Sun yunong 508969 parta completed

studio

air JOURNAL YUNONG SUN 508969

STUDIO SIXTEEN SEMESTER ONE 2015

introduction 4-5

A. conceptuallisation

6-21

B. criteria design

C. detailed design

conceptuallisation A.1. design futuring

6-9

A.2. design computation

10-13

A.3. composition/generation

14-17

A.4. conclusion 18

A.5. learning outcomes

18

A.6. appendix-algorthmic sketches

19-20

Reference 21

introduction

My name is Yunong Sun, from a place in China called Suzhou, an old city acclaimed for its pale wall and grey tiles of traditional private gardens. An architecture so different to the western or the modern, elegant in its own way.

It is my fifth year in Melbourne and love riding around, drinking coffee and taking photos. Architectural wise, enjoying the relatively diverse culture so far, compared to the being-wiped-out cityscape with residential towers lacking any arcthiecutral sense back at home.

When studying studio water last year, I was introduced to Alvar Aalto with his down-to-earth architecture, with a strong emphasis on human experience. I look forward to this year’s studio air, of a completely different approach of computational program and hope to learn more about architecture and desgin.

TIMBER UNDULATING ROOF OF VIIPURI LIBRARY BY ALVAR AALTO

4

5

CONCEPTUALISATION

A. 1

NADAAA

BANQ RESTAURANT 2008 BOSTON, MASSACHUSETTS, U.S.

This design of restaurant space by NADAAA, formerly known as Office dA, illustrates a parametric design solution, produced in digital fabrication. The timber slates effectively achieve the goal to hide service below ceiling, at the same time adding fluidity with a sense of landscape, creating a smooth flow through out the space while maintaining flexibility on floor level for this restuarant setting. Its otherwise unachievable form also gives the place an identity.

Although the idea of parametric design and CNC milling applied was not novel at the time, however, example such as BanQ demonstrates relatively small scale of computational design. Similar result can be found in the bakery shop D.Chirico by March Studio in Melbourne slightly later, generating the same type of outcome with more accesible production. Only through materialization can a design be experienced by, having an interation with, serving or inspiring the user, and to discover its flaws that can not be foreseenvor achieved merely in the designers minds. BanQ provides a smart and economical solution, not only provides the architects themselves the opportunity to testify the idea and functionality of the design, but also

ABOVE: CEILING DETAIL, BANQ BY NADAAA RIGHT: BAKER D.CHIRICO

BY MARCH STUDIO ABOVE: CEILING DETAIL, BANQ BY NADAAA

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CONCEPTUALISATION

A. 1

MINIFIE VAN SCHAIK

CENTRE FOR IDEAS 2001 VCA, SOUTHBANK, VICTORIA, AUSTRALIA

The Centre for ideas provides new and additional academic space to the VCA campus. The main point about this design is the materialization of the concept of the virtual world to a physical form of the real, through digital formation. It was designed by computational program and appear to be digital with its steel panels and organic organization of the 3-D units of facade. The centre is experimental in both look and design process, fabrication, resulting in a unique solution in both technical and conceptual perspectives.

Apart from providing functional space to the users, the architects at MvS seeks to communicate a novel design methodology, through radical presentation on the facade. It takes part in the regional promotion of incorporating computation throughout the design and production stage. This type of exprimental projects tests the technique, which can develop futher into more sophisticated practice, such as the Australian Wildlife Health Centre. The general layout of the VCA building remains unchanged and functions fluently with adjacent ABOVE: CENTRE FOR IDEAS BY MVS

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CONCEPTUALISATION

A. 2

SHIGERU BAN

CENTRE POMPIDOU-METZ 2010 METZ, FRANCE

The cultural complex at Metz by Ban is an open structure that aims to connect exterior and interior. Its flexible glass shutter underneath the weavy roof enables continuous flow of space, by doing so to create a sense of communication and openness. The design can not be achieved without the laminated timber roof, of its materiality, structure or form, all of those being highly innovative.

