STUDIO AIR 2017, SEMESTER 1, #2 Fin Peilin Cao 783864
2
Contents Introduction Part A Concceptualization A1 Design Futuring A2 Computaion Design A3 Convention / Generation A4 Conclusion A5 Learning Outcomes A6 Apppendix & Algorithm Sketches
3
INRODUCTION
My name is Peilin Cao, born in China. Currently, I am a third year of student studying Bachelor of Environment, architecture major, at University of Melbourne, who is passionate in coming up fancy ideas, problems solving and pursued a visual arts level. Since the pleasant education has introduced me to various communications of architecture, I always enjoy creation process, and get plenty of interest in design logic, which enlightening human life. I have the experience doing internship in NASD art design company in China for a brief time, which innovated me to wonder what do a nice architect do. During internship, while chasing after a restaurant project, Perhaps, there is a preliminary recognition, that an architect systematically considers spatial design, functions, exterior and interior design as a whole, and pursues for a best balance among these demands with a pleasant outcome. As back to study life in university, I did researches for personal space and a serious of basic form, such as, point/line/plane, mass, and secrete project in courses. Additionally, AA Visiting 12-day intensive project ‘enabling city intelligence’, also enhances my understanding materiality and structure through form-finding process. Looking forward, algorithmic thinking is expected to bring me more excited inspirations and various logics in design process.
1
AA Visiting School Enabling City Intellegence | 2017
Digital Design & Fabrication Second Skin | 2017
Studio Earth Keeping Secret | 2017
Studio Earth Mass | 2017
Studio Earth Point/Line/Plane | 2017
2
A 3
CONCEPTULIZATION
4
A1 Design Futuring
5
‘How can a future actually be secured by design?’ Tony Fry [1] As the results of design, expressed anthropocentrically, people celebrate the advantages and success of revolution of industrialization, and intelligent technology. Yet, we also unwittingly come to the situation that serious global issues due to the accelerating urbanization recklessly, threatening the future of human beings and ecology. More conflicts between increasing human demand and defuturing condition of unsustainability, were exposed to global consideration, such as a surge of population, climatic change, ecological damage, etc. It is time to confront the consequence of modernization sacrificing the possibility of nature. But the future cannot be presented as a subjective idealization independent of natural ecology. Here Tony Fry [1] offered us a ‘proposition that we only have a future by design’. Currently, people could notice the significance of design process for human. As Tony Fry [1] mentioned, ‘design, has to be understood anthropologically’, which intensively influences our living method, circumstance, and quality both at present and in the future. We could all enjoy the omnipotent practice and desirable outcomes consciously or unconsciously, not only intelligent machines, amazing architectures, neoteric substance, but also more appropriate plans or systems in urban, country, or even worldwide scale. To trigger this enormous power of design, as a part of design community, we have to think thoroughly about the balance of creation and destruction, which are the inevitable binary effects of design.
While sustainable design does not blame to the technological development, scientific victory and civil booming, for global issues. On the contrary, these advanced methods provide us an infinite possibility of design intelligence to establish the sustainable artefactual world. This redirected capability of design has applied in many architectural cases and involved in education for young designers. Various digital model making software really simplifies our design method and translate more complicated idea into reality. I have the experience of own, not only do the software, such as rhino, grasshopper, accelerate my design process with more opportunities to test effect, yet assist me to complete design in a more accurate and fancier expression.
6 1. Tong Fry (2008). Design Futuring: Sustainability, Ethics and New Practice, pp.1-16.
Case Study One The Truffle Ensamble Studio // 2010 // Spain The Truffle is a piece of nature built with earth and air, which defines a space inside a massive concrete stone that blends with the territory [1]. The design emulates the process of natural formation in its structure, and complies with law of natural environment. Its stunning building procedure strongly responses to sustainable design. Firstly, they dug a hole in the ground and flattened floor with concrete. The topsoil removed was piled up around the site and used as a retaining dike. Then, the building volume was materialized by hay bales, while they poured concrete wrapped the solid of hay bales synchronously. At the moment they removed the earth for retaining, there was an amorphous mass gained. After cutting off a few parts of the mass, it was interesting that they invited a calf, Paulina, to enjoy and explore the core of hay bales inside. The interior space was left for a shelter for vacation.
