STUDIO: AIR

SIYU LI

2013

CONTENTS

PART A. EOI I: CASE FOR INNOVATION

A.0.0 INTRODUCTION

A.1.1 ARCHITECTURE AS DISCOURSE

A.1.2 CHURCH OF LIGHT

A.1.3 NINONGBO HISTROICAL MUSEUM

PART A. CASE FOR INNOVATION

A.0.0 INTRODUCTION

This is my third year in university, but second year of studying architecture major subjects. I was born in China, and this is my fifth year in Melbourne. I like drawing since I was young, and it is the initial push for me choosing architecture as my major. However, architecture is more complex than just drawing some pretty things and it is difficult to learn.

My experience with digital tool is few. I leaned Rhino from a subject named Visual Communication. And some experience with AutoCAD as well. The digital tools did not help much in my past “architecture learning experiences”. And I believe after I go through Studio Air, they will become the very important part of my architecture learning process.

A.1.1 ARCHITECTURE AS DISCOURSE

Before I really get into this course, I am just like one of the people that Richard Williams talked about in his article (Richard, 2005), regard architecture as art. But when I learn more about architecture, I realized that it is not just about art, but multi-discipline and more and more related to digital tools. By using Williams’ words again, architecture is discourse (Richard, 2005).

The topic we are dealing with this week is “architecture as a discourse”. Architecture is never simply one thing, but crosses many different fields to become to something. Back to the ancient time, architecture is just a thing with 4 basic elements: hearth, roof, enclosure and roof. As our civilization developed, architecture starts to relate to many other aspects. During the Roman civilization, architecture starts to show power of the emperor, for example the Triumphal Arch. If we look close to today, architecture is significantly related to our urban development, for example the urban sprawl issue in Melbourne. Architecture is not just about the building or design concept, but it actually impacts the surrounding environment and the society. As Richard Williams suggests in his article that architecture is something in which all can participate (Richard, 2005, pp108).

A.1.2 PRECEDENT PROJECT

Church of Light is my one of my favorite architectures. It is located in a residential suburb in Ibaraki, Osaka, which is a typical Japanese urban environment. Ando uses the simple rectangular boxes and some panels (fig. 1.1) to play with light and shadow to create a space with very special atmosphere. The fundamental layout of the church responses to architecture as discourse, as it contributes to the external environment and uses the natural light to divide and emphasis the space. As a Christian church, it also shows its original intension through its structure and layout. The cross-shaped opening is the best explanation of its function and character (as a church). The light and shadow that created by the concrete panel are powerful (fig. 1.2). The sense of lightness and darkness purely shows in the church. Architecture transmits information, and creates feelings as well. And it also shows the special Japanese architecture characters such as minimalism, connected with nature and ZEN spirit.

Minimalism crosses many fields, and in Architecture field, Tadao Ando is one of the critically acclaimed minimalist architects. The materials that used in the church emphasize the minimalism character. Concrete panel with no ornament and the only decoration comes from the natural light. It looks simple, but all the aesthetic aspects all hidden in the details as Andrew Kroll says in his article, “ As a modern, minimalist structure the Church of the Light emits an architectural purity that is found in the details” (Andrew Kroll, 2011).

Nature is always a part of Japanese architecture. Tadao Ando as well has concerns with connecting nature to the church. He put the green in the detail (fig. 1.3). Everything within the church seems to be meticulous and organized. This kind of attitude may belong to the ZEN spirit.

CHURCH OF LIGHTArchitect: Tadao Ando Location: Ibaraki, Osaka, JapanProject Year: 1989 (second phase 1999)

FIG. 1.2 cross-shaped opening

Church of Light is one of Tadao Ando’s signature architectural works, and it is also the example of architecture as discourse. It shows how different characters, parameters and elements can mix together to form an architecture which is not only an architecture but a representation of architect, environment, and culture.

