Weerasinha_isurie_761387_ PartA by Isurie Weerasinha

STUDIO AIR 2017, SEMESTER 1 FINNIAN WARNOCK ISURIE WEERASINHA 761387

STUDIO AIR CONTENTS INTRODUCTION

PART A: CONCEPTUALISATION

A1 DESIGNING FUTURING

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A1.1 CASE STUDY - ALGAE CANOPY

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A1.2 CASE STUDY - HARBIN OPERA HOUSE

A2 DESIGN COMPUTATION

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A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE

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A2.2 CASE STUDY- ICE/ITKE RESEARCH PAVILION 2015-16

A3 COMPOSITION/ GENERATION •

A3.1 CASE STUDY -SHENZHEN BAO’AN INTERNATIONAL AIRPORT

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A3.2 CASE STUDY - INFINITY TOWER DUBAI

A4 CONCLUSION

A5 LEARNING OUTCOMES

A6 APPENDIX - ALGORITHMIC SKETCHES

BIBLIOGRAPHY

IMAGE REFERENCES

INTRODUCTION

Hi there, my name is Isurie Weerasinha. I am currently in my third year of study in the Bachelor of Environments, majoring in architecture and property. After commencing my degree in 2015, I decided that both property and architecture complimented each other well and enhanced my knowledge of the industry. Although the workload is often immense, it is enjoyable. Currently while studying I am working as a retail assistant for typo. This role has taught me time management and the importance visual design in appealing to an audience. I have completed studio earth but due to my study timetable I was unable to complete studio water or ddf which impacted on my level of knowledge of rhino. But for the past weeks I have been attempting to learn the program. I do however have experience in adobe illustrator, Photoshop, sketch up and auto cad. I am quite enthusiastic about going into this year, learning new software and knowledge which will assist me in my career.

EARTH CONCEPT

PART A: CONCEPTUALISATION

A1 : DESIGNING FUTURES

"IT IS NOW EASIER FOR US TO

IMAGINE THE END OF THE WORLD THAN AN ALTERNATIVE TO CAPITALISM. YET ALTERNATIVES ARE EXACTLY WHAT WE NEED. WE NEED NEW DREAMS FOR THE TWENTY-FIRST CENTURY AS THOSE OF THE TWENTIETH CENTURY RAPIDLY FADE."1 -FEDRICK JAMESON

1 DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING (MIT PRESS) , P4

A1 .1 CASE STUDY- ALGAE CANOPY A London based ecological studio, Claudia Pasquero and Marco Pletto proposed a new version of future bio-digital architecture for expo Milano 2015.

This is a perfect example of the alternative twenty-first century dreams that architects and designers should be striving towards to protect the planet we live in.

"OUR TIME ON EARTH IS DETERMINED BY OUR ABILITY TO UNDERSTAND THE PRESENT AND ACT ACCORDINGLY TO REACH A DESIRED FUTURE."1 The project integrates technological advances of the 21st century with the natural environment of the modern time. As humans we are part of this natural environment, hence this project works toward the way in which humans can assist the slow rehabilitation of nature. This canopy, is a transparent bio-digital structure filled with micro Algae organisms to provide shade for visitors below while at the same time producing large amounts of oxygen. The algae is a fluid that responds accordingly to the presence of visitors. As humans walk through the area of the canopy, electro valves are triggered altering the speed at which the Algae flows through the Canopy. 2

FIG. 1: GROUND SURFACE ON CANOPY

The canopy also responds to the weather. For example, when the sun is shining intensely, the algae would photosynthesise and grow. In turn reducing the transparency of the canopy and providing much needed shade. Projects such as this inspires designers to search beyond the present forms of architecture. Whilst this project has not been built it is positive step towards integrating technology with nature as it is in the 21st century. The completed canopy will ‘produce the oxygen equivalent of 4 hectares of woodland and up to 150kg of biomass per day, 60% of which are natural vegetal proteins’.

