PART A by Jocelyn Wu

AIR ABPL 30048 STUIO: AIR THE UNIVERSITY OF MELBOURNE STUDENT JOURNAL JOCELYN WU (692309) TUTOR: BRADLEY ELIAS

TABLE OF CONTENTS 01

Introduction PART A. Conceptualization

A.1.0 Design futuring A.1.1/A.1.2

A.2.0 Computational Design A.2.1/A.2.2

Precedents 1 & 2

A.3.0 Composition/Generation A.3.1/A.3.2

Precedents 1 & 2

2A1 21

A.4.0 Conclusion A.5.0 Learning Outcomes

A.6.0 Appendix – Algorithmic – Algorithmic PART B. Criteria Design B.1.0

Research Field

B.2.0 B.3.0

Case Study 1.0 Case Study 2.0

B.4.0

Technique: Development

B.5.0

Technique: Prototypes

B.6.0

Technique: Proposal

B.7.0

Learning Objectives and Outcomes

B.8.0

Appendix – Algorithmic Sketches

PART C. Detailed Design C.1.0 Design Concept C.2.0 Tectonic Elements and prototypes C.3.0 Final Detail Model C.4.0 Work Cited

INTRODUCTION PROFILE & PREVIOUS WORK: JOCELYN WU Architecture Major˙ The University of Melbourne

For me, to be in the university of Melbourne, studying as a second year architecture student provides me a very comprehensive lifestyle. As the longer the time I’ve spent on architecture, I found the smaller I am; architecture is a filed that will lead you to involve everything slightly and brings you an abundant life. I started to focus on every single details when I arrived a new place, which I used to only experienced it when I’m traveling. However, now I feel like everyday I’m traveling, seeing and learning new things. In terms of pervious experiences and works, I did graphic design and visual art during my high school, when I got to learn Revit. Additionally with distinguished experiences worked as an intern in interior design firm and property development marking company, which finally lead me to become an architecture student realizing architecture combined all my interests as a whole and can easily brings the simple happiness to me. 01

PART A. Conceptualization

A.1.0

Design futuring

A.1.1

Precedents â&#x20AC;&#x201C; The Iceberg (2013)

A.1.2

Precedents â&#x20AC;&#x201C; Paper Church, Japan (1995) Cardboard Cathedral, NZ (2013) Nepal Project (2015)

A.1.0

DESIGN FUTURING

Design futuring is a concept based on the idea that â&#x20AC;&#x153;sustainability is an ethical relationship with the past and futureâ&#x20AC;?(Laws et al., 2004), thus implying that sustainable development has no time boundary. This concept has led to the birth of various architectural experiments attempting new building forms to achieve better living conditions.

A.1.1

DESIGN PRECEDENT: CEBRA + JDS

+ SEARCH + LOUIS PAILLARD ARCHITECTS THE ICEBERG (2013)

The

Iceberg is a high-density aﬀordable rental

housing project in Aarhus Harbour, Denmark, the largest harbour front city development in Europe, designed to home 7,000 inhabitants and provide 12,000 workplaces. The Iceberg was designed with the aim of integrating a diverse social profile into this new city development. The unique “peaks” and “canyons” architectural form was designed to maximize sunlight exposure and access to ocean views. The angles that were cut off from the building’s form were precisely calculated to maximize sunlight penetration, therefore reducing the need for active heating systems. Passive solar heating is one of the most cost effective and efficient 05

environmentally friendly solutions that requires neither ongoing maintenance nor any underlying mechanical systems. Sunlight penetration is not only important physically, but also for the mental health of the inhabitants, as evidenced by the Proceedings of the National Academy of Sciences, which revealed the profound eﬀects of light deprivation on the brain (Conti, 2008).

