Chua_Yiqian_699137_PartA by Yiqian Chua

STUDIO AIR 2016, SEMESTER 1, TUTOR: MATT M. YIQIAN CHUA 699137

TABLE OF CONTENTS

PART A

A1. DESIGN FUTURING Onagawa Temporary Housing Farming Kindergarten

4 6 8

A2. DESIGN COMPUTATION Yokohama International Port Terminal 41 Cooper Square

10 12 14

A3. DESIGN COMPOSITION & GENERATION Temple Expiatori de la Sagrada FamĂlia Eden Project: The Biomes

16 18 20

A4. Conclusion

A5. Learning Outcomes

A6. Appendix

References

INTRODUCTION

My name is Yiqian Chua. I am a third-year university student studying a Bachelor of Environments with an Architecture Major at the University of Melbourne. My architectural interest lies much in social concern and working for the underprivileged, as well as sustainable and biocentric design, something which would be moderately touched upon in Studio AIR. My experience working with digital design is close to none, as I have thus far employed the more traditional methods in both designing and drafting. Neither do I have much exposure to the academic theory in this field. However I believe these are both things that would change from undertaking this subject. Though I am naturally sceptical of the direction which computation in design is leading the world with regards to my values, I believe this studio would help me gain a better understanding of the possibilities and potential of technology in the role of design.

DESIGN FUTURING

A1. DESIGN FUTURING

Figure 1

Onagawa Temporary Container Housing SHIGERU BAN ARCHITECTS It is no doubt familiar knowledge to any and all involved in the architectural field regarding the continuous legacy of Shigeru Ban in designing with the long undermined cardboard. Ban was one of the first to popularize the incorporation of cardboard, or “paper tubes”, in the design and fabrication of building structures, primarily as structural load-bearing systems. Compared to most other construction materials, cardboard is eco-friendly, recyclable and renewable, in addition to qualities such as being lightweight and possessing significant load bearing capacity. Ban‟s work with paper tubes spanned from small single-unit housing to large cardboard cathedrals. However what Ban contributes to the world of design is beyond an innovation of materiality but also informs the methodology of design that values serving the public. One of the such works from Ban includes the temporary shelter units in Onagawa built for earthquake victims following an earthquake in the area. Faced with issues of a challenging and uneven terrain, coupled with a small budget and relatively small timeframe for design and construction, Ban and his team delivered the solution as a series of three story unit apartments built from reused shipping containers, timber and cardboard.

The fascinating result was that despite the lacking use of conventional construction materials and methods, the product delivered a living space that did not compromise on comfort or privacy. Through the use of design, Ban and his team offered more than just a structure that provided shelter but rather defined and accommodated a set of living conditions that went beyond basic needs to achieving acceptable standards of living, all the while using mainly renewable and reused materials. Though many design strategies for comfort has been developed over the past few decades, Ban’s appropriation of such strategies using cheap and non-environmentally straining materials could possibly be a signpost for what design futuring may mean.

Figure 1 retrieved from http://www.shigerubanarchitects.com/works/2011_onagawa-container-temporary-housing/index.html

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Figure 1,2,3,4 retrieved from http://www.designboom.com/architecture/shigeru-ban-onagawa-temporary-container-housing-community-center/

A1. DESIGN FUTURING

Figure 1 Image reference

Farming Kindergarten VO THRONG NGHIA ARCHITECTS The Farming Kindergarten designed by Vo Trong Nghia architects featured a predominantly concrete and organic garden spreading over 3800 square metres in the city of BiĂŞn HĂ˛a, a highly industrial city in Vietnam. The project sought to provide a centre of education for children regarding the agricultural history of Vietnam and importance of agriculture. The building features a series of undulating continuous concrete form to define the structure and space, with the integration of green biosystems to complete the design. The continuous green roof not only achieved the aim of education children regarding planting food, but also provided insulation and became its own unique roof cladding. Hanging plants served as natural shading systems and alongside natural ventilation strategies the building is able to achieve comfort levels without use of air conditioning despite the tropical climate. Interior spaces are largely defined by the concrete structure with simple cladding strategies devoid of excessive aesthetic design. These design choices seem to reflect a commendable minimalistic strategy while prioritizing the balance of comfort and sustainability.

