Air Studio Ran Li 828826 by Ran Li

STUDIO AIR 2017, SEMESTER 2, TUTOR DANIEL SCHULZ RAN LI 828826

CONTEXT A.0 INTRODUCTION A.1 DESIGN FUTURING A.2 DESIGN COMPUTATION A.3 COMPUTATION / GENERATION A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX

PART A

CONCEPTUALIZATION

A.0 INTRODUCTION

I am a currently a second year student at the University of Melbourne majoring in Architecture (Bachelor of Environment). I was born in China and came to Australia when I was in high school to study. My father is an Architect also a structural engineer, I grew up in an environment of design and construction. Naturally, I love drawing and painting and playing PC games (Hotel Giant2 & SIMS). When I was in high school, we only had one core subject and a wide range of elective courses. I used to select subjects that interested me such as visual arts, computer arts design which I am interested in and avoid those that I wasn’t skilled in.

1 OECD Environmentally Sustainable Buildings: Challenges and Policies. (A report by the OECD, 2003).

Consequently, after a full year of study at University, I found my skills were unevenly balanced. Under huge pressure, I started making changes. I started traveling to many countries and volunteered in China and Cambodia. Those activities gave me the opportunity to change myself. I began to realise that Architecture is complex and multi-faceted. Take my hometown Beijing for example. In recent years, the city has changed rapidly because of urbanisation and pollution. The construction of buildings has resulted negatively impacted the natural environment, consuming up to 32% of the world’s resources, including 12% of the world’s fresh water and up to 40% of the world’s energy.1 I believe architecture should bring a net benefit to society and the natural environment. Architects need to use new and more efficient building materials to create more sustainable futures. Innovation especially in using recycled materials need to be mainstreamed in order to limit the use of natural resources.

FIGURE A. SHANGHAI AA VISITING SCHOOL

FIGURE C. EARTH STUDIO

FIGURE B. DESIGNING ENVIRONMENTS FINAL PROJECT PLAN

FIGURE D. DESIGNING ENVIRONMENTS FINAL PROJECT MODEL

A.1 DESIGN FUTURING

WE DO NOT CREATE THE WORK. I BELIEVE WE, IN FACT, ARE DISCOVERERS. – GLENN MURCUTT

CASE 1 - THE PHARE TOWER, GUSTAV EIFFEL The Phare Tower, by Gustav Eiffel, embodies state-of-the-art technological advances to become a cultural landmark, in the spirit of the Paris Exposition competition proposals.

The architect’s innovation in engineering and construction would make it a powerful symbol of sustainable, performance-driven design. The tower integrates programmatic, physical and infrastructural elements from the requirement and synthesizes them into a form that harmonize itself into the idiosyncrasies of its site and at the same time expresses multiple flows of movement, and all this was realized by drawing on the power of parametric scripting. 2

2 Archdaily, Phare Tower / Morphosis Achitects, 2009 <http://www.archdaily.com/20692/phare-tower-morphosis-achitects> http://icd.uni-stuttgart.de/?p=8807> [accessed 5 August 2017]

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FIGURE 1. THE PHARE TOWER CONCEPTUALISATION 7

FIGURE 3. SITE PLAN

FIGURE 2. THE PHARE TOWER

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FIGURE 4. OPTIMIZED SKIN

FIGHUR 5. DIAGRAM

The Phare Tower can selectively minimize solar gain, maximize glare-free daylight and capture the sun and wind for the production of energy. Seen from different angles and vantage points, its high-performance skin will change from opaque to translucent and then to transparent, according to changes in light. During the night, the buildingâ&#x20AC;&#x2122;s shifting form can be animated by ribbons of light garlanding the building. Therefore, a workspace of exceptional quality and comfort for its users is realized by increased daylight and natural ventilation. The complex structure and skin, responding to a range of complex, and often competing, physical and environmental considerations, are adapted to the towerâ&#x20AC;&#x2122;s nonstandard form. 3

3 Archdaily, Phare Tower / Morphosis Achitects, 2009 <http://www.archdaily.com/20692/phare-tower-morphosis-achitects> http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] CONCEPTUALISATION 9

