Journal A Jingqian Gu by Jingqian Gu

STUDIO AIR

2018, SEMESTER 1 TUTOR: SEAN GUY JINGQIAN GU PART A

Contents Introduction A Conceptualisation A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic Sketches

INTRODUTION

My name is Jingqian Gu, from China. I am third year in Bachelor of Environments, with a major in Architecture. I have done several design studios which use part of the digital design tools like Rhino and AutoCAD. Although I have some experience of digital fabrication with my group members in second year, I am still not quite familiar with it. I think this studio will help me explore more on degital design and fabrication skill.

CONCEPTUALISATION 9

A.1 Design Futuring

s the development of economic and technologies, we have already achieved strong power and design the world as we want. But as we progressing the society, the

related problems are made by us. As Tony Fry says â&#x20AC;&#x153; Design - the designer and designed objects, images, systems and things shapes the form, operation, appearance and perceptions of the material world we occupy. " 1That tells the importance of design, it can affects not just users but also the earth. Therefore, design intellingence is the key rather than illuminating fundamental questions about design, human beings and the making and unmaking worlds, designer should be able to deal with human beings making ever greater demands on the environments of their dependence.

1 Tony Fry, Design Futuring Sustainability, Ethics and New Practice (Oxford International Publishers Ltd.: Oxford International Publishers Ltd., 2009), pp. 1-16.

CASE STUDY 1

MAD Architects/ 2012

As the development of city the society is envolved from single, nearly universal consumption to the heterogenous society of the motitude. 1 While skyscrapers are considered as asymbol of the

the Mississauga skyline concluding in reve to the principle street intersection at its pe connects the city dwellers with naturalistic d principles, Mississauga is infused with a

development of city shows the technological brarado, prime capital and societal projection of wealth and prosperity. However, the skyscraper without considering the cohesion of life will result an unatural conformity.

character.2

The Absolute Tower is located in Mississauga, Ontarior, Canda, a city has been quickly developed into an idependet urbanized area. The city space wants to add something naturalistic, delicate and human. The tower achieved these and provide residents an emotional connection to their hometown and neighbours. For this case the Absolute Tower is trying to solve the heigh density of population as well as making city devellers immersed with an enriching experience of nature. The Absolute Towers choose not to emphasize vertical lines. Instead, the design features a smooth, unbroken balcony that wraps each floor of the building. That affords breathtaking panoramas of

ABSOLUTE TOW

1.1

This design practice remains the axiom o industrial revolution, man controls nature. is creating a balance between nature an development of urban space.

1 Patrik Schumacher, ' Parametricism as Style-Parametricist Manife Dark Side Club1 , 11th Architecture Biennale, Venice Patrik Sch 2008). 2 Archdaily, 'Absolute Towers / Mad Architects', Archdaily, (2012) www.archdaily.com/306566/absolute-towers-mad-architects> [A 01/03 2018].

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erence eak. It design a new

of the That nd the

esto', (the humacher,

<https:// Accessed

Fig.1 The Absolute tower http://facadeconference.com/en/speakers/andrea-dantrassi.html#portfolio-3

CASE STUDY 1

1.1

Fig.2 a smooth, unbroken balcony the floor plate rotates in a range of one to eight degrees https://www.archdaily.com/306566/absolute-towers-mad-architects

ABSOLUTE TOW MAD Architects/ 2012

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Fig.3 Surrounding environment with Absolute Tower https://www.archdaily.com/306566/absolute-towers-mad-architects

1.2

CASE STUDY 2

HEYDAR ALIYEV CENTER Zaha Hadid Architects/2013

Heydar Aliyev Center is located in Baku, A zerbaijian was heavily influenced by the planning of Soviet Union. Since its independence in 1991, Azerbaijan has

trying to provide a place where meet the clientthe Azerbaijian government's expenting.The Heydar Aliyev Center’s design evolved from our investigations and research of the site’s

invested heavily in modernising and d e v e l o p i n g B a k u ’s i n f r a s t r u c t u r e a n d architecture, departing from its legacy of normative Soviet Modernism. And this building is expeceted 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.

topography and the Center’s role within its broader cultural landscape. By employing these articulate relationships, the design is embedded within this context; unfolding the future cultural possibilities for the nation.

