Part A by Jiayang Chen

STUDIO AIR 2017, SEMESTER 1, MEHRNOUSH KHORASGANI JIAYANG CHEN

PART A CONCEPTUALISATION

TABLE OF CONTENTS INTRODUCTION PART A. CONCEPTUALISATION A.1. Design Futuring Case Study 1.0 Case Study 2.0 A.2. Design Computation Case Study 1.0 Case Study 2.0 A.3. Composition/Generation Case Study 1.0 Case Study 2.0 A.4. Conclusion A.5. Learning Outcome A.6. Appendix - Algorithmic Sketches

INTRODUCTION

About Me I am Ken and I am currently studying the Bachelor of Environments, majoring in Architecture at the University of Melbourne. My interest towards Architecture was not started from the beginning. When I was a kid, I always dreamed to be an artist, so I started learning fine art at the age of five. When I became older, I found I was more interested in creating something new, I believed I would design a triphibious vehicle in the future, and I even drew an illustration for that. In primary school, I was introduced to Landscape Architecture in a Geology textbook, which was a relatively new profession. I was impressed by its description which said this profession required Biology, Geology knowledge and creative thinking. From then on, I told myself I will be a Landscape Architect. This ambition was last for around ten years, until I was told in university that they do not offer double majors for Architecture and Landscape Architecture. In college, I undertook Technical Graphics and Computer Graphics and Design as preparation for my future study in Uni. That was the first time I was introduced to 3-D modelling program. I still remember the first program I used was 3D Max.

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Since then, I tried many modelling programs such as SketchUp and Maya. When I explored more in those programs, I found Architecture interesting since it created a living space for people. My introduction to parametric design and computation began when last year I talked to a senior schoolmate, he told me I would be using Grasshopper in future studios, after a brief explanation, I realised the difference of parametric design and other digital programs. My technical knowledge of digital programs has grown every year since I began studying architecture. Last holidays, I taught myself the basics of Revit in an architectural firm. Although I have some experience with other programs, I do not have a lot of parametric design experience so I am excited to learn and experience the possibilities of design computation. All my presentation models so far have been hand-made, so working in digital fabrication is still a challenge and I am excited to take on this semester.

FIG.1: STUDIO EARTH MODEL

FIG.2 : COMPUTER GRAPHICS AND DESIGN MODEL

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“Designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images.” -John Wood

A.1 DESIGN FUTURING As the world’s population grows exponentially, time and resources are gradually disappearing. We are fully aware of our destructive nature, because we constantly remind the temperature and the ocean is rising. We have come to a point where we can no longer assume that our conference is in the future. 1 This removal poses a threat to our species. In order to achieve sustainable development, the need to change the traditional design process and technology, as well as people’s mindset. As architects, we must acknowledge the continuing problems that our environment is facing due to our abuse of the environment. We need to learn from the past, the implementation of new strategies, and ultimately can slow down the dehydration rate, once again involved in natural disasters. In addition, the design should be treated as a compass rather than a map for navigating a new set of values. 2 Imagination and creativity are critical in key design and generation of alternatives. The following projects explore the building’s ability to influence our way of thinking. They will help us to learn more about how the building can change and understand our environment, leading to a more sustainable future.

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 2 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

CASE STUDY 1 ICD/ITKE RESEARCH PAVILION 14/15 ICD/ITKE Research Team 2015 Germany This Pavilion was developed by the (ICD) and the (ITKE) at the University of Stuttgart in 2014/15. The project is the latest in its series of research pavilions, and is constantly exploring the use of computational design in architecture.1 This particular project focuses on emphasizing the use of fiber-reinforced structures and their many benefits in the building. The use of a fiber-reinforced material allows the structure to form no template too much and can be manipulated to meet the requirements of any project. The project has many different sources of inspiration, but the project’s most popular inspiration comes from the “water spider” (Agyroneda

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Aquatica). 2 This is mainly due to its ability to build complex network structures and blisters in order to survive. This use of lightweight, minimal material for the shell / foam is affecting the overall design of the pavilion. The pavilion is a great example of the future structure design process that can be used for larger structures.3 Achieving lightweight, low cost and flexible materials to create this structure is intended to influence future designers into their projects. It adds to the need to actually understand how to use different materials to achieve a waste-free structure in today’s buildings.

