Studio air journal submission A by johnnyw1

STUDIO AIR 2014, SEMESTER 2, Tutorial No.1 - Phil Johnny Wang 637861

ABOUT ME

My name is Johnny, and i am currently in my second year at the university of Melbourne. I have always had a strong passion in the artistic and creative fields. I particularly enjoy the process of creating something from scratch, and watch it develop into a final product that i can claim as my own. I was born into a creative family with my grandfather being an artist, and my father being an architect and urban planner. Ever since i was young i have been a keen drawer, which later developed into my obsesson with design.

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Aside from architecture, i spend most of my time writing music and playing sports. Basketball and music are my other two passions that i am currently pursuing while being at university. Through these other activities that i participate in, i have learnt the importance of teamwork and iâ&#x20AC;&#x2122;m always willing to learn from others.

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PART A CONCEPTURALISATION 4

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A. PRECEDENT STUDY

A1: DESIGN FUTURING LAGI COMPETITION REVIEW

Precedent 1.0 - City Trace Generator

Figure No.1 City Tracer Generator

Figure No.2 City Tracer Generator

Artist Team: Michal Gdak and Ewelina Gorczynska Artist Location: Wroclaw, Poland Energy Technologies: Solar Updraft Annual Capacity: 1000 MWh Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island. The City Trace Generator design aspires to reflect the idea of city evolution in the form of an art installation piece. The design is inspired by the ever-repeating process that a city undertakes from the point of birth, to the dawn of collapse. Therefore, the Polish designers developed the City Trace Generator that creates footprints in the form of sand skyscrapers with its sculpted interior as it drifts between Saadiyat Island and Yas Island.1 The design is particularly clever in its metaphorical expressions. The circular form and movements as well as the

generator’s ability to be sustainable accurately captures the lives of cities as they rise and fall one after another, naturally and gracefully. The designers have also considered the natural environments of the deserts carefully and used it to their advantage. The element of sand is not only used as the material that forms the city traces, but is also adapted as the generator’s source of energy. During the day the generator is powered by solar energy, while at night, the ring uses the heat stored within the sand and powers the turbine until sunrise, before repeating the process over and over again. Therefore, with this “solar chimney system”1, the City Trace Generator is able to move across 1.5km of sand with the support of only sunlight and two strips of glass that lay next to the ring as heat storing instruments. This design is a perfect example of using the natural environemtns to the designers’ advantage.

Gdak & Gorczynska, City Trace Generator (2010) Figure No.3 City Tracer Generator

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Precedent 2.0 - The Living Ribbon Artist Team: Brett MacIntyre and Adam Pelissero Artist Location: Halifax, Canada Energy Technologies: photovoltaic thin film and fog harvesting nets Annual Capacity: 1,500 MWh Designed for Site #2 in Abu Dhabi, between Saadiyat Island and Yas Island. The design of the Living Ribbon is also inspired by the natural environments of the Dhubi Desert. Native flora and fauna rely on the delicate balance of moisture and nutrients; however the water salinity of the area is often disrupted, causing native species to slowly disappear. Therefore, the design team proposed the idea of the Living Ribbon. A lightweight structure that stretch over 1.6km over the coastal boundary, harvesting electrical energy from sunlight as well as transporting fresh water collected from rain and heavy fogs back into the coastal habitat. 2 With this multi purpose ribbon structure, the salinity level of the coast may hopefully be restored along with the density of the native vegetation. The form of the ribbon is also visually fitting to its environments. The struture traces the curves of the coastal lines whilst the mesh surfaces on the ribbon rise and fall irregularly; causing the structure to seem almost organic as it appears to imitate the wind-driven movement of the sandy desert. However, the materiality of the structure allows it to standout from a distance in the desert. Furthermore, my favourite part of the design is that even though it appears alienated by the natural desert environment, it is still able to be viewed in harmony with its surroundings. The unique form that is used to create ths environemental friendly ribbon is particularly inspiring to me as i aspire to construct varies forms of my own in my future studies.

