Cfi 349971 leokao pages

STUDIO: AIR

JOURNAL 2013 SEM 1

349971 LEO KAO TUTORS: CHRIS & ROSIE

ABOUT

Hello! I’m Leo, born in Taipei, Taiwan but raised predominantly in Melbourne, Australia. Through my school years, I had developed a sense of confidence and comfort towards mathematics and science related subjects, taking to heart the idea that the solutions to problems of these fields were mostly black and white; that if the solutions did not work, the source of the error can be targeted and corrected, often starting from myself.

This mentality extended to my tertiary studies, where I commenced my first tertiary year at Monash University undertaking a Bachelor of Science and Computer Science double degree. However, the pace and content of my course was far different from my expectations and I switched to their Bachelor of Engineering soon afterwards, again falling back onto science and maths.

With the intention of going into civil engineering, I found myself far less interested in the numbers and physical concepts, and found my mind wandering in the direction of design and architecture instead. I took upon this chance to step out of my comfort zone, pursue something that was completely new to me, and grow in a personal sense. Hence, here I am, three years later, and in my last year of completing the Bachelor of Environments majoring in Architecture, at the University of Melbourne.

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My proficiency in design related software is relatively limited, as I did not gain exposure to anything remotely related before commencing the Bachelor of Environments. Even then, I’ve found that it was difficult trying to grasp the software, despite tutorials, guidance of teachers and training videos, but have not given up so.

I dealt with Rhino3D in my first semester in Virtual Environments; Adobe Photoshop and Illustrator and InDesign was very briefly covered in Visual Communications, whilst Grasshopper remains to be completely foreign.

I’m hoping that through the journey of Design Studio: Air, I am able to improve my competence in the staple software in leaps and bounds, for a booming conclusion to my undergraduate degree.

CONTENT

A1 / ARCHITECTURE AS A DISCOURSE

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A2 / COMPUTATIONAL ARCHITECTURE

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A3 / PARAMETRIC MODELLING

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A4 / CONCLUSION

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A5 / LEARNING OUTCOMES

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AN / REFERENCES

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PART A - EOI I CASE FOR INNOVATION

A 1.0 ARCHITECTURE AS A DISCOURSE

In leading up to the argument for an architectural solution of our Wyndham project, we will need to first understand the concept of architecture as a discourse in order to realise and expand on the boundaries of architecture. On the surface, architecture can be defined most commonly as the artistic and scientific values of the buildings and physical structure around us.

However, this definition constrains the span of architecture into a narrow focus on the physical appearance or structure and disregards the underlying connection and communication to the public, including its audience, environment and contributors. As Richard Williams suggests, “buildings as material facts are a small part of the overall field of architecture.”[1]

Hence, architecture is suggested as the most public of arts [3], although the emphasis shouldn’t be placed on “arts”. The essence is, from my understanding, the underlying meanings it conveys, the thoughts and debate it provokes, and the experience it generates.

What is architecture without connotation? Is it simply a sculpture? The discourse on architecture pushes its own and our personal boundaries through a continuous engagement with the users, looking past its physical considerations.

The underlying relationship between architecture and the public stems to the need for public acceptance, the end goal, which can arguably be more important than the process and development because of its inevitable prominence in everyday life - it’s a perpetual concept that frames our lives and defines our movement through cities [2], simply summed up by Winston Churchill as

“We shape our buildings: thereafter they shape us.”

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A 1.1 NINGBO MUSEUM

Ningbo Museum of Zhejiang, China, exemplifies the potential of architecture to develop a relationship with the audience and assimilation into the environment by tradition, making a name for itself through authentic design, innovative construction techniques and social influence. Through its varied construction methods, one part (the Wa Pian Qiang), a masonry themed wall of stone, clay tile and brick creating a natural façade that’s congruent with the surrounding environment; the other, (the Zhu Tiao Mo Ban Hun Ni Tu) a concrete mould of bamboo strip, Wang Shu is able to appease the public by echoing tradition whilst still introducing his own language into the architectural equation.

Project: Ningbo Museum AKA Yinzhou Museum By: Wang Shu, Amateur Architect Studio Location: Ningbo, Zhejiang, China

The result of this was to address the public’s reception to architecture and their perception of modernity.

Contemporary China, as suggested in Wang Shu’s interview [4], contains a societal conformity of the people that is the inability to accept “materials that look old or even dirty,” [5] and yet, are not sure with how modernity clashes with tradition. With the public’s best interest, Wang Shu tackles the issue of identity and cultural preservation by the reuse of existing rubble, creating an emotional element that overcomes the public doubt of the new design. This act of recycling in-situ materials instils meaning beyond the material’s physical properties, of history, place and memory.

