Part a submission weijia pan(634027)

AIRARCHITECTURE DESIGN STUDIO

ABPL30048 / SEMESTER 1 / 2015Tutor: Bradley EliasStudio Group 13634027 – Weijia PAN (Jessie)

TABLES OF CONTENTS

1 Introduction

Part A: Conceptualisation

4 A.1. Design Futuring10 A.2. Design Computation16 A.3. Composition/Generation21 A.4. Conclusion21 A.5. Learning Outcomes22 A.6. Algorithmic Sketches23 References

INTRODUCTION

1 Introduction

My name is Jessie. I am a third year Bachelor of Environments student at the University of Melbourne, major in Architecture. And I am also an international student coming from China. My initial experience about architecture started early in my childhood since my dad is an architect in China. I got many opportunities to look at how my dad working on his projects and to talk with him about the buildings whenever we travelling to a new place. Hence, I was gradually interested in building design and made the decision to study the architecture major.

For me architecture has a very close relationship with both the nature where it sit, and people who are going to use it. Personally, I like focusing on the spacial organization regarding to the change of topography as well as how to attract people to engage with the building. This was much expressed in my design works for both Earth and Water Studio.

Even though I have already been to Melbourne for 4 years, my study back to my hometown still has a great impact on the ways of my understanding and thinking, which in fact limited my imagination and creativity. Throughout my first 2 years in University, my weak points were always at the beginning of a project and how could I effectively answering the design brief. I hope I can improve this a lot in the following studies.

My experience with digital designing is quite limited as I wasn't able to improve my skill in Rhino at my 2nd year. My main practice with Rhino was during the study of Virtual Environments, which require us to design and make a lantern using Rhino and the plug-in Panelling Tools. Therefore, I am looking forward to revisiting Rhino and studing a new plug-in, Grasshopper, in the Studio Air, which I imagine would allow me to generating more solutions and help me in capturing and communicating ideas.

Introduction 2

PART A. CONCEPTUALISATION

“In the past, design was about the form and function of things. These features, which were limited in space and time, could be delivered in a fixed form, such as a blueprint. In today’s ultranetworked world, it makes more sense to think of design as a process that continuously defines a system’s rules rather than its outcomes.”[1]

A.1. Design Futuring

Conceptualisation 4

would be able to contribute to the thinking about future possibilities while also raise the awareness of our actions.[3] Technique involved, which is the process of design computation, could easily help the designer to generate arrays of outcomes; and by testing and cultivating these outcomes, the final solution is going to be more efficient and fit to the existing context. In this case, design computation changes the way we think and design as we no longer focus on the style, but rather trying to discover what is really benefit to the social community.

Overall, the future is reminding us the importance of balancing the relationship between nature and human system. To actively achieve a better future life, design becomes the leading role in improving the world. And it needs to be 're-directed' and re-defined towards a sustainable future.

As the city is developing and the population is growing, there are even more concerns that have been raised by the citizens, questioning whether we are going to have a future life better than the past. The critical condition nowadays is the environmental issues following the rapid growth of the city, for instance the shortcomings in the resources and massive problem, that lead to a result of 'defuturing condition of unsustainability'.[2] Just as what Fry claimed in his book 'Design Futuring', it is really the moment, that we, human beings, must be serious to the defuturing issue and start to take responsibility for our behaviours.

In particular for designer, the understanding of the future suggests the way towards the more sustainable and intelligent solutions. It is pointed out by Dunne and Raby in 'Speculative Everything', that critical design

A.1.1 Precedent Project #1

5 Design Futuring

BMW WeltCoop Himmelb(l)au

Munich, Germany, 2007

For the proposal of designing a car delivery centre, the Coop Himmelb(l)au firm was paying a lot of attention in dealing with the building performance in order to provide a sustainable building system, which is an well-being solution that expand the future possibilities in architectural design.

As described by the BMW Group, the BMW Welt unites the design and function in an equal manner.[4] What the architectural team was trying to do during the design process is to make every part of the building contribute to the building system in operation, rather than built only for an aesthetic purpose. For instance, one of the main ideas was about integrating

the PV system on its large flat roof; the total amount of solar modules is up to 3660.[5] Solar energy would be distributed throughout the building for heating.

