Yiwen zhu 743447 part a by Evan Zhu

AIR 2017, SEMESTER 1 TUTOR: FINNIAN WARNOCK STUDENT NAME: YIWEN ZHU 743447

INTRODUCTION Hi, my name is Evan. I am a third year architecture student in University of Melbourne. I come from Guangzhou, China and finished my high school in my hometown. Then I moved to Melbourne to continue my study. I planned to become a landscape architect in my first year. After undertaking some architecture subjects, I found that architecture is not only about building house for people to live in. Architecture is how we generate, visualize, and materialize ideas. Everything around you can be the inspiration of new spatial arrangement in architectural design process. That is why I decided to switch my major. In my opinion, digital design is a new tool that can assist architects in generating forms. It is equal some traditional design method such as sketching and modelling. However, digital design plays a more and more important role in contemporary design for it capability of assisting architects in dealing with more complex spatial relationships.

A 4

CONCEPTUALISATION A1 DESIGN FUTURING 1.1 ORGANIC SKYSCRAPER 1.2 X SEA TY A2 DESIGN COMPUTATION 2.1 HARD ROCK CAFE FACADE 2.2 MEISO NO MORI MUNICIPAL FUNERAL HALL A3 COMPOSITION/ GENERATION 3.1 PRIZMA 3.2 UNDER MAGNITUDE A4 CONCLUSION A5 LEARNING OUTCOME A6 SKETCHES/ REFERENCE

“ ... many of the challenges we face today are unfixable and that the only way to overcome them is bywe chang“ ... many of the challenges face ing our values, beliefs, attitudes, and today are unfixable and that the only behavior. “ way to overcome them is byFry chang-Tony ing our values, beliefs, attitudes, and behavior. “ -- Tony Fry

DESIGN FUTURING With the development of technology, we do not manage to get a better future. In fact, the sustainibility of nowadays society and natural environment is alarming due to our anthropocentric mode of habitation.

Design, as a tool to fulfill humanâ&#x20AC;&#x2122;s need, needs to be redefined to cope with the challenge of achieving a more sustainable future.

A 1.1: RECYCLE/ INHABITANTS AS CONSTRUCTOR PROJECT: ORGANIC SKYSCRAPER ARCHITECT: CHARTIER-CORBASSON ARCHITECTES DATE: 2014 LOCATION: UNBUILT As Dunne and Raby mentioned in “Speculative Everything”, it is harder for us to imagine a hopeful future than becoming extinct.1 There is no doubt that every aspect of our lives such as the natural environment around us, our needs and norms are rapidly changing due to our anthropocentric way of habitation.2 It is crucial for architects to rethink how design can do to cope with the defuturing condition. The Organic Skyscraper done by Chartier-Corbasson Architects shows us how design can make our mode of habitation more sustainable. The Organic Skyscraper guides us through a new way of construction. Inspired by the bamboo growth and the bamboo scaffolding as used in Asian countries, it can grow based on the waste from its residents as demand for floors increases (figure 3). All the residents of the building will make an effort on constructing the skyscraper since their waste will be processed into the floor panel and façade panel for the building (Figure 2). This actually redefines the relationship between inhabitants and the building. They are not only the users of the building, but more become part of the owner and builder of this building. This will probably increase a sense of belong-

Figure 2: Facade panel 8

ing for residents. Moreover, it changes how people think about waste. Waste becomes valuable resources we can make use of instead of something we need to get rid of. Prefabricated hollow cubes work as a structural frame as well as scaffolding. Little wind turbines that are contained in the tubes will help generate energy for the residents.3 However, the brilliant idea about using recycled material can be gross if they fail to treat waste properly. It will make the inhabitants feel like living with rubbish. This is probably one of the main reason that this project can only be a conceptual design for now. Nevertheless, using recycled material is one of the things we can learn from this project since we will use recyclable material such as paper, timber veneer, and fabric. We just need to make sure the recycled material we use is in good quality. The other thing we can learn from this project is involve inhabitants into construction. If we manage to modular fabricate our ceiling/wall structure elements, we can let its inhabitants or even general public to finish building this structure. Let them define their ceiling/wall structure. In this case, we actually allow more possibilities in our design.

