Huynh_Derek_640183_PartA_Journal

AIR2015_SEMESTER 1_CANHUI CHEN

DEREK HUYNH_640183

2 CONCEPTUALISATION

CONCEPTUALISATION 3

CONTENTS

4 ABOUT ME

DESIGN FUTURING

8 HERZOG, DE MEURON AND BINSWANGER / PEREZ ART MUSEUM MIAMI

10 JOHN TODD / URBAN MUNICIPAL CANAL RESTORER FUZHOU

DESIGN COMPUTATION

12 NBBJ / SHELL STADIUM NA

15 SHOP ARCHITECTS / BARCLAY’S CENTER BROOKLYN

COMPOSITION VS GENERATION

18 FOSTER + PARTNERS / 30 ST MARY AXE LONDON

20 NBBJ / NA (EXPERIMENTAL PROJECT) LONDON

CONCLUSION

22 SUMMARY

22 LEARNING OUTCOMES

23 ALGORITHMIC SKETCHES

26 REFERENCES

Playground of Secrets (top) interactive, play-themed pavilion at Herring Island

Albion (centre) double-storey extension to a heritage-listed house in Brunswick

Horizon (bottom) boathouse at Yarra Bend Park

4 CONCEPTUALISATION

INTRODUCTIONABOUT ME

Melbourne-born and raised, third year architecture student who loves music and food but ultimately dreams of being an architect.

I have a strong passion in designing to influence social interactions in built spaces - on a residential scale, crafting solutions tailored to specific clients’ interests and their lifestyles; on a commercial scale, evolving the use of spaces to improve functionality, emotive experiences and environmental impacts.

Having relatively limited experiences in the digital realm as opposed to classical methods of designing, I believe CAD will provide the industry with an ever-growing tool to creating more complex and unique designs at higher efficiency than traditional methods.

My experiences with digital architecture has primarily stemmed from use in both modelling and drafting in past design projects at university and at work.

I believe parametric modelling through Grasshopper will be a very insightful learning curve, equipping me with knowledge at the forefront of the industry.

CONCEPTUALISATION 5

INTRODUCTIONABOUT ME

6 CONCEPTUALISATION

CONCEPTUALISATION 7

ACONCEPTUALISATION

8 CONCEPTUALISATION

DESIGN FUTURINGHERZOG, DE MEURON AND BINSWANGER / PEREZ ART MUSEUM MIAMI

Design Futuring looks towards the sustain-ability of design outcomes - that is, how it impacts on the quality of our lives.6 This ideology branches into two categories: environmental and societal. A common practice in today’s architectural industry is to approach Design Futuring in a manner which ‘ticks-the-boxes’ in attempts to achieve maximum ‘green star’ ratings.

However, Herzog and de Meuron’s museum highlights how designing for program and societal interaction should be of higher importance. Their ideology is simple - value stems from appreciation. A building which provides higher value for its users creates a more favourable environment. This, in effect, increases the value of the user’s encounters with the building and therefore strengthens the social qualities of the communities fulfilling the societal aspect of Design Futuring.

With this in mind, the Perez Art Museum is based on design intentions of finding the original qualities of the site and integrating rather than resisting or redirecting them into the new design.

For example, the building works with, rather than against, nature. Its open-shelter design encourages cool breezes to circulate around and throughout the structure, reducing the resistive method of using active air conditioning machinery. The addition of suspended vegetation acknowledges that flooding and its associated damage to vegetation occurs regularly on the site.8

The overall design mimics that of Miami’s traditional vernacular architecture - open-air, hut-like structures.8 The designers intended to account for more than just this historical connection but also aimed to create a contemporary cultural link. This is, the open-space nature of the structure reduces view blockages towards the bay - a highly valued aspect of the location. In addition, through clever planning, this open-space design also integrates local communities through crafting new public spaces - recreational walkways, public theatres and areas of relaxation.