Form, material, structure in coordination works with the concept, derived from the local environmental and social context. The involvment of computation is the primary base for both structure and design. Structural system inspired by Chinese woven bamboo hat, traslated into complex curvlinear structural system made possible by the NURBS program digital modeling. Fabrication of structural units is the result of CNC production that uses data straight from building information modeling system. As there is no duplicate among the units, each is being produced solely, and would not be economically possible for the project if not through CNC fabrication, which provides mass production price for uniquely crafted units.

ABOVE: CENTRE POMPIDOU-METZ BY SHIGERU BAN

Although the modeling and production process is highly digitalized, parameters are still set by architects, of functionality, spacial organization other design decisions in accordance to the concept and local environment. Computation is then used as a tool that constructs a unique system for this specific design, optimizing the transalation from an idea to a physical structure.

ABOVE LEFT: ROOF TIMBER STRUCTURE ABOVE RIGHT: TIMBER CONNECTION DETAIL

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CONCEPTUALISATION

A. 2

HERZOG & DE MEURON NATIONAL STADIUM BEIJING, CHINA

2008

The realization of this piece of architecture relies entirely on computation from early stage in design to the end of construction. With the concept in mind, architects at Herzog & de Meuron develops a simple bowl shape to a maga sturcture in steel skeleton, at the same time serving as facade. In this sense the architectural and engineering are fully intergrated into one form, requring the two to develop at the same pace. It is constructed with building information modeling, as each structrual unit has its own 3-D form. Due to this coordination between the two disciplines, architects are able to take control of the structural system, otherwise conventionally is out of the architectural perimeter, limiting the delivery of concept with standard structrual system. Here, the architects design the whole system, returning to a sense of craftmentship with the one who designs also builds.v The stadium, based on the idea of a artificial steel forest, although better known as bird’s nest, draws inspiration from, and in this case also automatically arouses connections to nature. Computation, often seems to be moving away from nature, in fact is derived from nature through mathmatical algorithms, provides more sophisticatedly developed and abstract natural forms.

ABOVE:NATIONAL STADIUM BY HERZOG & DE MEURON

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CONCEPTUALISATION

A. 3

ZAHA HADID ARCHITECTS CIVIL COURTS OF JUSTICE MADRID, SPAIN

2007

The architects used parametric mdelling on the exterior of the building, organized windows by creating a digital algorithm determined by the environmental context.

Designing process that applies algorithm is considered as generation, it is refering to the generation of an outcome from the rules, rather than in a more direct way of composition. Each project or element has its own algorithm to solve a specific problem, parameter sets the constraints and the acutal process carried out is scripting. In the case of Zaha’s Civil courts of Justice, only the facade is applied with parametric modelling, determining form from early design stage, generated not by the architects, but through computational program scripted by the architects, or engineers employed.

ABOVE: MODEL OF CIVIL COURTS OF JUSTICE BY ZAHA HADID

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CONCEPTUALISATION

A. 3

TOYO ITO & ASSOCIATES, ARCHITECTS SERPENTINE PAVILION LONDON, U.K.

The temporary pavillion designed by Toyo Ito with Arup seemingly complex and segmented on the facade, the overall form is based on a simple box with algorithmic set of lines, repeatedly projecting on the surface and dividing the faces into openings or closed panels held up by structrual elements. Although the facade is highly geometrical, the boundary of inside and outside is relaxed by views of the outside and the ununified overhead shading, the result is a highly transparent space, shelteing visitors with uncompromised openness. The messiness of the facade clearly expresses the central position of parametric and algorithmic thinking of the design process. Instaed of compsoing the structure, it is carved out from a box, parameters allows adjustment of the skeleton, so that desirable form is achieved more pecisely in response to surrounding environment. The outcome provides a more dynamic solution, alhough the box as a basis still is asserting constrains on the overal form and the segmenting structural lines.

ABOVE: DIGITAL MODEL OF ESTONIA ACADEMY OF THE ARTS BY GAGE CLEMENCEAU ARCHITECTS

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CONCEPTUALISATION

A. 4

CONCEPTUALISATION

A. 6

In part A my design approach was to create shape that is fluid and flexible, serving multipurposes to different users. A dynamic and inviting design that can promote communication and engagement among the community, while providing temporary shelter from weather for visitors.

