Leong wengsum 683650 parta by Amelia Leong

STUDIO AIR JOURNAL

2016, SEMESTER 2, MATTHEW. LEONG WENG SUM (AMELIA), 683650.

CONTENTS SELF - INTRODUCTION A

CONCEPTUALISATION A1 DESIGN FUTURING A2 DESIGN COMPUTATION A3 COMPOSITION / GENERATION A4 CONCLUSION A5 LEARNING OUTCOMES A6 APPENDIX - ALGORITHMIC SKETCHES

CRITERIA DESIGN B1 RESEARCH FIELD B2 CASE STUDY 1.0 B3 CASE STUDY 2.0 B4 TECHNIQUE: DEVELOPMENT B5 TECHNIQUE: PROTOTYPES B6 TECHNIQUE: PROPOSAL B7 LEARNING OBJECTIVES & OUTCOMES B8 APPENDIX - ALGORITHMIC SKETCHES

DETAILED DESIGN C1 DESIGN CONCEPT C2 TECTONIC ELEMENTS & PROTOTYPES C3 FINAL DETAIL MODEL C4 LEARNING OBJECTIVES & OUTCOMES

BIBLIOGRAPHY

LEONG WENG SUM • AMELIA MALAYSIA • 21 ENVIRONMENT • ARCHITECTURE • THIRD YEAR I’m a third year student in bachelor of environment, majoring in Architecture. I have always been interested in arts, design and architecture since high school. Therefore, I decided to major in architecture to pursue my interest. Im always blown away by the innovative and creative structure produced by different artist and designers, which I hope I am able to create someday. I’m also find design studio and architecture ideas subjects intriguing. This is because it engages me to explore different existing design ideas and practices. Hence, it also pushes me to think beyond the boundary and adapting different computatioal skills to improve my design. Therefore, I am looking forward to the learning process of Studio Air, which encourages me to adapt to algorithmic design thinking that I not yet to come in contact with.

A. CONCEPTUALISATION

A1. DESIGN FUTURING

HARBIN OPERA HOUSE / MAD ARCHITECT LOCATION : HARBIN, CHINA DESIGN : 2010 CONSTRUCTION : 2011 - 2015 The Harbin Opera House, also known as the Harbin Cultural Centre, is the centerpiece of an ambitious new “culture park” in the city of Harbin.1 This design idea behind this project is radical in a positive way as it aims to challenge the language of architecture used in their country, by using architecture to shape society for the better, which would contribute changes to the pattern of living in Harbin and ways of thinking about architecture for the country.2 The new opera house is intended to reinstate some of the city’s identity in the denatured urban periphery, and creating something people will accept as part of Mother Nature.3 Therefore, it aims to preserve the existing wetland thus creating a harmonious flow and relationship between the architecture, people, and nature. This is achieved by the organic nature designed for the building and it’s interior. It mirrors the sinuous curve of the marsh landscape and the Songhua River, and blending seamlessly into the neighboring topography and terrains. Thus, the smooth white exterior aluminum panels and glass pyramids reflects the billowing snow and ice of the frigid climate in Harbin. This design has expanded the future possibilities of architectural design thinking. As Fry argued, “the presented focus of change is upon the processes of redirection rather than of form”.4 Therefore, This new opera house has marked the beginning of a new kind of architecture that would shape the country for the better, by redirecting the practice of architecture towards a different approach. This is obtained through attracting more users into the space, to encourage users to interact and appreciate more with the nature. Hayano mentioned that the citizens of Harbin are widely utilizing the natural space even though the opera house is still under construction.5 Therefore, this space could still be used in the same way as a part of everyday life for existing users and attracting potential users, which would be continued appreciated by the people now and in the future. The new opera house enriches the idea of design futuring by thinking about the future of the society and the nature, through preserving the nature hence encouraging the people to appreciate it as well.

1. Julian Worrall, ‘Harbin Opera House’, < http://www.iconeye.com/architecture/features/item/12384-harbin-opera-house> [accessed 1 August 2016] 2. Julian Worrall, ‘Harbin Opera House’, < http://www.iconeye.com/architecture/features/item/12384-harbin-opera-house> [accessed 1 August 2016] 3.Yosuke Hayano, ‘Harbin Opeta House’, GA Document, 134 (2015). 4. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Sydney: Univercity of New South Wales Press, 2009), p. 15. 5.Yosuke Hayano, ‘Harbin Opeta House’, GA Document, 134 (2015).

http://www.dezeen.com/2015/12/16/mad-sinuous-harbin-opera-house-completes-north-east-china/

THE HIVE ARTIST ARCHITECT LOCATION COMPLETION

: : : :

