STUDIO AIR
JULIUS EGAN'S
CONTROL FREAK
FANSHUNZE YANG 2018
CONTENTS Introduction
03
A.1 Design Futuring Sketchbook week one task
06 14
A.2 Design Computation Sketchbook week two task
16 20
A.3 Composition/Generation
24
A.4 Conclusion
31
A.5 Learning outcomes
32
Bibliography
33
INTROD
My name is Fanshunze Yang. I have learn subject so far such as the challenge and be and the combination of human and compu AD magazine and required readings, which how computation works during the design p who generated outcome with the designer never used Grasshopper before this subject. Indesign. Now I’m just getting familiar with G during the process, and I believe I will use G
DUCTION
ned a lot about digital architecture in this enefits, the communication and negotiation, utation. I also read some useful articles from h all makes me more and more clear about process. I understand it as a helpful partner r. I used Rhino and Sketchup before, but I . I’m also good at Illustrators, Photoshop and Grasshopper, which I found quite interesting Grasshopper more in future.
As the second largest port in Europe, Antwerp Port had become a container receiving large labour input and outputting plenty of resources.1 The Port House helped transportation process while tended to provide more for future growth. Besides, the combination of new and old structure itself stated a brilliant concept for design futuring. As the old structure was required to be preserved, the new structure didn’t contend attention with the old building but emphasis the imposing figure of the old building.2 While considering the advanced design, what can’t be ignored are those history. Antwerp Port House is an amazing work that brought past ready for future.
CASE STUDY 01
A.1 DESIGN FUTURING
1. MINI Clubman, Antwerp Porthouse / Zaha Hadid Architects (2016), <https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects> [accessed 04 March 2018]. 2. Clubman, Antwerp Porthouse / Zaha Hadid Architects. Figure 1. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects/57e416dce58ec
cef8b4000510-antwerp-port-house-zaha-hadid-architects-photo
Figure 1. MINI Clubman, Antwerp Porthouse, 2016
Figure 2. MINI Clubman, Antwerp Porthouse interior, 2016
Figure 2. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects/57e4178fe58ece Figure 3. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects/57e418a0e58ec
Figure 3. MINI Clubman, Antwerp Porthouse workplace, 2016
ebef8000c3a-antwerp-port-house-zaha-hadid-architects-photo cef8b4000512-antwerp-port-house-zaha-hadid-architects-photo
CASE STUDY 02 What Heydar Aliyev Centre successfully contributed is the connection with regional culture and showing the possibility of diversity expansions could happen in future. The Plaza, where the building is sitting, is literally a place for everyone to have activity.3 The building does not change that feature rather provided an open interior space for people and emphasis cultural activity. In addition, the fluid appearance, large glass facade and similar textured material to plaza all lighten the contrast between outside and inside space. What had also been compared quite apparently with the building are those surrounding Soviet buildings. The Republic of Azerbaijan asked a building not in Soviet style to demonstrate and stimulate a new positive development in nation.4 This building not only provided a space for people to have more cultural activity but also looked forward to future context development.
3. ArchDaily, Heydar Aliyev Center / Zaha Hadid Architects (2013), <https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 04 March 2018]. 4. ArchDaily, Heydar Aliyev Center / Zaha Hadid Architects Figure 4. Caalondon, Heydar Aliyev Center, 2013, accessed 04 March, 2018, hhttp://design-afterhours.blogspot.com.au/2013/11/heydar-aliyev-center-baku-azerbaijan.html
Figure 4. Caalondon, Heydar Aliyev Center, 2013
Figure 5. Caalondon, Heydar Aliyev C
Figure 6. Asif Masimov, Hey
Figure 5. Caalondon, Heydar Aliyev Center Figure 6. Asif Masimov, Heydar Aliyev Center, 2016, accessed 04 March, 2018, https://commons.wikimedia.org/wiki/File:Heydar_Aliyev_Center.jpg
Center interior, 2013
ydar Aliyev Center, 2016
The interior of this project is amazing, which is completely different with what had ever happened in this city before. It demonstrates a new capacity of the city that can accommodate future trends. I think this project is really successful because it could bear all the views within a quite long timeline, which exactly a project for future. Besides, those curve appearances outside connected with site quite closely, which makes the building seems really easy to grow up from the ground.
