Air journal shiyu li 692182 by Zeng Vermouth

AJ IR OUNAL

HIYU LI 692182 TUDIO 08 SONYA

PH: Lorem ipsum / Edited: Lopsum / Written: Lorem ipsum

CONTENT 01

A1. DESIGN FUTURE

A2. DESIGN COMPUTATION

A3. COMPOSITION & GENERATION

A4. CONCLUSION

A5. LEARNING OUTCOME

A6. APPENDIX

SELF INTRODUCTION My name is Shiyu Li. I’m currently a third year student major in architecture at University of Melbourne. Since I was a little child, art and architecture has always been my passion. I was very fond of watching furnituring TV shows, catelogues and dreaming about to put one of those furniture I love the most into my own dream house. So, to be an interior architectural designer used to be my dream work when I was Younger. During this two years studying in Architecture at Melbourne Uni ,my passion of architecture has gradually been explored and maximized. Although it’s very challenging for me, I still quite enjoy the great sense of satisfaction I get every time when I finish doing a designing projet during the studio class. After doing subject like Reshaping Evironments, I started to be very interested in architecture showing the connection between human and nature in a harmonious and sustainable way. Thus, concept like this was put into my design project during the water studio to give people a balanced feeling with natural and artificial effect collaborating in the architecture. As for the digital design, I’ve had expirience of using Rhino, AutoCad, Indesign and Sketchup in the following two semester for Earth and water studio. I’m also progressively improving my skill of using the grasshopper plug-in, which I found is challenging for me. But I’m lokking forward to make a great progress after doing air studio this semester. However, Studio Air is challenging for me, I still hope to take the experience and what I learn in this suject applying with my future design approaches to innovate more creative andimpressive outcomes.

DESIGN FUTURING

FIGURE 1. WENDY PAVILION

iving in an accelerating developing world, it is never a easy job to insure the supply of resources. In order to manage the rest of our resources reasonably, the word “sustainability” which means saving humanity by saving the resources we rely on had existed.1However, as the result of our huamn centredness, “ we are now at a point when it can no longer be assumed that we, en masse, have a future”.2 Thus, it’s time for us to take action against the defuturing condition of unsustainability - improving our design.

new age of architecture is coming - one where expect our architecture evolve far more than just shelter. We are expecting architecture delight our sense while serving for the needs of communities architecture inspire us while contributing to the sustainability of the environment ; buildings made both new technology and material possible at the same time.

Wendy Pavilion Wendy’s job and contribution

endy pavilion designed by HWKN can be a representative example of design which inspires us while help us to live in a sustainable way. Wendy, with emotion and genuineness, just like a person, was not just playing the normal architectural trick of ecological apology and sustainability. 3 Instead, Wendy takes action to purify the pollutants to make our city a better living space. Composed by nylon fabric, Wendy maximizes her surface area to expose as much titanium-nanoparticle- coated skin to the environment as possible in order to serve for the habitat.4 To be more specific, her spiky arms all spreading out with micro-programs could actually work for cool air, water cannons and mists in order to create social zones at the site it serves. 5

Change and inspiration led by Wendy

he existence of Wendy changed people’s way of thinking that architecture can be “alive”. Instead of just accelerating the defuturing condition as consumables and thinking about how to reduce the pollutants, architecture can actually contribute to the sustainability of environment. Not like most of the architecture just focusing on the technical aspect which is also invisible to approach the sustainability, Wendy has visualized and convinced people to see things in a different way and to look at sustainability with emotions going in.6 How can we not love Wendy? She ‘s blue and spiky, she serves for us, she has a name and personality. She inspired us while helping the environment in a sustainable way. She helped the environment in a sustainable