Nature ventilation is another key aspect in BMW Welt as there would be a considerable amount of exhaust gases from the cars when the building is in use. Therefore, architects designed the facade to be able to net the solar energy for contributing to the ventilation. This is further operated by generating the natural air via the thermal currents, as well as the wind pressure and turbulences when air accumulates in the area of the facade and roof projection.[6] The adjustment of air intake and outflow was automatically

Fig. 1.1

Design Futuring 6

controlled through vents, at the same time, Vegetation near ventilation elements helps bind dust year round and generate a cooling effect during the hot day.[5]

The structural design of BMW Welt represents a significant emphasis on the building performance in modern architecture. It suggests an environmental building system that benefit to both the nature sustainability and human activity within the architecture, which elevates the idea of 'Design Futuring'.

Fig. 1.2


7 Design Futuring

Centre PompidouShigeru Ban

Metz, France, 2010

Designed by Shigeru Ban, the Centre Pompidou-Metz is an art museum that features modern and contemporary arts for exhibition. It was designed and constructed for a purpose to display more arts to the public and to be able to show the very large works that cannot be stored in the Paris museum due to the height restriction.[7] Therefore, Ban was considered to design a large continuous space by emphasising on the vertical circulation using three tubes, which jumps out of the radical idea to be a high-rise building.[8] Also, the design achieves both functional and aesthetic outcome, neither as a sculptural nor an industrial architecture, which indicates a new concept for design of art museum.

The most remarkable part of this building should be its roof structure, an inspiration from Frei Otto’s grid-shell, which provides a possibility to generate a continuously curved roof that enclose the column-free exhibition spaces.[7] The advantage of this light-weight structure is that it is able to largely reduce the amount of material required yet still strong and stable enough to support the roof cover. And the use of laminated timber for the entire shell effectively reduces the embodied energy and offers more flexibility. The realization of the design involves the cooperation with the engineers, relying on computer modelling and CNC fabrication.[8]

Fig. 1.3

Design Futuring 8

In this project, Ban shows his interest in timber shell structure, which in fact was also investigated in some of his other works. It is a good approach towards the sustainable result and provides the future possibility of discovering the intelligent building systems.

Fig. 1.4

“Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. ”[9]

A.2. Design Computation

Conceptualisation 10

It is predictable that over the past few decades, technology was becoming one of the dominant forces that changing people's life and driving the further progression of the world. It plays the role in more and more disciplines including social, political and economic. In particular for design, computation has experienced the increasing importance in generation and performative form finding.[10] Pointed out by Oxman, the rise of the parametric design and algorithmic thinking creates a new form of the logical design thinking, which not only sets the rules and algorithms for experimental design, but also allows the high level of generative variability in performance.[10] In this case, computation acts as the "analytical engine" that integrates the conception and production in order to provide the logic conclusion quickly.[11] At the same time, it contributes to the problem- solving by formulating the goals in response to the context of the design problem, described by Kalay as "puzzle making",[11] and helps in understanding the potential limitation of the project.

The contemporary architecture also gets the benefits from computation during the design process, defining architectural theory as a digital continuum of material culture and fabrication design.[10] It is about the creation and modulation of tectonic systems. And also, through the process of formulating ideas based on design computation, the collaborative design relationship between architects and structural engineers has been strengthened, and further contributes to the communication with the builders and clients.[11]

Furthermore, design computation suggests the future possibilities in design, the critical idea about sustainability. The digital morphogenesis technology has been used a lot to combine with the performative simulation in order to analyse the nature ecologic system and generate the most efficient and suitable solution for the social community.[10]


11 Design Computation

ICD/ITKE Research Pavilion 2010Menges, Achim

Stuttgart, Germany, 2010

In many architectural cases, the digital design processes only perform as a tool of representing the geometric shape. It seems that many of them failed in determining the most significant role of design computation. In fact, the physical world indicates the importance of the material culture as well as its influence in the form generation and fabrication that architects need to pay attention to.

However, this architectural precedent, Research Pavilion 2010, demonstrates a material-oriented computational design, in which the material characteristics and physical forces mostly lead to its geometric outcome.[12] The computational process started from a very small perspective, which is the material, the plywood strips. By simulating the planar elements through the algorithmic modelling process, the architects were trying to analysing the elastic bending behaviour of the plywood strip and collecting the relevant geometric information within the complex composition in order to modify the overall shape under the force.[12] In this case, the whole process is like a chain that in specific, the property of a single strip

Fig. 2.1

Fig. 2.2

Design Computation 12

Fig. 2.3

affects the structural capability of the system when it is in composition with other neighbouring strips; as a result, this finally determine the position of the connecting points, the different strip patterns and mostly importantly, the final outcome of this light weight system.