Beyond its adoption of sustainable design strategies as mentioned which have been researched for the past few decades, the truly inspiring aspect of this project is its experimentation with green building elements at a large scale. In an age of green louver technologies to Stefano Boeri Architectsâ&#x20AC;&#x; Boscoe Verticale, the Farming Kindergarten contributed to the ongoing research of incorporating green elements in design and construction. Though not without its limitations, this trend certainly reflects a step away from defuturing elements of architectural design, as the industry as a whole is seeking to find the best way for plants to coexist with buildings as a sustainability strategy.

Figure 1 retrieved from http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghia-architects

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Figure 4 Figure 1,2,3,4 retrieved from http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghia-architects

DESIGN COMPUTATION

A2. DESIGN COMPUTATION

Figure 1

Yokohama International Port Terminal FOREIGN OFFICE ARCHITECTS The Yokohama International Port Terminal in Japan designed by Foreign Office Architects is one early example of built project that pursued the potential of computation in design to produce a design that defined new architectural forms, no doubt being at the frontier of innovation in its time. The aim of the design was to create a space that goes beyond fulfilling its function as a port terminal but also respond to the urban context as it provides circulation from the nearby parks and creating more access to views project out of the pier instead of obstructing it. Continuity is important in the design and the architects opted to go without stairs but instead with sloping ramps using similar language to the continuous observation deck above which through slight changes in elevation and direction guides users in a flowing geometry that defines the top level of the building. While the ideas are conceived in the minds of the architects, computational technology enables them to resolve the form and geometric language that becomes the product of these ideas.

Besides the architectural form of the building, the design for this project faces real challenges in lateral stresses from the waves and seismic forces due to the topography. These challenges, though able to be resolved through traditional design strategies, found different ways of resolution through the ability of generating complex forms of geometry with the aid of computation. The terminal boasts of long horizontal spaces without vertical structure members due the efficient transfer of load diagonally through an unconventional structural system of steel plates and concrete girders most likely conceived through computation.

Figure 1 retrieved from http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-office-architects-foa

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Figure 1,2,3,retrieved from http://www.archdaily.com/554132/ad-classics-yokohama-international-passenger-terminal-foreign-officearchitects-foa

A2. DESIGN COMPUTATION

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Cooper Union for the Advancement of Science and Arts MORPHOSIS This building also known as the 41 Cooper Square institutional facility designed by Thom Mayne and his architectural firm Morphosis is one such example of computation engaging with the process of design. The building was designed to meet the objective of creating a space for cross-disciplinary intellectual exchange and collaboration as well as reflecting aspirations of its values such as innovation, true to the heart of an educational facility. The attempt to realise the former through the aid of computerised design process led to the iconic vertical piazza designed to facilitate circulation in the building while creating spaces for planned or spontaneous meetings. Design computation was most likely crucial if not completely necessary for the conception of the geometry that defined the aesthetically inviting and also functionally efficient combination of staircases and atriums to become the vertical piazza. Here computation enlarged the possibilities of attaining more complex methods of defining space to more effectively realise the innovative ideas of the design purpose.

Along with the design of innovative internal space, the project seeks also to reconcile its external faĂ§ade to the urban form of New York while also maximise passive design strategies such as natural lighting and ventilation. 41 Cooper Squareâ&#x20AC;&#x;s external faĂ§ade strategically achieves both transparency and functional cladding through the use of semi-transparent stainless steel panels which allow sufficient light to diffuse through into the interior at desired angles and intensity varying to their positions. This coupled with the strategic placement of discontinuities in the steel panels to project open balconies achieves the aforementioned objectives, no doubt a possibility opened up by computational processes to bridge the gap from innovation to reality.

