Journal part b

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DESIGH FUTURING PART A: CONCEPTUALISATION

A0. INTROUDUCTION A1. DESIGN FUTURING A2. DESIGN COMPUTATION A3. COMPOSITION/GENERATION A4. CONCLUSION A5. LEARNING OUTCOMES APPENDIX: ALGORITHMIC SKETCHBOOK REFERENCE LIST

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I NTRODUCTION NAME: JIANGLING LIAO

STUDENT NUMBER: 683672 COURSE: BACHELOR OF ENVIRONMENTS MAJOR: ARCHITECTURE INSTITUTION: UNIVERSITY OF MELBOURNE

I grew in an Architecture family. My parents were

the project manager and electric welder in the

biggest China construction company, China

State Construction Engineering Corporation. As a

result, I spent the most of my school holiday in the

builders' temporary sheds in all parts of the China.

I witness the erections of varieties of buildings and

urbanization of the China. Since I immigrant with

the change of the construction site locations from

one city to another. I frequently observed the

negotiations between my parents and builders,

architects, mater ial suppl iers and investors.

Architects occupied a significant position in the

symposiums since they are creators. A n architecture

seed was planted in my childhood mind.

As for the digital design, my experience starts

from the Rhino Workshop at the middle of 2014

in Shenzhen. Since I purely have no background

of hand drawing. Computing design plays an

important role in expressing ideas and forming

concepts for me. I was surprised by this 3D Modeling

tools, since it can shape infinite forms whatever

and whenever you think. I use Rhino in my previous

two Studio: Earth and Water. My works emphasis

on giving the clients unique experience and fickle

emotions by creating transformable and sensible

space.

Digital Design and Fabrication lead my into a further

thinkings of computing design by designing an

object that accurately fit the body, expressing the

emotion change and defining the personal space.

Measuring the body in order to customize the object

that fit body reminded me the term of parametric.

The design purpose inspired me that Parametric

Design is not only about making output fancy but

acting as a tool that can be controlled by designer

to solve problems that are hard to be solved by

traditional methods. This subject drops me into a

really excited journey of parametric design.

I attended the 2015 parametric design workshop

in Tsinghua University and 2015 AA summer school

in Shanghai. I trying to using parametric design

method to find out a new weaving way which can

be used to braided arbitrarily shapes with Tsinghua

students. And practically design a future master

plan for Shanghai French Concession by analyzing

the history of the site and applying different building

topologies in Shanghai with the multiple criterial for

future.

Architectural Design Studio: Air is the first subject I will

participate in, which focus on the field of parametric

design. I wish that I can learn an integrated process

of parametric design and fabrication skills from this

subject.

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Figure 3- ‘Micro-behaviours’, Second Skin design for ‘Digital Design and Fabrication’ subject, 2015

Figure 2- ‘Weaving arbitrarily geometry’, Digital Design for Tsinghua University Parametric Design Workshop, 2015

Figure 1- ‘Customized City’, Digital Urban Design for Shanghai AA Visting School, 2015

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DESIGH FUTURING

A1.

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DESIGH FUTURING

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Changing the life pattern to challednge the likly super-

high desity urban in the future. The project considers

the problem of sprawl in cities and gives a typological

alternative: “the high-density vertical village”. By

reorienting the streets vertically, nine interconnected

residential towers redistribute the urban fabric to

cohere disparate neighborhoods into a vertical village

with public spaces and gardens in the sky according

. Connective corridors weave circulation between

towers to foster a sense of community among residents

and activate the towers as a “bustling village” within

the city. Formally, the high-rise tower is a statement of

power and social context. Cloud Corridor reconsiders

modernism’s residential tower typology and folds in

the design philosophy that residential building should

respond to nature and emphasize the environment.1

1.Yansong Ma, ‘MAD Envisions the Future of Residential Buildings in Los Angeles ’, in MAD Architecturres <http://www.i-mad.com/> [accessed 7 March 2016]

2.Karissa Rosenfield, ‘MAD Architects Envision the Future of Housing in Los Angeles’, in Archdaily <http://www.archdaily.com/> [accessed 7 March 2016]

3.Lucy Wang, ‘MAD Architects unveil futuristic Cloud Corridor skyscrapers for Los Angeles’, in Inhabitat <http://www.inhabitat.com/> [accessed 7 March 2016]

C ASE STUDY 01 Project: Cloud Corridor

Architect: Yansong Ma Location: Los Angeles, USA Date:2015

01 Urban Density

This attampt really reforces the isuue of sustanable

future. Acted as an urban landmark,this project shows

the passion to nature. Each floor-plate contain gardens

to associate with residential units. The garden patios

and courtyards provide a unique environment within

the surrounding urban density3, and provide a retreat

from the everyday among nature. Elevated corridors

and multi-level garden patios shape the city skyline

and provide viewing platforms for residents to overlook

the busy activity below and the natural landscape

beyond1.

02 Vertical gradens

Adjacent to Museum Row, Cloud Corridor’s speculated

site sits above a forthcoming Metro station and

provides an opportunity to propel nature into the

everyday life of the city. Cloud Corridor’s podium

dually serves as a public park and as a transportation

hub, providing the site for activity after museum hours.

The sculpted podium is covered with a grass lawn and

punctuated by trees; the transformation of its massing

suggest the image of rolling hills. Simultaneously, the

podium lifts away from the ground to reveal both a

private-access lobby for tower residents and entry for

Metro Station patrons2. Merging infrastructure with

nature, Cloud Corridor’s podium blurs the boundary

between urban landscape and natural scenery1.

03 Podium park

This project is a competition work and has not been

built, which can be considered as an experimental

attempt that towards to the future. Critically, it may

lack of considering for the construction phase. But it

still gives us some possibilities and alternative solutions

to the urban development. Dealing with the limitation

of the urban land by changing the urban fabric

and change life pattern from horizontal to vertical.