7
1. Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle>
The architecture contributed to idea of sharing same living environment within the planet ecosystem. It restored an architectural condition of truffle, vegetation and animals, which also fit for human habitat. The design broads the concept of architecture which is not the merely the privilege for human beings, yet all of the creatures in the world are the potential masters. Even though, the straw bales were used as a building material for centuries for thatch roofing and vernacular architectures, what Enamble Studio has done innovated this traditional architectural method intelligently, and enhanced the durability and sustainability of the shelter with concrete mix. It provides a remarkable possibility for future design that there remain diverse practices for different combinations of traditional method and new material.
•
Top. the view from truffle house inside accessing natrual senery through cuting opening.
•
Midel. Hey bales crreate cave-like veins on the ceiling and wall sufaces.
•
bottom left. Truffle house onstruction process shows in plan with further interior design.
•
bottom right. Panorama prespecive overvewing entire truffle project.
Image Source: Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle> 8
Overal. Truffle House
9
Image Source: Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle> 10
Case Study Two 1Hotel Paris Kengo Kuma & Associates // Unbuilt // Paris It is a planning Parisian project which is scheduled to be completed by 2022, The practice reveals a fancy design of wooden architecture incorporating with the idea of sustainability and modernism into one innovative eco-luxury hotel, which is proposed to sit above the railways in Paris river neighborhood [1]. The building itself will be overflowing with greenery that plants spill out of the wooden blocks. Those wooden blocks fragment the building and blur the shape of structure, while making contrast with reflective metal panels to materialize the space inside.
11
They developed a sculpture design form by natural erosion, allowing light to reach the avenue below repetitive volumes. And landscape nicely communicates with the building system by playing with visual transparency on ground floor. To some extent, architecture and urban planning show consistency. In comprehensive understanding, the design displays the power of architecture balancing the relationships of human aesthetic value, comfortable living experience, natural communication and sustainable
1. Eleanor Gibson (2017), â&#x20AC;&#x2DC;Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Parisâ&#x20AC;&#x2122;. Published on Dezeen. <https:// www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/>
urban demands. Sustainability as a popular talk today, this greenery building has a potential to function as a ‘green lung’ for city system.
•
Top. lanscape fully communicates with building overlowing with greenary.
•
Bottom left, Kengo Kuma’s eco-luxury 1Hote proposed project.
•
Bottom right. Open visual transparency through ground floor curtain wall, and repetitive volumes hanging on the ceiiling.
Image Source: Dezeen Magezine, ‘Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Paris’ 2017. 12 <https://www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/>
13
Left & Right. Wooden blocks, waterfall, landscape harmonly blend together, fulfil a home sence for customs.
Image Source: Dezeen Magezine, â&#x20AC;&#x2DC;Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Parisâ&#x20AC;&#x2122;, 2017. <https://www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/> 14
[
A2 Design Computation
15
‘Parametric deisgn … is a new form of the logic of digital design thinking.’ Rivka Oxman and Robert Oxman [1] In the contemporary society, design is no longer a personalized ability, that can be merely well expressed by extremely limited persons previously. That all credits to the evolution of digital technology which enables the performative combination of design process and think method. These innovative softwares can be widely educated as a personal skill to present various creative formulations. Specifically, for architectural design, parametric design merged as a modern process which focuses on the complex mathematic of the creative objects and the varied relationships of each element and integration of the design [1]. It simplified the multiple uncertainty of variations of the design as single or composite parameter, by changing which the digital program can generate several series of configuration. Moreover, the ability to analyze and model the landscape, structure and material as a topological system shows the comprehensive functions of design computation, which blurs the boundaries between design and modelling construction and material fabrication.
Design computation, informed by performative design, tectonic model and digital materiality, has become a mainly popular theory of design in architecture, and never stopped developing. As one of the beneficiaries, I rely on and celebrate the convenience and variation brought by digital design process, such as rhino, grasshopper, and laser cut digital fabrication etc. But, hand craft is also a traditional and powerful method we should not forget. To some extent, computation digitalizes the creation and design, meanwhile losing a bit of emotion as well.