A.1.2

DESIGN PRECEDENT: SHIGERU BAN

PAPER CHURCH, JAPAN (1995) + CARDBOARD CATHEDRAL, NZ (2013)

Architectural

design involves various problem

solving tasks, encompassing a broad range of issues from sustainability to aesthetic (Dunne & Raby, 2013). The disaster relief projects introduced in this section, involve a high degree of complex problem solving, in the attempt to achieve a balance between spiritual designs whilst maintaining sustainable conditions. This section will examine two projects designed by the Japanese architect, Shigeru Ban (2004 Pritzker Prize winner) and how the Nepal project was influenced by his ideas regarding material accessibility and construction simplicity. Paper Church, Japan (1995) Banâ&#x20AC;&#x2122;s first disaster relief project was the Paper Church, which was designed for the earthquake victims in Japan in 1995. Two key concerns were dealt with in this project, which he made integral to the designs of his subsequent disaster relief projects. Firstly, he emphasized the importance of material accessibility and recyclability; the church was 07

constructed with a skin of corrugated polycarbonate sheeting as well as 58 paper tubes that were donated by various companies, which could be recycled in the future. Secondly, he focused on the simplicity of the construction method and a short construction time, with the structure being completed in five weeks by the 160 volunteers. The Paper Church was disassembled in June 2005 and all its materials were sent to Nantou, Taiwan for the construction of a memorial after the 921 earthquake. Cardboard Cathedral Christchurch, New Zealand (2013) The Cardboard Cathedral in Christchurch was built as a temporary replacement for the city's former Anglican cathedral, which was destroyed by the 2011 earthquake. The church was constructed from 98 equally sized cardboard tubes with an expected lifespan of around 50 years (Frearson, 2013).

Following his success in paper architecture, United Nations High Commissioner for Refugees appointed Ban as a consultant for various paper-tube shelter constructions across the globe (Hyatt, 2015). The non-governmental organization, Voluntary Architects’ Network (VAN) was established to provide disaster relief services in light of his achievements in postearthquake re-construction (Hyatt, 2015). Nepal Project (2015) One of the most recent disaster relief projects include the shelters built for the earthquake victims in Nepal, which were designed by Charles Lai and Takehiko Suzuki. They espoused Ban’s design concerns in developing an eﬃcient and sustainable design solution for hundreds of thousands of people who were made homeless by the earthquake in Nepal. The aim of this design was to create a structure that could be constructed by anyone with cheap and locally available materials (Frearson, 2015). "One of the obstacles faced by disaster relief agencies in Nepal [was] that transportation across the

mountainous country [was] tremendously diﬃcult," explained Lai (Frearson, 2015). Therefore, metal sheets and bamboo were selected, as "bamboo [was] a cheap and abundant material in the area, [which was] also quite easy to deliver, cut, and assemble," added Lai (Frearson, 2015). Easily accessed materials with simple construction methods successfully provided a solution for local unskilled workers to construct their own temporary homes. So, will they continue being appreciated? Although disaster relief projects seem to target a very specific group of people, many architects will have to consider with the importance of sustainability in their building designs. Ban once described how he considered the concept of "green design" as just a trend, but what he was more concerned about was "using materials without wasting" (Frearson, 2013). As such, learning from Ban’s work, it is essential for architects to appreciate the importance of material accessibility and recyclability, even in everyday nondisaster relief projects. 08

PART A. Conceptualization 10

A.2.0

Computational Design

A.2.1

Precedents â&#x20AC;&#x201C; Seattle Central Library (2004)

A.2.2

Precedents â&#x20AC;&#x201C; Centre Pompidou Metz (2010)

A.2.0

COMPUTATIONAL DESIGN:

COMPUTERIZATION VS. COMPUTATION

COMPUTERIZATION VS. COMPUTATION The

introduction of computers into architectural

design enabled architects to experiment with algorithmic and simulation-driven designs. "Most architects think in drawings, or did think in drawings; today they think on the computer monitor," said Otto (Winston, 2015). This statement highlights the fact that computers are not mere digitization tools but play an integral role in the design process through computational design methods (Peters & De Kestelier, 2013). The term ‘computerization’ refers to the process of “simply [digitizing] existing procedures with entities or processes that are preconceived in the mind of the designer” (Peters & De Kestelier, 2013). On the other hand, ‘computation’ enables architects to deal with highly complex situations, by using computer codes to communicate a particular set of instructions (an algorithm) to solve the problem (Peters & De Kestelier, 2013). The current era is shifting from one where architects simply use software to one where

they create software (Peters & De Kestelier, 2013). Computational design has revolutionised architectural design, by introducing new ways of exploring and simulating designs (Peters & De Kestelier, 2013). Architecturally speaking, computation has become necessary in terms of physical, fabrication and construction perspectives. Many argue that is it essential for architectural design to shift away from function orientated Modernist perspectives to create aesthetically brilliant structures, which has become an increasingly popular approach since the introduction of computational design. Case Studies: Computerization/ Computation The first case study illustrates with Seattle central library, Washington by OMA architecture (2004). The second case study illustrates with Centre Pompidou Metz by Shigeru Ban with Jean de Gasties and Philip Gumuchdjian (2010). 10