The social and residential activities will happens in

3 dimensional axis of the cities.In a result, a mass

of space will be exploit. To order to deal with the

shortages of the urban green land. Vertical garden also

hired by the architect, this design is trying to give us the

more sustainable solutions for the urban space in the

future. The idea of using Podium as the park maintains

the theory of democratic design. Since the people

have greater power in deciding the environment what

they wish to live. The podium park offers a mass of

possible functions for people to choose.

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Image source: http://inhabitat.com/mad-architects-unveil-futuristic-cloud-corridor-skyscrapers-for-los-angeles/



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C ASE STUDY 02 Project: Masterplan Predicts Future of Self-Sustaining Cities

Architect: Vincent Callebaut Location: Roma, Italy Date:2015

for today’s occupants. The empty shells of its industrial

history are fitted with updated amenities, transforming

the buildings into diverse lofts. Similarly, the existing

paths are made into a usable network through

the insertion of public areas organized on a grid,

systematizing the layout of the entire site1.

In order to maintain the balance between public

space and private rooms, the city compartmentalizes

its functions. Although both the residential and

commercial activities define the perimeter of the site,

the residences maintain their intimacy by their distance

from the commercial activities, occupying opposing

sides and sitting back from the main street for ensured

privacy. Each of the buildings explores the notion of

public-private through the rooftop orchards, which

provide an element of seclusion even within the public

spaces. The extensive use of trees on the rooftops and

balconies not only beautifies the district, but represents

self-sufficiency. These gardens provide residents with

self-renewing sources of food. Additionally, they are

also play an important role in the aspects of CO2

filtration and harmful particulate removal.

Natural daylighting , rainwater retention and recycling

system, have signif icant impacts on preserving

resources. Other sustainable strides are made through

photovoltaic electricity production, a hybridized

lighting system with integrated wind turbines, and hot

water production through solar tubes.

Additionally, the urban ecosystem is unique. The

functional zone is accessible by walk2. All cars are

kept outside the living space to mitigate the harmful

emissions.Adjacent to Museum Row, Cloud Corridor’s

speculated site sits above a forthcoming Metro station

and provides an opportunity to propel nature into the

everyday life of the city.

1.Vincent Callebaut, ‘Future of Self-Sustaining Cities’, in Vincent Callebaut

Architectures <http://vincent.callebaut.org/> [accessed 7 March 2016]

2.Holly Giermann, ‘Città della Scienza Masterplan Predicts Future of Self-Sustaining

Cities’, in Archdaily <http://www.archdaily.com/> [accessed 7 March 2016]

3.Kristine Lofgren, ‘Vincent Callebaut’s City of Science in Rome is turning a former

military district into a self-sufficient urban ecosystem’, in Inhabitat <http://www.

inhabitat.com/> [accessed 7 March 2016]

This master plan designed by the Vincent Callebaut

Architectures is the winners of a international planing

architectural competition. This plan provides a Self-

Sustaining Cities system for Italy, which bounds the

historical continuity with the sustainability. The project

trying to reuse a forgotten military district and gives

it new energy. With the consideration of present

situation and environments of the military district, the

urban ecosystem borns from the existing infrastructure,

responding to the site’s past as well as making it livable

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Image source: http://www.archdaily.com/611976/vincent-callebaut-masterplan-predicts-future-of-self-sustaining-cities



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DESIGH COMPUTATION

A2.

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DESIGH COMPUTATION

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C ASE STUDY 01 Project: Shanghai Tower

Architect: Gensler Location: Shanghai, China Date: 2014

Shanghai Tower is organized as nine cylindrical

buildings stacked one atop the other. The inner layer

of the double-skin façade encloses the stacked

buildings, while the exterior façade creates the

building envelope, which rotates 120 degrees as it

rises and gives Shanghai Tower its distinctive, curving

appearance. The spaces between the two façade

layers create nine atrium sky gardens1.

Computational design plays a significant role in the

process of the form finding of the Shanghai Tower.

Since Shanghai Tower is the second highest building

in the World in the design time. The skyscraper usually

facing the wind loads problem. The engineer doing

the wind tunnel experiment and extract the data. The

computational design software offer 6 best alternative

solutions for architect by using these data and working

with the local climate in Shanghai3. This process may

be hared to achieve by the traditional design method.

However, in order to maintain the design concept. The

final design form still chosen by the architect manually.

The computational design helps architect easily refined

the tower’s form, which reduced building wind loads

by 24 percent. The result is a lighter structure that saved

$58 million in costly materials2.

In addition, the computational method is not only

affect the design phase but also the construction

phase. The Outer Skin. Constructing a complex building

shape that had never before been conceived required

the most innovative tools. Designed with 20,000 +

curtain wall panels—including more than 7,000 unique

shapes2—the façade would have been challenging

to envision using traditional computer-aided design

tools. With parametric software, however, Gensler was

able to create a system that balances performance,

constructability, maintenance and design. Precise

tolerances were achieved by placing lasers on the site

to take measurements.

Futhernmore, the construction company engaged

the project earlier than the traditional project. The

construction company work well with the architect and

engineer through the BIM Modeling and construction

tools. The building was pre-constructed before the

construction work happens in reality. During the pre-

constructed process, there are a mass of error and

joint problem were found by the software and then

overcome by the computer. This correction helps the

investor save a lot in the construction phase. The BIM

also applied to the site to achieve “no paper work”,

each element and schedule become clearer that the

CAD ages. In the result, Shanghai tower is accurately

complete in the estimated time.

1.Aleksandar Sasha Zeljic, ‘Shanghai Tower Facade Design Process’, in Gensler <http://www.gensler.com/> [accessed 12 March 2016]

2.Karissa Rosenfield, ‘Gensler Tops Out on World's Second Tallest Skyscraper: Shanghai Tower ’, in Archdaily <http://www.archdaily.com/> [accessed 12 March 2016]

3.Toronto University, High Reynolds Number Tests, Shanghai Center Tower (Canada: Guelph, 2012), p.1-12.