Overall, this precedent is effective in showing the proposition of discovering the computational design in a material-based perspective. It indicates the possibility of involving an algorithmic logics throughout the entire process, including computational design, parametric modelling and production in architecture, which makes the design more feasible and responsive.[13]


13 Design Computation

Landesgartenschau Exhibition HallICD/ITKE/IIGS University of StuttgartStuttgart, Germany, 2014

The Landesgartenschau Exhibition Hall is a typical precedent that indicating the development and application of computational design in contemporary architecture. Constructed entirely by a robotic pre-fabrication system, it was designed to be material and fabrication oriented,[14] which discovering the new design possibilities in creating such a complex plate structure. At the same time, the use of locally available material, beech plywood, for its entire primary structure achieves higher degree of morphological differentiation in material efficiency and expressive architectural form.[15]

As the architects described, this project was made possible through the integration of "computational design, simulation, fabrication and surveying methods".[15] Initially, the computational design and simulation successfully worked out the performative paradigm through an algorithmic modelling process that dealing with the material characteristics and fabrication parameters. As the pre-fabricated computation allows the free

Fig. 2.4

Fig. 2.5

Design Computation 14

Fig. 2.6 imagination during the design process, architects were able to create more innovative and inconventional outcomes. Afterwards, the main focus shifted from the geometry generation to the digital fabrication and assembly. This fabrication took three weeks, producing all 243 geometrically differentiated beech plywood plates, the insulation, waterproofing and cladding, as well as the 7600 individual finger joints as interlocking connection.[15] These individual elements were then set up on site and finished only in four weeks, following the structure analysis for its long-term behaviour.

The success of this case based on the computational design shows an interdisciplinary cooperation between architects, structural engineers and timber manufacturers.[15] It illustrates the future possibilities of translating the material language into an effective building system as a pattern of the nature world.

Fig. 2.7

“This hasn’t simply transformed what we can design – it’s had a huge impact on how we build. ”[16]

A.3. Composition/Generation


It is believed that the role of computation in architectural practice has gone beyond as just a simple digital tool, but rather, become more and more involved in architecture as the actual design process or a design method. Nowadays, the application of design computation is widely expressed in many architectural precedents; it provides the inspiration when dealing with a highly complex situation while also enables the new ways of thinking.

Generation, as the key aspect in design computation, allows the increasing capability of alternative solutions by working with the scripting language, for instance, Rhino and Grasshopper. It is flexible since it adapts the ability to accommodate change through the changing parameters in algorithm,[16] which itself performs as a model that creating an open system to manipulate. Within the generative design system, the code would be shared, simulated and analysed in order to explore the new options that relating to the future design

potentials.[16] These outcomes are responsive because they are generated from the performance feedback and reflecting the improvement for better communication.

As suggested, an algorithm is tell about "how the function is computed, rather than what the function is".[17] Hence, the generative design would focus mostly on capturing the experimental processes in discovering the parameters that contributes to the building formation. In this case, while it is able to allow the changes happen during the practice, it also has the limitation of the association with the geometry, as all the scripting languages was clearly written and operated by the computer.


17 Composition/Generation

Khan Shatyr Entertainment CentreFoster + PartnersAstana, Kazakhstan, 2010

Khan Shatyr Entertainment Centre is described as the tallest tensile structure in the world.[18] The realization of this structure is significantly based on the integration of design computation, in specific, the process of generative design with form-finding algorithm, which effectively provided the arrays of design options for its primary cable-net structure.[16] And also, the algorithm simulated part of the parametric model, which helps the architectural team to develop and define the efficient roof system. On the other hand, this lightweight cable roof is hung from the tripod, structuring all the cables in tensional force and allowing the flexibility of small movement under the impact of natural forces, such as wind and snow loads.

Inspired from the traditional yurt structures, the vast spanning cable roof provides a very efficient way of enclosing a large space.[19] It also performs in sheltering from the extreme local climate by cladding in ETFE, while the translucent canopy is able to allow the nature light into the interior.[18] In this case, computational simulation creates more responsive design, allowing the analysis of architectural decisions on its building performance.

