Yakun li 798554 AIR A by Arkun Li

STUDIO AIR 2017, SEMESTER 2, David Wegman Yalun Li

CONCEPTUALISATION

Table of Contents 4

A.0. INTRODUCTION

A.1. Design Futuring

A.2. Design Computation

A.3. Composition/Generation

A.4. Conclusion

A.5. Learning outcomes

A.6. Appendix - Algorithmic Sketches

Bibliography

A.0. INTRODUCTION

CONCEPTUALISATION

Hi, this is Yakun Li, a girl from China. I was born in north China and moved to south China after high school. Recently, I study aboard in Australia. Therefore, you could see me as a northern girl or a southern girl. In the last semester, I had studied Digital Design and Fabrication. Our group built this skin and bone system model. With this experience and all the other subjects I learned before. I could use some of the software like Rhino, Autocad, Photoshop, Indesign. I believe that the studio Air would grow my software skill with the new technique Grasshopper to improve my ability for designing.

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A.1. Design Futuring

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What is the future like? Most of the people image the future since the childhood. The real interesting part of the future is the idea of the possibility of the future and how could the future be the tools to comprehend the present improved and to discuss desired future1. We, as the future architects, who will design the future. The ďŹ rst thing we could do may research the past work for future. How these architects and architectures designed for their future? How these past futures recently?

1. ANTHONY DUNNE AND FIONA RABY, SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (2013), P2.

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A.1.1. BEIJING WATER CUBE

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The Water Cube is the Beijing National Aquatics Centre which was designed and built by an Australian architecture firm PTW Architects. It is the typical membrane system architecture which was revolutionary at that day. Hence, the stunning architecture won number of awards in 2004 (Award for most accomplished work Atmosphere section in Venice Biennale), 2006 (Popular Science Best of what's new 2006 in engineering), 2008 (NSW 'Project of the Year' award from the Australian Institute of Project Management), 2009 (40th annual MacRobert Award, the UK's biggest prize for engineering innovation), and 2010 (International Association for Bridge and Structural Engineering 2010 Outstanding Structure Award). The form of the water cube is inspired by the natural formation of soap bubbles which is tally with the Aquatics Centre theme. It looks random and organic despite at any angle though it is completely regular. To attain its spectacular form, the structure of the water cube was designed amazingly even compares with most of the buildings recently. The design team started to construct the geometry of the structure with an infinite array of foam and then carve out a block equal to the size of the building. They built the CAD model to describe the idea. Moreover, they developed new software to select the member sizes through an iterative optimization process automatically. It could be defined as a revolutionary of architecture that using the new software to run the model mechanically. The structure was analysed and shaped logically in time by itself. This process could not be accomplished even in five years before that which does influence the future certainly. The material chose is sustainable which is accord with the requirement recently and future. The cladding of the Water Cube was built by ETFE which could transmit more UV light than glass and cleans itself with every rain shower. It reaches the desired greenhouse effect for the inside of the building which reduces the energy consumption around 30 percent1. Therefore, this architecture represents how the smart city could be in the future and encourage more efforts the architecture design in the future. Moreover, it keeps the original use of an Aquatics Centre to hold matches as well as become a tourist attraction and a water park. It considered with the local culture additionally. The light of the Water Cube is the art work which represents the ancient Chinese wisdom and aesthetic in an abstract way2. The new technique delivers the new mode of the design of traditional values.

1. TRISTRAM CARFRAE, ‘ ENGINEERING THE WATER CUBE’, ARCHITECTUREAU (ARCHITECTURE MEDIA PTY LTD, REVISED 1 JULY 2006) <HTTP://ARCHITECTUREAU.COM/ARTICLES/PRACTICE-23/> [10 AUGUST 2017] 2. DESIGNBOOM, ‘JENNIFER WEN MA + ZHEN JIANWEI ILLUMINATE BEIJING WATER CUBE’, DESIGNBOOM <HTTPS://WWW. DESIGNBOOM.COM/ART/JENNIFER-WEN-MA-ZHEN-JIANWEI-ILLUMINATE-BEIJING-WATER-CUBE/> [10 AUGUST 2017] CONCEPTUALISATION