FIG.1.1 simple box forms a special space

A.1.2 PRECEDENT PROJECT

NINGBO HISTORICAL MUSEUMArchitect: Wang Shu Location: Ibaraki, Osaka, JapanProject Year: 1989 (second phase 1999)

Ningbo Historic Museum is another favorite project of mine, and I am also proud of Wang Shu who is the first Chinese Pritzker price winner. The overview of Ningbo Historic Museum is like a segment of a mountain sits on a rectangular box. This simple shape does not associate with anything, but it is stately and powerful. The south façade of the museum is totally a 2D vision (fig.1.4), which is like a picture of abstract Chinese mountain. This is the first cultural element that Wang Shu gives to the building. And also considering with the responses of people, he lowered the height of each corner (Wang Shu, 2009). He treats the whole architecture as a picture, and concerns the view from each site. In Wang Shu own words, he wants to differ the meaning of “form” in Western and Eastern culture. Western architects usually emphasize the shape of a architecture, but he likes to emphasize the meaning of the form. He also referred to many Chinese classical landscape

FIG.1.4 south facade of the museum

FIG.1.5 claasical landscape picture sense

FIG.1.6 lacally salvaged materials

drawing (fig.1.5) and classical poem, and this is the second cultural elements that Wang Shu added into the museum (Wang Shu, 2009). The material of this building is impressive. It emphasizes the “the new regional style” (Karissa Rosenfield, 2012). Both Ningbo Historic Museum and Ningbo Museum of Art are constructed of locally salvaged materials (fig. 1.6). Those salvaged material represents the change of a city. That is the third thing that Wang Shu put into the Museum. Wang Shu’s architecture is really a explanation of Architecture as Discourse, and it successfully incorporates multi-social, cultural, aesthetic, and also local elements in one piece of work.

Andrew, Kroll (2011). ‘AD Classics: Church of the Light / Tadao Ando’, in Archi Daily. Viewed 28th March, 2012, < http://www.archdaily.com/101260/ad-classics-church-of-the-light-tadao-ando/>

Carlos, Zeballos (2010). ‘Tadao Ando: Church of Light’, in My Architectural Moleskine. Viewed 28th March,2012. http://architecturalmoleskine.blogspot.com.au/2010/10/tadao-ando-church-of-light.html

Karissa, Rosenfield (2012), WSJ names Wang Shu “Innovator of the year 2012”, in Archi Daliy. Viewed 29th March http://www.archdaily.com/286944/wsj-names-wang-shu-innovator-of-the-year-2012/

Wang, Shu (2009), Zi ran xing tai de xu shi yu jihe, Nibong bo wu guan zhuang zuo bi ji (xia). Time+ Architecture Magazine, 2009, vol.3.

Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116.

Yan (2012), Ningbo Historical Museum/ Wang Shu, in ikuku.cn, viewed 29th March 2012 http://www.ikuku.cn/697/%E5%AE%81%E6%B3%A2%E5%8D%9A%E7%89%A9%E9%A6%86%E7%8E%8B%E6%BE%8D.html

REFERENCE

FIG.1.3 natural aspect of church of light in detial

A.2.1 COMPUTATIONAL ARCHITECTURE

Designing process can be associated with a problem solving process. The innovation of computation aid tool is helping the designer solve the problem faster and more efficient.

Firstly, the computation tools provide us a “design space” (R.F. Woodbury & A. L. Burrow, 2005). It is just like a piece of blank paper, but it has unlimited boundary and it allows design actions happen inside the space. Design actions occur base on the past experiences of the designer, therefore, the senior design always have a wider breadth think than learners. The difference between a digital design space and traditional pencil and paper is that the digital tools allow people to see as many as possible possibilities of the solution or outcomes of a problem. Such as in Grasshopper, you just simply slid the slider, different possibilities of a shape just right in front of your eyes (fig 2.1).

Secondly, the difference between “computerization” and “computation” is explained by architects Brady Peters and Xavier De Kestelier. Computerization is just using computer aid tool as an editor or virtual drafting board, but Computation “means the use of the computer to process information through an understood model which can be expressed as an algorithm” (B.Peter & X. D. Kestelier, 2013, pp10). Designers should represent their idea through a algorithm thinking, which means that they should understand the processes that lead to a final result, and can change one element to achieve another possibility.

