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STUDIO AIR 2014, SEMESTER 2, TUTOR: PHILIP BELESKY JOEL FALCONER

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STUDIO AIR2014, SEMESTER 2, TUTOR: PHILIP BELESKYJOEL FALCONER

Table of Contents

4 Personal Profile

6 LAGI Precedents

8 LAGI Precedents

10 Design computation

12 FOrm manipulation

14 Performance Optimization

16 Composition /Generation

18 Composition /Generation

20 Conclusion

21 Learning Outcomes

22 References

22 Figures

23 Apendix: Sketchbook Sample

Cover Image: The roof of Norman Foster’s Smithsonian Institute extention.

Opposit: eAuthers Own Photograph

Joel Falconer

Born in Melbourne (1981).

Currently completing my 3rd year of bachelor

of environments at Melbourne university.

My interests lie in the exploration of parametric

design ‘s ability to assist in key global ecological

issues through design futuring, particularly in

the realm of Structural innovatoin and ESD-.

Such as we have never seen before, cutting

edge algorithmic computation and digital

fabrication has given us the ability to create

a form and technical system that is able to

emulate the way in which nature functions and

then incorporate withi every aspect of the built

environment to create a more human oreinted

urbanizm.

I am also interested in the way in which

Digital fabrication has the potential to draw

a strongly emotive and personal response

within individuals through developing complex

organic shapes and systems relating very

strongly to human biology

My previous work in 3D Mmodeling has

involved using the Rhino Interface to create

a ‘second skin’ Prototype for the Bachelor of

environment’s studio Virtual Environments.

In this Project I explored the way in which

psychological concepts of ‘Personal Space’

could be mapped and then translated into

PERSONAL PROFILE

Fig.1: Images of auther’s previous experiments in Rhino

I like the way in which local cultural traditions and

site conditions were strongly used as inspiration for

this project however I do feel that the lack of program

at ground level disconnects the project from any

deeply rooted human element which could truly

involve the public with the instillation and with the

renewable energy generation.

In the maple-leaf instillation, parametric design was

utilized to generate a sculptural wire-frame structure

that relates both the cultural and ecological context

of the site and to the renewable energy generation

brief of the LAGI group.

In a process of linear mapping of the key below

ground landfill gas deposits (a potential energy

source) the design team were able to inform the

placement of the frame structure so that it could be

used to extract an otherwise underutilized resource.

The instillation has also been given dual energy

generating ability through the capturing of solar

energy through ultra fine PV panels and gas

extraction that utilized.

LAGI PRECEDENTS

Fig.3: The form of the Maple leaf is derived from the logo of the local parks

Fig.4: The ground level program is under considered

LAGI PRECEDENTS

Through a series constantly moving ‘objects’,

each with the capacity to capture solar energy, the

designer has conceptualized an instillation which

displays high levels of power generation potential

and leaves the site beneath untouched to develop

as a green field space.

More than this, the project has the ability to

‘generate empathy, joy, excitement and admiration.’

1From spectators who are able to get wrapped up in

the spectacle of the fluid sculpture which could be

programmed through highly complex algorithmic

modelling to take on an infinite amount of sculptural

forms.

1 http://landartgenerator.org/LAGI-2012/EQL7FJ66/

This ‘dancing sculpture’ has the ability of direct

interaction with the public realm as the objects are

designed to float at the human plane with protective

devices that ensure a distance is maintained from

people. This constant, yet constantly ephemeral,

dance between the highly technical element and

the human element is an inspiring and poetic

project which could be seen as an analogy of the

relationship between man/nature and the physical/

digital landscape.

Fig.5: The thousands of independent elements, which have the ability to capture Solar energy, simulate a flock of birds by‘flying’ independent and yet related to each other through attractor/detractor programming.

Fig.6: Emotive patterns in which the nodes are are able to be be formed contain endless possibilities for interactoin with the public Fig.7 (opposite): Even though the ground level plane has been left to replenish as a green feeld the attraction of the nodes will cause public to come to the sapce to ‘play’ with the instilation

Computation has allowed the architect to enlarge

the potential of what and how they design and

fabricate. More than ‘computerisation’ ,which is the

act of digitizing existing process, computation is the

transformation of that process using the new digital

tools as a drivers behind the design process. By this I

refer to the major positive shift to occur in the design

industry as a result of parametric design; the move

away from a ‘top down’ methodology of design to one

which is ‘bottom up’.

Through using computation to drive the design

process, the emphasis can be placed on the ‘declaring

parameters of a particular design...not its shape.’1 In

this way the design can be liberated by the ‘ego’ of

the architect which (tends to) abide by a set doctrinal

principles of aesthetics or politics.

1 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3–62 pdf

In parametric design, the manipulation of parameters

and Algorithms is a more generative process which

can lead to designs that are either more rational

(because the tectonics have been based on specific

project structural/functional requirements rather

than desired form) and/or more experimental; because

the algorithmic process has enabled a highly complex

,organic or amorphous outcome which could never

have been considered by a form oriented architect.