This idea of flexible, non-hierarchical and context-responsive design is a step forward in Design Futuring. Rather than a ‘ticking-the-boxes’ approach, Herzog and de Meuron believed a more investigative method of ensuring the user’s appreciation of the site was much more important. When a user feels a genuine connection and appreciation for a space, they create a permanent association with it, resulting in the value of the design only growing over time.

Fig. 1 http://www.pamm.org/sites/default/files/pamm_vertical_gardens_iwan_baan_2_0.jpg (accessed 10 March 2015)

CONCEPTUALISATION 9

10 CONCEPTUALISATION

JOHN TODD / URBAN MUNICIPAL CANAL RESTORER FUZHOU

Baima Canal Restorer is an excellent example of Design Futuring in environmental and social aspects. The sewage-injected watercourse has been transformed by the addition of a living, growing ecological ‘machine’.10 The most innovative idea stems from the design being an extremely cost-effective, living solution. This is, an environmental treatment centre which grows over time due to natural processes managing and maintaining its life and performance.

In terms of time scale, this implementation becomes more effective in the future - appreciating in its value. This is a fascinatingly stark contrast from design solutions which are building-based - structures which generally de-value over time and require constant management resources.

Furthermore, John Todd has linked these environmental actions to the local community. In terms of societal benefits, the area has been removed of its pungent odours and has a new recreational space completely connecting humans to nature.10

The effects of such a project does not end at a local or instantaneous scale. This is what is essential in a Design Futuring solution.6 Through gradually improving the immediate surrounding environment, sea life can begin to thrive again, consequently improving the sustainability of fishing industries downstream. With an increase in local farming, the resulting rise in economic independence further drives up the value of the regional community.

Fig. 2 http://www.eomega.org/sites/default/files/omega-in-action/manual-features/313187_454827564550249_1018641442_n.jpg (accessed 17 March 2015)

CONCEPTUALISATION 11

Before-and-after comparison highlighting the immediate effects to the local community. What is not seen here is the gradual, longer-term influences downstream to both the environment and human societies such as the fishing industry.


DESIGN COMPUTATIONNBBJ / SHELL STADIUM NA

The ideology behind NBBJ’s innovation in the digital design realm lies in their two core beliefs of what can be advantageous about technology - efficiency and new creative forms as outcomes.12 Their uptake in parametric modelling has allowed them to design complex geometries, bringing them into reality (although this case study was a competition entry, their other designs have been constructed) and, in the process, perform their developmental stages in an efficient and effective manner.

Accompanying these new advantages are opportunities for restructuring the construction industry - Shell Stadium exemplifies this. One of the primary design intents of the stadium was to create a twisted, shell-like roof - one which spanned enormous dimensions and required complex engineering.12 This provided NBBJ with an opportunity to create scripts which would model possible design outcomes following two main requirements: structural feasibility and price.

In terms of how this has changed design thinking, one must realise that this project did not revolve around re-iterating sketches. Instead, the team of designers thought in algorithmic terms - parameters such as site coverage; intended internal volumes; rational, cost-effective structural solutions; and so on. This new design process reduces the stress on solving problems but instead, emphasises the question of what problems exist, why do they exist, and what are the final desired outcomes.

From this modelling, the designers produced a cladding network which involved pre-fabrication and assembling rather than the traditional raw material construction on-site. Communication through BIM technology further enhanced the design’s inputs by the various specialists involved, resulting in a structure which was crafted to ensure all stakeholders were satisfied and well-informed.12

Resulting from this is a large restructure in how the architect is placed and involved in the industry. The parametric modelling of the roofing takes regard for the engineer’s work, the pre-fabrication stage has shifted demand of material suppliers to pre-fabricators, the communication of the model itself has partly taken on the role of a project manager, the costings database guides the quantity surveyor and so on. NBBJ has redefined the roles of an architect, creating links and overlaps between other professions in the industry and blurring their responsibilities.