During Augustus Julius Caesar’s early reign, he was able to garner the trust and comfort of the populace through architecture that reminisces a thriving era before his reign. On the same token, the people of Ningbo are offered a place that reminds them of China’s beauty, craftsmanship and landscapes.

Fig 1.1 - Facade showing recycled fisherman boats and materials

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Fig 1.2 - South-western facade

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A 1.2 KUWAIT INTERNATIONAL AIRPORT

The Kuwait International Airport, although simple in form, is similar to the Ningbo Museum such that it’s backed with innovative design and construction process, resulting in a harmonious balancer between tradition and contemporary. This project exercises the capabilities of new technology in the role of producing environmentally responsive buildings but also displays the ability to incorporate cultural aspects and exercise creativity into a space.

Project: Kuwait International Airport By: Foster + Partners Location: Al Farwaniyah, Kuwait

CAD software was heavily involved by Forster & Partners in their design process, using computational methods, and even man-power, as mathematician and expert geometer Kristoffer Josefsson was employed to explore the geometry and symmetry that formed the foundation of the design form [6]. Powerful computational architecture carries the ability to crunch topological issues, conduct studies and produce solutions.

Although technology is ever progressing, architects are restricted to design methods available to them at that point in time. However, what can always emerge above these constraints are the concepts; it is important that this is understood and appreciated by all generations, sparking thought and questions that contribute to ongoing architectural discourse. Design should not strive to be modern, as modern inevitably becomes out dated.

As a hub of international populace interchange, the pioneers of the architecture naturally try to project its heritage and story, old and new, to their visitors.

Hence, there is a task of finding the right compromise of ‘modern’ and ‘high-tech’ language. Despite its contrasting approach to the vernacular architecture, it manages to build on a similar language using a computational approach. The design respects traditional Kuwait, but welcomes the new future through its culturally identifiable form, a grounded, sleek shape.

This balance of tradition and technology puts modern architecture into positive light, a display of new design possibilities without sacrificing cultural roots.

Fig 1.3 - opposing symmetry

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A 2.0 COMPUTATIONAL ARCHITECTURE

The ever progressive nature of the information age has inevitably contributed for a rise in popularity of computers in our lifestyle, becoming a necessity, and that is to say it has been adopted by the architectural world. Commonly today, computerisation is a method where designs can be entered into a computer then developed. This process of digitisation of ideas is for the benefit of precision while reducing time and effort. [7] Specifically in the architectural sense, CAD (computer aided design) software has contributed to the efficiency and productivity of the design process.

However, this digitisation only involved entities that are preconceived, predetermined and well defined. [8] Frank Gehry’s Guggenheim Museum showcases this by the development of his hand sketched models to scanning it onto the computer, to a digitised 3D model that could be further manipulated by software. These tools process information digitally, as defined in the mind of the designer, but it does not further enhance the design process. [9]

Computational design has created a paradigm in architecture, underpinning the ability to construct complex forms and obtain detailed performance feedback through further digital programming or computer aided prototyping, [11] and eventually carried on to become construction information in the physical realm. This rapid transit of information between interface and user presents the opportunity of digital architecture to synthesise and communicate all stages of the design process.

A computational approach to architecture allows for the Wyndham Gateway Project to embrace a highly explorative design and to push the boundaries of innovation, generating architectural discourse to those who engage with it.

Cross over the fine line that divides computerisation and computation, where the latter works by calculating and determining something through mathematical or logical approach. Computation, in essence, is the exploration of the indeterminate, vague and unclear processes in which it aims to emulate or extend the human intellect through this exploratory nature. [10] In other words, it involves a more integrated approach where the journey of design commences in the digital world.

Fig 1.4 - Hansmeyer’s columns, product of computational architecture

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A 2.1 ZAYED NATIONAL MUSEUM

Due to the issue of pollution and scarcity of natural resources, there is a new trend in contemporary society that tries to move everything towards being green and environmental friendly. Consequently, the recent architectural design has also been and we have witness attempts on movement towards a more environmentally responsive designs in contemporary architecture.

Project: Zayed National Museum By: Foster + Partners Location: Saadiyat Island, Abu Dhabi, UAE

The matters regarding to sustainability in a green building normally cover the efficiency of energy and water usage as well as the reduction of waste and environmental degradation. Thus, different components such as solar panels, integrated sunshades or proper planning of storm water collection are demanded. Immediate examples come locally, like the RMIT Swanston Academic Building designed by Lyons Architects, these integrated mechanisms would appear in delegated form in which architects can hardly work out the application without the aid of computational design programs.

