a useful design tool. In the case of the National Bank of Kuwait Head-Quarters the parametric model was also used to generate a data sheet for engineers, as well as information in regards

DESIGN COMPUTATION//NATIONAL BANK OF KUWAIT, FOSTER + PARTNERS////TUBE CUTS,BARKOW LEIBINGER//

6. Dusunka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Head-Quarters’,Architectural Design, 2(83)(2013),34-35(p. 34)7. Popovska, p.358. Frank Barkow, ‘Fabricating Design: A Revolution of Choice’, Architectural Design, 2(83)(2013),94-101 (p. 99)

Figure 5&6 National Bank of Kuwait Head-Quarters (Bottom & Right) Dusunka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Head-Quarters’,Architectural Design, 2(83)(2013),34-35(p. 34)Figure 7 Barkow Leibinger, Tube Cuts (Top) O32C, BARKOW LEIBINGER, Atlas of Fabrication, < http://032c.com/2009/barkow-leibinger-atlas-of-fabrication/#image4> [accessed 11 August 2015]

to solar, wind and acoustic performance7. This new way of communicating design allows all of the other professionals involved in the construction of a building to more effectively communicate with each other about the design. Furthermore, design computation is changing the way buildings are fabricated. Complex geometries can now be sent to a CNC machine which will craft to the specifications of the modeled geometry with unrivaled precision and speed. Barkow Leibinger’s Tube Cuts at the prototypical exhibition pavilion for Trumpf GmbH is an example of how digital fabrication has been used to create complex geometries in and efficient and accurate way8.

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A.2 Design Copmputation

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The introduction of computational design into the architectural discourse has fundamentally changed how some architects think about the design process. Before computational design buildings were designed by composing various elements based on an architect’s interpretation of the context. However, now architectural design can be generated by a series of algorithms and performance parameters to make a built form behave in a very specific way.

“We see a huge potential for the computer in the very hybrid and eclectic design processes we have developed over the last 20 years which combine all techniques from primitive to technologically advanced with no

lessen the need for basic correspondence with consultants. The example cited in the case of Messe Basel New Hall instead of wasting time with old methods of correspondence with engineers. A computational tool that could recreate solar conditions, which could then be more effectively communicated with other consultants, would be implemented10.

Efficiency is something that should be strived for in all forms of life and architecture is no different. Herzog & de Meuron’s response to computational design is not that it will take over conventional methods but be used in conjunction with them to create a more efficient designing and constructing environment.

personal preferences.” -Jacques Herzog, founding partner of Herzog & de Meuron9

Architect group Herzog & de Meuron have embraced the advancements in computational design in a way that uses it in conjunction with old techniques and throughout all stages of the design process. The Messe Basel New Hall is an example of how computational design can be used at different stages of the design process. The wavy façade was designed with specific performance parameters relating to sun exposure and views. The design was then sent to a CNC machine to have the elements fabricated. Herzog & de Meuron also use self-designed, computational tools to

COMPOSITION/GENERATION//MESSE BASEL NEW HALL, HERZOD & DE MEURON////MUSEO SOUMAYA, FERNANDO ROMERO//

9. Brady Peters, ‘Realising the Architectural Idea: Computational Design at Herzog & de Meuron’,Architectural Design, 2(83)(2013),56-61(p. 59)10. Brady Peters, p.60

Figure 7: Messe Basel New Hall - Arch Daily, Messe Basel New Halle, < http://www.archdaily.com/377609/messe-basel-new-hall-herzog-and-de-meuron-by-hufton-crow/519fe7b8b3fc4b39ee000063> [accessed 14 August 2015]

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A.3 Composition/Generation

The advantages of generation over composition are obvious in Fernando Romero’s Museo Soumaya. The unique double curved form of the building presented a problem in regards to cladding. The designers wanted to clad the building with hexagons that were equally spaced from one another across the entirety of the building. The initial solution was to stretch each individual hexagon based on its context. This solution required the fabrication of approximately 16,000 unique hexagons. However, after Gaussian Analysis, a parametric modeling tool developed by Gehry Technologies, it was discovered that same hexagons could be grouped into families and be manipulated to achieve a uniform gap. These families of uniform hexagons accounted for 80% of the building cladding, significantly reducing the overall cost of cladding11. In this instance the idea of ‘generation’ has been used to make the design, fabrication and construction processes much more efficient and cost effective.

may have very different opinions about this. I interviewed a handful of people of varying ages about what they thought of Museo Soumaya and the responses I received were very different to that of what you may hear in architectural journals. Responses such as: “alien” and “confusing” best describe the general reaction to this building. Architecture, in general, is not experienced by architects. It is experienced by the people of society. So to an extent, one could argue that architecture needs to satisfy the common person and the fact that this “alien” architecture daunts some members of society is a significant downside to generative design. However, this could just be a matter of humans being afraid of what is new and unknown, this issue may be resolved in ten years’ time when this aesthetic becomes the norm, just like when modernism became the norm. But none the less, it is important to consider the opinions of the general society when design architecture that affects their community.