Zaha achieved this by making the building be contiuous and fluid related to surrounding plaza and interior of the building. In addition, it also use new materials like Glass Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) for shaping the building and for the function beneifits.1 As the building for future it considered the affect of environment to the building and

1 Archdaily, 'Heydar Aliyev Center / Zaha Hadid Architects', Archdaily, (2013) <https://www.archdaily.com/448774/heydar-aliyev-centerzaha-hadid-architects> [Accessed 02/03 2018].

Fig.4 Heydar Aliyev Center https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects

Fig.5Internal of Heydar Aliyev Center http://www.meptur.com.tr/destinations/baku-azerbaijan/ 17

A.2 Design Computation

n the past decade, the relation between computation and design is becoming stronger. Instead of simply from form generation and fabrication design, it started to envolve into

design and be a logic of design thinking and making. In effect, the formation precedes from through the logic of the algorithm the design is generated. That is considered as a easier way to combine computaion with desin whch generates products as a contiuous logic in it.1Although application of computation is influenced by many factors such as tectonics of material, digital materiality and fabrication, it has bee applied more around the world.

1 Robert Oxman, and Rivka Oxman, Theories of the Digital in Architecture (London and New York: RRoutledge Taylor & Francis Group, 2014), pp. 1-10.

2.1

AL BAHAR TOW AHR/2012

Al Bahar Tower is located at Abu Dhabi, United Arab Emirates, where has intense sunshine and temperatures steadily above 100 oFwith 0% chance of rain. That is an extreme environment

diffused light into the towers and improv visibility. All of these is based on simulate movement of the faรงade in response to the su path by computer.2

for architectures to contrubute the balance of comfort and construction.Never mind that the sand can compromise the structural integrity of the building, the intense heat and glare can render a comfortable indoor environment relatively impossible if not properly addressed. All these makes it is hard for designers to consider.1

It shows a good example of how computat works for design which is based on the informat provided by computer and forced on the proble that architectures wants to solve. Finally achieved the balance between nature and desig

Hoever, Al Bahar Tower solved this problem successfully and become the world's largest computerised dynamic facade.The design concept is based on the fusion between bio-inspiration, regional architecture, and performance based technology.The Al Bahr Towers are a benchmark for a highly considered approach in the built environment. The idea of this facade comes from adaptive flowers and the "mashrabiya" - a wooden lattice shading screen, which are traditionally used to achieve privacy whilst reducing glare and solar gain. The geometry of the shading screen folds and unfolds in response to the movement of the sun, reducing solar gain by up to 50%, whilst simultaneously improving admission of natural 20

CASE STUDY 3

1 Karen Cilento, 'Al Bahar Towers Responsive Facade / Aedas', Arch (2012) <https://www.archdaily.com/270592/al-bahar-towers-respon facade-aedas> [Accessed 08/03 2018]. 2AHR, 'Al Bahr Towers', AHR, (n.d.) <http://www.ahr-global.com/AlTowers> [Accessed 09/03 2018].

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Fig.6 Al Bahar Tower https://www.archdaily.com/510226/light-matters-mashrabiyas-translating-tradition-into-dynamic-facades

Fig.7 the concept of adaptive flowers and the "mashrabiya" http://www.ahr-global.com/Al-Bahr-Towers

