Hu shaorui

STUDIO AIR2014, SEMESTER 2, Philip BeleskyShaorui HU

Table of Contents

INTRODUCTION 3

Part A CONCEPTUALISATION

A.1 Design Futuring 5-9

A.2 Design Computation 11-15

A.3 Composition vs Generation 17 -21

A.4 Conclusion 22

A.5 Learning Outcomes 23

A.6 Appendix- Algorithmic Sketch 24

A.7 Reference List 25

INTRODUCTION

My name is Shaorui HU, a student from the Environment Department, and my major is Architecture. I am a third year student, and this is my second semester in the Melbourne University.

I was born in Luoyang, Henan Province in China. I came to Melbourne in 2011 when I was 18 years old, so I have been here for three years already. I like playing sports, such as, basketball, tennis and swim, and I also play guitar with friends sometimes.

I am interested in the different architectures around the world, and I like to analysing and finding out the story or background behind them. So I chose Architecture as my major study in Uni. I know it is a hard work, but I trust myself that I can make it. As I know, the ‘Design Studio - Air’ is not a easy subject, especially in using he software like Rhino and Grasshopper, which I used very seldom before, so it is bit challenge to me. But I still have the passion with it. From this subject, I expect to learn the practical skills, like the using of software and also learn how to correctly and comprehensively understand an architecture.

ABOUT MYSELF

3

4 CONCEPTUALISATION

CONCEPTUALISATION 5

A.1 DESIGN FUTURING

As we can noticed that, in recent years, our planet is being damaged at different extents, due to the improper human activities. The problems like climate change, the global warming and frequently happened disasters were carried out, which also have a significant influence in the future environment[1]. Facing with such situation, the design of how future would be is vital.

On another hand, according to Fry Tony, the design refers to the designer and designed objects, images, systems and

things, that shapes the form, operation, appearance and perceptions of the material world we occupy.[2] Since the human beings have caused so many environmental problems, it is about the time to seriously thinking the relationship between creation and destruction.

Dealing with this issue, people putted on more and more attention on the renewable resources.[3]Such as, the solar energy, wind power, hydro-power and tidal energy. These are purely environmental-friendly resources, which can be

used without creating any environmental problems. Therefore, it becomes an inevitable and important trend to design projects, incorporating with these renewable resources.

The Land Art Generator Initiative Competition Entries (also know as ‘LAGI’) is a great platform, on which many architects focus on advancing the successful implementation of sustainable design solutions by integrating the art and interdisciplinary creative process into the idea of renewable energy within architecture discourse.[4]

6 CONCEPTUALISATION

A.1 DESIGN FUTURINGLAGI COMPETITION REVIEW -- PRECEDENTS STUDY

SOLAR LOOP

Artist Team: Paolo Venturella, Alessandro Balducci, Gilberto

Bonelli, Rocco Valantines, Mario Emanuele Salini

Pietro Bodria

Artist Location: Paris, France

The Solar Loop is a generator designed to absorb the most solar power through exposing more surfaces to the solar rays, to produce the needed energy. So its location is very significant, where is the Fresh Kill’s East Park, as it is the most sunny part of the park during the year. The shape of the generator was inspired by the solar diagrams, with the best angle to deal with sun path during the time. [5]

The designer calculated the sun’s rays as the average of the angles of the winter and the summer solstice. Thus, it has been seen the most efficient solution to cope with the sun path.

More than that, the generator was composed by two different surfaces, acting in different functions. The first one is the photovoltaic surface, which is always exposed to the sun with the most per-formative angle. [6]Considering the surrounding natural environment, the second one is the mirrored surface that reflects all the surrounding to multiply the spectacularity of the landscape as a single multiple landmark.

More importantly, the Solar Loop also has the multi-functions, as it is not only a generator to produce energy, but also to produce the living spaces. The social medium/big events can be organised at inside, such as concerts, speeches and sports events. So it uses the landscape very efficiently.[7] And its location makes the site very accessible. In my own point of view, I think this is a smart project, when taking the designing of sustainable energy and functionality into consideration.

