Han yicheng 834659 partA Final

STUDIO AIR 2018, SEMESTER 1, Alessandro Liuti Yicheng Han

“THERE IS NO SUCH THING AS ARCHITECTURE.” - LOUIS. I. KAHN I NEVER FIGURED I WOULD DO ARCHITECTURE. THE TERM WAS NEVER FORMALLY INTRODUCED TO ME BEFORE I ENTERED THE UNIVERSITY. BUT I WAS SUFFERING AND STRUGGLING IN YEARS OF SOLITUDE. SO I PUT HOPE IN ARCHITECTURE AS I STRONGLY BELIEVED, THAT THROUGH STUDYING IT, MANY OF MY QUESTIONS COULD BE ANSWERED, AND IT VERY MUCH DID. I FOUND BUILDINGS ARE CARRIERS OF THOUGHTS AND DREAMS, THEY INHERIT THEIR CREATORS’ STRONG SOUL & TENACIOUS HOPE. EVERY PROPERLY TRAINED ARCHITECT IS A HERO TO THIS WORLD, WE EACH HAVE ENORMOUS RESPONSIBILITIES TO SAVE THE PLANET, AS DESIGN IS UNFORTUNATELY ONE OF THE FEW LINE OF DEFENCE REMAINING AGAINST OUR OWN DESTRUCTION.

Deep Deep Learning Learning Model Model

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Design Design Input Input

Design Design Output Output

Training Training Data Data Unit 3 Unit 3 Tutors: Tutors: Students: Students:

Architectural Association Visiting School Architectural Association Visiting School AAVS Shanghai Summer School AAVS Shanghai Summer School CITY SMART CITY SMART 7-15 July 2017 7-15 July 2017

Immanuel KOH and LI Meizi Immanuel KOH and LI Meizi Alex Meparishvili | Zebin Chen | Yicheng Han | Bolong Liu | Shengyuan Zhang Alex Meparishvili | Zebin Chen | Yicheng Han | Bolong Liu | Shengyuan Zhang

DURING THE “CITY SMART” PROGRAM, WE WORKED IN GROUPS AND WENT THROUGH A DESIGN PROCESS THAT INCLUDED “DEEP LEARNING” CODES DEVELOPED BY OUR MENTOR IMMANUEL KOH USING PYTHON.

“CITY SMART” - AA SHANGHAI VISITING SCHOOL

THE “DEEP LEARNING” MODEL:

USING DOCKER, THE FILE WAS MADE AVAILABLE TO RUN IN GRASSHOPPER AND GENERATED A 3D MODEL.

DESIGN INPUT: A COLOURED CITY PATTERN DESIGNED BY AN ARCHITECT, INTENDING TO PRODUCE A REALISTIC RENDER BASED ON IT.

AFTER THIS POINT, THE DIGITAL MODEL GOT SENT TO 3-D PRINTING AND COMPUTER RENDERING IN KEYSHOT.

DESIGN OUTPUT: A REALISTIC RENDER OF THE DESIGN INPUT. A DEMONSTRATION OF AN ARCHITECT’S INTENT.

Learning[Interior_0]

Venice, Italy

TRAINING DATA: INFORMS THE CODE OF THE CHARACTERISTICS OF THE INPUT AND GIVES GUIDELINE TO WHAT OUTPUT SHOULD LOOK LIKE IN TERMS OF COLOUR CHARACTERISTICS. AS DEMONSTRATED, THE COLOUR OF ONE OF THE TRAINING Venice and Suzhou have similar urban topography; and theWON’T distributions of lowIMAGE MUST MATCH WITH THE INPUT’S, both SOinclude THEcanals CODE rise buildings. Suzhou, as a typical Chinese city that underwent significant development in recent years, MESS UP DIFFERENT ELEMENTS. Suzhou, China

ing older architectural styles and city fabric, differ THE CODE UNDERGOES A “DEEP LEARNING” PROCESS AND in their conservational approach to it. In the light of this situation, we haveTO selected these two cities as WORKS THE IMAGE FROM A LARGE SCALE DOWN FINE the inputs of our deep learning process. Our goal, is toAT inferTHE and generate combinational PIXELS. A RENDERED OUTPUT IS OBTAINED ENDnewOF THE urban morphologies that is capable of retaining the urban features of the existing urban inputs.

PROCESS. has increased its density. Both cities, while retain-

THE OUTPUT IS THEN PLUGGED INTO PROCESSING TO GENERATE TOPOLOGICAL DATA.

