Studio Air Part A Conceptualisation

STUDIO AIR 2017, SEMESTER 1 Georgia (Xiaojin) Huang 834485 Tutor: Finnian Warnock

TABLE OF CONTENTS PART A. COMCEPTUALISATION

4 Introduction 8 Past Project 12 A.1 Design Futuring 20 A.2 Design Computation 30 A.3 Composition/ Generation 38 A.4 Conclusion 40 A.5 Learning Outcomes 42 Appendix-Algotithmic sketches 48 Referencing

WELCOME

My name is Georgia; I’m currently a second-year architecture student studying Bachelor of Design at the University of Melbourne.

I was born in a small city in China called Shantou. But I spend most of my life time in the city of Melbourne, which is something that I am quite grateful of. In my childhood, I wanted to become various kind of people, but as I become more aware of who I was, I chose architecture as a path that I would like to pursue. Initially, I acknowledged architecture as a form of art and a process in which that was very similar to building a lego house, however, I was wrong.

After a year of studying architecture, I realised I had a better understanding of the various forms of environment that surrounded me; I became curious to the stories behind the spaces and buildings I saw. Moreover, I became more appreciative of what I understood.

I also came to realise problems and issues that we human have concerns about is what catalyses the thought of change, hence, the commencement of design. As I become more confident in defining the architecture, I see it as a link between the past and the future and a field that will initiate better solution and create a better tomorrow.

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FIG.1: DIGITAL DESIGN AND FABRICATION OF “THE WOVEN SKIN” XIAOJIN HUANG, THE WOVEN SKIN, 2017.

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THE WOVEN SKIN PROJECT

By Lester Wong, Thai Bui, Georgia (Xiaojin) Huang The project focuses on the idea of creating a boundary around the body part that is most likely contacted by others.

These areas consist of the shoulders and the back area of the body. A simple gesture of patting on the shoulder or back may seem rather friendly. However, not all individuals will feel comfortable about such contact. Hence with the help of the digital programming of Rhinosous, a disturbing looking surface is created. The surface is to be performed as the second skin that provides a feeling of comfort when others approach.

The material used for the project consists of black and white Optix cards and black cabling ties. The white accompanied by the black and the curvilinear surfaces created formed a dynamic effect. When an individual approach from the front, less of the structure is revealed and less of the white component; which was more visible, is hidden.

Before these materials were selected, numerous experiments were done to find the material that can be sturdy and flexible at the same time, and that could work with openings created between the optix cards.

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FIGURE 2: BACK VIEWS OF “THE WOVEN SKIN” XIAOJIN HUANG, THE WOVEN SKIN, 2017.

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A.1 12

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DESIGN FUTURING

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FIGURE 3: PORTRAIT OF ANTINO GAUDI Antino Gaudi, 2017 <http://2.bp.blogspot.com/SLOemnAhJx4/VNj-FrhQywI/AAAAAAAAAeA/ yeXiGKU1t0I/s1600/Antonio-Gaudi_JULUIS. jpg> [accessed 11 August 2017].

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agrada Familia

Antino Gaudi The creations in architecture are never fixed and the definition of architecture refines itself as events proceed in history and as time passes.

Antino Gaudi is a Spanish architect, who is a practitioner for Catalan Modernism [1] . In most of his work, an individual style can be recognised. He can discover new techniques for treatment of materials as well as incorporate diverse design components from another field of design. He analysed aspects of nature and applied it to his practice.

Manipulating the structure of a typical Roman Catholic Church with geometries that initiated from his plaster model.

Creations are an asset of the future if it shapes how people think and direct them to what is possible and useful.

Gaudi was a parametric thinker although technology was not as advanced when he designed the church he able to express his parametric thinking through his models. He can develop parametric variations which assisted in defining the spatial qualities of the church.

Gaudi’s technique in design allowed him to develop abstract forms which gave the new period a new possibility in defining structures. His physical models, and the parametric design process developed in 3D computing, are analogous [2].