FIG. 2: GROUND SURFACE AND FRAMING CANOPY

It is nearly impossible achieve the level of benefits through traditional means, yet again highlighting the importance of using technology as a means to better our current standards. 1 DUNNE, ANTHONY & RABY, FIONA ‘SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING’ (MIT PRESS,2013) , P4 2 BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urbanalgae-canopy-milan-expo/37480/> [ 6 MARCH 2017] FIG. 3: ADDITION OF SUPPORTING SURFACE OF CANOPY

FIG. 4: COMPUTER GENERATED 3D MODEL OF CANOPY

FIG. 5: INTERIOR OF CANOPY AND MOOD CAPTURING

A1 .2 CASE STUDY- HARBIN OPERA HOUSE The Harbin opera house designed by Mad architects, was completed in October 2015. Situated in the wetlands of the northern regions of china, the construction at its peak stands at 56 meters. Harbin opera house was designed in response to the climate in the region. It’s curvaceous exterior, topography and luxurious interior are used as a means to blend into and feel closer to nature. Smooth white aluminium panels were used for the exterior of this building helping the structure to camouflage during the snowy winter months. The glass roof represents the ice of the frigid climate while the white surface represents the soft snow.

As designers we should be striving to combine the ideas of both the opera house and the algae canopy. Environmentally friendly design is not necessarily a piece of cake. Architects must also account for human wants and needs, such as comfort. Designing sustainably should not deduct human needs and wants rather enhance it.

This particular project serves the purpose of being a cultural centre which integrates humans, art and city identity. The construction is very much the icon of the city attracting visitors far more than prior to its existence. The structure is impressive in its use of technology and materials. Technology has been used to design each element of this building to suite the natural climate of the region as well as materials. Each material serves a purpose. The bent planks of Manchurian wood has good acoustic qualities whilst marble floors of the building are equipped with heating for cold winter months.

FIG. 6: CURVILINEAR FACADE CONTAINING ALUMINIUM PANELS AND GLASS

Unlike the algae canopy this particular structure does not use architecture as a means assist the rehabilitation of nature, rather attempts to blend a large architectural construction with nature. It is the juxtapositioning of the built environment and the natural environment. Although the project focuses on providing a comfortable environment to users and a means for humans to feel closer to nature in a safe environment. It is should not be seen as the alternative design techniques that we are searching for. 1

FIG. 7: TIMBER FINISH INTERIOR OF THEATRE

1 KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/ blog/mad-harbin-opera-house/> [ 7TH MARCH 2017]

FIG. 8: VIEW OF OPERA HOUSE FROM THE TOP

FIG. 9: SIDE VIEW OF OPERA HOUSE SHOWING CURVACEOUS FEATURES AND JAGGED GLASS

FIG. 10: SMOOTH MARBLE INTERIOR, SHOWING HOW LIGHT IS REFLECTED IN THE SPACE

A2: DESIGN COMPUTATION

"FORMATION PRECEDES FORM, AND DESIGN BECOMES THE THINKING OF ARCHITECTURAL GENERATION THROUGH THE LOGIC OF THE ALGORITHM"

A2.1 CASE STUDY- GUANGZHOU OPERA HOUSE Zaha hadid’s Guangzhou opera house is a design evolved from concepts of the natural landscape . Especially influenced by the principles of geology, erosion and topography. While previously such fluidity and exploration was limited , parametric design and computation has allowed architects to push boundaries through algorithms. The opera house has taken the principle of erosion and adapted it through computation. The facade design uses folding triangular lines to allow light into the building & visualisation of river valleys eroding assisted in the parametric design. The amount of light allowed into the building can now be altered through the technological software, allowing efficiency in the development process.1 Geology has furthermore helped shape the structural forms within the building. Dissimilar objects are altered leading to the distortion of form. In order to do this, experiments would have to be carried out and effectively the results of these, will be used to create an algorithm that dictates the built form. “the integration of digital materiality and performative analysis now theoretically enables such a potential for a contemporary tectonic expression to be derived from the technologies of material design and fabrication”2

FIG. 11: EXTERIOR OF OPERA HOUSE DURING THE NIGHT

FIG. 12: INTERIOR PARAMETRIC DESIGN

Formation precedes form as parametric design is dependent on relationships between objects, changing one particular element or changing the values of its parameters will therefore change the entire building. This freedom allows for buildings to have fluidity and opens the doors for innovative design.