CASE 2 - SPANISH PAVILION, 2010, SHANGHAI EXPO, EMBT

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FIGHUR 6. SPANISH PAVILION

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By applying textile weaving techniques to architecture, the Spanish Pavilion is challenging the past design approach and proposing for more responsible paradigm. The unusual shape of Spanish Pavilion, full of curvatures, requires large amount of consideration from the structural perspective and close cooperation between architects and engineers. Therefore, unconventional techniques for construction is needed.4 The solution is weaving, supported by the theory that textile has the characteristics of behaving as a unity. The structural stability could be improved, if every individual element bears the load as a whole.5 It means that to respond to the load of the building effectively, all components need collaborate together. During such a problem-solving process, people from different discipline collaborated and more importantly, computation was involved in the design process. As one of the most important determinants of the project, computation simplified the complex form into series of repetitive horizontal/ vertical planes,6 which further enabled the optimization by controlling several parameters.7 As a result, redundant structure or material were eliminated and the structural and environmental performance maximized. Both the Phare Tower and the Spanish Pavilion are built projects that contribute significantly to the discourse of architecture design and engineering. In many ways these two projects are revolutionary because the projects have materialized what is otherwise theoretical propositions on the benefits and powers of computation design . By using textile principle and optimization, Spanish Pavilion provides us with one possible solution to the creation of free form structure, which might be considered the path towards sustainable future, a new possibility for the development of architectural design. Similarly, the Phare Tower is able use computational design to create a high performance and highly responsive building skin that is able to respond to the changing lighting levels during the day, in order to create a comfortable environment for the inhabitants of the building. 4 Julio Martínez Calzón & Carlos Castañón Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai’, Architectural Design, 4, 80 (2010), 52-59, (p. 55). 5 Yves Weinand & Markus Hudert, ‘Timberfabric: Applying Textile Principles on a Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). 6 Calzón & Jiménez, 80, (p, 59) 7 Weinand & Hudert, 80, (p.104)

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FIGHUR 7.

FIGHUR 8. CONCEPTUALISATION 13

A.2 DESIGN COMPUTATION Architecture as design practice is now heavily influenced by computation tools and processes. By writing and designing algorithms that relate to element placement, element configuration and the relationships between elements, algorithmic thinking and computation design are generating and exploring architectural spaces and concepts previously inconceivable by the human mind.8 Within last two decades, digital technology has revolutionized the architectural design practice as architects are increasingly experimenting with computational tools to create parametric design and simulate building performance. Computationdriven design have evolved beyond merely a tool of documentation, it has encouraged architects to design and think about design differently.9 Architects have become designers of scripts and algorithms that generate the building rather than just the designer of the building.

8 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf 14

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CASE 1 - ICD/ITKE RESEARCH PAVILION 2012

FIGHUR 9.

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ICD Pavilion, a research project by University of Stuttgart, uses innovative design process in which it is started by

studying the behaviour of the material they would like to use before generating the form. Firstly, the bending stress of material was tested, and algorithms was employed to determine the form by the results of the test.10 The designers set the logic and used software such as FEM Model-ling to let computer generate the possible forms that satisfy the logic.11 Biomimetic design strategies, like the material and composition of arthropods’ exoskeletons, were also invested. Accordingly, with woven carbon and glass fibre composites erected entirely by a robotically programmed machine, the pavilion is formed. Consisting of only four millimetres of composite laminate, the shell thickness is able to span eight metres.12 Therefore, it can be seen that the computational simulations methods are reliable alternatives. Moreover, as compared to the conventional design process, this computational design technique is far more efficient. As the form is generated from the behaviour of the material itself, the final form is structurally efficient. Also, in this project, the script for the code that controlled the robot was generated to mathematical couple the robot with a 3D axis. Computational and material design, digital simulation and robotic fabrication were synthesized in this project to explore the expanding of repertoire of new computational scripting and their applications with robots.

FIGHUR 10.

10 “ICD/ITKE Research Pavilion 2012”, Institute for Computational Design (ICD), 2017< http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] 11 Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2 (2012): 44-51. 12 “ICD/ITKE Research Pavilion 2012”, Institute for Computational Design (ICD), 2017< http://icd.uni-stuttgart.de/?p=8807> [accessed 9 August 2017] 16

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FIGHUR 11.

FIGHUR 12.

FIGHUR 14.

FIGHUR 13.

FIGHUR 15.

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CASE 2 HEYDAR ALIYEV CENTER BY ZAHA HADID ARCHITECTS

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FIGHUR 16.

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FIGHUR 17.

