A R C H I T E C T U R A L

A I R2 0 1 4

AIR 2014

Aout Me

Past Project

A1:RANDOM NATURE NOT SO RANDOMLAGI SITE, BRIEF & DEFUTRISATIONLOUIS KAHN - SALK INSTITUTEKINETIC ENERGYPAVEGEN SYSTEMS PAVERLAGI PRECEDENT 1SOLAR WATER PONDLAGI PRECEDENT 2

A2:REFELECTION & RESPONSEFRANK GEHRY - FONDATION LOUIS VUITTONZAHA HADID - GALAXY SOHO

A3:ITKE PAVILIONDRAGON SKIN PAVILIONREFLECTION & RESPONSE

A4 & A5:REFLECTION & RESPONSE

A6:TIME TO GET LOGICAL. TIME TO GET ALGORITHMIC

REFERENCES

5

6

1012-13151718-1920-2122-2324-25

28-3334-3940-43

46-5152-5354-55

58-61

64-67

66-69

AIR 2014

Born in melbourne.Third year architecture student. Travelling from a young age and hav-ing a family within the building indus-try enabled me to grow a profound fascination and respect for architec-ture from a young age. Design is my passion: it’s the one thing that keeps me sane and drives me crazy.

Stereotypical Melbournian: I wear a lot of black and drink a lot coffee.Stereotypical architecture student: I wear a lot of black and drink a lot of coffee.

The little money I have is predomi--

making materials.

I spend too much time in Frank Tate computer rooms and underneath the Tsubu tree.

“The mother art is architecture. without an architecture of our own we have no soul of our own civilization”- Frank Lloyd Wright “I refuse to work unless i get paid. so i don’t get a lot of work sometimes.” - Frank Ghery

“I prefer drawing to talkng. Drawing is faster, and leaves less room for lies.”- Le Corbusier

a bit about audrey

In the subject Virtual Environments the connection between nature and compu-tional and computerised design was ex-plored. Nature appears somewhat acci-dental and unplanned yet is in fact the result of underlying pattern and logic. In the same sense, abtract, unique forms created through 3D modelling programs

and rules. What may appear as random is in fact the result of intricate thought and process.

AIR 2014

VIRTUAL ENVIRONMENTSP A S T P R O J E C T :

AIR 2014

A1\

A1

DESIGN FUTURING

“ J Ü R G E N MAYER H.'S SCULPTURE IN AN UN-BUILT CITY”

AIR 2014

Thirty metre sculpture completed in 2012 by Jürgen Mayer H. in Lazika, the site of a proposed city within the republic of Georgia. Located at the end of a pier, and visible from a distance along the coast of the black sea this sculpture stands tall and proud of contemporary volumetric & cur-

possibilities of form generation and development through computational design. The curves of this sculpture are further accentuated at night through the use of spotlights, which also would create a connection to the stars in the night sky. despite its bold and distinct form, this sculpture,

lines, curves and forms of nature, this especially being the sea, sky and coast (Cochran, 2014).

Contemporary design in harmony with ageless nature.

Photograph by Marcus Buck.

LAGI SITE 2014: REFSHALEØEN COPENHAGEN DENMARK

The 2014 Land Art and Generator Initiative (Lagi) is being held in the European green capital of 2014, Copenhagen. the site , Refshaleøen, was once an industrial area, which is now pre-dicted to be an area for new development within the city, including resi-dential projects.

LAGI 2014 requires a thre--dimesional sculptural form to be incorporated into the selected site. This form must encompass natural energy of some form to be converted into electricity.

-spect its natural environ-ment and not cause pollu-tion and create any Green House Gas emissions.

The design is to be:INNOVATIVEPARAMETRICUNIQUEUNDERSTANDINGCONSTRUCTABLE&HUMBLEThe brief is rather open leaving many possibilites. (Land Art Generator Initi-atve, 2014)

AIR 2014

D E S I G NF U T U R I N G :Sustainability, ethics & practice.

Humanity is now facing a critical point in its existence on planet earth. Through our unsustainable habits throughout history our place within

ever. The amount of time we have left on earth is determined by how we choose to go on existing from this point onwards. Design and technol-ogy can be used as a solution for this problematic dilemma.

They expand future possibilities by using new means of exploration, de-sign and construction based on logi-cal data which can be used in an

-ing power through natural resources such as wind and water. Contempo-rary design has the potential to both connect and inform humans with na-ture through new design possibilities, making it an informative approach as

nature, design futuring will continually be used and developed, for the sake of humanity as well as for the sake of nature. Let’s take back the future we have been taking from (Fry, 2008).