Taking the Zayed National Museum designed by Norman Foster as an example, it is a sustainable contemporary building designed in the form of traditional Arabic design. [12] With a man-made, landscaped knoll as the foundation, there are five solar thermal towers on top that are designed in lightweight steel structures and sculpted aerodynamically like feathers of bird’s wing.

[13] The air vents on top of the wing-shaped towers act as thermal chimneys that direct cooling air currents naturally through the museum in which enable the building to consume less energy in regulating the inner thermal condition and comfort of inhabitants.

We turn our attention to the complexity of assembly for these individual panels, as it also demonstrates to what extent computation contributes to balance the shortfalls of humans. Therefore, it is logical to say that computational design is the core to succeed in pioneering sustainable designs and hence leading architecture ahead into another milestone.

Fig 1.5- Front entrance by night

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A 2.2 GUANGZHOU OPERA HOUSE

It is a clear observation that the architectural practice in society today is quite dependant on computational programs. However, designing is not an issue that only requires computation skills. Taking into discussion a precedent of Zaha Hadid, the Guangzhou Opera House built in 2010, this is the largest and most complex computer-generated designs amongst her projects.

Project: Guangzhou Opera House By: Zaha Hadid Location: Guangzhou, Guangdong, China

The overall shape of the building is seen to be so complicated and organic; an example of a case where architects will need to utilize computational programs.

Without the precise calculations and analysis it offers, I would think that this design is unachievable as architects can hardly figure out the meticulous angle between joints, especially for the steel-framed inner structure, and curvature of individual constructing geometries which partake in providing the building with a smooth-flowing organic design.

Computational programs can never take over the role of an architect because such programs are unable to fulfil both the rational and creative abilities in designing.

[16] Therefore, the importance of communication between humans and computers is magnified. In this project, Zaha Hadid has contributed her concepts of the fascinating interaction between architecture and nature; engaging with the principles of erosion, geology and topography. [17]

In the design progress, this building was not created planimetrically, without the typical ideas of front, back, and side facades. Instead it was modelled in 3D. [15] This is the new technology based design that allows implementation documents, detailed and criteria design to be carried out once the concept of design is formed. A major advantage in this situation is the possible discrepancies and errors can be notified in an earlier stage rather than after the construction has commenced. This might affect the completion date of a project significantly.

This result is a design that suggests being two enormous pebbles that might have been washed up on the shores of the Pearl River, on which Guangzhou sits. [18] If architects can make use of the aptitudes of computers to the fullest concurrently with their efforts of their own creativity, it is not doubtful that an effective reciprocal design outcome is achievable.

Fig 1.6 - Interior space Fig 1.7 - Ramp and overhanging structure

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Fig 1.8 - Night lit view

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A 3.0 PARAMETRIC MODELLING

Parametric Modelling is a powerful and revolutionary approach to design in the architecture discipline. It transforms the way we approach a design. Parametric modelling is characterized by creating a model based on certain parametric inputs in a defined system. It strongly relies on the relationships and data flows within interdependent components. Hence the task in parametric design is to conceive, arrange and edit these relationships. Such approach requires the designer to take a step back to focus on the logic behind the design.

However, it can also be a double edged sword.

Advantages: As the nature of parametric design is founded on the definition of a system, it is in some ways flexible, designers have better control in the design process and are able to make changes to create a variety of results easily. This is achieved by computer automating routine repetitive actions or command, processing and documenting large amounts of information. Changing an input to the system and the result will automatically update accordingly, thus greatly reducing time investment compare to a traditional design method. This process is also known as digital sketching.

Disadvantage: As computer merely follows instructions and program, designing with parametric modelling requires highly specific instruction. Designers are required to know exactly what they aim to achieve and carefully planned to achieve that. Otherwise it will result in another potential disadvantage, sacrificing designers’ creativity. Furthermore, designers might be limited by their technical skill or knowledge of the program, unable to generate desired outcomes. Another problem with parametric modelling is the difficulties in maintaining a clear, holistic view of the process. Due to its dynamic properties, it is difficult to keep track with the ongoing changes.

Fig 1.9 - Zaha Hadid’s civil court close up

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A 3.1 EXOtique

The EXOtique project was produced by PROJECTiONE and students from the Institute for Digital Fabrication.