PERSPECTIVE VIEW
Week one Sketchbook Task 5mins Breakfast Point
1
1.1
2
3 Figure 7. Concept development diagram
When I went to the site, the day was quite cloudy with showering and wind. I noticed there are on groundFRONT because ELEVATIONof wind force or wilt. Then I listened the sound track on site, the first thought ca I found the sound track can be understand as a process of growing or gathering since more and later. Therefore, I connected a relationship between gathering activity and the site, which also bec my project this week. At the beginning, I was trying to create a space for people to gathering for a breakfast, the idea generated from surrounding transportation facilities. I built up 3 circular panels I tended to develop the panel by adjustments could respond to the site. And finally, I just get rid o bending beams to express wind tracing and wind force (from 1.1 to 3). The space them generate what panels created.
Figure 10. Elevation
Figure 8. Perspective view
e some palm treesâ&#x20AC;&#x2122; leaves ame up was Harry Potter. d more instruments joined came the main scheme of a certain purpose, having s to form the space. Then, of panels and use circular ed became stronger than Figure 9. Plan
Figure 11. Elevation 2
A.2 DESIGN COMPUTATION Computer had gradually joined related fields such as researches, form generation and communication in design process. During these processes, design can be defined as considering and generating architecture by logic algorithm. It is obvious that the engage of computer brought convenience and benefits. For instance, Parametric design system introduced a set of new terms to allow variations in designing such as writing rules or algorithm procedures. An example to demonstrate variation and forming is the Spanish Pavilion done by EMBT in 2010. Through the 3D model, using horizontal and vertical cutting to generating coordinates of structural members, which also reduced the difficulties of manufacturing.5 In addition, the team got useful feedback about size, shape and position adjustments to meet stability deformability requirements for both architectural and structural purpose from 3D model.6 Computation can be understood as an essential part of this project since it is the only efficient way to explore more about structural information by comprehensive observation.7 In complex design, computation is indispensable. 5. Julio M. Calzón & Carlos C. Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, EXPO 2010, SHANGHAI’, Architectural Design, 80.4 (2010), 52-59 (p.59). 6. Calzón & Jiménez, p.59. 7. Calzón & Jiménez, p.59. Figure 12. SEEL, Spanish Pavilion, 2010, accessed 11 March, 2018, http://www.mc2.es/ficha_proyecto.php?i=en&id=65&idcategoria=11 Figure 13. SEEL, Spanish Pavilion Figure 14. Channelbeta, Spanish Pavilion, 2010, accessed 11 March, 2018, https://www.flickr.com/photos/channelbeta/4619881302/in/photostream/
Figure 12. SEEI, Spanish Pavilion, 2010
Figure 13. SEEI, Spanish Pavilion construction, 2010
Figure 14. Channelbeta, Spanish Pavilion facade detail, 2010
Computation would effectively reduce the possibility of making basic mistakes by human and increase expressing and working efficiency. Therefore, to consider the potential benefits and constrains of a solution for the design purpose became more accurate and comprehensive. The B of the Bang done by Thomas Heatherwick Studio would be a good example to demonstrate that advantage. There is a ‘core’ component in their design, where all ‘spikes’ and ‘legs’ meet up, and it is quite hard to understand the requirements, problems and working compositions just through drawings and verbal presentation. What they did is to make a digital 3D model and 3D print it. Then everything became much clearer and the design can back to the right track. In addition, to maximize accuracy of the position of each spike in design, designer used computer software to define where meets other parts by precise coordinates in 3D model. This is also an advantage of the combination of human and computation. The 2 participants in this combination stands creativity and rational considerations respectively for achieve better outcome.