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1. Institute for Computational Design Faculty of Architecture and Urban Planning, Architectural Biomimetics, retrieved from <http://icd.uni-stuttgart.de/?p=9717> 2. Moritz Doerstelmann, Jan Knippers, Valentin Koslowski and others, ‘ICD/ITKE Re-search Pavilion 2014-15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web’, Architecture Design Journal: Special Issue: Material Synthesis: Fusing the Physical and the Computational, Volume 85, Issue 5, (2015). Pp.60 - 65 3. Terri Peters, Nature as Measure: The Biomimicry Guild in Architectural Design,Special Issue: Experimental Green Strategies: Redefining Ecological Design Research, Volume 81, Issue 6,(2011). Pp. 8 44-47. (P.47) CONCEPTUALISATION

http://icd.uni-stuttgart.de/?p=12965 CONCEPTUALISATION 9

CASE STUDY 2 ABSOLUTE TOWERS MAD Architects 2012 Canada One of the key aspects of this design is its simplicity in architectural design and structural solutions. The twisted form of the two towers is made of a single repeating and rotating elliptical plan, which is supported by the grid of the load bearing wall.1 The tower’s twisted profile can accommodate all the necessary shadows and ventilation, so the energy performance is better than traditional high-rise buildings. This design deprives the skyscrapers of verticality and reinterprets the architectural typology as an organic form of sustainable development and a simple economy - with “all good key designs that provide an alternative “ The project put forward “why not?” To the surrounding boring buildings, become the community “closer to daily life” milestone. The exceptional commercial success of the

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project demonstrates that architecture has to speak to the public and raise their interest in design rather than just pursuing architecture as an isolated aesthetic enterprise. The concept of ‘Shanshui city’ (MountainRiver city) underpins the architectural form of the Absolute tower is evidenced in the uninterrupted balcony around the buildings, which trying re¬connect. ‘Shanshui city’ is about the reconnection of human social life and interaction with nature and the dialogue between the indoor built space and the outdoor landscape. 2 The design approach is based on a holistic approach and has a good design intent that addresses all aspects of sustainable development, economic architecture and social utility. Absolute Tower is a key design because “being ignored as art” is not “too weird” but it is not too “normal” to be “assimilated”.3

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1. “Absolute Towers / MAD Architects,” ArchDaily, 2012 <http://www.archdaily.com/306566/absolute-towers-mad-architects> [accessed 5 August 2017] 2. “Absolute Towers twisted skyscrapers by MAD,” Dezeen, 2013 <https://www.dezeen.com/2012/12/12/absolute-towers-by-mad/> [accessed 5 August 2017] 3. https://www.dezeen.com/2014/08/06/movie-interview-ma-yansong-mad-shan-shui-city-invent-new-typology-high-rise-architecture/ [accessed 5 August 2017]

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FIG.21 CONCEPTUALISATION 11

“Computation makes possible the experience and the creation of meaning” -Brady Peters

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A.2 DESIGN COMPUTATION Ages ago, architects often faced the problem of discontinued, only in the latter part of the construction phase can be achieved, resulting in poor design. The introduction of computational methods in the architecture has greatly improved the workflow problem. Software like Building Information Modeling (BIM) or based on heterogeneous rational reference spindles (NURBS) software such as Rhino allows designers to optimize data collection while working at the same time to produce the best results. It gives our designers a certain degree of flexibility in the decision-making process, challenging traditional architectural styles. In the new computational era, it is certain that designers are more capable of dealing with highly complex situations. 1 Unlike we humans, a computer will never be tired, even better, they will never cause arithmetic errors.2 At the end of the day, the computer can produce more accurate and faster results in seconds than we were before. Through this new medim, it is now possible to quickly design the project and eventually open up more possibilities in the future. After the design of the digital production integration also had a significant impact on the construction process, will forever change the construction industry. In addition to providing ongoing workflow, it also provides efficiency and reduces material waste and faces sustainable development issues over the next few years.

