Xuanly Ng 751730 PART A

STUDIO AIR Xuan Ly Ng 751730 Josh T1

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TABLE OF CONTENTS INTRODUCTION A.1 DESIGN FUTURING

Case Study 1: The Eden Project Case Study 2: One Central Park

A.2 DESIGN COMPUTATION

Case Study 1: ICD/ ITKE Research Pavilion

Case Study 2: Heydar Aliyev Center

A.3 COMPOSITION & GENERATION

Case Study 1: The Cloud Pavilion

Case Study 2: Digital Grosteque

A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX A.7 REFERENCE

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Hi, my name is Xuanly and I’m currently pursuing a bachelor degree in Environments, majoring in Architecture at University of Melbourne. I grew up in Malaysia and love the outdoor adventures and sports.

Being an individual who is heavily involved in childcare and kids ministry, my passion for architecture derived from the goal of wanting to build a sustainable home for the future generation. From an early age, I was being exposed to the importance of human interaction, ie. Growing up with seven sisters, in order to form a connection with one another. Similarly, I see the importance of the relationship between people and architecture and how the society connects with a building. This is because architecture is said to be the visceral, emotional connections that we feel to the places that we occupy. It no longer reflects our society but shapes our society and the future. For that reason, I very committed to learning architecruee as a means of creating this sort of experience between the application of beauty and functionality in terms of user experience.

I acknowleged the significance of digital design tools and hence, I have started to integrate my design process with some of the basic digital softwares such as Rhino. With that being said, I would like to continue to explore my inventory on digital coputational methods to produce harmony between the buildings and the environment.

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THE EDEN PROJECT CORNWALL, ENGLAND, 2000

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A1. DESIGN FUTURING

“IT IS NOT THE STRONGEST OF THE SPECIES THAT SURVIVES, NOR THE MOST INTELLIGENT, BUT THE ONE MOST RESPONSIVE TO CHANGE” - LEON C. MEGGINSON

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Much of what many design practitioners often perceive architecture to be – It is the desire to create amazing and advanced buildings in the age of modernisation. This state of mind neglects the consideration of the environment and puts the future in a state of defuturing. Thus, it is crucial that we see the growing importance of design in relation to the environment as it shapes our society towards a sustainable future.

To modify the traditional perspective that only focuses on the rise of economy, we have to rethink the concept of creating an ideal place for the future by taking into account of the interaction between humans and animals in the environment and how they come about in using the space.

Therefore, the way to bridge the link to a brighter future would be introducing design intelligence which includes 8

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computational adaptive approach towards sustainability. The new exploration of responsive digital design instruments becomes a new vision for the architecture world to build a sustainable future.

The Eden Project, a horticultural project by Michael Pawlyn sets an example in which technology advancement can help prepare us for the betterment of our future.

This greenhouse undertakes biomimetic architecture, a concept that mimics found forms in nature and examines the fundamental principles that operate natural systems into architecture language. The Eden project is built with the aim to create an interconnection between architecture and nature in mind. As such, the domestructure is formed like soap bubbles to compensate for the unstable topography.

The education of advanced computation has allowed designers to expand their knowledge on design techniques and

provide a shift in sustainable construction methods and materiality towards a sustainable future.

many evidence that reinforces unification between architecture and nature towards sustainability.

With the aid of digitalization, the structure is arranged with hexagons and pentagons to optimise strength. In allowing maximum penetration of sunlight into the greenhouse, materiality acts as an impactful contributor that can help achieve that at its maximum efficiency. This concept shows the good utilisation of nature such as sunlight in order to move towards sustainability. Instead of traditional heavy materials like glass, hybrid material like ETFE cushions are also used to construct the dome structures.

Its materiality that is lightweight and inflatable allows the structure to act as a surface membrane to reach larger spans.

The utilization of an alternative advanced material that reduces embodied energy which in turn, reduce the overall heating needed especially for winter, is one of

Instead of hoping for survival, designers have to come together and change the perception of struggling to live life to a desire for a better future. These elements present in the Eden project proposes a glimpse of the future where design influences the way humans interact with the environment by embracing their appreciation towards the space. This manner of optimism is to be instilled in every designer’s mind as it is said that, to change the world, they must first change their mindset.

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ONE CENTRAL PARK SYDNEY, AUSTRALIA, 2013

“LANDSCAPE IS ARCHITECTURE,” DECLARES NOUVEL. “HERE WE HAVE CREATED A CONTINUITY SO THE FACADES EXTEND THE PARK INTO THE SKY.”

