Studio AIR - Part A - Adela Saputra

journal

abpl30048: studio air2015/semester onetutorial 8 - bradley elias

adela risHa saputra617260

dobplace of origin

Current positionmajor

virtual environmentssemester 1, 2013hand lanternred cabbage x klein bottle

adela risha saputra

march 11, 1994jakarta, indonesiaundergraduate bachelor of environments (3rd year)architecture

dobplace of origin

Current positionmajor

Ever since I was little, I was obsessed with art, particularly drawings with curvy lines and vibrant colors, and my parents were very supportive of my interest. By the time I was in elementary, I grew an interest in science subjects and I asked my teacher what job can combine the best of both worlds: art and science? She answered an architect.

That was probably the start of my determination to become an architect. Being educated in an Asian country, I was excited to begin my next journey in a Western culture, because everything was new to me. Unfortunately (or fortunately, it can go both ways), my first semester in University of Melbourne was experiencing Virtual Environments subject under the teachings of Samson Tiew (my tutor) and Paul Loh (subject coordinator). It was my first exposure of parametric design and software engineered rendering tool. I had only mastered Adobe Creative Suite as my tools of trade, and learning Rhino from practically zero to building something such in the left image in just 12 weeks was to me, one of the most amazing thing I never thought I could achieve.

At the end of my Virtual semester, I was honored to have my project exhibited along with 6 other amazing projects at the Wanderlich Gallery on the previous Architecture Building.

At the beginning of my summer 2014, I began my internship at a residential developer team in Tangerang, Indonesia. My role was to draft plans and contributed in designing concepts for their commercial projects, including arranging spatial elements and proposed branding concepts.

virtual environmentssemester 1, 2013hand lanternred cabbage x klein bottle

4 CONCEPTUALISATION

Table of Contents

A. CONCEPTUALISATION

A.0 Design Futuring

A.1 Design Computation

A.2 Composition/Generation

A.3. Conclusion

A.4. Learning outcomes

B. CRITERIA DESIGN

B.1 Research Field

B.2 Case Study 1.0

B.3. Case Study 2.0

B.4. Technique: Development

B.5. Technique: Prototypes

B.6. Technique: Proposal

B.7. Learning Objectives and Outcomes

C. DETAILED DESIGN

C.1 Design Concept

C.2 Tectonic Elements & Prototypes

C.3. Final Detail Model

5

6

10

14

18

18

CONCEPTUALISATION 5

PART A.CONCEPTUALISATION

6 CONCEPTUALISATION

Lynn was inspired by the mutation of embryo, how it slowly dissolve boundaries thus creating this blurring of boundaries in the space. As seen in figure 0.3, the simple program could produce endless iterations that ideally adapted different environmental approach (Varma, 2012).

As mentioned by Lynn (2000), in this process he was not doing a selective method to determine which of the ones were perfect, because none of the iterations were ideal to any environment, but rather he provided the options that each have their adaptability properties to certain conditions.

Users can customize their own embryological house accordingly to their needs and that was what made Lynn’s project a breakthrough in construction and architectural world: a notion of genetic-induced approach to mass-customize forms.

embryologic housesby GreG lynn 2000

A.0. ____design futuringA.0.____design futuring precedents

In 2000, Greg Lynn made a breakthrough in the architectural world when he proposed a genetic approach to mass-customize building forms, instead of “kit of parts” models or mass-producing forms (DOCAM, 2001). His design development was the first to experiment with lots of variations to create each unique individuals that have different properties and strength to withstand any kinds of environments (Lynn, 2000). Therefore, the design can be programmed to replicate the form but with variations to maintain their own individuality, as oppose to working primitively which limits the amount of variations produced (DOCAM, 2001). However, this project was never built on site and therefore remained a conceptual architecture project documentated as physical models and digital data.

Lynn first experimented by creating the basic geometry of the embryo in Microstation, and establishing twelve control points which can be adjusted and affected accordingly. After that, he imported those geometries to an animation software rendering called Maya, and began to animate a variation of geometries through parametric variation in a non-linear dynamic processes (Shubert, 2008; Kolarevic, 2003).

fIg 0.1: PhySICAL mOdEL Of EmbryOLOgICAL hOUSE AT CCA

CONCEPTUALISATION 7

the embryologic Houses employ a rigorous system of geometrical limits that liberate models of endless variations - - lynn, 2000

fIg 0.2: vArITION Of ITErATIONS PrOdUCEd

fIg 0.3: SUrfACE vArIATIONS fOr EmbryOLOgIC hOUSES

8 CONCEPTUALISATION

objectilesby bernard CaCHe1999

A.0.____design futuring precedents

Objectiles is a series of furnitures and paneling in non-standard forms, simiilar to those occuring in nature, where everything varies and looked randomly ordered even though it has a certain program behind each pattern. These objects not designed, but calculated and computerized using softwares. Therefore, it is possible to make each individual objects differentfrom one another accordingly to the users’ functions and taste (Archilab, 1999).

objects are no longer designed but calculated.

