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Hi, I am Lucas, a third year bachelor of environments student majoring in architecture. Having liveed in Singapore my entire life before moving here to melbourne, the concept of a dense urban environment is something that I have been accustomed to. I have always beeninterested the social and environmental issues that are constantly debated within architectural discourse and how new innovations have succeeded in addressing some of them. Hence my aims for architecture design studio air are to

1. Broaden my horizon

2. Formulate and articulate my own personal opinions regarding the future of architecture

3. develop and understanding of current computational practices and how it can aidimagination and creativity

INTRODUCTION

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v DESIGN FUTURINGTo respond to the question of redirection within the field of design, we must first understand the reasons for doing so. Decades of unsustainable practices have finally caught up with us as human existence is threatened within the confinements of our own home. It is imperative to realize the implications of generalizing the value of design to its mere aesthetic or functional appeal and begin to understand that design as a concept should be constantly moving. This means that in order for us to recognise its true potential, we have to treat the concept of design as something that is constantly evolving and morphing from one state to another. In this manner, design would be able to manifest within itself, merging a multiplicity of disciplines to achieve a more cohesive and natural response to our current problems. Architectural design in particular, calls for a more responsive built environment, a living architecture as some might call it. This "responsiveness" should be manifested in its interaction with the external climate and its internal inhabitants as well as taking into consideration the context of site and the social wellbeing of the people. By definition, autopoeisis refers to the autoproduction of something, thus the autopoeisis of architecture as mentioned by is from within. The concept of being theoretically self sustainable through discourse not just within the field of architectural design but also through cross disciplinary interactions paves the way towards the practical realisation of a truly living architecture

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1 Tony Fry, Design Futuring (Oxford: Berg, 2009).2 Patrik Schumacher, The Autopoeisis Of Architecture (Chichester: J. Wiley & Sons, 2011).

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CASE STUDY 1.0

Bruder Klaus Chapel Architect: Peter ZumthorLocation: Mechernich, Germany

The chapel undoubtingly differs from many chapels let alone buildings that have preceded it with its hollow blackened cavity and charred walls, it represents a kind of architecture that transcends spatial and temporal existence. The evocative experience is reinforced by natural light which descends upon the vertical shaft, revealing the intricacies construction. The chapel extends its inhabitants to a multi sensory experience of texture, light and a "beautiful silence". The design advocates a shift from an occularcentric society, where the way a building looks is more important that its texture, materiality and the overall feel of being within the space. I suppose that as we attempt to grasp the inherently complex nature of design, it is important that we do so with not just our eyes glued to a computer screen, but also with our ears, nose and hands. Perhaps, the way forward need not be about having more efficient forms of technology, but to look within ourselves intuitively and pay more attention to the world around us

1 “Bruder Klaus Field Chapel / Peter Zumthor”, ArchDaily, 2011 <http://www.arch.com/106352/bruder-klaus-field-chapel-peter-zumthor> [accessed 14 March 2016].2 Juhani Pallasmaa, The Eyes Of The Skin (Chichester: Wiley-Academy, 2005).

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CASE STUDY 2.0

0 Olympic CauldronArchitect: Thomas HeatherwickLocation: London

When the team was commissioned to design an olympic cauldron for the 0 olympics, Thomas Heatherwick mentioned that the design of the cauldron was something that no one in particular remembered or paid attention to, but rather the way in which it was lit. For example, the most iconic archer who would shoot an arrow with a flaming tip into the cauldron, lighting the beacon up in flames. The team then decided that in order to produce an olympic cauldron that would be memorable, they had to shift their focus towards the way in which it would be lit up. The team then produced an unconventional beacon that consisted of 04 steel rods that held the beacon of each individual nation as it rose up and joined in unison with one another. Similarly, within the context of "redirecting towards a redirective practice" we see here that the context that our design ideas are formulated determines the overall success of the project. This means that we should begin to contextualize our built environment in relation to how responsive it is to current needs, as opposed to its aesthetic appeal. While olympic cauldrons and buildings differ vastly in terms of physical and functional characteristics, the concept behind the idea that drove the teams focus towards a more responsive

