AIR by Liu Jun Haw

STUDIO AIR 2016, SEMESTER 1, FINNIAN WARNOCK JUN HAW LIU

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INTRODUCTION 1.

Having myself raised in a multicultural country, I am glad that I able to see different kinds of architectural styles buildings, ranging from the Islamic Architecture to the Chinese Architecture. I am always amazed by those iconic building around the world, that I have a dream to travel accross the globe to capture the beauty of architectural design.

When I first started my architecture degree in University of Melbourne, I came to know that the study scope of architecture is really broad. I had gained a lot of knowledge from the past 2 years of studying, and I wish to futher sharpen my skills in my final year of bachelor degree studies, especially in this Design Studio, Air.

Hi! I am Jun Haw. At the age of 17, I left my home country, Malaysia, to pursue my further studies in Melbourne, Australia. Currently, I am a third year Bachelor of Environments, majoring in Architecture, student. When I am still young, around 13 years old, I got the interest in drawing. The drawing I produced at that age is kind of abstract, and no one understands what I am drawing, even myself. In the process of growing, I started to understand what is design. Design in fact means a lot more than just drawing something you never see before. Not only it involes the aesthetic value, but also the functionality.

In this Air Studio, I am greatly exposed to digital design, which is a challenge for me. This studio mainly focuses on the software, called Rhino, with the plugin Grasshopper. Previously from the subject Visualizing Environments, I learnt how to use Rhino in a basic level, and I further developed my skill in Rhino in other studio classes. However, Rhino with the Grasshopper pugin is something new to me. It looks like you are doing computer programming with Grasshopper, but you are actually designing by implementing a series of codes. By the end of the semester, I hope I can master the basic of Grasshopper, and this in turn bring my Rhino skill to a much more advanced level. Water Studio: Studley Park Boathouse

PART A

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A.1. DESIGN FUTURING

With the growth of the population in this world, the human beings are currently facing a critical moment of unsustainability. In fact, the defuturing situation of unsustainability is still acelerating, and the only thing human can do is to design against the undergoing deteriorating process. However, most of the designers thought that designing is only creating the tangible. This is not exactly true, because designing involves problem-solving on how to make the world a better place to live as well. It is important for the designers to have that critical skills, as this is what “design futuring” is presently focusing on. According to Fry, “design futuring” should approach two crucial tasks: slowing the speed of defuturing and redirecting human beings towards a far more sustainable manners of planetary habitation.1 Thus, human beings are bound to source the resources in a smart way, and think about the possible consequences that will leave on the society with every move they made.

Voussoir Cloud

Centre Pompidou-Metz

1 Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). 8

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Voussoir Cloud • IwamotoScott 5.

The outcome of this design heavily relies on parametric modelling tools, as this is difficult to be done with traditional design tools. The repetitive pattern makes it hard to be either hand-drafted or computer-drafted, but with parametric design tools, it is possible and also easy to reciprocate. In present days, the technology is advance, and it can help the fellow designers when they face some serious issues. This suggests that the designers are potentially heading towards a much more sustainable future.

Simple geometry constitutes of four different kinds of triangular petals are interconnected to form the Voussoir Cloud, and this is done by RhinoScript, a 3D modelling tool. Before the construction of the structure in reality, the geometry that affects the stability and the materials to be used can firstly discovered with the aid of the computer. This is to ensure the sustainable form can be produced before it is too late. Thus, when the construction of the structure is commencing, there will be minimum to no changes, so no waste will be made. The process of designing Voussoir Cloud strongly supports the idea of “design futuring”, and helps to slow down the defuturing activities. 7.

