AIRARCHITECTURAL DESIGN STUDIO SEMESTER 2 2013

UNIVERSITY OF MELBOURNE

MUQIU WANG 531459

PART A SUBMISSION

Contents

PART A : CASE OF INNOVA-TION

PART A : CASE OF INNOVA-TION

Introduction -- About Me 1

Part A : Case for Innovation Architecture as a Discourse 2 Computational Architecture 7 Parametric Modelling 12 Algorithmic Exploration 16 Conclusion 19 Learning Outcomes 20 References 21

Part B

Part C

My name is Muqiu Wang, a girl from south part of China. Now I am a third year student of the University of Melbourne, major-ing in architecture. I studied VCE in China, however, be-couse of the limited educational resources, there was no elective subjects provided to be chosen such as visua communications etc.

From the time in primary school, I showed interest in drawing and painting but did not keep it during the later school time. Besides that, I always paid a lot of attention to the buildings and interior deco-rations in daily life. But actually,

after finishing VCE exam I was still struggling which way I should choose in the future. As I was interested in art and design, parents suggested Architecture for me which leading me to a brand new world that I have never touched before.

It was the first semester I got into the university life made me realized the subject was a big challenge for me. I chose Virtual Environments which made me struggling in ideas as well as softwares during the whole se-mester. Although the result was not that satisfied, the process of making model

and dicussing with tutor or group members was still inter-esting and impressing which persuaded myself keep going on Architecture.

I have used several design soft-wares in virtual environments, studio earth and water, and also visual communications. How-ever, my experiences of using those digital resourcs were still unsatisfactory. To use 1-5 grade each software, Indesign and Photoshop is 3 but Rhino is 2 because of grasshopper. Studio Air is a great opputonity for me to get familiar with Rhino and parametric design approach.

About Me

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A. 1 ARCHITECTURE AS A DISCOURSE

“the imagery that a building generates as an extension of its own functions ot formal relationships is never as in-teresting as the ideas it can absorb from the outside. an edifice should be like an environmental sponge, soaking up the most interesting gragments of social and psycho-logical information form its context. in this way, a struc-ture can be seen a ‘filtering zone’ -- as the nucleus of an assimilative process -- which can transform the entire definition of architecutre into a new form of public art.” ---- taschen verlag,

The design approach of archi-tecture can be seen in different lenses. In common sense, I think, also even myself before touching this area, architecture is just to be regarded as a building for people to live and work. However, from architects and also artists view of architecture, it can be designed as artwork or monument, express-ing symbolism and context. From that point of view, architecture is no longer a refuge that protecting users from rain, wind or etc., but a segment of surrounding environ-ments.

The idea of architectural discouse was first introduced to me in virtu-al environments that we needed to convert the abstract natural process into the representational design

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Archigram architecture, their idea of individual living space and mov-ing city is a smart conceive dealing the problem of over-population and achieving efficient life in fast-developing society. Architecture was not isolated but also linking with social, environemntal and techinical contexts.

form. That was a strange idea for me at that time but this approach is indeed a common sense for most of architects now and can be told from their works. By comparison with acient architecture, for exam-ple, the architectural style of Classi-cism and Renaissance who tended to applied fabulous ornaments and motifs on builidngs, modern architects paid more attention on function and form as well as the harmonized relationship between building and nature.

“An architect is a drawer of dreams”, said author Grace Mcgar-vie, an architect’s dream are shapes and surfaces defining a fantastic world born from the perceptions and suggestions of the real one. Like the concept of

ARCHITEKTUR & LANDCRAFT STEFAN GIERS, SUSANNE GABRIEL

LUSATIAN LAKELAND, GERMANY

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This giant landmark on Lusatian Lakeland was created in 2010 by Architektur & Landschaft Stefan Giers, Susanne Gabriel in eastern Germany as a part of an interna-tional builidng exhibition. The whole structure was built in a tri-angular plan representing a symbol of the region where characterized by decades of coal mining. The remained deep big mining holes at this time will be saved and then supply to new uses as big lakes.

The building rises with different faces on both sides on triangu-lar floors. While opening to the landside with sculptural stairways, to the lake the landmark presents itself as a oversized stele.

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The material used for this observa-tion tower is weatherproof steel which showing the red-brown pa-tina after weathering. Even thought the environments of the lakeland will be recreated into idyllic lakes with verdant banks, the rusty sur-face of the landmark will still tell the past history to visitors.

This structure catched my eyes at the time I saw it on magazine. I think it fully digests the idea of architectural discourse that making the building itself tells people its history and design purpose.

he formation and organisation of details were constructed by the search of the greastest simplicity in continous materials.

The raw untreated surfaces bring an impression of production of structure to visitors.