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A1. DESIGN FUTURING

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Design Futuring becomes an important

aspect that sustains actions countering the unsustainable whilst creates better possibilities for the future. It is not only limited to designing innovative buildings, but also a means of restoring quality of the natural environment after industrial development and engaging in far more durable artefacts as production. One Central Park, a residential building in Sydney emerges as being one of the sustainable technologies that incorporates a vertical greenery system at a high-density urban scale. This building managed to challenge the perspective of design by bringing nature in an urban setting.

Due to that, One Central Park became a stand for all sustainable projects to come where both nature and innovative building work coherently to create a sense of harmony to both systems.

The creation of One Central Park comes 12

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from a design brief that challenges the designers to create a new park at an urban scale. It became more than just a redevelopment of the Old Carlton but a new and refreshed hope for a better future. Instead of urbanising a natural habitat, designers of the building took a new turn and managed to create an effect of bringing a “forest” into an urban environment. The incorporation of more than 250 species of flowers and plants revolving around the building created a living green façade that not only is presented aesthetically to the public’s eyes but also fostering natural processes into the human society, thus creating a space where all living things can thrive together.

In a sustainable context, the green façade inherits a mutual benefit for the plants and the inhabitants of the building. In a collective scale, the plants act as a natural shade for the building

whilst benefit in gaining optimum sunlight for growth. Additionally, this provides a cooling effect for the overall building and its immediate surroundings, thus, alleviating the inhabitants’ comfort and performance.

The construction of One Central Park completed in 2013 has created a new realm towards sustainable strategy. It acts as a statement for all practitioners to head towards the direction of designing a sustainable future for the generations to come. Therefore, it is important to rethink the ways in approaching sustainable services as a method of practice in this modern architectural practice. This building has definitely proven itself on the harmonious living of both humans and nature.

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“ ONLY PARAMETRICISM CAN ADEQUATELY ORGANISE AND ARTICULATE CONTEMPORARY SOCIAL ASSEMBLAGES AT THE LEVEL OF COMPLEXITY CALLED FOR TODAY.”- PATRIK SCHUMACHER

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A2. DESIGN COMPUTATION

ICD/ITKE RESEARCH PAVILION UNIVERSITY OF STUTTGUART, 2014/15

E Y

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Over

the period, computing overtook traditional thinking and shifted the communicative phase between humans and computers, allowing them to enter a new realm of architecture where complex geometries and advanced materiality are made possible. The fundamental idea associated with computers and digital devices allow the notion of communicating the flow of information in the design process more efficiently.

This allows us to push beyond our human capabilities especially in problemsolving in sustainability. Concurrently, the usage of parametric programmes such as Rhino and Grasshopper that program and script codes to generate 3-dimensional forms stimulate a wider exploration in parametric thinking for the betterment of the future.

The bulbous project led by Achim Menges showcases innovative parametric design using a self- propelled mechanical arm 16

fused with generative programming instructions to construct the pavilion.

The pavilion demonstrates an innovative building approach with the implementation of natural system by emulating airsacs woven by water spider underwater.

The method used in creating the form was exceptional, with a mechanical arms that was installed on-side and was given a series of sensors to recognise the inside surface of the bubble.

The advancement of materiality has led them to use carbon fibres to trace the line of force to reinforce the structure in a progressive manner. The resulted shell structure is material efficient as the use of materials have been reduced to a minimum. The integration of natural systems by imitating the construction of air-sacs by water spider has allowed us to advance our construction to be more adaptable and efficient to the environment.

The fibre structure that can be easily demolished, recycled and reproduced creates a loop hole for future architecture to be less labor intensive and material effective. This allows more opportunities and possibilities to the architecture field that requires minimal level of human supervision.

FIG 1. Process of formation of Pavilion FIG 2. Progression of fibres being applied

FIG 2. Progression of fibres being applied

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A2. DESIGN COMPUTATION

HEYDAR ALIYEV CENTER BAKU, AZERBAIJIAN, 2012 “ I HAVE ALWAYS APPRECIATED THOSE WHO DARE TO EXPERIMENTWITH MATERIALS AND PROPORTIONS.” - ZAHA HADID

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As

Kalay mentioned, technology interventions could be implemented in every design process as it is not merely for digital modelling purposes.