Figure 1 retrieved from http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-and-art-morphosis-architects

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Figure 4 Figure 1,2,3,4 retrieved from http://www.archdaily.com/40471/the-cooper-union-for-the-advancement-of-science-and-art-morphosis-architects

DESIGN COMPOSITION/ GENERATION

A3. DESIGN COMPOSITION/ GENERATION

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Temple Expiatori de la Sagrada Família ANTONI GAUDI The Sagrada Familia temple designed by Antoni Gaudi which commenced construction more than a century back in 1882, presents a fitting case for considering the idea of design composition and generation. For a man with a strong sense of faith in the Creator, Gaudi believed in nature as the ultimate source of all inspirations and the integrity of design to always reflect back to nature to the credit of God as the Creator and Designer. In fact while on the surface this idea does not seem to be radically distinguished to the existing architectural thoughts and principles such as Laughier‟s idea of the primitive hut or other rationalist theories, Gaudi was one of the earliest architects to be able to conceive more complex designs based on principles that are not too different from what we now refer to as biomimicry, in a primitive sense. Gaudi‟s inspiration from nature was beyond simply aesthetic as much as it is beyond pure functionality, as it is through his research of the natural forms that he was able to achieve designs that are inconceivably ahead of the technological context of his time.

What is more significant to us in this context of design composition and generation then is the process in which the marvel of the Sagrada Familia is designed. Though history has it that most of the original sources of Gaudi‟s design was destroyed after his death, it is still possible to trace the trail of design generation that Gaudi practiced that produced the design of the Sagrada Familia. The many published and ongoing research in this case could no doubt inform the idea of design generation despite Gaudi‟s relatively more primitive methods, which the present reality of computational design can achieve to a greater extent.

Figure 1 retrieved from http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi

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Figure 4 Figure 1,2,4 retrieved from http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi Figure 3 retrieved from http://www.thethirdray.com/sculpture/our-relationships-to-nature-gaudis-architecture/

A3. DESIGN COMPOSITION/ GENERATION

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Eden Project: The Biomes GRIMSHAW ARCHITECTS The Eden Project by Grimshaw Architects is a series of greenhouse domes that together form the largest greenhouse in the world. With the purpose of recognising the heritage of plant exploration and also promoting prospects of the future, the aim of the project to create these large greenhouses was resolved by using a structure consisting of steel framing and ETFE. ETFE is a semi-transparent plastic membrane that is durable and very lightweight compared to glass, being the traditional material for glasshouses. Historically ETFE was developed in the late twentieth century but not used in the building industry until this project came about. The significance of this project in relation to the idea of design generation over composition is such that within the process of seeking resolution for the purpose of the objective the material is not imported from traditional practice but rather developed and appropriated the innovative material use within the process of design generation for the purpose of the design itself.

The structure for the domes of the Eden Project prioritizes lightweight properties and maximising the infill of ETFE surface over minimal framing. The use of generative methods in a more literal sense emerges as material properties start to define the geometric shapes and patterning to create the form of the structure atypical to traditional glasshouses. While the use of such generative design process through parametric techniques might trade the innovativeness of aesthetic design for functional utility as computation tends to generate the most efficient solution, the product of the design however does not fail to deliver as the building becomes a significant attraction for tourists.

Figure 1 retrieved from http://inhabitat.com/eden-project-giant-bubble-biomes-are-worlds-largest-greenhouse/

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Figure 4 Figure 1,2,3,4 retrieved from http://grimshaw-architects.com/project/the-eden-project-the-biomes/

A4. CONCLUSION

Part A of this journal works its way through three elements relating to the design discourse being design futuring, computation and generation. Having considered precedent projects and the role of parametric design techniques among them, my thoughts converge to mainly one argument, that through computation in design innovation can find better expression than ever before. Whether functionally innovative, as would benefit the idea of design futuring, or aesthetically innovative which I am perhaps less considerate of, it is no doubt true that the advancement in technology is redefining or widening the prospects of design not just in the product of it but also the process.

Despite these concepts that I have researched throughout part A of this journal, I believe I have yet arrive at a particular design approach. Though as it is my believe in the process of generative design based on the contextual reality of each project, I could only imagine an aim for my approach to be responsive to such terms and prioritizing functional utility, as much as I would be able to achieve through my ability to participate in the process of design.