Figure 15. Thomas Heatherwick Studio, t
Figure 15. Thomas Heatherwick Studio, the Bof the Bang, https://www.raywaterhouse.co. Figure 16. Thomas Heatherwick Studio, the Bof the Bang, concept, http://www.heatherwick.com/project/b-of-the-bang/ Figure 17. Thomas Heatherwick Studio, the Bof the Bang, 3D Print, http://www.heatherwick.com/project/b-of-the-bang/ Figure 18. Thomas Heatherwick Studio, the Bof the Bang, Construction, http://bikesandbuildings.blogspot.com.au/2012/04/welding.html Figure 19. Thomas Heatherwick Studio, the Bof the Bang, Digital model, http://www.heatherwick.com/project/b-of-the-bang/
the Bof the Bang
Figure 17. Thomas Heatherwick Studio, the Bof the Bang, 3D Print
Figure 16. Thomas Heatherwick Studio, the Bof the Bang, concept
Figure 18. Thomas Heatherwick Studio, the Bof the Bang, Construction
Figure 19. Thomas Heatherwick Studio, the Bof the Bang, Digital model
However, one possible problem could occur during the communication between human and c conscious. Stream of conscious is a kind of mind thinking activity that happened a lot in design pr not acceptable for computer since it is almost impossible for a computer to understand and even journey. What would be influential is the logic of how the idea generated. For example, the projec the circular panel at the beginning to express the feeling of enwrapped then I wanted to connect w use abstract composition and openings on the panel to show the leaves of palm trees. Finally, I g those openings to express the wind force on leaves and enwrapped people because thatâ&#x20AC;&#x2122;s what sound track and site. For a computer, it might be hard to make it understand my conscious stream si to understand specific order.
Nevertheless, computation can help people to communicate with themselves or other people by m 3D modeling rather providing reflections. They can also attract more participants into the design pr sophisticated idea.
Figure 20. Perspective view
computer is the stream of rocess by human, but it is n reflect on your thoughts ct I did for last week, I use with the site, so I chose to get rid of the panel but fill t I could imagine from the ince it just got its program
more accurate drawings, rocess and develop more
Week two S
2
1
Figure 21. Plan development
Failed development form and plan
From Richard M inspiration and r participants insp So, we started w with scale chang protecting the sp contrast in our pr our concept, def however at nigh fight back of bra
We improve a li were tended to surface is quite h I believe maybe Figure 22. Improving frame
Sketchbook Task
Mosse â&#x20AC;&#x2DC;s Enclave artwork series, my group and I chose the one that shows the strongest contrast as our reference. We summarized 3 participants included in this photo, context, enemy and soldiers. These 3 pired us the idea of defense. Then we tended to build up our design also according to those 3 participants. with a circular surrounding because of the uncertainty about where attack would from then we placed sphere ging to emphasis the attacking direction, to the centre. We placed 2 triangles at the centre to show soldiers pace. As what I mentioned before, the contrast is quite strong in the photo, so we also intended to address roject, which is the reason why triangles were chosen. What interesting is the apply of light to accommodate fense. It can be understood by feel different view at different time. During the day, surroundings are stronger ht, surrounding vanished into darkness, the light at centre would start shining, which indicates the action of ave defenders.
ittle bit about the scale of the sphere to demonstrate attack action more stressful (from one to two). And we change centre structure into irregular curvy surface, but things didnâ&#x20AC;&#x2122;t go so well about that. We found the hard to generate and form by just what we have learned on grasshopper. But Iâ&#x20AC;&#x2122;m happy that we tried, and e at the end of this semester we can form that surface successfully.
Figure 23. Elevatioin
A well known advantage about computation is the network of sharing programs. As designer could access some website for the most effective digital tool to help them generate the structure, which done by computational designers, they could practice their proposal more efficient and explore more about the software.
A.3 COMPOSITION/GENERATION Computation can also be very beneficial in these 3 aspects: 1. Allowing users to deal with the information and interactions of essential components, which would support the changes of design form. 2. Providing a wider range of possibilities and strengthening the ability to achieve them to accomplish the concept or scheme the designer aiming for.
