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Design Studio - Air HaoTian Li 392189


Week 1: EOI-Architecture Discourse

Architecture is the masterly, correct and magnificent play of volumes brought together in light. -Le Corbusier,

Le Corbusier’s design expresses a vision of ideal city and a feeling of tradition, he was one of the architects in that age interested in investing architecture with a universal tone. In Versune architecture Le Corbusier had spoken of the new dwelling as a ‘machine for living in’, and by this he meant a house whose functions had been examined from the ground floor up and stripped to the essentials. Maison Le Roche was built in 1925 just as Le Corbusier’s architecture ideas were beginning to crysrallize, Paris provided Le Corbusier and Pierre Jeanneret to extend the concept of ‘total art’.

Le Corbusier A new form of architecture were created in the 1920s which seemed to totally overthrow previous design strategy and set a new one. This new style was broadly known as ‘international style’, this shared language of expression was more than a mere style or a revolution in building technique, though its characteristic effects of interlocking spaces, hovering volumes and interpenetrating planes admittedly relied on the machine-age materials of concrete, steel, and glass.

Mainson Le Roche

The space of Maison le Roche haven been linked in sequence to allow the gradual exploration of interior. The exterior imparts clean simple lines in geometric forms which adds to a plain simplicity which gives the building a grandeur rooted in classical architecture.



The main volumes of the house are separated into two parts; first, the private area which contains dwelling and second, a curved element lifted free of the ground which is a exhibition space.Windows are set flush with the façade plane so that the effect is of a thin skin wrapeped tautly around the sequence of inteThe interior is dynamic - it moves when you move. Paths cross, balconies overlook each other; stairs accentuate motion which all emphasize the purposeful motion of humans. Light is just as important a part of the artistic synthesis as structure, the idea of movement is reinforced by the creation of dynamic and fluid spaces, while walking along the ramp and observing the works of art on the wall, you are aware that the wall’s that form a backdrop to the art are a work of art in themselves.



This three-story high building filled with overhanging balconies and a kind of bridge that runs just inside the glass and provides a variety of view point. The elements slide by into new relationships, and interior and exterior are temporarily fused; Cleverly positioned expanses of glass show views into the building which elucidate the elasticity of the interior plan.

Space Interlocking



3 7 Curtis, William j. r. Mordern Architecture since 1900, Phaidon Press Limited, London Access 07/03.2012 Access: 07/03/2012 Illustration: 1. Access: 08/03/2012 2. Access: 07/03/2012 3. 4. Access: 07/03/2012 5. Access: 07/03/2012 6. Access: 08/03/2012

Week 2:

Kaohsiung Port Terminal

The project is scheduled for construction in 2012 and expected to be in operation by 2014, with a construction budget of approximately $85,000,000 USD. The competition is sponsored by the Kaohsiung Harbor Bureau, Ministry of Transportation and Communications, Taiwan, ROC.
















Winning Entry, Two-stage Open Competition Scheduled Construction, 2014 Type: Cruise Ship Terminal and Port Service Center Structure: Multiple



Kaohsiung, Taiwan, Republic of China, 2010




EOI - Contemporary Computational Design

Kaohsiung Port Terminal

Kaohsiung Port Terminal

Architecture is the substrate for the accidents of history rather than its embodiment, architecture makes a new history; history doesn’t make a new architecture. Formally, the building’s massing offers a poetic undulation where the height of the tower is balanced by the horizontally flowing tail ends. Programmatically, the Main Hall is divided into three different partitions – each related to a different itinerary for traveling by ship – while the concourses are oriented parallel to the waterfront to maximize the interface between water and land.

Reiser & Umemoto operated less like architects and much more like chemical engineers. Geometry in action represents the migration of a diagram from one ensemble to another, and the production of new properties, potentials, and effects.

The big shift, in which our work participates, is the removal of the fixed background, of ordinates and coordinates, in favour of a notion of space and matter as being one. This shift is not simply one in concept or belief that would leave the architecture unchanged; at a fundamental level, it changes the way architecture is thought about and designed, and the way it emerged as material fact.