FIGURE 2. WENDY PAVILION

DESIGN FUTURING

FIGURE 3. METROL PARASOL

Metropol Parasol Function and contribution

Change and inspiration

ocated at Plaza de la Encarnacion, Metropol Parasol is the place of identification and to articulate Seville’s role as one of the most fascinating cultural destination in the world. 7 As a redevelopment project, it was designed to protect the ruins and provide functional space for shopping, cafes, and a great public space for this dynamic city.8 It is intended to be an infusion of life and culture of the city center, contributing to the transfomative potential of architecture.9 During the process of designing Metropol Parasol, the team was surprised by Roman ruins beneath the surface.10 In order to protect the historical heritage and create the functional space at the same time, the architect made this six mushroom-like wooden structure shadings to provide a new space and achieve an ‘atmosphere cover’ social space for new happenings, which also made it the largest wooden structure in the world.11

ot only serving for the social needs from communities, this building also has gave us the inspiration of showing respect on the old cultural things and innovate the new form of building at the same time. Moreover, it is not difficult to find that it’s in completely different style with the surrounded buildings. However, it is just its difference of form made it the iconic spot in the city. To inspire the city as a new energy from the future, but still keep the historical treasure to not only develop and make change to the city, but also emphasize the importance of history. When people are in a small number of group with limited technologies and resources, the action they take towards the defuturing condition might be subtle. But now, as we are living in the 21st century, we have material processing technologies of huge capacity, what we can do is far more we can expected.12

FIGURE 4 &5 . STUCTURE DETAIL

BIBLIOGRAPHY 1.Fry, Tony (2008).Design Futuring: Sustainability, Ethics and New Practice(Oxford: Berg),pp.1-16 2.Fry, Tony (2008).Design Futuring : Sustainability, Ethics and New Practice(Oxford: Berg),pp.1-16 3.Wendy Pavilion, Dezeen Magazine. com/2012/06/29/wendy-by-hwkn-2/

Retrieved

from:

http://www.dezeen.

4.Wendy Pavilion. Retrieved from: http://momaps1.org/yap/view/15 5.Wendy Pavilion, Dezeen Magazine. com/2012/06/29/wendy-by-hwkn-2/

Retrieved

from:

http://www.dezeen.

6.Wendy Pavilion. Retrieved from: http://w ww.greenprophet.com/2013/01/hwkn-wendy-abroad-abu-dhabi/ 7.Metropol Parasol. Retrieved from: https://www.yatzer.com/Metropol-Parasol-TheWorld-s-Largest-Wooden-Structure-J-MAYER-H-Architects 8.Metropol Parasol. Retrieved from: https://www.yatzer.com/Metropol-Parasol-TheWorld-s-Largest-Wooden-Structure-J-MAYER-H-Architects 9. J.MAYER.H Architect. Retrieved from: http://www.jmayerh.de/19-0-Metropol-Parasol.html

FIGURE 6. SERPENTINE GALLERY PAVILION 2013

DESIGN COMPUTATION PH: Lorem ipsum / Edited: Lorem ipsum / Written: Lorem ipsum

aken the biological influence by inventive scientific moment of the second decade, Natural design as a response to environmental context was gradually embedded in many architectural design. More than just simulate the appearance of the organic, natural design followed the natural principles bring out form in the way of responding to conditions of the environmental context.1 Serpentine Gallery Pavilion 2013 designed by Sou Fujimoto can be a representative example of showing how design computation helped the designer to achieve the craved outcome and how the natural principles embedded in the architectural design.

In respond to the naturalness of the site, Sou Fujimoto described his design of Serpentine Gallery Pavilion as â&#x20AC;&#x153; something melting into the greenâ&#x20AC;?. 2By using polycarbonate, although as an artificial structure, the transparency of the pavilion, which would reflect the climate and green makes it blended with the natural environments perfectly just like part of site.3 As for the designing process, the repetitive grid-like complex structure was developed by Rhino which made scripts and used to transfer the geometry from Scia Engineer.4For better visuallization of the structure and the process of computer aided manufacturing, the 3D model was delivered to the place of erection and then structured in Revit to finalize the geometry.5Thus, obviously, the computational design was embedded deeply inside the project and had played a important role during the design process.