If more examples of how computational design can increase efficiency and lower costs are publicized in respected architectural journals then they would garner the interest of developers and clients. This in turn would create a push for architects who are at the forefront of proficiency in such computational tools as there would be strong demand for these ‘generated’ buildings.

It seems like there are many positives to the new generative approach to design: the ability to conceive geometries that would be very difficult to without the use of computational tools, the ability to design based on specific performance parameters and the ability to efficiently fabricate materials for a building. But one of these positives could also be seen as a shortcoming for this increasingly popular approach to design. The designs for the aforementioned Museo Soumaya are heralded by some architects as beautiful. However, the majority of society, those who are not architects

11. Fernando Romero, ‘Bridging a Culture: The Design of Museo Soumaya’,Architectural Design, 2(83)(2013),66-69(p. 68)

Figure 8: Museo Soumaya - Deviant Art, RuiKza, < http://ruikza.deviantart.com/art/Museo-Soumaya-IV-357111076> [accessed 14 August 2015]

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CONCLUSION

From my research in part A I have discovered that I am really interested in design based on performance parameters. I have always believed that architecture should respect its environment and try to work with it to cre-ate a successful new environment. I think that parametric modeling will help me explore this idea in a new and more complex way and will result in designs unlike anything else I have ever designed.

This approach to design is innovative because the idea of building a structure that is not harm-ful to its surrounding environment is growing in the modern era. Computational design is offer-ing solutions to environmental problems in ways that are extremely unique and that are pushing the limits of what we know as architecture.

I think it is important to design in this way because it creates a moment where a structure feels like it belongs, it is not opposing the envi-ronment around. I think as humans was geared to enjoy these moments where two systems work together.

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LEARNING OUTCOME

My understanding of architectural has come from nothing to having a strong basic knowledge of a few key areas of architectural computation. Before the start of this semester I only thought of computers as a way to document the design process. But after experiencing the readings, lectures and my own research I have discovered a whole new world of architecture that I never knew existed. I really enjoy reading about how different archi-tects take advantage of computational tools to solve problems in complex, accurate and unique ways.

However, I believe that my skills in regards to using Rhino and Grasshop-per are still very poor. I still struggle with things I feel should be quite basic. In Part B of the semester I really need to put effort into honing my skills in Rhino and Grasshopper so I can attempt to create a unique design in a fashion similar to that of the architects who enjoy reading about so much. I think that the skills I have learnt thus far in the semester could have been great help in other design studios as performance parameters such as solar, wind and acoustic are all things I try to take into consideration when designing. My new skills would have helped me think about these param-eters in a different more methodical and algorithmic way and could have produced some very different, most likely more interesting, solutions.

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ALGORITHMIC SKETCHBOOK

I feel that this example from my Algorithmic Sketchbook was the first time I really discov-ered the power of the Grasshopper Tool. By making a simple surface and applying a few GH commands I was able to create some-thing that would have been impossible (for me) to complete just using Rhino. I also felt like this geometry could represent anything: solar shading, ornamental hair type things a small sea creature. This idea that these geometries can represent anything in our minds is the driving force behind why I am persisting with GH even though I am finding it very difficult.

I chose this as my second example from my sketchbook because I think it fundamen-tally represents what computational design is about. This geometry represents simple instances and combines them in a way that makes them complex. The example from precedents I have enjoyed the most have been those that are fundamentally simple but when combined in a certain way become complex. For example Museo Soumaya with its simple hexagons formed into a complex double curve. This is the kind of design I want to pursue as I believe that fundamental simplicity will allow the beautiful complexity of a design show through.

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BIBLIOGRAPHY

Barkow, Frank. ‘Fabricating Design: A Revolution of Choice’. Architectural Design. 2(83)(2013).94-101.Barrie, Andrew. ‘Christchurch Transitional (Cardboard) Cathedral’.Architecture New Zealand, 3(2013). 30-36.

Blahut, Chelsea. Plus POOL Hosts Fall Swim Benefit in Brooklyn. < http://www.architectmagazine.com/design/plus-pool-hosts-fall-swim-benefit-in-brooklyn_o> [Accessed 3 August 2015].

Peters, Brady. ‘Realising the Architectural Idea: Computational Design at Herzog & de Meuron’.Architectural Design. 2(83)(2013).56-61.

Popovska, Dusunka. ‘Integrated Computational Design: National Bank of Kuwait Head-Quarters’.Architectural Design. 2(83)(2013).34-35.

Porada, Barbara. Shigeru Ban’s Cardboard Cathedral Underway in New Zealand. < http://www.archdaily.com/345255/shigeru-bans-cardboard-cathedral-underway-in-new-zealand> [accessed 30 July 2015].

Romero, Fernando. ‘Bridging a Culture: The Design of Museo Soumaya’.Architectural Design. 2(83)(2013).66-69.

Wong, Dong-Ping. Forget sustainable, productive architecture is the next big thing: Dong-Ping Wong at TEDxDumbo. <https://www.youtube.com/watch?v=ZVsZQ9at1Ww> [accessed 3 August 2015].

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PART B: CRITERIA DESIGN

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CASE STUDY 1.0

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CASE STUDY 2.0

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DEAD ENDS