For the Kaohsiung Port Terminal, we propose a dynamic 3-dimensional urbanism that takes advantage of the site’s unique lateral positioning with respect to the city grid. Existing public pedestrian flows along the proposed elevated boardwalk can be amplified, rather than interrupted by creating a continuous elevated public esplanade along the waterfront. Cruise and ferry functions, meanwhile, are located just below the public level and are kept distinct to maintain secure areas for departing/arriving passengers. The Main Hall splits up into three different partitions, each related to a different itinerary for travelling by ship, while the concourses are oriented parallel to the waterfront to maximize the interface between water and land. By vertically separating the functions of the general public, port business, and travelers along this waterfront edge we are able to keep the various operational uses highly efficient while at the same time allowing for the synergy of mixed functions for the general public. Vertical circulation is organized around thickened zones in the building’s skin which also house structure, utilities, and ventilation. The structure is a system of nested, long-span shells, which are composed of an underlying steel pipe space frame which is sandwiched by cladding panels to create a useable cavity space. Overall an experience of directed yet functionally separated flows will lend an aura of energy to the point terminal space.

Week 3:

EOI - Parametricism as Style

SCRIPTEDBYPURPOSE swells: highrising fields genware: scripting network


Temporary avant-garde architecture is addressing the demand for an increased level of articulated complexity by means of retooling its methods on the basis of parametric design systems. The contemporary architectural style that has achieved pervasive hegemony within the contemporary architectural avant-garde can be best understood as a research programme based upon the parametric paradigma. Avant-garde architecture produces manifestos: paradigmatic expositions of a new style’s unique potential, not buildings that are balanced to function in all respects. There can be neither verification, nor final refutation merely on the basis of its built results.

The current stage of advancement within parametricism relates as much to the continuous advancement of the attendant computational dresign technologies as it is due to the designer’s realization of the unique. formal and organizational opportunities Parametricism can only exist via sophisticated parametric techniques. Finally, computationally advanced design techniques like scripting (in Mel-script or Rhinoscript) and parametric modeling (with tools like GC or DP) are becoming a pervasive reality. Today it is impossible to compete within the contemporary avant-garde scene without mastering these techniques.

biot(h)ing is a research-design laboratory whose structure derives from particular linkages between various disciplinary and technological nodes, promoting intra-specific creative relationships which in turn serve as a transformative tissue for the design process itself. An algorithmic articulation of the relation between the corporeal and incorporeal i s biot(h)ing’s attempt to engage with complexity. Away from individuations as subject or form, design is understood as genetic inscription.

Parametricism emerges from the creative exploitation of parametric design systems in view of articulating increasingly complex social processes and institutions. The parametric design tools by themselves cannot account for this drastic stylistic shift from modernism to parametricism. This is evidenced by the fact that late modernist architects are employing parametric tools in ways which result in the maintenance of a modernist aesthetics, i.e. using parametric modelling to inconspicuously absorb complexity

Parallel reality of the invisible code is a common ground for multiple actualizations. What is encoded is not the form of organization, but the process of autopoesis through intricate entanglements of discreet agents. Computational patterns are understood as deep in its potential to produce expressions on various scales. Biot(h)ing’s projects range from the scale of fashion accessories and product design to large scale structural and urban fields.

Tooling Tooling Tooling Tooling Crystal_Baskets_Twigs

endless knot Tooling is about what rules exist within this hypothetical “pre-material” state that influence its movement into the realm of the material. Like Bentley’s snowflakes, the source of wonder behind one crystal is not the storm it came from but rather the elusive internal logic that remains resolute and unmoving through all crystals. Tooling is broken down into seven algorithmic techniques: spiraling, packing, weaving, blending, cracking, flocking, and tiling. While each of these algorithms can be used to describe and simulate certain natural phenomena in the world— such as the way a spiraling rule can simulate a hurricane—this book is invested in turning these rules into logics for construction. The term algorithm simply means a series of steps. Today, as modeling, representation, and fabrication technologies shift from manual to automated processes, this issue of algorithm is pressing precisely because it confronts the design of procedures themselves.