AIR 2014

AIR 2014

SALK INSTITUTEA R C H I T E C T: L O U I S K A H N

P R E C E D E N T

Salk Institute is a place where cures begin. just like designing, architecture and LAGI, it is a hu-man’s act of problem solving. salk institute is essentially a place for biological studies as well as an architectural gem. The Salk Institute was commissioned in 1959 by Dr. Jonas Salk, the inven-tor of polio vaccine. salk worked with arhitect louis kahn to create a place that is ‘monumental and spiritually inspiring’ (Perez, 2010). Located in La Jolla, California, Salk Institute has a strong connection with its surrounding environment through its function as a facility and its architectural design intent and construction,. Kahn created a symmetrical plan with the one structure mir-

connected to protruding towers which contain spaces for indiviual work through bridges. The seperation of spaces was designed by kahn to provide ‘warm and tranquil settings for concen-tration’ (Perez, 2010).The design embraces nature through the axis of symmetry created by the water fountain which

aopening up to the sea. The structures themselves created a type of arhitectural typology, seem-ing as though they are built mountains, shaping the coast and becoming one with the natural landscape (Perez, 2010).

such as cancer, cardiovascular disorders, aids, alzymers disease, cardiovascular disorders , anamolies of th e brain and birth defects. (Salk Institute for Biological Studies, 2014).

and society through design and problem solving. It’s function is inspirational and motivational to

Image source (left): Salk Institute for Biological Studies (2014)

AIR 2014

K I N E T I C

E N E R G Y

PRODUCED BY VERTICAL OR HORIZONTAL MOVEMENT/MO-TION IS KINETIC ENERGY. FORMS OF KINETIC ENERGY INCLUDE VI-BRATIONAL, ROTATIONAL AND TRANSITIONAL (LAGI, 2014).

KINETIC ENERGY: PAVE-GEN SYSTEMS PAVERImage above: Pavegen Systems Ltd., 2014. Kinetic energy created through peo-ple movement. The image above dis-plays a pavegen tile, which produces renewable energy everytime a person steps onto the tile surface. This tech-nology converts the kinetic energy made from a human’s footstep into electricity which can be stored and also used for various purposes (Pave-gen Systems Ltd., 2014).

These pavegen tiles are able to send wireless data which can be used for electronic communication charging of electrical resources and lighting.

made from 100% recycled rubber, as well as the base of the slab consisting of 80% recycled materials. (Pavegen Systems Ltd. 2014).

This technology enables people to both engage and contribute to sus-tainable energy solutions.

AIR 2014

Why would kinetic human energy be appropriate for

HUMANS HAVE BEEN THE PROBLEM. NOW, WE SHOULD MAKE HU-MANS THE SOLUTION.

As the site is predicted to become a zone for new development, popula-tion increase within the area is innev-itbale (LAGI, 2014).

-ergy in relation to people at the site. It is noted that there are indeed other forms of Kinetic Energy which could be incorporated in relation to the site such as wind and wind loads. Also, people energy is not as reliable if it’s the only source. This could contribute to a humble, environmentally effective

“Scene-Sensor situates itself at the intersec-

-

--

-

-

BEWILLING TO SURRENDER TO THE LANDSCAPE. BE HUM-BLE. BE THIOUTFUL. BE IN-FORMATIVE. BE SUSTAINABLE.

Images source: Murray, Vashakmadze (2012)

AIR 2014

L A G I 2 0 1 2

SCENE-SENSOR

A highly saline body of water divides itself into three layers of salinity. The top layer is of low salinity whilst the bottom layer is of high salinity, whilst the middle layer is naturally an intermediate insulating layer that prevents the formation of a heat exchange convec-tion cycle. However, when exposed to so-lar radiation, heat is trapped within the bot-tom layer of the pond where temperatures can reach close to 100 degrees celsius while water at the top surface is thirty degrees.Heat trapped at the bottom of a solar salt wa-ter pond are generally harnessed to power an organic rankine cycle turbine or a stirling

engine. Both the cycle turbine and the stirling engine may be used to convert heat into electric-ity eliminating the need for steam. Water is piped to an evaporator coil via the organic rankine cycle. this heats a

-por, thus fueling the turbine. the vapour is then passed through to a condersor from which water from the top layer of

back into a liquid form. The liquid is then pumped back to the evaporatpor with energy from a pv-panel located on-site .

SOLAR SALT WATER POND

AIR 2014

SOLAR SALT WATER POND The solar pond is able to produce electricity for twenty-four hours per day, Regardless of climatic conditions, due to salt water’s strong ability to act as a thermal heat sink (LAGI, 2014).

Why a solar salt water pond?Seeing that the current LAGI competition site is sur-rounded by water it seems almost necessary to use

sloar pond of some sort may be created to not only produce energy but to also stimulate and create an exciting and technologic contemporary design.Image source:

RMIT Solar Pond Project, 2000. < http://www.rmit.edu.au/>

“STEW IN THE HEAT OF YOUR OWN TRASH”

AIR 2014

S O L A R B A T H S LAGI 2012 these solar paths make both an en-viornmental and design statement through their function and executu-ion. The salt water ponds located at the southern end of the site capture and storage heat radiated directly from

area itself. each solar pond is linked to a solar chimney that extracts the heat from the ponds converting it into electricity. This therefore controls the temperature of the solar baths.

