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STUDIO AIR 2018, SEMESTER 2, Allan Burrows Jie Min (Jamie) He, 835064


Table of Contents Part A - Design Futuring Introduction A.1 Design Futuring A. 1.1 Case Study 1 A.1.2 Cast Study 2 A.2 Design Computation A.2.1 Case Study 3 A.2.2 Cast Study 4 A.3 Composition/Generation A.3.1 Case Study 5 A.3.2 Case Study 6 A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithmic sketches


PART A CONCEPTU


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Introduction

Biography My official Name is JieMin He, However I go by the name Jamie He most the time. I was born and raised here in Australia, Melbourne and have basically lived me entire life here. My interest in Architecture stems from an interest in my father’s occupation in the Construction Industry and desire to possibly work with him in the near future.

I am currently in 3rd year of the Bachelor of environments, My primary interest in architecture is how the practicality of it works and how everything can be assembled together so that an entire building would eventually become a working machine. I take great interest in classes like Environmental building systems in which I attempt to match different building elements together to create the most efficient and environmentally friendly building, in a sense, like a puzzle. Prior and during my study of bachelor’s degree, I have been self teaching myself some graphic design tools such as Photoshop and Sony Vegas Pro.

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I’ve never really had any prior experience to digital design and it’s accompanying software until my time starting in the University Melbourne. My first real experience of using digital technology was when I studied Architecture Studio Water where it was required for us students to generate a 3D model and that was the first time I started using Rhino 3D. During the same time I was taught to use CAD for Construction Analysis and I immedietly realised the usefulness in digital technology in the very near future. To further understand architecture on what it holds for future generations like me who are part of the new world of Digital technology, I feel that Architecture Studio Air will become a great learning experience for me and I look forward to aquiring skills over the duration of the subject.


FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

Roof:

1mm Steel sheet roof with acoustic insulation, water proof membrane and steel wire mesh to hold up insulation

Structural Steel:

C2 (310 UB 40) C5 (150x100x9 RHS) grade MPa C Shaped 100x100 steel member

es

e gr

e 3D

Windows:

pe

Slo

F

Aluminium window system, 10mm plate steel window sill with powder coated window frame

Masonry:

41 90mm half high concrete blocks in height, with articulation joints for movement and flashing and weepholes for water drainage

Walls:

RL 40.20

Timber stud walls with noggings. Insulation filled in gaps of stud wall and plaster walls for the outside

Aluminium cladding:

Aluminium cladding nailed on top of stud wall system

First Floor slab:

Concrete poured onto permanent formwork (Condex). Carpet CB2 for floor finish

Concrete ground floor slabs:

RL 36.00

Poured concrete with steel reinforcement (SL81) on the bottom half on steel bar chairs sitting on top of a waterproof membrane

Footing:

Pad footing typically of 600m wide and depth. Reinforced with steel bars (SL81) on the lower side Mass concrete underneath pad footing to reach stable soil levels.

Foundation: 1 - Fill: grey, moist, sandy and Class M 2 - Clay: Orange brown, moist, silty and stiff 3 Clay/Siltstone: Orange/Brown, moist, silty 4 Siltstone: Extremely weathered, yellow orange, silty and gravels Insulation

RL 31.6

Concrete Fill Clay Clay / Siltstone

Line of Influence

Siltstone

Designed by: JieMin (Jamie) He

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

Student ID: 835064 Section: G - South East Tutorial No.: 3 Tutor: Anthony Blazquez Scale: 1:20

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

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We are now at a point when it can no longer be assumed that we, en masse, have a future - Tony Fry

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A.1 Design Futuring

Humans are constantly expanding society, through technological advancement and the ever increasing creativity of the mind. However, due the the innate capitalistic nature of humans, plenty of limited and unrenewable resources have been allocated in areas of little need. This constant use of unrenewable and unstrategical use of resources have been driving humans towards a phase where it is possible to defuture[2] human kind from the future. However, this result can be averted and it should begin its first step in the design field, where we can redefine what it means to design in order to create a better future of man-kind.

With anyone having access to powerful simulation and drawing tools, a large part of design becomes trivial and the design aspect goes down the drain, where anyone could produce a drawing and simulation but not at an optimum or sustainable way.