He could remove himself from the typical Renaissance Basilica style of architecture and study the oriental art derived from other countries. The Oriental Art movement most strongly influenced his studies of oriental art. The most remarkable system Gaudi utilised was a system of angled hyperboloidal vaults and columns; this was used to remove the need for flying buttresses, rather than depending on the exterior elements for structural support, horizontal load that initially carried by the buttresses are transferred through the columns embedded in the interior.

Gaudi was a major influence of many contemporary architects. Friedensreich Hundertwasser’s Plecnik features an organic form which incorporated the essence of trees and plants and series of organic lines which “avoided vertical lines and right angles [3].”

Hundertwasser’s decision correlated with Gaudi’s response to his style of architecture, he saw the possibility of creating design that was not restricted by principles applied in earlier periods.

[1] “Antoni Gaudí - Sagrada Família”, Sagrada Família, 2017 <http://www.sagradafamilia.org/en/antoni-gaudi/> [accessed 10 August 2017].

[2] Rafael Gomez-Moriana, “Gaudí’S Hanging Chain Models: Parametric Design Avant La Lettre?”, Criticalista, 2017 <https://criticalista.com/2012/08/16/gaudishanging-chain-models-parametric-design-avant-la-lettre/> [accessed 10 August 2017].

[3] “Antoni Gaudí, Source Of Inspiration For The New Generations Of Architects | Casa Batlló”, Casa Batlló, 2017 <https://www.casabatllo.es/en/news/antonigaudi-inspiration-new-generations-architects/> [accessed 10 August 2017].

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FIGURE 4: SAGRADA FAMILIA IN CONTRUCTION SAGRADA FAMILIA, 2017 <HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/ORIGINALS/E5/D8/CD/ E5D8CD67A82D8448EE3EBEAF92D48B4E.JPG> [ACCESSED 11 AUGUST 2017].

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FIGURE 5: INTERNAL STRUCTURE OF THE SAGRDA FAMILIA A SYSTEM OF ANGLED HYPERBOLOIDAL VAULTS AND COLUMNS SAGRADA FAMILIA, 2017 <HTTPS://WWW.BUSINESSINSIDER.COM.AU/THE-SAGRADA-FAMILIAIS-ALMOST-DONE-2015-11?R=US&IR=T> [ACCESSED 11 AUGUST 2017].

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M

obius Project

Exploration Design in the current period revolves around resolving issues and creating new possibilities of healing the deteriorating world. Therefore, architecture as a form of design not only triggers the need of human inquiries but should also trigger issues of the globe.

The Mobius project by Explorations portrays an idea where a cycle system takes place. A cycle process is often used to connect the start process and the end process and transform the outcome to be a new form of energy that can be re-utilised again.

“Relation between creation and destruction is not a problem when a resource is renewable, but a disaster when it’s not [4].” Tony Fry

To assist in a recycling process often large scale “mono-functional operations [5]” are built to perform such task. The project, however, seeks to design a form that assists in three primary cycles; food production, energy generation and water treatment.

The innovative component of the Mobius Project is that it integrates and co-locates the three processes in the synergistic cycle [6] . Thus, this project developed existing ideas of the present into one form.

The system is not yet built. However, it displays the type of architectural design thinking that is encouraged in the new century. As the meaning of architecture evolves, appearance and style are no longer prioritised first. “Increasing trivialised and reduce to appearance and style [7] ” is of most vital importance to present.

[4] Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008), pp.1-22.

[5] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63.

[6] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63.

[7] Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008), pp.1-22.

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FIGURE 6 : DIGITAL MODEL OF THE MOBIUS Exploration, Mobius, 2017 <http://www.exploration-architecture.com/

FIGURE 7 : DIGITAL RENDERING OF THE MOBIUS Exploration, Mobius, 2017 <http://www.exploration-architecture.com/

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DESIGN COMPUTATION

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The Guggenheim Museum in Bilbao

by Frank Gehry

Classic geometry found in the past was limited to the form they could create, for they were based on ideal numbers and proportion series that were discrete and could only be divided by using fractions [8] . Greg Lynn believed that using computation more calculations can be made, and more design approach can be taken. Computing in various fields can also be shared, as it is the new vocabulary that is prevailing in almost all design fields [9] .