16 1. Rivka Oxman & Robert Oxman (2014), ‘Theories of the Digital in Architecture’. London; New York: Routledge, pp.4
Case Study One Guangzhou Opera House Zaha Hadid // 2010 // Guangzhou The white Opera House is designed as unique twin boulders. it hormonally sits by the riverside, quietly demonstrating the story of the pebbles in a stream smoothed by erosion. This concept derived from a natural landscape and fascinating communication with background buildings and environment. The design emphases Hadid’s great interest in the rigorous interlink of architecture, landscape, geology and urban form. Continuing her consistent style, Opera house is a pair of organic form with dome and curtain wall. As a whole, the building design is a volume within a volume, that the outside is defined by fragmental skin, while the fluidly voluminous auditorium and lobbies naturally fluctuate inside the space. There is no doubt that this irregular piece of design was not conceived
planimetrically with notions of from, back and elevations, but rather were modelled dynamically in 3D. As Schumacher mentioned, they worked the curvilinear facade, dramatic cutting internal space, smooth transition of disparate elements in Rhino, the more complex and more fluid surface inside the grand auditorium in Maya [1]. So, this organic formulation was achieved by algorithms, through various splines, blobs, Nurbs, and particles were organized by scripts of the dynamic system of parametric design. The digitalization gives the design full of possibility, that encourages designers become more creative and inspired.
17 1. Josphe Giovannini, (2011), ‘Guangzhou Opera House’. Published on Architect. <http://www.
architectmagazine.com/design/buildings/guangzhou-opera-house_o>
•
Top. The grand autitorium with the latest acoustic technology to provide exciting nejoyment for art performances, opera, and concerts on the round.
•
Bottom left. The project at night, triangulated steel mesh were exposed with light effect.
•
Bottom right. From overhang balcony, looking into the lobby and geting attracted by danamic curtain facade.
18 Image source: ArchDaily, ‘Guangzhou Opera House’ 2011. <https://www.dezeen. com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/>
Overall. Guzangzhou Opersa House
19
20 2. Image source: ArchDaily, ‘Guangzhou Opera House’ 2011. <https://www.dezeen.
Case Study Two Voussoir Cloud Lwamoto Scott Architecture // 2008 // Los Angeles Lwamoto Scott Architecture // 2008 // Los Angeles This project is a temporary installation at SCIArc Gallery in Los Angeles, which explored the structural paradigm of pure compression with ultra-light material susyem [1]. The installation fills the gallery with a system of faceted vaults using lightweight petal of paper-thin wood laminate, which materializes the light, and redefines the received notions of space. Spatially and structurally, they migrated to form greater density at edges to the walls, and the bottom of every column to achieve its pure compression form, aesthetical variation as well. Basically, fragmental structure needs four types of vaguely triangular petals with no, one, two, or three curved edges, to act as wedge-shaped masonry blocks for compressive arches of Voussoir. They also designed flanges along each score to fold 3D petals. The curve
seams produce an inflected form holding tension on the internal surface for stability. Overall design is mostly a digital generation. It began from hanging chain models to find an efficient form. Then, they translated the hanging chain model into computation to refine the profile lines as pure catenaries and determine the compressive vault shape by computer script. For material fabrication, the thin wooden sheet was nicely laser cut, which rise its elegant finishing level.
•
Top & Bottom right. Voussoir Clound fills the gallery with a systan of vaults to be experienced from inside.
•
Bottom left. Analysis and tessellation diagram show the algorithmic design process to assist determing the pure compressive configuration.
21 1. Lwamoto Scott Architecture, ‘Voussior Cloud’ 2008. <https://iwamotoscott.com/projects/voussoir-cloud>
22 Image Source: Lwamoto Scott Architecture, ‘Voussior Cloud’ 2008. <https://iwamotoscott.com/projects/voussoir-cloud>
Overal. Voussior Cloud Installation
23
Image Source: Lwamoto Scott Architecture, ‘Voussior Cloud’ 24 2008. <https://iwamotoscott.com/projects/voussoir-cloud>
A3 Computation / Generation
25
‘The most profound technologies are those that disappear. They weave themselves into the fabric of everyday life until they are indistinguishable from them.’ Mark Weiser [1]. Digital technologies have been embraced in architectural design process in many ways for the praised benefits of developing, modifying, fabricating, constructing convenience. There is a fresh working mode of computerisation as the main working pattern where in practice architects mainly rely on digital modelling tools, such as Revit, Rhino, Grasshopper, etc. Meanwhile these utilities create opportunities for developing, evolving in the process of design, fabrication, construction. As Brady Peters noted, more and more of us noticed ‘we are moving from an era where architects use software to one where they create software’. Computation, defined as a process dealing with the intersection of information and elements through algorithmic system, extends the horizon of architects towards highly complex generation [2]. It distinguishes from, yet also merges from computerisation which simply translates into digital language without recreation. Computation process collecting information through understanding design, can be expressed as algorithm, where architects communicate with computer by mathematic code. Then, further thinking and examination happens spontaneously during modification for both design and program.