“STEW IN THE HEAT OF YOUR OWN TRASH”

This project makes a strong environ-mental statement by inviting newy-orkers to come and bath in the stew of their own trash. this is sustain-able, innovative and also somewhat a mockery of urban society. The design itself has a strong con-nection to the landscape through its form creating a new kind of topogra-phy within the site, opening up to the landscape through the use of water baths connected to the saltwater pond (Mackay, Muza 2012). Images source: Mackay, Muza (2012)

AIR 2014

A1\

A2

DESIGN COMPUTATION

DESIGN: COMPUTATION

AIR 2014

DESIGN: COMPUTATION-

rary society and the way in which the world is perceived, interacted with and designed is ever transforming (Oxman & Oxman, 2014). Ac-companying this advancement of technology we as beings are simul-taneously creating and solving dynamic and problematic occurrences within our environmental sphere (Kalay, 2004). As a consequence of

of greater detriment to ourselves and the world as we know it. Thus, with the furtherance of technology and its impact on design and the global designing community, it's natural and essential to delve deeper into its impact on creative minds and process, the results of such and

include: How does computing affect the design process? What are the ongoing and incoming changes within design and construction industries? How does computation impact on the range of conceiv-able and achievable geometries? What does computation contribute to evidence and performance oriented design? What unique opportu-nities and innovations does computation represent and how do these concepts relate to preceding architectural theory?

Through computing designing has evolved dra-matically and continues to do so on somewhat of

problem solving (Kalay, 2004). That is, design-ers use a problem to create a design solution through framing restrictions and restraints in an approachable and unraveling manner. Comput-ers are therefore an indispensable resource to have as they are a means of logical resources and endless possibilities (Kalay, 2004). Creative processing has become largely driven by digital means characterised by dynamic, open ended, reliant yet unpredictable possibilities (Kalay, 2004). Three-dimensional exploration within computational design has opened perpetual op-portunities through the ability to now, more than ever, experiment with geometry within architec-

been made from traditional monolithic objects to new endless scaled components as well as from compositional and representational theo-ries, meaning new generations of learning archi-tects are relying upon algorithmic and research based experimental designs and processes (Oxman & Oxman, 2014). Parametric curves and surfaces have introduced a new world of form and form complexity through program-ming such as CAD. With computational design constantly changing and developing so rapidly

limits causing an ongoing process of trial and error. (Oxman & Oxman, 2014) Therefore, now more than ever, architects are continually learn-ing and re-learning new design approaches.

Technology has merged a multidisciplinary ap-proach to design more so than ever before. There is now a profound overlap of design, sci-ence, maths, technology and architectural cul-ture. (Oxman & Oxman, 2014) This has pushed a more logical approach to design practise and architectural form, based on intuitive research of data. A multidisciplinary and computational approach towards architectural processing and design has inevitably changed construction methodology, capabilities and the industry over-all. (Oxman & Oxman, 2014) Technology is ac-companied by an increase in speed in whatever it is used for, making the design and construction of architecture a faster process. In many ways computational design has created a renewal of the historical role of the architect as the “mas-ter builder” (Oxman & Oxman, 2014) through knowledge gained with the ability to design with-in a digital and material domain. By doing so, a strengthening of multidisciplinary relationships and collaborative design is evident, such as the interconnection between the structural engineer and the architect (Oxman & Oxman, 2014).

AIR 2014

Indeed such technologic advances are ever ex-panding our knowledge of design and our society in general. However, it's important to note that there is a certain quality, or soul produced by hand. As realistic and clear a computational approach, in terms of processing, design and communication is, it can lack a certain warmth that a hand draw-ing can provide. Yes, it would of course be foolish to not continue to expand and develop technology and the opportunities it provides, however, it would be even more foolish to forget how to use our own hands to create. Computers themselves as a de-vice, just as any technologic device, lack creativity and intuition without the input of a natural source (Kalay, 2004), whether it be humans or nature it-self. There is also a sense of irony in the contem-porary attempt to defuturise society, and invest in a sustainable approach to human life and design through technology, as historically speaking, it's through humans technologic advancement that we have disconnected ourselves from the environment and caused harm to the natural world (Fry, 2008). On the other hand, in the same way that abstract and what may appear as fortuitous form created by computational design is in fact the result of a mathematical and logical process (Oxman & Ox-man, 2014), nature too is a product of such glori-ous and deceitful process. Nature, which appears disordered, for example, the branches of a tree, is in fact the result of underlying patterns and rules,

Furthermore, it's also quite innovative and clever to put a spin on what is damaging the environment to help mend it, in regards to the advance of technol-ogy and the pollution and detriment it places on the planet: the problem becomes the solution.

Computational design and the technologic world

enabling designers to explore, communicate and expand their knowledge and approach

buildings (Oxman & Oxman, 2014). The grow-ing multidisciplinary approach to design is key

architecture and also to sustain the world itself (Oxman & Oxman, 2014). It seems to be that an

The growth of digital architecture consequently boosted the development of softwares for design, energy and structural research and solutions. Ar-chitecture started to further explore the possibili-ties of space and geometry, kinetic and dynamic systems as well as genetic algorithms (Oxman & Oxman, 2014). Computational design allows for contemporary architecture to reject tradition as well as urban and structural typography but only being a product of and generated from the digi-tal world of the Information Age. “What unites digital architects, designers and thinkers is not a desire to “bloblify” all and around everything, but the use of digital technology as an enabling apparatus that directly integrates conception and production in ways that are unprecedented since the medieval times of master builders” (Kolarevic, 2003). Thus, challenging the histori-cal tradition of the building industry being one of the last to adapt in accordance to technological advances (Oxman & Oxman, 2014). Architects began to generate computer programs them-selves, changing the role of the architect to a more technological role which requires a further span in knowledge and skills forever adapt-ing and developing (Oxman & Oxman, 2014).