Image Source:http://www.archdaily.com/413793/gensler-tops-out-on-world-s-second-tallest-skyscraper-shanghai-tower

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Image Source:http://www.archdaily.com/413793/gensler-tops-out-on-world-s-second-tallest-skyscraper-shanghai-tower

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C ASE STUDY 02 Project: Guangzhou Opera House

Architect: Zaha Hadid Architects Location: Guangzhou, China Date: 2010

Computational design helps architect to establish

their own brand. Since the core of the computational

design is to set the rule for the computer and extract

the results provided by the computer. As a result, the

rule and the selection become the two most important

steps. However, the rule and selection methods is

effected by the architects themselves. Every architect

has his own style and logic. Zaha Hadid is significant

example. People always can easily recognized her

own style through her projects with the linear and

smooth form in a relatively large scale.

The form of the Guangzhou Opera House is organic.

The form is followed by the concept and is achieved

by the parametric design. Guangzhou opera House is

shaped from the concepts of natural landscape and

fascinating interplay between architecture and nature,

engaging with the principle of erosion, geology and

topography. The Guangzhou Opera House has been

particularly influenced by river valleys and the way in

which they are transformed by erosion1. This organic

form would be difficult to achieve by the traditional

forming process, since the facade of the building is

continues and shaped according to the input data.

The traditional forming process is impossible to achieve

the variety in the every angle of the building. The

computation process is much easier helps architects

to find a more nature form. The shape of two stones for

Guangzhou Opera House. It is therefore, computational

design can transform site analysis datas even the local

cultural datas into architectural languages and create

the better solutions.

However, computational design also likely to create the

building that out of the control in both architecturally

and constructionally. In the architecturally thinkings,

the large scale of the building form may not really

suitable for the local conditions. The similar rules create

the similar building s may caused the fact that the

architecture industry is loosing their function of cultural

symbolization. The buildings create by the similar rule

would be homogenous. As a result, the creatively

thinking still required in the process of the computation.

In terms of construction, the irregular form massively

increase the construction load. The engineer and

architect need to locate, separate and optimized the

facade panel into relatively similar size and standard.

The work load is huge and the result is not that excited.

Most of the panel needed to be precast by the CNC

in the factory individually and then transferred to the

site2. This requires the higher standard ability for both

architects and the construction groups. It cost a lot in

the process of the customizing manufacturing and

building materials.

However, the building performance is better off from

the computation. In order to achieve the prefect

sound in the theater. The specialist in acoustics is

invited to the project and engage with the architect to

set the rule3. The acoustic panel is customized with the

acoustic theory. The dimension and the location of the

hole in each panel is various and precast by the laser

machines in the factory.

1.Joseph Giovannini, ‘Guangzhou Opera House’, in Architect <http://www.architectmagazine.com/> [accessed 12 March 2016]

2.Iwan Baan, ‘Guangzhou Opera House / Zaha Hadid Architects ’, in Archdaily <http://www.archdaily.com/> [accessed 12 March 2016]

3.Luis Pina Lopes, ‘Parametric Architecture and Design ’, in Scoop <http://www.scoop.it/t/parametric-architecture-and-design> [accessed 12 March 2016]

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Image source: http://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects



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COMPOSITION/GENERATION

A3.

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COMPOSITION/GENERATION

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C ASE STUDY 01 Project: Beijing national Aquatics Center : Water Cube

Architects: PTW Architects, CSCEC, CCDI and Arup Location: Beijing, China Date: 2004

For centuries architects have begun the design

process by sketching concepts and geometric forms.

The designer puts stick to dirt, pen to paper or mouse

to mousepad. But this centuries old notion of how

to begin the design process is changing. Architects

are using the process with scripts, algorithms and

simulations. They feed detailed project data and

requirements into these programs and are fed

back multiple design iterations optimized to meet

these requirements. This process has been called

“computational design” and “generative design”1,

The Water Cube's soap bubble-like structure is an

example of this approach. Computational design

helps a lot in this process. Rather than using multiple

versions to decide what is best based on comparison,

architects can instead use compuing power to find

structural solutions that are self-organizing; that is, not

decided on by an individual but arrived at by genetic

algorithms that iteratively apply relatively simple rules.

Design groups calculate that the most efficient way

to divide a space into cells of equal volume while

minimizing the surface area between them was to use

a stacked arrangement composed of 75% 14-sided

shapes and 25% 12-sided shapes2.

But since the resulting structure would have 22,000 steel

members connected at 12,000 nodes2, generating

an actual model based on the idea exceeded the

reach of conventional design.This is the type of time-

consuming computational work that is ideally suited

to a computer. Arup wrote parametric software

that automated the drawing and analysis process.

Based on specified design constraints and less than

190 loading scenarios, the algorithm iteratively

checked the distribution of forces through the entire

structure based on specific member sizes, allowing

the team to test different design configurations and

receive feedback within 25 minutes3. The result was

a spectacular building with a sophisticated structure

that is optimized in terms of material weight-to-strength

ratio, and it was achieved with relative ease.

In addition to the structural advantages, Arup

estimated that it saved $10 million on design costs

alone compared with traditional design methods3.

However computation is not the perfect solution for

the architecture industry. Since the process of selecting

one of these alternatives to design a highly functional

and beautiful corporate building that reflects the

client’s aesthetic, cultural and corporate values

cannot be replaced by computer. Human beings is

ideally suitable for this.

Furthermore, computational design isn’t a death of

CAD or death of composition design moment. The

data and design parameters generated by these

algorithms aren’t meant to replace a 3D model or

floorplan. Instead they are an upstream process that

will inform those models and floorplans. Architects

spend much of their time collaborating with clients,

finding mutually agreeable solutions and making

qualitative decisions – all tasks that humans tend to do

better than computers.