A.1.2. ICD/ITKE RESEARCH PAVILION AT THE UNIVERSITY OF STUTTGART

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ICD/ITKE Research Pavilion is the pavilion constructed for a biological research collaboration between the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart in 2011. It is a skeleton pavilion which looks like a sea urchin. It translated the biological principles to architecture which did not copy the shape of the sea urchin directly. It took the sea urchin’s plate skeleton morphology to build by using novel computer-based design and simulation methods. The computer-controlled manufacturing methods show the possible at the time. It could be realised as the sea urchin as well as each part of it is only a range of plywood geometries. Biology was shown by the architectural method. Architecture got a fascinating from biology. It deﬁned the possibility for future that the building for could be transformed from everything which would not only from the traditional geometries. Not only the form was inspired by biology, but also the structural possibility was enlightened by biology. The polygonal plates of the skeleton are linked by its ﬁnger-like calcite protrusions at the edges which would

supply the capacity of high load bearing. The traditional carpentry ﬁnger-joints connection elements could be seen as the technical equivalent of this biological protrusions. With this similarity, the other fundamental properties of biological structures were transmuted in architectural structure. Such as heterogeneity, anisotropy, and hierarchy. To achieve this marvellous transboundary design, the team produced it with the robotic fabrication from the university. The computational program supplied the automatic generation of the machine code (NC-Code) to control the robot. It could characterize the future. The automatic digital process with the robot may be the expectation about future for most people immediately1. This project may not oﬀer the practical function like the Water Cube at present. Though, it provides the prospect for the future architecture. It indicates the opportunities for the architecture exchange with other subjects for its foam, structure, and construction. It also gave the thinking of how could the design of architecture be. Maybe the architects would not need to design a building rather than design the system to grow up a building.

1. AMY FREARSON, ‘ICD/ITKE RESEARCH PAVILION AT THE UNIVERSITY OF STUTTGART’, DEZEEN (REVISED 31 OCTOBER 2011) <HTTPS:// WWW.DEZEEN.COM/2011/10/31/ICDITKE-RESEARCH-PAVILION-AT-THE-UNIVERSITY-OF-STUTTGART/> [10 AUGUST 2017] CONCEPTUALISATION

The evolution of digital technology has developed enormously in the last decade. It inďŹ&#x201A;uences the design, especially architecture. Design computation has created a new domain for architecture theories between science, technology, design and architecture culture1. Furthermore, architecture design is more complex than other kinds of design, such as fashion design. There are numerous constraints for architecture design. Such as functionality, constructional reality, cost, climate. Computation could be helped for not only design but also to solve these problems.

1. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON, NEW YORK: ROUTLEDGE), P.1

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A.2. Design Computation

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AA Driftwood Pavilion is the AA Intermediate Unit 2 Summer Pavilion in 2009. Some said it is designed by the think of the sea which has the inextricable link with the UK. The form of it looks like the wave by the motion of the water creates a rest in the busy central London1. Some said it was inspired by images of the Jordanian city of Petra2. This pavilion is a plywood structure which adheres to a target of minimal material wastage. With the computing technique, we could build the similar model of this pavilion by grasshopper by ourselves quickly. Though, it is an ongoing long-term design project with changing the outcome in fact. From 2004 to 2009, there were a series of pavilions be designed by computation way. We could find that the forms were transformed step by step. Computing affects the design process logically. It still could get other results with the same function. This pavilion is like the test of showing the possibilities that the computing technology could achieve. For the designer, the Driftwood Pavilion is neither art nor architecture, science nor ecological adventure. It is a defined classification sculptural installation and prototype. It also shows how computation could create invention, experimentation, new materials, and aesthetic intelligence. Therefore, a panel of seven distinguished judges from the worlds in architecture, engineering, design, media and ecology field selected this pavilion to exhibit3. AA Driftwood Pavilion could be seen as the epitome of the large building design with computation. The geometry of the most building recently is still box. Though, with the computation, the form actually could be organic which is created by computing. The reason that the “irregular” shape could be accomplished is that all of these are computed which is already be considered the construction prospect. Computation is the destiny for architecture developing. Rivka Oxman and Robert Oxman believed that the architectural theory and culture are divested by the digital innovation in representational design in the dominant logical and operative mode of formal generation4. More styles and options are supplied by computation for us future architect to upgrade the architecture. Computation could be defined as one novel kind of pens for us to draw the future. 1. MARCUS FAIRS, ‘DRIFTWOOD BY AA UNIT 2’, DEZEEN (REVISED 25 JUNE 2009) <HTTPS://WWW. DEZEEN.COM/2009/06/25/DRIFTWOOD-BY-DANECIA-SIBINGO/> [10 AUGUST 2017] 2. ARCH2O, ‘ 2009 SUMMER PAVILION | THE ARCHITECTURAL ASSOCIATION’, ARCH2O <HTTP://WWW.ARCH2O. COM/2009-SUMMER-PAVILION-THE-ARCHITECTURAL-ASSOCIATION/> [10 AUGUST 2017] 3. FAIRS, ‘DRIFTWOOD BY AA UNIT 2’. 4. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.5