1 “Thomas Heatherwick In Conversation With Paul Goldbergercooper Hewitt, Smithsonian Design Mu-seum | Cooper Hewitt, Smithsonian Design Museum”, Cooper Hewitt Smithsonian Design Museum, 2015 <http://www.cooperhewitt.org/2015/11/23/thomas-heatherwick-in-conversation-with-paul-goldberger/> [accessed 15 March 2016].2 Anna Marshall-Baker, “Design Futuring: Sustainability, Ethics And New Practice”, Interiors: Design, Ar-chitecture and Culture, 2 (2011), 138-140 <http://dx.doi.org/10.2752/204191211x12980384100355>.

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DESIGN COMPUTATIONTOWARDS A RESPONSIVE ARCHITECTURE

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contemporary use of computational design in the built environment have been centered upon the creation of unique forms and patterns that possess a certain aesthetic appeal. The undulating organic forms of the works of Zaha Hadid and more recently MAD architects, showcase the potential for 3d modelling software such as rhino and grasshopper to achieve such sinuous and fluid shapes. However, the concept of a living architecture still seems to be at large where these buildings are concerned. On the other hand, design computation has been used as a tool to produce a truly responsive architecture as in the case of the Al Bahar Towers, where by motorized shading devices adapt to the external climatic conditions. Current practices have even looked towards the concept of biomimicry or biomimetic architecture, which turns to nature in search of a more adaptive framework for designing our built environment.

OVERVIEW

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CASE STUDY 1.0Al Bahar TowersArchitects: AedasLocation: Abu DhabiThe Al Bahar Towers redefines the notion of "design futuring" through its successful integration of sustainable design outcomes and a rich conceptual framework in which it is packaged. The concept of design futuring requires us to first and foremost determine what kind of future we are aiming towards, and what is the role of architecture exactly. The operable shading devices which mimics that of a mimosa plant, opens and closes based on the outdoor temperature and incident sunlight on the facade. The building acts as thought it is alive and its ability to respond to the most extreme external conditions in abu dhabi carves out a new purpose and understanding to how we should design our buildings. The built environment that we live in today cries for architectural innovation, as rising seas levels threaten the structural integrity of many coastal homes, our buildings should be able to respond to such threats, like a living organism. While thisdiscussion might be headed towards a far fetched furturistic utopian society, the role of responsive architectural innovation should be at the vanguard of the fight against climate change.

Parametricism:The mashrabiya

The design team was able to draw inspiration from the mashrabiya pattern and replicate it in parametric modelling programs such as grasshopper. This mean that design team was not only able to research multiple iterations prior to selection but also able to predict how themultiple iterations would react under certain climatic conditions. More importantly, the computational approach to the design of thebuilding was imperative for The fabrication of the 000 individual panels.

1 “Al Bahar Towers Responsive Facade / Aedas”, ArchDaily, 2012 <http://www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 17 March 2016].2 ”Aedas: Al-Bahr Towers In Abu Dhabi”, designboom | architecture & design magazine, 2012 <http://www.designboom.com/architecture/aedas-al-bahar-towers/> [accessed 17 March 2016].3 ”Aedas: Al-Bahr Towers In Abu Dhabi”, designboom | architecture & design magazine, 2012 <http://www.designboom.com/architecture/aedas-al-bahar-towers/> [accessed 17 March 2016].