1.Builtr, ‘Generative Architecture-Transformation by Computation; <http://www.builtr.io/> [accessed 15 March 2016]

2.Holly Giermann, ‘Generative Design Is Changing the Face of Architecture’, in Cadlyst <http://www.cadalyst.com/> [accessed

15 March 2016]

3.Sander Boer, ‘Generative Design is the Future’, in Anarchi <http://www.anarchi.cc/> [accessed 15 March 2016]

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Image source: http://www.cadalyst.com/cad/building-design/generative-design-is-changing-face-architecture-12948



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C ASE STUDY 02 Project: Pavilion for One Summer

Architects: Students at the University of Innsbruck Location: Austria Date: 2013

Computational design has revolution changes the

recognition of the architecture. In the composition

architecture forming system, we recognized the

object under the system of “rational geometry”,

such as cylinder, diamonds, sphere and etc.. This

logic shapes our imagination and recognition about

the architectures. The buildings should look like the

building. This traditional mode of thinkings are result

from the functionalist. The architecture has its own

orders and the arrangement of the a building is the

result of the functional distribution3. The creativity in the

traditional composition mode design is deconstruction

and geometry form changes.

H o w e v e r, t h e b a s i c d e s i g n e l e m e n t s i n t h e

computational design process is computer script

rather than geometry. The computer scripts create

the irregular form that hard to be described by the

traditional geometry under the composition system.

They are Nurb surface, Nurb curves and the points2.

Parametricism creates a new style of building form,

which give us a new way to explode the world through

scripts rather than through geometry. In other words,

architects set the scripts for computer, through the

mass of computer calculation, the various of forms with

the mathematic logic are generated automatically.

In the our physical nature world, most of the object

are irregular. They are formed by the nature principles.

They are generated by the very simple rule but

achieve in a mass quantities and large scale. The

complex geometry always achieved by the simple

rule according to Frank Wright3. He also raised that the

most rational design is the most organic design that

followed the order of the nature.

Computational design provide a better solution

to analysis and simulate the nature and make the

architecture become organic. The forms of sand dune,

water drop and stone can be analysis and understand

by the architects and then using the computational

method to create. Not only the rule of the nature can

be used as the script for computational design but also

the rule that discovered by multiple－disciplines, such

as engineering, biology. The more various, rational,

harmony forms can be created. This is called “the

second nature”. The architects can test more efficient

form without the reference to the history and the

experiences.

The Sea Urchin Skeletons Pavilion is an appropriate

example for this argument.The organic shape of the

pavilion resembles the structure of a sea urchin, whose

superior anatomy and structure have inspired the

creation of numerous parametric designs over the

years. In the case of this wooden pavilion, the cellular

structure of the sea urchin skeleton was translated into

a shape made out of 30 D-forms with circular openings.

The D-forms were arranged in a voronoi-pattern and

intersected to create the final design1.

The structural efficiency optimization was applied to

this project to optimize the structural of the pavilion

created by the natural rule, in order to save the

material usage.W

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Image source: http://inhabitat.com/wooden-pavilion-for-one-summer-in-austria-uses-parametric-modeling-to-mimic-sea-urchin-skeletons/



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CONCLUSION

A4.Part A Journal discuss a process of the changing in the arch i tectura l industry. Computational design opens a new sustainable design future for al l the architects and changes the way we discover the world. Moving from the geometry base to script base considerations. Computational design provides us boarder poss ibi l i ty and increase the building performance. But it still cause problem on the constriction phase. The project requires customized materials and higher manufacturing skills. Since the result of the computational design is hard to be estimated, the design concept is relatively difficult to achieve by the computational design. This requires advanced level of the control ability and the experience of architects.

I intend to not only problem solving but also creating a new order and rule for Merri Creek community in term of create a sustainable future. The investigation of the Merri Creek ecosystem is significant f o r m y d e s i g n . T h i s i n c l u d e d t h e vegetation and animal types and theirs living conditions. I tying to promote the communication between the nature and human but not damage the habitats for animals and vegetations.

The animal lifecycle and human footprint would be transformed to my input data. I trying to find simple rule that can deal with this complex problem. Let them intersect but not swallow each others.

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CONCLUSION

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L EARNING OUTCOMES

A5.The readings and lectures give me a brand new thinking of the design process. I recognize all the project that did with the Grasshopper was computational design before I took this subject. But I have a clearer definition about computerization and computation. Computational design gives us a new way to define our world. To create the form with the rule that set by the architect. The parameter can control and change the form in a given range. The design is not start from the geometry and composition but the computer script and the mathematic logic behind the script.

Computational design provide me infinite possibility. The design can start from any disciplines and achieve the mass of result that cannot be estimated. The result than can be optimized by the analysis script. Computational design have the mass calculation ability and give you the most accurate and suitable result according to result. Computational design effect the design process from every phase included form f inding, bui lding performance increasing and the construction managing. Howev e r , I a l s o no t i c ed t h a t t h e computational design in some aspect is really dangerous. The design is likely to occur formalism. In this situation, I should

pay more attention on the connection between the script and my design concept. Use the grasshopper as a tool to generate the form for me. And select the most appropriate solution according to the concept manually by myself.

Fabrication is another issue about the crisis of the computational design. Instead of forming complex and unachievable geometry, I will trying to extract the basic rule from nature. The organic shape will be create by the simple rule. Always take the fabrication into consideration during the modeling phase. The optimization of the form according to the manufactural requirement is significant necessary.

To rethink of my previous works. I find that I was doing both composition design and computational design. For the function and space focus design I used the compositional design that can think every space carefully. The form is followed by the function requirements. As for the large scale urban design and the design that emphasis on the local environment. The computational design probably offer me a better solution by applying the topology locally.

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ALGORITHMICSKETCHES

A6.