Unit 3 Tutors: Students:

Architectural Association Visiting School AAVS Shanghai Summer School CITY SMART 7-15 July 2017

Immanuel KOH and LI Meizi Alex Meparishvili | Zebin Chen | Yicheng Han | Bolong Liu | Shengyuan Zhang

Unit 3

Architectural Association Visiting School AAVS Shanghai Summer School

Introduction Back in 15 BCE, Vitruvius made the case that an architect should

“be educated, skillful with the pencil, instructed in geometry, know much history, have followed the philosophers with attention, understand music, have some knowledge of medicine, know the opinions of jurists, and be acquainted with astronomy and the theory of the heavens.”

Throughout human history, however, the role of an architect has been growing more and more specialised. Though Vitruvius’s statement still applies today and certainly more skills were added to the list, now we have construction engineers, urban planners, civil engineers, geotechnical engineers, internal designers. Etc. who take jobs which were all done by only one person back in the ancient times - an architect.

However, Modern Architecture has dispersed the role of an architect, even leaving the internal space design to internal designers whereas architects are mostly responsible for only the appearance of the buildings now.

For architects, this has shifted the meaning of “design” and started to put extra emphasis on cultures and environmental sustainability. Etc. As a result, the “art” in architecture starts to reflect more intentions from “design”; introducing new, modern aesthetics values to the society.

The emergence of new global issues demand architects to take more problems into consideration while designing, including environmental ethics. Therefore, new tools and techniques, and theories are created to help architects to do this.

“Computation” have allowed architects to integrate their design with practise with tighter control, and making the modelling of meaningful, real-world scenarios possible.

“Grasshopper” extends the function of Rhino by digitising the BIM process and provide the possibility for realistic simulations to architectural applications with fully controlled parametric algorithm.

STUDIO AIR 2018, SEMESTER 1, Alessandro Liuti Yicheng Han

Table of Contents PART A. CONCEPTUALISATION A.1 Design Futuring A.2 Design Computation A.3 Composition/Generation A.4 Conclusion A.5 Learning Outcome A.6. Appendix - Algorithmic Sketchbook

A.1. DESIGN FUTURING

Figure. 1. POMPIDOU_METZ_319. 1

Inspired by two precedential architectural ideas; the “Bilbao Effect” & Renovation of old industrial architectre, Shigeru Ban seek to accomodate the advantages present by those ideas while discarding their weaknesses. In effect, he wants to “architecturally leaving a deep impression with visitors” without sacrificing the perfomative aspects and aim to provide “ease of displaying and viewing art”.

Figure. 2. Level_08_Plan_copia. 2

Figure. 3. POMPIDOU_METZ_292. 3

CENTRE POMPIDOU-METZ Inspired by the traditional woven Chinese hat, the roof structure was realised with long stretched, continuous Leminated Veneer Lumber (LVL) members. This creates a “hat” above the main art display blocks and creates open space for large, temporary art to display.

Sitting in an significant historical area, the architecture also aims to establish contextual continuation with the city. “Thee picture window of the uppermost Gallery Tube 3 frames the view to the cathedral, the symbol of Metz, and Gallery Tube 2 frames the central station.” The station was an important part of the city’s history, a monument in the neo-Romanesque style during a period when Metz was under German occupation.

This proposal was the winner of its competition for Centre Pompidou-Metz and was built.

THE “WATER CUBE”

PTW was one of the 10 nominated architectural firms that were invited to join the limited competition to design the 2008 Olympic Swimming Centre. They were confronted by the following major issues: 1. Technical issues including protecting structural elements from a corrosive atmosphere inside.

2. An expectation to do something unique, such as the “bird’s nest” next to it.

Inspired by the soup bubbles form-finding technique, the form of “water cube” is highly efficient and is achieved by an outer skin of steel-framed ETFE membrane surface.

One thing to take away from this architecture is how PTW accomplished structural feasibility AFTER their design was accepted. Their work was a true reflection of contemporary design process, where architects are also software engineers when it is required. The PTW group developed new software to help with the “optimization process” and obtained “remarkably efficient” results which made their whole production process became automated Overall, the “water cube” was outstanding in its structural and architectural performance, taking much benefit of the ETFE material; a material that is much lighter but have better thermol performance than singlep-glazed glass, a material that protects the steel frame from corrosion, and a material that could even clean itself everytime after it rains.