Figure No.4 The livng Ribbon

Figure No.5 The living Ribbon

MacIntyre & Pelissero, The Living Ribbon (2010)

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A.1 DESIGN FUTURING REFERENCES

TEXT

IMAGES

Gdak & Gorczynska, City Trace Generator (2010), Land Art Generator initiative, http://landartgenerator.org/ LAGI2010/eim100/, accessed July 20th 2014

MacIntyre & Pelissero, The Living Ribbon (2010), Land Art Generator Initiative, http://landartgenerator.org/ LAGI2010/apbr64/, accessed July 20th 2014

A.2 DESIGN COMPUTATION 10

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A2: Design Computation “Design is a process we engage in when the current situation is different from some desired situation, and when the actions needed to transform the former into the latter are not immediately obvious.”1 The nature of a design process is not static. It is a process that is taken by one who creates something that resolute a problem or improves the convenience of the individual. Traditionally, buildings were not designed. They were built. The invention of ancient drafting tools allowed designers to describe form and structure without physically constructing the design as well as decreasing the consequences in the cases of errors.Similarly, the advancing digital technologies is increasing simulation capabilities. Programs like AutoCAD transformed pen and paper to the computer screen. Designers no longer need to worry about the percision of hand drawings and calculations as the program is able to do it all in the matter of a click. Furthermore, The development of computational tools are able to “create more responsive designs, allowing architects to explore new design options and to analyse architectural decisions during the design process.” 2 The nature of this new generation of drafting tools has revolutionized the way architects generate design ideas, giving them the freedom to experiment with a much larger range of aesthetic and structural opportunities.

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Figure No.1 Modern Skyscraper Proposal

1. Rivka & Oxman (2014) 2. Peters & Bradley (2013) 3. Danny Karas (2014)

Forms that are previously impossible to draft have been made possible with digital scripting and advanced modeling tools. This has also introduced a whole new aspect to design and construction, as computerization tools have enabled designers the ability to virtually create complicated geometries beyond imaginations.

Precedent 3.0 - Modern Skyscraper The skyscraper proposal designed by SCI-Arc displays expressive forms that are impossible to be described with pre-computerisation methods. The highlight of the skyscraper design is no other than the distorted layer of outer skin that is created through 3D simulation of gravity. The twisting form is generated through digitally capturing the motion of twisting a piece of flexi-wood and transferring the gathered data into a modeling program. This project is “less about the result and more about the statement of digital production”. 3 It is a statement of the “speed and quality that digital design can create and how this revolution of speed can give architects a greater chance to impact that project outside of form making.” 3 Although the skyscraper proposal is not currently possible to be placed under construction, it displays the impact that computation can possibly have on the design industry.

Figure No.2 Modern Skyscraper Proposal

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Figure No.3 - 3D printing

Precedent 4.0 - Production Furthermore, “innovative technologies have become a driving force in the formulation of theories as well as producing a new wave of tectonic and material creativity.”4

Figure No.4 - technique development

Virtual designs can now be brought to reality with the uses of laser cutting and 3D printing techniques. The Southern California Institude of Architecture uses computation to experiment with these structures’ formations as well as analysing material behaviours. The Anistropic Formation project is classified as a protoarchitectural project that experiments with robotics and vector based 3D printing. 5 This project is a great example of the current generation of architects’ medium of creating research-based design, as it largely revolves around the scripting of algorithms. 6

Figure No.6 - F2

The project on the right is designed and constructed by students of UTSA College of Architecture. The form, grid and calculations are all generated and calculated digintally.7 Without computation and computerisation, the project would not have been completed within the short period of 3 weeks. Figure No.5 - materialization

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4. 6. Rivka & Oxman (2014) 5. Cortez, Lu, Tomara & Troufanov (2014) 7. Kudless & McClellan (2014)

Figure No.7 - F2

Figure No.8 - F2

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Figure No.9 - City of Dreams hotel

Precedent 5.0 - City of Dreams Hotel Although digital technologies are often used in experimental and competition designs where the construction aspect of the design doesn’t neccessarily need to be highly considered, there are still many examples of successful comptemorary designs that incorporated computation technologies. This 40 floor hotel building designed by Zaha Hadid Architects displays an exposed exoskeleton frame that reinforces the dynamism of the design. This external frame “optimizes the interior layouts and envelops the building” 8. The division of the exterior steel grid as well as the creation of the interior panels were achieved through computation, contributing to both the aesthetics and the structural aspects of the tower. 9 Although the summary did not specifically mention the program used to achieve the designs, the panel and fold tools in rhino are able to calculate and produce forms of that nature. Overall, Computerisation has allowed designers to design quicker, and express their ideas easier; while computation opened up a new area of imagination. The development of digital technologies has definitely changed the ways architects approach designs and re-defined their design processes.

