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Anna Jiang

studio air JOURNAL BENV UniMelb


Anna Jiang BENV

389892 Melbourne Uni

Im interested in new design concepts and ideas from different people and professions from all over. As a design student, i prefer more hands on ap proach, drawings and model ling, but i am looking forward to learning and exploring the new techniques of Rhino 3D modelling and scritping! 1. Design new and ingenious

My interests in becoming an architect are: 1. Design new and in genious buildings that shock, amaze and intrigue people; and to shape the world around us. 2. Would love to work in the Disaster Relief sector as an 'emergency architect' to help rebuild towns after natural and/or human disasters; give that little bit back to the world.

CONTENTS A.1. A.2. A.3. A.6.

Design Futuring Design Computation Composition/Generation Appendix - Algorithmic Sketches


“Conceptualization begins to determine WHAT is to be built […] and HOW it will be built.”1


Review of Past LAGI Entries One of my reasons for choos- Whilst it is some times ing the ‘TREE‘ submission as my preferble to show how things work, favourite is due to its beautiful aeth- the 90ft tall tree made of recycled inetic outlook, i think for a place to be dustrial balloons and PVC pipes hides used (as it needed to be in Fresh Kills such parts. Park), you need to invite people to Also i like it that they considcome and enjoy the place. ered a the landfill cap at Fresh Kills Also the designer’s, Yijie Dang contains only enough soil for grassand Tom Tang, cleaverly usage of lands and is not deep enough to supm2e power kinetic batteries is engag- port the large roots of a wide canopy ing. The tree moves as it would in a tree. Often times, designers tend to living tree, with the movements dic- foget the site context, and its really tated by the amount and direction of good to see that didnt. sunlight. Another design implimented As it can be seen next page, that makes it so appealling is hidthe fact that the design considers site ding the batteries and other internal context and relates to the specific workings of the energy collection in a site, may be the golden qualifying tick muted and obtrusive manner. required for the competition!!

Q. Does it contrubute to the site and their inhabitants? A. Yes, the project was site specific, the wind, paths and people movements were all designed with the site in mind; the structure can not be used Q. Did it expand future possibilities? elsewhere but the ideaology can be A. Yes, the project allowed for addi- used elsewhere. It contributes to the tions overtime and with new technol- field of ideas, technical workflows and ogy or ideas, it covered only a small ways of thinking. site. Q. What designs are inspired by this Q. Will it continue being appreciated? projects? What change do they cause A. Defintely, as the title suggests, the in the world? structure is a composite of sensors of A. I can’t say which particular designs the site. It caters to different people are inspired by this one, but hopefully my future LAGI design will be influand their various senses and what enced by their design ideas. they may appreciate out of it.


As mentioned previously, what i think the main reason the judges chose as the winner of the competition was because they answered some important questions:

Renewable Energy Technology Photovoltaic thin film organic photovoltaic (OPVC) or polymer solar cell

Costs of making the organic film are cheap as solutions can be painted or rolled onto proper substrate materials quite easily; this may also be a good consideration for designs with a consideration with future alteration - as this can be easily removed or renewed at very low costs. The costs are significantly cheaper than that of inorganic materials such as silicon, mass production is also possible and fast.

Organic thin films has the distinct advantage of being eaily fabricated into various flexible shapes and even adhere to fabrics or non-uniform shapes - such as walls, sculpture etc. Similarly, the material has high transparency, which makes it even possible to applied to windows or other light transmitting surfces. Organic solar cells are made of materials that contain carbon, the solar conversion Also OPVC funcitons well under low efficiency of these cells is only 8% in the labolight conditions, meaning even on over cast ratory and 4% in real life, and the fact that they days, it will still function and collect energy; tend to have a short production lifespan of 6 compare to other solar techonology that reyears. How ever, the ingenuity and with ongoquire a large amount, if not constant, of sun- ing research; the possibilies are quite limitless. light. The possibilites of OPVC are endless, current uses include but not limited to: 1. OPVC sewn into backpacks, cases or jackets; some may be sufficient to charge portable electronic devices. 2. US Military are beginning to manufacture portable photovoltaics for operations in areas where grid power is absent, on clothing or devices. 3. Large quanitities of the OPVC can be used, such as the Japan Paviliion in the 2010 Shanghai Expo, the entire building was covered in OPVC which sustained parts of the electrcity required for the building.