In this project, computational design has been adopted in the development of the dynamic envelope of the building. Drawing inspiration fro

computation.13 While the envelope seems free flowing and fluid, it has been precisely designed to perform as the wall and roof of the building. quantitative site data was extracted from the original topography.14 With advanced computing, the continuous control and communication of rationalize the panels while maintaining continuity throughout the building and landscape, numerous studies were carried out on the surface geo design to documentation and constructability. Based on investigations and research of the siteâ&#x20AC;&#x2122;s topography and the Centerâ&#x20AC;&#x2122;s role within its broade

A fluid relationship between the built object and the urban landscape was established by the rhythmically undulating architectural landscape. This for Azerbaijan.15

13 Zaha Hadid Architects, Heydar Aliyev Centre, 2017 <http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/> [accessed 9 August 2017]. 14 Archdaliy, Heydar Aliyev Center / Zaha Hadid Architects, 2013 <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 9 August 2017]. 15 THE PLAN, ZAHA HADID ARCHITECTS HEYDAR ALIYEV CENTER, 2017 <https://www.theplan.it/eng/webzine/architettura-internazionale/heydar-aliyev-center> [accessed 9 August 2017]. 20

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FIGHUR 18.

om historical Islamic patterning and calligraphy the dynamic form is designed through . Furthermore, to digitally design and optimise a new and precisely terraced landscape, these complexities among the numerous project participants were made possible. To ometry. Therefore, the role of computation design in this project stretches from concept er cultural landscape, the Heydar Aliyev Centerâ&#x20AC;&#x2122;s design came into shape.

s design is embedded within this context and is unfolding the future cultural possibilities

FIGHUR 19.

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A.3 COMPUTATION / GENERATION Several centuries ago, classical architectural design and planning had been largely limited by the characteristics of masonry and timber construction, which called for thick walls and columns and resulted in heavy buildings. Later, Le Corbusier proposed the idea of reinforced concrete to span from supporting columns, which was followed by continuous innovation by various architects. With the advancement of technology, the boundaries of this discipline continues to shift. Today, computation design is playing an important role in design. In building large projects, it is more than necessary to employ computation to capture and respond to complex briefs. Furthermore, designers can push further intellectual limits by employing design generation with the help of computation.16 Architectural designers will have increasing capacities to explore building systems and building environments as new design tools are linking the virtual design environment with the physical environment.17 Even during the occupation of the building, an architects digital model could still be of great use by synthesizing feedbacks from users, changes in the building and its performance. A new form of architecture design driven by algorithmic programming is create a new approach to design through generation. Computation, by enabling new ways of thinking, innovating design approaches and creating more opportunities during the design process, fabrication and construction, is redefining practice and the structure of the design process.18

For example, dECOi architects of One Main building utilised

16 Brady Peters, “Computation Works: The Building of Algorithmic Thought”, Architectural Design, 2.82, (2013), 8-15. 17 Andrew O Payne and Jason Kelly Johnson, pp 144–7 18 Brady Peters, ‘Computation Works’, Architectural Design, (2013). 19 Angus W. Stocking, Generative Design Is Changing the Face of Architecture (2009) <http://www.cadalyst.com> [accessed 9 August 2017].

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algorithms logic to create contours and curvilinear details and explored new design options, fully in control of every detail of the fabrication process. Moreover, customised fabrication and prototyping were done much more efficiently by using new technologies such as algorithmic design. Therefore, efficiency and accuracy in designing is maximized while human errors in structural solution calculation is entirely avoided.19

FIGHUR 20.

FIGHUR 21.

FIGHUR 22.

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AA Driftwood Pavilion The Driftwood Pavilion, by Danecia Sibingo, Lyn Hayek, Yoojin Kim, and Taeyoung Lee of AA, was only made possible by utilizing computational technology.20 Variations in the thickness of the geometry, articulations in the skin surfaces and the generation of the sectioning effect were the most difficult parts during the designing process, and fortunately computational tools can be used to overcome these difficulties. Grasshopper software was chosen to control and manipulate the form of the pavilion.21 A range of solutions and the designers could be offered and chosen from for the best outcomes. By 3D modelling software, the poly-surface geometry was created, and what the designers needed to do was to achieve section lines through offset, extrude a series of curves and deduct the components that were redundant. Conclusively, more solutions and easier fabrication can now be handy for designers because of computational tools. Generative systems are freeing architects of vexing difficulties by providing design solutions with higher cost-efficiency, better constructability and greater performance dynamics.22 Such a software is significantly handy when designers are faced with problems that seem impossible to be solved by conventional ways of design. It can be integrated into the whole process of design. “The starting point for our use of generative design was trying to determine which aspects of the architectural design process were the most complex and difficult for humans to think through, and figuring out how to get a computer to work them out for us,” said Nagy. “It’s all about isolating those very tricky practical issues, and then using a computer to automate the development of solutions for those problems.”22 In addition, by generative design, the schedule of different stakeholders can be better coordinated and harmonized which will result in the increase of the overall efficiency of a given project. “There are major potential savings from an efficiency standpoint for the actual building process, because architecture isn’t just about designing the vision of a building in a computer - it’s also about interfacing with contractors,” said Nagy. “A lot of efficiency and cost gains come from the scheduling of construction, and coordinating the process of actually getting things built. Generative design could be used to maximize construction efficiency or budget efficiency once other stakeholders like clients and contractors are brought into the design process.”