Zaha Hadid’s Haydar Aliyev Centre in Azerbaijian clearly shows a form of innovative design integrated with computational design. Initially, Hadid’s vision was to establish a relationship between build object and the landscape by creating a rhythmic fluid-like structure that blends into the environment. The organic flow structure poses a challenge in calculating the dimension of every panel individually. Thus, with the use of parametric software, Zaha Hadid Architects are able to provide a set of instructions to the software which enable us to maximise its full potential and capabilities. The size of the cladding were altered based on the suitability to ensure efficient manufacturing and installation during construction.

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In this context, computing serves as an ultra-precise numerical control to develop an efficient skin structure for the building.

Its ability to construct a free-form structure saved a lot of time during the construction process. However, Hadid di not solely depend upon computation. It is mentioned that machines allow us to solve problems and complete tasks easier based on the instructions we have implemented, however, the lack of ability to create shows the need of a creative brain to produce such solutions towards the problems. Therefore, Hadid incorporates her knowledge of bringing nature and building together into digital modelling which enables us to further explore complex geometries for optimisation in performance.

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THE CLOUD PAVILION SERPENTINE GALLERY PAVILION, LONDON, 2013

“LANDSCAPE WITHIN THE CONTEXT OF KENSINGTON GARDENS, I IMAGINE THE VIVID GREEN OF THE SURROUDING VEGETATION WITH A STRUCTRE GEOMETRIC.”- SOU FUJIMOTO

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A3. COMPOSITION & GENERATION

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Computational

design, as discussed in the previous chapter, has not only changed the structure of a design workplace but are also transforming the ways designers generate and produce their design outcomes. With generative architecture through algorithmic scripting, new theories and softwares being presented due to the rapid advancement of technology allow us to overcome human limitations in the realm of design and achieve complex phases of design processes.

Brady mentioned the continuous engagement of computational designs evidently seen in the works of many designers in firms as they acknowledge the importance of algorithmic thinking to stimulate building performance.

Instead of traditional practice of drafting with pen and pencils to map building details or sketches, they are effectively carried out through sets of rules and 24

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datas known as instructions for the programs to create multiple complex concepts that are far more precise and effective. This form of practice is not a means of taking away human artistic integrity, but a means of advancing the raw ideas through exploration of computation to solve complex problems that is beyond human capabilities.

Serpentine Gallery Pavilion 2013 demonstrates a good integration of computational design and a designer’s ability to vision such innovative design.

The structure composed by horizontal and vertical bars that are 3-dimensional form grids and cubic forms. Fujimoto wants to create a vision where users can interact with their surroundings.

He proposes to use structures with a certain transparency to allow users to experience a similar situation to being on clouds above the sky. He achieved that aspect by eliminating the construction

of wall and roof boundaries as a way to response to the removing of boundaries between nature and architecture.

The layering of thousands of geometries to form a compounded structure of grids and cubic forms shows an important aspect of digital computation in creating a digital environment. The form of structure would not be achieved by merely hand-drawing or sketching due to the complexity of the structure and the difficulty in visualising the form without detailed analysis.

Therefore, it is important to recognise the extensive use of computational that is more than just 3D modelling but helps communicate with the environment, creating a harmonious combination of architecture.

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DIGITAL GROSTEQUE ZURICH, 2013

“ THERE ARE UNSEEN OBJETS THAT AWAIT US, IF WE AS ARCHITECTS BEGIN TO THINK ABOUT DESIGNING NOT THE OBJECT, BUT A PROCESS TO GENERATE OBJECTS. - MICHAEL HANSMEYER

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A3. COMPOSITION & GENERATION

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Digital Grosteque, on the other hand,

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creates a goal of the exact opposite: No integration of nature or any existing styles in the design process. It is said to be between chaos and order, both natural and artificial, neither foreign nor similar. This is because the designers aim to explore unseen levels of resolution and topological complexity purely on geometric processes. Hence, the design process has shifted onto an abstract level which makes complex forms difficult to draw by hand. With that, the integration of design computation is introduced in this project to cultivate the richness of the forms that may be absent in the hands of a designer. The idea of the project is to create a synthetic and organic form using advanced technology such as algorithms. Compared to Serpentine Gallery, Digital Grostesque is less concerned with functionality and focuses more on the expressive forms of what digital technologies may possibly achieved.