Figure No.10 - City of Dreams hotel

8. 9. Zaha Hadid Architects (2014) 16

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A.2 DESIGN COMPUTATION REFERENCES

TEXT

IMAGES

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

1.http://www.suckerpunchdaily.com/2014/05/02/ sofi/#more-36337, accessed 18th August 2014

2. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 4. Danny Karas (2014) ‘Skyscraper Proposal’, SuckerPunch Daily,http://www.suckerpunchdaily.com/2014/05/02/ sofi/#more-36337, accessed 18th August 2014

2.http://www.suckerpunchdaily.com/2014/03/24/ anisotropic-formations/#more-35611, accessed 18th August 2014 3.Http://www.suckerpunchdaily.com/2014/06/27/f²-2/, accessed 18th August 2014 4.http://www.suckerpunchdaily.com/2014/04/10/city-ofdreams-hotel-tower/#more-35932, accessed 18th August 2014

5. Cortez, Lu, Tomara, Troufanov, ‘Anisotropic Formation project’, SuckerPunch Daily, http://www.suckerpunchdaily. com/2014/03/24/anisotropic-formations/#more-35611, accessed 18th August 2014 6. Kudless & McClellan, ‘f2’, SuckerPunch Daily, www. suckerpunchdaily.com/2014/06/27/f²-2/, accessed 18th August 2014 7. Zaha Hadid Architects, “City of Dreams Hotel Tower”, SuckerPunch Daily, http://www. suckerpunchdaily.com/2014/04/10/city-of-dreams-hoteltower/#more-35932, accessed 18th August 2014

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A3: Composition to Generation

As digital technology rapidly develops, new mediums of design are introduced to the architecture industry. The generation of soft pencils and yellow trace paper is over, as the era of computational design begins. Algorithmic thinking and parametric designing are two of the main attributes many of the current generation architects commonly have. Ever since computers have been introduced to architects in the 1980s, it became a crucial elemtn in drafting precise plans as well as generating complicated structural systems.1 While computers continue to evolve, modern architecture appears to increase in its complexity. Many of the current experimental designs as well as existing architecture around the world are often created with the tool of parametric modelling. Parametric modelling is more than just a drafting tool. Unlike other types of digital modelling, parametric Parametric design software is able to detect how “changing any parameter of a structure will affect other physical aspects”. 2 Therefore it is not only able to depict a building and its relevant surroundings in 3-D, its scripted algorithms are able to revise a model instantly. It is used “not just to make buildings more visually compelling, but to precisely tune nearly every aspect of their performance, from acoustic to energy efficiency.” 3

In other words, architects are able to create formulas that acts as guidelines which calculate their alterations automatically. This attribute of parametric design not only revolutionizes the way architects approach a design, but also saves them the time in re-adjusting their trials and correcting their mistakes. Potentially, because making design alterations has never been easier before, architects are able to revise their designs more conviniently leading to a better design outcome. Furthermore, architect and vice president of Autodesk believes “parametric technology will help make new buildings more environmentally sustainable.” He also claims that it could reshape urban planning as programs will become powerful enough to model and alter the design of an entire neighbourhood with ease.4 Overall, computation has redefined architecture, opening doors of opportunities never previously explored by designers. Although technology is still at its growing stage, parametric designs done by the worlds most forward thinkers have displayed the potential advances that computation may provide us

1. 2. 4. MIT Technology Review (2013) 3. Rybczynski, Witold (2013)

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Precedent 1.0 - Shang hai Tower

Gensler’s Shang hai tower, which will soon stand as the second tallest building in the world once construction completes is a prime example of how parametric technology has benefitted architecture. At 630 meters in height, every detail of the skyscraper needs to be considered, and every aspect of design needs to serve a purpose beyond aesthetics. Although the twisting curved form demonstrates a design expression, “by plugging geometry into a modeling tool known as Grasshopper, the desingers were able to tweak the shape to minimize the force of winds on the facade.” 5 Designer Ko explains that it would be tedious for architects to calculate the degrees of rotation manually. Therefore, they used rotation as one of the parameters which helped them run through various iterations to reach the final situation. 6 In Ko’s description of the design process, it is evident that computation served as a main catalyst in creating this piece of architecture. Parametric technology allowed architects to conviniently alter the software inputs, in the process of developing the raw initial concept of a twisting tower. The element of computation not only contributed aesthetically, but also structurally. From the algorithmic division of the tower’s facade grid to its self sustainable system, every aspect of the design involved the uses of digital technology. Therefore, there is no denying that computation and computerisation have reshaped the society’s perception of architecture.

