Studio Air jOURNAL 2016 SEMESTER 2 nINGJING (cECILIA) zHU 660208 tUTOR MAneul
Table of Contents Introduction Part A CONCEPTUALISATION A.1 Design Futuring Case Study 1 Case Study 2 A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix-Algorithmic Sketches Bibliography
Introduction I’m Ningjing (Cecilia) Zhu, and this is my first semester of third year in architecture major under the bachelor of environments. Through previous study in the University of Melbourne, I have learnt basic knowledge about architecture in a more systematic and theoretical way. After experiencing two design studios, I have a better understanding of the process of architecture design and practical methods. In the water studio, I chose Louis Kahn as the master to learn, and was trying to design a building using his thinking and principles. I think through this studio, I stated to know the monumentality of the building and the significance of light and shadow for the space as well as architecture. In the earth studio, more basic design methods were explored through different exercises, I paid more attention on the relationship between interior space and people’s interactions. In terms of my technical knowledge, I could use autocad, sketchup, rhino, and adobe series quite basically, and have no experience of using grasshopper. In previous studios, I prefer to make physical models rather than digital ones. In studio air, I hope to handle grasshopper, and be more familiar with rhino, and use algorithmic method to establish my design process and workflow. Additionally, I would like to explore more non-linear design in the studio.
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Fig.1: Studio water final composition
Fig.2: Studio earth Final section & physical model
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PART A CONCEPTUALISATION
A.1. DESIGN FUTURING Case Study 1. Plug-in City, Peter Cook, 1964 Plug-in-City is a project that proposed by Peter Cook in 1964, which is a typical work that illustrated the design principles of Archigram. Between 1960 and 1974 Archigram created over 900 drawings, among them the plan for the “Plug-in City” by Peter Cook (Merin 2013). This project establishes a hypothetical fantasy city, containing modular residential units that could “plug in” to a central infrastructural mega machine. The Plug-in City is more like a constantly evolving megastructure that incorporates residences, transportation and other essential services to the massive framework of the dwellings, and those components are all moved and installed by giant cranes (see figure 3).
Fig.4: Illustration
Fig.3: Illustration of how components moved by crane
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Fig.5: Illustration of plug-in city plan
ation of plug-in city
plan
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Fig.6: Illustration of plug-in city Axonometric drawing
Case Study 1. Plug-in City, Peter Cook, 1964
Archigram believed that architecture is an item with the feature of expendability just like a paper, motor car (Cook 1963:16). Because of the high speed development of technology and science, they realized people’s opinions on architecture, space and form should change and improve. ‘Functionalism’ that proposed by Bauhaus was out of date, and could not follow nowadays society to meet people’s needs. Human situations should be corresponding to the changeable environment and activities within the city (Chalk 1963:16), which means in a technological society, people should play a more significant role in determining their individual environment or architecture. So, old perceptions toward architecture and functionalism were supposed to be thrown away. Therefore, they surly expanded future’s design possibilities in architecture, and trying to think in a radical and distinct ways. However, their works mainly remained unbuilt, I think this project show us a way that could be explored more to design architecture that could meet people and societies’ needs.
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Case Study 2. The Eden Project, Nicholas Grimshaw, 2001
Fig.7: Panoramic view of The Eden Project
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The Eden Project is a visitor attraction in Cornwall, England. It was designed by architect Nicholas Grimshaw in 2001. The complex is dominated by two huge enclosures consisting of adjoining domes that house thousands of plant species, and each enclosure emulates a natural biome. Inside the two biomes are plants that are collected from many diverse climates and environments (Eden Project). The biomes consist of hundreds of hexagonal and pentagonal, inflated, plastic cells supported by steel frames. The largest of the two biomes simulates a Rainforest environment and the second, a Mediterranean environment. Each of them consists of several domes that jointed together, and linked by the middle core.