Fig. 3.1

Composition/Generation 18

Fig. 3.2


19 Composition/Generation

Serpentine Gallery Pavilion 2002Toyo Ito + Cecil Balmond + ArupKensington Gardens, London, 2002

The serpentine Gallery Pavilion 2002 is a great built example in showing the application of algorithmic approach in architecture design. The exterior of the pavilion appears to be an extremely complex random pattern, but in fact was generated through a well defined algorithm.[20] Initially, the modelling started from a simple cubic shape; by rotating and scaling a series of squares across the central axis, the numerous triangles and trapezoids are generated from the intersecting lines.[21] These lines are then folded logically over the cube, defining its structural elements. And as a result, there is no clear distinction

Fig. 3.3

Composition/Generation 20

Fig. 3.4

between the envelope and building structure.

In this precedent, the interpretation of algorithm was mostly dealing with the generation of the skin patterns. Even though the basic form of the building is simple, the use of algorithm is still able to enrich the context of the building. This seems to be a quite different approach of generative design compared to the previous precedents. It indicates another practice of using algorithm mainly for creating the aesthetic patterns rather than modelling of complex building structures. However, the benefit of generative design is even more obvious in this case, as it shows how architectural details could be explored from algorithm in relation to its function and built environment.

A.4. Conclusion

21 Conceptualisation

A.5. Learning Outcomes

In general, PART A: CONCEPTUALISATION, establishes a very systematic approach in discussing the theoretical background of the implementation of computation in architectural practice. This concept was initially introduced through the study of design futuring, which illustrated the present shortcomings in our social community and suggested the potential trasition in design discipline towards a more sustainable outcome. As a result, computational approach gradually expresses its advantages in discovering an intellegent building system. It redefines the practice of architecture as a process or performative generation rather than just a project. In this case, computation design enables a set of alternative solutions that generated through the parametric modelling, and by testing and analysing them against the constraints, the final solution would be most suitable for human comprehension in the contextual response.

I think this three weeks study on the theory of computation is quite helpful for me to get into this subject and open up my mind. Basically, from the lectures and readings, I got a general understanding of what the computation is and why it is important in design, as well as how it works to manipulate the most efficient form. These theories were then becoming more practical when we were encouraged to discover how it actually performs in the existing architectural precedents. From those cases, I have realized the shift in contemporary design thinking from a form-based design to an algorithmic process of generation, which is a quite new approach to me since I used to start generating ideas from the geometric form. And it is interesting to see such an algorithmic modelling process contributes to the design outcome that is both flexible in its form and logical in its structure. In addition, learning from the online tutorials about the softwares was the most direct way in building up my ability in design computation.

A.6. Algorithmic Sketches


National Stadium in Beijing, China

The initial NURBS surface is the illustration of the very basic form the National Stadium in Beijing. By integrating the OcTree commend learned from the online tutorial, the curved surface is able to be translated into set of variable boxes. This exercise shows the foundamental idea about algorithm in design computation.


REFERENCES1. Thackara, John (2005). In the Bubble: Designing in a Complex World (Cambridge, MA: MIT Press), p. 224.

2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16.

3. Dunne, Anthony & Raby, Fiona (2013). Speculative Everything: Design Fiction, and Social Dreaming (MIT Press), pp. 33-45.

4. BMW Group,"The BMW Welt Architecture," <http://www.bmw-welt.com/en/location/welt/architecture.html> [accessed 12th March 2015].

5. Kriscenski, Ali (2007). BMW Welt: Solar-powered Masterpiece in Munich,< http://inhabitat.com/bmw-welt-solar-powered-masterpiece-in-munich/> [accessed 12th March 2015].

6. ArchDaily, "BMW Welt / Coop Himmelb(l)au",<http://www.archdaily.com/29664/bmw-welt-coop-himmelblau/> [accessed 12th March 2015].

7. ArchDaily, " Centre Pompidou-Metz / Shigeru Ban Architects",<http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects/> [accessed 12th March 2015].

8. ArchDaily, "The Architecture of Pompidou Metz: An Excerpt from 'The Architecture of Art Museums - A Decade of Design: 2000 – 2010″,<http://www.archdaily.com/507596/the-architecture-of-pompidou-metz-an-excerpt-from-the-architecture-of-art-museums-nil-a-decade-of-design-2000-nil-2010/> [accessed 12th March 2015].

9. Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10.

10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10.

11. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25.

12. ICD, " ICD/ITKE Research Pavilion 2010", < http://icd.uni-stuttgart.de/?p=4458> [accessed 14th March 2015].

13. ArchDaily, "Defining a More Purposeful Architecture: A Guide to Current Architectural Trends",<http://www.archdaily.com/585599/defining-a-more-purposeful-architecture-a-guide-to-current-architectural-trends/> [accessed 14th March 2015].