A.2.1

DESIGN PRECEDENT: OMA ARCHITECTURE SEATTLE CENTRAL LIBRARY, WASHINGTON (2004)

“The

dominant mode of utilizing computers in

architecture today is that of computerization; entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system” stated by Terzidis Kostas in his publication, Algorithmic Architecture (Lecture, 2015). A simple concept of wrapping the entire building in a continuous transparent layer formed the design basis of the Seattle Public Library’s glass and metal skin. Due to the unique curtain wall design, OMA architects realized in the early design process that collaboration with external technical manufacturers would provide the much needed technical expertise (LMN, 2015). This perfectly illustrates one of the four changing structures of architectural firm norms, employing the external specialist consultancy, in response to the work of computational designers (Peters & De Kestelier, 2013). This external German firm, Seele GmbH & Co, utilized computerization

techniques to transform the curtain wall design into a constructible reality from the initial conceptual design (LMN, 2015). For example, computerization was used for the development of the diamond module that was calculated to be the most eﬃcient use of nonstandard glass panel shapes with adequate steel spanning capacity. Seele GmbH & Co provided comprehensive analysis of the design from various perspectives including aesthetics, structural capacity, thermal performance, weatherproofing, maintenance, and constructability (LMN, 2015). Without computerization, the process could not have been easily entered, manipulated, or stored, which are crucial in minimizing the loss in communication and translation between architects and structural engineers (LMN, 2015).

13 h,p://www.e-‐architect.co.uk/france/pompidou-‐centre-‐metz

A.2.2

DESIGN PRECEDENT: Shigeru Ban with Jean de Gasties & Gumuchdjian Architects CENTRE POMPIDOU METZ, FRANCE (2010)

T he

Centre Pompidou Metz is an intelligent

demonstration of parametric modeling and its ability to generate complex forms and geometries, illustrating the power of computational design. The term ‘computation’ refers to an algorithm that can be expressed through the use of a computer, which processes information through an understood model, enabling the production of a particular design, such as the geometrical wooden roof structure in this particular precedent (Peters & De Kestelier, 2013). This outcome which was generated by utilizing proprietary form-finding software, could not have been created through pure human design (Etherington, 2010). A computer program was intially created by Shigeru Ban and Jean De Gastines to create the unique roof design structure and further options could then be explored through modifications to the program, including the technique of sketching by algorithm (Peters & De Kestelier, 2013).

h,p://www.gumuchdjian.com/pompidou-‐metz.html

Part A. Conceptualization 16

A.3.0

Computational Design

A.3.1

Precedents – The Roof For the Multihalle (1970–1975)

A.3.2

Precedents – Taipei Performing Art Center (2009)

A.3.0

COMPOSITION & GENERATION:

BASIC RULES VS. SYSTEM OF THE RULES

N O I T I S O P M CO N O I T A R E N E G & HOW ARCHITECTURE SHIFTS FROM COMPOSITION TO GENERATION? During the late 1980s and early 1990s, for the first time in history, architects were designing not the specific shapes of buildings but instead, sets of principles encoded digitally as a sequence of parametric equations (Peters & Peters, 2013). In this period, architects were able to generate a parametric or computational system of formal production, by creating on-screen controls that aﬀect outcomes instead of working on compositional designs. The benefit of this shift is that an interdependent relationship could be established between objects or configurations by assigning diﬀerent values to the parameters (Peters & Peters, 2013).

