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CONTENT

A.0 ABOUT ME

A.1 ARCHITECTURE AS A DISCOURSE

A.2 COMPUTATIONAL ARCHITECTURE

A.3 PARAMETRIC MODELLING

A.4 ALGORITHMIC EXPLORATIONS

A.5 CONCLUSION

A.6 LEARNING OUTCOMES

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ABOUT ME

PREVIOUS WORKA.0.

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My name is Shiqi Tang (Sunny), 21 years old. I am an international student who has been in Australia for almost five years. My hometown is Yichang, which locates in the central part of China near the Yangtze River. I finished my high school in Adelaide and now doing architecture in the final year of the bachelor of Environment in Melbourne.

The reason why I love architecture is be-cause I like being rational in the design field. The creation of spatial relationships in a prac-tical way is also attractive to me as it involves consideration of the human beings and the surrounding environment.

I have limited experience with the digital architecture as the outcomes of my digital works let me feel less confident about them. However, with the practices in the past few semesters, I have improved my skills in using AutoCAD, Adobe series and Rhino.

The difficulty that I usually have while I am using digital tools is the lack of creation. This is because of the lack of experiences and experiments of this sort of product. I wish I would enhance my digital skills, especially about Rhino, by the end of this semester.

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ARCHITECTURE AS DISCOURSE

A.1.

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ARCHITECTURE AS DISCOURSE

in the concurrent period. Both of these two elements are important as human being that requires the feelings for designing creates architecture.On the other hand, the delivery of this idea re-quire the technology part to make the design becomes true. Thus, the technology allows the formation of the body and the emotional aspects create the vessels of the inner con-nection. This emotional idea is similar to what Rhichard Williams (2006) suggestes as ‘ar-chitecture as sign’. It is the emotion is a sign of demonstrating the development through the modernis era to the post modernism era as well as the core concers for a particualr society.

Two examples are selected to represent for these core elements. One is from Zaha Had-id’s design and the other one is from last year Pritzker winner, Wang Shu’s project.

My understanding of architecture as dis-course is the representation of ‘zeitgeist‘, that is the ‘spirit of the age‘. Since architec-ture contains a variety of domains, such as social and cultural values and construction technology, the discourse of architecture is concerned differently through each period. Thus, the discourse of contemporary archi-tecture, to me, contains two core elements. There is an innovation for the future as well as the resonating with place and memory.

The idea of innovation for the future repre-sents the movement from the traditional ar-chitecture realm towards a contemporary approached through out the new opportuni-ties offered from the advance of technology and social, cultural values. It challenges the traditional visual culture (Williams, 2006) of architecture in its scale, density, construction methods as well as the emphasis on certain design rules. This idea brings the experienc-es which is something never existed before.

Resonating with place and memory is an-other approach that seems opposite to the innovation. If the first element can be seen as a representation of the hi-tech parts in the contemporary age, this idea would be a representation of the emotion from the past

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ZAHA HADID

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ZAHA HADID

Galaxy SOHO contains the complex of retail, offices and entertainment. The design is in-spired by the grand scale of Beijing, which would focus on forming a new living center in Beijing. The design is a true innovation in ar-chitecture because of the use of curve linear-ity to avoid using sharp concerns and abrupt structure.

Zaha Hadid applied a fluent language to the building structure, which is fulfilled with simi-lar continuing curvy layers. This particular style has raised a debate between the use of hi-tech and the traditional visual culture. As traditional Chinese architecture considers the use of rules and geometrical shapes, the flu-ent structure dose not seems as a part of the surrounding environment.

However it is a rational design structure as each sector of the building generates differ-ent lighting and spatial experiences for the users. The users would gain stronger sense of immersion and envelopment as they enter deeper into the building with the same coher-ent formal logical curvy pathways.

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WANG SHU

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Wang Shu’s design of Ningbo Historic Mu-seum has a strong consideration on the word ‘history’. As historic museum is the place of telling the old story of the place, such strong emotion of link backwards inspired him to search something from the past. Something could represent the resnating with time, place and memory.

The structure of this building is from the tra-ditional Chinese courtyard design, The clad-ding of the building is all from the old demol-ished traditional residential houses from this particular site. Each part of the cladding has its own memory from this land and with the people who has been lived here for genera-tions. Although the overall structure is not belong any of the traditional Chinese archi-tecture, but the memory on every layer of the building does contain the spirit from the past.

This strong link of memory in architecture perhaps is another intricate and important apporach in considering the overall experi-ences for the users under the particular en-vironment.

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COMPUTATIONALARCHITECTURE

A.2.

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Computation architecture is part of the de-sign discourse, which represents sophisti-cated scientific and technological aspects of the design. On the one hand, it promoted the architects to a new and efficient level that sometimes they have to think and represent their works through computer language. This means that at the first place, they have to know how things will work on a computer pro-gram.

On the other hand, it influences the design process that it offers infinite opportunities around a core concept. For instance, if an ar-chitect built by a computer program to solve one design problem, the algorithm behind would assist to explore different outcomes through various modifications (Computation Works, 2013). In addition, it helps design-ers or architects to present their ideas in the way that other related professions would un-derstand. For example, the use of CAD pro-grams to analysis the architect’s idea for the other engineers.