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REFERENCE LISTAleksandar Sasha Zeljic, ‘Shanghai Tower Facade Design Process’, in Gensler <http://www.gensler.com/> [accessed 12 March 2016]

Builtr, ‘Generative Architecture-Transformation by Computation; <http://www.builtr.io/> [accessed 15 March 2016]

Holly Giermann, ‘Generative Design Is Changing the Face of Architecture’, in Cadlyst <http://www.cadalyst.com/> [accessed 15 March 2016]

Sander Boer, ‘Generative Design is the Future’, in Anarchi <http://www.anarchi.cc/> [accessed 15 March 2016]

Harvard University, ‘Gernerative Design’, in Harvard University <http://www.gsd.harvard.edu/> [accessed 18 March 2016]

Holly Giermann, ‘Città della Scienza Masterplan Predicts Future of Self-Sustaining Cities’, in Archdaily <http://www.archdaily.com/> [accessed 7 March 2016].

Iwan Baan, ‘Guangzhou Opera House / Zaha Hadid Architects ’, in Archdaily <http://www.archdaily.com/> [accessed 12 March 2016]

Joseph Giovannini, ‘Guangzhou Opera House’, in Architect <http://www.architectmagazine.com/> [accessed 12 March 2016]

Karissa Rosenfield, ‘Gensler Tops Out on World's Second Tallest Skyscraper: Shanghai Tower ’, in Archdaily <http://www.archdaily.com/> [accessed 12 March 2016]

Karissa Rosenfield, ‘MAD Architects Envision the Future of Housing in Los Angeles’, in Archdaily <http://www.archdaily.com/> [accessed 7 March 2016]

Kristine Lofgren, ‘Vincent Callebaut’s City of Science in Rome is turning a former military district into a self-sufficient urban ecosystem’, in Inhabitat <http://www.inhabitat.com/> [accessed 7 March 2016]

Lidija Grozdanic, ‘Wooden ‘Pavilion for One Summer’ in Austria is Modeled After Sea Urchin Skeletons', in Inhabitat <http://www.inhabitat.com/> [accessed 18 March 2016]

Lucy Wang, ‘MAD Architects unveil futuristic Cloud Corridor skyscrapers for Los Angeles’, in Inhabitat <http://www.inhabitat.com/> [accessed 7 March 2016]

Luis Pina Lopes, ‘Parametric Architecture and Design ’, in Scoop <http://www.scoop.it/t/parametric-architecture-and-design> [accessed 12 March 2016]

Patrikschumancher, ‘Gernerative Design in Architecture, in Patrischumancher <http://www.patrikschumacher.com/> [accessed 13W March 2016]

Toronto University, High Reynolds Number Tests, Shanghai Center Tower (Canada: Guelph, 2012), p.1-12.

Yansong Ma, ‘MAD Envisions the Future of Residential Buildings in Los Angeles ’, in MAD Architecturres <http://www.i-mad.com/> [accessed 7 March 2016]

Vincent Callebaut, ‘Future of Self-Sustaining Cities’, in Vincent Callebaut Architectures <http://vincent.callebaut.org/> [accessed 7 March 2016]

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REFERENCE LIST

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C RITERIA DESIGN

PART B

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P ATTERN

B1.Patterns have been covering architectural surfaces since times immemorial. The human body was perhaps the first surface that received designed patterns. Architectural patterns thus have a broad and deep lineage. With such a widespread practice one should not expect a well-defined, unitary function. As practices evolve they acquire new functions and loose their prior functions, or new functions are superimposed upon older functions. Patterns might serve purposes of decorative enhancement, feature accentuation, camouflaging, totemic identification, semiotic differentiation, or any combination of those.

The notion of pattern formation took production and life conditions by storm at the beginning of the twentieth century, and raised fundamental questions regarding the ornament. Later, around the middle of the century, the autonomy of pattern concepts intensified the call for ornament as a meaningful metaphor. Consequently, architectural criticism that was inspired not least by critical theory no longer primarily focused on a social reality in which everything, previously expressed by ornament, had lost its “symbolic and functional meaning” because mechanical or industrial production methods superseded the traditional relationship between skilled work and ornament. On the contrary: ornament, which was so effectively “ousted” by the paradigm of modern design in the abstraction of material and color, structure, now epitomizes precisely the loss of

meaning diagnosed in light of postwar aberrations in architecture and urban planning.

Islamic buildings are often decorated with geometric patterns which typically make use of several mathematical tessellations, formed of ceramic tiles (girih, zellige) that may themselves be plain or decorated with stripes. Symmetries such as stars with six, eight, or multiples of eight points are used in Islamic patterns. An eight-pointed star made of two squares, one rotated 45 degrees from the other on the same centre.

The modernist strictures against ornament/d e c o r a t i o n w e r e f i r s t c h a l l e n g e d i n Postmodernism. Although historical motifs were brought back in a mode of playful eclecticism there was no engagement with systematic a r t i cu la tory patterning. Notwi thstanding minimalisms historical fallacy, it was from within minimalism that the return to patterns, and the attendant new embrace of ornament, was initiated during the 1990s. The seminal project in this respect was Herzog & de Meuron’s 1993 Ricola Storage Building in Mulhouse-Brunstatt, France. The introduction of different surface effects, like different material textures, had already happened within the later phases of modernism. Now artificial, quasi-graphic techniques of surface treatment and surface patterning were deployed.

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Builtr, ‘Generative Architecture-Transformation by Computation; <http://www.builtr.io/> [accessed 29 April 2016]

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Towards the end of the 1990s new possibilities of patterning were discovered by applying the technique of texture mapping onto the warped nurb surfaces. Built projects achieved these effects by projecting video images onto curvelinear surfaces, or by embedding digital display systems within the surfaces. The technique of texture mapping has since been replaced by scripting and mapping only survives as an initial short-cut to test or illustrate effects that are then to be implemented by scripts. Early examples of nurb surface articulations that were not just arbitrary mappings or projections emerged with the introduction of CNC milling. To insure perfect fit each instantiation is parametrically adapted to its unique position on the host-surface. The result might be called a parametric pattern. However, in this classical set up the curvature variation of the surface provides the data-set that drives the parametric adaptation of the component with the aim of keeping the pattern as even and homogenous as possible. The aim is to maintain component identity by compensating for the underlying surface differentiation.

