STUDIO AIR 2016 Semester 2 Yingyi Wang
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CONTENT INTRODUCTION A1 DESIGN FUTURE A2 DESIGN COMPUTATION A3 COMPOSITION/GENERATION A4 CONCLUSION A5 LEARNING OUTCOMES A6 APPENDIX
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INTRODUCTION
ABOUT ME
My name is Yingyi, and I am in the third year of the Bachelor of Environments, majoring architecture at the University of Melbourne. Ever since I was a little kid, I loved drawing and many creative toys like lego. I used to draw on the wall at home and built many various kinds of buildings by lego units. I also imagined about my ideal houses and drew on the paper countless times. The opportunity that made me recognized about architecture was a movie that two kids got escaped from the gangsters through several floor plans of the building. It was amazing to me that there was a way we could see all the things of a building on the paper at the first time. Since then, I loved to draw the plans of my home, classroom and the community I lived in. Fortunately, I can do what I am really interested in at present, learning architecture in the University of Melbourne. The first time I touched digital design was in a first year subject Virtual Environment, but it was a terrible experience. Because I didn’t know how to deal with those software like Rhino, SketchUp and AutoCAD at all. So I had to start from zero and try them one step by one step by myself. SketchUp was the most easiest for me and quickly got a result which was applied into my assignment in Water Studio. Gradually, I found that digital design is a totally new way to explore the designing world for me. And then, I had a further study on Rhino. It broaden my views and thoughts about architecture. There is no which is better between physical design or digital design, but only both good and necessary methods to support our design career. I hope that both my physical and digital approaches could be improved to create more fabulous and creative outcomes.
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A1 Design futuring 01 Mobile art chanel ZAHA HADID
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Fig.1.2
The Mobile Art Pavilion for Chanel is built to celebrate the iconic work of Chanel and inspired by the Chanel’s quilted bag. The cross-disciplinary design has been a trend all over the world among various fields. This pavilion is one of the most representative outcomes in this trend and has further influence on this design mode. This mobile museum also had been displayed in different places, Hong Kong, Tokyo, New York and Paris, to inspire and communicate with people from different cultures and environments. This pavilion is totally organic forms driven by new digital design and manufacturing processes, which is another trend in architecture field. Digital design and manufacturing have now been used broadly in architecture design and help people to explore various future possiblityies. The latest digital technology was also applied to this pavilion, not only in the manufacture aspect but also in the visitor’s experience aspect. We can see that more and more coorperation between technology and artists will appear in the future. Also, the transparent parts of this pavilion is another noticeable feature of building arrangement, which make use of natural and aritificial lights tactfully to enhance visitor’s experience and emphasize the theme of this pavilion. Also, the individualility of Zaha’s design is so strong, we can see many obvious features from this project. The individual design characteristics of an architect might be a good thing to be distinguished from others. But it may relate to some problem like the outcome could not accomandated to its surroundings. However, this kind of individuality might also inpire other designers to explore their own style and broaden their sight. Once an outstanding outcome like this pavilion built, many related industries could get inspired and create new approaches or products. Definitely, this mobile museum is an icon of fashion and architecture, a mark of digital design and new manufacturing proceeses, inspiring visitors and industries to explore future possibilities.
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A1 Design futuring 02 Bosco Verticale designed by Stefano Boeri, Gianandrea Barreca and Giovanni La Varra
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Bosco Verticale is also known as ‘Verticale Forest‘, which is a pair of residential buildings in Milan, Italy. All four sides of these two building were decorated with various kinds od shrubs and floral plans helping to depollute the city, which created a micro-climate that provides xygen and shadings for inhabitants. Not only the residences of these buildings, these buildings might also benefit those surrounding inhabitants with more fresh area and more natural elements. The more important impact is to advocate the sustainable urban development and drive others to explore future patterns of living. This pair of buildings combines high-density urban development with natural plants, which is a great example to inspire people to research on the conbination of urban and nature. It is an outcome under the theory of sustainable development, through multidisciplinary partnerships. Not only architects, horiticulturalists and botanists were also engaged in the designing process. In this project, trees are the key element, which have to fit the project and the local natural environment . Therefore, the choice of the types engaged the knowledge of many other subjects. Multidisciplinary and sustainablility are two important trends in present and are two popular theories that many designers are exploring and using. Bold attemps and imagination are necessary and positive for design futuring, just as ‘Verticale Forest’.
Fig.1.4
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a2 design computation
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Computation provides a contunious logic process from deisgnt to fabrication. It largely changed the fabrication process and made it much more efficient, especially broaden the range of conceivable and achievable designs. It helps make many bold, novel and impossible design become reality, which those could not make by traditonal ways.