Maybe some people will ques-tion the role it will play in the future beautiful rebuilt lakeland. But I think the exitence of the distinct contrast between the steel construction and lakelands will produce an amazing experience of history and nowadays.

KISHO KUROKAWA

NAGAGIN CAPSULE TOWER, JAPAN

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The Nakagin Capsule Tower was the first capsule architectural design by Kisho Kurokawa in 1972 consisting of two concrete build-ings with 11 and 13 stories high. The 140 cubes designing as the individual living space rotating in varing angles are fixed onto the two concrete core columns by high-strengh bolt.

The intention of module was in-spired by housing traveling busi-nessmen that worked in central Tokyo. It is a prototype for archi-tecture of sustainability as well as recycleability, as each module can be plugged in to the central core and replaced or exchanged by the new one if necessary.

The interior of the module is about 4*2.5 metres which only allow one person to live confortably. How-ever, the designer made the module can be manipulated enabling the capsule can be connected with oth-ers to meet family use.

The unique idea and design of capule tower is a prime example of the Metabolism architecture movement, known for it’s focus on adaptable, growing and inter-changeable building designs.

In addition, the building also conveys a idea of short lifespan of architecture which enables archi-tects keep upgrade their ideas of comtemporary architectural form.

This idea is kind of similar with the concept of Archigram that makes people live in individual space which impoving the life efficiency. The architectural discourse that they conveyed was a dynamic, sus-tainable and recycleable life of the modern society.

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A. 2 COMPUTATIONAL ARCHITECTURE

“this conceptural approach is actually a device devel-oped for each project by means of which we remain in-visible as authors,... It is a strategy that gives us the freedom to reinvent architecture with each new project rather than consolidating our style.” --- jacques herzog for pritzker prize 2000

Computational architecture, which cannot be imagined in traditional architectural history, has been ac-cepted as archictectural practices in part of the design process. If we regard the whole design process as a chemical equation, the computer would be the catalyst to speed up design documentation and presen-tation.

There is no doubt that digital programs now plays a crutial role in architectural design process. But what is the reason that people put their passions in studying soft-wares. I think after I got in touch with the CAD and Rhino, the answer is obvious -- to make the design efficiency and expressive.

In contemporary achitectural design, the digital design method is highly used to explore more and more possibilities rather than form and material but also the inte-rior experience of users. And also computation enables designers to do something beyond their imagi-nation. I think in this studio, those are the reasons for enabling us to do several experiments of Gateway project.

The most distinguished difference between digital design space and traditional paper work is digital tools can bring as many as possi-bilities and outcomes of a problem to clients in a short period. Despite of that, it is a much more expres-sive way to tell clients your idea of the whole structure. For example, CAD has become the basic design tool of architecutal requirements. Comparing with handwork, it will save much time in drawng furni-ture arrangement or circuits ap-plication. In addition, for architects themselves, the intercommunity of softwares enable them to build 3D models just on the 2D drawings as we can place the CAD files into Skechup to build up the 3D house model.

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FRANKGEHRY

GUGGENHEIM MUSEUM, SPAIN

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Guggenheim Museum is one of the world most well-known work of contemporary architectures designed by architect Frank Gehry, it was instantly hailed as a “signal moment in the architectural cul-ture”. The whole building is chang-ing people’s ideas about museums that connecting art, architecture and collecting harmoniously, repre-senting “one of those rare moments when critics, academics, and the general public were all completely united about something.”

The materials used for the museum are glasses, steel, limestone and ti-tanium which people can tell from the surface of the museum. The curve form of the exterior wall is intended to appear random

form of the museum and helped him to get the satisfied result.

As I mentioned before that Frank Gehry wanted to the random curve wall to catch the light, it was difficult for him to show the light effect using handdrawing because of the random surface. Therefore, it would be much easier to use digital tool to simulate the design effects.

Without doing the model using real materials that architects want in their designs, the results can be easily achieved in softwares to show clients or public the design approach. Rather than that, digital tools also enable designers to show their design with surrounding environments.

because the architect said “the randomness of the curves are designed to catch the light”. The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum.

As the museum opened to public in 1997, it was regarded as the most spectacular building of the style of Deconstructivism because of the irregular building form. The design was achieved not only by architect’s brilliant brain but also the useage of the digital software.

Computer Aided Three-dimen-sional Interactive Application (CATIA) enabled Gehry to test the possibilities of the random

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It is the situation in this pavillion that architects should calculate the exact dimension of each segment to insure each two adjacent pieces can be connect well. It can be very difficult if you draw that by hand, however, it can be controlled precisely by software. More than that, even though the geometry is arranged randomly, the 3D model will help designers to memorize it.

The segments of the structure are easily transportable and buildable just like the interlocking pieces of the puzzle. Although the space is in the chaotic array of lines, it is still apparent that there is an underly-ing order of simple proportions, a dynamic pattern that follows the concentric lines of its geometric genesis.