Parametricism transforms the technique of parametric pattern design into a new and powerful register of articulation. The crucial move that inaugurates parametricist patterning is the move from adaptive compensation to the amplification of differences. The underlying surface variability is utilized as a data-set that can drive a much more radical pattern differentiation. The underlying surface differentiation is thus amplified and made much more conspicuous. A strong emphasis on conspicuous differentiation is one of the hallmarks of parametricism. Differentiation might also be introduced willfully, by “painting” the surface with any pattern or image that then becomes the data-set to drive component differentiation.

Correlates might further include the apertures that are set into the surface. Patterns might accentuate apertures. A surface might be made

to correlate with the furnishings within a space. The expected pattern of occupation might also be utilized as data-set driving a corresponding surface differentiation. A sophisticated set up should be able to cater for multiple data-sets simultaneously. Another powerful opportunity is the adaptive differentiation of facades with respect to environmental parameters that strongly vary with the orientation of the surface. Here functional and formal variation go hand in hand. The gradual variation of sunlight intensity on a curved surface translates here into a gradient transformation of the component formation. Within parametricism such functional exigencies are heightened into an artistic concept.

Ned kahn wind vei l is a great example to demonstrated the weathering correlates patterning design. A 260’ long by 6-story tall facade of a new parking garage in Charlotte, North Carolina was covered with 80,000 small aluminum panels that are hinged to move freely in the wind. Viewed from the outside, the entire wall of the building appears to move in the wind and creates the impression of waves in a field of metallic grass. Inside the building, intricate patterns of light and shadow, similar to the way light filters through the leaves of trees, are projected onto the walls and floor as sunlight passes through this kinetic membrane. In addition to revealing the ever-changing patterns of the invisible wind, the artwork was designed to provide ventilation and shade for the interior of the parking garage.

The differentiation of the patterns challenges the fabrication phases a lot. The complex patterns always divided into small species in order to satisfy the requirements of the industrial fabrication, transportation and assembling. Each individuals small species is always various from each other. The optimization is necessary and useful. Classify the panels with the similarity and optimized them into standard size is conducive for the construction speed and cost.

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cASE STUDY 1.0

B2.Herzog & De Meuron is a famous architecture firm that using the computational technology as the design tools. The Patterning are mainly applied to the facade of their designs. De Young Museum is an appropriate example to demonstrated the computational related design. The facades are created by the three different layers of copper with three different simulations patterns to create unique, sensible and nature space.The copper wall would slowly become green due to oxidation and therefore fade into its natural surroundings. The facade is also textured to represent light filtering through a tree.

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ITERATIONS

Polygen Variation

Image Sampler

Polygen Variation

Polygen Variation

Polygen Variation

Image Sampler

Image Sampler

Image Sampler

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Polygen Variation

Polygen Variation

Polygen Variation

Polygen Variation

Image Sampler

Image Sampler

Image Sampler

Image Sampler

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Extrusion Variation

Extrusion Variation

Extrusion Variation

Extrusion Variation

Radius Variation Radius Variation

Radius Variation Radius Variation

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Extrusion Variation

Extrusion Variation

Extrusion Variation

Extrusion Variation

Radius Variation

Radius Variation

Radius Variation

Radius Variation

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SUCCESSFUL SPECIES

AestheticPanel (People can walk)Habitation (For animals)Structure ( Can self support)

Extrusion: Graft

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Shelter

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Contrast Urban Life

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Ecolife

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SELECTION CRITERIA

Aesthetic: Do patterns create attractive forms and sense that encourage human get involve? —- Human involvementsPanel: Do the surface of the patterns allows human walk, lie, climb?— comfort and various usageHabitation: Do the structure of the patterns allow animals pass through, play with even live in? —- Optimize the human made wetlands.Structure: DO the structure can self support? In order to decrease the material usage for substructure to protect the wetlands.—- Environmental friendly.

Extrusion graft:

Randomly offsetNature is purity, random grow but have it own rulesPlatforms floating in the air give the chance for bird nestUpper part: Solid tree branchBottom part: soft, smooth, simulate water waveMiddle part: sense of walking inside the forest—Peaceful, mystery

Shelter:

Pattern Overlay and rotate to form the shelterCone— Plant Grass, flowersventilationSkylight with customized shadowBird NestHabitations—Under water

Contrast Urban Life:

strong sense of modern lifeReinforcement, sharp, complexbring the urban life to the nature siteMeditationGentle slop pipe — people can walk

Ecolife:

HierarchyDifferent hight patches for animals and human beings

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cASE STUDY 2.0

B3.Technically acting as a sunscreen and weather barrier the curved facade is fully glazed and combines the curtain wall glazing with horizontal lamellas and vertical glass fins. The position and size of each of the facade elements are derived from a twised frame system, which is ralated to the interior organisation of the building. The concave front of the building displays different fluent forms when seen from varying distances and directs the visual field of the customers traveling on the spiraling escalators. Edge-lighting for the vertical glass fins spreads soft colours onto the facade by night. The lighting intensity and colour effects are digitally controlled and choreographed adding another layer of fludity to the building's skin.

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REVERSE ENGINEER

Extruded Contour Works (Cantilever) Offseted Twist surfaces

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Offseted Twist surfaces Boolearnintersect and Extrude

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REVERSE ENGINEER Project: Star Place

Architect: UN Studio Location: Taipei, Taiwan Date: 2008

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TECHNIQUE DEVELOPMENT

B4.