5. 6. MIT Technology Review (2013)

Figure No.1 - Shang Hai Tower 22

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Figure No.2 - Shang Hai Tower CONCEPTUALISATION 23

Figure No.3 - Shang Hai Tower 24

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Figure No.4 - Bird Nest Stadium

Precedent 2.0 - Bird Nest Stadium While appearing to be visually contrasting the Shang hai tower, this phenomenal Chinese architecture also displays aspects of the generative architecture approach. The most unique element of the Bird Nest is its exterior shell that wraps around the core of the stadium. Polish architect Jaroslaw Ceborski stated that “It’s quite easy to distinguish something designed using parameters and algorithms from the rest.” 7 If so, the Bird Nest would definitely be one of the buildings that strikes to be designed parametrically. While the surface of the structure appears straight forward, the geometry is complex. Calculations were so numerous and complicated that they were impossible to be solved manually. 8 7. Rybczynski, Witold (2013) 8. 9. 10. Design Build Network (2014)

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Therefore, “software was needed to make sure that the web of twisting steel sections fitted together, as they have to twist and bend to follow the surface accurately.” 8 Although the “nest” may appear somewhat random, it contains 36km of unwrapped steel that forms the structure which was designed to resemble yin yang “Chinese philosophy of balance and harmony.” 9 Furthermore, because China is highly vulnerable of earthquakes, the outter skeleton is seperated from the seating bowl to enhence earthquake resistance. All calculations done regarding this area were done digitally also.10 Overall, The Bird Nest further proves that the development of parametric technology is enabling architects with tools that allow them to be more expressive than they ever could before. Figure No.5 - Bird Nest Stadium

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Parametricism & Disadvantages of computation Patrick Schumacher, a named partner at Zaha Hadid Architects(ZHA) promoted what he called “parametricism”.11 It introduces a new type of aesthetic. An aesthetic only archievable through algorithmic thinking and parametric technologies. Schumacher describes “parametricism” as a “deliberate response to an increasingly heterogeneous society.”12 Therefore, with the intention of creating “complex, polycentric urban fields”, Schumacher advices in the defining manifesto he wrote for the 2008 VAB, “Avoid repetition, avoid straight lines, avoid right angles, avoid corners, avoid simple repetition of elements...”13 This style has been developing ever since the the digital animation techniques in mid 1990s, and is now considered to “succeed modernism as a new long wave of systematic innovation.”14

Figure No.6 - Parametric Sketch

However, although parametric technologies are commonly recognised as the next step in architecture, Christopher Alexander, a well established architect, theorist, teacher and designer is concerned about the current generations’ obsession with computing. He claims that there has not yet been a problem that is so complex that we must use a computer. He feels that the use of computers in problem solving will “distort one’s view of the problem.”15 He believes that even though virtual technologies are able to solve problems, it only allows architects to consider the aspects of the problem that are able to be encoded, which in many cases are the least important.16 Overall, whether parametric technologies is revolutionary or a dead end, its potential to benefit the human society is undeniable.

Figure No.7 - Parametric fabric study

11. 12. 13. 15. 16. Rybczynski, Witold (2013) 14. Schumacher (2008)

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A.3 COMPOSITION TO GENERATION REFERENCES

TEXT

IMAGES

1. “Advanced Architecture Software Could Make Buildings More Energy-Efficient and Interesting | MIT Technology Review.” Technologyreview.com, July 31, 2013. http://www.technologyreview.com/ review/517596/new-forms-that-function-better/.

1 . h t t p s : / / w w w. f l i c k r. c o m / p h o t o s / quixoticguide/6881264310/, accessed 20th August 2014

2. Rybczynski, Witold. “Parametric Design: What’s Gotten Lost Amid the Algorithms - Architect Magazine.” Architectmagazine.com, July 11, 2013. http://www. architectmagazine.com/design/parametric-designlost-amid-the-algorithms.aspx 3. Designbuild Network, “Beijing National Stadium ‘The Bird Nest’, China”, http://www.designbuild-network. com/projects/national_stadium/, accessed 20th August 2014 4. Schumacher, Patrick, “Parametricism - A New Global Style for Architecture and Urban Design.”, Digital Cities, Vol 79, No.4, July/August 2009, http:// www.patrikschumacher.com/Texts/Parametricism%20 -% 2 0 A% 2 0 N e w % 2 0 G l o b a l % 2 0 S t y l e% 2 0 fo r % 2 0 A rc h i te c t u re%2 0 a n d %2 0 U r b a n%2 0 D e s i g n . h t m l , accessed 20th August 2014