WOLFGANG BUTTRESS BDP INGRESSON EXPO, MILANO, ITALY. 2015

The Hive, is the UK Pavilion for the World Expo 2015 in Milan. The core theme for this pavilion is ‘Feeding the Planet, Energy for Life’, which aims to highlight and rise awareness to the most pressing challenges of our time – how to feed and sustain an expected rise in the world’s population to 9 billion by 2050.1 Therefore, the concept of this project is developed around the idea of the beehive due to the decline of the world’s bee population and the importance of pollination of the production of food.2 Thus, it also aim to explore how new research and technology are helping to address food security and biodiversity. The design of the pavilion consists of five experiential areas: the orchard; the meadow; the terrace; the architectural program; and the ‘hive’ – a cuboid lattice that forms the centerpiece of the design.3 The pavilion is designed to allow visitors to “follow the dance of a bee” through a series of different landscapes. Thus, it displays information about the lifecycle of bees and their rile in pollinating food crops.4 The hive is also embedded with illumination and sound to reproduce the effect of insects’ activity. This project is radical, as it offers a sensible and unique experiential journey by using audio and visual scheme that would induces users to stop and interact with the architecture and landscape. Through interacting with the project, the message embedded within the concept could then be delivered to the users. Therefore, it will continue to be appreciated as this architecture interacts with the users through implementing the emotional change in them. However, the pavilion is not used in the same way after the end of the 2015 expo, the hive is the only element retained from the entire pavilion. Design futuring aims to slow down the rate of defuturing, this project achieved this through attracting users to experience a piece of nature hence rising awareness in the problem of food production. The UK commissioner general Hannah Corbett mentioned that we need to bring together disciplines, about the way that science and art and business and nature and technology all need to combine of we are to find solutions to the problems of the future.”5 This project expand future possibilities by inducing people to redirect architectural thinking to multidisciplinary to resolve global issues. 1. GOV.UK, ‘UK Pavilion at Milan Expo2015’, < https://www.gov.uk/government/topical-events/the-uk-pavilion-at-milan-expo-2015> [accessed 5 Auguest 2016] 2.BDP, ‘UK Pavilion, Milan Expo’, < http://www.bdp.com/en/projects/p-z/uk-pavilion-milan-expo/> [accessed 5 August 2016] 3. Designboom. ‘The UK Pavilion Presents a Giant Aluminium Beehive at Expo Milan 2015’, <http://www.designboom.com/architecture/uk-pavilion-expo-milan-2015-wolfgang-buttress-05-01-2015/> [accessed 5 August 2016] 4. Dezeen Magazine, ‘First Image of the UK’S Beehive-Inspired Milan Expo Pavilion Released’, < http://www.dezeen.com/2015/04/15/wolfgang-buttress-bdp-uk-pavilion-milan-expo-2015/> [accessed 5 August 2016] 5. Dezeen Magazine, ‘First Image of the UK’S Beehive-Inspired Milan Expo Pavilion Released’, < http://www.dezeen.com/2015/04/15/wolfgang-buttress-bdp-uk-pavilion-milan-expo-2015/> [accessed 5 August 2016]

http://www.archlighting.com/design-awards/2015-al-design-awards-uk-pavilion-milan-expo-2015-milan_o

A2. DESIGN COMPUTATION As digital design software being constantly redefining over the years, it

has enhanced design processes in many ways. This is because we humans have limitation, which the computer is able to compensate. Therefore, with computer contributing their superb rational and search abilities, whereas human contributing the creativity and intuition needed to solve problems, we could create a very powerful symbiotic design system by creating a relationship between these two.1 With this, computing can be used to redefine design practice towards adapting a more constructed and variable design process. Computation impacts on the range of conceivable and achievable geometries through parametric design, which is a new form of the logic of digital design thinking.2 Complex “free-form” geometry is de-emphasized as a theoretical precondition, and viewed as one possible formal result.3 Design and construction industries are gradually adapting to digital design based to perform from design to production and from form generation to fabrication design, where complex geometry derived from parametric design could come into construction and production. The achievable unique and interesting building design would produce different visual and experiential quality that would induce changes in human emotions when interacting with architecture. One of the example work of computation presenting unique opportunities and innovations is the Musee des Confluences by Coop Himmelb(l)au. The design of this building consist of a giant, shaped-edges cloud suspended in the air and geometrically sculpted out of an alternating combination of clear-cut and blurred facets making the alignments must clearer and stylized.4 The reflection on the project theme of contrast and divergence using the materiality difference between glass and aluminum is made possible by digital design software to create executive forms very similar to the machine instructions required for the automated cutting of individual sections and glass panes or aluminum paneling used for cladding purposes.5 Computation has proven to produce complicated geometrics that twist and fold in astonishing precision as seen in figure to create an innovative design, that expand the possibilities of computational design. The second example is The Board art gallery.6 The design concept is described as “the veil and the vault”, the vault is enveloped by the “veil,” a porous, honeycomb-like, exterior structure that spans across the block-long building and provides filtered natural daylight.7 The result of the exterior concrete is given a softer effect compared to Brutalist building use of concrete, which is achieved using digital materiality. Other than that, the unique honey-comb-like pattern is also achieved using digital fabrication. This project has proven digital design and fabrication could produce customization that has variability.