Figure 24. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006
Figure 25. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006
3. Generating even beyond estimation potential for processing information and ideas as the order can be added and developed. Vivisection by architect Mette Ramsgard Thomas and designer Simon løvind would be a good example to show the beautiful possibility. As it is a combination of machine and textile, it brought rational defined movements and free formed materiality together. What robot part would do is generate the movement for steel connected with silk then form amazing and unknown actions together.8
8. ‘Robotic Membranes: Exploring a Textile Architecture of Behavior’, Architectural Design, 78.4 (2008), 92-95 (p.94). Figure 25. Mette Ramsgard Thomas and Simon løvind, Vivisection, https://kadk.dk/en/case/vivisection Figure 26. https://kadk.dk/en/case/vivisection Figure 27. http://www.zelig.dk/art/vivisection/ Figure 28. http://www.zelig.dk/art/vivisection/
Figure 26. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006
Figure 27. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006 Figure 28. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006
Moreover, a remarkable change brought by computation is that designers are able to combine related influential information with the expected outcome through computation such as testing building performance to improve efficiency. Besides, while it is simulating the performance, it also creating possible space experience already. For example, Messe Basel by Herzog & De Meuron, they got their own digital technology group to provide wanted effective program. And they developed a program to predict the hours of sunlight that building could get to make the design process more efficiently.9 In this case, computation not only means a kind of design technology but also became a new form of logic thinking.
9. Brady Peters, â&#x20AC;&#x2DC;Realising Architectural Ideasâ&#x20AC;&#x2122;, Architectural Design, 83.2 (2013), 56-61 (p.60).
Figure 29. Herzog & De Meuron, https://www.reddit.com/r/AbstractPhotos/comments/5fkbrw/scales_messe_basel_building_by_herzog_de_meuron/
As more contemporary technical research provided more information, it is important to focus more on how to use that information on proper design phrase and possible building performance rather than collecting the information itself.
Figure 30. Messe Basel
Figure 31. Messe Basel
Figure 30. Herzog & De Meuron, Messe Basel, https://post-ism.com/2015/08/03/basel-tov/ Figure 31. Herzog & De Meuron, Messe Basel, http://zumtobel.us/inspiration/basel-exhibition-center_35/ Figure 32. https://www.modlar.com/photos/419/messe-basel-new-hall-exterior/
Figure 32. Messe Basel
A.4 CONCLUSION Part A drives attention on design with computation involved and the outcome it generated. It is basic to differentiate the difference between computerization and computation. Computerization mainly refer to make the design digital and almost all match with your need but computation more like to generate and determine the outcome by its written program that might be quite different with what you expected, which means becoming part of the creator during the design process. And with computation helping, designer could have a wider view on the whole design and more accurate analysis of detail. With wider view on the design and higher accuracy in detail, designer could create more proposal for effective problem solving while reduce the rate of failure out of mistakes made by human. In addition, this cooperation is a combination of creative abilities and rational forming because people having their conscious stream and thoughts development, and computer got its program to determine part of the outcome, mostly form and structure. As the increase of applying computation in design process, computation had been understood as a new logic but not a design technique anymore. The support from computation is quite obvious when designing a complex structure since it could generate things quickly and correctly. The information it provided during the designing is also useful as it allows you to communicate with yourself about the outcome. Besides, computation also defined a new way for architecture practice. People could manage and process the information which closely related with how the outcome constituted then improve the outcome. What computation does also great is it could stimulate the inspiration and knowledge gaining. In word, computation provided plenty of opportunities in various field in designing. All these features make computation an innovative and amazing component in design process, which also built up indispensable contributes of computation.
A.5 LEARNING OUTCOMES I found it is really inspiring about how computation influenced different aspect during design process, which makes me really want to experience the influence comprehensively. At the beginning of this semester, I wrongly understand computation as computerization until I used Grasshopper in week oneâ&#x20AC;&#x2122;s exercise then I started realizing the difference between these two terms. As we are moving forward, I understand computation more correctly and I do agree with most statements that taking about the importance of computation and how beneficial it could be. I also found the unknown feeling about how the outcome would be different with my thoughts is really attractive. I expected more than what I did in computerization during the generating process. I enjoy the conveniences that computation brought and admire how people could invent these amazing â&#x20AC;&#x2DC;partnerâ&#x20AC;&#x2122; for designing. In the projects I have joined the design process so far, I can feel the progress of how I cooperate with computation programs. But I also realized the problem are existing in the whole process. For example, the program follows the rule strictly which makes specific knowledges and skills become necessary and that might take a while to be familiar with. Another problem might be quite individual, I found it is quite hard to manage the balance between me and computation program during designing and forming. I think it might because the lack of skills and experiences. Anyway, although balancing what computation gives and what I want is quiet challenging, I still like the procedure of negotiating and improving. If I am going to use computation program to improve my past projects, I might let grasshopper to determine something irregular and size to express the respective concept better since I have already know how to apply mesh on a polysurface, how to form a series objective with scale changing accurately and I also be able to add or subtract components grasshopper filled in a structure.