14. Lisa, Ana (2014). Robots Built This Peanut-Shaped Geometric Building From 243 Prefab Wood Panels,<http://inhabitat.com/stuttgarts-geometric-landesgartenschau-exhibition-hall-is-made-from-243-prefab-wood-panels/>, [accessed 15th March 2015].

15. ArchDaily, "Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart",<http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart/>[accessed 15th March 2015].

16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15.


17. Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12.

18. Mills , Joe (2010). "The Khan Shatyr Entertainment Centre by Foster + Partners",<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-foster-partners/> [accessed 19th March 2015].

19. BuroHappold Engineering, "KHAN SHATYR ENTERTAINMENT CENTRE",< http://www.burohappold.com/projects/project/khan-shatyr-entertainment-centre-224/> [accessed 19th March 2015].

20. ArchDaily, "Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup",<http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/> [accessed 19th March 2015].

21. Rita Margarida Serra Fernandes (2013). " Generative Design: a new stage in the design process",<https://fenix.tecnico.ulisboa.pt/downloadFile/395145541718/Generative%20Design%20a%20new%20stage%20in%20the%20design%20process%20-%20Rita%20Fernandes-%20n%C2%BA%2058759.pdf> [accessed 19th March 2015].

IMAGE REFERENCESFig. 1.1BMW Group,"The BMW Welt Architecture,"<http://www.bmw-welt.com/welt_rb2012/_common/_shared/location/welt/img/architecture/architecture_statics_1159848.jpg> [accessed 12th March 2015].

Fig. 1.2ArchDaily, "BMW Welt / Coop Himmelb(l)au",< http://www.inhabitat.com/wp-content/uploads/bmwweltbuilding34.jpg> [accessed 12th March 2015].

Fig. 1.3 ArchDaily, " Centre Pompidou-Metz / Shigeru Ban Architects",<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/03/53324e2ec07a80cb6b00008f_centre-pompidou-metz-shigeru-ban-architects_pompidou_metz_292-530x353.jpg> [accessed 12th March 2015].

Fig. 1.4 ArchDaily, " Centre Pompidou-Metz / Shigeru Ban Architects",<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/03/53324e78c07a808489000088_centre-pompidou-metz-shigeru-ban-architects_pompidou_metz_319-530x404.jpg> [accessed 12th March 2015].

Fig. 2.1ICD, " ICD/ITKE Research Pavilion 2010",<http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_05.jpg> [accessed 14th March 2015].




Fig. 2.5ArchDaily, "Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart",<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53ab660fc07a80e73200012c_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_rh2276-0037-530x396.jpg> [accessed 15th March 2015].

Fig. 2.6Winston, Anna (2014). WinstonLandesgartenschau Exhibition Hall is a plywood pavilion made by robots,<http://static.dezeen.com/uploads/2014/06/Landesgartenschau-Exhibition-Hall-at-University-of-Stuttgart_dezeen_sqa.jpg> [accessed 15th March 2015].

Fig. 2.7ArchDaily, "Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart",<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53ab68b0c07a80e73200013c_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_diagram_-2--530x353.png> [accessed 15th March 2015].

Fig. 2.8ArchDaily, "Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University of Stuttgart",<http://ad009cdnb.archdaily.net/wp-content/uploads/2014/06/53ab66eec07a8037b3000149_landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart_laga_306_interior-north-530x837.jpg> [accessed 15th March 2015].

Fig. 3.1Mills , Joe (2010). "The Khan Shatyr Entertainment Centre by Foster + Partners",<http://static.dezeen.com/uploads/2010/07/dzn_Khan-Shatyr-Centre-by-Foster-+-Partners-3.jpg> [accessed 19th March 2015].

Fig. 3.2Mills , Joe (2010). "The Khan Shatyr Entertainment Centre by Foster + Partners",<http://static.dezeen.com/uploads/2010/07/dzn_Khan-Shatyr-Centre-by-F.jpg> [accessed 19th March 2015].

Fig. 3.3ArchDaily, "Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup",<http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/51423db9b3fc4bd202000043_serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup_3-iii-528x291.jpg> [accessed 19th March 2015].

Fig 3.4ArchDaily, "Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup",<http://ad009cdnb.archdaily.net/wp-content/uploads/2013/03/51423dcfb3fc4b43eb00005a_serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup_11-iii-528x261.jpgg> [accessed 19th March 2015].

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Part a submission weijia pan(634027)