2.http://travelinnate.com/wp-content/uploads/2014/06/ Beijing-National-Stadium-2.jpeg, accessed 20th August 2014 3.http://www.designbuild-network.com/projects/national_ stadium/, accessed 20th August 2014 4.http://www.ctbuh.org/News/GlobalTallNews/tabid/4810/ Article/648/language/en-US/view.aspx#!, accessed 20th August 2014 5 . h t t p : / / w w w. s k y s c r a p e r c i t y. c o m / s h o w t h r e a d . php?t=391698&page=314, accessed 20th August 2014 6 . h t t p : / / w w w. s k y s c r a p e r c i t y. c o m / s h o w t h r e a d . php?t=391698&page=296, accessed 20th August 2014 7 . h t t p : / / w w w . p a t r i k s c h u m a c h e r. c o m / Te x t s / Parametricism%20-%20A%20New%20Global%20 Style%20for%20Architecture%20and%20Urban%20 Design.html, accessed 20th August 2014 8.http://nwahart.blogspot.com.au/, accessed 20th August 2014

PART A - CONCLUSION 30

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CONCLUSION

LEARNING OUTCOME

The advancement of digital technology has reshaped the architectural industry. While computerization has revolutionized the design process, the computation phenomenon has re-defined architectsâ&#x20AC;&#x2122; approaches in designing a building.

My experience so far in Studio Air has been eye opening. I feel like i have consumed a great deal of information in the the short few weeks time. The study parametric design is definitely one of my favourite parts of the course so far. I can see how learning programs such as Grasshopper and Rhino 3D could benefit me in the future. Through the few short exercises i have completed in tutorials and at home, i have learnt quite alot about the program, and i am excited to get into more practical side of this studio.

Parametric modelling not only allowed architects to generate and revise their design ideas with ease, but also guided them to realise geometric designs that are often far more complex than their imaginations. Overall, although computation opened doors of opportunities for architects to explore, the key to successful designs still remains as the architect.

However, even though i have kept up with the pace of the class, i still feel some what uncomfortable with the format of Grasshopper. The amount of information and its display format is quite overwhelming, but hopefully i can overcome the difficulties through more practice.

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I have really enjoyed the process of generating forms in grasshopper. The flexible nature of the program has allowed me to experiment freely within the program. Iâ&#x20AC;&#x2122;m quite surprised by how diverse the outcomes could be when minor adjustments were made in Rhino. I have gained a basic understanding of the Grasshopper program through the first 3 weeks of practice. Although i am not fluent in designing in Grasshopper, what i have been able to create so far has really surprised me. With only a few plugins, algorithms of complicated forms were created and applied. In the 3rd weekâ&#x20AC;&#x2122;s task of altering the patterned facade, i added a third line in Rhino as one of the initial line inputs, and the entire design changed. After making a few experiments, i have decided to place img.3 in the journal as i demonstrates the most fluidity. In conclusion, i believe with the right amount of practice, Grasshopper could really be a benefitial aspect for me in the future.

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Heading 2

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Fig.2

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Dit; in sentea cri in te, peraeliam inirtur. Vivis aurs si furemus forit. Ividelaris in vili pora, num atilis, ut diente intis, nemus hilisum paterfex sulto ime tum ent. Epeci imihilicae acchuctem medo, Catus fuit. Si siliae nocta, qua esiment ifecientem iu veric retorsulint nit vignaturitum Rompoteat re fecons C. La nercepost? Iferrioste, facepse es se essolud eressultuam dessi ia sa et venihicae ellarisus in Ita potanda ctoruntem strunt? Sedienemoves arium pulem inclute menatia equitiam nostruderum pliam mant quam terentil temei fortum in haliciemus ia? Abem, pra? Valarta ditus am imus nu que derevivere, Ti. Ubliae tus con dem is firmihina, verors apere ta, essena, furbes a tessesest? Cum iae publiis. Essilici estrist duciam ut const plibuntrum is audemus cre, consulv ivilnem P. con vere ate que etiur acri concupiortus hori proraec rentes clus, iam inpractumus, etius bon vilicaed clatiam tam. Bis, no. Quam res et aurem nuntilicae, nocum in ac te tem sen sente o culviris, qua remus oculica verrips, patifertes C. Fultodi ursulesimod mum paturis, numurnum omplicone confernihica nondem prit videt qui popublius escres constio nculium pulus escrit. Halaris opublicion Etrat. Maes vast niumed feridemque es? Nam quam inclus Ad pultus, demquem sen hoculinaris, oculto vit, egerten testam dis med confero niam Romnem vessena, elutur utem ordi silintea dienteme nem ducient fuidi, nos consum nium parissil huit nestis mere est vernicaesta ius la clarbit, consunt am, us, dum etortare

CONCEPTUALISATION

CONCEPTUALISATION 45