BIBLIOGRAPHY ArchDaily, Heydar Aliyev Center / Zaha Hadid Architects (2013), <https://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects> [accessed 04 March 2018]. Brady Peters, ‘Realising Architectural Ideas’, Architectural Design, 83.2 (2013), 56-61 (p.60). Figure 1. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-archite cts/57e416dce58ecef8b4000510-antwerp-port-house-zaha-hadid-architects-photo Figure 2. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-archite cts/57e4178fe58ecebef8000c3a-antwerp-port-house-zaha-hadid-architects-photo Figure 3. MINI Clubman, Gallery of Antwerp Porthouse / Zaha Hadid Architects, 2016, accessed 04 March, 2018, https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-archite cts/57e418a0e58ecef8b4000512-antwerp-port-house-zaha-hadid-architects-photo Figure 4. Caalondon, Heydar Aliyev Center, 2013, accessed 04 March, 2018, hhttp://design-afterhours.blogspot.com.au/2013/11/heydar-aliyev-center-baku-azerbaijan.html Figure 5. Caalondon, Heydar Aliyev Center Figure 6. Asif Masimov, Heydar Aliyev Center, 2016, accessed 04 March, 2018, https://commons.wikimedia.org/wiki/File:Heydar_Aliyev_Center.jpg Figure 12. SEEL, Spanish Pavilion, 2010, accessed 11 March, 2018, http://www.mc2.es/ficha_proyecto.php?i=en&id=65&idcategoria=11 Figure 13. SEEL, Spanish Pavilion Figure 14. Channelbeta, Spanish Pavilion, 2010, accessed 11 March, 2018, https://www.flickr.com/photos/channelbeta/4619881302/in/photostream/ Figure 15. Thomas Heatherwick Studio, the Bof the Bang, https://www.raywaterhouse.co.uk/ Figure 16. Thomas Heatherwick Studio, the Bof the Bang, concept, http://www.heatherwick.com/project/b-of-the-bang/ Figure 17. Thomas Heatherwick Studio, the Bof the Bang, 3D Print, http://www.heatherwick.com/project/b-of-the-bang/ Figure 18. Thomas Heatherwick Studio, the Bof the Bang, Construction, http://bikesandbuildings.blogspot.com.au/2012/04/welding.html Figure 19. Thomas Heatherwick Studio, the Bof the Bang, Digital model, http://www.heatherwick.com/project/b-of-the-bang/ Figure 24. Mette Ramsgard Thomas and Simon løvind, Vivisection,2006, http://www.zelig.dk/art/vivisection/ Figure 25. Mette Ramsgard Thomas and Simon løvind, Vivisection, 2006, https://kadk.dk/en/case/vivisection Figure 26. https://kadk.dk/en/case/vivisection Figure 27. http://www.zelig.dk/art/vivisection/ Figure 28. http://www.zelig.dk/art/vivisection/ Figure 29. Herzog & De Meuron, https://www.reddit.com/r/AbstractPhotos/comments/5fkbrw/scales_messe_basel_building_by_herzog_de_meuron/ Figure 30. Herzog & De Meuron, Messe Basel, https://post-ism.com/2015/08/03/basel-tov/ Figure 31. Herzog & De Meuron, Messe Basel, http://zumtobel.us/inspiration/basel-exhibition-center_35/ Figure 32. https://www.modlar.com/photos/419/messe-basel-new-hall-exterior/ Julio M. Calzón & Carlos C. Jiménez, ‘Weaving Architecture Structuring the Spanish Pavilion, EXPO 2010, SHANGHAI’, Architectural Design, 80.4 (2010), 52-59 (p.59). MINI Clubman, Antwerp Porthouse / Zaha Hadid Architects (2016), <https://www.archdaily.com/795832/antwerp-port-house-zaha-hadid-architects> [accessed 04 March 2018]. Robotic Membranes: Exploring a Textile Architecture of Behavior’, Architectural Design, 78.4 (2008), 92-95 (p.94).