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Case Study 2. The Eden Project, Nicholas Grimshaw, 2001
Fig.8: hexgonal structure frame
I think this complex is an excelent example for future architecture design. According to Fry (2008, 16), in order to achive sustainability, not only the design process and techniques should be changed, but also the ideology and entire minset. In terms of this architecture, the atchitect use more creative structure and material to make it more sustainable and interactive. The transparent ‘windows’ in each hexagon and pentagon are made of ethylene tetrafl uoroethylene copolymer (ETFE), each window has three layers of this incredible stuff, inflated to create a twometre-deep pillow. Although the ETFE windows are very light (less than 1% of the equivalent area of glass) they are strong enough to take the weight of a car. Additionally, ETFE can transmit UV light, and is non-stick, self-cleaning and lasts for over 25 years (Eden Project). Therefore, the building is more interactive for prople to contact with nature no mater indoors or outdoors.
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Additionally, this building took a good advantage of computation design by applying Fibonacci’s sequence and Buckminster Fuller’s revolutionary domes through hexangle tessellation. While program emulates natural flow of ecosystems, it encompasses wind turbines, geothermal energy plants, adn controlled conditions that keep the space comfortable and suitable for wildlife adn human beings. Overall, the building incorporates parametric and sustainable thinking into both construction adn deisgn process, thus innovatively completing a amzing example for multiple-use, environmental-friendly, and interactive space. It could satisfy primary direction that mentioned in Fry's introduction about the future design.
Fig.9: Interactive space in the Eden project
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A.2. DESIGN COMPUTATION
Fig.10 HEYDAR ALIYEV CENTRE OVERVIEW
With the rapid development of computer science and technology, computational design has become a trend in architecture design. Peters (2013: 10) believes that computation is redefining the practice of architecture. Before the argument on computational design, it is necessary to classify the definitions of computation and computerisation. Through the discussion and lecture in this week, computerisation is a working mode that architects use computer as a virtual drafting board to make drawings in a more effective way, while computation could be defined as the processing of information and interactions between elements which constitute a specific environment (Peters 2013: 10). In this week’s journal, I would like to explore the benefits of using computers in the architectural design process.
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Heydar Aliyev Centre was designed to become the primary building for the nation’s cultural programs, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the optimism of a nation that looks to the future. The design establishes a continuous, fluid relationship between its surrounding plaza and the building’s interior. Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. This fluidity of the building is achieved by advanced computing not only during the design process, but also in the construction stage. Computing was applied to have super-numerical control, so all the unknowns are reduced to a minimum. Additionally, parametric software is heavily used to develop the skin to make it more rational and efficient. It displays mastery of technology and material, all underpinned by the parametric dogma that defines the building.
To begin with, computational design gives designers more possibilities to explore highly-complexity and nonlinear concepts in the design concept stage, and could achieve them into reality with the aid of computation during the construction process. Zaha Hadid is a pioneer of parametricism, and she liberated architectural geometry with the creation of highly expressive, sweeping fluid forms of multiple perspective points and fragmented geometry that evoke the chaos and flux of modern life. Heydar Aliyev Centre is one of the most famous design of her works. Fig.11 INTERIRO OF HEYDAR ALIYEV CENTRE
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A.2. DESIGN COMPUTATION
Fig.12 SUBDIVIDED COLUMNS OVERVIEW
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Fig.13 SUBDIVIDED COLUMNS PLAN
Furthermore, computational design also facilitates the traditionalists who would like to simultaneously look back in time, and explore into the future. Subdivided Columns - A New Order was designed by Michael Hansmeyer in 2010 (Hansmeyer, 2010). This project involves the conception and design of a new column order based on subdivision processes. It explores how subdivision can define and embellish this column order with an elaborate system of ornament. An abstracted doric column is used as an input form to the subdivision processes. The process is designed to produce a column, rather than design a column directly. This process can be run again and again with different parameters to create endless permutations of columns. These permutations can be combined into new columns, and can form a point of departure for new generations of columns. The architect assumes the role of the orchestrator of these processes. Without the computational aid, I think it is impossible to build the intricacy so effectively and flexible. In conclusion, computational design makes a significant difference and advantage through the design process to help us explore more concepts. It is not only give architects more opportunities to create crazy ideas, and also promote the renovation or protection for heritage and historical buildings. However, it is noting that designers should not be restricted by the computer, more techniques could be incorporated into the whole design process.
