Jiang shan 783943 part a

STUDIO AIR 2017, SEMSTER 2 TUTOR: FINNIA WARNOCK STUDENT: ALICE SHAN JIANG (783943)

CATALOG PART A 0.0 Biography

P. 4~5

1.0 Design Future

P.6~13

1.1 Case Study 1

P.6~9

1.2 Case Study 2

P.10~13

2.0 Design Computation

P.14~21

2.1 Case Study 1

P.14~17

2.2 Case Study 2

P.18~21

3.0 Composition Vs. Generation

P. 22~29

3.1 Case Study 1

P.22~25

3.2 Case Study 2

P.26~29

4.0 Conclusion

P.30

5.0 Learning Outcomes

P.31

6.0 Appendix

P.32~33

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0.0 BIOGRAPHY Even though I have been exposed to a passionate atmosphere about design since I was young, I started formal academic training until university. Therefore, I may not be the person most advanced in skills, but I have always got the passion about architecture.

I believe design continuously acquires nutritions from what designers have experienced, from travelling, reading and critical reflection. Also, I believe one of the most important characteristics which designer should equip is to be “insatiable�. We should never be satisfied about what they have achieved, which hence never stop us to pursue new knowledge and produce better outcomes.

My name is Shan Jiang. I am also

happy to be called Alice, and I am currently a third year architecture student at University of Melbourne.

My interest of architecture actually inherits from my parents both of who are interior designers and appreciate architecture a lot. Whereever we see buildings, maybe when we travel or even simply on magazines, we enjoy discussing them, which equipped me with a good understanding of architecture.

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Moving to the third year in the University, I gradually find how digital design plays a more significant role in the design practices. Thus, I am interested to investigate more about digital design and fabrication through the Studio Air.

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01 Second Skin - Keep Personal Space. From Digital Design & Fabrication, 2017

02 Second Skin - Keep Personal Space. From Digital Design & Fabrication, 2017

03 Herring Island Pavilion Place for Keeping Secret.

From Design Studio Earth.

01 Southbank Boat House Learning from the Master.

From Design Studio Water.

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1.1 CASE STUDY 1

Masdar City Plan, 2006 Foster & Partners

01 In 2006, the Masdar Company launched the plan to build an autonomous sustainable city in the desert of Abu Dhabi, and the Foster & Partner was assigned for this project. (Dezeen) At the time when the plan was published, it unrolled an almost ideal image of the future city. For instance, residential buildings, leisure facilities and business centres are placed in a clustered pattern connected by the electric transport lines, (critics) which I found to share similarities with Alison & Peter Smithson Golden Lane Project. The Masdar city plan was radical at the time not only because of its ambitious target of zero carbon-emission, but also because it didn’t engage with any existing urban patterns, rather it embarked on a daring plan upon an empty site of a barren desert landscape. Passively speaking, it inspires fellow designers with potential strategies for sustainable city, for instance, the solar panels could function both as renewable energy generators and architectural shelters, as well as the idea of “green city�.

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01 Masdar City Centre Rendered Perspective

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Masdar City Residential House Rendered Perspective

03 Masdar City Business Centre Rendered Perspective

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Plan Vs. Reality On the one hand, the Masdar project is a prefigurative design because it was actually resulted from the awareness of the problems in the future when the nation run out of oil (CNN). On the other hand, it is a redirecting design because it establish new system towards sustainability rather than merely slowing down the defuturing process. Both of the characteristics are considered as essential factors to passive future design in Fry’s book. (Fry, p.11~13) Moreover, it is important that the Masdar project has been launched for construction so that we are able to examine whether this radical prefigurative and redirecting design would work in reality. Unfortunately, according to with recent investigation, the completion of Masdar city has been delayed to 2030 due to the strike of financial crisis, and the zero carbon-emission would definitely not be realised anytime soon, as well as other problems occur with the evolvement of third-party investors (CNN). Thus, this project could become another dishonest design which is coated with “sustainability”, but substantially a trivialised and stylised practice (Fry, p.6).

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Therefore, this example consolidates Fry’s criticism towards the deregulated design of purely appearance and perfomance (Fry, p.7). It is practical in a technical aspect, yet it is restricted by the economic and political frame. Apart from the Masdar city, there are numbers of ongoing conceptual architectural designs that are only performance-oriented and fail to expand the future possibility.