A.2. Design Computation

Japan Pavillion

Benefits of Using Computers The building incorporates solar energy collection batteries and a double-layer membrane that can filter sunshine to coincide with its interpretation of how technology can better our lives.” The complex geometric design of the exterior can be easily understood via technologies such as Rhino and Grasshopper. Systems (overall - such as cooling and heating, also mini-systems of each ‘bubble’ of the exterior such as water sprinkling system, ETFE layers) can be also easily understood via logic and methods such as scripting.

The inner ETFE layer out two layers, which is the same crimson/ purple color as the pavilion, blocks the light 99.99 percent; this design can work even at the North Pole or the South Pole in extreme environments. The idea of mutiple layers incoporated together is food for thought.

The steel facade will last over 50 years, was suggested by the builder Bovis Lend Lease to the Wood Marsh Architects for its high precision rate. The gap of only 0.3mm allows for the overall design to look smoorth and curve like; something that is usually hard to achieve with steel and concrete.


The interesting part about the building is that despite being an aesethically beautiful building, the design is in fact constricted by the choice of materiality (a miss communication between Chinese and Australian parties, that The entire exterior of the landmark Austra- limited to concrete) and no other choice was lian Pavilion, inspired by the shape of Ul- offered due to time and monetary constraints. uru, is sclad in Facade Solutions Azure™* weathering steel panels. Whilst cladding in steel panels is not uncommon, these panels have an oxidised layer, which protects them from further corrosion.


AUSTRALIAN PAVILLION - The building has a sheer 20-metre walls are taller than the National Gallery of Victoria (NGV), its arched openings also recalling the famous St Kilda Road gallery. The building is mainly conctructed using concrete and timber. - With out the usage of comuputeration in the design stages, the sizes of the materials, each geometirc shape will be difficult to calculate to fit the curves of the building.

A.3. Composition/Generation


“Designed to do 'the most with the Thus, it allows all the designleast', the fluid-form, fully glazed ers to create something that not roof canopy develops structural only is hard and improbable and environmental themes first to design purely by hand or explored in the design of the roof sketches. of the Great Court at the British Museum, bathing the courtyard in Visually, the roof is raised above daylight.” the walls of the existing building, clearly articulating new and This follows Peters, Brady (2013) old. ‘Computation Works: The Building of Algorithmic Thought’ ideol- Also, visually this sort of design ogy of COMPUTATION: is a great example of TESSELATION used in grasshopper. Or allows the use of computers to possibly even GEOMETRY and process information through an PATTERNING. understood model


Smithsonian Institution, Washington DC, 2007

Below is the architect or designer’s hand drawn sketch to illumilate the idea behind the design, the final outcome. As can be seen, with out comupation such designs would be almost impossible to design purely by hand . Yes, the idea can be conversed, but the final dimensions and calculations are done by computers!

A.4. Conclusion

We live in a world that is currently dominated by technology and advancement through technology, with every other aspect of our lives for ever changed by it, there is no reason why architecture or designing wouldn’t be affected. Depending on who you talk to, they may say that using computers and computation is taking the ‘easier’ way out of designing and allowing the computer to manufacture the final result, and perhaps too much reliance. Others will say that with out computers in the design process, many ideas and shapes wouldn’t even come into being. I feel that i agree with both ideas, more so that it is envitable that computation and design programs such as Rhino and Grasshopper will come into play and shape our designs and the world around us. They is already an emergence of designs all around the world, as shown through previous pages, that relies on compterisation; and it is a process with no end but only more possibilies with time. There fore, it is important to learn the skills to keep our selves at the front of this technological design age.

A.6. Appendix Algorithmic Sketches

Bibliography Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10 Review: Land Art Generator Initiative Competition Entries, 2012 <> Dang,Yijie & Tang Tom, ‘Tree’, LAGI 2012 competition entry, YJBLLJSL/ Murray James & Vashakmadze Shota, ‘Scene-Sensor’, LAGI 2012 competition entry, Ferry, Robert & Elizabeth Monoian, ‘A Field Guide to Renewable Energy Technologies’’, Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 71

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