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Fig.14 SUBDIVIDED COLUMNS DISPLAY
A.3. COMPOSITION/GENERATION
Fig.15 Labrys Frisae Pavilion OVERVIEW
Nowadays, the world is increasingly infiltrated by electronic systems and devices, and the role of design is shifting in response to these changes. In the architectural design field, generative design is becoming more and more popular, which is treated as an innovative design approach. It is related to a form of artificial life, prone to, like the natural world, principles of morphogenesis, genetic coding, replication, and selection. Algorithmic thinking, parametric modelling, and scripting cultures are included in the method (Terdizis, 2003). In this week’s journal, I would like to investigate both the advantages and shortcomings of this approach to design. 20
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Fig.16 Labrys Frisae Pavilion LOGICAL DESIGN DIAGRAM
In terms of advantages, generative design is characterised by generating endless variations. Their integration into the design process allows the development of novel design solutions, difficult or impossible to achieve via other methods. Peters believes that “Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation.� The Labrys Frisae Pavilion by THEVERYMANY for Miami Art Basel used parametric software to compute a self-supporting form made of thin sheets of material. In this research, projects are described as stripes, nested on flat sheets of material and cut, then attached to one another with thousands of rivets, finding curvature as they are joined to their neighbours. It could be seen from the figures that numerous nested parts are quite different from each other, and joined together in distinct order. During the design and construction process, parametric modelling and algorithmic thinking are necessary. The complex forms would be impossible to construct and establish with traditional, analogy methods.
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A.3. COMPOSITION/GENERATION
Fig.17 THE TWIST OVERVIEW
Furthermore, this design method promotes experiments with computation to simulate building performance (Peters 2013: 13), thus incorporating performance analysis and knowledge about material, tectonics and parameters of production machinery in their design drawings. Therefore, more responsive designs could be created, more design options could be explored, and more architectural decisions could be analysed during the design process.
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Fig.18 THE TWIST TEST DIAGRAM
The TWIST at the Timber Expo in Birmingham is an experimentation in the properties of milled plywood, developed throughout 1:1 tests. Through these experiments, The TWIST seeks to gain full control of the material properties, developing articulated surfaces with the variable orientation of its elements. Computational techniques used to generate forms were calibrated and tuned based on the results of physical experiments on plywood strips. These tests, which observed the possible twisting angles which could be achieved with different end rotations and rib radii, identified the effective range of geometries, and served as the bridge between the physical and digital realms. The twisting geometry chosen for the material exploration was designed to accommodate for the specific ability of the system to achieve synclastic surfaces.
Fig.19 THE TWIST DETAIL
Through my investigation and analysis, there are two main advantages of the method. To begin with, designer’s creativity may be restricted by applying this method. Generative design can be summarily described as form creation through algorithms, thus designers pay more attention to understanding of the theory rather than design concepts. This opinion is also raised by Terzidis (2009: p.xx). For example, in the project of Subdivided Columns that I used in A.2. design computation, the designed process can be run again and again with different parameters to create endless permutations of columns without thinking and creating from designers. Additionally, the outcomes of this method could not be predicted, and it may not provide concept that meets requirements of the design. From my perspective, I think generative design method should be promoted in order to offer more opportunities for designers to explore through the whole design process no matter conceptualisation or constriction.
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Fig.20 DETAIL PATTERN OF SUBDIVIDED COLUMN
A.4. CONCLUSION
In this part of journal, three topics are explored. In the A.1, three features are raised about the future design, which are interactive, sustainable, and innovative. Archigram’s principles could satisfy people’s needs, solve today’s rapidly increasing population issue, and incorporate advanced technology into architecture design. Architectural languages are supposed to be changeable to use the computation resources and the environment. In the A.2, it is a trend of computational design in the field of architecture, numerous advantages could be seen during the design process. For A.3, generative design is an innovative method that offers designers a new mode of design approach that could explore more ideas and concepts during the whole design process. During the investigation of the part, I was interested in the generative design, so I would like to choose biomimicry or pattern as my research filed in part B.