The Guggenheim Museum in Bilbao by Frank Gehry was created through a computational focused process, it was the first architecture that adopted the typological way of the design process. Gehry used a series of curvilinear surfaces to create an abstract and distinct form.

Computing made this curvilinear form easily calculatable, which may involve decimal units that cannot be calculated through the use of fractions. The use of computation assisted in the form finding of the structure and made the geometries and the relationships they interrelate more highly achievable.

Gehry stated that he uses computation for precision, constructability, for saving money and for making designs that seem radical and “usable in the current recession climate of the global economy [10]” Typological Architects cared for digital programs that are capable of deforming surfaces. They required software that can assist in their calculation. As curves are commonly defined through the use of calculus, Architecture is recasting itself and becoming a component of the experimental, investigational typological forms, partially a “generative, Kinematic sculpting of space [11] .”

Through Gehry’s typological approach, he showcased a new technique that can be adopted by other designers and he reflected the concept that the use of digital architecture can formulate an interesting outcome and potentially generate more answers to problems.

Digital architecture emerged from the digital solutions that were given possible in the digital age, designers and architects have discovered their expression of curvilinear forms that in many years time may enter the mainstream of architectural designs. The multiplicity of design approaches is a “non-monolithic movement” which exist in the “digital avant-garde” in architectural design [12] .

[8] TED Talk, Organic Algorithms In Architecture, 2017 <https://www.ted.com/talks/greg_lynn_on_organic_design> [accessed 10 August 2017].

[9] TED Talk, Organic Algorithms In Architecture, 2017 <https://www.ted.com/talks/greg_lynn_on_organic_design> [accessed 10 August 2017].

[10] Greg Lynn, Composites, Surfaces, And Software (New York, NY: W.W. Norton, 2011).

[11] Branko Kolarevic, Architecture In The Digital Age: Design And Manufacturing, 2003, p. 3.

[12] Branko Kolarevic, Architecture In The Digital Age: Design And Manufacturing, 2003, p. 3.

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FIGURE 8 : FRANK GEHRY’S INITIAL SKETCH OF THE GUGGNHEIM MUSEUM FRANK GEHRY’S SKETCHES, 2017 <HTTPS://S-MEDIA-CACHE-AK0.PINIMG.COM/600X315/AA/A0/45/ AAA0452753CA5DD5741FC16A935AF8E6.JPG> [ACCESSED 11 AUGUST 2017].

FIGURE 9: DIGITAL MODEL OF THE MUSEUM Digital Computation, 2017 <http://www. hevelius.it/webzine/moduli/filemanager/file/903.jpg> [accessed 11 August 2017].

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FIGURE 10: The Guggenheim Museum In Bilbao, 2017 <http://www.spiritualpilgrim. net/11_Western-Art/28_Modern-Architecture/Gehry_GuggenheimMuseum_Bilbao-1997_PLZ-185.jpg> [accessed 11 August 2017].

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Blobwall

by Greg Lynn

When Skidmore, Owings & Merrill and firms that first began using computer slowly realised that computer had changed the way they designed.

The computer was not only drafting tool, but it has become a design medium. Although computers are no genesis in the medium of design, it has slowly transformed how materials can behave, thus, “creating a new language and form [13]. ” Computation is architecture, enables designers to generate abstract structures and assist in engineers how the structure may be built, or how it may perform.

In the design of Greg Lynn’s Blobwall, a redefined brick structure was created. The most basic material and building unit in architecture are bricks, it is structurally performed through

stacking each unit on top of the other.

