2208 by Yuting Yang

STUDIO AIR PORTFOLIO

2017, SEMESTER 2, BADLEY YUTING YANG 813151 1

TABLE OF CONTENTS About Author Part A: Conceptualization A1. Design Futuring Case Study 1 Case Study 2 A2. Design Computation Case Study 1 Case Study 2 A3. Composition/Generation Case Study 1 Case Study 2 A4. Conclusion A5. Learning Outcomes A6. Appendix - Algorithmic Sketches

ABOUT AUTHOR

Hello, I am Yuting Yang from china, a second year student major in architecture and planing to take the master of architectural engineering. Firstly, crafting and modelling are the hobbits since I was a kid. I also enjoy learning mathematics and physics especially the knowledge about geometry and mechanics. When I was in Middle School, I watched the documentary about the Beijing Olympic Stadium. I was impressed by the miraculous processes of designing and constructing architecture and that is when I intended to be an architect. When I grow older, I found there are more meanings of architecture. In the first study year of architecture, I found the course as a fairly broad domain that it involves the knowledge of art, science, technology, humanity and even everything related to human being and the planet. The university of architecture provides me the opportunities to have better understanding of the environment and to have various perspectives to observe the world. Lastly, I wish to use my little knowledge to contribute to the friendly relationships between each people, each species and each lives on the planet.

PREVIOUS WORKS

Figure 1. Studio Earth Herring Island: A place for keeping secrets

Figure 2. Digital Design and Fabrication Seconde Skin: Light Cocoon

PART A CONCEPTUALIZATION

“Designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images.” -- Wood, John

â&#x20AC;&#x153;It is not just that many contemporary practices harm the world of our dependence but also that so few of them deliver the means to actually know the consequences of their activities beyond a horizon of immediate concern.â&#x20AC;? --Tony Fry

A.1 DESIGN FUTURE

INTRODUTION

In the twenties century, the dream of future has gradually downgraded into the hope of future. One significant factor of deciding our future is design which enable human beings to enhance or limit positive or negative factors which control the happening of our desirable future. The definition of design here is not merely problem solving but altering our attitude. It has to stop the defuturing conditions and conductions and bring more sustainable methods of living to us. To achieve that, every aspect that might be influenced by the design should be considered and possible results must be captured before turning the design into a real project.

CASE STUDY 1: ZJA Architects - Ecoduct, The Borkeld (Netherlands, 2004) Whenever we bring something into being we also destroy something1. When humans invented highway accelerated transportation, a long barrier was also established among other speciesâ&#x20AC;&#x2122; habitats. The wildlife bridge was designed to provide a safe way for animals to move from one side to the other. It is one of the methods of wildlife crossings which have been broadly adopted in many nations to protect wild animals. The wildlife bridge was a practice in habitat conservation and has changed our attitudes towards design. The design is no longer anthropocentric and subject to economics. The user has shifted from human into other species. The designer had exerted the nature of bridge which is connecting two separate areas to solve non-human issues. However, this design is aimed to solve the problem while most problems are unfixable and become worse and worse2. The design should be in the from-line of transformative action3. What is more valuable is designing a kind of highway with least damage to the natural environments and solve the problem by avoiding its occurrence.

1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p 4. 2 Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p. 2. 3 Dunne, Anthony & Raby, Fiona, p.9.

Figure 3. Birdview of the Borkeld Ecoduct

Figure 4. Phrase 1: Preparation

Figure 5. Phrase 2: Implementation

Figure 7. Perspective of habitat space

Figure 6. Phrase 3: Cultivation

CASE STUDY 2: Magnus Larsson - Dune: Arenaceous Anti-Desertification Architecture In order to address or relief the impacts of desertification Magnus Larsson came up with an idea that to create a 6,000 kilometer-long inhabitable green sandstone wall along the Saharan desert by using only bacillus pasterurii and sands1. Firstly, Defining a system’s rules has become the aim of a design process instead of the outcomes2. Larsson believes the power of design to reshape the world. He had focused on the ideology and values of the design rather simply its appearance and styles. The design is no longer subject to capitalism concerning about extravagant and impressive buildings. It provides sustainable and cost-efficient shelters for refugees in the third world. To achieve the force of design, it is necessary to interact with other disciplines and mobilise all kinds of technology to make alternations3. In this case, the knowledgy of chemistry and biology were involved and served as the key point. Even though this is an “unbuilt” project, it offers a positive attitude towards threats that he actually considered the threat, sand as an opportunity to address the desertication issues and at the same time the sand is consumed to build the shelters for human beings. Nowadays, too many artificial and complicated materials are created but the least environment-damage one is what we are looking for. 1 Geoff Manaugh, “Sand/Stone,” BLDGBLOG (2009) <http://www. bldgblog.com/2009/04/sandstone/>[27 July 2017] 2 John Thackara, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005), p. 224. 3 Fry, Tony, p.5.