ALGORITHMIC THINKING “Algorithmic thinking is the ability to understand, execute, evaluate, and create algorithms” as described by Wayne Brown’s Introduction to Algorithmic Thinking (Lecture, 2015). From an architectural perspective, this refers to the ability to generate future design potentials by knowing how to modify existing algorithmic codes to explore new design options, according to Sean Ahlquist and Achim Menges (Peters & De Kestelier, 2013). Case Studies: Generation/ Composition The first case study illustrates with the roof For The Multihalle (Multi-Purpose Hall), Mannheim, Germany by Frei Otto (1970–1975) The second case study illustrates with Taipei Performing Arts Centre by Rem Koolhaas (2009)

17 Fig 10. Roof for the MulKhalle in Mannheim, 1970–1975, Mannheim, Germany, source from: h,p://www.pritzkerprize.com/2015-‐images-‐download

A.3.1

DESIGN PRECEDENT: FREI OTTO

ROOF FOR THE MULTIHALLE (MULTI-PURPOSE HALL) IN MANNHEIM, GERMANY (1970–1975)

Frei Otto famously remarked, “My architectural

drive was to design new types of buildings to help poor people especially following natural disasters and catastrophes” (Lifson, 2015). Giving recognition to this statement that he aim to design ‘new types of buildings’ to solve existing problems leads us to the question ‘why are existing building types unsatisfactory for the current problems for Otto?’ The answer to this can be addressed by his achievements in lightweight engineering. He oﬀered lightweight structures in scenarios where others only saw mass as the solution. The lightweight solution solves the current problem while preventing the future consequences, such as material shortage and pollution from mass structure production. This is further illustrated by a Pritzker Jury who stated that “Otto's work was lightweight, open to nature, democratic, low-cost, and sometimes even temporary” (Campbell-Dollaghan, 2015). Frei Otto utilized physical models, which served as a form of analogue computation. The models would be used to simulate and subsequently determine the tensile performance of his membrane structures. The hanging chain model was involved in the form finding process of the Mannheim Pavilion, which allowed architects to develop architectural spaces that fit any plan giving a "sensible structure"(Princeton University, 2013). This implemented technique in the timber grid shell was first utilized in Deubau by suspending threads loaded with nails, and he refined his technique by using a chain and its self-weight for the Mannheim design.

However, it is arguable that this project is an example of Generative Architecture, as Otto’s hanging chain "models were eﬀective in [finding] pure tension shapes, that when inverted, [generated ideal] compressional shell results"(Princeton University, 2013). From this analysis, the design of the Mannheim Pavilion (fig 19) involved a physical model, as well as a mathematical model that was generated by computer. It represents a similar result that was found in the hanging chain model.

18 h,p://www.smdarq.net/case-‐study-‐mannheim-‐mulKhalle/

19 h,p://openbuildings.com/buildings/taipei-‐performing-‐arts-‐centre-‐proﬁle-‐1335/media#

A.3.2

DESIGN PRECEDENT: OMA ARCHITECTURE

TAIPEI PERFORMING ARTS CENTRE, TAIWAN, TAIPEI (2009)

The

Taipei Performing Arts Centre (TPAC) is a

fascinating illustration of how the shape of the building can be formed through programming. In contrast to the easily understandable composition of symmetrical architecture, Koolhaas adopted a game-like process in the composition of the TPAC. The TPAC consists of three individually functional theatres, which plug into a cubical centre that consolidates serveries and public spaces into one eﬃcient whole. The Grand Theatre (represented as ‘a’ in fig 18) is shaped in a slightly asymmetrical manner with the stage level, parterre and balcony unified into a folded plane (OMA, 2009). The Multiform Theatre (fig.18.b), which is located opposite to the Grand Theatre, has a more flexible layout to accommodate the most experimental performances (OMA, 2009). Lastly, the Proscenium Playhouse (fig. 18.c) resembles a suspended planet docking in a cube (OMA, 2009).

20 Fig. 20 Taipei Performing Arts Center, Taiwan, OMA. Arup’s rendering of the structural steel. The superstructure consists of a central cube, surrounded by three projecKng auditoria. Source from: h,p://www.metropolismag.com/September-‐2013/The-‐Skys-‐the-‐Limit/?cparKcle=4&siarKcle=3

A.4.0/ A5.0

CONCLUSION/ LEARNING OUTCOME

By going through three weeks journey of exploring three major theme, design futuring, computational design and composition/generation architectural design, they have eventually come to one big theme to me, which is the ‘design process.’ They have a common concept of shifting the design; whether it is from non-sustainable design to green building orientated architecture, from simply utilizing computer as a design tool to computer program become a deign project itself or shifting from composition to generation. These shifts have brought us more design possibilities and is going continue generating more design outcomes for our generation and future generations. However, I am not entirely agree that all the shifting are bringing us to a brighter future.