20 Contemporist, The Architectural Association’s 2009 Summer Pavilion, 2009<http://www.contemporist.com/the-architectural-associations-2009-summer-pavilion/> [accessed 9 August 2017] 21 Dezeen, Driftwood by AA Unit 2, 2009 <https://www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/> [accessed 9 August 2017] 22 Scoop, Architecture, design & algorithms, < http://www.scoop.it/t/algorithm> [accessed 9 August 2017] 23 Generative design: a paradigm for design research, Jon McCormack, Alan Dorin, Troy Innocent, 2004 < http://users.monash.edu/~jonmc/research/Papers/genDesignFG04.pdf> [accessed 9 August 2017] 24 World Architects, The Promise of Generative Design, 2017<https://www.world-architects.com/en/architecture- news/insight/the-promise-of-generative-design> [accessed 9 August 2017]

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FIGHUR 23.

FIGHUR 24. CONCEPTUALISATION 25

A.5. LEARNING OUTCOMES After 2 weeks of learning theories and design precedents of computation in architectural practice, I now understand

its potentials and values especially in creating new form based on different driving parameters. It makes the most unconventional, abstract forms possible and the possibilities are inexhaustible. However, I am trying to find a balance between free hand drawing and computation design. Personally, I am used to hand drawing as an explorative process. On the other hand, I realise such a traditional way of designing have limitation and is imprecise and can only handle a low level of complexity. For example, when there are multiple lines joining together in a complex pattern, I can easily lose control and make mistakes. Therefore, I think I should spend more time to improve my computation design skills. I am looking forward to see my change at the end of this semester. The computation design technology might indicate a revolution in the architecture field. In the future, when robots are used in much more areas, the architects can exert 100% control during building construction process. As more manual work is done by machines, accuracy can be significantly improved while calculating errors minimized. Designers can express their ideas more vividly and accurately. However, the unemployment rate in the society might surge.

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A.4.CONCLUSION Algorithmic thinking and computation is the trend in architectural designing, by which traditional architectural process

can be more logical, flexible and efficient. By current researches, I realized that computation and generative design is the future of designing and if we understand the underlying principles, we can apply such structure and logic into our own projects. The examples discussed in Part A was selected because they mirror my architectural style and I feel I can relate to them. My designs are all inspired by the nature and I try to harmonize them with the nature. I love smooth lines and the feeling of softness. The innovation is mainly shown by pattern development and material technology, and the digital pattern development focuses on GH (parametric design). The material technology will probably be started in the next step, though it isnâ&#x20AC;&#x2122;t final yet.

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A.6. APPENDIX - ALGORITHMIC SKETCHES

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In the first week, I made my Algorithmic Sketches basic on LMS Videos. Then I started to

develop my sketches from a simple model to a more complex one. I explored the plasticity and the potentials of Grasshopper, and therefore, in the week 2, I was confident to try to express my own ideas directly. The outcome really surprised me. I love drawing with smoothing lines, and I like the natural things. My idea for this design stemmed from the flower. I was so attracted and amazed by the soft lines on the petals. Firstly, I created some smoothing lines, and used LOFT to organize them into shapes like petals. Then I added more ideas into this basic shape. If I used Rhino, it would be difficult to generate the surface by those various lines, however, with GH, it is easier to make any adjustment during the process. If I am not happy with the radian of a line, I can adjust it and create different results in no time.