“Computation is “the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.” --Sean Ahlquist and Achim Menges

A.2 DESIGN COMPUTATION

INTRODUCTION

Architectural design not only relies on intuition and creativity but also analytical ability to deal with externally imposed various constraints. Although computers lack any intuition and creativity, they excel us in terms of rational and search capability including accurate analysis of large and complex problems, vast storage and precise memory recalls1. These days, the relationship between computers and architecture has evoked the appearance and evolution of a new way of design, the computation design. The design process has shifted from representation and experience based into data or information based, from monolithic objects into infinitesimally scaled components, from doing it on site into threedimensional digital modelling, from mass production into mass customization2. This part is going to discuss some benefits of computational design in terms of the design continuum and the high efficiency.

1 Yehuda E Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p.2. 2 Rivka Oxman and Robert Oxman, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.2.

CASE STUDY 1: ICD/ITKE - Fiber-Woven Research Pavilion, University of Stuttgart (German, 2013-2014) This pavilion was a beneficiary of the digital continuum owing to the computational design. Firstly, the form generation has moved towards topologic material practice1. A light weight panelised canopy form was achieved through the biomimetic investigation of natural fibre composite shells2. The application of parametric modelling and computer simulation tools contributed to the complex modular variation and the enhancement of the overall performance. Consequently, the robot was set up accordingly and made the intricate geometry fabrication a possible and fluent formal result of the design. The computational design has demonstrated the potential of novel design, simulation and fabrication processes conducted in a seamless and efficient sequence. It allows the realization of complicated â&#x20AC;&#x153;free-formâ&#x20AC;? geometry and the formalization of biomimetic principles of design to create a natural ecologic system3. 1 Oxman, Theories of the Digital, p.2. 2 Amy Frearson, University of Stuttgart unveils carbon-fibre pavilion based on beetle shells, DEZEEN (26 June 2014), <https://www.dezeen. com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [10 Aug 2017] 2 Oxman, Theories of the Digital, p.6.

Figure 8. Fiber-woven Research Pavilion 2013-14

Figure 9. Integrative design and fabrication strategy

Figure 10. Biomimetic analysis of beetles

Figure 11. Iintegration of multiple process parameters

Figure 12. Analysis of force and structure

Figure 13. Dural robot fabrication setup

Figure 14. Winding fabrication process

CASE STUDY 2: Massimiliano Fuksas and Knippers Helbig Advanced Engineering, Bao’an International Airport Terminal 3, Shenzhen (China, 2012) Computational design affects profoundly the way of how we build. The high efficiency of it is obvious when refers to huge projects1. In Shenzhen, China, with the rapid city expansion and population increasing, the scale and construction efficiency of the airport have to match the development. A parametric data model facilitated both the design and construction processes of the airport. It achieved a curving roof canopy accommodating spans of up to 80 metres, hexagonal skylights allowing natural light to filter through three floors, large capacity of up to 45 million passengers per year and a fabulous rapid process of design, construction within only 3 years2. Figure 15. Natural light coming through the honeycomb motif

Figure 16. Concourse divided across three levels

Computational design streamlined the long and repetitious design and fabrication processes to meet the overwhelming architectural requirements. Simultaneously, efficienct use of materials and natural resources can also be emphasized.

1 Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 83, 2 (2013), 08-15 (p.14). 2 Amy Frearson, Studio Fuksas completes Terminal 3 at Shenzhen Bao’an International Airport, DEZEEN (26 Nov 2013), <https:// www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/>[10 Aug 2017].

Figure 17. Birdview of the vast airport

â&#x20AC;&#x153;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.â&#x20AC;? -- Brady Peters

A.3 COMPOSITION/GENERATION

INTRODUTION

Brady claimed that â&#x20AC;&#x153;we are moving from an era where architects use software to one where they create software1. The method of capturing and communicating designs has drifted from drawing with pencils or even Autocad into sketching by algorithm. By defining and modifying of algorithms about the element placement, element configuration and the relationships between elements, the architectural concepts and forms can be generated and explored2. Since design not only concerns about the constructional aspects but also the encounter between architecture and the public, it is necessary to receive and analysis the performance feedback between users, building and environment3. Computers would facilitate this part but some problems of computational design would be uncovered through this step.