- bernard Cache (cited from Kolarevic, 2003)

fIg 0.4: ExhIbITION ObjECTS fOr ObjECTILE

fIg 0.6: ExhIbITION ObjECTS (dOOrS) fOr ObjECTILE

CONCEPTUALISATION 9

According to Kolarevic (2003), Cache’s approach for mass-customizing these objects is the modification of parameters of design, then procedurally calculated in modelling software, allowing different sizes and random arrangement in the same series to occur. Thus, providing unlimited iterations for the ideal solution (Archilab, 1999).

This project was one of the pioneer of mass-customization along with Greg Lynn’s Embryological houses at that time. Computarized calculation made customization on industrial level possible, and the variations are unlimited. (Kolarevic, 2003).

Architecturally speaking, the notion that producing customized individual buildings are made possible and economical challenges the modernist view of mechanically built structures. Designers can utilize technology to creatively program the variations, instead of using it to create more of the similar products (Kolarevic, 2003).

fIg 0.7: ExhIbITION ObjECTS fOr ObjECTILE; SANd dUNES LIkE PATTErN ITErATEd

A.1.____design computation precedents

fIg 1.1: mONOCOqUE 2, NErI OxmAN (2007)

monocoque 2by neri oXman2007

Most of Oxman’s work explore the growing of materials, how materials could be grown like in the nature instead of being exploited. How materials can be innovative and flexible just like organisms in nature, where it is adaptable to any environmental changes. She suggests exploring the world of material ecology, having materials to have vigorous properties by means of digital computation and fabrication (Dvir, 2011).

Monocoque is one of her early experiments that looked at the capability of the external skin to bear structural load, to promote heterogeneity such as having variaties in material properties. In contrast to common construction practice, where there should be structural framing behind the skin layer, Furthermore, Monocoque is one of Oxman’s projects that demonstrates modifying material properties to accomodate environmental constrains (Dent, 2009).

Oxman realized Monocoque’s structural skin by applying voronoi algorithm, which provide enough veins and branches to bear the load of the material (Dent, 2009).

Her approach is to observe the behaviour of nature, such as how leaves can stand firm by itself structurally and even conduct photosynthesis. Next, she deciphered down the computation codes that she created herself (Dvir, 2011).

In Monocoque 2, pressumably similar to her previous project, Monocoque, she investigated the shear-stress and surface pressure in veins and arteries elements build onto the project (Oxman, 2010). She produced her project from a 3D printer which allowed a combination of multiple parts in materials to be combined as one (Dent, 2009).

Her research wants to encourage designers to reverse their design process to start with observing materials at hand and working its way from there, instead of putting out the form and figuring out the materials needed later in the scheme (Dvir, 2011). In conclusion, her work in Monocoque show how materials can be compute in order to achieve the adequate properties.

nature is not modular and therefore it generates different forms every time. I would like to reach such flexibility in architecture as well.

- Oxman, 2011

12 CONCEPTUALISATION

The Crystalline structure is basically how water molecules would join up when in groups. As seen from figure 1.4, it is highly repetition but produces an organic and randomized shapes across the surface (Boose, 2008).

Computation made this structure achievable through the algorithm of the crystalline structure. It was possible to recreate water on its facade and dematerialize the structure with its transparancy-like form.

As defined by Kostas (2006). computation expands the designers’ space to manage their disability. In this case, PTW Architects have limitations on generating the form derived from nature, because its behaviour has its own algorithm pattern and it is hard to design it without the help of machines.

BEIJING NATIONAL AQUATICS CENTER

As the name stands, the watercube meant to form a built structure completely made of water. The means to achieve that was by taking the structure of water and began researching from there. PTW Architects looked at the state of aggregation of foam, and marveled at how it dematerialized the building (Bosse, 2008).

They began investigating the foam structure from history; Plateau’s geometry of soap bubbles (Fig. 1.2), magnifying the molecular structure of water (Bosse, 2008). Eventually, the solution to Watercube’s facade was from Weaire Phelan foam, where PTW applied their theory of connecting soap bubbles into plain regular geometries (Fig. 1.2) (Carfrae, 2006). From there, they began to computate the Weaire Phelan foam pattern to the Crystalline structure algorithm, which is a very fundamental arrangement in nature, in order to achieve the most efficient sub-division arrangement in a three-dimensional space (Bosse, 2008).