Learning from the lessons of Masdar project, we need to be more critical about other paper design, yet we shall also embrace brave attempt of redirection.

04 Business Centre Reality in 2010

05 Solar Panel Construction Reality in 2010

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Residential House Reality in 2010

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1.2 CASE STUDY 2

Voussoir Cloud, 2008 Iwamoto Scott,

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01 Voussoir Cloud Pavilion Pattern Details

02 Voussoir Cloud Pavilion Relative to Human Scale

03 Voussoir Cloud Pavilion at Night

As discussed in the Case Study 1.1, an architecture practice that is only “stylised” cannot be considered as an honest sustainable design. Yet current architecture and other design practices tend to “render the invisible more and more of the materiality and operability” and subsequently value more on appearance. Despite this, as Fry demonstrated, “sustain-ability should suggest a more materially grounded objective and agency”.

Thus, the following Case Study would give an example of how material performance plays a fundamental role throughout the design practice The Voussoir Cloud Project is fundamentally based on the empirical testing of how the thin wood petal perform in different shapes and how a group of modules operate together in real life. The shape of the wood petal module is inspired by the precedent experience of the “wedge shaped masonry blocks that make up an arch”, and the overall shape of the vault is the subsequent result the operation of the groups of module. (https:// iwamotoscott.com/projects/voussoir-cloud) 01

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Generating Form This form generating process is quite similar to Antoni Gaudi’s “hanging chain” module, both of which explore the system rules through prototyping, and apply these rules to form outcomes. Thus, it can be acknowledged as a critical design which, as Dunnne demonstated, transcribes critical thought via materiality. (Dunne, p.35) Apart from its materiality, the design process also engages systematic logics that is essential for the future parametric design. It means when one module changes its shape, edge numbers or position, the whole composition would be changed completely. To a large extent, this integrated relationship expressed in this modular design is influential on design futuring, and that we need to be aware of each design practice continues design beyond human-initiated act. (Fry, p.3) Although this project is a temporary installation which does not solve any urgent environmental problem, it inspires me of how to produce a genuine design. I start to evaluate some characteristics shared by effective practices from the readings and case studies. Among these characteristics, probably the most practical one is to base the design on exploring the material performance rather than pure appearance, and in other words, to define a system’s rule rather than its outcomes.

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2.1 CASE STUDY 1

Connecting Intelligence Pavillion, 2012, Oliver David Krieg

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New developments in computational design as well as in digital fabrication are currently leading to a rethinking of architectural design, material science, engineering and fabrication. Some argue that there is a gap between computational design and fabrication and that they are separated and detached during the industrialisation.

(Kieran, S. & Timberlake J. (2004). Refabricating Architecture. How Manufacturing Methodologies Are Poised to Transform Building Construction, McGraw–Hill, New York.)

However, the following Case Study 2.1 shows a practice that performs as a “continuum of design to production� with the continuous aid of computing. (Oxman, p.2)

Computation Generates Forms The Connecting Intelligence project is a material performance oriented project, and thus it started by researching the past and potential development of timber. Then these data were input into computer, and with the help of mediated softwares, the designer was able to generate variable forms based on material performance. In this case, computing not only enhances the design process by doing numerous calculations fast and accurately, but also opens up the possibility of architecture forms which is unconceivable manually. (Oxman, p.4)

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Computation helps Fabrication The digital design process is dynamic with single change of module producing a distinguish outcomes, whereas the fabrication process is solid where the computation tools were precisely programmed and cooperated as non-human constructor team. The prefabricated models by CNC were later assembled by industrial robot. This project shows it is possible to employ computation tools throughout design to production, that is, use programmed digital tools to transcribe research into virtue design, and then to prefabrication, eventually to modular assemblage.

In fact, it points out a potential direction for construction industry, which largely reduce the technical workows of human constructors. Despite this, however, I would argue that computing cannot re-deďŹ ne architecture practice because, as Kaylay demonstrated, computers lack creative and decisionmaking abilities. (Kaylay, p.2) Thus, it can enhance the design process instead of re-deďŹ ning it, and in this case, what becomes crucial is the communicative ability of human designers to computers.