Greg Lynn with the latest CNC technology customised the concept of a typical brick into a light weight, colourful, plastic, modular element, where modular elements of each individual unit are manipulated through this latest technology.

The wall built by these modular component uses polymer, that is low in density, recyclable and impact resistant. The blob units are robotically cut to provide precision in the junction at which the units interlock. The units are a “tri-lobed hollow shape that is mass-produced through rotational moulding [14] .” It can create variously shaped walls as well as dome structures that form a curved surface.

The CNC technology developed allowed Lynn to create a new building unit that can be accurately assembled, change how recycled plastic units can be performed in a newly created form.

[13] Greg Lynn, Composites, Surfaces, And Software (New York, NY: W.W. Norton, 2011).

[14] Blobwall-Greg Lynn Form (Greg Lynn, 2009) <http://onlinelibrary.wiley.com.ezp. lib.unimelb.edu.au/doi/10.1002/ad.861/full> [accessed 10 August 2017].

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FIGURE 11 : PLAN AND ELEVATION DRAWING OF THE BLOBWALL Greg Lynn, Blobwall, 2017 <http://www.zigersnead.com/blog/wp-content/ uploads/2008/09/blobwall-image-09.jpg> [accessed 11 August 2017].

FIGURE 12: DIGITAL MODEL OF THE BLOB WALL Greg Lynn, Digital Model, 2017 <http://www.zigersnead.com/blog/wp-content/uploads/2008/09/ blobwall-page-09-image-0001.jpg> [accessed 11 August 2017].

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FIGURE 13 : CLOSE UP OF THE BLOBWALL Greg Lynn, Blob Wall, 2017 <https://iaac.net/wp-content/uploads/2015/09/ gregLynn_blobwall_01.jpg> [accessed 11 August 2017].

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COMPOSITION GENERATION CONCEPTUALISATION 31

The Eden Project Nicholas Grimshaw

Commonly computing in architecture is understood as the building of a form through technology. In many scenarios, computing has been a useful tool in helping to calculate the potential needs and potential disregard of a structure. It allows designers to see various possibilities structurally.

As computing is introduced different options could be tested and further developed, one of the aspects is biomimicry. Biomimicry is applying the adaptations in natural organisms and merge them with human technology [15] .

The Eden Project was given a range of criteria, and this is due to the location of the site. The structure

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is to have no internal supporting structure, it is to be designed with an empty interior, and it needs to be light as possible and be able to accommodate the plant species within the structure.

The structure is built of large planes of hexagonal glass, Nicholas Grimshaw derived natural geometry from looking at honey combs of bees and even the multifaceted eyes of a fly [16] . These natural components studied created a light weight, but also a durable form that could potentially span vast distances.

While composition focuses on the shapes and forms, its methods may seem radical, but it does not focus on heavy construction and the method of construction, which will catalyse the

speed of the defuturing.

With the use of hybrid material such as EFTE cushion, large spans can be created with stability and structural integrity and give a lighter structure that can secure the soil existing on the site as well as creating a more suitable. As designs are focused on generation, computation and new technology can assist individuals in building a more sustainable and secure future, through reducing human-made [17] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63.

[18] Grimshaw Architects, “The Eden Project: The Biomes – Projects – Grimshaw Architects”, Grimshaw.Global, 2017 <https://grimshaw.global/projects/the-edenproject-the-biomes/> [accessed 10 August 2017].

FIGURE 14: Section Of The Eden Project, 2017 <https://grimshaw.global/ projects/the-eden-project-the-biomes/> [accessed 11 August 2017].

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture [17]”-- Brady Peters

[19] Xavier De Kestelier and Brady Peters, Computation Works (Hoboken, N.J: Wiley, 2013), pp. 9-17.

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FIGURE 15 : INSIDE THE BIOMES, 2017 <https://grimshaw.global/projects/ the-eden-project-the-biomes/> [accessed 11 August 2017].