Not only this was one of the most successful example of using innovative material and design process, but it also inspired many architecture that came after it.

Figure. 4. Watercube-6. 4

Figure. 5. Watercube-2. 5

Figure. 6. Watercube-4. 6

A.2. DESIGN COMPUTATION

The Kimbell Museum features its shells which are not only crucial elements for the distribution of light to internal space, but are also lightweight structures and overall a thin piece of curved concrete where it is thicker at the edges and increasingly thinner as it evolves towards the middle, minimising unnecessary material & weight.

Figure. 7. Screenshot from the movie “Louis Kahn Architect�; Kahn trying hard to explain shell structure.

However, for a unique and great mind such as Kahn, it was difficult for everyone to have the same picture as he did in mind and the structural engineer doubted greatly the structural soundness of the shells and suggested altering the shape and increase thickness. For Kahn, this was about changing the architectural language and would have severely damaged the lighting and spatial quality. Luckily, Kahn was able to agree upon some minor changes that did not cause too much destruction on the architectural qualities of the shells.

Not to mention COMPUTATION, back then they did not even have COMPUTERISATION, the way to communicate design is purely based on drawings and the explanation by architects.

If this happened at the digital age, Kahn and the engineer would have been able to run a load simulation to prove the structural soundness.

Figure. 8. Richard. F Brown, the first director of Kimbell Museum, looking at the drawings.

This provided a good reference to reflect upon the benefits of COMPUTATION. Traditionally, the responsibility of architects and structural engineers almost never overlap except when changes must be made during construction, causing lots of confusion even to experienced practitioners. When architects fail to explain effectively, there will be discord. COMPUTATION, on the other hand, have allowed both architects and engineers to work on a project simultaneously, there will be much less confusions since most design and construction decisions are made together.

This saves, time, cost and creates new design discoveries and opportunities because designers now have access to a broader network of knowledge more easily.

Figure. 4. Watercube-6. 4

Figure. 9. Representation of Scale

THE KIMBELL ART MUSEUM

LOUIS KAHN

Figure. 10. Kimbell Museum Entrance

Figure. 11. Exploded axonometic showing a detail of the facade with a double-layer secondary triodesic structure (green and red) as the support structure for the hexagonal panels.1 Using a complex 3-D Modelling computation design process, the FREE (Fernando Romero EnterprisE) group created a complex form where the internal finishes and external panels are connected by struts which each have unique dimensions. This would have presented a serious engineering challenge before COMPUTATION is introduced, but the digital model created by the architects allowed the Structural engineers Arup “to ensure the 26 curving columns and horizontal steel rings lay on the design surface.� as stated by Fernando Romero and Armando Ramos.

Figure. 12. Structural diagram showing the inner columns of the parking grid, the 28 steel columns, concrete belt, seven steel bracings that take the lateral forces, and the concrete core that takees the gravity force.2

Figure. 13. Museo Soumaya (in Polanco, Mexico City) under construction. Architect Fernando Romero.

MUSEO SOUMAYA IN MEXICO CITY The design of this building employed the idea of COMPUTATION for design and construction, which allowed the architects to solve complex architectural and structural issues that may not be possible in the past.

1. A central digital model allowed architects to work simultaneously on different parts of the building.

This reduced cost of time and everyone could gain clear understanding from unique angles.

2. The use of parametric modelling enabled architects and structural engineers to make real-time changes on the central model. This improved efficiency in collaboration.

3. Innitial analysis of the model showed that 16,000 unique hexagonal panels, which resulted in both cost and fabrication issues. Using Gaussian analysis and parametric modelling techniques developed by Gehry Technologies, FREE was able to categorise panels into groups and standardize their dimensions so that fabrication is a lot easier and cost was reduced.

A.3. COMPOSITION/GENERATION

presented at the first conference of the International Association for Shell and Spatial Structures, in Madrid, in September 1959 Heinz Isler introduced three non-conventional form-finding methods for shells, one of which he perceived as the most satisfactory , is the hanging cloths reversed (i.e. fabric forming) method.

He also acknowledged that although this technique can be used directly to form small to medium scale objects, it is not feasible for the long-span shells. However, it can be utilized for their form-finding.

Through out the development of this form-finding technique, Isler realised a few advantages and disadvantages: Advantage: 1. Easy to make rough calculations about the feasibility of models, as Isler himself said: “while walking between my study and the tea room.� This saves much time and helps to make quick and correct form selection.