Figure 3: Growing process

1. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45. 2. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 3. Mark Magazine: Another architecture, Organic Skyscraper, vol. 48 (Melbourne, 2014), pp. 6.

Figure 1: Organic Skyscraper

A 1.2: BIO-ENERGY/ CARBON-ABSORBING/ FLOATING PROJECT: X SEA TY ARCHITECT: X- TU DATE: 2010 LOCATION: SEA OF THE WORLD (UNBUILT)

As Fry states, we are pushing ourselves to extinction by the anthropocentric technologies we developed.4 Human is plundering resources from nature in a rate much faster it can reproduce resources. Human tend to forget we are not only the user but also contributor in the whole ecological system. Guided by this thinking pattern, human break the balance among human, nature and other species. Designers and architects need to take the challenge of redirecting this anthropocentric thinking pattern to think more about the planet as a whole. X SEA TY done by X–TU pictures a new relationship within human, technology, and nature. It presents us how technologies link with principles such as sharing, networking resources, and ecological symbiosis. 5 X SEA TY is a floating city serves as eco-friendly habitat for human and other species and energy producer. Due to the rising of sea-level, human will have to face the scarce of land resources. A floating city will become one possible option for coping with the future condition. The hive shape structure (figure 4) is porous concrete covered by photosynthetic algae. The photosynthetic algae will transform carbon dioxide into oxygen and biofuels. The

Figure 4: Energy transformation

city is self-sufficient. It provides itself all the energy it needs while improving the surrounding environment at the same time. Besides, this nutrition-rich “living façade” will also encourage plants to take roots and provide animals shelters. By using this ecofriendly habitation, human perform as energy user and producer at the same time. It makes the idea that human, nature and other species are actually working as a whole more clearly. There is no doubt that it will help drive human from self-interest to think more about the whole natural world. X SEA TY also allows more freedom to construction. The hexagonal shape structure is pre-fabricated and assembled like hives.7 It can be built anywhere and move freely based on the demand of its inhabitants, which allows it to meet the quick changing needs of the society. Nevertheless, the idea of using high technology living facade to achieve bio-energy and a carbonfree city is extraordinary. X-TU still cannot fix the fundamental issue about how the city floats on the sea. Design is not only about producing great concept but also practicing in reality.

Figure 5: Floatong city

4. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 5. Mark Magazine: Another architecture, X SEA TY, vol. 52 (Melbourne, 2014), pp. 78. 6. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/ 7. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/

Figure 6: X SEA TY

â&#x20AC;&#x153; ... many of the challenges we face today are unfixable and that the only way to overcome them is by changing our values, beliefs, attitudes, and behavior. â&#x20AC;&#x153; -- Tony Fry

DESIGN COMPUTATION

A 2.1: AESTHETIC/ FUNCTION PROJECT: HARD ROCK CAFÉ FACADE ARCHITECT: ARCHITECTKIDD DATE: 2011 LOCATION: BANGKOK, THAILAND

In the hard rock façade project, architects manage to connect music and architecture with the help of computation. They materialized the sound wave in a curved steel frame with countless black reflective panels. Each panel is rotated in a different angle to get a dynamic interpretation of music. There is no doubt that without the help of computation, Architectkidd would not able to assemble thousands of panels all in different angles. In term of the design process, the starting point is the shape and structure of music. Later, they tried to visualize the sound wave. The architects were not satisfied just visualized the sound, they also wanted to add a sense of tactile into this façade. To achieve this aim, they started to make prototypes based on their digital model until they found the black reflective panels that suit for this project.8 Their design process emphasis how computation renewed the traditional role of architects – builder. Design concept and fabrication seem to be isolated in the contemporary design process. Computation manages to relink them together. 9

strong visual impact in the façade, I will criticize them for only focusing on aesthetic. Critical thinking plays an important role in the design process. As designers, we need to think beyond aesthetic. The function is one of the most crucial parts we need to deal with in our design process.10 Architectkidd could have done more work with their rotated reflective black panels than just a cool look façade. They can control the angles to manage what they want the users to see. Those panels can even combine with ventilation and shading system to provide a more comfortable inside environment for the user. When it comes to our own project, we need to think carefully what a ceiling or wall can achieve before we aiming to make any cool look staff. Besides, their material testing just stayed on the stage whether the material looks good or not. Material properties and performance will be explored more in the second case study.