1 PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <http://emmelynchua.blogspot.com.au/2014/06/ week-7-lure-of-continuous-skin.html> [ 12TH MARCH 2017]

2 oxman,rivika, oxman, robert, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014)

FIG. 13: INTERIOR OPERA HOUSE

FIG. 14: INTERIOR FINISHES AND LIGHTING

A2.2 CASE STUDY-ICD/ITKE Research Pavilion

“ Material experimentation and innovation such differentiated fields includes the ability to modulate conditions of the porosity of materials surfaces, and potential control of light penetration and so on.” 1The research pavilion 2015-2016 uses research on sea urchins to inspire the construction method of timber plate shells. The exploration of timber is conducted through a series of experiments which is then transferred into software to produce a full scale model as can be seen in fig. 16 and 17. Computation design facilitates natural design though allowing to learn from it ,rather than just imitating its design. The pavilion uses thin pieces of wood strips. These strips are custom laminated so that the grain direction and thickness relates to different stiffness required for parts with varying radii. Programs such as grasshopper can be used during the computation process to integrate different numbers into a complete structure. This case study emphasizes how formation precedes form, with the exploration of materialism through digital architecture. Computation is a new logic of architectural design through the use of algorithms.2

FIG. 15 : SHELL STRUCTURE INVESTIGATION

FIG. 16: MATERIAL AND JOINT INFORMATION THROUGH COMPUTATION

1 oxman,rivika, oxman, robert, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014) FIG. 17: STRUCTURAL ANALYSIS

2 ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <http://www. achimmenges.net/?p=5822> [ 12TH MARCH 2017]

FIG. 18: FINISHED PROJECT

A3: COMPOSITION/GENERATION

" THE DESIGN ENVIRONMENT OF WHICH THE ARCHITECT IS PART AUTHOR, MUST BE FLEXIBLE AND HAVE THE ABILITY TO ACCOMMODATE CHANGE"

A3.1 CASE STUDY- SHENZHEN BAO'AN INTERNATIONAL AIRPORT

The development in digital technologies has been embraced by architects as it allows a faster and efficient ways to design. Architects continue to use programs such as CAD and other 3D modelling software as a way to translate known objects into buildings. This process is known as computerisation. Computerisation in a sense does not use the full capabilities of the technological advances as it is just being used a means to ‘display’ architecture. 1 To utilise computer software and advancement in technology to its full extent, architects must learn the language of computers. Essentially have the ability ‘to sketch by algorithms,an algorithm is a particular set of instructions’2 This is called computation. Architects must have the ability to adapt to the technology available to create a structure that are at par with the level of sophistication achieved by software. Shenzhen Bao’an International airport is an example of computation design where architects have sketched through algorithms. This particular structure used parametric modelling to control the size and slope of openings, which were adapted to meet daylight requirements, solar gain and viewing angles. The building also consists of 60,000 different facade elements and 400,000 individual steel members.3 This is a great example of what can be achieved through computation.4

FIG. 19 : THE HONEYCOMB SKIN CREATES A DYNAMIC PATTERS OF LIGHT ON THE INTERIOR OF THE TERMINAL

FIG. 20: THE DOUBLE-SKIN THAT ENVELOPES TERMINAL IS COMPOSED OF METAL AND GLASS PANEL WHICH CAN BE PARTIALLY OPENED

1 Peters, B & Peters, T,’ Inside smart Geometry, Expanding the architectural possibilities computation design’, (Chinchester; John Wiley & sons inc.2013) 2 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.10 3 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.15 4 Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom. com/architecture/studio-fuksas-expands-shenzhen-baoaninternational-airport-11-22-2013/> [acess date 16th march 2017]