1.Yehuda E. Kalay. Architecture’s New Media: Principles,Theories, and Methods of Computer Aided Design. (Cambridge, MA: MIT Press, 2004), p.3. 2. Rivka Oxman and Rober Oxman, Theories of the Digital in Architecture. (London; New York: Routledge, 2014). p.3. 3. Oxman and Oxman, p.2. 4. Joseph di Pasquale, ‘Musee des Confluences’, I’ARCA International, 123(2015), p. 27. 5. Joseph di Pasqualem p. 28. 6. Johnny Tucker, ‘Thinking Inside the Box’, Blueprint, 342 (2015). 7. The Board, ‘The Building’, < http://www.thebroad.org/about/building> [accessed 7 Auguzt 2016}

MUSEE DES CONFLUENCES / COOP HIMMELB(L)AU COMPLETION : 2014 LOCATION : LYON, FRANCE. http://www.designboom.com/architecture/coop-himmelblau-musee-des-confluences-lyon-france-06-21-2015/

http://www.designboom.com/architecture/coop-himmelblau-musee-des-confluences-lyon-france-06-21-2015/

THE BOARD MUSUEM / DILLER SCOFIDIO + RENFRO COMPLETION : 2015 LOCATION : LOS ANGELES, CA http://www.archdaily.com/772778/the-broad-diller-scofidio-plus-renfro

http://www.archdaily.com/772778/the-broad-diller-scofidio-plus-renfro

A3. COMPOSITION / GENERATION Architectural design practice has gradually adapting to generative design approach with computational design software offering new possibilities towards design solution. Generative design approach mimics nature’s evolutionary approach to design that generates high-performing design alternative, where form generation is based on algorithmic rules.1 This design approach has shifted physical model and drafting tools to parametric modeling and algorithmic scripting. Although generative design approach has improve the design thinking and practice process, it still has it’s strong point and shortcomings. Generative design offers a wide range of design alternative to one single approach, where designers could choose which would perform best with the design approach. Thus, it makes impossible design possible as it allows designers to create optimized complex shapes and internal lattices. The production of impossible form is also made possible with the integration of generative design and fabrication. Other than that, this design approach optimizes material, manufacturing methods and cost.2 This is achievable as the software allows designer to set goals and parameters, where the design results produced would based on those set constraints.3 An example of the strong point being realized in a project is the Louvre Abu Dhabi. The primary architectural feature of this project is an expansive and perforated dome hovering above the man-made archipelago.4 It consist of four internal and external layers with lattice structure that allows sunlight the permeate the heart of the complex.5 The layering and texturing effect obtained is made possible with the use of generative design approach, where different lattice patterns are formed within the 180 meters diameter domes by setting parameters for the design. In contrary, generative design has its shortcoming as well. Although generative design provides alternative design solution, however, not all design solution is able to bring into production since the construction technologies are not as advance. Therefore, generative design produces design solution that may perform well for a concept, but would be unrealistic to produce. Therefore, this approach has somewhat became a architectural design fantasy. An example of the shortcoming in generative design is winner of eVolo’s 2015 skyscraper competition – Essence Skyscraper. This building aims to create a non-architectural phenomenon in an urban fabric, which consist of 11 different natural landscapes within this vertical structure.6 With the help of generative design, it is possible to achieve the scale and design easily. However, this idea is not conventional, as society now does not own the technology to build this project however great the idea is. Therefore, technologies need to be enhanced to keep up with utopian building idealism of the people.

1. Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] 2. Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] 3. Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] 4. Paul Keskeys, ‘Rendering to Reality: Jean Nouvel’s Domed Louvre Takes Shape in Abu Dhabi’, < http://architizer.com/blog/jean-nouvel-louvre/> [accessed 11 August 2016] 5. Paul Keskeys, ‘Rendering to Reality: Jean Nouvel’s Domed Louvre Takes Shape in Abu Dhabi’, < http://architizer.com/blog/jean-nouvel-louvre/> [accessed 11 August 2016] 6. eVolo, ‘Winners 2015 eVolo Skyscraper Competition’, < http://www.evolo.us/category/2015/> [accessed 11 August 2016]