2.2

CASE STUDY 4

ICD/ITKE RESEARCH PAVILION ICD&ITKE / 2014-2015

The ICD/ITKE Research Pavilion 2014-15 demonstrates the architectural potential of a novel building method inspired by the underwater nest construction of the water spider. This building prototype explores application potentials of novel computational design, simulation and fabrication processes in architecture. This prototypical project is the result of one and a half years of development by researchers and students of architecture, engineering and natural sciences. As the concepet of the pavilion comes from Agyroneda Aquatica proved to be of particular interest. To build similar net in construction ways. Therefore, analyzed, abstracted and transferred into a technological fabrication process is the key. An industrial robot is at the beginning of the design and construction process, the shell geometry and main fiber bundle locations are generated by a computational form finding method, which integrates fabrication constraints and structural simulation. In order to determine and adjust the fiber layouts a computational agent-based design method

has been developed. Similar to the spider, a digital agent navigates the surface shell geometry generating a proposed robot path for the fiber placement. The agent behavior is derived from a variety of interrelated design parameters. This computational design process enables the designer to navigate and simultaneously integrate these design parameters into various performative fiber orientations and densities.1 This case study shows the similar ideas of using computer for design. Instead of using it just as a method to fabricating it can also provide the environmental analysis and building performance as feedback. 1 University of Stuttgart, 'Icd/Itke Research Pavilion 2014-15', University of Stuttgart, (n.d.) <http://icd.uni-stuttgart.de/?p=12965> [Accessed 09/03 2018].

Fig.8 ICD/ITKE Research Pavilion 2014-15 http://icd.uni-stuttgart.de/?p=12965

Fig.9 ICD/ITKE Research Pavilion fabrication process http://icd.uni-stuttgart.de/?p=12965

A.3 Composition/Generation

or most of the time, computation is used as simply digitise existing procedures with entities or processes that are preconceived in the mid of designer. However, this

situation has been changed. Instead of using computer as an editor, the computation is more considered as the processing of information and interactions between elements which constitute a specific environment. It provides a frame work for negotiating and influencing the interrelation of data which means it canhelp designer to solve more complex problems.1 Therefore, many softwears are used as the tool to help designers to complete their conceptions and gives more support on getting information for design and creating more possibility rather than import data.

1 Peter Brady, 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 82 (2013), 08-15.

3.1

CASE STUDY 5

WEST 57TH STREET TOWER Mark Foster Gage

West 57th Street Tower has not been completed yet, while for this building the meaning of it is not just about how it is built and what technic is applied in it. It is more about the concept behind the

Although it use the CNC technic to mak detials,Its height and position near Cent make it inherently controversial, as New have protested buildings that cast long s

building.

over the green haven in the past. 2

The building is located at 41 W 57th St., New York. Compared with traditional skyline which is called as boxes clad in steel and glass by Mark Foster Gage, heis trying to push the possibilities of exterior beauty in skyscraper design. In order to aesthetically add to the city, rather than merely occupy a place in it.The 102-story tower, proposed in the heart of Manhattan, New York City, would feature a carved stone facade and eye-catching glimmers of bronze. Residents would also be treated to sweeping views of Central Park and the city skyline, and a number of balconies would frame particular features of the surrounding landscape. Due to its splendor, the mammoth residential tower has been described as what might happen if â&#x20AC;&#x153;Michelangelo was brought back to life and commissioned to design a skyscraper.â&#x20AC;?1 In addition the similar complex previously stonemasons may take decades, the intricate stone designs on the

It shows as the development of technol more complex and higher building will be r less time to meet the requirment of the soci

luxury building could be created much quicker using computer numerically controlled (CNC) technology.