FIG. 21 : INTERIOR OF AIRPORT

FIG. 22: EXTERIOR OF AIRPORT FIG. 18: FINISHED PROJECT

FIG. 23 : INTERIOR ROOF CLADDING OF AIRPORT

A3.2 CASE STUDY- INFINITY TOWER

Whilst the changed technology means that architects have to change and adapt to fit in with current technological advances, It does not mean all architecture must turn to the computation. In fact ‘not all functions are computable so not all functions are algorithmically describable’.1 There are limitations within the process of creating algorithms, the traditional means of architecture will exist in the future even if it is not as prominent to make up for these particular limitations. The infinity tower in Dubai is a great example of a project using computation as means for design, The stepping of the perimeter columns in this particular building became its architectural expression. As the tower has a twisted facade there was an importance in the architecture and structural engineer working closely together. ‘ Algorithms was critical to the success of this structure. It provided analysis and visualisation of structural forces2

1 2

Dietrich, Eric, ‘Algorithm’ The MIT Encyclopedia of Cognitive Sciences ( London: MIT press), pp 11,12 Peters, Brady, 2013, ‘Computation works: the building of Algorithmic THought’ Architectural Design, 83,2, pp.15 FIG. 24 : VIEW OF THE INFINITY TOWER FIG. 21 : INTERIOR ROOF CLADDING OF AIRPORT

FIG. 25 : CLOSER VIEW OF THE INFINITY TOWERS TWISTED DESIGN

A4 -CONCLUSION

Part A explores architectural development through technological improvements available in the 21st. Rather the traditional use of computers as a tool to display a finished product, it can now be used to sketch through algorithms . The founding of algorithmic and computational processes in architecture has completely transformed the way in which architecture is viewed today. Hence the possibilities of what can be achieved through architecture has broadened. Not only can you produce aesthetic designs, you can also produce designs which are environmentally friendly, cost efficient and structurally sound. I intend to design by gaining inspiration from the natural environment. By using software programs, we can produce not only environmentally friendly but also structures which may act to assist nature in its rehabilitation.

FIG 26 : PARAMETRIC MODELLING- DANIEL GILLEN

A5- LEARNING OUTCOMES

At the beginning of the semester I had very limited prior knowledge of Rhino and grasshopper. As the semester continued I have become more confident in these two programs. I have learnt various functions and ways in which to create different designs. This process of designing through computation has opened my mind to new design possibilities that could not be sketched using traditional methods. You have the ability to create complex structures with simple elements, whilst still maintaining an aesthetic intent. I have learnt that nature can be integrated into parametric design, which is a key aspect of todaysâ&#x20AC;&#x2122; architecture. I particularly enjoyed the â&#x20AC;&#x2DC;speculative everythingâ&#x20AC;&#x2122; reading by Dunne and Raby. I believed many of the things said in that reading is very relevant to the world we live in now, discussing how the world is having trouble adapting to combat the dangers we face today. Whilst computation architecture is still limited in what it can do , it is a great tool that can be used for sustainable and efficient design for the years to come.

A6- ALGORITHMIC SKETCHES

These sketches have been included in my journal because I believed they represented the best, what I have learnt in the past three weeks. Both these sketches are one single elements which has been manipulated to make a complex form. Although it is possible for methods such computerisation and hand drawing to achieve these complex forms, it would take hours and perhaps days. Through computation these sketches were developed in a matter of minutes. Emphasizing the efficiency of this technology and what can be achieved through them.