1 Peters, (p. 10) 2 Peters, (p. 11) 3 Peters, (p. 14)

CASE STUDY 1: Morphosis Architects, Emerson College Los Angeles (United States, 2014) The design of Emerson Colledge has won the AIA’S 2015 Technology in Architectural Practice Innovation Awards for its use of BIM system1. Full-team BIM collaboration enables the design to take multiple parameters into consideration when the project is complicated with very aggressive schedule. The 120,00-square-foot project combined student housing, classrooms, and administrative facilities in one location. It balanced the features of both aesthetic and such as the automated sunshade which maximizes views and a 31% reduction in water use2. It also considered user needs that provided social gatherings for students and local context that became a stage set in accordance with the film industry circumstance. Also, the use of computation contributed to the sharing of codes, tools and ideas between disciplines(reading)3. In this project, both designers and engineers worked together with the produce of thirteen design models and gained a full understanding of the intricate relationships between each system which enhance the performance of the building as a whole. 1 Rory Stott, Morphosis Architects Headline AIA’s 2015 Technology In Architectural Practice Innovation Awards, Archidaily (2015) <http:// www.archdaily.com/635945/morphosis-architects-headline-aia-s-2015-technology-in-architectural-practice-innovation-awards> [10 Aug 2017] 2 Stott, ‘Morphosis Architects’. 3 Peters, (p. 11).

Figure 18. Buiiding of multiple functions

Figure 19. The use of BIM

Figure 20. Complicated systema

CASE STUDY 2: Zaha Hadid, Guangzhou Opera House (China, ) The generative design has been accused for its obsessive concentration on the complex form instead of truly solving the problem. Alexander stated that the designer’s own perspective of a problem could be distorted by the use of computers1. Only a tiny amount of aspects can be encoded that make designers think about. In this case, under the fancy appearance, the elevated construction costs, the caulking issues and the ignorance of the interior acoustic design are regarded as the side-effects. Limited building performance simulation and incomprehensive solutions are still far from being solved2. Moreover, the design is totally irrelevant to the past. It is just an up-to-the-minute design which would be surpassed by tomorrow’s vision of the future. As Mark3 stated that “parametricism is not and has never been style”. He also pointed out the detriment on the architecture landscape and the value of individuality caused by the imitation of Zaha Hadid’s fluid signature by students and arhcitects4. 1 Witold Rybczymski, ‘Parametric Design: What’s Gotten Lost Amid the Algorithms’, Architect (2013) < http://www.architectmagazine.com/ design/parametric-design-whats-gotten-lost-amid-the-algorithms_o>[10 Aug 2017] 2 Rybczymski, ‘Parametric Design’. 3 Gage Foster Gage, A Hospice for Parametricism’ Architectural Design, 86(2), 128-133. doi:10.1002/ad.2034 (2016), 128-133, (p.130) 4 Gage, (p.131).

Figure 21. Caulking

Figure 22. Design sketches

Figure 23. Under construction

A.4 CONCLUSION

The design approach has changed dramatically from the traditional representing and analogue method into computer-based and parametric process. It combines the intuition and creativity of human brains and the perfect analytical capability of computers. It requires the profound understanding of the rules of every components but provides a more broad and valuable way of thinking. The processes and the outcome of the architectural design would be beneficial from the new design method that includes more comprehensive analysis of the space, generating innovative method of problem solving, less limitation of geometry forms as well as the more efficient and controllable fabrication. In the ideal vision, every life, every corner and every discipline should be beneficial from the new method of design since taking every aspect into consideration is the aim of the method.

A.5 LEARNING OUTCOMES

Through the reading, tutorial discuss and self-practice on Grasshopper, I gained deeper understanding of the meaning of computational design in architecture. Both advantages and disadvantages of the new method of design are analysed through the case studies. I realized the opportunity and new way of the use of computers. The practice through computational design will open my mind to search for better and original solutions, remind me to consider multiple aspects of an issue and enhance the efficiency of my design process. It also should be noticed that there are limitations of the computational tools and techniques. Hence, it is necessary to understand what aspects of a problem are amenable to computation and have a more flexible and rational harness of it.

A.4 APPENDIX - ALOGORITHMIC SKETCHES

Figure 24. Octree

The process of optimizing the output by changing the input number.

Figure 25. Contour and loft

Figure 26. Morph

It can generate geomtry with a great amount of components quickly and manipulate them easily to send to fablab for fabrication.

