Air book

STUDIO AIR

TAN YING LING | 850506 TUTOR: JULIUS EGAN

INTRODUCTION

My name is Ying Ling and I am a third year pursuing a Bachelor in Environments, majoring in Architecture. I was born and raised in the sunny island of Singapore, one of the leading hubs of Architecture. Melbourne is my second home as I take on the journey of becoming a qualified architect.

I have been interested in buildings since a young age and was always curious what goes on into designing a building. My interest in other field is very different from Architecture. During my free time or if I have the time too, I love

going on bush

walks and exploring nature. I find that seeing things physically with our eyes enable us to learn more and makes us aware of our surroundings.

TAN YING LING (22) SINGAPORE UNIVERSITY OF MELBOURNE

Coming into the Bachelors of Environments, I was not sure if I would still want to pursue

architecture as my major be-

cause I was not confident if I was creative enough to pursue this. However, after my first taste of design through the subject ‘Designing Environments’ I was 80% sure of my choice.

Although I have no experience in using softwares, I am excited in exploring computational design through Rhino and Grasshopper as I believe that softwares like these are bound to be the future of Architecture.

Photoshop work for ‘Visual Communications’ in Semster 1, 2017

Photography work for one of my model in Studio Earth

Photography work for one of my models in Visual Communications

PAR CONCEPTU

RT A UALISATION

A.1 DESIGN FUTURING

Design Futuring, as explained by Tony Fry, is a “practice to make time for human existence by negating forms of action its’ future plays a significant role when it comes to the life span of the planet we inhabit. Many design practices over th age of modernisation has instead moved us into a state of Defuturing whereby our selfish indulgence is no longer susta questions which challenges designers to anticipate unseen forces of change, bluntly questioning, “How can a future be

Unfortunately, the criticisms surrounding the influences of architectural design puts the discipline into a paradoxical co to catalyse changes in hope of avoiding the impending catastrophe of modern civilisation2. He suggests that the mean is a matter of embracing bolder design alternatives. No one can evade the future. Although environmental activists cons many fantasize radical possibilities for new, innovative solutions tov provide each one of us our ‘individualized utopias’

When picturing a ‘radical future’, our culture’s obsession with numbers, productivity and immediate response causes u systems. While this obsession with radial production provides us with hopeful insight, a picture of where we would like goal and a trend among architects. It has become a symbol of sustainability.

n, goods, systems and institutions that take time away (Defuturing)�(Fry,Tony, 2008). Architecture and how we shape he past few years have been linked with environmental degradation for the sake of development1. Fry claims that the ainable and thus results in us panicking in anticipation for a cataclysmic end to the status quo. Therefore, he poses e secured by design?�

onfusion. According to Dunne, traditional methods of precedential studies alone are insufficient, demanding alternatives ns are within reach, as the tools needed to redirect the destructive momentum are already readily accessible, whilst it stantly reinforce what they fear, the general public lacks involvement with our environment to feel under threat. Rather, ’.

us to think of additive solutions: implementation of new technology, new automated systems or even new capitalism e to be, the phenomenon is also a dangerous one. In Australia, striving to achieve a 6-green star rating has become a

Figure 2: School of the Arts, Singapore

CASE STUDY 01

SCHOOL OF THE ARTS, SINGAPORE

BY WOHA ARCHITECTS

In a densely built up area, building highrise towers is the most economical and common practice to utilize the precious land. Everyone is trying to construct a building that stands out amongst the rest in a unique form or shape. However, due to constraint and limited spaces, it is usually a challenge to do so especially in Singapore, where land space is very limited.

Its podium, referred to as the “backdrop,” is a shaded, cool, naturally ventilated public thoroughfare.

Designed as a “machine for wind,” the podium channels and intensifies light breezes to make comfortable the gathering spaces where the public and students interact.

Visible from this level is the “blank canvas,” the three secure, flexible teaching blocks in which students’ creativity can be fostered within minimal constraints.

Woha Architects has broken this norm with their project on the School of the Arts (SOTA), situated in the central area of Singapore. Although the three elevated teaching blocks are uniform in shape, it combines to form a tripod shaped podium in the middle.