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CASE STUDY 2.0BIOMIMICRY

a metal that breathes

BloomKim Sung DorisLos Angeles, CaliforiaSmart Materials: Thermobimetal

Kim Sung Doris who was a biology major before entering into architecture school, had always perceived the built environment as static and non responsive in its most direct sense. The project explores the concept of biomimetic architecture and more specifically, the human skin as a source of inspiration. The human skin consists of millions of individual pores that regulate the internal body temperature when exposed to various climatic conditons. The project questions the current practices that claim to reduce solar heat loads whilst simultaneously using energy to do so, Doris claims that we have come to a point whereby simply making systems more efficient cannot possible lead to a net zero energy outcome. The design envisions a kind of building skin, conceived from a play with smart materials, in this case bimetal which curls up due to a differential between the coefficient of thermal expansion. The individual strips would react based on the amount of heat that is incident on its surface, automatically adjusting its self to regulate the amount of sunlight passing through. Design computation has allowed the realisation of this project as each individual strip differs in dimension from the next and using softwares such as grasshopper and rhino have enabled not only solar analysis of the model within digital space, but also aided in planning its fabrication.3

1 Sung, Doris, “Transcript Of “Metal That Breathes””, Ted.com, 2016 <https://www.ted.com/talks/doris_kim_sung_metal_that_breathes/transcript?language=en> [accessed 17 March 2016]2 Sung, Doris, “Transcript Of “Metal That Breathes””, Ted.com, 2016 <https://www.ted.com/talks/doris_kim_sung_metal_that_breathes/transcript?language=en> [accessed 17 March 2016]3 Sung, Doris, “Transcript Of “Metal That Breathes””, Ted.com, 2016 <https://www.ted.com/talks/doris_kim_sung_metal_that_breathes/transcript?language=en> [accessed 17 March 2016]V

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COMPOSITION l GENERATIONARCHITECTURAL DISCOURSE

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In recent decades the shift from architectural composition to that of generation has received much criticism by the public for being obsessed with self imposing its aesthetic form on the urban environment and its people regardless of its contextual relationship with the site. In a recent article by the New York Times, contemporary architecture was criticised for its focus on creating art accommodating only a handful of wealthy individuals as opposed to architecture for the public. In defense of contemporary architecture Johnson, while highlighting several flaws in the article by New York Times, agrees on one single point which I too have come to agree upon. That if we look beyond the "showpieces" of Frank Ghery, Zaha Hadid or Libeskind, we find projects that are not as renowned but serve as an affirmation that architects today care about the well being of the public as much as, if not more than they did decades ago.The nature of architectural design consists of a wider array of diverse projects, the multiplicity of generative designs can be broadly separated into active pursuits of sustainable design and artistic creativity.

1 Steven Pedersen, “How To Rebuild Architecture”, Nytimes.com, 2014 <http://www.ny-timescom/2014/12/16/opinion/how-to-rebuild-architecture.html?_r=0> [accessed 17 March 2016].2 “Architecture Doesn’T Need Rebuilding, It Needs More Thoughtful Critics”, ArchDaily, 2015 <http://www.archdaily.com/586834/architecture-doesn-t-need-rebuilding-it-needs-more-thoughtful-critics> [ac-cessed 17 March 2016].

OVERVIEW

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CASE STUDY 1.0

EDEN PROJECTGrimshaw Architects

The eden project exemplifies a project that uses parametric modelling to produce complex geometries which inherently serve a particular function as opposed to aesthetic purposes. Michael Pawlyn aims to distinguish biomimicry from biomorphology in that the latter only attempts to emulate nature rather than understand it.

A Generative approach to architecture thus allows for a synergistic approach towards advances in biomimicry, in which many complex geometries that are found in nature could be easily replicated.

1“Interview: Michael Pawlyn On Natural Resources | Architecture Today”, Architecturetoday.co.uk, 2016 <http://www.architecturetoday.co.uk/?p=19857> [accessed 17 March 2016].2 “How The Eden Project Works”, HowStuffWorks, 2001 <http://science.howstuffworks.com/environmen-tal/conservation/conservationists/eden3.htm> [accessed 17 March 2016].