BIBLIOGRAPHY ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <http://www.achimmenges.net/?p=5822> [ 12TH MARCH 2017] ARCH DAILY, ‘ HARBIN OPERA HOUSE/ MAD ARCHITECTS’ ARCH DAILY (16TH DECEMBER 2015) <http://www. archdaily.com/778933/harbin-opera-house-mad-architects> [ 7TH MARCH 2017] BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urban-algae-canopy-milan-expo/37480/> [ 6 MARCH 2017] DAVIS, DANIEL, ‘ THE NEXT GENERATION OF COMPUTATIONAL DESIGN’ ARCHITECT ( 31ST JULY 2015) <http://www. architectmagazine.com/technology/the-next-generation-of-computational-design_o> [12TH MARCH 2017] Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom.com/architecture/studio-fuksasexpands-shenzhen-baoan-international-airport-11-22-2013/> [access date 16th march 2017] Dietrich, Eric, ‘Algorithm’ The MIT Encyclopedia of Cognitive Sciences’ ( London: MIT press), pp 11,12 DUNNE, ANTHONY & RABY, FIONA ‘SPECULATIVE EVERYTHING : DESIGN FICTION & SOCIAL DREAMING’ (MIT PRESS,2013) , P4 ECOLOGICAL STUDIOS, ‘ALGAE CANOPY’ ECOLOGICSTUDIO ( 1ST OCTOBER 2014) <http://www.ecologicstudio. com/v2/project.php?idcat=3&idsubcat=59&idproj=137> [ 6 MARCH 2017] KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/blog/mad-harbin-opera-house/> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘HARBIN OPERA HOUSE’, ARCHELLO ( 2ND APRIL 2014) <http://www.archello.com/en/project/harbin-opera-house> [ 7TH MARCH 2017] MAD ARCHITECTS, ‘ HARBIN OPERA HOUSE’ MAD <http://www.i-mad.com/work/harbin-cultural-center/?cid=55> [7TH MARCH 2017] oxman,r, oxman, r, ‘the theories of the digital in architecture’ (Routledge, taylor and francis group, london & Newyork, 2014) PEI MIN CHUA ‘ADVANCED BUILDING TECHNOLOGY’ ( 12TH JUNE 2014) <http://emmelynchua.blogspot. com.au/2014/06/week-7-lure-of-continuous-skin.html> [ 12TH MARCH 2017] Peters, Brady, 2013, ‘Computation works: the building of Algorithmic Thought’ Architectural Design, 83,2, pp.15 SENO, ALEXANDRA, ‘HARBIN OPERA HOUSE’ ARCHITECTURAL RECORD (1 DECEMBER 2016) <http://www. architecturalrecord.com/articles/11368-harbin-opera-house> [ 7TH MARCH 2017] ZAHA HADID ARCHITECTS ‘GUANGZHOU OPERA HOUSE’ <HTTP://WWW.ZAHA-HADID.COM/WP-CONTENT/FILES_MF/GUANGZHOUOPERAHOUSE.PDF> [12 TH MARCH 2017]

IMAGE REFERENCES FIG 1- 5 : BLAIN, LOZ , ‘ URBAN ALGAE CANOPY WILL GENERATE A 4-HECTARE FOREST’S WORTH OF OXYGEN’ NEW ATLAS( MAY 2015) <http://newatlas.com/urban-algae-canopy-milan-expo/37480/> [ 6 MARCH 2017] FIG: 6-10: KESKEYS, PAUL ‘ NATURAL POETRY: MAD’S HARBIN OPERA HOUSE APPEARS SCULPTED BY WIND AND WATER’ ARCHITIZER ( 22ND DECEMBER 2015) <http://architizer.com/blog/mad-harbin-opera-house/> [ 7TH MARCH 2017] FIG 15-18: ACHIMMENGES, ‘ ICD/ ITKE RESEARCH PAVILLION 2015-2016’ (2016) <HTTP://WWW.ACHIMMENGES.NET/?P=5822> [ 12TH MARCH 2017] FIG 19-23 : Design boom studio ‘fuksas expands shenzhen bao’an international airport’(November 2013)<http://www.designboom. com/architecture/studio-fuksas-expands-shenzhen-baoan-international-airport-11-22-2013/> [access date 16th march 2017] FIG 24-25: SOM ‘ IN PROGRESS INFINITY TOWER’ ( FEBRUARY 2013) <http://www.archdaily.com/331128/ in-progress-infinity-tower-som> [ ACCESS DATE 16TH MARCH 2017] FIG 26: DANIEL GILLIEN ‘ PARAMETRIC DESIGN’ < http://www.archdaily.com/618422/are-computers-bad-for-architecture> [ ACCESS DATE 16TH MARCH 2017]