STUDIO: AIR
ABPL30048 2016, SEMESTER 1 WEIRAN WU
692252
CONTENTS PART A: CONCEPTUALISATION
A0. INTRODUCTION A1. DESIGN FUTURING A2. DESIGN COMPUTATION A3. COMPOSITION/GENERATION A4. CONCLUTION A5. LEARNING OUTCOME A6. APPENDIX - ALGORITHMIC SKETCHES
PART B: CRITERIAL DESIGN
PART C: DETAILED DESIGN
INTRODUCTION I really likes a version talking about architecture, “learning architecture is knowing about everything”. Although we don’t have to be excelled in all fields, it is beneficial to know a bit about everything. Learning architecture in University of Melbourne allows me to involve in all parts of design process, from its beginning to its finishing, from proposal to design to construction.
B
eing a third-year-student majoring in architecture, my passion toward architecture and built environment might be influenced by what I was constantly seen and heard when I was a little girl. I was born and raised in a small town, witness the changing skyline of the city. Having parents who love travelling, I started my journey when I was two, and continuing to explore different cities, meet their people, learn their culture, try their custom, enjoy their landscape, and always attached to their unique built environment. Apart from travel, my interests don’t stray too far from the design field – I love all sorts of crafting and have a great enthusiasm for photography. I used wanted to be a fashion designer for such a long time, but my passion to architecture suddenly triggered when I first time personally experience the affect that an architecture brings to me. I still can remember the feelings when I step into the magnificent architecture that I thought I could only dream of and experience its inside. Hence, architecture for me is all about the experiences and its relations with the users – either interactive or repulsive.
When I first attended the studio, I realise the importance of the digital design theory and tools, which is exactly what I am lacking off. Hence, I begins with no experience on digital design tool in Earth Studio, which is my first time learning Rhino by myself, and gradually improve my skills on design software like AutoCAD and Rhino through Water Studio. Some basic skills of presentation tools, such as InDesign, are also developing along with the project presentation. Hence, computer programs are used as a assisting tool or a platform to visually show my design idea apart from physical model. Entering Studio Air, a new software plug-in – Grasshopper will be introduced, working along with Rhinoceros, focusing on digital parametric design. This concept is not as new to me as I have encounter this concept of digital architecture during my participation in one of the AA visiting school last year. For me, it seems to be a trend for future architecture, which also boosting the growth on building technology, like 3D printing. I hope I can gain a more comprehensive idea about digital architecture during this studio, and discover my interest in digital design.
A1. DESIGN FUTURING Heydar Aliyev Center Baku, Azerbaijan, 2012 By Zaha Hadid
Before going deeply into the project, I
believe it is critical to know about Zaha Hadid, who uses digital technology in a very innovative way with the design of her buildings. Many of her buildings’ contribution in the architecture design industry attributed to her interest in interface between architecture, landscape and geology as the practice integrates natural topography and human-made systems that lead to experimentation with cutting edge technologies. Consequently, this process might often result in unexpected and dynamic architectural form, such as this Heydar Aliyev Center which feature Zaha’s signature elaborate curves and undulations.
Heydar Aliyev Center shows us that a
digital designed architecture can firmly attached to cultural, historical and regional notions of the country. Its design is a departure from the rigid and often monumental architecture of the former Soviet Union that is so predominant in Baku, aspiring instead to express the sensibilities and diversity of Azeri culture. In addition, the continuity and fluidity of the design establish a confluent relationship between its surrounding plaza and the building interior, modifying the surface to create an architectural landscape serving the function of the building. The undulations, folds and inflection blur the conventional differentiation between architecture and landscape, interior and exterior.
Although fluidity in architecture is not a new concept in this field, Heydar Aliyev Center indeed relates the historical understanding of the ground they inhabit to the architecture. In addition, its contemporary design also express the optimism attitude looking in to the future. It is revolutionary for Zaha to establish these relations, not through the use of mimicry or iconography of the past, but with a firmly contemporary interpretation with digital design.
On the other hand, different to many
others digital design projects, this gets to be built successfully with the advanced technological support as well as the progressing interest on digital fabrication. Additionally, the extended boundaries of the strictly design allows changes, imaginations and inspiration for searching future design methodology.
Heydar Aliyev Center might be cutting edge, but its design form is not as radical nor controversial as some of the parametric design at the time. Its clear and fluid outline and the dominated clean white surface allows imaginations flow freely with given material expression. Zaha’s design is an example which encourages designers opens up all sorts of possibilities in architectural form finding, and allows discussion, debates and collectively definitions to a preferable design future to a given group of people. I believe, one of the many reasons that makes this building so successful is the designers working with the experts throughout the whole process of the project. This therefore allows continuous appreciation for the project from the local and continue to use and value this building.