A.1. ____design computation precedent

the watercubeby ptW arCHiteCts2008

fIg 1.2: (frOm LEfT): PLATEAU’S gEOmETry Of bUbbLES; wEAIrE PhELAN fOAm IN PhySICAL ANd gEOmETry fOrmS

CONCEPTUALISATION 13

fIg 1.3: ThE wATErCUbE, PTw ArChITECTS (2008).

fIg 1.4: CrySTALLINE STrUCTUrE fOrmATION IN dIgITAL fAbrICATION


Achim Menges work are known for its digital organic forms where he investigates organisms and applying them to built structures. ICD/ITKE research pavilion 2011 was no different, he applied the biological principals of sea urchin (sand dollar)’s skeleton structure and employing them to construct the shell structure of this bionic pavilion (Menges, 2011).

As seen from figure 2.2, Menges used computation to work out each of the shell components derived from sand dollar’s skeleton. From there, he work out the whole shell structure by applying the principles of heterogeneity; having cells that are not constant in size, but rather adapting its size to its function, anisotropy; a directional structure which follows the shear and stress direction, and hierarchy; where there are two separate layers of shells, with different method of joining (Menges, 2011).

A.2. ____Composition/Generation precedent

icd/itke research pavilion 2011by aCHim menGes2011

fIg 2.1: ICd/ITkE rESEArCh PAvILION 2011, AChIm mENgES (2011)


Whereas for its joining method, the traditional finger-joints was similarly programmed, and it was technically comparable to the sand-dollar’s calcite protrusions (fig. 12) (Menges, 2011).

Not only does it inspire architectural projects to derive its form from nature, the method of joining each cells does not require any structural steel to provide support (Fig 2.2). The shell can stand on its own using its continuous surface interlocking each other. Since cell arrangement was programmed, the interlocking program of the shell was also done (Menges, 2011).

fIg 2.2 (frOm TOP LEfT): ShELL STrUCTUrE; (bOTTOm LEfT) INTErLOCkINg jOINTS


A.2. ____Composition/Generation precedent

times eureka pavilionby neX arCHiteCture2011

The pavilion was commissioned to reflect the plant species chosen for Eureka Garden. NEX architecture expanded their research by magnifying the cellular structure of leaves and growth in plants (Lomholt, 2015). Their algorithmic approach is using the grow of capillary branching and subsequent cellular division, mimics the growth of plants and their branches (Grozdanic, 2011).

Furthermore, according to figure 2.4, the cell arrangement is based on voronoi pattern, which gives them the randomized but repeatable distribution. Next, they began to randomize more points in between their cells, to recreate the leaf pattern by using voronoi algorithm (ArchDaily, 2011).

The end result was a structure constructed out of algorithmic program which imitates natural growth and envisioned the users to experience the patterns of biological structure at a much larger scale (Lomholt, 2015).

fIg 2.3: TImES EUrEkA PAvILION, NEx ArChITECTUrE (2011); CLOSE UP ON ThE CELLULAr-LIkE CELLS


This project is achievable due to the existence of genetic algorithm, which allowed the designers to investigate the behaviour of nature and translating the “formula” to digital programs. Furthermore, it also allows designers to recreate nature, because nature is generated not composed, and it is modulus not constant. Previously, designers could not generate algorithmed patterns by sketch, it was nearly impossible. However, the presence of computational programs drives the design industry into a more biological approach, as the society are becoming more aware of nature and their surroundings.

fIg 2.3: TImES EUrEkA PAvILION, NEx ArChITECTUrE (2011); CLOSE UP ON ThE CELLULAr-LIkE CELLS

fIg 2.4 (TOP ANd bOTTOm): LEAf PATTErN STUdy ANd APPLyINg IT TO bUILT fACAdE


A.3/A.4.____Conclusion & Learning Outcomes

conclusion

As the quote goes, it sums up why algorithmic architecture existed and why it is now being explored vigurously by designers. Generative architecture, in a sense is the product of algorithmic programmed structures, where the structure is meant to ‘live’ as in its skill to adapt and grow to its surroundings. Therefore, designers have the responsibility to push society into a better worldview, because currently only we have the capability to drive society into our own ideal way of living.

Personally, as I was researching for my precedents, the one that stood out for me the most was Monocoque 2 by Neri Oxman. In my research, she is one of the pioneer of

learning outcomes

In these short course of three weeks, Studio Air touched on history of digital architecture, that we are currently in an era where computarisation will slowly dominate the market and built structures are generated to become more like organism components in the city ecosystem.