2. For small to medium scale projects, forms could be directly obtained.

3. Model could be easily adjusted to avoid buckling under compressive stress near the supports where load is concerntrated, whereas traditional geometrically determmined shells, such as hyperbolic paraboloids would necessitate the incorporation of edge beams.

4. Construction, cost, statics.

5. Now standing at the point of 21st century, another advantage would be not requiring computation for this reasonablly complex light shell structure.

Disadvantage: 1. Cannot be used for large scale/very long spans.

2. The shape of model is influenced by fabric weaves and orientation of boundaries. Though this is resolved by using a selected highquality latex rubber membrane which has consistent isotropic properties, this formwork must be removed everytime when an accurate measurement needs to be obtained.

Figure. 14. Highway service area Deitingen south, triangle concrete cupola roofs of the Swiss civil engineer Heinz Isler, built 1968

Figure 15: Latex rubber formfinding model for the Sicli SA factory shell in Geneva (Photograph: John Chilton)

Figure 16: Series of form-finding models for Isler’s standard typically 17.75 or 18.6 m wide x 48 m long tennis hall shells.

(Photograph: John Chilton)

The Olympic Roof built in 1972 is a tensile structure created with form-finding models & numerical calculation method. This project presents not only a high value for studying tensile lightweight structure, but is also a milestone that recorded technical evolutions in architectural/structural design processes.

“At the start of building the engineers registered that the technical models of Frei Otto team could not bring exact data for (all) cutting patterns, which was a crucial problem. Both Argyris and linkwitz delivered feasible computational methods for calculating cable lengths and joint locations.”

After the main architect, Gunther Behnisch’s design was credited as the winning proposal, Frei Otto entered the design team to propose a feasible structural solution for the roof.

Initally, Frei Otto attempted to simulate real-world structural conditions by creating a physical technical model, with not only the size proportional to what would be the real construction, but also a close simulation of the behaviour of cables when they experience change in forces. This cable-net system however, involves tricky decisions on such as the pretension of cables and demands high precision of calculation and engineering. Frei Otto’s physical model for form finding and cutting patterns in scale 1:125 involved inevitable inaccuracies in its making: 1. “Studentsxvii and professionals soldering by hand could easily bring errors of ±1 mm, which projected to about 4 cm in the real structure.”

2. “The ready models had to be measured, a process in which additional errors could possibly occur.”

The main issue caused by this, as quoted before, is inaccuracy in cutting patterns. Klaus Linkwitz, who was responsible for measuring the models suffered from heavy critcism by other design team members for not measuring the models effectively and correctly. Under great pressure, later with his colleagues, Linkwitz developed a computerbased calculation methods and tested on a simple physical model they made. The results was successful and a break-through of the design process was established and Linkwitz was asked to work according to his method.

Considering the design process, the significance of COMPUTATION was recognised and it seemed to be the one that saved the day. However, the following comments by Jos Tomlow should be noted and afterall, it is a successful integartion between form-finding method and computational calculations; “In the course of this design, only in few cases, one could rely on the models of 1:125 since they lacked for other cases a proper dimensional accuracy. However, without the model work, no feasible design for the Olympic roofs would have been thinkable.”

Figure. 17. Small wire model used by Klaus Linkwitz for testing his initial computer-based calculation methods for cable nets in winter 1969/170.

Source: Photo kindly send to the author by Klaus Linkwitz for this article.

Figure. 18. View from ground on air struts in a model of an Olympic Stadium variant at the Institut für leichte Flächentragwerke (IL), now ILEK. Source: Photo Jos Tomlow 2015.

Conclusion - A.3.

We have previously looked at Isler’s geneous work of his hanging cloth reversed form-finding technique, it was only valid for small to medium scale constructions as the requirement for accuracy cannot be fulfilled . Same as that of Frei Otto’s model in this case, though formfinding technique could provide a valid design but becomes inadequate to realise it because the physical model cannot provide accurate enough data for bigger structures.

Hence, the significance of computation was introduced which helped to resolve the engineering crisis in the construction of Olympic roof.

However, the role of computation must be understood more than just a handy tool, its limitations, such as in this case, what Frei Otto has proposed as an most efficient shape was altered in order to obtain structural soundness. Hence, it is important to realise the potential compromisation which computation could cause on architectural language, but then, there is always compromisation no matter what tools we use.