AIR 2014

The last decade has bought about compelling changes to the appear-ance and progression of the digital in the architectural realm. Towards the end of the twentieth century structures such as Frank Gehry's Guggenheim Bilbao, 1997, captures the “transforma-tion of the modernist ethos” (Kolarevic, 2003). Such bold shifts in design and construction triggered what is to be considered on parr with the industrial revolution for the world of architecture : The Information Age (Kolarevic, 2003). This revolution challenged the process of design, manufacturing and con-struction. Gehry's Guggenheim encap-sulates the dominate characteristics of experimental architecture at the begin-ning of this monumental shift through its curvilinear surface and volume. Thus, the Information Age bought a "drift

-ly scaled components" (Lynn, 2004). This revolution streamed a growth of publications and exhibitions about the theoretical foundations of what we con-sidered to be architecture (Kolarevic, 2003). This also bought about a high level of importance on theoretical writ-ings about computational design, and it becoming the preferred design tech-nique methodology for process, gener-ation, communication, documentation and execution.

F O N D A T I O N LOUIS VUITTON

AIR 2014

F O N D A T I O N LOUIS VUITTON ARCHITECT: FRANK GEHRY

P R E C E D E N T

AIR 2014

Frank Gehry Partner's Louis Vuitton Fondation museum

possibilities of computerised design and construction through its distinct break from traditional and convention-al geometric form and material principles. This is evident through the structures mass-customised folded glass and curvilinear concrete panels (Nolte, Tobias & Witt, 2014). Smooth, curvature surfaces and abstract form are not only succeeded through computational algorithmic sketches and parametric models but are ingeniously used in order to construct a physical form. In the same way that such parametric designs cannot be explored with such detail without the use of technology, so does this apply to the construction of such products. Computerisation enhances design possibilities and structural integrity.

“Digital models become reposito-ries not merely of geometry, but of conceptual and material rules for building simulation that interact immediately with the designer’s intent. The laws of material itself can reciprocally inform design gestures, creating a truly synthet-ic process in which the architect orchestrates all aspects of the project with computational accu-racy. ” (Nolte, Tobias & Witt, 2014).

Furthermore, in order for simulated rules of design to be executed for such a project, the collaboration of various professions is es-sential. Each profession involved within the process of design and execution contains their own technical and consequential geomet-ric approach, rules and form of logic (Nolte, Tobias & Witt, 2014). This design and construction of Fondation Louis Vuitton involved a sparse amount of people on a global scale, from Gehry Partner’s architects located in Los Angeles, to design teams in Paris, whilst also working with professionals from the UK, Germany, Belgium, Spain and Italy. All in all, over a dozen companies were involved in this project, all of which needed a certain level of access to three-dimensional information and some of which needed to work on the same parametric model. As a three-dimensional concurrent design system used by hundreds of people did not exist, Gehry Technologies had to build one (Nolte, Tobias & Witt, 2014).

source versioning and locking system used mainly for source codes in large software projects (Nolte, Tobias & Witt, 2014). This was related and adapted to the Fondation project as the software development too consisted of a large number of contributors commonly globally spread and on tight schedules. “SVN enabled movement of the model to the cloud, and combining the poly-glot model base”, this including programs such as Digital Project, Xsteel, Sketchup, Rhino and more (Nolte, Tobias & Witt, 2014). This therefore created a common resource for over four-hundred designers, engineers and builders.

AIR 2014

Images source: drawings (above and previous page), and all photographs of Fondation Louis Vuitton: <http://www.fondationlouisvuitton.fr/>

Gehry Technologies created what was the most advanced multi-platform building information model (BIM) navigator used for the Web and mobile, named GTeam. Gehry Technologies collaborat-

two-hundred reusable detail components for “design validation and quantities control of hundreds of custom conditions” (Nolte, Tobias & Witt, 2014). These modules were stored on a server where engineers could work and adjust their details with complete tech-nical knowledge whilst simultaneously other participants could progress with spatial and design details. These details were then distributed across numerous machines through the cloud model

into a “self-documenting model” allowed for a high precision and accuracy of design as all members involved in this heavy multi-disciplinary project to not only receive extreme detailed in-formation, but also to provide such (Nolte, Tobias & Witt, 2014).

Computerisation allows Gehry to take his abstract ideas and sketches and turn it into a structural form and physical reality.