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Much like classic architecture, this form of structure undergoes single subdivision process which in turn, produces forms that holds information at multiple scales. In structural context, it is constructed entirely out of 3D printed sandstone and it consists of two individual halves that creates a volume known as the grotto. The grotto, that is purely designed through customised algorithms challenges designers to invent a modular system of prefabricated sandstone bricks with details. Using advanced technology, the entire room can be printed out in only six large elements.

The structures are hollow to minimise the weight of the elements and consists of printed details for joining pieces together .

The idea of this creation is to challenge an individual’s mind and spur his imagination of what is yet to be seen or created. It provides a form of practice for designers to expand their existing knowledge and capabilities and eceed the threshold of

human’s visual perception that would not be feasible by traditional means.

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A4. CONCLUSION

Part A provides a platform towards understanding the prominence of computational

design in the digital world. As we live in the society where the idea of innovation is significant in modernising the world, we abandon the vision of a sustainable future. As a matter of fact, our future is here and now. Hence, the realisation of an effective outcome towards restoring humans with nature needs to be considered by integrating design computation. By using computation and algorithmic thinking, we are able to create a better environment with high efficiency and performance. Based on many case studies that have demonstrated the power of effective design that improved the productivity and creativity of the design, it is evidently shown that there is an urgent need for strategic and informed design. This allows the invention of complex geometries that helps to explore the new level of digital design in which traditional practices are unable to achieve.

Without doubt, computerization has influenced many architectural practices in every aspect. With every designer slowly moving into the phase of algorithmic thinking, this allows them to encounter opportunities for the exploration of generative design methods that creates a computational revolution. Yet, with all that has been said, computers may have the ability to generate complex methods in effective design performance, but they lack in the creativity of human minds. Therefore, computers in architecture is not defined as the revolution of our modern world but merely an assistance in performance where concepts and new processes are generated. Our future towards sustainability is a collective responsibility with the integration of human thinking and technology. We as designers, have to be aware of the relationships of humans, nature and architecture as we are the beholders in shaping the outcome of our future.

In relation to the brief, Merri Creek presents many opportunities in proposing parameters that can be both compelling and effective for the natural habitat. As for my design, I am interested in exposing algorithmic design in the urban environment through a few techniques in mind: Tesselation, Sectioning and Biomimicry. With a broad idea in mind, I want to be able to draw attention of a wider range of audience to my client, the Echindas as a form of awareness and education for all. By creating an interface for propagating ideas. I feel that I am able to create a safe zone that evokes different emotions and tackle the issues intended.

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A5. LEARNING OUTCOMES

After

studying the precedents along with engaging in some of the readings recommended, I have enhanced my understanding and my appreciation towards Algorithmic design. Prior to the last few weeks, I was focused more on the aesthetics of the building and did not take into account of the functionality that may affect nature and its surroundings. I did not realise that digital computing can act as a drive towards a sustainable future. As I did not have a basis behind what algorithmic scripting can achieved, I was amazed at how much it is engaged in our daily lives.

Rather than modelling a model with a final composition in mind, I am beginning to think of computation as something far more than just 3D modelling. It is a system that consists of sets of parameters, lists of numbers and interconnected process that can help establish a more efficient overall form.

I am definitely excited on what I have already achieved in Grasshopper, though there is still so much room to learn in exploring the outcomes. Grasshopper is not as complex as I thought out to be, rather it consists sets of instructions to be interconnected to form a rather complex model.

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HOMER’S HEAD My first exercise in Grasshopper was the experimentation on triangulation structures as such Voronoi3D. The form can easily be manipulated by eliminating different parts of the geometry to create the irregular form.

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A6. APPENDIX

LIGHT DRAWING

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A7. REFERENCE

“Central Park Sydney”, centralparksydney.com, 2016 http://www. centralparksydney.com/live/one-central-park [Accessed 13 March 2017].

Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) pp.1-9, 33-45. (pp.6) “Icd/itke Research Pavilion 2013” Institue for Computational Design (ICD) <http://icd.uni-stuttgart.de/> [Accessed 6 March 2016] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer- Aided Design (Cambridge, MA: MIT Press) Oxman, Rivka and Robert Oxman, eds (2014). Theries of the Digital in Architecture (London; New York: Routledge) Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp.16. (pp.4) “Top Eco Visitor Attraction- Rainforest, Gardens & Educational Charity- Eden Project Cornwall Uk”, Edenproject.com, 2016 http://www.edenproject.com/ [accessed 13 March 2017]

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