Figure. 20.frei-otto-knotty-architecture

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Thanks for the first 3 weeks of research, I have decided to choose cable-net system and perhaps more focused on but not limited to: the floating compression system. The cable net system is an extremely flexible system to be used as either a stand-alone structure type or used to support existing roof or grid shell structures. They are light and aesthetically appealling because of their thin material bodies and could become almost invisible when high up in the sky. The cable net system has also got a lot of potential for development and can support very large spans. As a representitive of modern lightweight structures, this system uses minimum materials and can be designed to achieve optimum efficiency. This flexible, durable and large structural system could be one of the solution for sustainable living and it could provide some thought on mass dwelling construction for refugees as well as construction for modern livings at rural/natural sites. It is at the front line for innovative designs.

A.4. CONCLUSION

A.5. LEARNING OUTCOME Through researching activties taken in Part.

A., the history of the development of COMPUTATION and its roles and forms in contemporary architectureal design process are reasonably understood, along with the “Algorithmic Sketchbook� excercise, insights and experience about parametric design is gained, together providing a solid knowledge foundation for moving onto Part. B. The studyings I did in the first three weeks of the semester have allowed me to escape from a shallow prejudice which I held towards parametric design in the past. Now, thinking back on the projects I have done before, designing the Kahn boathouse by the Yarra river in particular, computation techniques would have enabled me to more quickly and effectively determine the site contours and use them to assist me in deciding the compositions of the building.

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A.6. ALGORITHMIC SKETCHBOOK

Bibliography: Shigeru Ban, ‘Centre Pompidou-Metz / Shigeru Ban Architects’, archdaily <https://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>[06 March 2018] PTW, ‘Water Cube - National Swimming Cenre’, @ 2018 PTW ARCHITECTS <http://www.ptw.com.au/ptw_project/watercube-national-swimming-centre/>[06 March 2018] Tristram Carfrae, ‘Engineering the water cube’, ARCHITECTUREAU < https://architectureau.com/articles/practice-23/>[06 March 2018] ARCHITECT STAFF, ‘The Kimbell Art Museum: The Original Louis Kahn Building’, ARCHITECTMAGAZINE. COM <http://www.architectmagazine.com/design/buildings/the-kimbell-art-museum-the-original-louis-kahn-building_o>[11 March 2018] Design Computation (Melbourne School Of Design Department of Environments, 6th March) [On LMS] Igor, Fracalossi, ‘AD Classics: Kimbell Art Museum / Louis Kahn’, ArchDaily <https://www.archdaily.com/123761/ad-classics-kimbell-art-museum-louis-kahn>[11 March 2018] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 ‘Museo Soumaya / FR-EE Fernando Romero Enterprise’, ArchDaily <https://www.archdaily.com/452226/museo-soumaya-fr-ee-fernando-romero-enterprise/> [11 March 2018] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘BRIDGING A CULTURE The Design of Museo Soumaya’, Architectural Design, 83, 2, pp.

66-69 Jörg Schlaich, Mike Schlaich, Lightweight Structures [accessed 11 March 2018] Tomlow, J. (2016). Designing and constructing the Olympic roof (Munich 1972). International Journal of Space Structures, [online] 31(1), pp.62-73. Available at: http://journals.sagepub.com/doi/10.1177/0266351116642078 [Accessed 15 Mar. 2018].

Tang, G. (2015). An overview of historical and contemporary concrete shells, their construction and factors in their general disappearance. International Journal of Space Structures, [online] 30(1), pp.1-12. Available at: http:// shura.shu.ac.uk/10729/ [Accessed 15 Mar. 2018].

Chilton, J. (2012). Form-finding and fabric forming in the work of Heinz Isler. icf2012, [online] 8, pp.84-91. Available at: http://www.fabwiki.fabric-formedconcrete.com/lib/exe/fetch.php?media=nottingham:form-finding_and_ fabric_forming_in_the_work_of_heinz_isler.pdf [Accessed 15 Mar. 2018]. Хрюша (2009). Highway service area Deitingen south, triangle concrete cupola roofs of the Swiss civil engineer Heinz Isler, built 1968; Solothurn, Switzerland.. [image] Available at: https://commons.wikimedia.org/wiki/ File:Deitingen_Sued_Raststaette,_Schalendach_01_09.jpg [Accessed 13 Mar. 2018].

Department of Architecture at South Dakota State University (2015). Frei Otto & knotty architecture. [image] Available at: https://doarch152spring2015.wordpress.com/2015/03/13/frei-otto-knotty-architecture/ [Accessed 16 Mar. 2018].w