Computerized design is influenced by the in-formation age. Therefore, as a result, the use of computing program is becoming essen-tial in each part of the design process. De-sign is the element connected between the

goals and solutions (Kalay, 2004). Generally, it could be understood as the problem solver.

The real world cases of architecture are always complicated due to geographical, structural, social and cultural factors, computerization becomes very capable to resolve the compli-cated relationships via different approaches of generating and analyzing data. Throughout the computation, all the information would be stored and organized, and everything will be-come related and meaningful. Once as one solution is announced, it will have the poten-tial to offer maximized opportunities as vari-ous outcomes. It is then benefits the solution synthesis decision which more form-driven conceptual design outcome can be achieved. As this is the intuitive process (Kalay, 2004) where all the creative ideas would be gener-ated, computerization assists the highest cre-ative potential that was traditionally limited by structure and construction difficulties.

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FOSTER+PARTNERS

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A recent architecture project in Kazakhstan designed by Forster and partners would rep-resent the idea of computerization design that is particularly related to the use of algorithm. Different parametric is designed to form a dynamic roof structure that also releases the tension forces. This group of designers uses algorithm programs such as Rhino-Script or Visual Basics of Communication to customize the data in the written programs and delaminating different outcomes via the changes of each written codes (Computation Works, 2013).

Looking back to the architecture history, there is a connection between the modern ideas and the contemporary computerized approaches through architecture. One mod-ernist’s idea which connects tightly into the nowadays design would be Le Corbusier’s ‘building as a living machine’. This theory ar-gues the importance of a self-orientated ob-ject that will improve the quality of life. Computation of architecture allows solution for different requirement in daily lives via analysis of series amount of elements and needs under a wield range of disciplines.

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FORSTER+PARTNERS

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FORSTER+PARTNERS

Hence, it is the performance of the building structures that architects nowadays consider the most. Through the customizing of par-ticular environmental and social condition for the particular region in computing programs, performances can be justified by changing each design integrals.

Forster and partners can address an exam-ple through the use of computerization for optimizing energy performances. The overall ‘pebble’ shaped GLA building is designed for maximizing the energy performance by mini-mizing the surface area exposed to direct sunlight. It is suggested that there would be a higher deduction of solar heat gain compar-ing with a cube shape through out the year (Kolarevic, 2003). Although the dynamic form of the building is not welcomed through a tra-ditional visual culture in London, the achieve-ment in promoting a performance driven ar-chitecture is another ideology that should be considered under the architecture discourse.

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PARAMETRICMODELLING

A.3.

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PARAMETRICMODELLING

Parametric modeling represents the change of using computerized design in architecture. It is not only a computation based new tech-nology introduced in the design field, but it also provides entire new versions in both pro-gressive stages and final outcomes for archi-tecture design.

The idea of parametric modeling represents a union design idea (), which cover up vari-ous design-related disciplines. For example, when we use grasshopper to generate a Vo-ronio 3D mesh on one surface, the property of the surface, no matter it is formed from single points or different curves, is connected to few other parameters, for instance, the di-vision tab or the Voronio 3D mesh tab. Thus, the outcome of the design is a union that con-tains all different parameters.

It is a continuing and corresponded object in considering the outcome of the parametric modeling (Schumacher, 2010). For example, when you change the property of one single parameter, the other associated parameters require adjustment to finalize a new out-come. Additionally, all these parameters are hold by one major principle that would ensure the consistency in the overall progress.

However, there are some potential disadvan-tages in dealing with parametric modeling. The first is the development of a complicated database. In reality, considerations of the surrounding social and urban environment require variety of investigations and analysis. In order to produce an optimal design out-come, maximum information would be input into the database. Although it is a very coher-ence program, any corresponded changes within the program will decrease the efficien-cy and will require sophisticated checks as soon as the new outcome is released.

Moreover, as most of the program is from mathematic base like algorithm, the calcula-tion process would reduce some humanism elements. The outcome of this can be treated like a machine rather than a coherent artistic design object. This is then becoming a bar-rier for designers who are willing to be cre-ative for no restrictions. The aesthtic part of the parametric modelling is qiute limited and most people find this is very distracting.

Despite the negative side of this new technol-ogy, the effeciency and benefites provided by this will contiune encouraging the develop-ment and application in architecture.

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TOYO ITO

An example that has a strong link to the parametric idea is the Taichung Metropolitan Opera House, designed by Toyo Ito. Toyo Ito believes that architecture has to follow the diversity of society, and has to reflect that a simple square or cube cannot contain that di-versity. In order to consider the coherent use of the projects and the surrounding environ-ment, the idea of the opera house is based on a continuous network via using curvy lines in both horizontal and vertical directions that will result different sectors to suite variety of purposes. The continuing curvy sponge-like shape is undertaken through a series of parametric modeling, which the actual layers

of the structure will be constructed largely through meshes of steel beams (design-boom, 2013).