Brady Peters. “Computation Works: The Building of Algorithmic Thought”. Architectural Design, 82.2 (2013), p. 10 2 Yehuda E Kalay, Architecture’s New Media: Principles, Theories, And Methods of Computer-Aided Design (MIT Press, 2004), p. 2 CONCEPTUALISATION 13

CASE STUDY 1 ESPACIO DE CREACIÓN ARTÍSTICA’S FACADE REALU 2011 Span In 2011, RealU Architects was commissioned to design an integrated optical and media device for the design of the “Espacio de Creación Artística” media art center’s facade. The design concept of the project is to transform the internal theme of the building (the structure consists of the mosaic pattern of the polygonal room) into the appearance. The surface shows irregular grooves of different sizes and densities. The “subtracted” pattern is derived from the building plan geometry and is illuminated separately. The biggest challenge of this project is to turn the look into a slim media show without changing its solid form. The 100-meter facade is designed to produce two visually appealing skins at different times of the day, one during the day and the other at night. In the daytime, the light and shadows displayed on the modulation surface are constantly changing with the movement of the sun. At

night, hexagonal, recessed and prefabricated “subtractive” systems are used as reflectors for integrated artificial light sources. The intensity of light in each “subtraction” can be individually controlled to produce large, irregular low-resolution grayscale displays. Computation is critical to the formation of the project because it promotes the design process in many ways. For example, it helps the designer to create irregular geometric patterns that are displayed as unique shapes and sizes, but by exactly calculating the consistent density. The computation is used not only for the fabricating and design phases but also at the operational stage. It can individually control the intensity of each lamp, and by combining them together to form a beautiful picture.

1. www.primeclub.org, w. (2017). realities:united. [online] Realities-united.de. Availableat: http://www.realities-united.de/#PROJECT,77,1 2. Centro de Creación Artística Contemporanéa, http://www.archilovers.com/projects/83747/c3a-centro-de-creacion-artistica-contemporanea.html 3. Espacio de Creación Artística, Cordoba, http://www.mediaarchitecture.org/espacio-de-creacion-artistica-cordoba/ 14

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http://www.archilovers.com/projects/83747/c3a-centro-decreacion-artistica-contemporanea.html CONCEPTUALISATION 15

CASE STUDY 2 SITUATION ROOM MARC FORNES / THEVERYMANY 2014 NYC, USA Situation room includes a complex logarithmic screen, from the floor of the exhibition space to the ups and downs of the ceiling, and colored with a near red pink powder coating. Site-specific works reflect the modern conditions that exist in the surrounding surroundings of our building, especially in the physical field. Situation room is intended to transform the gallery’s architecture into animated and multi-sensory forms.1 Situation room is a continuation of the Fornes study and incorporates formal and technical constraints into the an immersive environmental whole. Situation room is an algorithm-generated architecture designed to redefine the possibilities of building space. Technologydriven human-scale form, the designer defines it as a real-world application. The sculpture parametric form has a harsh lighting scheme and structure that can vibrate with the sound generated by the sensor so that visitors have a sense of contact with the Fornes public space. Fornes outline “The situation room is really

anout an environment which bring the visitor into some kind of situation which is, on one hand very different from their own. On the other hand, it’s a room. This is the smallest definition of architecture” he continued. After many years of computational research, digital software has made progress, making the project possible, and today’s computer-to-signature rendering, models and animations are common practices for construction companies, but the digitization process provides greater comparability for more complex designs. 2 Prior to this, the architects designed the architect’s spirit, the resulting items were usually superb. Computation can also achieve a new type of ecological logic design, we can now imagine a material with pore regulation conditions, light penetration control. These concepts are the basis for eco-design response to environmental conditions and have become very common in temporary practice, simulating environmental conditions and design to maximize the benefits of continuous factors.3