WOHA has adeptly fulfilled a complex brief, initiated green measures, brought light into a deep plan, created neutral territories in which to demystify the arts and achieved an architectural expression that connects its podium to the historic scale of its surrounds and offers an alternative The rooftop has been designed as a recreational park in to the tower atop a podium via its three striated forms. the sky, complete with a running track, shady trees, and panoramic views of the city. At the base of the structure one This project demonstrates that even in the most can also find commercial spaces along the walkway with competitive and restrictive zone, buildings can also be an overhead cover. A large civic amphitheater is situated designed in sustainable way if we (clients and designers) under several large conserved trees, where it serves are willing to change our mindset and design values as a popular meeting place for inhabitants of the city1.

1 2

“School of the Arts by WOHA, Sinagpore”, The Architectural Review, 27 May 2011, https://www.architectural-review.com/today/school-of-the-arts-by-woha-singapore/8615206.article Figure 2: School of the Arts, Singapore , Retrieved from: https://www.architectural-review.com/today/school-of-the-arts-by-woha-singapore/8615206.article

CASE STUDY 02

SINGAPORE UNIVERSITY OF TECHNOLOGY AND DESIGN

BY DP ARCHITECTS

To support the university’s focus on sustainable design and to ensure a comfortable learning environment, environmental sustainability was built into the design for the SUTD academic campus, particularly through passive building design.

Building orientation, inter-block shading as well as shading by corridors kept the building space cooling energy requirements low, while solar analysis and daylighting simulation tools were employed to achieve the ideal balance between daylighting qualities and shade to minimise heat gain from the windows3.

Building geometries carve a wind corridor for ideal wind flow through the outdoor gathering spaces such as internal courtyards. Tree shaded walkways also serve as the external circulation route around SUTD to encourage a walkable, low carbon campus.

The way in which this institution was design shows how ecological ideas were interpreted. For instance, facilities are spaced out in an open space to allow for a more “free” area as well as the use of green roofs and gadens that not only adds on to the aesthetics Landscape design, with low water consuming native of the campus but also serves as a cooling purpose. landscape species, weave through the external areas into the building fabric through pockets of planters along Planners all over te world are aware of sustainability corridors and on the sky gardens and green roofs, reducing but some implement it better than others . If we are committed towards it, we have to educate the urban heat island effect in the overall campus. people and get the community to implment green features and aspects not just in their lifestyles but also in the fields of business and design industry.

“Singapore University of Technology and Design / UNStudio + DP Architects”, Arch Daily, 24 November 2010, Retrieved from: http://www.archdaily.com/91407/ singapore-university-of-technology-and-design-unstudio-dp-architects 3

A.2 DESIGN COMPUTATION

Design Computation in architecture is undeniable that have improved the productivity and creativity of design, especi

much more complex and efficiency when using parametric computation instead of traditional thinking.

Possibility of conceivable geometries Beyond 20th century, there is already some parametric works, like the Hanging model of Sagrada Familia by Antoni Gau and scale models allowed architects not only to communicate with the builders and their clients, but also to experiment And after the emergent of the parametric programme, such as Non-Uniform Rational B-Splines (NURBS) like Rhino an can be done by computation in place of the time-costly and complex model making and calculation by mankind. Also calculation and algorithm, but also act as an efficient way to response the environments. In order to sustain and improv considering the complex environmental factors into the design.

Research by Design Based on the computer-aided design research, computational systems provide varying levels of assistance to human d people are focusing on the possibilities of algorithmic design in terms of aesthetic and tectonic aspects. Many iconic a sign environments in which form is driven by performance7. In respect of flexibility and complicity of nature, digital ma of performative design of material systems that we can potentially create a second nature, or a sounder architecture w the cruel nature.