Curves Distraction Curves Distraction Curves Distraction


Evaluate Curve Evaluate Curve Evaluate Curve

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Curves Distraction Evaluate Curve Evaluate Curve



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Horizontal Bending -10 Horizontal Bending 0 Horizontal Bending 10

Vertical Bending -10 Vertical Bending 0 Vertical Bending 10

Horizontal Bending 50 Horizontal Bending 60 Vertical Bending -50

Rotation -40 Rotation -30 Rotation -20

Rotation 20 Rotation 30 Rotation 40

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Horizontal Bending -30 Horizontal Bending -20

Horizontal Bending 20 Horizontal Bending 30 Horizontal Bending 40

Vertical Bending -40 Vertical Bending -30 Vertical Bending -20

Vertical Bending 20 Vertical Bending 30 Vertical Bending 40

Rotation -10 Rotation 0 Rotation 10

Rotation 50

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SUCCESSFUL SPECIES


Rotation 30

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Vertical Bending 30

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WW


Vertical Bending 40

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WW


Horizontal Bending 0

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SELECTION CRITERIA

Aesthetic: Do patterns create attractive forms and sense that encourage human get involve? —- Human involvementsPanel: Do the surface of the patterns allows human walk, lie, climb?— comfort and various usageHabitation: Do the structure of the patterns allow animals pass through, play with even live in? —- Optimize the human made wetlands.Structure: DO the structure can self support? In order to decrease the material usage for substructure to protect the wetlands.—- Environmental friendly.

Rotation 30:

Water Drops Transmit from center to outskirt

Vertical Bending 30:

WhirlpoolNegative Space

Vertical Bending 40:

PanelFloat on the watersimulate the wavetransmittable curve

Horizontal Bending 0:

Walk SitLie Play

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TECHNIQUE: PROTOTYPES

B5.Dig i ta l Fabr icat ion was being used to produce and testing the design possibi l it ies in this case. Digital modelling and fabrication i s a process that jo ins des ign with production through the use of 3D model l ing software and manufacturing process. Tools such as 3D printers, Laser cutter, CNC Router, Robot arms allows designers to produce design digitally and actually test the design. Therefore, complex surface can be produced with the assistance of computation techn iques and the cont inue e x p e r i m e n t a t i o n o f m a t e r i a l properties.

In te r ms of our des ign, wh ich featur ing on the connect ions between rods members and the connection between frame and panelling, 3D printer will be the most appropriate method for us to produce knots connections.

F o u r D i f f e re n t t y p e s o f k n o t s are designed in our group, and 3 D m o d e l l i n g b y u s t o a l l o w connections between rods and rods, rods and panels, rods and stretching fabrics, and other possibilities. By considering and measuring the size and thickness of materials that we are going to use, knots are 3D modelled in Rhino with accurate sizes to accommodate the material. Then, these digital model will be sent to the 3D printers.

T h e f i r s t k n o t s f e a t u r i n g t h e connections between rods (as a frame) and stretchable fabrics. As

the rods and fabrics cannot firmly connected by themselves, the knots will act as a media to connect the rod to itself, while also stabilised the fabric on it. Rods will be infix into the cross-like shape, while the fabric will be kind of screw into the hole between the cross and stabilised using the nut caps that are also printed by the 3D printers.

The second knots is an elaborate, free-rotate joint that allows rotation between the rods and the panels, which enables three dimensional s t ructure in a l l d i rect ions . For this connection prototype, two components are intersecting into each other, and fixed using a 3D printed screw and nut cap in the middle. In this case, the screw ensures the joint will not fail, but also makes it possible for rotation.

The third connection are for the rods and panels, where the rods will be infix into the cross-like shape, and the panel will be inserted inside a gap between the cross. During the testing and experimentation, we find out that larger panels can also be inserted into the gap due to its bendable properties, that can be further explore to fit our design intention.

The forth knot i s a s imple and tiny connection that are able to connect for rods in a planar or slightly curve surface. It was done by the Boolean different of a cross through 3D modelling software.

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This type of connection can be used where some sights are blocking for protections, as it allows three dimensional rotated connection that can be rising up from the surface.

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The panels are made by translucence plastic materials, which allows some view form the surface to the wetland underneath, at the same time, provide a protective and safe impression for pedestrians.

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This fixing knots are being test by placing weights on the stretchable fabrics, which appears to be firmly stabilised and able to hold a moderate mass. Hence, the can be used for Part C where the stretchable fabrics connects to the structure system, in places where people are allow to laying and sitting down.

Its advantage is on its size, which allows material efficiency in construction. However, it also having the problem of not able to connect the panels or fabrics to the rods. Hence, it can only be used for the substructure system or the surface where no panels are attached to it.

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TECHNIQUE: PROPOSAL Rotunda Wetlands:

Location: South of Westfield Reserve, cleared vegetation on both sides of the creek Coordinate: 37 South, 145 East Path Slop: 3 Degree

B6.

General:

The wetland landscape which has really obvious attributes. This site is a restored wetland and is quite important for the wildlife since it plays the role of a litter trap, a filter, and a shelter for the area. The topography is quite flat in this area. Sporadic pools along the path and manmade wooden pavilion near road can be observed. Near the river, lots of indigenous plant are planted. It acts as the habitants for fishes, insects and birds. The importance of the Wetlands of Merri Creek:

Each greenfield on the diagram is regard as a small subsystem belongs to universal ecosystem of Melbourne. They interact with each other. Merri Creek significantly acts as a habitat corridor of state. Merri Creek connects other small patches around this corridor.

Wetland Specific:

A human made wetland was established in 2000 (Merri Creek Management Committee, 2009). The water was supplied by surrounding residential area. The pools can filter the pollutants and also act as a habitants for those semi-aquatic vegetation. Indigenous grasses were putted in surrounding which provided the habitants for aquat ic invertebrates, reptiles, frogs. Most of these faunas were locally extinct before this project established and under the protection of endangered flora and fauna. Shrub plantings let leaf litter, bark and logs accumulated for bird nesting. The biodiversity was enhanced by this project.