Figure 27. Jitter and explode tree of sphere

Figure 28. Jitter and explode tree of rectangle

Use the same system of codes to generate different outputs with simply changing the input geometry. 29

REFERENCE Dunne, Athony,& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013). Frearson, Amy, Studio Fuksas completes Terminal 3 at Shenzhen Bao’an International Airport, DEZEEN (26 Nov 2013), <https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/>[10 Aug 2017] Frearson, Amy, University of Stuttgart unveils carbon-fibre pavilion based on beetle shells, DEZEEN (26 June 2014), <https://www.dezeen.com/2014/06/26/icd-itke-pavilion-beetle-shells-university-of-stuttgart/> [10 Aug 2017] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008). Thackara, John, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005). Gage, Mark Foster, A Hospice for Parametricism’ Architectural Design, 86 (2), 128-133. doi:10.1002/ad.2034 (2016), 128-133, (p.130) Kaylar, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004). Manaugh, Geoff, “Sand/Stone,” BLDGBLOG (2009) <http://www.bldgblog.com/2009/04/sandstone/>[27 July 2017] Oxman, Rivka and Robert, eds, Theories of the Digital in Architecture (London; New York: Routledge, 2014). Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design 83, 2 (2013), 08-15 Rybczymski, Wiltold, ‘Parametric Design: What’s Gotten Lost Amid the Algorithms’, Architect (2013) < http://www. architectmagazine.com/design/parametric-design-whats-gotten-lost-amid-the-algorithms_o>[10 Aug 2017] Stott, Rory, Morphosis Architects Headline AIA’s 2015 Technology In Architectural Practice Innovation Awards, Archidaily (2015) <http://www.archdaily.com/635945/morphosis-architects-headline-aia-s-2015-technology-in-architectural-practice-innovation-awards> [10 Aug 2017] Thackara, John, In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press, 2005).

IMAGE LIST Figure 1. Studio Earth, Herring Island: A place for keeping secrets, created by Yuting Yang. Figure 2. Digital Design and Fabrication, Second Skin: Light Cocoon, photograph by Yuting Yang. Figure 3. Birdview of the Borkeld Ecoduct, retrieved from https://au.pinterest.com/pin/202099102004496686. (accessed on 26 July 2017) Figure 4. Phrase 1: Preparation, retrieved from http://www.bldgblog.com/2009/04/sandstone/ (accessed on 26 July 2017) Figure 5. Phrase 2: Implementation, retrieved from http://www.bldgblog.com/2009/04/sandstone/ accessed on 26 July 2017) Figure 6. Phrase 3: Cultivation, retrieved from http://www.bldgblog.com/2009/04/sandstone/ (accessed on 26 July 2017) Figure 7. Perspective of habitat space, retrieved from http://www.bldgblog.com/2009/04/sandstone/ (accessed on 26 July 2017) Figure 8. Fiber-woven Research Pavilion 2013-14, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 9. Integrative design and fabrication strategy, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 10. Biomimetic analysis of beetles, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 11. Iintegration of multiple process parameters, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 12. Analysis of force and structure, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 13. Dural robot fabrication setup, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 14. Winding fabrication process, retrieved from http://icd.uni-stuttgart.de/?p=11187 (accessed on 02 Aug 2017) Figure 15. Natural light coming through the honeycomb motif, retrieved from https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ (accessed on Aug 10,2017) Figure 16. Concourse divided across three levels, retrieved from https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ (accessed on Aug 10,2017) Figure 17. Birdview of the vast airport, retrieved from https://www.dezeen.com/2013/11/26/studio-fuksas-terminal-3-shenzhen-baoan-international-airport/ (accessed on Aug 10,2017) Figure 18. Buiiding of multiple functions, retrieved from http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects (accessed on Aug 10,2017) Figure 19. The use of BIM, http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects (accessed on Aug 10,2017) Figure 20. Complicated system, http://www.archdaily.com/491193/emerson-college-los-angeles-morphosis-architects (accessed on Aug 10,2017) Figure 21. Caulking, retrieved from http://www.architectmagazine.com/design/parametric-design-whats-gotten-lost-amid-the-algorithms_o (accessed on Aug 11,2017) Figure 22. Design sketches, retrieved from http://arx.novosibdom.ru/story/NOV_ARX/Hadid/32_hadid_10.jpg (accessed on Aug 11,2017) Figure 23. Under construction, retrieved from http://arx.novosibdom.ru/node/1907 (accessed on Aug 11,2017) Figure 24. Octree, created by Yuting Yang Figure 25. Contour and loft, created by Yuting Yang Figure 26. Morph, created by Yuting Yang Figure 27. Jitter and explode tree of shpere, created by Yuting Yang Figure 28. Jitter and explode tree os rectangle, created by Yuting Yang

PART B CRITERIA DESIGN

B.2 CASE STUDY 1.0 Getting to known Loop and L-system

BLOOM Project Analysis An initial aggregation created by the designers shows the possibilities of the system. With the addition of pieces by crowds, the form of the structure can be transformed into unexpected formations from the initial bench into another bench and even other urban furnitures. This is the process achieved by different kinds of alternations to explore various iterations of the initial structure and even create new species. People’s interactions are the energy for Bloom to grow. The structure only exists when thousnad of piees are put together. It illustrates the repeatition, recursion …. of the genetic system. It is not a single object but a “string-like” structure.

Figure 24. Transformation from bench into unpredictable formations

Component Design