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A2 DESIGN COMPUTATION 01 Beijing NATIONAL STADIUM
Beijing National Stadium which known as ‘the Bird’s Nest‘, is a typical outcome of computational design techniques. A large quantity of comtemporary cutting-edge techniques were applied to this project. Not only the dramatic design and complex steel structure were finished by computation, the structual calculation and fabrication of the steel structure were done by computation as well. In 2006, there was a big problem that how to make this massive, huge steel structure become reality. It was so difficult for workers to build the structure only by plans and modeling pictures, without accurrate statistics of each angle and distance between each steel column. And even they knew about the detailed statisctics, it was too difficult to create and merge the steel structure pieces on site. However, the intergrated simulation software for structural calculations helped sovle these problems. It divided the structure into many pieces and produced them by computer orders. And then, workers only needed to install these pieces on the site, which saved a lot of time to make this stadium finished on time. In this way, the ideal structure could be come realistic and exactly as the same as its design. From the designning process to fabrication process, computation provide a continuous solution for this stadium and contributes to the result that raditonal ways could not do. It largely broaden the range of conceivale and achievable geometries and gradually changed the fabrication process.
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Fig.2.1
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A2 DESIGN COMPUTATION 02 ICD/ITKE Research Pavilion 2014-15 The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) devote themselves to the debelopment of computational design, simulation and fabrication processed in architecture, at the intersection of the two insititue’s research fields. The initilly flexible pneumatic formwork of this pavilion was gradually stiffened by reinforcing it with carbon fibers from the inside through a novel robotic fabrication process. This pavilion is a typical outcome of computation design, which were generated by computational methods like fabrication constraints and structural simulation, from design to construction process. These computational approaches are necessay for this project. Because the initial idea of this design was inspired form water spider’s underwater nest, which ralated to a large quantity of biologic work need to be done by computional analysis. Also, the designers had to transfer the biological formation sequence into a building construction application. The industrial robotic work improved the efficiency and accuracy of the fabrication. The robotic fabrication appoarches have been a part of the architectural process, which indicated that parametric design need the development of computational fabrication methods. It also showed a comtemporary change in architectural theory that more and more atterntion and foucs have been given to the continious logic work from design to fabrication. Compuation creates many oppotunities for related industrials and were supported and deveopled by them as well. The computation technique make many disciplinary get crossed and enhance the development between each other, which largely broaden the conceivable and achievable geometris.
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Fig.2.3
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A3 COMPOSITION/GENERATION 01 Times Eureka Pavilion by Nex Architecture
NEX Principal Alan Dempsey says: “We extended the design concepts of the garden by looking closely at the cellular structure of plants and their processes of growth to inform the design’s development. The final structure was designed using computer algorithms that mimic natural growth and is intended to allow visitors to experience the patterns of biological structure at an unfamiliar scale. The primary structure is timber sourced from sustainable spruce forests with a glass panelled roof.”1 This introduction of Times Eureka Pavilion shows that a series of mature generative approaches were applied to this project, related to the thoeries of computation and multi-disciplinary workship. It was argued that computation was used by many designers to simpilify their work but not used to explore and deal with more complex situations. However, this project shows the perfect use of generative approaches to finish a multidisciplinary project. It helps analyse the biological patterns and turned it into structural geometory. As Peters said, generative approaches and algorithmic thinking enhance the coorperation among different industries by simplifying communication through scripting cultures. 2
1. Times Eureka Pavilion / Nex Architecture, Arch Daily, http://www.archdaily.com/142509/times-eurekapavilion-nex-architecture 2. Peters. Brady, Computation Works: The Building of Fig.3.1 Algoritmic Thought, Architectural Design, 83(2013), p. 10.
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A3 COMPOSITION/GENERATION
01 Ribbon Chapel By Hiroshi Nakamura
It is claimed that computational tools may resitrict designers’ imagination and choices and those geometories cloud not adapt to its enviroments. However, Ribbon Chapel which was designed for weddings shows people a uniquely Japanese stlye on the interactoin with nature and modern features, through algorithmic thinking and parametric technique. It is said that ‘The Ribbon Chapel is both a literal and metaphorical embodiment of the union of marriage. The intertwining spiral staircases represent the journey of marriage, crossing paths and supporting each other as they ascend to become one at the summit. ‘1 This novel and expressive chapel benefits from computational performance and simulation, which help designers explore the building experivence and create more responsive designs. However, the generative approaches are not only benefit people as tools for calculation, simulation and modeling, but also providing various ways for designers to explore more opportunities and innovations. Generative approaches help people explore more and various relationships between human and architecture and future development of multidisciplinary architectural literature and practice. More and more elements and theories could be given to a building and shown to people by these modern appoarches.