Builtr, ‘Generative Architecture-Transformation by Computation; <http://www.builtr.io/> [accessed 29 April 2016]

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The Rotunda Wetland

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Infrastructure

Pedestrain Circulation

Verhicular Circulation

Pedestrain Hierarchy

Fauna Distribution Water Element

cadmapper.com file 8238cdce-cd30-4f3d-92eb-3aebc1b0458a






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Substructure

Rise Point

Low Point

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Problems:The human made wetlands enhance the Merri Creek Ecosystem significantly. However, the wetlands are isolated from the human beings. Since there is no paths for citizens to get inside the wetlands. Design Concept:To create a structure that can optimized the existing wetlands which can let human get involves.

The project is located at Rotunda Wetlands, in order to create a walkable surface allowing human get involved into this manmade wetland for closer but undisturbed observation on the wildlife, while the substructure creates voids for animal habitation. Hence, the substructure will interact with some of the active animal t races, both within the wetland and the creek, as indicated in the substructure diagram. In addition, it also act as the support for the upper surface, which requires strong structural ability and evenly distributed.

The surface was integrated as a whole with the substructure system, which makes the surface to flow fluently. Panels will be attached to the lattice structure, indicating the path for pedestrian to explore around. Therefore, the rising and descending point shown in the diagram acts as a guide for human to discovering around the area and sightseeing the specific view. For instance, the lowering point located around the creek and the major animal traces allow people to getting closer view to the wildlife, gaining a better understanding, contributed to wildlife preservation. On the other hand, the rising point allows people to reaching the tree top to observe the birds’ habitation with similar purpose.

Design Responds:1. Substructure be used as the habitants for the animals and plants.2. Self-supported3. People can get close to the animals but do not disturb their activities.4. Allowing horizontal movements across the river.5. Vertical communications between human and various animals habitants

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FEEDBACK FROM INTERIM PRESENTATION RESPONSE

Work to combine both Critical to using one integrated definition to create this surface-structure form. Try to look into the Kangaroo plugin that can produce this similar effect on the curvy surface. In addition, a frame and infill system might be used, like panelling, to attach to the lattice structure, which act as a pathway for pedestrian, or voids to stop the pedestrian getting through.

Create a technique that is modularised This is particularly regards to the walkable surface that using panelling and patterning techniques to create a multi-functional surface. We have decided to make some spaces void (the places where protected animal lives or the place where requires sunlight getting through), and some solid spaces (where the path for human to walk, sit and being encouraged to explore around).

Create modules with vary in shape and form

Various shapes and forms can be used on the surface, as the narrowing walking surface can be the area where human should be pass quickly, avoiding disturbed the wetland underneath. On the other hand, the wider walking surface can be the place where people are encourage to explore and relax, allow people slowly walk around, or laying down.

Detail site analysis diagram in specific area The site analysis diagram presented in the interim presentation is less specific as it looks into a large range of area. Hence, some detailed diagram will be provided that looks specifically into our chosen site, which will be more helpful to develop our design intention and form of the idea. For instance, the traces of animal activities, the water flooding area, and etc. Therefore, our design (especially the form of our walkway) should be optimised and response to these issues identified from the diagram.

Digital fabrication of different connections In this case, digital fabrication is critical to find and explore the way of the structural connections, in order to figuring out how to create form. It is important to understand how connection pieces affect or compromise aesthetics and functions. Few connections details has been explored in both two dimension and three dimension to test, especially the connection between structural members and the panels that creates the surfaces.

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LEARNING OUTCOMES

B7.The part B of the Architectural design studio are mainly help us to learn and practice the computational design methods. The result of the algorithm designs alway unpredictable, which gives the designer a mass of possible solutions to choose from. However, I still think the parametric design still challenge and immaturity. In the design phase, computational design is hard to control. Since the designs are based on the scripting and coding. The results are calculated by the logic algorithms. It is really difficult and even impossible to find a prefect logic. In other world, the designs are hard to be comprehensive. The optimization of one criteria may worse another. Human selection cannot be replace. Computational design offers us infinite possible but also provide the limitation. The machine is lack of emotion. The great design is not only advanced in functional or form, but also the emotion it express. Building is the place we spend the most of the time. The feelings, the culture of the space cannot be design by the machines.

In the fabrication phases, most of the parametric design are dealing with the facade of the building. The size and shape of the panel always various as a result of the computational design. It sharply increase the material cost, construction fees and produce more waste (framworks, moulds). The requirements for the construction workers also increase. It is hard to achieve mass production. Some of the panels are formed as double curve surface, which hard to optimized and even cannot be produced.

As for my part C, I hope that I can have more research on how to optimize the mesh surface. In order to gain a produceable design.

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REFERENCE LIST

Builtr, ‘Generative Architecture-Transformation by Computation; <http://www.builtr.io/> [accessed 15 March 2016]

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

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

Holly Giermann, ‘Generative Design Is Changing the Face of Architecture’, in Cadlyst <http://www.cadalyst.com/> [accessed 15 March 2016]

Harvard University, ‘Gernerative Design’, in Harvard University <http://www.gsd.harvard.edu/> [accessed 29 April 2016]

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

Karissa Rosenfield, ‘Gensler Tops Out on World's Second Tallest Skyscraper: Shanghai Tower ’, in Archdaily <http://www.archdaily.com/> [accessed 12 March 2016]

Luis Pina Lopes, ‘Parametric Architecture and Design ’, in Scoop <http://www.scoop.it/t/parametric-architecture-and-design> [accessed 12 March 2016]

Patrikschumancher, ‘Gernerative Design in Architecture, in Patrischumancher <http://www.patrikschumacher.com/> [accessed 13W March 2016]

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

Toronto University, High Reynolds Number Tests, Shanghai Center Tower (Canada: Guelph, 2012), p.1-12.

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REFERENCE LIST

Documents

Journal part b