In this case, digitla tool also shows its efficiency and accurancy through design process. While I was doing the model of the Virtual Environments, the most important thing that we realized later was the scale of the model. And also the connection between the two small pieces should be absolutly accurate otherwise the model will not be made.

The Serpentine Gallery, locating in Kensington Gardens, Hyde Park, central London, is an art gallery which focuses on modern and contemporary art. This pavillion was finished in 2002 by Toyo Ito, recipient of the Pritzker Prize 2013, along with Cecil Balmond and Arup.

The pavillion is constructed in a complex random pattern in small scale using only glass and alumin-ium panels. The whole structure can be seen as an algorithmic cube of geometric pattern. The different scale of triangles and trapezoids are formed through the intersecting lines producing window openings.

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TOYO ITO ALONG WITH CECIL BALMOND AND ARUP

SERPENTINE GALLERY PAVILLION 2002, LONDON

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A. 3 PARAMETRIC MODELLING

“parametric systems bring fresh and needed new capabilities in adapting to context and con-tigency and exploring the possibilities inherent in an idea.”

Parametric modelling system, dif-fering from the traditional design, is kind of a geometry design that determined by the changeble given values and equation. It enables de-signers to add or even erase nodes within the design process. Based on a set of algorithmic explora-tions, parametric modelling is kind of a digital tool that allows more computational design approaches and also gets control on the design form. In a way, parametric model-ling helps architects solve the chal-lengeble computational or contex-tural problem efficienctly. Just like Burry (2011) said about this system that it provides “a significantcly deeper engagement between the computer and user by automat-ing routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time”, parametric modelling does

it in architectural aspect. Some of the buildings are so free in form, sense of culture and even sur-rounding landscape but seeking the cool appearances. It was stated in ‘Scripting Culture’ that “the architectural filed’s current use of hte parametric modelling has been superficial and skin-deep, maybe importantly so, lacking of a larger framework of referents, narra-tives, history, and forces.’ Now in modern architecture, the design, in some ways, should be related to its historical social aspects, expressing its materiality, spatial experience as well as the interconnection with the local environments.

widen the range of the posilibily of design outcomes and save the time usage for designers struggling for the complex design issues.

Parametic modelling is not just about searching the aethestic form-making, but it combines the function and appearance of the design through evaluating, modify-ing and re-analysing of the proj-ect. The parametric tool provides architects a much wider scope of design concepts and then assists them to get best outcome based on the database under evaluation and discussion.

Howeve, as parametric modelling has a short history and is a sort of new technique for architects, it sometimes used by architects who are urge to be professors in digital world but without the fully under-stand about the real meaning of

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FOSTER AND PARTNERS

NATIONAL BANK OF KUWAIT HEADQUATERS, KUWAIT

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The complex geometry was tran-lated into the grasshopper with artistic agenda but also embod-ded a will to form. The parametric modelling of this design combined the distinguished aesthistic geome-try, integral structure and building qualities togeteher.

As the parametric modelling becomes more universal nowa-days, more and more architects are trying to handle this technique. Parametric modelling, as a pow-erful digital designing tool, is to make the design more efficient and changeble. Though, the possibility of changes is limitless. However, there is also disadvantage about parametric design that it is a bit hard for sharing the paramatric model within a team because it requires everyone in the group fully understand the meaning of each parametres. It is also a prob-lem that we may face in our later gateway design works.

modelling with scripted tools enables design team to involve the refined full shape into the initial design intents. And at the same time, lots of different performance parameters would be embedded under precise consideration of the environmental, cultural, stuctural, functional and operational require-ments.

Moreover, the parametric model-ling allows designers to get full constructional description of the shading fins through inputing the data to the software. That means the parametric tools can also be used into controlling the details of the design to leave them adjustable.

Another example is the Madrid Civil Court of Justice designed by Zaha Hadid in an environmental adaptive facade that gradually changing the sunlight exposure. The metallic panels were arranged in hexagonal shapes ovelapping with each other.

The National Bank of Kuwait Headquaters, designed by architec-tural practice Foster and Parters, is still being built from the concept of Kuwait’s heritage as a nation depending on the sea and the arrival of oil. The whole tower is 300m tall with 62 levels. The form and geometry of the headquaters presents a symbol of the kuwait’s skylines as well as responses to the local climate.

The parametric modelling tool here is used to experiment the various optionos such as for the arrange-ment of steel fins, the angle of archs forming north facade and place-ment of detail joints, strenghth of the materials. As the design team Foster and Parterns intented to make the building response to the local environment, the shading fins were designed to get natural light and views by the early involve-ment of the parametric modelling approach. The parametric

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ZAHA HADID

MADRID CIVIL COURT OF JUSTICE, MADRID

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However, due to the limited knowledge about the Rhino and especially Grasshopper, I failed some approaches dur-ing trying with video tutorials. But through these experiment I realized that each parametre of Grasshopper should be fully understood about their exact meaning in order to make sure how to connect them effectivly. Moreover, the specific design direction should be worked out before writing the scripts. It is hard for group if members do not know the program.