1 Karissa Rosenfield, 'Mark Foster Gage's Manhattan Skyscr Gothic Architecture to New Heights', Archdaily, (2015) <ht archdaily.com/778865/mark-foster-gage-designs-supert skyscraper-for-manhattan> [Accessed 15/03 2018]. 2Beckett Mufson, 'Architect Designs Nyc Skyscraper Fit for a Kh We Spoke to Architect Mark Foster Gage About His Plans to Sav City's Skyline.', Creators, (2015) <https://creators.vice.com/en nz4kvz/mark-foster-gage-khaleesi-skyscraper-interview> [Acce 2018].

ke more ral Park Yorkers shadows

logy the real with ialty.

raper Takes ttps://www. tall-gothic-

haleesi ve New York n_au/article/ essed 15/03

Fig.10 The Khaleesi https://creators.vice.com/en_au/article/nz4kvz/mark-foster-gage-khaleesi-skyscraper-interview

3.1

CASE STUDY 5

WEST 57TH STREET TOWE Mark Foster Gage

Fig.11 The closer detial https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraper-for-manhattan

Fig.12 Construction detial https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraper-for-manhattan

3.1

CASE STUDY 6

SERPENTINE PAVILION

BIG/2016

This pavilion is temporarily structure in in Hyde Park, London. The design consists of an "unzipped wall" in which a straight line of tubular fiberglass bricks at the top of the wall is split into two undulating sides, housing the program of the pavilion.

The key idea of doing this kind of pavilion every year is just for testing the ideas and make it possible in real world . Although it is hard to find out evidence to support that this pavilion used computation to help them design, based on the photo of the pavilion can see it is contiued flowing curved walls fiberglass "bricks," which let in light and views that requires more research to make it to the interior of the pavilion through each wall. stable. And finding the balance of design The floors and furniture are constructed of wood and construction. which, along with the translucent fiberglass, 1 Rory Stott, 'Big's 2016 Serpentine Pavilion Opens Alongside 4 Summerhouses', Archdaily, (2016) <https://www.archdaily. provide "every surface with a warm glow and com/789018/bigs-2016-serpentine-pavilion-opens-alongside-4summerhouses> [Accessed 15/03 2018]. linear texture." From the inside, the offsets of each individual brick creates an interesting play of light and shadow which is visible from within.1

Fig.15 Top View Serpentine Pavilion https://www.archdaily.com/789013/play-with-a-parametric-version-of-bigs-serpentine-pavilion-in-this-model 30

Fig.13 Serpentine Pavilion https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilion-and-the-new-summer-houses

31 Fig.14 Interior detial of pavilion https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilion-and-the-new-summer-houses

A.4 Conclusion

nfluenced by the rapid development and complexity of the societiy, the design of the building is not just for simple living and space for activities, it should also considers the balance with

environmnt and consider the possibility for future. That means design should be sustainable fits the surrounding environment and solve the client's requirements. And make the design influence their life and be part of their cuirtual. The usage of computation to help design is becoming more and more common. However, iusing computer just as an edior for importing data and fabrication may not be quite different from traditional architectures' method. Using computation as a libary gets the helpful imformation to help the designers take the decision and improve their work. Also based on the case studies it shows that the better design is allways the concept of the design, the other things including computaion and technologies is just approaches to help designers to form the building and fit the concept.

A.5 Learning Outcomes

hough these 3 weeks learning of conceptualisation I have better understanding of the relation ship between design, environment and computation. That is the design is based on the

environment or surrounding like their clients's needs and consider how the design influence the environment and future life. While computation can be used not just as the export of your design it can be the method to shape and form your design.That tells me for future design should use these three elements as a circle instead of linear approch from environment to design to computation. For the process of learning grasshopper, I find it is interesting to shape the idea into the 3D version directly and easy to make changes. This can bring me thousands of possibility and as I do the setchbook I find that as you change a little bit of one compounder it could bring totally different version of the final one. Compared with just using rhino it is much convenient. However, it still needs to have a overview in my mind, otherwise, it is hard for me to do any steps when I facing lots of compounders.

A.6 Appendix- Sketchbook

COLU

BASED ON PARL

These two columns are traced from the captial

neo classical building and has typical tridional co

key stones and captial of columns show a relatio organic and complex form. While, they are still bottom makes them also fit Parliament House.