DESIGN COMPUTATION

FIGURE7. ABU DHABI PERFORMING ARTS CENTER

FIGURE 8. INSIDE OF ABU DHABI PERFORMING ARTS CENTER

hrough the engagement of computation, digital architecture as a new typology of architectural design emerged in the first decade of the new millennium. 6 Different from computerization which is the digitalization of pre-conceptualized data, often like Computer-Aided Design and Computer-Aided Manufscturing,7 computation is aimed to generate the form by inputting data, especially for parametric design. As a new typology of design logic, the exist of parametric design enable the variation of parameters to take place in order to achieve manipulating goals of forms without compromising the structure. In other words, if computerization contributes to the accuracy and spirit of design, then composition just takes the role of variation and creativity for the form of building .

s a new form of design logic, parametric systems allow the existence of writing of rules, algorith-

mic procedure to enable the creation of variations. In this way, people are able to create unimaginable forms by parametric modeling and work out the structure and performance before the construction. Abu Dhabi Performing Arts Center designed by Zaha Hadid can be a representative example of showing how the computation enable creation and innovation in the form of geometries and the expanding range of achievable geometries. Sitting on a linear intersection of pedestrian paths in the cultural district, its sculptural, organic and dynamic forms with soft curve lines makes it an eye-catching and advanced architecture.9 Like a growing organism towards the water spreading out with a sets of branches, the building twines with

s use of computation gradually accepted by architectural industry, changes has also been taken in different aspect of designing process. According to Kalay, there are 4 steps during the design process, problem analysis, solution synthesis, evaluation and communication8.Most of these steps could take benefits from computation. Once the problems have been identified together with the goals to be achieved, the superb searching ability of computers will make a great contribution to solution synthesis, which also enable evolve humanâ&#x20AC;&#x2122;s contribution to creativity and ideality in order to solve the problems.

FIGURE 9. ABU DHABI PERFORMING ARTS CENTER

BIBLIOGRAPHY 1.Oxman, Rivka and Robert Oxman, eds(2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 2.Branko Kolarevic, (2003). Architecture in the Digital Age: Design and Manufacturing 3.Kalay, Yehuda E.(2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design( Cambridge, MA: MIT Press), pp.5-25 4.Zaha Hadid Architects. (2014). Abu Dhabi Performing Arts Center. Retrived from: http://www.zaha-hadid.com/architecture/abu-dhabi-performing-arts-centre/ 5.Oxman, Rivka and Robert Oxman, eds(2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1-10 6.“Serpentine Gallery Pavilion 2013.” Dezeen Magazine. Retrieved from: http://www.dezeen.com/2013/06/04/serpentine-gallery-pavilion-2013-by-sou-fujimoto/ 7.“Serpentine Gallery Pavilion 2013.” Dezeen Magazine. Retrieved from: http://www.dezeen.com/2013/06/04/serpentine-gallery-pavilion-2013-by-sou-fujimoto/ 8. “Serpentine Gallery Pavilion 2013.” Retrieved from: https://en.wikiarquitectura.com/ index.php/Serpentine_Gallery_Pavilion_2013

GENERATION & COMPOSITION A

rchitecture nowadays is experiencing the process of shifting away from the drawings to algorithm as the method of gaining and communicating designs. 1As a result, the computational design is redefining the practice and designing process of architecture. It not only extends designerâ&#x20AC;&#x2122;s abilities to deal with complex situations, but also potentially provides inspiration and transcends the understanding of the designer, through the generartion of unexpected results. 2 Thus, in order to get further options and development in the parametric design, a code is needed for the continuum. In this way, people need to rely on algorithmic thinking which means when we use computational softwares like Grasshopper, we need to understand the result of the generating code and how to modify them algorithmically to explore the new options, and conjecture on the further development.3 Many architects are currently trying to simulate building performance with computation to create more responsible designs,4 which enable architects to explore new design options and to clarify architectural decisions during the design process.5ICD/ITKE Research Pavilion 2010 can be a representative example showing how the computation embedded in the design process and work together with simulation. It was designed and constructed as a temporary research pavilion, with a innovative structure demonstrates its approach of material-oriented computational design, simulation and production processes in architecture. 6 In order to test the compatibility between design computation and materialization, the computational design model and the structural analysis model were built up respectively.7 The pavilion was based on a FEM (Finite Element Method) simulation, which in order to simulate the complex equilibrium of locally stored energy led by the bending of each element. 8As a result, the combination of the generative design computation and materialization successfully worked together with an achievable proposition.8