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A.2.1. AA DRIFTWOOD PAVILION

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Voussoir Cloud is designed by the studio Iwamoto Scott in San Francisco which is an interdisciplinary practice founded by the architects Lisa Iwamoto and Craig Scott. It is a landscape of vaults and columns in clusters of three-dimensional petals which created by using computation way for the Southern California Institute of Architecture gallery, Los Angeles. It is the wonderful example of the digital technology in architecture design process which confirms the opinion of Oxmans that the relationships between the formulation of design processes and developing technologies have begun to qualify a set of symbiotic by computation in architecture1. The folding thin wood laminate along curved seams built this landscape which was calculated in the design process. The curvature of each piece was been confirmed that could work in reality by computing. In another word, the computing makes the design process been more efficient which did not need the manual calculation. This shows how the architectural theory has been effected that formation precedes form2. The logic of the computing provides the generate of architecture design. Voussoir Cloud provides the sensorial effects which the traditional designing almost achieved impossible by computation. It attempts to defamiliarize both structure and material which create opposed readings of normative architectural typologies. The compressive elements created the light, porous surface that produces atmosphere with these luminous wood pieces3. The structure of Voussoir Cloud is the structural paradigm of pure compression coupled with an ultralight material system which completes by only the computation. The article from WordPress mentions the detail of it. The overall design draws from the work of engineer/architects such as Frei Otto and Antonio Gaudi, who used hanging chain models to find efficient form. We used both computational hanging chain models to refine and adjust the profile lines as pure catenaries, and form finding programs to determine the purely compressive vault shapes. In this case, however, the structural and material strategies are intentionally confused. Each vault is comprised of a Delaunay tessellation that both capitalizes on and confounds the structural logics — greater cell density of smaller more connective modules, or petals, gang together at the column bases and at the vault edges to form strengthened ribs, while the upper vault shell loosens and gains porosity. At the same time, the petals — our reconstituted ‘voussoirs’, typically defined as the wedge shaped masonry blocks that make up an arch — are reconsidered here using paper thin material.”4 Without the computational method, Voussoir Cloud could never be built. Computation gives more architect more arrangements to reach more dreams.

1. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.5 2. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.7 3. WORDPRESS, ‘‘VOUSSOIR CLOUD’ BY IWAMOTOSCOTT WITH BURO HAPPOLD’, WORDPRESS <HTTP://WWW. ARCHIVENUE.COM/VOUSSOIR-CLOUD-BY-IWAMOTOSCOTT-WITH-BURO-HAPPOLD/> [10 AUGUST 2017] 4. WORDPRESS.

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A.2.2. VOUSSOIR CLOUD

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A.3. Compositio

Composition and Generation are tw Composition is the traditional way to create the fabulous product. On affords a chance to think about the said that “Form generation informe tectonic models and digital materia processes in digital design.1”. Gene of design for most people which wo future.