Although Architectkidd succeeded in creating a

Figure 7: facade development

Figure 8: External look

8. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 9. Architectkidd, Hard rock cafe facade, (2011), http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-design-summary/ 10. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45.

Figure 9: Hard rook Cafe

A 2.2: FORM FINDING/ MATERIAL PROPERTY PROJECT: MEISO NO MORI MUNICIPAL FUNERAL HALL ARCHITECT: TOYO ITO & ASSOCIATES DATE: 2006 LOCATION: GIFU, JAPAN In the last few decades, the relationship between design intent and material properties is more and more isolated. However, Computational process manages to reconnect design intent an material.11 Meiso No Mori Municipal Funeral Hall sets and example of how information flows between architectural design proposal, parametric optimization, and material properties. “Meiso No Mori” is the Japanese words meaning “forest of meditation”. Toyo Ito designed the undulating roof canopy and the treelike columns to act as a reflection of the landscape and forest of kakamigahara. It is hard to make sure the flowing curved canopy roof is structurally sound by using traditional design method. Furthermore, as the architects wanted to have a lightweight roof, the concrete used for the roof need to thin. However, computing can help designers to get an organic shape to be more structurally sounded by using mathematical optimization. Mathematical optimization is the process which, on the basis of one or more chosen criteria, takes advantage of the computation power of the computer to interactively search for optimal solutions to a problem from among a series of possible candidates.12 In this project, by using parametric optimization, there are thousands of possible solu-

Figure 10: Roof reinforcement

for the idea of an undulating canopy roof. As designers, we just need to pick best one for the project without changing the original idea of a flowing roof. Moreover, affecting by the irregular nature of the undulating roof plane, the stress levels are varied across the roof surface (figure 10). Additional steel reinforcement is needed for the roof. The different levels of stress are mapped out by computer modeling. They just did a test model on a small scale and input the data to computer program. Computation will give the best solution about where to put reinforcement will make the structure work. With the help of computation, architects managed to get the thickness of the roof down to 20cm.13 In this case study, computing shows how powerful it can be in information workflow and testing out the limit of material. In terms of our ceiling/wall installation, material property is also a crucial part of our design since we will use flexible materials such as timber veneer, paper, and fabric. Learnt from this project, we will need to make a few prototypes to test out the material limits such as bending capability before we go any further in our design process.

Figure 11: External look

11. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 12. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25

16 13. Engineer writes, Toyo Ito MEISO NO MORI MUNICIPAL FUNERAL HALL, (2008), https://engineerwrites.wordpress.com/2013/12/17/kakamigahara-crematorium/

Figure 12: External look 2

“ ... many of the challenges we face today are unfixable and that the only way to overcome them isthe bydigital chang“ Through computation, aring our values, beliefs, attitudes, and chitectural design environment has behavior. “ both the ability to construct complex -Tony models of buildings and giveFry performance feedback on these models. “ -- Brady Peters

GENERATION/ COMPOSITION

A 3.1: DESIGN OBJECTIVES/ DATA ANALYZING PROJECT: PRIZMA ARCHITECT: BIOTHING DATE: 2012 LOCATION: BUDVA, MONTENEGRO (UNBILT) With the development of computing technology, architects are now able to generate much more complex forms by using algorithm. An algorithm is taking the place of pen and paper to become the tool for architects to sketch their ideas. As architects, we now need to develop the skill of algorithmic thinking, which requires us to understand the results of generating code, knowing how to modify code and exploring further design options. Thinking algorithmic is shifting architects from computerisa14 tion to generation. However, generative design methods are always unpredictable. Generative design methods will not work unless we have a sufficient understanding of algorithmic concepts and our design intent. Otherwise, driven by the fancy results of scripts, we will easily become craftsmen instead of architects.15 In this case, Prizma done by Biothing can be a good example in balancing generative design methods and real design objectives. Inspired by the morphology of the Budva’s old city architectural fabric, Biothing designed Prizma with a heterogeneous packing of rectangular volumes along its building façade as a response to Budva’s environmental conditions. Budva is experiencing an increasing need for high density urban housing due to the accretion of population. Biothing let para-