To illustrate this, all algorithmic techniques in Tooling are presented alongside 1) a recipe, 2) shapes made by that recipe, 3) a project that uses that recipe within an architectural context, and finally, 4) programmatic computer code (www.arandalasch. com/tooling) making these recipes available to the widest possible audience.
The recipe is vital to understand the basic steps in each algorithm. The maxim, “a problem well put is a problem half-solved,” is no less true in the formulation of architectural techniques. In fact, only when these steps are clearly stated can they really become an algorithm, a powerful packaging of logic that allows this procedural thinking to migrate inside and through various syntaxes, including software.

ARANDA/LASCH As evidence of this transmissible character, the tailor-made computer code for each of the recipes and sketches can be utilized within the major 3D modeling software platforms being used by architects today. The intent in sharing these algorithms is to encourage diversity, allowing others to import, model, and evolve more critical and insightful tools. Algorithms also offer a non-technological implication in architecture. They break down the elusive and sometimes problematic phenomena of shape. Shapes are never unwilled figures. Deep within them is a struggle between the predilections of the architect and the inherent properties of the geometries encountered. The algorithm mediates these two, acting as a kind Tooling traces the movement between this state of potential and manifest architecture. This movement, or movements, occurs in a dynamic space of interchange where the algorithms and the evolving diversity of figures that crystallize from them are in constant communication and formation with external pressures. The objective of Tooling is to both articulate this resonant field and show that one of the biggest challenges of algorithmic architecture lies in establishing very coherent, pre-material rules that can be used with mathematics and geometry to control this field. Once this field is defined as a flexible and open space, the job of designing begins.”

Week 4:


Purpose: To

create an attractive view on freeway and provide the first indication of arrival into metropolitan Melbourne. It intended to address the issue of Werribee’s image by upgrading the condition and aesthetics of its

Western Interchange

– site of the Gateway installation.

The audience: Drivers and passengers on road, this includes people


Transformation of Pattern (Jack):

Inspiration of pattern (Anna):

from different background. From low educated to high educated, young to old.

Brief Constrains:

1. Motorists travelling at a speed of 100km/h. Design must be in a fairly large scale can be easily viewed from a certain distance or at high speed. 2. Not too flattened, can be viewed from various of directions. 3. No electrical connections. Design must be Self-powered if it involves lights. 4, No water supplies. 5. Daytime &night-time viewing. This design should be viewed in both daytime and night-time. Without external electricity supply, this required to use fluorescent light material or self-powered. 6. Material must be safe, minimum maintenance work and discouraging graffiti 7. Adherence to the regulations imposed by VicRoads in relation to siting, vew lines. Setbacks, material, colours etc; non-reflective materials are preferred due to glare. A setback “clear-zone” from the edge of the trafficable lane of 13m id requied.

Viewpoint (Aimee): Four Different Discourse from group members:

Viewpoint (Aimee):

Inspiration of pattern (Anna):

Our design will differentiate from 2 aspects, which are the far/ close distance view as well as the day/night views. The gateway should be significant and attractive to audience, hence scale of the project should be striking but not beyond the budget. Computation technology can help us visually experience the spatial relationship of the project within the site. Due to the high speed of transportation, the shape will be visually shortened. Therefore, we tend to design a long form rather than centralized/ isolated form. While moving towards the project, our viewpoint alter, thus the element of our design might be separated/ discontinuous in order to form an animated effect.

To achieve better result in aesthetic matter, electrical lighting will be applied to our design whose energy is self-supported. According to the condition of the site, wind energy or solar energy will be the main source of energy. This will be further discussed in sustainability discourse.

Discover rules exist within the hypothetical ‘pre-material’ state that influences its movement into the realm of the material. Tooling can be broken down into seven techniques: spiralling, packing, weaving, blending, cracking, flocking and tiling, which can describe and simulate certain natural phenomena in the world and turn it in to logics for construction.

The initial design concept could be a ‘backbone’ for instance and by experiencing seven tooling techniques we could trace the natural movement of backbone, and then go beyond it to produce new patterns or shapes.