Studio Air had given me a better understanding of why we are doing this subject. From the precedents that I researched, it amazed me how I never questioned why organic and algorithmic architecture are being practiced right now. It is always interesting to see the approach of each designers when developing their work, and currently I have known several methods from my previous studio work, and algorithmic approach is one of them.

designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images

- Wood, john (2007)design for micro-utopias: making the unthinkable possible (cited from lecture design Futuring)

material ecology (the word she coined herself), that is to generate materials first and discover what form can be built from that. In oppose to creating a form and deciding the materials later. For me this idea is really interesting, and I intend to persue my design directions towards that organic approach. Her idea is to discover the properties of the materials needed for the project, and iterate as many forms possible, in order to achieve the most functional form. Furthermore, her initial approach to nature aligns with her organic view, how she looked at the behaviour of the patterns and translating the program instead of explicitly take the shape of nature.

Environmental change and limtited resources drive people to innovate ways going back to look at nature. Historically, people have always refer to nature since ancient Greek times, but as time goes, industrialization dominated the market and nature was left behind. As a part of this new world, it is crucial to look at building as an organism in a bigger urban ecosystem. What it means to be an organism is to have the ability of growing, adapting and decomposing. Therefore, it is better to embrace the technology wave as means to develop more organic architecture rather than utilizing technology to create more and more.

What I like most about algorithmic is its element of surprise and not knowing what to expect. I am personally a visual-oriented person and often not satisfied with what I come up with. However, in algorithmic method the program do that for me and it reduced the amount of time I had to think over a form and instead I can program the ‘formula’ and let the script work. Therefore, I am currently anxious and at the same time excited to begin exploring the world of algorithmic architecture for the rest of the semester.


Arch daily, 2011, Times Eureka Pavilion / Nex Architecture, viewed in 17th march 2015, <http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/>

Archilab, 1999, ObjECTILE, viewed in 18th march 2015, <http://www.archilab.org/public/1999/artistes/obje01en.htm#ressources>

bosse, C. 2008, National Swimming Center beijing – Introduction, viewed 15th march 2015, <http://www.chrisbosse.com/watercube/introduction.txt>

Carfrae, T. 2006, ‘Engineering the water Cube’, Architecture Australia, vol. 95, no. 4, <http://architectureau.com/articles/practice-23/>

dent, A.h. 2009, ‘Interview with Neri Oxman’, mATTEr magazine issue 6.3, vol. 6, no. 3, <http://www.materialconnexion.com/home/matter/mattermagazine81/PastIssues/mATTEr63/mATTErInterviewNeriOxman/tabid/699/default.aspx>

dOCAm, 2001, Embryological house – greg Lynn, viewed in 17th march 2015, <http://www.docam.ca/en/component/content/article/106-embryological-house-greg-lynn.html>

dvir, N. 2011, Nature is a brilliant Engineer, viewed 15th march 2015, <http://www.haaretz.com/weekend/week-s-end/ nature-is-a-brilliant-engineer-1.366511>

grozdanic, L, 2011, Times Eureka Pavilion – Cellular Structure Inspired by plants / NEx + marcus barnett, viewed in 17th march 2015 <http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/>

kolarevic, b. 2003, Architecture in the digital Age: design and manufacturing, (New york; London: Spon Press) pp. 53

Lomholt, I, 2015, Eureka Pavilion, London: Chelsea flower Show building, viewed in 17th march 2015, <http://www.e-architect.co.uk/london/eureka-pavilion>

Lynn, greg. 2000, ‘greg Lynn: Embryological houses’, Ad “Contemporary Processes in Architecture” vol. 70, no. 3, (London: john wiley & Son), pp. 26-35.

menges, A. 2011, ICd/ITkE research Pavillion 2011, viewed in 15th march 2015, <http://www.achimmenges.net/?p=5123>

Oxman, N, 2010, ‘Structuring materiality: design fabrication of heterogeneous materials’. Architectural design, Special Issue: The New Structuralism: design, Engineering and Architectural Technologies, volume 80, Issue 4, pages 78-85, march/April

Shubert, H. 2008, ‘What came first, The Chicken or the Egg?: Greg Lynn’s Embryological House’, Notation, (Berlin: Akademie der Kunst), <http://www.academia.edu/3589710/what_Came_first_the_Chicken_or_the_Egg_greg_Lynn_s_Embryological_house>

Terzidis, k. 2006, ‘Algorithmic Architecture’

Varma, R. 2012, The Embryological House, Greg Lynn, viewed in 17th March 2015, <https://rahatvarma.files.wordpress.com/2010/12/fs-final.pdf>

A.4.1.____END OF PART A: CONCEPTUALISATION

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Studio AIR - Part A - Adela Saputra

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