1. Oxman, RivIca and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Rout-ledge), pp. 1-10 2. SITUATION ROOM, STOREFRONT FOR ART & ARCHITECTURE (2014) https://theverymany.com/14-storefront/ 3. dezeen, “Marc Fornes creates pink “envelope of experiential tension” for Situation Room installation” https://www.dezeen.com/2014/10/15/marc-fornes-pink-aluminium-situation-room-installation-

https://theverymany.com/14-storefront/ CONCEPTUALISATION 17

â&#x20AC;&#x153;Only parametricism can adequately organise and articulate contemporary social assemblages at the level of complexity called for today.â&#x20AC;? -Patrik Schumacher

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A.3 COMPOSITION/GENERATION Recently, the transition from composition to generation has affected the results of many projects globally. The introduction of computational calculations allows us to effectively explore and analyze various design iterations at a faster rate. This is revolutionary because the minor adjustments to the definition of our design algorithm can be immediately transformed into another iteration.1 This method has the ability to produce complex order, form and structure that allows to explore innovative ideas. With the new generation of designers, architects can even test before building, such as kangaroos and other plug-ins can let us simulate the performance of material optimization. The software created by this designer can ultimately improve the efficiency of solving the problem. The only way to separate the architect from the design is skill. Many build software requires some mathematical theory and visual programming knowledge (grasshoppers). This is why the structure of the construction company is changing with the work of the designer.2 Complex projects become the possibility of enterprise integrated computing designers. I think it is important that the computation should be integrated into an intuitive and natural way of designing, rather than using this tool to simply generate “cool” designs that are satisfying. If you use the correct and effective calculation method, it will prove that it is useful for many future practices.

“ Brady Peters, “Computation Works: The Building Of Algorithmic Thought”. Architectural Design, 82.2 (2013). p. 10 2 Ibid. p. 11 CONCEPTUALISATION 19

CASE STUDY 1 BURNHAM PAVILION UN STUDIO 2009 CHICAGO, USA Generation is integral to the designs of UN Studio’s Burnham Pavilion. The pavilion is used for experimentation of structure. UN Studio constructs pavilions as design research experiments to test and explore innovative detailing. Pavilions are used as an extension of the diagram and the design mode1. Burnham Pavilion explored a cantilever base in a smooth, deformed geometry, and developed a computational strategy to produce a twist and then be used to design a larger project. The calculation extends the vision of the architect’s creativity, and the only limitation is physical and material. Parameter modeling is used to design the continuous form of the pavilion. A gradient is formed between its ingredients2. The resulting structure is geometrically transformed between the fluids.

Computational design has some drawbacks. Extensive amount of information generating unnecessary complexity may make design activities more complex than needed. On the other hand, the parameter limits may provide limited results and limit the designer’s creativity. The computation blurs the definition of the design author and may confuse the ownership of the algorithm forms3. Computation can be used to simulate the performance of buildings and analyze and get feedback that can inform building decisions. It is useful to maintain a flexible and adaptable parameter to the main model throughout the changing design process.4 These models can be used as a link between a virtual design environment and a physical environment.5

1. Marc Garcia, ‘Future Details of UN Studio Architectures’, Architectural Design, 2014. 2. Marcus Fairs, “Burnham Pavilion By Unstudio | Dezeen”, Dezeen, 2017 <https://www.dezeen.com/2009/04/14/burnham-3 Yasser Zarei, The Challenges Of Parametric Design In Architecture Today: Mapping The Design Practice, 1st edn (Melbourne: 172092&datastreamId=FULL-TEXT.PDF> 4 http://www.som.com/ideas/research/parametric_design_a_platform-free_master_model 5 Brady Peters, ‘Computation Works’, Architectural Design, (2013).art-architecture-new-york/

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https://theverymany.com/14-storefront/ CONCEPTUALISATION 21