Voussoir Cloud was constructed in Los Angeles, and was done in 2008. IwamotoScott aimed to explore the structural archetype of pure compression integrated with ultralight material system. The design is a system of vaults, relying on each other. There are three walls helping maintain their structural integrity to preserve their pure compressive form. The overall design is based on Antonio Gaudi and Frei Otto, where they used the hanging chain models for form-finding. The process to find the efficient form also integrated with computational hanging chain models as well as form-finding software. Working on this project, the material and structural strategies are intentionally confused. Every vault consists of a Delaunay tesselation that both confounds and capitalizes on the structural logics. The upper vault of Voussoir Cloud is more loosens and increase porosity, while at the column base, siezeable cell density of minor connective petals gang together. With respect to the process, arch form was created by the petals, where in this situation, the petals are reevaluate to be built with paper thin material.1

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“VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com, 2016 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD>. CONCEPTUALISATION

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Centre Pompidou-Metz • Shigeru Ban The seamlessness between the interior and the exterior is achieved by using parametric modelling. The laminated wood roof, with a haxagonal pattern, is made according to the fabric configuration of the Chinese bamboo-woven hat. Telfon-coated fiberglass membrane covers the vast timber roof. This is to allow the natural light to be filtered into the interior. A series of cantilevering kind of rectilinear tubes (floating above the ground) is shown in the main gallaries.

The timber roof structure took around ten months to prepare. It took another four months for the installation of timber mesh. Every single beam is in unique proportions, because they were CNC-machined. Moreover, the hexagon geometry concept is applied, as it is effective in joining the beams. This allows maximum roof tensility. The bolts usage for the joints provides the movement allowance as a precautionary step.1

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The material used in this project is mainly timber. Timber is inexhaustible an it is an easily recycled material. The evolutionary principle in this project is the fusion of parametric design and the notion of sustainability. This perfect combination suits the concept behind “design futuring”. Parametric modelling is efficient, and it is applied via the utilization of interconnecting beams. This produces a seemingly expanding roof, which caters the function of Centre Pompidou-Metz as a museum. It also make much more space to display the artworks. Parametric design is effectively used for maximum efficiency to be achieved, as it has the ability to create a complex digital design through timber panelling tools. In short, parametric design can indeed redirect human beings to a much more sustainable living environments.

1 “Centre Pompidou-Metz / Shigeru Ban Architects”, ArchDaily, 2014 <http:// www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>. 12

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A.2. DESIGN COMPUTATION

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Shell Star Pavilion â&#x20AC;˘ Andrew Kudless / Matsys - reciprocating makes easier - curvature form from the combination of geometry element - stability and building performance can be simulated in computer

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Beijing National Stadium â&#x20AC;˘ Herzog & de Meuron - structural integrity and environmental envelope - traditonal method: countless of calculation - insuffucient to design a feasible stucture - computational design benefits a lot - the sturctural stability can be calculated

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A.3. COMPOSITION/GENERATION

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Heydar Aliyev Center â&#x20AC;˘ Zaha Hadid

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- continuos generation which ultimately result in monotonuos array of design

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Khan Shatyr Entertainment Center â&#x20AC;˘ Foster + Partners

- almosy symetrical and identical - circular - based largey off the topographic data

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REFERENCES

IMAGES

“Centre Pompidou-Metz / Shigeru Ban Architects”, ArchDaily, 2014 <http://www. archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>.

Personal Image

Fry, Tony, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com, 2016 <http:// www.iwamotoscott.com/VOUSSOIR-CLOUD>.

3. http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693868_ voussoir_cloud_1307120287_isar_vc_3144jt.jpg 4. http://images.adsttc.com/media/images/5332/4e2e/c07a/80cb/6b00/008f/ large_jpg/POMPIDOU_METZ_292.jpg?1395805731 5. http://payload.cargocollective.com/1/4/140786/1871783/ISAR%20VC%203141JT_1_1040.jpg 6. http://www.bdonline.co.uk/Journals/Graphic/p/r/g/21petal.gif 7. http://payload.cargocollective.com/1/4/140786/1871783/VC%20Petal%20Formation_12_1040.jpg 8. http://www.centrepompidou-metz.fr/sites/default/files/imagecache/ gallery_home_780x800/gallery-home/web-rh1896-0229parvis_0.jpg 9. https://upload.wikimedia.org/wikipedia/commons/c/cb/La_ charpente_du_Centre_Pompidou_Metz_(4925751298).jpg 10. https://upload.wikimedia.org/wikipedia/commons/c/cb/La_ charpente_du_Centre_Pompidou_Metz_(4925751298).jpg

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