1. RIVKA OXMAN AND ROBERT OXMAN, THEORIES OF THE DIGITA

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tion/Generation

re two systems of design. ay to design which need the genius On the other hand, Generation the design in another side. Oxmans rmed by performative design, eriality are emerging as integrated Generation breaks the obstruction h would offer more possibilities for

IGITAL IN ARCHITECTURE (LONDON, NEW YORK: ROUTLEDGE), P.6

CONCEPTUALISATION

A.3. TEXTILE HY

La Tour de l’Architecte showcases combined research, with material behaviour for new typologies of lightweight tensile a Institute for Computational Design (ICD) by Sean Ahlquist a (ITKE) by Julian Lienhard and completed the project The Te material behaviour which conceptualized of the spatially and minimal force and maximal articulated spatial presence on t with the membranes to help the structure accumulates multi research in Deep Surface Morphologies, and spatial system leaf-like geometries of the rods at the macro-scale of the str and lacing techniques to lock the topology into a rigid frame and calibrated via studies of physical behaviours at varying This is the generation of the big data. The design of it crosse specificity which only the computation could ensure1. You could not define the explicit details of design like this pr the form could not be affirmed at first. It needs the generatio The design could become material-based, environmental-ba Although, the composition is irreplaceable recently and may of human which need the composition to begin. Just like this following steps would not take place. Generation is more like present.

1. PROF. ACHIM MENGES, ‘TEXTILE HYBRID M1: LA TOUR DE L’ARCHITECTE’, UN STUTTGART <HTTP://ICD.UNI-STUTTGART.DE/?P=7799> [10 AUGUST 2017] 22

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A.3.1. HYBRID M1

with the students of the University of Stuttgart about textile ile and bending-active structures being developed at the st and Institute for Building Structures and Structural Design e Textile Hybrid M1. It is based on the computation of and technically oriented. It is the design of a canopy with on the site to the surrounding environment. It combines multiple layers advantageously which is following previous tems with structural elasticity. Computation generates the structure. They are interwoven relying upon various lashing me. The computing was processed continually advanced ng scales which manual calculation would hard to achieve. osses multiple computational environments and degrees of

s project in the beginning of the design. Even the rough of ation with the digital approaches to ﬁnd the best solutions. l-based eﬀortlessly. maybe a long time in the future. The design is the creation this project, if there is no composition for the brief. All the like a new kind of hammer to build this world at least at

E’, UNIVERSITY OF

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A.3. THEVERY

Theverymany is the first of a new series of fabricated projec It is a continuous surface composed by nine intersecting exc created a maximum degree of morphological freedom in this of the prototype by generating from computing method. Stru are reached by its continuous double curvature units. To fab of distributed agents to describe the surface condition. The fi system that engenders all over the geometries with the leas sheets. The second set is the ornamental set which includes dramatically. With the logic grows, these two sets inform eac which observe to a countless of formal and technical constra The composition designers could never complete this projec the immeasurable dynamic and spatial transformations are c compose these fluctuations detailly and muchly. Oxmans cit inherent mutations of matter in which geometry and product Generation is a continuum everlasting evolution process wh project, it could produce as many as the designer wish piece not be chosen to finish with this generation process.

1. JESSICA ESCOBEDO, DOUBLE AGENT WHITE IN SERIES OF PROTOTYPICAL HTTP://WWW.EVOLO.US/ARCHITECTURE/DOUBLE-AGENT-WHITE-IN-SERIES-O 2. OXMAN AND OXMAN, THEORIES OF THE DIGITAL. P.6

CONCEPTUALISATION

.3.2. ERYMANY

ojects to investigate a double agent system by Marc Fornes. exclusive spheres. The minimum number of components this structure. It could be found that the forms are a series Structural continuity, visual interplay, and logistical efficiency fabricate this project, they used two parallel divergent sets he first set is the macro control set which is the generation east of elements. It cuts within the stated flat aluminum udes higher resolution and morphologies that crafts aperture each other concurrently. Hence, it got the structural results nstraints that provide dynamic and spatial nuance1. oject. It did not have the definite form in the beginning. Also, are computed by the digital process. The designer could not s cited the architectural design theory of Rene Thom that the uction are in an integrated process of variable actualization. which offers the multiple singularities indeed2. For this ieces in fact. Though, without composition, the design could