I drew four curves in rhino and loft them , with different loft options (uniform, straight etc), then I was trying to capture a point on one of the rhino curve and replace it with a new point having different y and z value. When I loft these curves again, different shapes emerges.

CONCEPTUALISATION

A. 5

From part A, I started to develop an understanding of algorithm and parametric design, a very complex idea that will require further learning. I came to a realization the use of computational tools that provides various, rahter than singular, results with distinctive design ethnics behind. I hope to try using digital tools from early stage of design which hopefully can create more intricate design solution.

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After lofting, I was trying to explore different command to produce structure tubes from lines and boxes from randomly positioned points. I was trying to create a structure with the long end for seating and roof overhanging beside that.

19

CONCEPTUALISATION

A. 6

REFERENCE

Bibliography:

I drew a curve in rhino and copied then rotated 180 degrees, trying to create two intertwined surface, from which I got section surfaces form contours, the main goal was to create a tunnel within the two surface.

Architects, A. I. (2015, 3 20). VCA-Hub Building. Retrieved from http://dynamic.architecture. com.au/awards_search?option=showaward&entryno=20043046 Architects, M. (2015, 3 20). MvS Projects. Retrieved from http://www.mvsarchitects. com.au/doku.php?id=home:projects:victorian_college_of_the_arts Ban, S. (2015, 3 20). Shigeru Ban Architects. Retrieved from http://www.shigerubanarchitects. com/works/2010_centre-pompidou-metz/index.html Broome, B. “BANQ Boston, Massachusetts.” Architectural Record 197.1 (n.d.): 104-106. Arts & Humanities Citation Index. Web. 20 Mar. 2015.

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Hensel, M. and Gharleghi, M. (2012), Iran: Past, Present and Future. Archit Design, 82: 16–25. doi: 10.1002/ad.1401 Hensel, M. (2012), Practices Abroad: Today’s Diaspora, Tomorrow’s Architecture. Archit Design, 82: 104–119. doi: 10.1002/ad.1409 Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 – 42 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Meuron, H. d. (n.d.). Retrieved from https://www.herzogdemeuron.com/index/projects/ complete-works/226-250/226-national-stadium/IMAGE.html NADAAA. (n.d.). NADAAA projects. Retrieved from NADAAA: http://www.nadaaa.com/#/projects/banq/ Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp.

RMIT. (2015, 3 20). VCA Centre for Ideas. Retrieved from http://researchbank.rmit.edu.au/view/rmit:10418 Scheurer, F. (2010), Materialising Complexity. Archit Design, 80: 86–93. doi: 10.1002/ad.1111 Schumacher, P. (2009), Parametric Patterns. Archit Design, 79: 28–41. doi: 10.1002/ad.976 Zaera-Polo, A. (2009), Patterns, Fabrics, Prototypes, Tessellations. Archit Design, 79: 18–27. doi: 10.1002/ad.975

List of images: 1. http://www.alvaraalto.fi/viipuri/building.htm 2. http://www.yatzer.com/assets/Article/1513/images/BANQ_restaurant_by_Office_dA_photos_by_John_Horner_at_yatzer_6.jpg 3. http://img5.adsttc.com/media/images/5126/23b6/b3fc/4b5e/dd00/0050/large_jpg/BNQ_CP_011_1280px.jpg?1361454002 4. http://www.archello.com/sites/default/files/VCABennettsextwest2resizeresize_0.jpg 5. http://www.pbart.com/wp-content/uploads/2010/05/pompidou_metz.jpg 6. http://media.tumblr.com/tumblr_l05pufOrxt1qaez60.jpg 7. http://archrecord.construction.com/projects/portfolio/archives/1007pompidou-metz/4.jpg 8. http://www.zaha-hadid.com/architecture/madrid-civil-courts-of-justice/ 9. http://www.mfga.com/estonia-academy-of-art/

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