CASE STUDY 2 Galaxy SOHO Zaha Hadid & Patrik Schumacher 2012 Beijing, China Zaha Hadid Architects and Associates’ Galaxy Soho Megaplex in Beijing demonstrates a computational approach that amalgamates a compositional method with the generative process.1 The plan reclassifies the conventional Chinese yard and utilizations it as an analogical idea to start the design process. 2 From perception, the plan relates the concealing character from its relationship which indicates adherence to previous compositional systems. The design led by Zaha Hadid and Patrik Schumacher consists of five continuously flowing volumes that are interchangeable, fused, or connected to the stretched bridge.3 These volumes together to adapt to each other, forming its own combination of language. The intention is to avoid the role or sudden transition, destroying its formal composition of the mobility. In the process of doing so, the generation process produces a design that attempts to use a bottom-up strategy to create its own understanding of the form of the design, thus seeing the “adaptive” nature in the overall structure. In addition, this precedent also suggests the power to generate an understanding of “connectivity” before the evolution of the architecture. Generated design methods are often unpredictable and lead us away from the conventional understanding of formal logic. Through parametric sketches, Hadid and Schumacher have discovered a unique form that is structurally viable and compelling to support its underlying design agenda. The generation process produces an alternative to the traditional combination of methods, the former can also

solve the reality of the building agenda and intent. In addition, the functions and variables derived from traditional Chinese architecture inform the sequence of algorithms to produce a continuous open space for the internal world. It follows the coherent format of the continuous curve logic generated by the exact, explicit and coding protocols to produce different geometries.4 Obviously, the algorithm instead produces an abstract form, which is an abstract form far from its traditional composition. This unpredictable feature of the generated design leads to unexpected results that are almost irrelevant to traditional combinatorial methods. Although specific and specified parameters are implemented in the algorithmic protocol, surprising results appear. When the complexity of a simple rulebased sequence is beyond the manipulation of human intelligence, the designer’s control can be extended so far.5 Therefore, from the perspective of the algorithm, the galaxy soho immersion space involved in the integration, fundamentally re-invented the Chinese courtyard. The fusion of the pipeline form provides a panoramic view of the future urban complex 360, consolidating the parametric design of urban landmarks as an urban spatial constraint. Needless to say, the complexity of structural space arrangements in large-scale projects requires computerized interventions to accomplish microtasks related to the complications of curve geometry. Therefore, his project reconsidered even if the traditional combination of embedded methods, through computerization can be effective in combining, build and manage the generation of design.

1. Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiologyin Architectural Design: Special Issue:Parametricism 20: Rethinking Architecture’s Agenda for the 21st Centur y, Volume 86,Issue 2(2016). Pp.108-113.(p.109). 2. ArchDaily, ;Galaxy Soho / Zaha Hadid Architects’ (2012), <http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architectsb 3. ArchDaily, ;Galaxy Soho / Zaha Hadid Architects’ (2012), <http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/> 4. Mark Fornes, ‘The Art of the Prototypical’, in Architectural Design: Special Issue:Parametricism icism 20: Rethinking Architecture’s Agenda for the 21st Celli-riot, Volume 86,Issue 2(2016). Pp.61-67. 5. Ibid,. Pp.61-67.

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https://www.archdaily.com/294549/galaxy-soho-zaha-hadid-architects-by-huftoncrow/50a642d2b3fc4b46eb00005a-galaxy-soho-zaha-hadid-architects-by-huftonCONCEPTUALISATION 23 crow-photo

A.4 CONCLUSION Technology has changed the world of architecture through computation. This part of conceputalisation gives us a brief background of the parametric design which let us realise we are in an era of great changes in architecture history. With the development of technology, there are more and more buildings built which may have not seemed achievable just a few decades ago. As architecture students, we are facing the most challenging era with unlimited possibilities. All these case studies I selected for Part A will be used as precedents for approaching Part B. I am aiming to apply the methods of design computation and algorithmic thinking to design those â&#x20AC;&#x153;Alien-lookâ&#x20AC;? architecture.

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A.5 LEARNING OUTCOMES In the past three weeks, I have understood the basic concept of computation and its relevance to architectural design. Parametric design is quite a new concept to me, I was excited to investigate and explore the design possibilities. With the process of learning grasshopper, I further understand how computation would be used in practice in real life perspective. The key of computation is to let the computer design for us rather than use computer as a tool to do the design. Taking my previous studio work as an example, if I had known the implication of digital tools, I would have approached them very differently. For instance, my studio earth project â&#x20AC;&#x153;secretâ&#x20AC;?, I was attempting to using the movement of architecture to imply a secret, creation of these forms can be easily generated with computation now.

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