Part A Qihong Liu 752642

AIR STUDIO 7

SEMESTER 2. 2017

TUTOR: Jack Mansfield-Hung

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Qihong Liu 752642

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Table of content Part A A.0 Introduction A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation

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Introdution About me

H

Visualising Environments is a subject I completed that introduced me to the basics of digital design. Through the practises of studio earth and studio water, I have made use of Rhino3D 5 to visualise my design and explore ideas of space. I learned to combine Rhino with other tools such as Vray to generate a realistic rendering and Photoshop to produce digital presentation pinups. Having explored many of its capabilities including its role in digital fabrication, I have now become more familiar with Rhino.

ello my name is Qihong Liu and I am currently a third year student studying in Bachelor of Environments major in architecture at the University of Melbourne.

I am from Guilin, a beautiful small city in the south of China.

Growing up in a high density city, I have always been encouraged to think about the relationship between dense building environments and increasing population. I believe architecture should connect to its surrounding environment and a real city is an organic complex ecologic system rather than just a forest of concrete and steel. My interest within the realm of architecture grows with the cohesion of building a sustainable urban future. I hope I will be able to find a way to integrate sustainable feature and design to apply to my project for this subject.

Digital design software had always been a great tool to visualise those complex and interesting designs. My skill of using Rhino is still at basic level but I am exciting about exploring the possibilities of parametric design using grasshopper to contribute to the performance of buildings.

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ARCHITECTURE DESIGN STUDIO: WATER MASTER: TOYO ITO + KAZUMA SEJIMA STUDIO: 11 TUTOR: FRANCIS WAI PRODUCED BY: QIHONG LIU 752642

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A.1. Design Futuring

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t the present time, the condition that we are facing for our living is getting tougher and severer. The overconsumption of natural resources, the pollution of environment, and the increasingly population of our kind, these factors are the main issues that is threatening the sustainability of human civilization which means defuturing. Therefore, now we have to confront the questions and difficulties to ‘Design’ a future that is secured and sustainable.

The main challenges we have to confront are slowing the rate of defuturing[…] and redirecting us towards sustainable development.1 So ‘Design’ is ‘Not in trying to predict the future’ and should be a tool of path-finding to open up all sorts of possible future that is discussable debatable, preferable, and the most important, sustainable future. 2 However, with the development of technology, it is getting much easier for everyone to access the realm of design by the help of massive cheap design software. This movement of ‘design democracy’ makes many design products become commercial and trivialized. 3

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Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7

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Boxhome Phototype in Oslo, Norway Rintala Eggertsson Architects

Fig 1

Fig 2

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Fig 3

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he Boxhome is a residential housing project produced by Norwegian architects. It is prefabricated house strips down to the utmost minimal in residential living, providing extremely organized living space with a bathroom, a bedroom and a kitchen.

The idea of this project is to support the reduced use of construction material compared to spacious housing, hence raise people’s awareness over human’s ignorance towards sustainable development.

And I think this design is revolutionary because it challenged the general ideal of “ Big house means big wealth”. Its prefabricated nature advocates more economical mass production.

However, from the perspective of its inhabitants, it may evoke the concern of whether the Boxhome is more likely a ‘gateway place’ or a place to ‘live in for the time being’. But at least the project gets people to think the balance between spaciousness and sustainability.

Fig 1. Photo of Boxhome retrived from http://www.archdaily.com/503078/boxhome-sami-rintala Fig 2. Analysis of Boxhome retrieved from http://www.archdaily.com/503078/boxhome-sami-rintala Fig 3. Construction process retrived from http://inhabitat.com/boxhome-small-living-inside-a-stylish-norwegian-box/

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BIG envisions zootopia for givskud in Denmark

Fig 4

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esign futuring is not just to design a building that is only for human occupation, it is also essential to design a better living environment for both human and other species. On the way approaching to future, the necessity of maintaining the diversity of ecology will become more essential, therefore, it is important to create a region that is well-designed for all lives.