The design process here is through the critical

and sophisticated manipulation of these inputs. By

‘defining the relationships’ between elements of the

project the designer is now able to quickly generate

multiple iterations of potential designs from which

suitable results can be selected.In this process she is

also able to ‘go beyond the intellect of the designer...

through the generation of unexpected results.’2

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

DESIGN COMPUTATION

As Woodbury et al. also point out - ‘The system

takes care of keeping the design consistent with

the relationships and thus increases designer

ability to explore ideas by reducing the tedium of

reworking.’ 3

Another benefits of Parametric design are that it

enables ease of change through every step of the

process without having to re-construct the entire

work. One can adjust parameters which are

‘downstream’ causing all resultant relationships

to alter ‘upstream’ . Not only does this aid the

creative ‘sketching’ process but it can also have

huge cost-benefit justifications by eliminating

the need to spend time reworking and reworking

the design with each change.

3 Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

Figure 8: Images showing the design process for the CD/ITKE Research Pavilion 2011. Through parametric computation; form, structure and materiality were reimagined. The design process was inseperable from robotic fabricatoin with the designer once again havin physical involvement with fabrication.

FORM MANIPULATION

One of the broadest conceptions of parametric

design is that it is simply a tool to create a fluid

amorphous architecture purely for the sake of

‘showing off’ by your ability to manipulate a more

traditional geometry. Although this occurs and can

often be very shallow application of parametric

process, parametric can also lead to some very

sensitively designed spaces with an organic

variability and complex form which matches

complex nature of the environment and the human

user’s of the building. This is exemplified in

R.U.R.’s proposal for the Shenzen Airport in China’s

Quangdong Provence. Here the firm created a shell

structure of a ‘twisted grid of skylights’ which

allowed for customization of space according to

human needs, optimal light intake and permeability

where it was/wasn’t appropriate and the use of the

shell to act as a way-finding and human element

within what would otherwise be large anonymous

international airport .

Figure 9: Detail of roof showing a gridded diamond pattern which takes on an organic quality`

Figure 10: The shell structure is also able to act as a way-finding device and breaks up an otherwise homogeneous space

In the design process RUR discuss how parametric

gave the opportunity to maintain the structural

systems whilst the inputs changed (based on

additional data). According to the architect the

project was a method of ‘humanizing technology

rather than merely represent it.”1 As was outlined

in their website they transformed the paradigm

of the traditionally constructed concrete form

through parametric’s ability to generate ‘mass

customization’.

1(http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)

“The driver of the algorithm was the

need to allow the appropriate amount

of light into light into the space whilst

maintaining thermal performance and

distribute the mass of the structure to

allow for constructibility. “2

2(http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)

Great examples of the use of computational design

to create optimal performance can be found in

the Nicholas Grimshaw’s International Terminal at

Waterloo station in London by Nicholas Grimshaw

(Figure 11) and the Smithsonian Institute update by

Foster + Partners (figure 12).

Through early adoption of parametrics Grimshaw

was able to generate 36 Dimensionally different but

identically configured three-pin bowstring arches.

The shape of these arches was generated based

on an input of structural performative parameters

related to site conditions, structural requirements

and program requirements etc. “Instead of

modelling each arch separately, a parametric model

was created based on the underlying design rules

in which the size of the span and the curvature of

individual arches were related”1 This modelling was

then used to inform the design and construction of

the rest of the structure and cladding resulting in a

form which was both highly efficient and a ‘bottom

up’ generated design rather than ‘top down’ .

In Norman Fosters project parametrics was used to

analyse solar intake and acoustic performance of a

space- “computer code was used to explore design

options and was constantly modified throughout

the design process. It was also used to generate the

final geometry and additional information needed

to analyse structural acoustics performance, to

visualise the space and to create fabrication data

for the physical model.”2

1 Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3–62 pdf2 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

PERFORMANCE OPTIMIZATION

Fig.11 Waterloo Train Station Nicholas Grimshaw: Each individual element was derived from the parametrics of site constraints and structural requirements

Fig.12: Smithsonian Institute Foster and Partners : Light and acoustic parameters resulted in a waved courtyard roof structure.

The architectural firm of Gramazio Kohler have

created wine store-house with a facade that

replicates grapes that have fallen into a basket

. They did this through an algorithmic program

which ‘simulated gravity’ dropping representations

of grapes into a set parametric space. Parameters

such as light/air allowance into the internal build

were also set. The result of this programming was

then translated into a digital image and fed to a

robotic fabricator to precisely recreate through the

precise placement of the 20,000 bricks that the

facade required. 1

1 http://www.gramaziokohler.com/web/e/projekte/52.html

This project demonstrates the potential benefits

of computational design and robotic fabrication

to both , create a seamless and efficient work-

flow from design to fabrication, and the ability to

generate a design motif that would be impossible

by the human intellect.

This types of construction does however miss

out on the potential of ‘bottom up’ design process

made possible by parametrics. The resultant form is

still a construct of an Architects ‘genus loci’. It also

really only utilizes parametrics to create a surface

effect and again loses out on the potential to either

examine structure innovations or environmental

benefits bought by Parametric modelling.