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1. O’Hanlon. Tim, Hiroshi Nakamura’s Ribbon Chapel, http://designmadeinjapan.com/magazine/architecture/hiroshi-nakamuras-ribbon-chapel/
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architecture/hiroshi-nakamuras-ribbon-chapel/
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A4 CONCLUSION
Part A introduced and illustrated a far-reaching revolution in architectural literature and practice and many related industries. Computational design techniques provide various possibilities of future development not only in architecture and contruction, but also in the whole human society including lifestyle, development direction and workflows. With the development of technology, people did many thing they could not do in the past and fasten the speed of development day by day. Meanwhile, the direction of future development became controversial debate. Modern techonology provides us more and more opportunities to explore the future development, which could be diverse and bold. Design approaches no matter traditional or modern computational should not be restriction or block fro designers. Both of them are opportunities for people to catch and could be applied in various ways. Anyway, each person could benefit from designing approaches, just depending on how you engaged and use them.
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A5 LEARNING OUTCOMES
My understanding of the theory and practice of architectural computing developed a lot from Part A learning. At the beginning, I thought it was to use software to model the idea and to calculated the statistics. However, I realised that it’s actually a huge revolution in architecure and its related industries. Also, through a series learning of grasshopper, I had a deeper and clearer understanding of parametric medelling and algorithmic thinking. I think the learning of Part A might be very useful in my future study and work. I would apply the new skills I got from Part A to future study and explore more possibilities of my own design.
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A6 APPENDIX - ALGORITHMIC SKETCH
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HES
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IMAGE BIBILIOGRAPHY Fig.1.1 Zaha Hadid Arhitects, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d1300db12 3ce22f6e2569fb36764f8_zha_chanelmobileart_drawings2.jpg [accessed 18 March,2016]. Fig.1.2 Halbe. Roland, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d130 0db123ce22f6e2569fb36764f8_zha_rolandhalbe_paris2.jpg [accessed 18 March,2016]. Fig.1.3 Dezzen Magazine,http://static.dezeen.com/uploads/2014/05/BoscoVerticale-by-Boeri-Studio-_dezeen_10.gif [accessed 18 March,2016]. Fig.1.4 Nebuloni. Luca, https://upload.wikimedia.org/wikipedia/commons/thumb/3/39/ Bosco_Verticale_from_UniCredit_Tower%2C_Milan_%2817591709258%29.jpg/1024px-Bosco_ Verticale_from_UniCredit_Tower%2C_Milan_%2817591709258%29.jpg [accessed 18 March,2016]. Fig.2.1 http://image2.sina.com.cn/ty/o/p/2006-09-17/U1166P6T12D24 60861F44DT20060917202752.jpg [accessed 18 March,2016]. Fig.2.2 Construction & Installation, http://www.600496.com/ files/20100815/cca1.png [accessed 18 March,2016]. Fig.2.3 Comparison of various fiber reinforcement strategies, http://icd.uni-stuttgart.de/ wp-content/gallery/rp14-15process/Web_Process07.jpg [accessed 18 March,2016]. Fig.2.4 Cyber-physical fibre placement process, http://icd.uni-stuttgart.de/wpcontent/gallery/rp14-15process/Web_Process09.jpg [accessed 18 March,2016]. Fig.2.5 http://icd.uni-stuttgart.de/wp-content/gallery/rp14-15icditke/ Web_ICD_ITKE08.jpg [accessed 18 March,2016].
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Fig.3.1 http://www.nex-architecture.com/wp-content/uploads/2014/11/Chelsea_HR_05_NEX-web-680x1024. jpg [accessed 18 March,2016]. Fig.3.2 http://www.nex-architecture.com/wp-content/uploads/2014/11/G2V4829_flattened_edit-web.jpg [accessed 18 March,2016]. Fig.3.3 http://www.nex-architecture.com/wp-content/uploads/2011/12/process-1-1024x851.jpg [accessed 18 March,2016]. Fig.3.4 https://static.dezeen.com/uploads/2015/02/Ribbon-Chapel-by-Hiroshi-Nakamura-_dezeen_468_1. jpg [accessed 18 March,2016]. Fig.3.5 https://static.dezeen.com/uploads/2015/02/Ribbon-Chapel-by-Hiroshi-Nakamura-_dezeen_468_14. jpg [accessed 18 March,2016]. Fig.3.6 https://static.dezeen.com/uploads/2015/02/Ribbon-Chapel-by-Hiroshi-Nakamura-_dezeen_468_20. jpg [accessed 18 March,2016].
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