FIGURE 10 & 11. DETAIL OF STRUCTURE ANALYZING

FIGURE 12. INSIDE OF ICD/ITKE RESEARCH PAVILION 2010

GENERATION & COMPOSITION H

owever, the use of computational generation brings a lot benefits and convenience to the architectural industry, unavoidably, there is still some drawback existed. Olympic Aquatic Center and Maxxi Gallery designed by Zaha Hadid can be examples showing the compromise of function and lack of means of achieving. Despite the spectacular fluid geometry, Aquatic Center built for the 2012 actually got some undeniable shortcoming surfaced during the Olympic game. The first thing is the roof structure with10 times as much steel as that of the velodrome, which was contrary to sustainability. 10 Another things are the need for thousand of additional seats and sightlines hindered by the diving board from upper tiers. 11As for the Maxxi Gallery in Rome, due to its sloping walls and cavernous spaces hindered by obtrusive ramps, it is very difficult if people may want to display

there. 12 Thus, it is not difficult to see that in order to meet Hadidâ&#x20AC;&#x2122;s approaches, buildings are always more difficult and expensive to build, and compromise of function. Her project used a lot of curves, ambitious cantilevers, wide span and frameless glass , which are all budget boosters. It seems to be like the form of her design always come s the first, while followed by the means of achieving he generation led by contribution has both positive and negative effect for the architectural design. Although it helped us with the efficiency and variation of creativity, it still may lead to functional issues if the designer is more likely to focus on the form of building. Thus, a combination of both should be considered by the architect to insure the creative generation of form and function at the same time to make the building work efficiently and completely.

FIGURE12. OLYMPIC AQUATIC CENTER

FIGURE13. INSIDE OF OLYMPIC AQUATIC CENTER

FIGURE14. MAXXI GALLERY 21

BIBLIOGRAPHY 1. Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2. Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 3. Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 4. Branko, Ali. (2004) Performative Architecture: Beyond Instrumentality, Routledge (New York) 5.Peters, Brady. (2013) ‘Computation works: The building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 6. “ICD Research Pavilion 2010.” University of Stuttgart. Retrieved from: http://icd. uni-stuttgart.de/?p=4458 7.“ICD Research Pavilion 2010.” Retrieved from: http://www.evolo.us/architecture/computational-design-research-pavilion-icd-itke/ 8.“ICD Research Pavilion 2010.” University of Stuttgart. Retrieved from: http://icd. uni-stuttgart.de/?p=4458 9.“ICD Research Pavilion 2010.” University of Stuttgart. Retrieved from: http://icd. uni-stuttgart.de/?p=4458 10. Rowan Moore. “Zaha Hadid: A visionary whose ideas don’t always meke sense”. Retrieved from: http://www.theguardian.com/artanddesign/2015/sep/27/zaha-hadid-profile11. Rowan Moore. “Zaha Hadid: A visionary whose ideas don’t always meke sense”. Retrieved from: http://www.theguardian.com/artanddesign/2015/sep/27/zaha-hadid-profile12. Rowan Moore. “Zaha Hadid: A visionary whose ideas don’t always meke sense”. Retrieved from: http://www.theguardian.com/artanddesign/2015/sep/27/zaha-hadid-profile-

CONCLUSION T

hrough the learning of part A, Iâ&#x20AC;&#x2122;ve learnt about the incoming and ongoing changes of design nowadays, which could be affected by peopleâ&#x20AC;&#x2122;s change of needs, use of computation and sustainability of environment. As human are facing a lot of challenges towards resources, how to take action to make sure the sustainability may be a continuum topic in the future. As for computational design, as a new design approach, it will definitely give the future design more possibilities and opportunities in order to get unexpected outcomes to enrich the range of design. These three section helped me to visualize the revolutionary changes in the future of architectural industry and helped me to understand how things actually work and differentiate from each other. In terms of the brief, at the very beginning, I found it very difficult to think of my brief. But after visiting the site and doing the journal each week, I found it is becoming clearer considering with the condition of the site. So basically, my project is going to have a educational approach in order to contribute to the sustainability of the site.

LEARNING OUTCOME T

APPENDIX