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Fabrication Process Diagram

Intelligence Connecting Pavilion Aerial Perspective

02 Intelligence Connecting Pavilion Perspective

03 Assemblage Diagram

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2.2 CASE STUDY 2

Textile Hybrid M1, Student Project & ICD

01 Texitle Hybrid M1 Under Construction

02 First Layer Finished Assemblage

03 First Layer Finished Assemblage

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The Case Study 2.2 will exemplify how digital materiality provides more possibilities on formation of design. Before starting to look into the project, it needs to be clarify that I understand digital materiality as a process of simulating material behaviour in the virtue world and subsequently create innovative form and enrich the possibility of achievable geometries out of conventional material. This is something that physical prototyping is not capable enough to achieve. (https:// www.scribd.com/document/282123202/Digital-Materiality-in-Architecture)

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Computation Generates Forms

04 Focusing back to the project a performance-oriented project initially assigned to build a canopy with minimal exertion but adequate protection over a historic site of the stone tower designed by Leonardo da Vinci. To achieve the minimal surface, the designers came up with the idea of having a tensile membrane skin system over a highly elastic bone structure, both of which are lightweight and translucent. At this stage, computation of simulating material behavior became critical to the accomplishment and calibration of the design.\ They started with straight rods and slowly deformed it, and then secured its position with tensile membrane surface, and this process were manipulated largely with computation.

Since this innovative structural system is entirely self-directing, it should be realised that it is impossible for physical prototyping alone to predict how the system would work in variable iterations.

Meanwhile, with the aid of computation tools, such as Finite Element simulation in SoďŹ stik, designers were able to test varying material parameters and determine the structural composition. As Oxman suggested, the development of digital materiality and performative analysis would advance contemporary tectonic expression, which is the key feature of this project.

(Oxman p.6)

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04 Computational Generation of Form

05 Digital Model Perspective

06 Digital Model Perspective

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3.1 Case Study 1

AADRL Behavior Production, 2013AA School of Architecture

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-15, In Peters article ‘Computation Works: The Building of Algorithmic Thought’, he stated two design strategies, one conventional strategy using computers to digitalise the preconceived ideas in designer’s head, whereas the other non-standard strategy employing digital tools to be the driving force of design innovations. He defined the former as “Computation” and the latter as “Computerisation”.(Peters, p.100 I would argue that both of the two methodologies are beneficial for design practices, yet, compared to “Computation”, “Computerisation” can be more advanced in terms of its ability to extend the designers creativity instead of being restricted by human intelligence. At this case, the Case Study 3.1 will be introduced to give a good example of how Computerisation expands the possibilities of achievable design solutions.

01 Digital Model of the Bridging Structure

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Form Generation

02 3D Printing Process

03 Digital Model of Assemblage

04 Visualization of the Assemblage Process

In the experimental research of producing a bridging structure on an extreme topography where human-beings are unable to access, a robot system was precisely programmed to take the responsibility of both designers and constructors. In fact, human designers would roughly predesign the form of the structure, but the robot builders have the ability to optimise it according to the feedback of structural performance during the construction process. This is what Peters defined as the “algorithmic thinking”, which means human designer only plays an interpretive role to generate the coding systematically, speculating the design outcomes without exactly visualising it.(Peters, p.10) This actually makes the digital tool to be the final decision maker of design. At this point, some may question will computers take place of human designers. I would argue no because computers lack the ability of autonomous creativity. Undoubtedly, from this case study, we can admitted that the robotic system made better decision in design process based on its ability of processing enormous data and providing a most efficient solution. At the same time, it can also access and build somewhere humans cannot. However, it should be aware that all these robotic behaviours were based on algorithms defined by human designers. In the current age of widely using digital tools in design practices, we shall not worry about computers overwhelming or restricting human designers once we manage the tool of computerisation. Indeed, as Wilson and Frank emphasised, it is subjective to overstate the ability of algorithms and computation. (Wilson, p.12)

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3.2 Case Study 2

Khan Shatyr Entertainment Centre, 2006~2010, Foster + Partners

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The first case study I analysed in Part A is the Masdar City Plan project by Foster & Partners, i think it could produce a nice echo with the start by finishing Part A with an another project of them called Khan Shatyr Entertain Centre (KSE Centre) in Kazakhstan, which is also a good example showing the design process from “composition” to “generation”.