The project that is commissioned by the givskud zoo, which unites an array of international animals on a site in central Denmarkis, is designed by architecture office BIG. The zoo is planned as three separate loops of sinuous geometry, and each representing a different region of the world (asia, africa, the americas). this trio of diverse experiences surrounds a circular central plaza, which is bordered by an elevated walkway.

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Fig 5

Although this is just a zoo plan, it shows a great potential in the ideal urban designing in the future where human and other species can co-exist under one city-like system which is demonstrated through the concept of this project which is “integrate and hide buildings�.1

Fig 6

1 Rietrive from http://www.designboom.com/architecture/big-zootopia-givskud-denmark-07-30-2014/ Fig 4. Envision of zootopia retrived from http://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark/-bigunveils-design-for-zootopia-in-denmark-photo Fig 5. Envision of zoo center retrieved from http://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark/bigunveils-design-for-zootopia-in-denmark-photo Fig 6. Conception retrived from http://www.archdaily.com/532248/big-unveils-design-for-zootopia-in-denmark/1d7-big-unveilsdesign-for-zootopia-in-denmark-

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A.2. Design Computation

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he distribution of Design Computation in architecture is not to be neglected that extends productivity and accuracy in the aspect of engineering. In terms of complex geometries g computational design rather than hand drawing and thinking.

In the 1990s’, some works that was designed parametrically had already been born and those the advantages that drawings and scale models allowed architects not only to communicate w and modeling in architectural design is inevitable, the industry was seeking a tool to complete parametric programs were introduced into architectural industry such as Non-Uniform Rationa

With the help of computational research, computational system provide multiple levels of assi 2002 Serpentine Pavilion, people in the architectural industry are concentrating on the possib designs were created by employing these powerful parametrical integrated performative desig

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Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Pres Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Pres Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4

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the realm of design into complex geometric generating which riches the creativity and improves the generating, the forms and structures of buildings is able to be more complex and efficient when using

e works were demonstrating the architectural potential of parametric design to the whole industry. As with other communities, but also to experiment with critical design solutions.1 As the need of drawings e the complex and time-costly model making and calculation process by computation. Therefore, some al B-Spline (NURBS) like Rhino and the later appearance of Grasshopper.2

istance to designers by taking care of smaller or larger parts of the design process.3 After the emerge of bilities of algorithmic design in the aspects of aesthetic and tectonic. And many remarkable architectural gn environments that is formed by its performance.4

ss), pp. 9

ss), pp. 4

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METROPOL PARASOL -Redevelopment of Plaza de la Encarnacion, Seville, Spain

Project Architect: Jürgen Mayer H., Andre Santer, Marta Ramírez Iglesia

Fig 7 Fig 7. Retrieved from: https://www.yatzer.com/Metropol-Parasol-The-World-s-Largest-Wooden-Structure-J-MAYER-H-Architects

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M

etropol Parasol, the Redevelopment of the Plaza de la EncarnacĂ­on in Seville, is designed by J. MAYER H. architects is a project that demonstrates the beauty of computational design. The computational design element was used to generate the globular shapes that spread all above the plaza. The parametric program enabled the team to work out the forms that could be achieved in the specifically engineered timber curves, and to utilize those to achieve their design goals.

The design process of this local iconic

architecture, which brings a ontemporary spirit to such a historical and traditional space, sets a precedence for others to follow and influences how other architects pursue architecture.

Entitled to be one of the largest timber structures built in the world, Metropol Parasol has a massive timber structure which is defined by Rhino. In the Rhino rendering, architects was able to experiment different shadows that would be casted by different forms and the most desired shadow determined the final structure.

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Chanel Mobile Art Pavilion -

Arab World Institute, Université Pierre et Marie Curie, 1 Rue des Fossés Saint-Bernard, 75005 Paris, France ArchitectsZaha Hadid Architects

“I think through our architecture, we can give people a glimpse of another world, and enthuse them, make them excited about ideas. Our architecture is intuitive, radical, international and dynamic. We are concerned with constructing buildings that evoke original experiences, a kind of strangeness and newness that is comparable to the experience of going to a new country. The Mobile Art Pavilion for Chanel follows these principles of inspiration,” --Zaha Hadid

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Fig 8

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n Zaha Hadid’s building, it is quiet obvious to notice that there are many fluid and organic forms are applied to her projects such as Galaxy Soho in Beijing, China and the Heyday Aliyev Center in Baku, Azerbaijan. Continuing with her unique style, the Chanel Mobile Art Pavilion is performing the characteristic with continuous movement in appearance with the aid of computation.