AIR 2014

G A L A X Y S O H OA R C H I T E C T : Z A H A H A D I D

P R E C E D E N T

Galaxy Soho, located in Beijing, China, by Zaha -

idity of volumes combined through a sequence of elongated bridges to form one whole struc-ture consisting of continual open spaces. The

-tertainment complex and a “classical chinese courtyard” (Zaha Hadid Architects, 2014), generating an unimpeded structure that signi-

its smooth corners and surfaces that create a seamless transition between spaces within (Zaha Hadid Architects, 2014). Through computerised design, architecture aims to further interconnect the process of conceptual ideas into digitally controlled man-ufacturing and evolving technologies of the contemporary construction industry and its methodology. It allows architects to “codify” their designs through the use of algorithms (Ce-ccato, 2012). By doing so, geometric and math-

and expressed in form generation in a manner

and speed that was previously unimaginable.

Post-rationalisation is a design approach which aims to provide structural solutions to a formal design which has been initially developed for its expression of form more so than a preset solution based on structrual logic (Ceccato, 2012). Zaha Hadid Architects (ZHA) uses this design approach to compliment the digital free-form design process based on computational tools including subdivision surface modelling in programs such as Maya (Ceccato, 2012).

-guage is formed which explores rationalisa-tion of original form into constructibility. For the Galaxy Soho project, ZHA architects used Maya to create a subdivision surface model which was used a a driver for geometric explo-ration and experimentation through a series of overlaid models in the 3D modelling program CATIA (Ceccato, 2012). Each of these series of models created a higher level of geometric

-cation and assembly than the previous model.

AIR 2014

ZHA architects created a “developable surface

meaning that they were able to modify the de-sign simultaneously with working on its con-struction methodology. It was from this that the surface model was overlaid with another para-

implementing “self-similar families of identical panels that implement conical geometry across different levels” (Ceccato, 2012). As seen in the diagrams, the unfolding and arrangement of panels was completely automated which

-cient and effective manner. The setting out of

were created to select, rearrange and unfold -

outcome (Ceccato, 2012). These panels were -

oped and automated enabling 144 drawings to be produced within the

-

develop the surface into a manner that was

achieved through parameters set within the computational design.

I m a g e s s o u r c e ( a l l Z a h a G a l -a x y S o h o p h o t o g r a p h s ) : Z a h a H a d i d A r c h i t e c t s , ( 2 0 1 4 )I m a g e s s o u r c e ( d r a w i n g a b o v e ) : Z a h a A r c h i t e c t s , C e c c a t o ( 2 0 1 2 ) .

AIR 2014

A1\

A3

COMPOSITION/GENERATION

I D C / I T K E RESEARCH PAVILION U N I V E R S I T Y O F S T U T T G A R T

AIR 2014

I D C / I T K E RESEARCH PAVILION U N I V E R S I T Y O F S T U T T G A R T

P R E C E D E N T

P A R A M E T R I C D E S I G N :ITKE Research Pavilion, constructed at the university of Stuttgart in 2010 investi-gated how material behaviour can com-pute form as opposed to geometric shape (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). The ITKE Research Pavil-

-rameters of the material behaviour of elastic bending and the possibilities of such data to form modulations through variations in the production and fabrication stages. The be-haviour of the elastic bending was used to

that arbitrate a detailed network of forces through the use of space (Fleischmann, Knip-pers, Lienhard,Menges, & Schleicher, 2012. This research project presents a multi-disci-plinary approach and how through a compu-tational design, engineering simulation and robotic manufacturing new means of data, such as elastic bending, can create “versa-tile, complex and structurally effective” ar-chitectural designs (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012).

AIR 2014

The prototype design began through the the de-velopment of a computational design tool. Within this tool data based on the material behavioural characteristics were combined into paramet-ric dependencies based on a large number of physical and computational experimentation (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012. Computational design was used by embedding data of precise system physical properties and behaviour, that is the

-cally bent plywood strips within set parameters

-ods (FEMs) for simulation (Fleischmann, Knip-pers, Lienhard,Menges, & Schleicher, 2012. From the developed integrative computational tool created, the design team was able to iden-tify and explore potential system morphologies in collaboration with necessary geometric data col-lected. All of the data and information was out-putted for FEM simulations and its manufactur-ing (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012. A six-axis industrial robot was used for the fabrication of the pavilion and mate-rial behaviour was used to trigger a unique form and on-site construction technique initially using only planar plywood as the structural and aes-thetic material component. (Fleischmann, Knip-pers, Lienhard,Menges, & Schleicher, 2012

Plywood was used as the only material in order to successfully encompass the bending-active system and to combine skin and structure in a singular ma-terial without the need for other constructional ele-ments (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). Plywood has a high load bearing

encompass the theme of bending deformation within an elastic range. The plywood strips were robotically manufactured by the six-axis industrial robot, as pla-nar components which connected so that when they were elastically bent and tensioned regions of the ma-terial, and thus structure, would alternate along their length (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012).

The six-axis robot used for fabrication developed a shear-resistant joint in order to connect adjacent ply-wood strips, the tension puzzle joint which connected

the base of the structure and the elastic strips (Fleis-chmann, Knippers, Lienhard,Menges, & Schleicher, 2012). This created an intricate bending-active struc-ture, a detailed network of joint points and also force vectors which were spatially mediated due to the elas-ticity of the thin plywood lamellas used (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). By integrating computation into the fabrication and man-

-ric components were created.

AIR 2014

Due to computational design and fabrication, the planar strips only needed to be connected to

therefore, the construction process was time ef--

folding and additional equipment (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012).