01 KSE Centre In Sunset

02 Tripod Structure in the Centre

03 Tunnel Pathway inside the Centre

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Form Generation

The project was actually started by a conventional “composition” strategy which suggests arrange different existing architectural components to achieve certain intentional spatial or aesthetic qualities. In this case of the KSE Centre, it can be indicated from the original report that the designers had already preconceived a form of tent to resonate the traditional nomadic building form, and also to landmark which would be the new highest peak on the city’s axis. (http:// www. fosterandpartners.com/projects/khan-shatyr-entertainment-centre/) Thus, from the primary sketches, we can only see how different functional units would be arranged within this tent-shaped unity.

It is actually during the second stage after the primary draft design that the design team shifted from “composition” to “computational generation”. Specifically speaking, due to the complexity of constructing such a large-scaled tensile structure, a form-finding algorithm was applied in the digital modelling stage to eventually define the building form. (Peters, p.10) Also, according to the engineering group, it is said that the “digital thermal modelling and 3D CFD (computational fluid dynamics analysis)” enabled them to make adequate numbers of tests and optimal improvements before physically building it. (BUROHAPPOLD. pdf) T herefore, from this case study, we can demonstrate that it is more beneficial to combine the two strategies of “composition” and “computational generation”. It is because sketches can express comprehensive information efficiently and quickly, whereas computers can resolve complex calculations and visualise the outcomes easily, and designers should take advantage of both.

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4.0 Conclusion Through readings, lectures and the 6 precedent studies in Part A, I critically discuss the topic of ‘sustainability in future design’, ‘how computation affects design’ and ‘composition Vs. generation design strategy’ respectively. Although they are three separated topics, I find that there is actually a progressive relationship among them. And in these three topics, I consistently explore the field of “Material Perfomance”, which will potentially be the main topic I would like to focus in Part B and future project.

In the first topic, it has been emphasised that sustainability would be the central theme that designers should focus in future project. It is critical to achieve true sustainability because of three reasons: firstly, there is a small chance to propose a solution to essentially change currently situation; secondly, even there is, it can be restricted by culture, economy and thus hard to execute; thirdly, there is a large amount of dishonest design which conceals the essence of sustainability. What we can do, therefore, in a practical sense, is to speculate and eventually redirect human needs through architecture that takes advantage of essential qualities of structure and material.

The second topic discuss how computation has effectively influence today’s design practices. The point I want to emphasis again is that even though computational tools has brought great convenience and more possibilities, they cannot redefine design process because human designers still play the most crucial roles as decision-makers and creators.

Thus, it is critical to equip ourselves with the ability to communicate and manage with computation.

Last but not least, the third topic compares two design strategies, one arranges existing architectural forms (i.e. Composition), and the other generates forms through defining a systematic rules (i.e.Generation). We should probably focus more on the Generation strategy to produce more iterations and design possibilities throughout this class.

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1. Develop a personal interest in material performance, and set up the potential direction for the next project.

2. Being able to critically analyze a project in terms of its advantage in strategies, instead of merely focusing on its aesthetic appearance.

3. Acquire an improvement in algorithmic thinking as well as ability to generate various outcomes in grasshopper and rhino.

4. Being able to differentiate computation and computerisation.

5. Critically evaluate the role of computation in design and avoid being restricted by digital softwares

5.0 Learning Outcomes

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6.0 Appendix

Algorithm Sketch

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Reference [1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.1 [2] Masdar City Plan, Dezeen,<https://www.dezeen.com/2009/08/28/masdar-city-centreby-lava/ > [3] CNN, “An eco oasis rising up in the Abu Dhabi? Photographing the ‘City of Possibilities’” < http://edition.cnn.com/2016/08/25/arts/city-of-possibilities-etienne-malapert/index.html> [4]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.11~13 [5]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.6 [6]Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.7 [7] IwamotoScott Architecture, “Voussoir Cloud”, <https://iwamotoscott.com/projects/ voussoir-cloud> [8] Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) p35 [9] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.3 [10] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.2 [11] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.4 [12] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p.2 [13] Digital Materiality in Architecture, < https://www.scribd.com/document/282123202/ Digital-Materiality-in-Architecture> [14] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.4 [15] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p.10 [16] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p.10 [17] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), p.12 [18] Foster + Partners, < http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/> [19] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, p.10 [20] Burohappold Engineering<http://www.burohappold.com/wp-content/uploads/2017/07/Khan-Shatyr-Entertainment-Centre.pdf>

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