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REFERENCES - TEXT Andrew O Payne and Jason Kelly Johnson, pp 144–7 Angus W. Stocking, Generative Design Is Changing the Face of Architecture (2009) [accessed 9 August 2017] <http://www.cadalyst.com> Archdaliy, Heydar Aliyev Center / Zaha Hadid Architects, (2013) [accessed 9 August 2017] < http:// www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> Archdaily, Phare Tower / Morphosis Achitects, (2009) [accessed 9 August 2017] http://www.archdaily.com/20692/phare-tower-morphosis-achitects Brady Peters, ‘Computation Works’, Architectural Design, (2013). Brady Peters, “Computation Works: The Building of Algorithmic Thought”, Architectural Design, 2.82, (2013), 8-15. Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). Calzón & Jiménez, 80, (p, 59) Contemporist, The Architectural Association’s 2009 Summer Pavilion, (2009) [accessed 9 August 2017] <http:// www.contemporist.com/the-architectural-associations-2009-summer-pavilion/> Dezeen, Driftwood by AA Unit 2, (2009) [accessed 9 August 2017] <https://www.dezeen.com/2009/06/25/driftwood-by-danecia-sibingo/> Generative design: a paradigm for design research, Jon McCormack, Alan Dorin, Troy Innocent, (2004) [accessed 9 August 2017] <http://users.monash.edu/~jonmc/research/Papers/genDesignFG04.pdf> “ICD/ITKE Research Pavilion 2012”, Institute for Computational Design (ICD), [accessed 9 August 2017] < http://icd.uni-stuttgart.de/?p=8807> Julio Martínez Calzón & Carlos Castañón Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, Expo 2010, Shanghai’, Architectural Design, 4, 80 (2010), 52-59, (p. 55). Moritz Fleischmann, Jan Knippers, Julian Lienhard, Achim Menges and Simon Schleicher, “Material Behaviour: Embedding Physical Properties in computational design Processes”, Material Computation: Higher Integration in Morphogenetic Design, Architectural Design 82,2 (2012): 44-51. OECD Environmentally Sustainable Buildings: Challenges and Policies. (A report by the OECD, 2003). Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf

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Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15. Redchalksketch, Phare Tower | Morphosis Architect, (2011) [accessed 9 August 2017] <https://redchalksketch.wordpress.com/category/architects/morphosis/> THE PLAN, ZAHA HADID ARCHITECTS HEYDAR ALIYEV CENTER, [accessed 9 August 2017] <https://www. theplan.it/eng/webzine/architettura-internazionale/heydar-aliyev-center> Scoop, Architecture, design & algorithms, [accessed 9 August 2017] < http://www.scoop.it/t/algorithm> Weinand & Hudert, 80, (p.104). Weinand & Hudert, 80, (p.107). World Architects, The Promise of Generative Design, [accessed 9 August 2017] <https://www.worldarchitects.com/en/architecture-news/insight/the-promise-of-generative-design> Yves Weinand & Markus Hudert, ‘Timberfabric: Applying Textile Principles on a Building Scale’, Architectural Design, 4, 80 (2010), 102-107, (p.104). Zaha Hadid Architects, Heydar Aliyev Centre, [accessed 9 August 2017] <http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/>

REFERENCES - IMAGES Figure 1-3 : ‘The Phare Tower’http://www.archdaily.com/20692/phare-tower-morphosis-achitects[accessed 7 August 2017] Figure 4: ‘OPTIMIZED SKIN’ https://www.pinterest.co.uk/pin/292804413246358974/[accessed 7 August 2017] Figure 5: ‘Diagram’ https://www.pinterest.co.uk/pin/292804413246358974/[accessed 7 August 2017] Figure 6-8: ‘EMBT: spanish pavilion at shanghai expo 2010’https://www.designboom.com/architecture/ embt-spanish-pavillion-at-shanghai-expo-2010/[accessed 7 August 2017] Figure 9-15: ‘ICD/ITKE Research Pavilion 2012’http://icd.uni-stuttgart.de/?p=8807[accessed 7 August 2017] Figure 16-19: ‘Heydar Aliyev Center by Zaha Hadid Architects’ http://www.zaha-hadid.com/architecture/heydar-aliyev-centre/#[accessed 7 August 2017] Figure 21-22: ‘One Main Office Renovation / dECOi Architects’http://www.archdaily.com/778976/one-main-office-renovation-decoi-architects[accessed 7 August 2017] Figure 23-24: ‘Driftwood pavilion by AA Unit 2 opens’https://www.dezeen.com/2009/07/03/driftwood-pavilion-by-aa-unit-2-opens/[accessed 7 August 2017]

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