LOUVRE ABU DHABI / JEAN NOUVEL COMPLETION : 2016 LOCATION : ABU DHABI, UNITED ARAB EMIRATES http://www.archdaily.com/793182/in-progress-louvre-abu-dhabi-jean-nouvel

http://www.archdaily.com/793182/in-progress-louvre-abu-dhabi-jean-nouvel

ESSENCE SKYSCRAPER / EWA ODYJAS, ANGLESZKA MORGA KONRAD BASAN, JAKUB PUDO COMPLETION : 2015 LOCATION : POLAND

http://www.evolo.us/category/2015/

A4. CONCLUSION The concept of design futuring is pursued with redirection of practice, adapting to an approach that would address or improve the defuturing future of our society. Redirecting the architectural practice leads to wide usage of computational design to create architecture forms which is more complex and innovative compared to before in order to induce the concept of future designing into the projects. The complex and innovative architectural design is achieved using generative design approach of computational software that creates new design possibilities and solutions. Since retaining nature environment is the priority to sustainable design in response to the defuturing future of buildings nowadays. After doing research on various architectural projects, I realized many designers are gradually responding to the crisis of the future for human and nature. Therefore, I intend to approach my design thinking and idea that is based on the concept of nature or system of nature. Although there is a growing awareness among designers regarding the problem of unsustainability, however, many people are still disassociating themselves with the environmental crisis. By integrating the concept or system of nature with architectural design, I am able to induce sensibility and experiential to the users using innovative architecture, in order to deliver the importance of the existence of nature in sustaining the future of human kind. As Fry argued, â&#x20AC;&#x153;nature alone cannot sustain us: we are too many, we have done too much ecological damageâ&#x20AC;?.1 Therefore, us human have to find a way to sustain ourselves to retain the existence and future or human kind and Mother Nature.

A5. LEARNING OUTCOMES After having deepened my knowledge and skills on architectural computing, I am able to enhance my design practice and skill. Although the process of understanding and learning these designing software is struggling and complicated, however, these processes is required to gained desired complex design outcome. Overtime, I am able to derive design variability in short amount of time, which is unattainable by using compositional approach. Besides that, the understanding of the readings has answered my questions to the importance and benefits of the process of architectural computing in relation to design futuring and integrating with fabrication. These theory and practices has opened my eyes to the future possibilities of architectural design that would shape society, which I could implement in my future design approach. Before being introduced to architectural computing software, I would only produce strict geometry forms, however, I was able to create more fluid and sensible form after acquiring computation design skill.

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Sydney: Univercity of New South Wales Press), p. 3.

A6. APPENDIX

These sketches experiment the technique of lofting using a open curve to generate one free flow form.

Whereas this sketches experiement the technique of lofting using closed courve or geometry to create a form. By just simply twisting each closed curves, I am able to obtain different design outcome. This has shown that generative approach design produced multiple design solution.

Through using lofting to engage with this exercise, I understand how to insert different geometry or curve to gain one complete form. Thus, then it could be engaged to used in multiple way. The idea of form ever follow functions is obtained here, where the flexibility of the form produced flexibility in the function.

BIBLIOGRAPHY Autodesk, ‘Generative Design’, < http://www.autodesk.com/solutions/generative-design > [accessed 11 August 2016] BDP, ‘UK Pavilion, Milan Expo’, < http://www.bdp.com/en/projects/p-z/uk-pavilion-milan-expo/> [accessed 5 August 2016] Designboom. ‘The UK Pavilion Presents a Giant Aluminium Beehive at Expo Milan 2015’, <http://www.designboom.com/architecture/uk-pavilion-expo-milan-2015-wolfgang-buttress-05-01-2015/> [accessed 5 August 2016] Dezeen Magazine, ‘First Image of the UK’S Beehive-Inspired Milan Expo Pavilion Released’, < http://www.dezeen. com/2015/04/15/wolfgang-buttress-bdp-uk-pavilion-milan-expo-2015/> [accessed 5 August 2016] eVolo, ‘Winners 2015 eVolo Skyscraper Competition’, < http://www.evolo.us/category/2015/> [accessed 11 August 2016] GOV.UK, ‘UK Pavilion at Milan Expo2015’, < https://www.gov.uk/government/topical-events/the-uk-pavilion-at-milan-expo-2015> [accessed 5 Auguest 2016] Johnny Tucker, ‘Thinking Inside the Box’, Blueprint, 342 (2015). Joseph di Pasquale, ‘Musee des Confluences’, I’ARCA International, 123(2015). Julian Worrall, ‘Harbin Opera House’, < http://www.iconeye.com/architecture/features/item/12384-harbin-operahouse> [accessed 1 August 2016] Paul Keskeys, ‘Rendering to Reality: Jean Nouvel’s Domed Louvre Takes Shape in Abu Dhabi’, < http://architizer. com/blog/jean-nouvel-louvre/> [accessed 11 August 2016 Rivka Oxman and Rober Oxman, Theories of the Digital in Architecture. (London; New York: Routledge, 2014). The Board, ‘The Building’, < http://www.thebroad.org/about/building> [accessed 7 Auguzt 2016} Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, (Sydney: Univercity of New South Wales Press,