Figure 13: Data analysis

metric modelling define the building’s architecture. They use generative design methods in making use of data such as the relationship between different vectors and parameters associated with intensity and location of light and slab set back location to simulate building performance (Fihure 13).16 Those windows and terraces are not random crazy staff generated by computer. They are in their particular shapes and orientations for reasons. They provide sunlight, shading, and views for the inhabitants. As Wilson points out that “an algorithm is a recipe, method, or technique for doing something”.17 Algorithm is a tool to assist design process. Biothing uses this tool properly without letting it overwhelm their design intent. This is what we should do in our own project. In the process of using parametric design, we might lose ourselves in some fancy outcomes of it. Nevertheless, we should keep in mind our design objectives. The arrangement of different rectangular volume can be helpful in our project. It is possible for us to start with a module and then resize and rearrange it to form other interesting structures.

Figure 14: Facade

14. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15.

Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15. 20 15. 16. Biothing, Prizma//Budva Montenegro. (2012), http://www.biothing.org/?p=484

17. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

Figure 15: Interior design

A 3.2: GENERATIVE FORM/ MATERIAL SYSTEM PROJECT: UNDER MAGNITUDE ARCHITECT: MARC FORNES & THEVERYMANY DATE: 2016 LOCATION: ORLANDO, FLORIDA Under magnitude is a two-story-height permanent structure suspended over the atrium of Orange County Convention Center acting like a second ceiling. In this project, Marc Fornes and his studio THEVERYMANY combine generative forms with selfsupporting structure. 18 The two main system of this project correspond with each other successfully. One is the material system which the architects managed to make the aluminium skin down to one millimetre thick.19 The other is the crossed-branches- like structure system. The structure will experience different level of stress like the roof of Meiso No Mori Municipal Function Hall since they are both irregular structures (figure 16). The architects make this vulnerable-look structure to be strong enough not to collapse when people walk on by the priciple of “Intensive Curvature”. according to THEVERY MANY, “Intensive Curvature,’ which is the maximization of double curvature across the project while constraining maximum radaii. The result is a structure that has much tighter curvature with constant change of direction, and results in more structurally performance.”20

First is the visual presentation. During their sketching process, they did try to colour the Under Magnitude. The colourful version of this project gives a completely different visual impact compare to the final pure white one. We can use different colour fabric or paper to make some prototypes to get the best suitable visual expression for our project. How they detailed the surface is also inspiring. Those spot all cross the surface help to reduce the weight, influence the structure performance, and act as ornamental elements of structure. If we do similar hollow pattern in our material, it might perform in different way. We also can learn from how they balance material system and the structural system since we might use similar thickness material.

There is a lot of things we can learn from this project.

Figure 16: Stress level 18. Under Magenitude, (2016) https://theverymany.com/ 19. Under Magenitude, (2016) https://theverymany.com/

Figure 17: Render of Under magnitude

22 20. Under Magenitude, (2017) http://www.metalocus.es/en/news/under-magnitude-marc-fornes-theverymany

Figure 18: Under Magnitude

CONCLUSION Start from week 1 topic design futuring, air studio part A clarify the role of designers in building a more sustainable future. As designers, we should not only think about the contemporary society. We should foresee the possibilities of incoming future while directing our design intent towards a more preferable future. To build this future, I explore recycled material and self –sufficient architectures by researching the two examples of Organic Skyscraper and X SEA TY. Although they have put forward some interesting possibilities for future design, they just remain as paper-design for they do not fix the fundamental practical issue in their concept.

as well as huamn needs and norms. Both human and the natural environment can be benefit from this design method. In terms of our own design approach, we will use flexible material. As a result, testing material properties will crucial part we need to explore. Since we are designed for a real project, the client demand and the users’behaviour also need to be included in our data analysis. We can input all these data in computation programe to help us generate forms most suitable for this project.