UMNS

LIAMENT HOUSE

l of the columns from Parliament House, which is a

olumns. By using the elements from the building like

on and eveloution from classical tryditiaonal to more remain the features such as larger size for top and

A.6 Appendix-Reference 1 AHR, 'Al Bahr Towers', AHR, (n.d.) <http://www.ahr-global.com/Al-Bahr-Towers> [Accessed 09/03 2018]. 2 Archdaily, 'Absolute Towers / Mad Architects', Archdaily, (2012) <https://www.archdaily. com/306566/absolute-towers-mad-architects> [Accessed 01/03 2018]. 3 ———, 'Heydar Aliyev Center / Zaha Hadid Architects', Archdaily, (2013) <https://www. archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [Accessed 02/03 2018]. 4 Peter Brady, 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 82 (2013), 08-15. 5 Karen Cilento, 'Al Bahar Towers Responsive Facade / Aedas', Archdaily, (2012) <https://www. archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> [Accessed 08/03 2018]. 6 Tony Fry, Design Futuring Sustainability, Ethics and New Practice (Oxford International Publishers Ltd.: Oxford International Publishers Ltd., 2009), pp. 1-16. 7 Beckett Mufson, 'Architect Designs Nyc Skyscraper Fit for a Khaleesi We Spoke to Architect Mark Foster Gage About His Plans to Save New York City's Skyline.', Creators, (2015) <https://creators.vice.com/en_au/article/nz4kvz/mark-foster-gage-khaleesi-skyscraperinterview> [Accessed 15/03 2018]. 8 Robert Oxman, and Rivka Oxman, Theories of the Digital in Architecture (London and New York: RRoutledge Taylor & Francis Group, 2014), pp. 1-10. 9 Karissa Rosenfield, 'Mark Foster Gage's Manhattan Skyscraper Takes Gothic Architecture to New Heights', Archdaily, (2015) <https://www.archdaily.com/778865/mark-foster-gage-designssupertall-gothic-skyscraper-for-manhattan> [Accessed 15/03 2018]. 10 Patrik Schumacher, ' Parametricism as Style-Parametricist Manifesto', (the Dark Side Club1 , 11th Architecture Biennale, Venice Patrik Schumacher, 2008). 11 Rory Stott, 'Big's 2016 Serpentine Pavilion Opens Alongside 4 Summerhouses', Archdaily, (2016) <https://www.archdaily.com/789018/bigs-2016-serpentine-pavilion-opens-alongside-4summerhouses> [Accessed 15/03 2018]. 12 University of Stuttgart, 'Icd/Itke Research Pavilion 2014-15', University of Stuttgart, (n.d.) <http://icd.uni-stuttgart.de/?p=12965> [Accessed 09/03 2018].

Image Sources Fig.1 http://facadeconference.com/en/speakers/andrea-d-antrassi.html#portfolio-3 Fig.2 https://www.archdaily.com/306566/absolute-towers-mad-architects Fig.3 https://www.archdaily.com/306566/absolute-towers-mad-architects Fig.4 https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects Fig.5 http://www.meptur.com.tr/destinations/baku-azerbaijan/ Fig.6 https://www.archdaily.com/510226/light-matters-mashrabiyas-translating-tradition-intodynamic-facades Fig.7 http://www.ahr-global.com/Al-Bahr-Towers Fig.8 http://icd.uni-stuttgart.de/?p=12965 Fig.9 http://icd.uni-stuttgart.de/?p=12965 Fig.10 https://creators.vice.com/en_au/article/nz4kvz/mark-foster-gage-khaleesi-skyscraperinterview Fig.11 https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraperfor-manhattan Fig.12 https://www.archdaily.com/778865/mark-foster-gage-designs-supertall-gothic-skyscraperfor-manhattan Fig.13 https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilionand-the-new-summer-houses Fig.14 https://archinect.com/features/article/149950034/touring-big-s-2016-serpentine-pavilionand-the-new-summer-houses Fig.15 https://www.archdaily.com/789013/play-with-a-parametric-version-of-bigs-serpentinepavilion-in-this-model