Fig. 3 (top) NBBJ, Parametric Strategies in Civic and Sports Architecture Design, p.11.

Fig. 4 (bottom) NBBJ, Parametric Strategies in Civic and Sports Architecture Design, p.10.


In addition to the advantages already mentioned, parametric modelling also allowed efficient and accurate prototyping.

Another parametric scenario of NBBJ’s focus was to maximise the audience’s sight of the arena. This highlights the shift from traditional design thinking to algorithmic thinking.



SHOP ARCHITECTS / BARCLAY’S CENTER BROOKLYN

Rather than traditionally focusing on the end product, SHoP Architects apply innovative ideas to the design and construction process.9 Equipped with knowledge of today’s digital technologies, the firm has managed to re-shape the responsibilities and roles of professions in the industry.

Their vision of architects fast-becoming leaders of the direct-fabrication process emphasises how communication and efficiency play significant roles in not just the construction but also how designs are appreciated after completion.9 The Barclay’s Center highlights this ideology and how the role of technology acts as the glue of project member inputs and outputs. Rather than the traditional design-bid-build sequence which lacks flexibility and does not allow input from specialists and contractors during the design stage - the process where significant decisions affecting their roles are made; the direct-fabrication method seeks to use BIM software as a medium for early-stage collaboration between all stakeholders of a project.9 SHoP Constructions developed a software which, in addition to the parametric modelling of their façade system - one which produced a unique form which would challenge ordinary construction workers; linked their design solution to the pre-fabrication workers, clients and contractors. Similar to their other projects, this application allowed everyday smartphone users to both be informed and interact with the status of the project.9 Thus changes to construction details or even the design could be accommodated to comparatively large extents without sacrificing time or revenue. In an age where program, flexibility and aesthetics heavily relies on funding, the firm has managed to provide high-quality designs at low costs through their innovative technological thinking.

Fig. 5 http://www.shop-construction.com/projects/project_large__barclays (accessed 16 March 2015)


Converting the artistic parametric model into a rational, pre-fabrication-ready panelling network. This new capability architects possess increases efficiency through transforming the documentation, construction and communication process.

SHoP Construction iPhone application.9 Complex technology presented in a simple, accessible manner to all stakeholders improves communication and interaction throughout the construction process.

Fig. 6 (top) http://www.shop-construction.com/projects/project_large__barclays (accessed 16 March 2015)

Fig. 7 (bottom) http://www.shop-construction.com/projects/project_large__barclays (accessed 16 March 2015)

Fig. 8 (right) https://c1.staticflickr.com/5/4088/5083530806_ (accessed 19 March 2015)f2a13c8253_b.jpg



COMPOSITION VS GENERATIONFOSTER + PARTNERS / 30 ST MARY AXE LONDON

Nicknamed ‘The Gherkin’ for its overall form - one which was primarily the result of computational generation, 30 St Mary Axe exemplifies the capabilities of modern technological advances in parametric modelling.7

Foster + Partners aspired to design a commercial building with a focus on passive, environmentally-responsive features. Rather than traditionally composing building forms on pen and paper, the team seeked computational generative methods.13 Using complex algorithms, models were produced based on satisfying wind, thermal and structural conditions.

This resulted in a building which exhibited several unique attributes: a facade with minimal wind turbulence, allowing passive cross-ventilation systems to span from bottom to top (a feature generally not possible in many skyscrapers due to the severity of wind forces at higher altitudes); and a distinct insulative two-skin barrier between the interior and exterior, maximising daylight penetration with no-column rooms as a result of exterior structural solutions.1 5 13

Through complex digital computations, the design process was influenced to favour efficiency while allowing more complex forms to become realities.14

Although computers can produce countless design iterations to model the ‘ultimate’ solution in satisfying specific design criteria, a drawback are their unsympathetic nature towards experiential aspects of designs. 30 St Mary Axe has been commended for the success of the designer’s performative goals of the building - the minimal wind loads, open-space interiors, and so on.13 However, it has been criticised for its un-resolved and uncomfortable planning influenced by the resultant modelled forms.13