Indeed, I found some shifting are contrasting each individual concept. Design future and computation design for intense, I found various parametric design became more aesthetic orientated; the building forms are generated before the programs and functions have been applied to the buildings. Therefore, I personally think it can sometime be unnecessary for those fancy structures to be generated. To conclude this three weeks learning, “a new concept I learn today can be contradictive to a concept I learnt yesterday.” I found it annoyed but also can’t stop progressing my thought and have the desire to gain more knowledge to find a balance between those “shifting activities.”

REFERENCES

Campbell-‐Dollaghan, K. (2015). 9 Buildings By Frei O,o, the Architect Who Engineered the Future. GIZMODO. ConK, L. (2008). How Light DeprivaKon Causes Depression. Acien,fic American. Dunne, A., & Raby, F. (2013). Specula,ve everything : design, fic,on, and social dreaming: Cambridge, Massachuse,s : The MIT Press, [2013]. Etherington, R. (2010). Centre Pompidou-‐Metz by Shigeru Ban. Dezeen. Frearson, A. (2013). Shigeru Ban completes Cardboard Cathedral in Christchurch. Dezeen. Frearson, A. (2015). Prototype shelter for Nepal earthquake vicKms could be built by unskilled workers in three days. Dezeen. Hya,, F. (2015). The Pritzker Architecture Prize -‐ 2014 Lecture Shigeru Ban from h,p://www.pritzkerprize.com/2014/biography Laws, D., Scholz, R., Shiroyama, H., Susskind, L., Suzuki, T., & Weber, O. (2004). Expert views on sustainability and technology implementaKon. . MassachuseAs, USA: MassachuseAs Ins,tute of Technology. Lecture. (2015). 2015 S2 Studio Air Lecture 2 slide 43/48. Lifson, E. (2015). The Pritzker Architecture Prize: 2015 Pritzker Prize Media Kit: 2015 The Hya, FoundaKon. LMN, A. (2015). Sea,le Central Library Curtain Wall Design. from h,p://lmnarchitects.com/case-‐study/sea,le-‐central-‐library-‐curtain-‐wall-‐design OMA. (2009). TAIPEI PERFORMING ARTS CENTRE, TAIWAN, TAIPEI. from h,p://www.oma.eu/projects/2009/taipei-‐performing-‐arts-‐centre/ Peters, B., & De Kestelier, X. (2013). Computa,on works : the building of algorithmic thought: Chichester : John Wiley & Sons, [2013]. Peters, B., & Peters, T. (2013). Inside Smartgeometry-‐ Expending the Architectural Possibili,es of Computa,onal Design. Princeton University, D. o. C. a. E. E. (2013). EvoluKon of German Shells -‐ Efficiency in Form. Winston, A. (2015). Frei O,o: a life in projects. dezeen

h,p://autodesk-‐revit.blogspot.com.au/2011/01/vasari-‐design-‐pa,erns.html

A.6.0

APPENDIX – ALGORITHMIC – ALGORITHMIC

PART A Technique: TriangulaKon Algorithms (2D)

PART A Technique: TriangulaKon Algorithms (2D) -‐ voronoi

PART A Technique: TriangulaKon Algorithms (3D) – voronoi Command used: SelLast (Rhino – to separate the bake object)

WEEK 2 Technique: Curve menu Command used: Average (ﬁnd center point), Set Boolean (False)

PART A Technique: CreaKng Gridshell

PART A Technique: Early Stage Site Analysis

Grasshopper plug-‐in – Elk (early stage site analysis propose) Step 1. Download Elk (h,p://www.food4rhino.com/project/elk?uo) Food 4 Rhino ID: jocelyn0106@gmail.com/ Step 2. Export a speciﬁc area on Open Street Map (h,ps://www.openstreetmap.org/#map=4/40.31/29.18) (h,p://wiki.openstreetmap.org/wiki/Category:Keys) Step 3. (h,p://dds.cr.usgs.gov/srtm/version2_1/SRTM3/Australia/)