Through the use of computation the ITKE project was able to focus on material as opposed to geometric form by using data to create the shape of the pavil-ion (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). The material behaviour itself not only triggered design explorations through the means of technology, but also computed the shape of the pavil-ion on site (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). Through a computational pro-cess data of elastic bending as well as external fac-tors such as wind loads on the site were able to be collaborated and used to design, fabricate and man-ufacture the pavilion. Processes which were usually

-vancement. It's evident through the ITKE Pavilion as to why a multi-disciplinary approach towards architec-ture design and building is rapidly growing and de-veloping (Fleischmann, Knippers, Lienhard,Menges, & Schleicher, 2012). All in all, computational design, fabrication and manufacturing opens up a world of

Images source : Al l ITKE Pavi l ion Images ( including previous paged) sourced from Fleischmann, Knip-pers, L ienhard,Menges, & Schleicher, (2012)

P R E C E D E N T

D R A G O N S K I N PAVILION

AIR 2014

The dragon skin Pavilion explores the use of post-form-able plywood, which can be heated and compressed to create forms. Designed by Architects Emmi Kes-kisarja, Pekka Tynkkyen, Kristof Crolla and Sebastien Delagrange, this pavilion is made using tessellation. Through the use of 3D master modelling and a CNC-router the traditional means of drawing , communica-tion and overall technique is replaced to both design and construct this project (Keskisarja, Tynkkynen, & LEAD 2012). To produce the Dragon Skin Pavilion al-gorithmic sketches were scripted to provide neces-sary information for every component, including the precise measurements and calculations for the sliding joints. (Keskisarja, Tynkkynen, & LEAD 2012)

These sliding joints were aletered gradually through the change if positions and angles

through number and labelling assisting in the -

cient means for physically putting together the form (Keskisarja, Tynkkynen, & LEAD 2012). This design encapsulates the effectiveness of parametric design through the unique form created, the contemporary and experimen-

process of construction. Images source: Pekka Tynkkynen, ArchDaily

D R A G O N S K I N PAVILION

A1\

A1\

AIR 2014

-TION:It would be interesting to explore tessellation and material properties to create a design, as seen in the last two precedents. However, chal-lenges would consist of the structures durabili-ty, as these two examples show more temporary than permanent examples. However, perhaps looking at materials such as steel of concrete and somehow using information about their characterstics, how they’re made and their overall method of resisting loads, such as com-pression and tension, to create data which can trigger algorithmic sketches and parametric design processes. Using timber would be interesting though due to itbeing an Earth material, this could contrib-ute to a humble, ecologically thoughtful project. The ability of being able to label each structural component and to construct it on time in a time

explored in my own design.

AIR 2014

A1\

A4 & A5

CONCLUSION & OUTCOMES

R E F L E C T I O NR E F L E C T I O N

Rapid progression of contemporary soci-

changing the way in which the world is perceived and interacted with. The realm of architecture is thus a profession con-tinually altering and developing through

-nite possibilities. These new means of ex-ploration and execution enable architects to solve dynamic and problematic occur-rences within the environmental sphere through the means of defuturing design. Fundamentally, design has become, now more than ever, a means of problem solv-ing. Through computational and comput-erised design approaches the fabrication and construction of buildings may now be

designers must constantly be pushing the boundaries and seeking new and differ-ent ways to approach issues given the in-credible amount of options now available. This broad spectrum of design possibili-ties also denotes the need for a multidis-ciplinary approach now more than ever, as three-dimensional modelling can be used as a problem solver as well as a means of communication. The architect therefore

-cal and engineering logic and process.

AIR 2014

Learning about the theory and practice of ar-chitectural computing is dense and dynamic. It provides a whole new method of approaching design which enables logic and rule to trigger process as opposed to an initial conceptual hand-drawing. Computing allows for curvilin-ear and unique forms to be created in a manner

and sustainable. This means that as a designer it can be somewhat overwhelming and simulta-neously empowering in relation to the freedom of creativity and innovation of process that can now be produced. Through learning three-di-mensional programs such as Rhino and Grass-hopper, whilst reading the theory of computing, an understanding and appreciation for why this method of design is so effective and how its rapid change means that architects too need to constantly be updated with knowledge in new programs and possibilities. Architects now must have more skills than previously before, enhanc-ing its purpose and requiring constant learning.