Firstly we need to identify the what the problem is at heart. First, the deregulated pluralization effectively causes a large part of design to become trivial. Secondly, with the capitalistic nature of humans in mind, a lot of design is more much aesthetically oriented rather than sustainably designed oriented. Thirdly, the fact that the current design of sustainability is merely slowing down defuturing rather than halt it.

Sustainable design as of this moment, will only delay the inevitable, but for us to derail from this future, we must innovate a new way of design, a new way of thinking in the direction of architecture and changing our frame of mind of architecture.

The issue of “diabetic sustainment’ which causes something else to be destroyed for bringing in something new. Design as of this moment, is about maximising profit rather than sustainability and putting in resources of little need and causing nature and others to suffer as an effect.

[1] FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16

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Case Study 1 Repair Pavillion By Baracco and Wright 2018, Pavilion The repair pavilion was created in as an entry to the 16th international architecture exhibition – La Biennale di Venezia. It is a pavilion designed to explore architecture’s relation to endangered plants. In the case of design futuring, the pavilion will feature tens of thousands of plants and serve as a reminder of the price we pay for the land that we occupy, telling us that just 1% of these threatened species are left in the natural world. What the designers intend, is to show us the resources that we consume or waste in exchange for the way we are currently living. The idea that species will go extinct if we continue at the current rate we are going It will focus on architecture that integrates built and natural systems to effect repair of the environment, and in so doing, mend or improve other societal, economic and cultural conditions. Through this lens, this exhibition will provoke new relevance and roles for architecture.

Australia’s buildings and cityscapes have largely been constructed to separate people from the natural environment. Consequences of this disregard are now being felt, resulting in a shift in thinking amongst built environment disciplines, towards repairing the natural environment as a framework for urban form. Repair aims to advocate a role for architecture among the many people it takes to restore something. We can also see an example of this in the predeccesor work in which the landscape of a hill is also integrated into a man made structure. By combining both nature and man made materials, we can see that both nature and man-made can live together in harmony, instead of having mad-made taking over nature wherever it goes.

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT) 10

CONCEPTUALISATION


FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

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Case Study 2 Council House 2 By Mick Pearce 2008, Government building

Council House 2 is quite the famous architectural building among architects from since it was built in 2006 at 240 Little Collins Street, Melbourne. It was the first building in Australia to achieve the 6 star green star rating. What was so amazing about the building was the fact that despite housing so many staffs and continued operation, the building was incredibly energy and water efficient and saved millions of dollars a year due to its sustainable and clever use of design and technology.

The building was a great source of inspiration to the architects of both Australia and the world. A 6 star green star building at the time of 2006 was simply unheard of and the fact that it was achieved was an inspiration to many architects in trying to incorporate sustainability into everyday architecture. With the ever-increasing sustainability movement and awareness of environmental protection, this building caused a great change in the ways architects designed.

Though there were no 6 star green star building at the time of construction, the architects that were gathered had to integrate fairly foreign components of their time together, into a mish mash of sorts in an attempt to innovate a new style of design in Architecture. Even after the project has finished, research is still being done on the building, such as staff efficiency improving due to being in a more sustainable building.The architects have also released lots of documents for the project in order to help others to learn from their learnings and experience.

This building is an embodiment of what Tony Fry seeks in architecture, where in order to create this building the architects could not just run this building through a program and simply select the best variation of the building and decide to go through with that plan. Instead, the building is carefully designed with knowledgable architects attempting to innovate sustainable building in Australia, creating something that has never been known to Australia and using whatever ideas that they could generate, instead of simply relying on a computer program to generate.