Starbucks Coffee at Dazaifu Tenman-Gu Fukuoka, Japan, 2012 By Kengo Kuma
Before getting to know the design, it is
vital to consider the site itself, its location, its surrounding and its history. I always believe that a good design, no matter bygone or prospective, should response to the surrounding environment, either in a harmonious or contradictive way. Kengo Kuma, an noted Japanese architect, retains and adapt the traditional Japanese concept between nature and built environment to the modern context and design. In this case, the project aimed to make a structure that harmonize with the Dazaifu Tenmangu – one of the moset major shrines in Japan, as it stands on the main path to the shrine with traditional Japanese building surrounded, using a unique system of weaving thin woods diagonally.
With the assistance of digital design
technology, the diagonal weaving wood sticks arranged in a certain composition with complicated joint to avoid concentration on a single point, in order to bring in a sense of direction and fluidity.
Wood is a major element in Kengo
Kuma’s design, which reveals a sense of traditional Japanese architecture, however, represented in a modern and contemporary architectural design. His design renovate Japanese architecture, allow tolerance in architectural materials.
Different to some of the digital parametric design which is just some random investment in art with no meanings, this project create an environment that provide a sense of place on this small street that leads to a historical shrine where two million visitors pass each year. I believe this project will be continuing being appreciated by the publics, users and owners, as Kuma uses materials in a way that honoured the history of Japanese building techniques that harmonizes the surrounding environment.
The marriage of contemporary with tra-
ditional in all aspects of design were appreciated. Interestingly, Kuma still captures a multitude of Japanese tradition while using the latest technological advances in both digital design as well as material exploration. His uses of basic bacterial is intriguing, creating a feeling of motion as well as a
This bold, imaginative design on a street that leads to an ancient structure makes the whole project unique, and expand the future possibility for the field to explore this concept. In addition, Kuma’s techniques on space creation and human experience in built environment inspire many new generation, who might trying to combines culture and history with modern and abstract style, and redefine the relationship between human and built environment.
A2. DESIGN COMPUTATION Guangzhou Opera House Guangzhou, China, 2011 By Zaha Hadid
When we think of digital design,
we always tend to think of all the intricate composition and fancy parametric architectural form, which brings out the question that if digital design can actually solve design problems in architecture. The Guangzhou Opera House, I believe, is a great example of successfully use of computation in the architectural design process. Graduated from Architectural Association School of Architecture, Zaha firstly adopted computation design in her practice and use it widely in all her projects. Guangzhou Opera House is one of the recent work done by Zaha Hadid, and built with the benefit from emerging technologies on production as well as material creativity.
The location of the Opera House was
set at the heart of Guangzhou’s culture development area, surrounded by the skyscrapers and finical centres Zhujiang new town district, and overlooking the Pearl River. In order to harmonise with its riverside location and unifying the adjacent high-rise contemporary buildings, this complex architectural form illustrate the twin boulder-like configuration in a stream smoothed by erosion.
Computer programs are being used in the design process, not only assisting designers by taking care of smaller or larger parts of the design process such as drafting and modelling as architects started in decades ago, but also propose design solutions for appraisal and further development by human designers (Kalay, 2004). The design evolved from the concepts of a natural landscape and the captivating interaction between architecture and nature, considering as an ‘organic’ architecture. In addition, it also involves the concept of geology and topography within the architectural form itself influence by the rivers and the original landscape. Therefore, the continue development on computation design system and media change the original way of architecture design practice, which allows digital media engage from design idea generation to architectural form production, and expanded access to information, opened up the design process for people in other department working together for a heighten design solution.
In addition, computation design free
the constrain of walls, columns, windows and others architectural elements, and start to re-discover the spatial relationship between all these elements as well as the connection between architecture itself and the surrounded site. In Guangzhou Opera House, the fold lines in the landscape define its terrains and dramatically cut the interior and exterior valleys for circulation, lobbies and cafes, which allowing natural light to penetrate deep into the building.
In this case, I believe the form formation has been analysis and calculated by the computer program to form an optimised result or guide the process toward a particular solution for architect to further develop. Hence, conceivable and achievable geometries will be mutated towards an unexpected or unconceivable geometries for designers to explore on that, which changes the means of creativities.
Furthermore, form, function and ma-
terials all worked together in Guangzhou Opera House to ensure a pleasant journal and acoustic feast for the public. This was achieved with the progressing emerging technologies and material experimentation along the way. For instance, custom moulded glass-fibre reinforced gypsum units have been used for the interior of the auditorium to continue the architectural language of fluidity and seamlessness. This leads to the changing relationship between design firm and construction industries, as they tend to working as a whole to for optimise solution to the current architectural issues.
Hence, computation gives unique opportunities for contemporary architects, Zaha in this case, to harmonize contextual urban relationships, fulfil the design goals such as involving cultural traditions in a contemporary functionalised architecture, and given ambition to create a new architectural future.
ICD-ITKE Research Pavilion 2013 - 2014 By ICD-ITKE University of Stuttgart