Fig. 9 + Fig. 10 http://www.fosterandpartners.com/projects/30-st-mary-axe/ (accessed 19 March 2015)



NBBJ / NA (EXPERIMENTAL PROJECT) LONDON

One of the most beneficial characteristics of computational generative design is the ability for designers to find the ‘ultimate solution’ following a specified set of criteria.11 15 NBBJ has pushed the boundaries of this notion through endeavouring to design a skyscraper which does not produce any shadows.17 Tackling this challenge through investigating the ‘ultimate’ form with parametric modelling software, the firm has significantly changed its design methodology.

There has been a shift in thinking, from “what possible solutions CAN exist?” to “how can we make this pre-conceived solution a reality?”

In detail, firms are now setting a design agenda for their projects and solely striving towards meeting these initial goals - in the case of NBBJ, developing a form that meets their agenda of producing a shadowless skyscraper.4 Computational processing provides the team with much faster and accurate iteration-analysis-evaluation loops while making such deterministic ideas possible. This is because the script identifies and ranks solutions based on the specified criteria with the power and speed of a computer.11 15

However, with this success follows the rejection of tangential design outcomes. When an architect uses traditional, compositional methods to develop their ideas, they experience the iteration-analysis-evaluation loop but in a more conscious manner. Evaluations by humans recognise further design opportunities, often straying from their initial design intentions. Even though this may be seen as an interruption to workflow, it opens the project to a larger range of previously unthought ideas and potential solutions. Consequently, this encourages innovation in a different manner to that of generative design.

Fig. 11 http://www.gizmag.com/the-no-shadow-tower-nbbj/36555/pictures#7 (accessed 19 March 2015)



SUMMARY

CONCLUSION

LEARNING OUTCOMES

My knowledge of the qualities and influences of digital technology in design professions has grown immensely over the past three weeks.

I realise that technology is a constantly-growing and evolving aspect of human life. There are advantages and disadvantages with its integration to our responsibilities and, as outlined in the precedent studies, balance is key to harnessing the most successful outcomes. For example, my project at an architectural practice could have incorporated 3D

modelling in its earlier stages to improve effective communication of our ideas between not only us and the clients but also the engineers (the roofing structure, for example, exposes LVL beams so it is vital that aesthetic intents and structural feasibility work harmoniously).

On a personal scale, I have also become much more familiar with parametric design software and its growing importance in the industry.

Today, digital technologies are more than just aids for workflow efficiency - they are now multi-functional, complex tools working in collaboration with humans.11 15

New capabilities and opportunities have lead to a period of experimentation. Designers have questioned their roles, their processes and how technology can benefit not the single profession but the family of professions in an industry.14 Through acknowledging this mentality, I believe there will be three significant shifts for architects and designers in the future:

1. The capabilities of architects will lie in their knowledge of technology. For example, aspects in the industry such as employability will be based around computational knowledge rather than drafting experience. This means experience will no longer be proportional to employability.

2. Designers will begin to question “how can we, through technology, make this pre-conceived solution a reality?” rather than “what possible solutions CAN exist?”. Technology now allows designers to create exactly that of their intention. The focus is no on the ‘how’ rather than what other solutions can be viable alternatives.

3. Technology will glue professions together. The architect will regain its traditional roles of being the central figure but in a new context. The roles and responsibilities between professions will be blurred but in a means that encourages efficiency.

My intended design approach will integrate these three ideologies, balancing their most advantageous aspects with those of traditional methodology. For example, using compositional design in the early stages of schematic design phases before using generative processing will create a larger range of potential solutions rather than if I solely used generative design which would result in a narrower project scope.