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FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

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A.2 Design Computation

With the emergence of more complex digital technology, digital theories suggest that it brings back the Vetruvian effect into Architecture - The synthesizing material culture and technologies within the expanding relationshipi between architecture and computer. Before the renaisasnce, those in charge of planning a building and those in charge of constructing a building were of the same entities, architects of that time were in charge of the entire process from the birth of a building on plan, to the finish of the construction of the building.However, as time passed and architecture became increasingly more complex and time-consuming, the labour of architecture was split into several specializations in which each specialization will play a different role in the process. However with the split in division, comes a certain degree of uncertainty, No longer, does one entity control the process of planning and constructing, which can result in various unpredictable outcomes that will appear at random stages throughout the process. However, with the introduction of digital technology, It has renewed the architects traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm (Oxman)

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With the help of digital technology, architects will become the main powerhouse of the design process as the digital world has given architects a lot of new parameters to experiment with (Oxman). With this in mind, there will be a shift from the traditional sense of architectural drawing to a flow of logic and thought that comes into the process of drawing. Design shapes and forms which have a higher level of complexity, variability and form which is deemed impossible to to create with the traditional drawing style. An example of digital technology is the availability of Grasshopper that we are using in this studio, with the use of grasshapper, we can create multiple iterations of a design or generate multiple generations of an iteration. In conjunction with the redevloped mind and creativity of an architect and the logic of computer algorithms, we can truly create something that is innovative, unique and beneficial to the world.


Case Study 3 Monocoque 2 By Neri Oxman 2007, Acrylic composites Museum of Modern Art, NY

Monocoque 2 was an innovative design by Neri Oxman which utilised the power of Design computation in order to create a work of high complexity, form and shape that which a traditional drawing method could not achieve. Monocoque means “single Shell” in french. The meaning behind this work stands for a construction technique in which an object’s external skin is used to support structural load. To demonstrate the structure of an outer shell, the use of the Voranoi pattern was used as a means of creating the form of the work. FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

The use of algorithms in this case was to have it focus on the ‘form’ of the work, with its veiny appearance, to carry out the role of a external wall shell and a primary structure in supporting itself, all through the use of plastic materials. This advancement in the use of digital technology will help influence other architects in the use of different design methods and materials in the hopes of producing more work, higher quality and generating less waste.

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

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Case Study 4 SOM’s Lotte Tower Project By Neil C.Katz (SOM - Skidmore, Owing & Merill LLP) 2007, Parametric Model

SOM’s Lotte tower project in Seoul, Korea, in which many parametric modeling processes have been used to create this model. The team had created the basic structure of the building through digital technology use of Autocad, by creating the 3d model and then unfolding the building. Many other aspects of digital design computation can be evident, such as using computer programming to analyse the solar incidence angles of the lotte tower throughout different times of the day and through different seasons throughout the year. With the knowledge that comes through design computation, architects will have greater control in which they can control the workflow of the design process. In SOM’s case, by having the ability the constantly analyse the solar incidence angle of the tower, they also have more control over how the shape of the building should go and helping identify any problems that could be caused by it.

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This was a building that was created less on the thought of form, but rather more an the function of the building, of course it had to be aesthetically pleasing, but it all comes down to the function and its effect on its surrouning neighbours in order to be succesful. On the left (fig2) we can see an example of digital technology at use, by using the power of digital technology, the solar incidence angle graph can be used to influence the final design of the building, by showing the effects of the sun throughout a day in every season and the shadows generated by the building, which can drastically alter the appearance of the building


FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

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A.3 Composition & Generation

We can describe the term of “computation� as a means of using computer to process information through and understood model which can be expressed as an algorithm. The way computation is being used nowadays has been changing over time, the design process used to be more form driven, however the method of generative design is becoming more and more common. By using algorithms, we can thoroughly explore the composition of our design and analyse the effects of the decisions that we make live. With the power of design computation, it can only be said natural as generative design becomes more and more common. With generative designs, we can peek into the future of a design, looking through multiple generations and what would take years upon years of evolution to achieve. With generation, we are able to observe the evolution of design, materials and behaviours through multiple iterations of design.

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For instance, BOIDS (Bird-oid objects) by Craig Reynolds effectively attempts to mimic the behaviour of birds through the use of algorithms. By creating iterations out of rules such as seperation, alignment and cohesion, Reynolds combines the information provided, which allows him to generate an extremely complex looking bird flock design which was able to effectively mimic bird behaviour. Computation design is what i think, to be naturally a generative process due to the available resources that is granted to the user due to being able to analyse and alter design through multiple generation throughout the design process. By using generation, architects are able to create designs that create less strain upon the environment due to the optimum use of material while givng the best possible result.