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A.5. LEARNING OUTCOMES
In the study of part. A Conceptualisation, I started to have a systematic knowledge of the basic theories and principles about computational design by reading or watching online resources and article in the LMS. Moreover, I have a better understanding of the parametric design, algorithmic thinking, and the relationship between computational design and the architecture design through the lectures and tutorial discussion. In the process of writing journal, more investigations are researched, and I could have a more direct observation and analysis on how to applying theories into practice. Furthermore, critical thinking is also important for me during the study. It is essential for me to enhance my abilities to analyse, systematise, visualise, and make in order to satisfy higher requirements of the architects. During the rest of the semester study, I need to pay more attention on the learning of software, and exercise more exploration to consolidate the knowledge.
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A.6. APPENDIX-ALGORITHMIC SKETCHES
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BIBLIOGRAPHY Refernce List Chalk, Warren (1963). “Housing as a consumer Product”, in Editorial from Archigram 3, 16. Cook, Peter (1963). “More and more”, in Editorial from Archigram 3, 16. Eden Project ‘Architecture at Eden’, (2016), < http://www.edenproject.com/edenstory/behind-the-scenes/architecture-at-eden> Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16. Merin, Gili ‘AD Classics: The Plug-In City / Peter Cook, Archigram’, Archdaily, (2013), < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-petercook-archigram> Peters, Brady (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15. Terdizis, Kostas (2003). Expressive Form: A Conceptual Approach to Computational Design. London and New York: Spon Press. Terzidis, Kostas (2009). Algorithms for Visual Design Using the Processing Language (Indianapolis, IN: Wiley), p. xx.
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Figure List Figure 1. Self-diagram Figure 2. Self-diagram Figure 3. Viewed from <http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cookarchigram/51d71 b74e8e44ed538000023-ad-classics-the-plug-in-city-peter-cook-archigram-image> Figure 4. Viewed from < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/51 d71ba2e8e44ebb5000002a-ad-classics-the-plug-in-city-peter-cook-archigram-image> Figure 5. Viewed from < http://www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram/51 d719a5e8e44ebb50000029-ad-classics-the-plug-in-city-peter-cook-archigram-image> Figure 6. Viewed from <https://www.google.com.au/search?q=plug-in+city&biw=1280&bih=551&sourc e=lnms&tbm=isch&sa=X&ved=0ahUKEwjIn429xLrOAhVJEpQKHb2fAnw4ChD8BQgGKAE#imgrc=_ VjbduUjE8vRxM%3A> Figure 7. Viewed from <http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> Figure 8. Viewed from <http://www.edenproject.com/eden-story/behind-the-scenes/architecture-at-eden> Figure 9. Viewed from https://en.wikipedia.org/wiki/Eden_Project Figure 10. Viewed from <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/52852152 e8e44e8e7200015f-heydar-aliyev-center-zaha-hadid-architects-photo> Figure 11. Viewed from <http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/52852414 e8e44e222500014f-heydar-aliyev-center-zaha-hadid-architects-photo> Figure 12. Viewed from <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1> Figure 13. Viewed from <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1#8> Figure 14. Viewed from <http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1#15> Figure 15. Viewed from <http://www.archdaily.com/778267/marc-fornes-theverymany-constructs-selfsupporting-perforated-pavilion-at-miami-art-basel/56609a77e58ece20b4000402-marc-fornes-theverymanyconstructs-self-supporting-perforated-pavilion-at-miami-art-basel-image> Figure 16. Viewed from <http://www.archdaily.com/778267/marc-fornes-theverymany-constructs-selfsupporting-perforated-pavilion-at-miami-art-basel/56609b23e58ece20b4000406-marc-fornes-theverymanyconstructs-self-supporting-perforated-pavilion-at-miami-art-basel-image> Figure 17. Viewed from <http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birm ingham/56285623e58ecee6f00003a1-emtechs-twist-displayed-at-the-timber-expo-in-birmingham-image> Figure 18. Viewed from <http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birm ingham/56285623e58ecee6f00003a1-emtechs-twist-displayed-at-the-timber-expo-in-birmingham-image> Figure 19. Viewed from <http://www.archdaily.com/775842/emtechs-twist-displayed-at-the-timber-expo-in-birm ingham/56285623e58ecee6f00003a1-emtechs-twist-displayed-at-the-timber-expo-in-birmingham-image> Figure 20. Viewed from<http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1>
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