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 3 6 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 4 7 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 4 8 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 6 4 5

ially in material and engineering aspects. In terms of the complexity of geometries, building forms and structures, it is

udĂ­, showing the possibility of parametric design in architecture and its advantages. Due to the advantages that Drawings t with alternative design solutions.4 Therefore, there is no doubt that design modeling and drawings are necessary to us. nd the later appearance of integrated parametric modelers such as Grasshopper 5, the similar calculation and modeling o, with the help of technological advancement, parametric algorithmic design not only perform as an effective tool for ve the natural environment, using parametric thinking into the design process become an essential way that can widely

designers by taking care of smaller or larger parts of the design process6.After the emerge of 2002 Serpentine Pavilion, architectural designs were produced from 2003 onward employing these powerful digitally integrated performative deateriality and fabrication become an effective way in designing. It is in the computational modelling of natural principles with respect to material ecology8. In the future, the parametric design would completely capture the fantastic design and

CASE STUDY 01

SYDNEY OPERA HOUSE

BY JOHN UTZON

Sydney Opera House, located in Sydney, Australia, is While an iconic modern architecture exmaple. This structural madnificence was amongst one of the earliest entries in which computer technology was incorporated. In this case, it defined its complicated roofing system. Sydney Opera house was set to be a cultural representative of the country and the architects have achieved the goal through an unconventional way9.

Before the Sydney Opera House was built, computer was not used for engineering in building industry. The Design posed a tremendous challenge to engineers during the period. Upon the original version, the structure was of freeform and geometrically undefined and many considered it impossible to be realised. Although the final design has evolved from freeform into a spherical geometry with successive roofing curve, yet it requires an enomous amount of mathematical analysis, calculation and tests, especiallt the diagram of load distribution.

it seems ubiquitous toay, the utilisation of computer in construction was a revolutionary step in engineering practice in that time. Comtemporary architecture has been redefined ever since. The architects behind the Sydney Opera House, as well as the engineers and programmers were able to generate a stable structural scheme for the ribbed system that is made of precast concrete shells via the Pegasus computer calculation.

In my opinion, I think that this building has demonstrated the incorporation of many disciplines and computer technology has a strong weightage to create a design with impact, in which fits the premises and criteria of the brief, and makes geometrically complex designs a possibility.

“AD Classics: Sydney Opera House�, Adelyn Perez, 23 June 2010, Retrieved from: http://www.archdaily.com/65218/ad-classics-sydney-opera-house-j%25c3%25b8rnutzon 9

CASE STUDY 02

LUMEN

BY JENNY SABIN

‘Lumen’ is a winning project of MoMA PS1’s 2017 young architects program designed by Jenny Sabin.

It is a lightweight structure pavilion which provides respite from the sun during the day, and emitting a delicate glow after sunset. The tubular structures of the design are made of lightweight knitted fabric, with a canopy of recycled, photo-luminescent, and solar active textiles that absorb, collect and deliver light. This project uses digital computation and robotic machine to create a refreshing ‘micro-climate’ environment which offers spaces for people to rest, interact and play. The initial idea of the design is mathematically generated through form-finding simulations informed by sun, site, materials, programs, and the structural morphology of knitted cellular components10.

Nevertheless, Sabin takes the advantage of using digital tools to design and build the structure in a faster and more accurate way. Also, this project explored the potential of using adaptive and flexible fibrous materials to generate socially and environmentally responsive structure.

Lumen is a great example of a design that has stretched what limits design computation can do, taking risks through collaboration across disciplines. Lumen undertakes rigorous interdisciplinary experimentation to produce a multisensory environment that is full of delight, inspiring collective levity, play, and interaction as the structure and materials transform throughout the day and night.

The form and pattern of the design is then translated to robotic machine through codes which helps to fabricate the intricate structure.Traditionally, woven and knitting have considered to be a time-consuming crafting skill to create decorative objects.

“Jenny Sabin Studio’s Light-Capturing “Lumen” Installation Debuts at MoMA PS1”, Patrick Lynch, Arch Daily, last modified 30 June, 2017,http://www.archdaily.com/874661/jenny-sabin-studios-light-capturing-lumen-installation-debuts-at-moma-ps1 10

A.3 COMPOSITION/ GENERATION

Digital technologies are becoming a large part of the modern life we are in today. It is no doubt that these technologies

to expand their abilities in dealing with complex situations by processing information and interaction between elements in computer generative modeling processes become integral to the practice of modern architects as it possesses the poten

The increasing dependency on computerization and design computation has caused architects to move away from com to be seen as limiting the personal creativity of the designer, the benefits and opportunities that are yet to be achieved t

Furthermore, computation in architecture has the ability to produce a new design typology by generating and exploring a configuration as well as relationships between each element4. Subsequently, the impact of the application of computatio

Brady Peters, “Computation works: the building algorithmic tought,” Architectural Design 83, 3 (2013): 10.