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FIGURE 16 : EFTE MATERIAL, 2017 <https://grimshaw.global/projects/the-eden-project-the-biomes/> [accessed 11 August 2017].

FIGURE 17 : Project Geodesic Domes, 2017 <https://upload.wikimedia.org/wikipedia/commons/f/f2/ Eden_Project_geodesic_domes_panorama.jpg> [accessed 11 August 2017].

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Mineral Accretion Scaffold

by Toby Burgees Commonly computing in architecture is understood as the building of a form through technology. In many scenarios, computing has been a useful tool in helping to calculate the potential needs and potential disregard of a structure. It allows the designer to see various possibilities structurally.

As computing is introduced different options could be tested and further developed, one of the aspects is biomimicry. Biomimicry is applying the adaptations in natural organisms and merge them with human technology.

In the Mineral Accretion Scaffold by Toby Burgees a growing structure was designed, it proposes to use the evaporation of seawater to build calcium carbonate around a bamboo framing structure [18] . Computing made the correlation of biology and technology possible; it enabled us to measure and predict the amount of calcium carbonate that can be evaporated from the seawater. Hence, making is visually possible to see the project in a few years time. Through such technological estimation of the picture of the structure and the behaviour of the structure can also be visualised.

The calcium carbonate is a hybrid system in which the material can be rehabilitated once it is broken or damaged.

Through Burgee’s design, a chemical reaction that initiated in nature has been re-introduced in a hybrid system, where the “hybrid material” or “smart material [9] ” is used to produce a new and workable structure that may be considered for future needs.

Burgees design also redefined that architecture is also a material practice and that the information extracted from nature can allow us to perceive how the physical landscape wants to function.

Computing in architecture made it possible for people to use parametric and interrelate it with other aspects of design, thus providing more solution and possibilities for the future.

“The digital in Architecture has begun to enable a set of symbiotic relationships between the formulations of design processes and developing technologies. To accommodate these developments, a new and comprehensive domain of architectural theories is beginning to emerge in the intersection between science, technology, design and architectural culture [19]. “ --Rivka Oxman and Robert Oxman.

[18] Michael Pawlyn, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63 [19] Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-8.

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FIGURE 18 : EVAPORATION OF SEAWATER BUILDING OF CALCIUM CARBONATE Toby Burgees, Mineral Accretion Scaffold, 2017 <http://Biomimicry in Architecture Micheal Pawlyn> [accessed 11 August 2017].

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CONCLUSION Architectural design is to satisfy the actions and provide a spatial experience that allows individuals to perform as they desire. As our generation falls into the crises caused by our previous actions, more consideration should be focused on the ameliorating the environmental status. On an architectural perspective, the design should form a harmonious relationship with the natural landscape, putting sustainable solutions and development into place. This can commence through looking at the materiality of structures, providing new formulae that can reduce destructive environmental impact.

Such action can be assisted using computation and analysing adaptation of nature. Adapting to nature can be comprehended as adapting to how the world prefers for us to live.

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LEARNING OUTCOME At the very beginning of the course, I understood that technology in design as a form of designing tool rather than a design medium. I recognised that computing in design was to merely to assist in form finding and a tool that can catalyse the design building process.

Through reading numerous texts, I understood that computation can help in measuring possibilities and that it can be acknowledged as a design medium and new language of my generation.

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APPENDIX ALGORITHMIC SKETCHES