To help architects in redirecting people values, interests, design computation was introduced in week 2 as a powerful design tool. “Architects are increasingly experimenting with computation to simulate building performance to incorporate performance analysis and knowledge about material, tectonics and parameters of production machinery in their design drawings” – Brady Peters. Computation especially in data analysis helps designers to continue in improving building performance. By using computation, architects can generates much more complex forms that can better responds to natural environment,

LEARNING OUTCOMES I have done Digital Design and Fabrication before I learn anything about parametric design. During the studio, it was hard to compose complex geometry forms just by CAD and Rhino, especially in detailing joints of the model. As a result, we got some troubles when we assembled our final model. At that time, I stayed in the stage of computerisation. Digital software is a tool which help me to visualise my design. Without algorithmic thinking, I did not know how to use computation to explore more potential with my design. Moreover, I need to make many prototypes during the studio. At that time, I have not realised the importance of prototypes which is testing the material properties. We just did a few prototypes to explore forms and structure. We did not test the ma-

terial limit in our prototype. We ended up choose a material which we were not familiar with its material properties. The final model is not as flexible as we expected since we failed the prototype stage. I can improve my previous design work in two main aspects: used parametric design to explore possible outcomes from my original design concept and improve my final model by testing out which is the material that suitable for our eproject.

ALGORITHMIC SKETCHES

ATTRACTOR LINES

ATTRACTOR POINT

IMAGE SAMPLER

REFERNENCE 1. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45. 2. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 3. Mark Magazine: Another architecture, Organic Skyscraper, vol. 48 (Melbourne, 2014), pp. 6. 4. Fry, Tony , Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1–16. 5. Mark Magazine: Another architecture, X SEA TY, vol. 52 (Melbourne, 2014), pp. 78. 6. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producingfloating-city/ 7. Inhabitat Magazine, X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producingfloating-city/ 8. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 9. Architectkidd, Hard rock cafe facade, (2011), http://www.architectkidd.com/index.php/2011/10/hardrock-cafe-design-summary/ 10. Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming(MIT Press, 2013) pp.1-9, 33-45. 11. Oxman, Rivka and Robert Oxman, eds. Theories of the Digital in Architecture (London; New York: Routledge, 2014), pp. 1–10 12. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 5-25 13. Engineer writes, Toyo Ito MEISO NO MORI MUNICIPAL FUNERAL HALL, (2008), https://engineerwrites.wordpress.com/2013/12/17/kakamigahara-crematorium/ 14. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15. 15. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, (Architectural Design, 83, 2, 2013) pp. 08-15. 16. Biothing, Prizma//Budva Montenegro. (2012), http://www.biothing.org/?p=484 17. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), pp. 11, 12 18. Under Magenitude, (2016) https://theverymany.com/ 19. Under Magenitude, (2016) https://theverymany.com/ 20. Under Magenitude, (2017) http://www.metalocus.es/en/news/under-magnitude-marc-fornes-theverymany

IMAGE SOURCE Figure 1: Organic Skyscraper, http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residents-recycle Figure 2: Façade panel, http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residentsrecycle Figure 3: Growing process, http://www.archdaily.com/524225/organic-london-skyscraper-grows-as-residents-recycle Figure 4: Energy transformation, https://fpsbutest.wordpress.com/tag/x-sea-ty/ Figure 5: Floating city, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/ Figure 6: X SEA TY, http://inhabitat.com/x-sea-ty-is-a-carbon-absorbing-algae-producing-floating-city/ Figure 7 Façade development, http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-designsummary/ Figure 8 External look, http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-design-summary/ Figure 9 Hard rock café, http://www.architectkidd.com/index.php/2011/10/hard-rock-cafe-design-summary/ Figure 10 Roof reinforcement, https://engineerwrites.wordpress.com/2013/12/17/kakamigahara-crematorium/ Figure 11 External look, http://openbuildings.com/buildings/crematorium-in-kakamigahara-profile-45079 Figure 12 External look 2, http://openbuildings.com/buildings/crematorium-in-kakamigahara-profile-45079 Figure 13 Data analysis, http://www.biothing.org/?p=484 Figure 14 Façade, http://www.biothing.org/?p=484 Figure 15 Interior design, http://www.biothing.org/?p=484 Figure 16 Stress level, http://www.metalocus.es/en/news/under-magnitude-marc-fornes-theverymany Figure 17 Render of Under Magnitude https://www.dezeen.com/2017/01/25/marc-fornes-very-many-under-magnitude-coral-installation-orlando-convention-centre-installation/ Figure 18 Under Magnitude https://www.dezeen.com/2017/01/25/marc-fornes-very-many-under-magnitude-coral-installation-orlando-convention-centre-installation/