Robert A. Wilson and Frank C. Keil, The MIT encyclopedia of the cognitive sciences (London: MIT Press, 1999), 11.

13 Z. Katai, “The challenge of promoting algorithmic thinking of both - sciences and humanities – oriented learners,” Journal of Computer Assisted Learning 31 (2015): 287.

14 Peters, “Computation works: the building algorithmic tought,” 11.

11 12

s have changed the workflow and course of architectural practice. It should be noted how computation allows designers n a specific environment and provides a framework to negotiate and influence the datasets of information1. Subsequently, ntial to provide inspiration and generate complex and unexpected outcomes which surpasses the intellect of the designer2.

mpositional techniques, traditional geometry and experiential approach3. Nonetheless, although this methodology started through this technique overweighs the mentioned shortcomings.

architecture spaces and concepts through the modifications of algorithms which relate directly to the element placement, on design practices and research can be seen in various projects in the world, as discussed in the following case studies.

CASE STUDY 01

ELBPHILHARMONIE HAMBURG

BY HERZOG & DE MEURON

This

project is a multifunctional building complex whichhouses a philharmonic hall, a chamber music hall, restarants,bars, a panorama terrace with views of Hamburg and the harbour, apartments, a hotel and parking facilities. Various parts of the building are developed and designed by algorithms. For example, the wave-like façade, curved elevator at the base of the lobby and the Escher-esque stairways. The most significant parametric design in the building is the largest concert hall in which architects used algorithms to generate a unique shape for each of the 10,000 gypsum fiber acoustic panels that line the auditorium’s walls. Each panel needs to be fabricated differently to shape the sound within the auditorium. The uneven surface of the panel generates a balanced reverberation across the entire auditorium by absorbing and scattering sound waves. Also, any panels that locate near the audience need to be shaped in softer edge. Engineers used these requirements as parameters to develop an algorithm that generated 10,000 unique panels.

In order to make the new Philharmonic a genuinely public

attraction, it is imperative to provide not only attractive architecture but also an attractive mix of urban uses1.

With the help of computation, designers created aesthetically stunning and structurally engineer complex ceiling that would be almost impossible with traditional methods. This example shows that algorithm can be used as a tool to solve complex problems by transferring specific requirements into codes that eventually generate the optimal solution for designers.

“Elbphilharmonie Hamburg / Herzog & De Meuron”. 26 December 2016. Archdaily. Retrieved from: http://www.archdaily.com/802093/elbphilharmonie-hamburg-herzog-and-de-meuron.

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CASE STUDY 02

CALLIPOD PAVILLION “CALLIPOD” is a 4.4metres wide tree roots shape pavilion which blends perfectly to its surrounding environments during the day and glow during the night. Despites its natural spreading appearance, the design process was highly technical.This pavilion used detailed algorithm to explore its form and structure and was fabricated in both digital and traditional ways., Elif Erdine and Alexandros Kallegias, coordinators of the project explained the aim was to creature a structure that is sustainable, welcoming and culturally of its place. The natural-like form was created by honing branching and bundling algorithms to emulate the patterns of tree roots. At night however, a second component of the design takes over to bring an element of the unnatural: in the centre of the dome, the concrete seating plinth contains special pebbles which store energy during the day, releasing it as a cyan glow during the night1.

In the initial design phase, Software like Scan&Solve in Rhino and Karamba in Grasshopper was used to generate a collection of digital models and to test their structural efficiency. CNC router was used in the fabrication stage which helped to map the forms of the optimal model onto fabric, which was then used as formwork for the structure. This small project demonstrates how computation can be used in the first place of generating ideas for later developments

“AA DLAB 2014: The Natural And Digital Worlds Combine With Root-Like “CALLIPOD” Pavilion”. 2017. Archdaily. http://www.archdaily.com/582672/aa-dlab-2014-thenatural-and-digital-worlds-combine-with-root-like-callipod-pavilion.

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A.4 CONCLUSION In conclusion, this first part of the journal explained why the advancement in technology has transformed the way architects think and work as a designer. To begin with, as shown from the several precedents in the previous parts, the development of algorithmic and computational processes have evidently increased the accuracy and efficiency of design process and reduced limitations in the conception of the designs. Moreover, the use of this methodology also transforms the way designers think and approach emerging problems in this anthropocentric era.