The challenge of continuous surface and the complex structure of liquid building are the two main issues required to be dealt with.The digital architectural space frame system enabled the construction of a free-form structure and saved massive time throughout the construction process. This fluid geometry design was using Rhino software to develop a highly precise but constantly evolving 3D digital model of the Art Center.

As Zaha stated “The complexity and technological advances in digital imaging software and construction techniques have made the architecture of the Mobile Art Pavilion possible. It is an architectural language of fluidity and nature, driven by new digital design and manufacturing processes which have enabled us to create the Pavilion’s totally organic forms – instead of the serial order of repetition that marks the architecture of the industrial 20th century.”

Fig 9

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Fig 10

This is a Rhino model produed by me during summer holiday. In order to create the shape of surface precicely, I have to draw the reference lines precicely and then grew a reference surface to get other reference lines for the next steps and repeat this process agian and again. This was an actural experience of how computation influence the formation of a building.

Fig 8. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-art-pavilion-zaha-hadid-architects/503185d128ba 0d1830000379-chanel-mobile-art-pavilion-zaha-hadid-architects-photo Fig 9. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-art-pavilion-zaha-hadid-architects/5031861428ba0d183000 038d-chanel-mobile-art-pavilion-zaha-hadid-architects-photo

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A.3. Composition/Generation

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Af

ter the enhancement of precision and effectiveness of drawing and modeling by introducing the computation design into the realm of architecture, computation further extend designers’ abilities to access the world of multitudinal instrumental building formation through parametric design software such as Grasshopper. In other words, computation can be expressed as an algorithm that is able to inspire the architects to explore new design options and to analyze architectural decisions during the process of designing.

By using these computational tools, structural, material or environmental performance can become a fundamental parameter in the creation of architectural form in responding the environment. Architecture is currently experiencing a shift from the drawingto the algorithm as the method of capturing and communicating designs. Through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models that sketching by algorithm. Computational designers are more than just creators of complex 3-D models or the developers of digital tools – they distil the underlying logic of architecture and create new environments in which to explore designs and simulate performance, both physical and experiential.1 Therefore, it is clear that the flexible nature, form-finding and performance analysis power, and simple.

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Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp15

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In

recent years architecture has gained access to generative methods with large populations of agents via explicit application of scripting and programming in de¬sign process. Large data sets carry twofold potential in establishing explicit connection between built fabrics and external input data, addressing increasing complexity of constructed environments and their capacity for adaptation.

The study of emergence, where individual agents work in conjunction with their “host” environments and in collaboration with other simple agents towards higher order complexity, is leading towards new kinds of structural, organizational, spatial and esthetic behaviors.

Such con- text reflects self-regulatory patterns found in natural ecosystems, which contemporary science, engineering and architecture are only starting to learn from. This emergent intelligence is being encapsulated as series of proto-patterns capable of rewriting existing protocols in architecture, including long inability of the field to productively and creatively address acute issues of sustainability.

As this is an era of algorithmic computation, architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect and allows us to capture not only the complexity of how to build a project, but also the multitude of parameters that are instrumental in a buildings formation. Increasing the material resolution and levels of information while having access to the coding of material or structural or organizational behaviors increases the ability of designed systems to respond, feedback, learn and adapt to the “host” conditions. Such approach is narrowing the gap between the power of computation and materialization eter in the creation of architectural form in responding the environment.

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Dragon Skin Pavilion-Hongkong, China

Fig 10

The

Dragon Skin Pavilion was carefully designed to maintain balance between the regular, repetitive framework of the rectangular panels and their gradually irregular interconnections as they configure the overall shape. It comprised 163 plywood components manufactured in Finland at TUT and shipped to Hong Kong. The components were the result of a complex process involving the latest techniques in digital fabrication. A CNC-router was used to make a wooden mould in which preheated flat rectangular pieces were bent into shape. A computer programmed 3D master model generated the cutting files for those pieces in a file-to-factory process: algorithmic procedures were scripted to give every rectangular component their precisely calculated slots for the sliding joints, all in gradually shifting positions and angles to give the final assembled pavilion its curved form.