Patterns can be generated by those tooling methods, like Bentley’s snowflakes, the source of wonder behind one crystal is not the storm it came from but rather the elusive internal logic that remains resolute and unmoving through all crystal. For the gateway project, once we decide a central concept, it can be any object or natural phenomena for example: flowers, DNA patterns or rainbows, etc. Relate to the historical background of Werribee city, the name Werribee is an aboriginal name meaning “backbone” or “spine”. It is thought that this name was given as the shape of the Werribee River valley and the landscape look like a backbone.

Transformation of Pattern (Jack): The structure / pattern of the design We approach the design from a very simple shape, this could be a shape extracted from ‘backbone’ for instance. The shape will then grow and transform by repeating, spiralling, packing, weaving, blending, cracking, flocking and tiling, as mention above, to achieve an expected outcome. The transformation will follow certain logic. This logic will be one inspired form nature, biology, or physics ... Refer to the examples below. Software such as rhino will be used to see the visual effect. Grasshopper will be used as tool to control parametric for transformation.

1, Logic of Growth in vegetationďźš

Growth in volume as well as internal development.

2, Logic of Cell Division:

Growth by spliting and repeating.

SUSTAINABILITY(zhengzhi): Energy efficiency will be our one of the major focal point, we will consider the energy cost and energy generation in terms of special form and pattern, for this particular project, solar power is a concept we can adopt to our design through combining environmental analysis tool( ecotec) and parametric design. In the digital simulated environment, the sun direction, solar gain and shade can be calculated and analysis the changes during a day and a year, then a photovoltaic system will be considered in this project related to the proposed complex and dynamic forms, how to achieve the balance between most energy efficient and best aesthetic.

Energy saving-Solar power For energy aspect, the solar power can be used to service the project itself by creating visual lighting effect during day and night time as well as delivering back to city for emphasizing the social and natural meaning.

Environmental Indicator- water Water are also a discourse we are going to explore in term of sustainability and energy efficiency, there is no water supply in the site, but rain water can be collected to used to create visual effect in static or dynamic form through parametric design, furthermore, transparent material provides the media that collected rain water can be viewed through the structure or pattern, it will indicate recent rain fall that imply agriculture and environmental purpose, this is another opportunity using sustainable design to enhance structural aesthetics and social meaning

Construction, Fabrication technique

3, Logic of movement of atoms: Rotation of sub-elements to create dynamic form.

A sustainable and energy saving construction process is also our focus area. a factory prefabricated modular minimizes energy embodied and material waste typical to site, computational tool is helpful to adopt pre-fabrication techniques into a dramatic form or pattern in order to achieve minimal transfer, fast installation and easy maintenance.

Grasshopper Matrix

Extrusion is a very useful tool to turn 2D lines into 3D model, it extrudes lines vertically so circles become cylinders, and triangles become triangular columns. Input: Arbitrary Points Associate: Image Samper Output: Extrusion

Input: overlapping Output: extrusion

Rotation is another mostly used tool in Grasshopper, it allows or-

derly ranged components to twist, sometime when we need to create curving shapes or making models more interesting in a dynamic forms, rotation help us save a lot of time.

Input:Boolean Pattern Association: Math Function Output: Data Driven Rotation Input: Surface Grid Association: Image Output: Rotation

Input: Boolean Pattern Association: Image Samper Output: Data Driven Extrusion

Input: Curve Intersection Association:Image Sampler Output: Date Driven Rotaton

Input: Boolean Pattern Association: Math Function Output: Extrusion

Input: surface grid Association: Multiple Math Functions Output: Rotation

Association: math function Output: rotation

Shader: Just as its name implies, it provides shade effect, which can also change the angles and direction of shading in order to obtain different results.

This is the most complex forms that being produced by combing three grasshopper definitions: Surface grid, Multiple Math function and Rotation. The surface grid allows producing a number of circles along rows and columns, Multiple Math Functions enables groups of circle at rows and columns weaves under certain amplitudes and finally the rotation output parameter allows to rotate columned circles in any direction to form any of the shape we want. Input: Arbitrary point Association: image sampler Output; Shader

Input: Arbitrary Point Association: Using Set Output: Shader

journal week 4  

Expression of Interest, week four entry, group EOI and Grasshopper Matrix

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