As an exercise for generating creativity, there were specific constraints in place for means of challenging designers, such as time, budget and the site (the ceiling at the school architecture building). [19] The intention of the designers was to “create a simple, hexagonally based, component system that would act as a lit “drop ceiling” for the space, as the ceiling height would allow for quite a bit of variation in the surface.” [20]

Project: EXOtique By: PROJECTiONE Location: Ball State University, Muncie, Indiana, USA

The brief was responded to with parametric modelling program Rhino in concurrence with the Grasshopper extension. These computer tools were also used for preparing the fabricated surface, printing and structural connections. [21]

This is an example of a beautiful design using parametric modelling. As the design and build was based primarily on repetitive patterns and had a set size (re limits in the equation), parametric modelling was ideally suited to this project. This is a design where parametrics have not limited the design but rather the design is an exploration of what parametrics can achieve.

Parametrics largely benefitted fabrication of this project by calculating the edges for the hexagonal components which were a critical part of the design as without these elements coming together the fluid motion would not have been achieved.

The solution was an artificially lit, loose hanging structure which is curved throughout the structure rather than just at its edges. The connections of this project were therefore critical to the design as it is the connections which are also responsible for the way in which the fits together and reacts with each hexagonal member. This process was an exploration of digital modelling for fabrication where the design was somewhat preconceived so that in Rhino they created a surface and divided the space into hexagonal forms with the aim of creating a non-planar folding and bending surface.

Fig 1.10 - Exterior overall form Fig 1.11 - Interior detail

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A 3.2 MERCEDES BENZ MUSEUM

The Mercedes Benz Museum was a very large project not in the sense of scale, but contribution, comprising of over two hundred and forty six companies and engineering firms. [22] As such, parametric design already proved to be a strong choice in the beginning, allowing for ease of contribution from all the disciplines involved.

Project: Mercedes Benz Museum By: UN Studio Location: Stuttgart, Germany

The museum is a complex double helix form based on the shape of the Mercedes Benz logo. [23] Parametric design was used throughout the design, more specifically in reducing the labyrinth to a column-less space, a single diagram, and controlling the overall geometry. [24] Traditional 2D methods of design and analysis were arguably useless and an impossible approach in their goal of producing the underlying supporting structure of a chaotically twisting concrete space. [25]

Fig 1.12 - interior walls

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Fig 1.13 - from the courtyard

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A 4.0 CONCLUSION

Advancement in technology is aiding architecture to reach new potentials, creating more innovation and capable designs. Methods such as parametric modelling allows for more creative geometries, greater understanding of design performance, increased integration of different disciplines during the design process and higher precision and speed in fabrication and construction.

Computation techniques has maximised architectural innovation, from form generation and fabrication to material and performance optimisation.

Building systems are becoming more intelligent and dynamic. We are realising the efficient beauty of nature, and hence have taken a step towards this in design.

Buildings and space are increasingly adaptive and responsive to its environment and people, making it unique to its site. Maybe this new method of design is the key to sustainable cities a very important element in contemporary design due to the condition of our environment and resources.

It marks an exciting step, for the Wyndham Gateway Project, as well as architecture, as it represents an optimistic future and its possibilities of a community, a society and an era. Not only does it bring many benefits, it also contributes to the architectural discourse, challenging the fundamental questions of design.

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All in all, in tackling the design process for the Wyndham Project, I hope to use parametric modelling as a generative design tool based on innovative ideas which fit with the brief. I hope to generate these ideas using Grasshopper and continue to alter and develop the design until a refined, aesthetic masterpiece.

A 5.0 LEARNING OUTCOMES

Through learning about the theory and practice of architectural computing I have developed a greater understanding of how digital software can interact within the design process. Prior to studying architectural computing I was very unsure about how software can restrict design and take the creativity out of design.

Learning about scripting and the cultures which surround algorithmic and parametric modelling, I have much hope that architects are not planning on letting software limit their designs.

Creating a form based on spatial qualities, material properties and relationships is completely new to me. Before Studio: Air, I had no concept of how these intangible values can be represented or explored.

Knowing this now, I am keen to explore and experiment further with parametric modelling in the Wyndham Gateway Project. However I am aware of the limits and weaknesses in such methods. For example, the issue of sharing parametric models between designers (group members), or the need to have a design direction in order to write the algorithmic script.

The most important point I’ve learnt from Part A is the difference between Computerization and Computation - architecture that is enabled versus architecture that is driven by computer technology. It is no question that modern technology has influenced architecture, in terms of style and method, but it only serves as a tool that aids design, an instrument that amplifies our abilities and enhances the designer’s creativity.