Therefore, my intended design approach for this studio is to learn from the present site conditions in order to create a more sustainable solution by designing based on the information provided by the natural system.

By implementing this design methodology, I would be able to accurately identify the main problems within the site and create a better habitat for the organisms in the site which had been substantially decreasing in the past decades due to the impact of industrialization and pollution around the area. Furthermore, the existing algorithmic design software has made it possible for me as an architect to take in to considerations various complex external and internal factors through scripting and parameters to understand how the system works in the site in order to generate a better solution to the brief.

A.5 LEARNING OUTCOME In the past few weeks, I have learned the concept and the importance of using computation in architecture and other design fields.

To me, algorithmic or parametric design is complex and simple at the same time. The encoding process and the appearance of the final object makes it look complex but the idea behind is simple, it tries to extract the essence and logic of specific object and presents it in the most honest way. Besides, I realised that I have never make use of computation as a design method to generate ideas. Instead, all the works that I did in the past were purely computerisation. The sketchbook exercise allowed me to explore the potential of using grasshopper to generate beautiful and complex parametric form which would be useful for my future studies.

If I had known how to use parametric design software in my first semester of university, I think I would have been able to create more complex design products which could have helped me expressing my ideas better. Moreover, I did not even know how to use Rhino in my first year, so my projects were made solely using physical models. Subsequently, I was only able to plan a design which stemmed from a basic string of knowledge. Therefore, learning about various powerful design tools has equipped me with the opportunity to explore and even realize my thoughts and ideas in making better design outcomes. However, I am still not able to generate ideas intuitively through computation.

A.6 APPENDIX WEEK 1

WEEK 2

ALGORITHMIC SKETCHES Using Rhino and playing around with random points and shape, I have derived with a few sketches for my Algorithmic sketchbook.

REFERENCES 1. “School of the Arts by WOHA, Sinagpore”, The Architectural Review, 27 May 2011, https://www.architecturalreview.com/today/school-of-the-arts-by-woha-singapore/8615206.article 2. Figure 2: School of the Arts, Singapore , Retrieved from: https://www.architectural-review.com/today/schoolof-the-arts-by-woha-singapore/8615206.article 3. “Singapore University of Technology and Design / UNStudio + DP Architects”, Arch Daily, 24 November 2010, Retrieved from: http://www.archdaily.com/91407/singapore-university-of-technology-and-design-unstudio-dparchitects 4. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 9 5. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 3 6. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 4 7. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 4 8. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 6 9. “AD Classics: Sydney Opera House”, Adelyn Perez, 23 June 2010, Retrieved from: http://www.archdaily. com/65218/ad-classics-sydney-opera-house-j%25c3%25b8rn-utzon 10. “Jenny Sabin Studio’s Light-Capturing “Lumen” Installation Debuts at MoMA PS1”, Patrick Lynch, Arch Daily, last modified 30 June, 2017,http://www.archdaily.com/874661/jenny-sabin-studios-light-capturing-lumeninstallation-debuts-at-moma-ps1 11. Brady Peters, “Computation works: the building algorithmic tought,” Architectural Design 83, 3 (2013): 10.

12. Robert A. Wilson and Frank C. Keil, The MIT encyclopedia of the cognitive sciences (London: MIT Press, 1999), 11.

13. Z. Katai, “The challenge of promoting algorithmic thinking of both - sciences and humanities – oriented learners,” Journal of Computer Assisted Learning 31 (2015): 287.

14. Peters, “Computation works: the building algorithmic tought,” 11.

15. “Elbphilharmonie Hamburg / Herzog & De Meuron”. 26 December 2016. Archdaily. Retrieved from: http:// www.archdaily.com/802093/elbphilharmonie-hamburg-herzog-and-de-meuron.

16. “AA DLAB 2014: The Natural And Digital Worlds Combine With Root-Like “CALLIPOD” Pavilion”. 2017.

Archdaily. http://www.archdaily.com/582672/aa-dlab-2014-the-natural-and-digital-worlds-combine-with-rootlike-callipod-pavilion.