Not only do architects need advanced technique support to fulfil the diversity of our increasingly sophisticated ideas, computational designing knowledge appears necessity and influence for architectural practice as well. There are enormous requirements for algorithmic specialists from architectural firms and design research fields, to stimulate all design outcomes that generation performance, functional diversity, material fabrication, construction innovation, etc. However, computation is not understood by all designers enough, that it holds expecting potential for fancy generation to be fully explored. Despite of the fact that human intelligence is restricted by advanced computational tools, which distance us from computational abilities with traditional geometry and theory, it is worth consistently exploring computational future.
1. Weiser Mark. (1991) ‘The computer for the 21 st century’, in Scientific American, Sep 1991, pp. 104. 2. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12 26
Case Study One Seed Cathedral Heatherwick Studio // 2010 // Shanghai The pavilion built for 2010 Shanghai World Expo, is composed of thousands of translucent rods to achieved powerful memorable focal experience from both inside and outside. In the way building manifest its content for visitors in distance, the wooden box is densely pierced by fibre-optic rods, of which collect 250,00 plant seeds casting into the glassy tips [1]. There are interesting performances for the design that, these fibre optic filaments are particularly responsive to the sunlight penetrating into pavilion internal space, while at night, interior artificial light illuminates pavilion cover with tiny points of light that fluctuate and tingle with breeze.
27
In the case of Seed Cathedral, as architect generated initial concept by the priority in sketching and crafting, design becomes more accurate and accelerated through computational model. Digital modelling tools take advantages in ensuring constructability and alternative examination through algorithmic program. The holes need to be drilled in great density on aluminum sleeves, which allow fibre optic filament with 20mm square section passing through. The extremely precise operation was achieved by milling machine following 3d computational model data. With digital assistance, design object experiences structural optimization for construction and final display.
1. Heatherwick studio, â&#x20AC;&#x2DC;UK Pavilionâ&#x20AC;&#x2122; 2010. <http://www.heatherwick.com/uk-pavilion/> 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming. MIT Press.
‘We live in a very different world now but we can reconnect with the spirt and develop new methods for today’s world’ [2]. While for Seed Cathedral design process not going through generation, architects got innovation and modification from computation for accurate fabrication and construction. For this reason, computation mediates and translates between conceptualization input and generation output through algorithmic thinking process.
•
Bottom left. Suprising outlook of Seed Cathedral.
•
Bo.ttom middle. Close focuses on different plant seed within the end of each fibre optic filament.
•
Bottom right. Translucebt fibre optic filaments respobse to the daylight inside
Image Source: ArchDaily, ‘UK Pavilion for Shanghai World Expo’, 2010. < http://www.archdaily. 28 com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>
Overall. Standing at the sactum of the cathedral, to experience an atmosphere of reverence and a moment of introspection.
29
Image Source: ArchDaily, ‘UK Pavilion for Shanghai World Expo’, 2010. < http://www.archdaily. com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio>
30
Case Study Two Situation Room Marc Fornes & Theverymany // 2014 // New York Situation Room as a light-weight, self-supported thin shell installation in tension, refines the concrete internal space and circulation. The overall structure breaks traditional shell regulation into perforated pink aluminum panels combining together to form an envelope, that irregularly sinuously swells through an exhibition area. Conjunctions with narrow aisle, undulating spherical shapes, and filtered lighting streams create interaction between spatial known yet further unknown. In term of its tensile structure, where the spheres meet, the overlapped spheres for joints generate double curvatures that provide structural rigidity. Algorithmic design method results situation room performance that sculpture-parametric form is generated from Boolean operations. Such analysis was digitally programmed in an algorithm process, where variation in stresses upon the structure modifies its shape flow. Through that mathematic information chain linking the input parameters, diverse form outcomes were explored computationally simulate more efficient structure. However, there exist conflicts between antigravity digital configuration and stability for real installation work, where they solve the problem by a series of distributed agents walking along the morphology, to assist flow of stress from structure and convergent sphere points connecting to the ground. Digital fabrication method also offers innovations for more possibilities for more applications of materials.