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Week 1

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Week 2

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Week 3

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External

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R

eferences readings Ali, A, and C. A Brebbia, Digital Architecture And Construction (Southampton: WIT, 2006) “Antoni Gaudí - Sagrada Família”, Sagrada Família, 2017 <http://www. sagradafamilia.org/en/antoni-gaudi/> [accessed 10 August 2017] “Antoni Gaudí, Source Of Inspiration For The New Generations Of Architects | Casa Batlló”, Casa Batlló, 2017 <https://www.casabatllo.es/en/news/antonigaudi-inspiration-new-generations-architects/> [accessed 10 August 2017] Architects, Grimshaw, “The Eden Project: The Biomes – Projects – Grimshaw Architects”, Grimshaw.Global, 2017 <https://grimshaw.global/projects/ the-eden-project-the-biomes/> [accessed 10 August 2017] Blobwall-Greg Lynn Form (Greg Lynn, 2009) <http://onlinelibrary.wiley.com.ezp. lib.unimelb.edu.au/doi/10.1002/ad.861/full> [accessed 10 August 2017] De Kestelier, Xavier, and Brady Peters, Computation Works (Hoboken, N.J: Wiley, 2013), pp. 9-17 Fry, Tony, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008) Gomez-Moriana, Rafael, “Gaudí’S Hanging Chain Models: Parametric Design Avant La Lettre?”, Criticalista, 2017 <https://criticalista.com/2012/08/16/gaudis-hangingchain-models-parametric-design-avant-la-lettre/> [accessed 10 August 2017] Kolarevic, Branko, Architecture In The Digital Age: Design And Manufacturing, 2003, p. 3 Lynn, Greg, Composites, Surfaces, And Software (New York, NY: W.W. Norton, 2011) Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture (London: Routledge, 2014), pp. 1-8 Pawlyn, Michael, Biomimicry In Architecture (London: Riba Publishing, 2014), pp. 1-63

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Images Antino Gaudi, 2017 <http://2.bp.blogspot.com/-SLOemnAhJx4/ VNj-FrhQywI/AAAAAAAAAeA/yeXiGKU1t0I/s1600/AntonioGaudi_JULUIS.jpg> [accessed 11 August 2017] Burgees, Toby, Mineral Accretion Scaffold, 2017 <http://Biomimicry in Architecture Micheal Pawlyn> [accessed 11 August 2017] Digital Computation, 2017 <http://www.hevelius.it/webzine/moduli/ filemanager/file/903.jpg> [accessed 11 August 2017] Exploration, Mobius, 2017 <http://www.exploration-architecture.com/ projects/the-mobius-project> [accessed 11 August 2017] Frank Gehryâ&#x20AC;&#x2122;s Sketches, 2017 <https://s-media-cache-ak0.pinimg.com/600x315/ aa/a0/45/aaa0452753ca5dd5741fc16a935af8e6.jpg> [accessed 11 August 2017] Huang, Xiaojin, The Woven Skin, 2017 Lynn, Greg, Blob Wall, 2017 <https://iaac.net/wp-content/uploads/2015/09/ gregLynn_blobwall_01.jpg> [accessed 11 August 2017] Lynn, Greg, Blobwall, 2017 <http://www.zigersnead.com/blog/wp-content/ uploads/2008/09/blobwall-image-09.jpg> [accessed 11 August 2017] Lynn, Greg, Digital Model, 2017 <http://www.zigersnead.com/blog/wp-content/ uploads/2008/09/blobwall-page-09-image-0001.jpg> [accessed 11 August 2017] Project Geodesic Domes, 2017 <https://upload.wikimedia.org/wikipedia/commons/f/ f2/Eden_Project_geodesic_domes_panorama.jpg> [accessed 11 August 2017] Sagrada Familia, 2017 <https://s-media-cache-ak0.pinimg.com/originals/e5/d8/ cd/e5d8cd67a82d8448ee3ebeaf92d48b4e.jpg> [accessed 11 August 2017] Sagrada Familia, 2017 <https://www.businessinsider.com.au/the-sagradafamilia-is-almost-done-2015-11?r=US&IR=T> [accessed 11 August 2017] Section Of The Eden Project, 2017 <https://grimshaw.global/projects/ the-eden-project-the-biomes/> [accessed 11 August 2017] The Guggenheim Museum In Bilbao, 2017 <http://www.spiritualpilgrim. net/11_Western-Art/28_Modern-Architecture/Gehry_GuggenheimMuseum_Bilbao-1997_PLZ-185.jpg> [accessed 11 August 2017]

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