A5. LEARNING OUTCOMES

Throughout the first part of the semester my understanding of architectural computation have definitely widened beyond my initial exposure before I commenced the subject. Despite yet to have attempted using computational methods in design to a large extent, having researched and considered precedents of built design expanded my understanding of the possibilities of architecture to achieve more innovative designs. Perhaps more so than ever before we architects have tools available to bring pipe dreams into reality and shake off constraints of traditional methods as computation is continually developed. No doubt this is worth pursuing as the next generation of architects.

Looking back at one of my past designs, I could only envision how better I could have resolved my conceptions into the final design with the computational methods I have learnt and will learn as I progress through this subject. In my most recent design project that I completed for a previous subject, I was aiming at achieving an undulating geometric pavilion structure parametrically defined by certain coordinates, angled view ports and changing contours. Having been exposed to the potential of parametric modelling I can start to imagine how better my concept can be resolved, before even considering other computation processes such as environmental analysis and modelling tools.

A6. APPENDIX While most of my skills in working with Rhino 5and Grasshopper still remains limited as I do not have much past experience with computational design, I have attempted to conjure varying shapes and forms through what I have learnt in these first few weeks. In my first exercise at lofting, I wanted to experiment with changing the curves that defined the loft in a controlled manner with basic scaling and rotation (as opposed to randomly deforming the lofted shape). As I experiment through using these operations I worked my way through trying to understand how can the same operations be done through using grasshopper instead of manually performing them on Rhino.

REFERENCES IMAGE REFERENCES sorted by list Front Cover Unknown Author, Pop-up Pavilion, N.D. project/1346981147000/> [accessed 20 March 2016]

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A1 Hiroyuki Hirai, Container Temporary Housing, N.D. <http://www.shigerubanarchitects.com/works/2011_onagawacontainer-temporary-housing/index.html > [accessed 5 March2016] Hiroyuki Hirai, Onagawa Temporary Housing, N.D. <http://www.designboom.com/architecture/shigeru-ban-onagawatemporary-container-housing-community-center> [accessed 5 March 2016] Gremsy, Farming Kindergarten, N.D. <http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghiaarchitects> [accessed 5 March 2016] Hiroyuki Oki, Farming Kindergarten, N.D. <http://www.archdaily.com/566580/farming-kindergarten-vo-trong-nghiaarchitects> [accessed 5 March 2016] A2 Satoru Mishima, Yokohama International Passenger Terminal, N.D. <http://www.archdaily.com/554132/ad-classicsyokohama-international-passenger-terminal-foreign-office-architects-foa> [accessed 11 March 2016] Baan, Iwan, The Cooper Union for the Advancement of Science and Arts, N.D. <http://www.archdaily.com/40471/thecooper-union-for-the-advancement-of-science-and-art-morphosis-architects> [accessed 11 March 2016] A3 Kennan, John, la Sagrada Familia, N.D. <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antonigaudi> [accessed 19 March 2016] „Amazinao‟, la Sagrada Familia, N.D. <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antoni-gaudi> [accessed 19 March 2016] Unknown Author, la Sagrada Familia, N.D. <http://www.archdaily.com/438992/ad-classics-la-sagrada-familia-antonigaudi> [accessed 19 March 2016] Unknown Author, Gaudi’s Architecture, N.D. <http://www.thethirdray.com/sculpture/our-relationships-to-nature-gaudisarchitecture> [accessed 19 March 2016] Unknown Author, Eden Project, N.D. <http://inhabitat.com/eden-project-giant-bubble-biomes-are-worlds-largestgreenhouse/> [accessed 19 March 2016] Unknown Author, Eden Project: the Biomes, N.D. <http://grimshaw-architects.com/project/the-eden-project-thebiomes> [accessed 19 March 2016] Back Cover Unknown Author, Pop-up Pavilion, N.D. project/1346981147000/> [accessed 20 March 2016]

<http://afflante.com/20168-pop-up-pavilion-bowooss-research-