A meticulously pre-choreographed montage sequence required all components to be uniquely labelled and numbered for assembling or dismantling the structure.

Fig 10. Retrieved from:http://www.evolo.us/architecture/dragon-skin-pavilion-is-a-digitally-fabricated-plywood-sculpture/

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A.4. Conclusion

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Arc

hitecture has been and will continuously be an important influential typology in the socio-cultural realm, and should continuously adapt and be open to developing technology such as computatoinal algorithmic programs such as Grasshopper. Such innovations in the architectural design process not only allows a test for variables of complex algorithmic forms, but also expands out to virtually verify processes such as building performance and structure whilst maintaining its creative integrity as an art form which serves social, cultural and aesthetical functions. In the lead-up to the design for the case study, parametric modelling tools such as Grasshopper will be utilized to explore extensive algorithmic variables to generate a form that responds to the contextual aspects of the site as well as addressing visual aesthetic cues to engage and introduce potential users and visitors to the complex beauty of parametric designing.

Design strategies such as materiality, structural performance and responsiveness will be gradually explored and applied to achieve such design principle.

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A.5. Learning Outcomes

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My

limited experience with the theory and practical application of architectural computation meant that most of the content was very unfamiliar and new; however, by progressively taking steps to understand parametric tools (Grasshopper) from the very basics such as the principle of vectors and the definition of algorithmic formulas down to practical applications such as making designs that could potentially get fabricated, the very basics of architectural computation has been understood. The process of ‘how’ a form is created as opposed to ‘what’ the form is a significant concept that will motivate future designs. Looking back at past design practices such as Virtual Environments, such parametric tools could have been utilized to very efficiently explore and generate a lot more design possibilities to analyse elements such as light and shade exposure and ergonomic forms.

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A.6. ALGORITHMIC SKETCHES

What

I have done so far is just trying to get familiar with the technique of controling grasshopper to generate geometries. At this stage, the outcomes are still experimental that help me to analyse the process of learning and experimenting. Hence help me to build some potential ideas for my design algorithms.

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S

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BIBLIOGRAPHY Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 4 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 4 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural Design (2013), pp15

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IMAGE SOURCE

Fig 1. Photo of Boxhome retrived from http://www.archdaily.com/503078/boxhomesami-rintala Fig 2. Analysis of Boxhome retrieved from http://www.archdaily.com/503078/ boxhome-sami-rintala Fig 3. Construction process retrived from http://inhabitat.com/boxhome-smallliving-inside-a-stylish-norwegian-box/ Fig 4. Envision of zootopia retrived from http://www.archdaily.com/532248/bigunveils-design-for-zootopia-in-denmark/-big-unveils-design-for-zootopia-indenmark-photo Fig 5. Envision of zoo center retrieved from http://www.archdaily.com/532248/ big-unveils-design-for-zootopia-in-denmark/big-unveils-design-for-zootopia-indenmark-photo Fig 6. Conception retrived from http://www.archdaily.com/532248/big-unveilsdesign-for-zootopia-in-denmark/1d7-big-unveils-design-for-zootopia-in-denmarkFig 7. Retrieved from: https://www.yatzer.com/Metropol-Parasol-The-World-sLargest-Wooden-Structure-J-MAYER-H-Architects Fig 8. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-artpavilion-zaha-hadid-architects/503185d128ba0d1830000379-chanel-mobile-artpavilion-zaha-hadid-architects-photo Fig 9. Retrieved from: http://www.archdaily.com/144378/chanel-mobile-artpavilion-zaha-hadid-architects/5031861428ba0d183000038d-chanel-mobile-artpavilion-zaha-hadid-architects-photo Fig 10. Retrieved from:http://www.evolo.us/architecture/dragon-skin-pavilion-is-adigitally-fabricated-plywood-sculpture/

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