ALGORITHMIC SKETCHES

Gridshell spiral



(Left - top) Driftwood surfaces (Left - second row) Populate 2D, Delaunay and Voronoi (Left - third row) Visualising interpolation of surfaces (Left - bottom row) Visualising interpolation of surfaces

All of the algorithmic sketches showcased in this journal represent digital modelling forms which can be fabricated and assembled in reality with ease.

The selected works also highlight the new generation of design thinking - algorithmic data processing to achieve a generative modelling approach.

Although these examples do not relate to Design Futuring aspects of the aforementioned case studies, they are strongly linked to ideas of the direct-fabrication process. Geodesic curves, driftwood surfaces and extruded geometries are all design forms which can be easily converted from the digital realm into reality.

This process has already begun to significantly influence the architectural and construction industry, blurring the boundaries between each profession.


REFERENCES

1Arup 2015, 30 St Mary Axe | Arup | A global firm of consulting engineers, designers, planners and project managers, viewed 19 March 2015, <http://www.arup.com/Projects/30_St_Mary_Axe/Details.aspx>.

2Dietrich, E. 2011, “Algorithm”, The MIT Encyclopedia of the Cognitive Sciences, MIT Press, Massachusetts.

3Dunne, A and Raby, F 2013, Speculative Everything, MIT Press, Massachusetts.

4Edelson, Z 2015, NBBJ’s Shadow-Zapping Skyscraper Concept for London, viewed 19 March 2015, <http://architizer.com/blog/nbbj-no-shadow-tower-london/>.

5Foster + Partners 2015, 30 St Mary Axe | Projects | Foster + Partners, viewed 19 March 2015, <http://www.fosterandpartners.com/projects/30-st-mary-axe/>.

6Fry, T. 2009, Design Futuring: Sustainability, Ethics and New Practice, Oxford International Publishers Ltd., New York.

7Goel, T 2012, The Design and Engineering of the Gherkin: 30 St Mary Axe, London, viewed 19 March 2015, <http://www.brighthub.com/education/homework-tips/articles/60104.aspx>.

8Herzog and de Meuron, ‘Pérez Art Museum Miami’, in japan architecture + urbanism (Tokyo: A+U Publishing Co., Ltd, 2014), pp. 82-93.

9Holden, K., Pasquarelli, G., Sharples, Ch., Sharples, Co. and Sharples W. 2012, shop architects: out of practice, Thames & Hudson Pty Ltd., London.

10John Todd Ecological Design 2015, Urban Municipal Canal Restorer Fuzhou, China, viewed 17 March 2015, <http://toddecological.com/clients/PDFs/100623.casestudy.baima.pdf>.

11Kalay, Y. 2004, Architecture’s New Media: Principles, Theories, and Methods of Computer-aided Design, MIT Press, Massachusetts.

12Miller, N. 2015, Parametric Strategies in Civic and Sports Architecture, NBBJ, viewed 17 March 2015, <http://www.slideshare.net/woodsharold2/parametric-strategies-civic-and-sports-architecture-design>.

13na na, Swiss Re - The Gherkin - 30 St. Mary Axe, viewed 19 March 2015, <http://www.webpages.uidaho.edu/arch504ukgreenarch/CaseStudies/swissre1.pdf/>.

14Oxman, Ri. and Oxman Ro. 2014, Theories of the Digital in Architecture, Routledge, Oxford.

15Peters, B. and DeKestelier, X. 2013, “Computation Works: The Building of Algorithmic Thought”, Architectural Design Journal, John Wiley & Sons, Chichester.

16Shop Construction 2015, Shop Construction : Barclay’s Center / Facade, SHoP CONSTRUCTION SERVICES LLC, viewed 17 March 2015, <http://www.shop-construction.com/projects/project_large__barclays>.

17Williams, A 2015, Here comes the sun: NBBJ unveils shadow-reducing concept towers, viewed 19 March 2015, <http://www.gizmag.com/the-no-shadow-tower-nbbj/36555/>.

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