COMPOSITION /GENERATION

Fig.13: Images from the discovering of form through the simulation of gravity

Fig.14: Screen shot from film showing robot fabrication technique.

Fig.15 (opposite): Internal /external view of the winery showing play of light through the apertures. .

S.O.M. Architects have developed a broad base

of research and projects which have explored the

potential for parametric modelling.

Figures 16 show a process of ‘form’ and

‘structural’ finding for a high rise prototype

within a densely populated urban environment.

They have manipulated a lofted circular floor

plate through parameters of environmental and

programmatic factors. This project specifically

examined the effect of light pollution on/from

the adjacent buildings within a built up urban

context. Through a series of iterations they were

able to quickly and efficiently generate a broad

range of options from which to choose suitable

forms from the next phase in the design process.

Although this conceptual notions of circular floor

plan was predetermined parametric was used in

an exploratory process in which the designers

were provide with design choice based on optimal

performance, rather than subjective aesthetic

preferences.

COMPOSITION /GENERATION

Fig.16: Showing the evolution of the design process from setting original parameters to final potential constructable object.

In figure 17 likewise SOM were able to use parametric

inputs of force and material characteristics to

resolve a structural elements for a bridge as a

-apart of a high rise complex project.

Figure 18. is the result parametric design which

strived for circular concentric floor-plates. With

‘commercial (marketing) constraints’ inserted .

Structure was explored trying to find ‘maximum

and minimum’ thresholds. This lead to a ‘tear-drop

shape’ form witch was found to be the optimal

‘minimum material’ structure. “This tear-drop

structure came as a “surprise” of the designers

whom were expecting conically tapered shape.”1

Although this is an interesting case of ‘bottom

up’ design it is disappointing that one of the key

parameters is the potential for marketability rather

than ESD principles.

1 Besserud, K., Katz, N. and Beghini, A. (2013), Structural Emergence: Architectural and Structural Design Collaboration at SOM. Archit Design, 83: 48–55. doi: 10.1002/ad.1553

Fig.17: Showing the use of Parametrics to discover optimal structure

Fig.18: Parametrically generated tear-drop structure .

CONCLUSIONThe critical element of Parametric/ Algorithmic

design is to stay true to the principles of “bottom

up” deign rather than “top down.” Only by doing

so and by exploring the potentials of material and

structure and by keeping an open mind to the

outcomes, will designers be able to unlock the full

potential of the process and develop exciting and

advanced structures that will relate to the human

condition within us all and take us through to the

21st century in a sustainable manner.

LEARNING OUTCOMESOne of the key learnings that I have derived from

the course thus far is a much deeper understanding

of how Parametric architecture can go beyond the

anonymous ‘futuristic style’ (of say Zaha Hadid)

or the gimmicky Blobby architecture that often

grabs design headline. It can also be utilized to

develop highly rational (if stylized) structural

buildings which maximize efficiency and respond

to the varying nature of the social and ecological

environment. It can also develop intricate

buildings which challenge what we once knew

about structure and fabrication by synchronizing

the this process and taking cues from nature to

create highly advanced structural systems and

sustainable building envelopes.

I now know that Parametric Algorithmic design (a

c phrase which I used to be quite afraid of) is really

just a new/efficient/challenging mode of design

exploration which removes the designer from any

preconceived notion of what their design will result

in and opens them up to potentialities they have

not previously been able to generate let alone

consider.

Image: Author’s Own Photograph

Besserud, K., Katz, N. and Beghini, A. (2013), Structural Emergence: Architectural and Structural Design

Collaboration at SOM. Archit Design, 83: 48–55. doi: 10.1002/ad.1553

Derix, C. and Izaki, Å. (2013), Spatial Computing for the New Organic. Archit Design, 83: 42–47. doi: 10.1002/

ad.1552

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press,

2003) Suggested start with pp. 3–62 pdf

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

pp. 08-15

Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by

Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170 ed. by Rivka Oxman and Robert

Oxman (London; New York: Routledge), pp. 153–170

http://www.gramaziokohler.com/web/e/projekte/52.html

(http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)

http://landartgenerator.org/LAGI-2012/EQL7FJ66/

REFERENCES

FIGURESCover Image: http://www.fosterandpartners.com/projects/smithsonian-institution/ Overleaf: Author’s own photograph. 1.2. Authors own images3. 4. LAGI 2012 - MAPLE LEAF

PHIL CHOO, CHULHO YANG, SEUNG RA, SUNG-YEOUL LEE

5.6.7. Lagi 2012 - Greenfield and constelation Carlos Campos + Yamila Zynda AIub et al.8. http://icd.uni-stuttgart.de/?p=6553

9..10. (http://www.technologyreview.com/photoessay/422139/rebuilding-architecture/)

11.(waterloos.1 (http://grimshaw-architects.com/project/international-terminal-waterloo/)12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 13.14.15. http://www.gramaziokohler.com/web/e/projekte/52.html

16.17.18. Besserud, K., Katz, N. and Beghini, A. (2013), Structural Emergence: Architectural and Structural Design Collaboration at SOM. Archit Design, 83: 48–55. doi: 10.1002/ad.1553

APENDIX: SKETCHBOOK SAMPLE