The parametric modeling is considered un-der a series of grid system driven from both 2D plans and 3D spatial arrangements. The design was driven by the ‘emerging grid sys-tem ‘(open building, 2013), which is based on the functional layout through a 2D draft-ing analysis. It is then developed in to a 3D object through the use of parametric tools that allows the use of mesh parameter to create different curve surfaces. Although all the inner spaces are allocated into different

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sponge-like cells, it does seem like connect-ing into the whole building environment.

The parametric modeling provides the op-portunity for the emerging of each space in a less rational way that also aids on reduc-tion of the traditional cubic feeling. Another crucial advantage of this design is the em-bedded fluent and continuing elements within the journey throughout the whole structure. According to the curvy shapes and the fluent connection among functional rooms, this de-sign provides a more smooth experience for users when they are actually walking around. Avoiding abrupt corners generates the en-

gagement for both spatial and functional considerations in a ‘parametric sense’ that everything is controlled by the grid system and all activities can communicate with each other (Schumacher, 2010).

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ZAHA HADID

The continuing and endless curves from both horizontal and vertical layers are lead-ing towards several mystery points. Due to the use of the smooth and continuing curves, all functional spaces within the building are all jointed together by layers of the horizontal structures. There is no stop for one particu-lar point within the room, all the walls, and ceilings even the doorways and windows are formed freely, which is like invitation for fur-ther exploring. If the idea of using cubic objects in design is considered as isolation, this parametric idea is then becomes a creation of connection. If there were no any parametric modeling tool,

The idea of ‘smooth’ (Schumacher, 2010) is visually maximized in Zaha’s design of the Roca London Gallery. The original idea was inspired by ‘water’. As water contains optimal adaptability towards the changes and inno-vations, it is then selected as a core concept for this gallery design.

On the one hand, the idea of smooth ma-nipulates the ‘water-shaped’ pattern in order to generate the journey within the art gallery. On the other hand, this smooth concept also brings a completely new vision for the interior spaces.

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this design would like an impossible mission to form.

However, the idea of Zaha’s soft environment cannot be expressed strongly through the 2D floor plan. Because the overall range of dif-ferent spaces is still a very square shape. It is unlike Toyo’s design that is formed origi-nally from several floor plans’ arrangements. The soft and curvy environment is more pro-nounced in both 2D and 3D outcomes from Toyo’s Opera House, comparing with Za-ha’s Roca London Gallery. The main differ-ence between Zaha’s parametric design and Toyo’s is from the beginning of the concepts.

The inspiration of water is already a 3D vi-sion. However, Toyo used parametric model-ing as a tool to form the finalized 3D outcome.

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ALGORITHMICEXPLORATIONS

A.4.

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CUBE TO MESH

TUBE TO MESH

MESH TO QUAD TOFACEBOUNDARY

MESH TO QUAD TOFACEBOUNDARY TO VORONOI 3D

Explorations of generating different patterns in both 2D and 3D ways are the most inter-esting parts I found out during the algorithmic workflows within Grasshopper.

First it is about using the mesh geometry tool. At the beginning, experiment the mesh ge-ometry for cubic shapes was not very chal-lenge. The weld mesh tab helps to connect each mesh points tightly thus less gaps or overlaps would be generate after the new shape is created.

When I switched to use another geometric shape, I experienced several difficulties. As it was formed by one tube element at the bot-tom and one straight pipe element attached on top of it. The surface is already in a very smooth condition. There might not be any new changes for this shape if I am going to use the same method for it. After I apply the same BREP mesh and the MESH VELD VERTICALS bars, there was no evidence of refining a new mesh surface on the screen.

I then started to explore some other param-eters under the mesh column which would help to create some different mesh surface for circular shapes. The results of using other tool bars such as QUADRANGULATE as well as FACE BOUNDARY are more evident in a circular shape. As the face boundary tool di-vide the geometry into new QUADRANGU-LATED elements, other mesh tools such as VORONOI 3D is then used to construct a new mesh.

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This exploring of the new technology and refining the optimal options are the two cru-cial focuses for the upcoming major gateway project. Although these processes looked like some playing around with the different mesh tool bars, I did learn how the Grasshopper actually works. Especially when you are try-ing to exploring a new outcome on one of your tool, it would be handy if you fully un-derstand what kind of properties the current outcome has. If there is a variation with the outcome you have and the new effect you are willing to add on, you must take another con-siderations of transform the language in be-tween. For example, in this case, if you want to transform a face boundary outcome to loft, you won’t be able to do so as the outcome of a face boundary is a list of different points, whereas, loft require a list of curves to con-nect with.

This Grasshopper feature also emphasizes the importance of creating language to form a unique, continuing and corresponded pro-gram for any future additions or corrections. It also proofs the previse argument about the three main advantages of the parametric modeling. As the image demonstrated in this section, not many of the parametric forms are in a favor of aesthetic. As grasshopper is a fixed program, you cannot actually change the way you want the result to be. Variations can be made within different custom setting tool bars or number sliders, but it is very pri-mary in considering what the design effects would be. Further tutorials are required to be undertaken in order to gain more knowledge about the relation between the program and the design outcomes.

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CONCLUSION

A.5.

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CONCLUSION

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LEARNING OUTCOMES

A.6.

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LEARNING OUTCOMES