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A REFERENCES FOR NOTES

[1] Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p 115 [2],[3] Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p 102 [4],[5] The Reluctant Architect: An Interview with Wang Shu of Amateur Architects Studio, ARCHITECTURAL DESIGN, Volume 82, Issue 6, November/December 2012, p 123 [6] Computation Works: The Building of Algorithmic Thought, Architectural Design, Volume 83, Issue 2, p 28 [7],[8],[10] Kostas Terzidis, ‘Algorithmic Architecture’, Oxford: Architectural Press, 2006, p xi [9] Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p. 4 [11] Branko Kolarevic and Ali Malkawi (eds), ‘Performative Architecture: Beyond Instrumentality’, (New York: Routledge, 2004) [12], [14] Kelly Minner (2010), ‘Zayed National Museum / Foster + Partners’, Archdaily, <http://www.archdaily. com/92372/zayednational-museum-foster-partners/> accessed 17/08/2013 [13] ArcH2o (2013), ‘Zayed National Museum | Norman Foster’,<http://www.arch2o.com/zayed-nationalmuseum-normanfoster/> accessed 17/08/2013

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[15] Joseph Giovannini (2011), ‘Guangzhou Opera House’, Architect - the magazine of the Amercian instutute of architects, <http://www.architectmagazine. com/cultural-projects/guangzhou-opera-house.aspx> accessed 17/08/2013 [16] Yehuda E. Kalay (2004), ‘Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design’, p. 2 [17] Zaha Hadid’s Architects (2010), ‘Guangzhou Opera House’, p. 1 [18] Jonathan Glancey (2011), ‘Move over, Sydney: Zaha Hadid’s Guangzhou Opera House’, The Gurdian, <http://www.guardian.co.uk/artanddesign/2011/ feb/28/guangzhou-opera-house-zaha-hadid> accessed 17/08/2013 [19] PROJECTiONE.com, ‘Exotique’2009) <http://www. projectione.com/exotique/> accessed 17/08/2013 [20],[21] ArchDaily, ‘Exotique/Projectione’2011) <http://www.archdaily.com/125764/exotiqueprojectione/>. accessed 17/08/2013 [22],[23],[24] Robbie Moore, ‘The Benz’, Specifier, (2013) <http://www.specifier.com.au/pastissues/9592/TheBenz.html> accessed 18/08/2013 [24] Mercedes Benz Museum / UN Studio, <http:// www.archdaily.com/72802/mercedes-benz-museumun-studio-photos-by-michael-schnell/>accessed 18/08/2013

A REFERENCES FOR IMAGES

Fig 1.1 < http://www.architectural-review.com/ Journals/8/Files/2010/5/20/Wang%20Shu%20 Ningbo%20Museum.jpg>

Fig 1.10 < http://ad009cdnb.archdaily.net/ wp-content/uploads/2011/04/1302146010exotique-034.jpg>

Fig 1.2 < http://media.dexigner.com/article/22245/ Ningbo_History_Museum.jpg>

Fig 1.11 <http://www.archdaily.com/125764/exotiqueprojectione/exotique_036/>

Fig 1.3 < http://cms.ukintpress.com/U serFiles/Image/PTT/rsz_1879_fp436614_indesign. jpg>

Fig 1.12 <http://www.unstudio.com/projects/ mercedes-benz-museum>

Fig 1.4 < http://2.bp.blogspot.com/-Zo69ui2Zryw/ TZ_qPln3wXI/AAAAAAAADjQ/0zq3OfXk8qY/s1600/ columns2.jpg> Fig 1.5 < http://ad009cdnb.archdaily.net/wp-content/ uploads/2010/11/1291044768-front-view-of-zayednational-museum-by-night.jpg>

Fig 1.13 <http://www.theautochannel.com/ news/2006/04/27/005096.1-lg.jpg> Fig 1.14 < http://fc08.deviantart.net/fs33/ f/2008/296/f/c/Busy_Highway_by_Casey_Jones_382. jpg>

Fig 1.6 <http://www.bigprojectme.com/wp-content/ uploads/2011/10/guggenheim-main-image.jpg> Fig 1.7 < http://www.flickr.com/photos/ kreep/5054931336/> Fig. 1.8 < http://arch2o.com/wp-content/ uploads/2012/10/Arch2o-Guangzhou-Opera-HouseZaha-Hadid-Architects-13.jpg> Fig 1.9 < http://www.patrikschumacher.com/ Images/Parametric%20Patterns/Zaha%20Hadid%20 Architects_Civil%20Courts%20of%20Justice_close_ up.jpg>

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