Case Study 5 ICD/ITKE Research Pavilion By ICD and IKTE 2010, pavilion

The creation of the ICD/Research Pavilion was based on being able to analyse and predict the elasticity of timber. Timber as we know it, has a varying degree of elasticity, strength and elastic region. Though the behaviour can be very unpredictable with human calculation, we can use computation to generate multiple instances of the design by using algorithms to predict the behaviour of timber under stress. By simulating stress such as wind, water, gravity and bending stress on the structure, architects are able to effectively create a real life replica of the structure within the virtual world at only the expense of the architect’s time. WIth what can be achieved through generation, designers can create the most optimum building with the least amount of resources and most optimum formation, giving accurate information of the data analysed. This will significantly help the construction/assembly stage of the building process as all the required data has been received and workflow can be singular and coherent

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Case Study 6 Guang Zhou Opera House By Zaha Hadid architects 2010, Opera House

The opera house built by Zaha Hadid architects is a prime example of using parametric modeling and generation to create a building optimized on resource and aesthetics. By using computerisation and through multiple generations, architects are able to generate a roof form that both improves the aesthetics of the building while keeping the resource limit of the building relatively low. Through generation, the architects are also able to simulate the weight of the building with its steel members and create scenarios in which the building will be able to withstand forces or be unable to withstand forces. By generation, we can predict the strength of the building itself and scope out and identify areas where stress levels can be high and adjustments to the plan can be made in order to reduce or remove areas of high stress, With this information, designers are able to generate multiple iterations of design, while keeping the design optimal and in perfectly working condition, as computer generation and analysis have the ability to show any weaknesses in design. This will help correct any potential mistakes and save and future costs and resources that could arise due to poor design.

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A.4 Conclusion

With the new age of digital technology that is brought onto this world, architects will once again have agency among the building industry once again. Architects are once again able to become the primary workflow of a design process. Architects are able to combine their knowledge of sustainable design, optimal resource allocation an multiple generative methods to create a design that will last the ages, use the least amount of resources, and will be beneficial to the continuation of man-kind. With the integration of man and technology, we can create complex algorithms and designs that could mimic the behavioural patterns of many or be used to predic that behavioural patterns of objects and things. Parametric design as it stands now, will continue to evolve and become a core part of the way people think and design, it is through parametric design that once again, knowledgable architects will shine in their field, as being a proffession that not just any body coul d simply pick up, but require a vast amount of specialized knowledge

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I do believe that what Tony Fry said was correct that currently, too many people could simply pick up digital design, and simply generate a design that they liked for the purpose of aesthetics that can prove to be very wasteful and throttling us towards a future of man-kind extinction. However, I do disagree with his opinion of the use of digital technology, though digital technology is a factor in dethroning architects and creating a plenty of waste, digital technology itself is also a saving factor of humanity, however it has to be utilized correctly in order to draw out its full potential, like the saying “With great power comes great responsiblity�, as of right now, people who pick up digital design will simply have great power, but very little finesse control over the outcomes of their work. It is this part that I believe architects will be able to lead a new generation of designers to better utilize the great power that comes with digital design.


A.5 Learning Outcomes

Only after learning the power that comes with digital design, did I learn how naive I was in thinking digital design as just a means of tool for designing the best possible building that I could possible create, just like those that naively pick up digital design and cimple create without proper thought. Only now that I have a greater understanding of digital design did I finally understand that with the great power of digital technology, should also come with great responsiblity in keeping the power in check, and restraining oneself to master this proffesion to be able to create what will truly be beneficial to the world, contributing your share to the continuation of man-kind.

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A.6 Appendix

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CONCEPTUALISATION


Basic fence loft

Started using various control points

Uniting the 2 ends

Simple render of a circular fence

What i believe to serce its best purpose as a fence

Creating different height levels with each enclosure CONCEPTUALISATION 25

Creation of 3 enclosures with the lines that I had


Messed around with the height level

Started giving the fence more curve

Fence with a gap

Creating 2 enclosures with the lines that I had

My most successful fence, not too complex yet not too simple


References 1. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 2. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 3. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 4. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 pdf 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 6. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 7. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 8. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 1-28

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Architecture Studio Air Part A  
Architecture Studio Air Part A  
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