Finally, computation makes designers create something that even beyond their imagination. When people are tired about the box-like skyscraper, computation brings some brand new things to the architectural world.

A.2.1 PRECEDENT PROJECT

INFINITY TOWER

Infinity Tower is a great example of new type skyscraper which only can achieve with computation method. The major design concept of the tower is shape twisting to sky, and each floor is rotated 1.2 degree to create a full 90 degree twist from bottom to top (Lisa Wronski, 2013) (fig 2.1). Each individual column is the finite element (B.Peter & X. D. Kestelier, 2013, pp14), and many of them form the unique twisting structure. Each of the columns has its individual parameter, and they can be altered easily with the computation process.

Moreover, the success of Infinity Tower is the collaboration of architects and engineers as well. The powerful twisting structure is made of cast-in-place reinforced concrete and the concrete is clad with metal to protect the inside part. And it is designed to bear any external load that applied on the tower. The twisting shape also creates shades for sunshine. It is the tallest twisting tower in the world.

In addition, the expression of structure as architecture exterior skin is another unique character of this tower (SOM, 2013). Traditional buildings are more like to hide its structure under its skin, but as technology developed more and more new types of material and construction method appeared (fig.2.2). And those developments are parallel or even further than the development of computation design, and they allow the structure and frame of the building to be exposure, and still matins the aesthetic aspect. For example, the 3D print technology is widely used recently, and it shows the future attempt of computation design will become more and more popular and piratical.

Project Completion Year: 2013Design Completion Year: 2006Site Area: 3,026.50 m2Project Area: 1,200,000 ft2Number of Stories: 73Building Height: 307 m

FIG.2.1 twisting of the tower

FIG.2.2 structure & material

Project Awards

2011 • Architect Magazine • R + D Award2008 • Chicago Athenaeum • International Architecture Award2008 • Chicago Athenaeum • American Architecture Award2007 • Arabian Property Awards • Best High Rise Architecture2007 • International Property Awards • Best International High Rise Architecture2006 • Arabian Property Awards • Architecture, Multiple Units

A.2.2 PRECEDENT PROJECT

SERPENTINE CALLERY PAVILION 2002

Serpentine Gallery Pavilion that designed by Toyo Ito, Cecil Balmond and Arup is another example of computation design, but in a relatively small scale. The very random like and complex patterns are actually generated by an algorithm of a cube (Sebastian, 2013). They start with a square plan volume, and Balmond proposed an algorithm called “dancing columns” that can alter the shape of the volume. It is really a combination work of architect and engineer. The different background of them makes more possibilities of shape and space. And when Toyo Ito ask Balmond about algorithm, Balmond said: “He told me that randomness human beings are able to conceive is limited, and that things we had not imagined are more likely to occur using algorithms.” That is also an explanation of computation design. Balmond’s well design algorithm makes the structure, shape and skin into one thing for the pavilion.

“ randomness human beings are able to conceive is limited, and that things we had not imagined are more likely to occur using algorithms”

Architects: Toyo Ito, Cecil Balmond, ArupLocation: Kensington Gardens, London, UKArea: 309.76 sqmYear: 2002

REFERENCE Brady, Peters (2013) ‘The Building of Algorithmic Thought’, Architectural Design, Volume 83, Issue 2, p.2-15.

SOM homepage, Infi nity Tower,Dubai, United Arab Emirates. Viewed 29th March.https://www.som.com/project/infi nity-tower

Sebastian Jordana, ‘Serpentine Gallery Pavilion 2002/ Toyo Ito + Cecil Balmond + Arup’, Arch Daily. Viewed 29th March.http://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-cecil-balmond-arup/

Woodbury, Robert F. and Andrew L. Burrow (2006). ‘Whither design space?’, Artifi cial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pp. 63-82