GEODESIC DOME AND FABRICATION

With the current generative approaches to architectural design, the eden project dismisses critiques claim of a misdirected st centuryarchitecture. While the design was aided bycomputational programs in order to produce accurate dimensions for fabrication, it was firstconceived through the exploration of a diverserange of biological precedents ranging fromsoap bubbles to dragonfly wings.What is important to note here is that the useof design was only a catalyst fora nature inspired dome.

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CASE STUDY 2.0

Architecture today is often criticised for being self imposing and insensitive to the general public and that the aesthetics of a particular project entitles it to be built regardless of where its merits in terms of functional capabilities lie. The Metropol Parasol which was built as a response to fill the "void" created by the destruction of the Mercado de la Encarnacion, exemplifies the huge social impact that generative design can have on the urban environment and its people.The massive structure is a composition of various individual timber elements, producing ribs that make it appear lightweight. The design is striking but it is intentionally so, the structure aimed to draw the people of sevilla back into the city centre through incorporationof programmes such as restaurants and markets. Contemporary architecturehere deals in generative design to produce an iconic landmark that serves the

11st edn, 2016 <http://www.solaripedia.com/files/1033.pdf> [accessed 18 March 2016].

METROPOL PARASOLJurgen Mayer

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Inspired mostly by the works of Kim sung Doris and Grimshaw Architects, the use of biomimicry is an area that I would like to explore. We are now currently in an ecological age, whereby we have the technology, capability to achieve a truly sustainable world rather than just mitigating energy use. The fundamental concept of an ecosystem is that nothing gets wasted, everything gets fed back into the cycle within its closed loop system one way or another. It is imperative that we begin to look at what we have in abundance; waste and begin to formulate ideas about how we can use what we have in excess to generate or produce what we need. It is within nature that we find the most adaptive species that possess a certain physical characteristic that enhances its survivabilty. Hence I would be actively looking towards these mechanisms as a point of reference before proceeding to research and understand how I might build my design through the exploration of various parametric iterations and algorithmic thinking.

CONCLUSION

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ALGORITHMIC SKETCHES

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EXTRUSTION TAPPERED VIAATTRACTOR POINTS (CIRCLE)

EXTRUSIONS TAPPERED VIAATTRACTOR POINTS(PROFILE CURVE)

SCALE VIA ATTRACTOR POINTS(PROFILE CURVE)

SCALE VIA ATTRACTOR POINTS(PROFILE CURVE / CULL LIST)

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AQUA TOWERARCHITECT(S): STUDIO GANG ARCHITECTSLOCATION: CHICAGO

Initially insipired by striated limestone outcroppings common in lakes, the buildingsunique incorporation of horizontal undulating shading fins doubles as both a shading device and a balcony, I was particularly interested in this project becauseof its unique form and how it could infact be manipulated to produce a uniquewater diversion solution.The locations where the fins are almost non existentresembles pockets of wetland areas for wildlife integration,

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B6. TECHNIQUE PROPORSAL

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LEARNING OBJECTIVES

The studio thus far has been challenging yet interesting at the same time, experimenting with formson grasshopper is the first step and actually fabricating it is the next. I feel that I have learnt much about the process of digital fabrication, to sum it up

. I feel comfortable enough with grasshopper to begin sketching and successfully transferring some of my ideas into the workspace and digitally fabricate it. More specifically, the connection details.

. It is important to consider materiality in relation to design implications, such asconnection details which would provide the structures stability

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ALGORITHMIC SKETCHES

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LEARNING OBJECTIVES AND OUTCOMES

Over the course of the semester I have come to find grasshopperto be less daunting and more effective in carrying out multiple iterations at one go. This allows for further explorations and ideasthat could not otherwise be visualised in the mind. The biggestlearning outcome for me was that of mastering the attractor pointsand how it has in fact opened up so many explorations especiallyin case study . While my final design outcome does not makeuse of attractor points there is a possibility to integrate the use of attractor points as in my "further exploration" prototype. Overall I feel like I have grown alot in my confidence with managingdata in the grasshopper and manipulating it to produce interesting

explorations.