31
1. Marc Fornes & Theverymany, â&#x20AC;&#x2DC;Situation Roomâ&#x20AC;&#x2122;, 2014. <https://theverymany.com/14-storefront/>
•
Front left & middle & right. Interesting exploration for space known and unknown, sence comfort and uneasy within the structure.
•
Back. The thin shell envolope refines the exhibition space.
Image Source: Marc Fornes & Theverymany, ‘Situation Room’, 2014. <https://theverymany.com/14-storefront/>
32
33
•
Left top & bottom. Algorithmic design model utilized to analyse stress flow and determine en structure efficient configuration.
•
Right. Exploring experience for kid within installation.
Image Source: Marc Fornes & Theverymany, ‘Situation Room’, 2014. <https://theverymany.com/14-storefront/>
34
A4 Conclusion
35
With the insight for a series of architectural design theories and approaches under the background of technology and computer evolution, A1 readings lead us critically concerning the sustainable future as an aspiration, design might be the most necessary approach to make it achievable by changing human thoughts and creation norms. Stemming from that view, computational design, which offers greater acceleration and precision in fabrication and construction, provides opportunities that allow our design to reach better communication with environment.
However, focusing more specifically on our ceiling design task, I intend to explore form through amounts of algorithm practice process, meanwhile, figuring out the digital file conflicting with physical restriction for material available for me, such as think timber sheets in precedent Voussoir Cloud. Personally, there is a long way to go towards more flexible algorithm creation in grasshopper, yet I have already realized the charms and challenges of parametric design.
Coming along the consideration above, there are further researches for architectural precedents reflecting my understanding that how algorithmic and parametric process in architecture has transformed our design method, as well as the increasingly complex configuration. Involved in such an advanced society prevailing various digital technologies, I feel computer should be taken full advantage of and applied for my further project, which require the capacity to deal with more comprehensive information, more complicated system, and stronger connection with physical production.
36
A5 Learning Outconmes
37
Viewing back 3 weeks of study in air studio, my understanding of design and architecture has been further enriched. I used to regard rhino, grasshopper merely as a tool to build digital models, rather yet, those programs categorized within algorithm design method, that not only translate idea in to 3D, modify and test design in the process as well. Algorithm thinking exercise the capacity of problem solving that encourage us instantly approaching better outcomes.
However, there exist difficulties for application. While the algorithmic scripts in tutorials are understandable, I cannot figure out the logic of algorithm resulting what I want freely. To overcome this issue, numerous exercise for program and logical thinking both are necessary. Cooperating with grasshopper, it opens up splendid opportunities enabling me to do professional and rigorous design.
While grasshopper occupies certainly important workflow in design, it invites me to instruct computer generate desired result by mathematic language, and think algorithmic principles rather than conventional shapes and standard aesthetic. With the plenty of online tutorials support introduced to grasshopper, the practice is full of fun and interest, to explore unique form with various parametric definitions.
38
A6 Appendix & Algorithm Sketches
39
Bibliography Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Weiser Mark. (1991) ‘The computer for the 21 st century’, in Scientific American, Sep 1991, pp.94-104 Dunne, Anthony & Raby, Fiona (2013), Speculative Everything: Design Fiction, and Social Dreaming. MIT Press.
Image Source Ensamble Studio, ‘The Truffle’ 2010. <https://www.ensamble.info/thetruffle> Dezeen Magezine, ‘Kengo Kuma reveals plant-covered Eco-Luxury Hotel for Paris’, 2017. <https:// www.dezeen.com/2017/06/28/eco-luxury-hotel-kengo-kuma-paris-france-plant-covered-news/> ArchDaily, ‘Guangzhou Opera House’ 2011. <https://www.dezeen.com/2017/06/28/eco-luxuryhotel-kengo-kuma-paris-france-plant-covered-news/> Lwamoto Scott Architecture, ‘Voussior Cloud’ 2008. <https://iwamotoscott.com/projects/voussoircloud> ArchDaily, ‘UK Pavilion for Shanghai World Expo’, 2010. < http://www.archdaily.com/58591/ukpavilion-for-shanghai-world-expo-2010-heatherwick-studio> Marc Fornes & Theverymany, ‘Situation Room’, 2014. <https://theverymany.com/14-storefront/>
40
41
42
43
44
45
46