ICAL ARCHITECTURES / THEVERYMANY, EVOB, (REVISED 28 JULY 2012) < ES-OF-PROTOTYPICAL-ARCHITECTURES-THEVERYMANY/> [10 AUGUST 2017]

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A.4. Conclusion

After looking such many precedent projects, lectures, and readings the computing and computation method for design has really attracted me. It is the new idea of how the design could be for the future. The previous works show the development of this technology. Computing and computation are the tools of generation design which is logical complex design. Moreover, they provide the operability that these designs could be built in real because of the accurate calculation. It could help the designers who are in stuck to find a new road to their terminal point. Except creating some unexpected form to instead the boring boxing building lately. It could be beneficial when the required of the design is strict. It could be imaged that if the design should be built in an extreme environment. By computing all the requirement, it could find the solution to the design as soon as possible. In this case, composition design would not work. For example, for the post-earthquake reconstruction, generation design would be easy with all the data subsistent to build the new building which would have high-level anti-seismic property. The design efficient has been increased by the computing and computation design approach. More normal people could bring more options to show their creativity.

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A.5. Learning outcomes

The assignment A has opened up my horizon in design. I saw amounts of examples about how the ideas are effectuated by computation way. I believe I could accomplish the design with computing technology at the end of the semester. Maybe I could not do as wonderful as those architects did, though I would do my best in this semester. This subject could be seen as the subject learning for the future. I believe the design approach would become the common method in the future. With the new knowledge, I have found there are several changeable parts of my works. For example, the Digital Design and Fabrication model I made could be improved by computing technique. We built the digital model by composition way that just thinks what should the form be. Once I have learned the new knowledge, I would like to try the parameterization way to define the model. What are the sensible angles between each loop, what is the workable density of the string panels, which kinds of the materials would be efficient? All of these questions could be answered quickly with evidence. Also, the fabrication would be much more elaborate. It could reach what we really wish it be accomplished.

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A.6. Appendix - Algorithmic Sketches

CONCEPTUALISATION

Bibliography

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Carfrae, Tristram, ' Engineering the water cube', ARCHITECTUREAU (Architecture Media Pty Ltd, revised 1 July 2006) <http://a

Designboom, ‘Jennifer Wen Ma + Zhen Jianwei illuminate Beijing Water Cube’, Designboom <https://www.designboom.com/art/j Dunne, Anthony, and Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (2013)

Escobedo, Jessica, Double Agent White in Series of Prototypical Architectures / Theverymany, Evob, (revised 28 July 2012) < ht

Fairs, Marcus ‘Driftwood by AA Unit 2’, Dezeen (revised 25 June 2009) <https://www.dezeen.com/2009/06/25/driftwood-by-dane

Frearson, Amy ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, Dezeen (revised 31 October 2011) <https://www.deze Oxman, Rivka, and Oxman, Robert, Theories of the Digital in Architecture (London, New York: Routledge)

Prof. Menges, Achim, ‘Textile Hybrid M1: La Tour de l’Architecte’, University of Stuttgart <http://icd.uni-stuttgart.de/?p=7799> [10

WordPress, '‘Voussoir Cloud’ by IwamotoScott with Buro Happold’, WordPress <http://www.archivenue.com/voussoir-cloud-by-iw

IMAGE: Arch2o, ' 2009 Summer Pavilion | The Architectural Association', Arch2o <http://www.arch2o.com/2009-summer-pavilion-the-arc

Designboom, ‘Jennifer Wen Ma + Zhen Jianwei illuminate Beijing Water Cube’, Designboom <https://www.designboom.com/art/j

Escobedo, Jessica, Double Agent White in Series of Prototypical Architectures / Theverymany, Evob, (revised 28 July 2012) < ht

Frearson, Amy ‘ICD/ITKE Research Pavilion at the University of Stuttgart’, Dezeen (revised 31 October 2011) <https://www.deze

Prof. Menges, Achim, ‘Textile Hybrid M1: La Tour de l’Architecte’, University of Stuttgart <http://icd.uni-stuttgart.de/?p=7799> [10

WordPress, '‘Voussoir Cloud’ by IwamotoScott with Buro Happold’, WordPress <http://www.archivenue.com/voussoir-cloud-by-iw

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