Figure 4 is the lofted curve in customed pattern. This is really useful in later Gateway Project to work out the geometry.

Figure 5 is an exercise about making overlapping geometry based on three closed curves. This is useful in building some pavilions and enables designers to change the overlapped posi-tion of each line.

There are still numbers of im-portant skills about Grasshop-per that need to be explored. For example, the pattering list makes designers write the new patterns without refences.

The following two pages shows several successful algorithmic exercises done by Rhino and Grasshopper.

Figure 1 and 2 are lofting open spaces controlled by Grasshop-per. Unlike the loft command of Rhino, Grasshopper makes the editing process be more efficient and easier. The whole structure can be changed through only the controlling points.

Figure 3 is a simple exercise on building the cureve on points. The arches can be directly built in Grasshopper in order to get enclosed space.

A. 6 ALGORITHMIC EXPLORATION

Figure 1 : Original lofted surfaceFigure 2: Changed lofted space by control points in GrasshopperFigure 3 : Curved surface shaped by points in Grasshopper

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Figure 4 : Customed pattern on lofted curveFigure 5 : Gridshell with overlapping lines

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The architecture needs revolu-tion to achieve another great progress. I think now the revo-lutionary century has begun and we already foresee an optimis-tic future of the architectural environments. The digital tools is indeed challenging the tradi-tional fundamental architectural design.

Moreover, computation and parametric modelling relates the extior and interior design to-gether to give a complete expe-rience for clients. It enables the building responsing to the local environment through the spatial and visiual link. Because of this new advanced techniques, the architectural system becomes more dynamic, efficient and even intellegent. Also, it brings total brand new ideas and in-formantions to the architectural era.

The development of the com-putational technology allows architecture to be more capable in searching new ideas of the design. Digital tools such as parameric modelling enables architects getting more possible complocated geometries, more creative design approaches and also much quicker installation in fabrication and construction. The architecture has grown up from the advancement of the tecnologies, and at the same time it has been widen not only from the form-making, but the materiality and performance.

A. 5 CONCLUSION

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Gateway project.

To be a good architect should be up-to-date and catch as much as possible knowledge and lat-est technique. In this way, we can earn creativity in order to design modern structures.

symbol that representing our vision as well as shaping our liv-ing world.

Through the exploration of Part A done in previous three weeks, I gained some more under-standing about the role that computational technology plays in architecture design process. The three-dimensional model of Rhino and parametric tools such as Grasshopper changed the way what I think about the form-making and geometry. Before the studio studying, I knew little about the exploration of the spatial experience and materiality but now I will search the potential possibility in the

Before I took the course in University of Melbourne, my knowledge about architecture was superficial and shallow. What I used to think about the architecture was just physical forms and some engineering calculations. However, this con-cept totally changed just after I took the first class of Virtual En-vironments and the later studios gradually enriches my thought about the area. Architecure contains a really huge range of the knowledge including cul-ture, policy, religion, value and also the most important, envi-ronment. It is no longer just a concrete building standing just right there but it is more like a

A. 6 LEARNING OUTCOMES

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Brady Peter, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’. Architectural Design, 83, 2, (2013), 56 - 61.

Burry Mark. ‘Scripting Cultures: Architectural Design and Programming’, Chichester: Wiley, (2011), 8 - 71.

Daniel Bosia, ‘Long Form and Algorithm’, Architectural Design, 81, (2011), 58-65 (64-65).

David Goldblatt, ‘Lightness and Fluidity : Remarks Concerning the Aethes-tics of Elegance’, Architectural Design, 77, (2007), 10-17 (16-17).

Dusanka Popovska, ‘Integrated Computational Design : National Bank of Kuwait Headquaters’, Architectural Design, 83, (2013), 85-85

Patrik Schumacher, ‘Parametirc Patterns’, Architectural Design, 79, (2009), 28-41 (35-36).

Yoshiharu Tsukamoto, ‘Void Metabolism’, Architectural Design, 82, (2012), 88-93 (90).

Guggenheim Museum, Frank Gehry, < http://vliegtickets.klm.com/europa/spanje/vluchten-naar-bilbao.html>

Madrid Civil Court of Justice, Zaha Hadid Architects, < http://www.zaha-hadid.com/architecture/madrid-civil-courts-of-justice/>

National Bank of Kuwait Headquaters, Foster and Partners, <Madrid Civil Court of Justice, Zaha Hadid Architects, < http://www.zaha-hadid.com/archi-

A. 7 REFERENCES