Through computing limitations are drastically lowered as opposed to the ability of creating form otherwise. In past studios where forms and pro-cesses seemed limited, unrealistic or structurally unreliable, computing design would've enabled freedom of expression whilst maintaining a logi-cal manner. For example, the use of natural energy may have been able to be incorporated into a curvilinear de-sign with structural detailing that was both precise and logical. This means

-all been more innovative, dynamic, structurally integral and environmen-

computing, architecture is opened up -

AIR 2014

Based on the LAGI 2014 brief and research through means such as precedents and algorith-mic sketches, the design approach is to be based on a logical set of parametric rules and data. By

to the site and its environment in an intricate and innovate manner. Exploration of energy sources such as Kinetic and solar power has triggered the idea to somehow use the ripple currents and wind loads of the site to produce a dynamic form which connects to nature and humans whilst also pro-ducing some sort of energy power itself. It would also be interesting to incorporated human energy into the project design. The sculptural form is to be humble and sit within nature as opposed to planked on top of it. This can be achieved through using data connected to the natural environment of the site to simulate a design. By designing in a manner that consists of logic and data form which may appear abstract, it can be constructed into a reality, shifting design ideas into a reality. It's

has now reached a critical point in its existence, where environment issues are becoming increas-ingly problematic and constantly reminding us that our time on Earth is limited, so essentially we need to make that time count. By designing in an environmentally driven manner, society can be defuturised, connecting and informing hu-mans to the natural world in a peaceful manner. Architecture has the ability to teach and inspire,

-man environment, in particularly, urban society.

AIR 2014

A1\

A6

ALGORITHMIC SKETCHES

AIR 2014

A L G O R I T H M SR E F L E C T I O N

Inspired by the winning 2012 LAGI Com-petition project, Scene-Sensor, and my research on kinetic energy it was decid-ed to explore wind loads and pressures of the 2014 LAGI city- Coppenhagem. Based on knowledge gained from on-line tutorials and theoretical research on logical, parametric, data-based designs, wind diagrams were used to create points based on month, wind speed and wind calm. Stretch factors were added to help spread the points, which were then multiplied, constructed and baked to create a curvilinear, unique form. Points were then adjusted to continually adjust the form and work with its shape. This could be interesting to further explore in the design phase.

AIR 2014

WIND DATA TO PRODUCE ALGORITHMIC FORM. RELATION TO KINETIC ENERGY & LAGI SITE

AIR 2014

EXPLORATION OF THE NEW PARAMETERS AND FORM POSSIBLE IN COMPUTERISED DESIGN.INFINITE POSSIBILITIES IN A FINITE WORLD.

GEOMETRY:

AIR 2014

The exploration of material properties included the orientation of the wood grain and density, as well as their connection with bending stress-

The use of geometry has exceeded previous limits through the use of computers. Shapes and materials are expressed in a more diverse

abstract, curvilinear forms to become a reality.

The SG2012 Gridshell was a group work

and construction of a timber gridshell installation that was displayed at Smart Geometry Conference. This was a four day workshop which focused on the de-sign and construction of a wooden gridh-sell which used straight wood members that “bent along geodesic lines on a re-laxed surface.” The term 'gridshell' re-fers to a structure which uses a double curvatures to create its strength and is constructed from a grid or lattice. This grid is commonly made of wood or steel.

Experimentation with parametric modelling com-bined material and geometric parameters by us-ing Grasshopper, Kangaroo and Karamba, which

structure, material performance and geometry. Through the use of parametric tools, the design was created to minimise material wastage whilst maximising “architectural presence” within the space. Parametric tooling allowed for the corre-lation between a parametric model and a struc-tural model,which used genetic algorithms and physical prototyping and testing. This therefore

geometry, structures and material performance.

S G 2 0 1 2 G R I D S H E L L

AIR 2014

Similar to the SG2012 Grid-shell, both the ITKE and Dragon Skin Pavilions experiment with material properties becom-ing a parameter and develop-ment of form. The curvilinear,

use of computer three-dimen-sional modelling programs to

forms based on logic and data of material properties.

P R E V I O U S P R E C E D E N T S :ITKE PAVILION &DRAGON SKIN P A V I L I O N

AIR 2014

AIR 2014

G E O M E T R Y

AAMI PARKP R E C E D E N T

GEOMETRIC PRECEDENT

AAMI PARK STADIUM:AAMI Park, designed by Cox Architects, is a Bio-frame designed stadium that uses a geodesic dome roof to cover a sub-stantial amount of the stadium's seating area. The project brief primarily consisted of the need to provide a world-class rec-tangular football ground within an arena that incor-

porated spectator seating

as possible.

The bioframe was used to address the need for a “perfect seating bowl” with most seats placed east and west, creating the stadium’s rectangular shape and to provide sight lines and proximity to the ground. By doing so, the roof pile to the north cre-ates maximum sunlight exposure onto the turf as well.

The form itself is rather simple, it consists basi-cally of a series of spheres along a rectangular outline which slightly vary in vol-ume. The triangular pan-

els are used to create the facade of the bioframe, which is visually appeal-ing and compliments the strong geometric theme seen through the facade

and consistent in terms of design.

From a structural point of view, the design is rather clever due to the bioframe and panels which allow for structure and the outer skin to achieve the spheric shape avoiding any real complex construction tech-niques. Panels are also useful as they allow for

for example, panels can be easily removed and re-placed.

AIR 2014

P S E U D O C O D E

to enable easy change and adjustment of shape sizes, and then loft or bake to see what kind of shape is achieved.

Hollow:Create a surface through a brep or mesh and explode or split and delete overlapping sections. Then play with boolean tool and perhaps even creating shapes within the existing spheres and delete those shapes to hollow out the 3D surfaces.

Panels:Look at triangulation commands and Voronoi.

Attempt to create a series of spheres along a rectangular outline:

Create basic outline in rhino and then select points of curves. Divide and explode to break it up into groups from which spheres can be adjusted accordingly.

Achieving Volume:Once points or curves are divided and exploded, put into a list

specify groups and values. We plan to connect this to a sphere and attach number sliders

CONTEMPLATION & P R E PA R AT I O N

AIR 2014

The simplicity of the form by sticking true to geometric form has allowed this stadium to be visually encapsulating, and successful in addressing the briefs need to optimise seat-ing and roof coverage over seating, and structurally inte-

NOWTO ATTEMPT..

From a conceptual point of view, the stadium triggers the idea of a soccer ball (or some sort of sporting ball), which makes the structure’s pur-pose obvious and bold. Very rarely does literal concepts and form work well, such as the stadium literally looking like a series of sporting balls, however, in this case it seems to work.

Perhaps this is because it is a series of spheres and the difference in their volumes breaks up the literal concept, as opposed to one sphere

for the entire stadium which resembled a sporting ball, which would be much more tacky (to say quite blatantly).

AIR 2014

G E O M E T R Y R E V E R S E E N G I N E E R I N G

01 02

S T E P 1 The stadium is basically a series of spheres which overlap, change in volume and follow a rectangular layout. Therefore, to create the basic outline for the spheres to follow, a rectangular 2D

command, the points of the corners were rounded

S T E P 2 This curve was then selected in grasshopper, divided and exploded. This was done so spheres

volume in groups rather than as a whole to match the changes seen in the form for AAMI Park.

03 04

S T E P 3 The original ‘set curve’ and geometry of the stadiums overall shape was then offset to create a boundary for the internal ‘intersecting’ curve to follow.

with the intersecting form, and this created the overall form for the stadium. This idea of a shell like structure that followed the parameter of the stadi-ums oval/rectangular form, was achived through subtracting the inner ‘trimmed’ part of the sphere.

S T E P 4

AIR 2014

05

S T E P 5

After trimming the surface to create the shell structure, we resort to creating a ‘Brep’ with the geometry, in order to enable the meshing functions. Lastly, we meshed the edges in order to create a surface that resembled that, demonstrated upon the AAMI PARK stadium itself.

O U T C O M E & F U R T H E R E X P L O R A T I O N Towards the end of the Reverse Engineering exercise, and as a way of testing the

possibilites of such a structure, we began thinking about how we would create a surface that would be able to explore the notion of

M A N I P U L A T I O N

the shell like structure, which we decided to explode into a series of points that would, in turn, open up an array of possibilities which we could translate into the

I T E R A T I O N S T A G E

G E O M E T R Y R E V E R S E E N G I N E E R I N G

AIR 2014

06

S T E P 6

I D E A S F O R I T E R A T I O N Using these divided contours, we would like to explore the notion of extrusion, possibility relating that to the data we obtained earlier and within PART A - which was concerned with the wind rose diagrams of the copenhagen site, which responds directly to the LAGI brief. Playing with surfaces and the idea of motion through form shall be explored to see if we can create a humble, kinetic design that surrenders itself to nature by using the 2012 winning Lagi competition entry, Scene-Sensor, as a key precedent. We would also like to re-explore gridshells to see if any interesting forms and patterns can be created from using data and diagrams to convert a conceptual idea into a logical, mathematical and energy based design. Our process will explore new possibilities by building on from previous weeks work, such as

and diagrams, and seen if it can be incorporated

We are looking forward to the prospect of ‘trial and error’ and exploring the ENDLESS limits of grasshopper...

-

Ceccato, Cristiano 2012, 'Material Articulation: Computing and Constructing Continuous Dif-

-

Fleischmann, M, Knippers, J, Lienhard, J, Menges, A & Schleicher, S 2012, Material Be-haviour: Embedding Physical Properties in Computational Design Processes, Architectural Design, vol. 82, no. 2, pp. 44-51 Fry, Tony 2008, Design Futuring: Sustainability, Ethics and New Practice, Berg, Oxford

Kalay, Yehuda E. 2004, Architecture’s New Media:Principles, Theories, and Methods of Com-puter-Aided Design, MIT Press, Cambridge

R E F E R E N C E S

AIR 2014

Kolarevic, Branko 2003, Architecture in the Digital Age: Design and Manufacturing, Spon Press, New York & London Land Art Generator Initiative 2014, Land Art Generator Initiative, U.S.A viewed March 15,

Lynn, Greg 2004, Introduction to Lynn, Greg, '”Folding in Architecture, Revised Edition” cited in Oxman, Rivka & Oxman, Robert 2014 , Theories of the Digital in Architecture, Routledge, London Murray, James & Vashakmadze, Shota 2012, Land Art Generator Initiative, U.S.A viewed

Nolte, Tobias & Witt, 2014, 'Gehry Partners' Fondation Louis Vuitton: Crowdsourcing Embed-ded Intelligence', Architectural Design, vol. 84, no.1, pp. 82-89 Oxman, Rivka & Oxman, Robert 2014 , Theories of the Digital in Architecture, Routledge, Lon-don

Salk Institute for Biological Studies 2014, Salk Institute for Biological Studies, U.S.A viewed

-