Fig 1. Photo of Solar Loop

CONCEPTUALISATION 7

Fig 2. Photo of Solar Loop

Fig 3. Perspective of Solar Loop

8 CONCEPTUALISATION

Fig 4. Wind Towers on the site

WIND TOWERS

Artist Team: Fernando Chavarri Figueiras, Miguel Diaz Medio

Artist Location: Madrid, Spain

The Wind Towers was designed by the idea of generating an architectural element and, in the mean time, producing the power efficiently and independently. The electric energy is produced by an autonomous system, which only uses the sun and the air. The system aims to make the air flows through the covering by creating the greenhouse effect. So the warm air will rise by convection through the chimney to the top. [8]Moreover, in order to maximise the effect of extraction, there is a great difference in the size of tower, from the bottom to the top, which can create the Venturi effect in the air flow. Then the high air velocity in the top of tower will promote the turbine to generate the energy. Apart from that, the generator is also located strategically in the proximities of

the river, where obtaining the lower temperature air flows.

The autonomous production of energy is a great advantage of this system, because the turbines do not require the wind speed in the environment, and the air flow is produced by the sun,[9] due to the temperature difference between inside and outside of the system.

Wind Towers was built by using the recycled materials, aims to respect to the environment and achieve the environmental-friendly development. For example, the use of aluminium structure and recycled plastic. The designer considered a lot about the site, like the beaches around the world being composed of sand coral, also have an alarming percentage of plastic, so it becomes significantly important to recycle the materials.[10] And this is what need to be concentrated on when designing an architecture.

A.1 DESIGN FUTURINGLAGI COMPETITION REVIEW -- PRECEDENTS STUDY

CONCEPTUALISATION 9

Fig 5. Diagram of Wind Towers

Fig 6. Photo of Wind Towers

10 CONCEPTUALISATION

CONCEPTUALISATION 11

A.2 DESIGN COMPUTATION

Computation, sometimes, will be confused by people with computerization, when these two are putted together. Nowadays, the computerization becomes the dominant mode of utilizing computers in architecture. Like the entities or processes that are already conceptualized in the designer’s mind are entered, manipulated, or stored on a computer system. For example, many architect is drafting in the

computer, as it is easier to copy, edit and accurate the drawings. [11]In contrast, the computation or computing, as a computer-based design tool, determining some properties by mathematical or logical methods with a calculation process.

Computational thinking is the thought processes involved in formulating problems and their solutions, so that, the solutions

are represented in a form that can be effectively carried out by an information-processing agent. [12]More importantly, computation is not only involves the digitalization of entities or processes that already defined in architect’s mind, but also provide more possibilities and opportunities to help designer to have abilities to face with a more complex situation during the computational process.

A.2 DESIGN COMPUTATION

The ICD/ITKE Research Pavilion is a great example in using the computation design. It is located in the University of Stuttgart, Germany, and was built in 2011. The pavilion was designed by means of novel computer-based design and several simulation methods, and also the computer-controlled manufacturing methods were used for its building implementation. [13]Therefore, the computation-controlled method is an ongoing change both within design and construction industries. As it can work more efficient and accurate, and maximize the possibility in design and construction.

Through the computational process, the designer effectively extend the recognized bionic principles and related performance to a range of different geometries. This can be shown by the real project, that the complex morphology was achieved with extremely thin sheets of plywood, about 6.5mm. [14]Therefore, unlike the traditional light-weight projects, which can only be applied to load optimized shapes, this pavilion can be applied to a wide range of custom geometry.

Mover, the production of the plates and finger joints of each cell were operated university’s robotic fabric system. The designer set the custom program to provide the basis for automatic generation of the machine code ( known as NC Code), aims to control an industrial seven-axis robot in the computer model.[15] This kind of technology, makes it possible that the economical production of thousands of geometrically different components and finger joints can be made, which are freely arranged in space. In the end, the participants can join the prefabricated module

Fig 7. ICD/ITKE. Research Pavilion


PRECEDENTS STUDY

12Fig 10. Diagram of ICD/ITKE. Research Pavilion,

Fig 9. Diagram of ICD/ITKE. Research Pavilion, 2011



13


Fig 13.Perspective of Zaha Hadid Alpenzoo Station

Fig 14.Zaha Hadid Alpenzoo Station

The Parametric design is another well-known approach to architecture based on the advanced computational design techniques. More specifically, it is a process used to manipulate, regenerate and design the objects based on a set of rules or parameters. [16]It is good at two main concept, the one is repetition, which works best when it is used in parallel with rotation, scaling and movement. And another is mutation, which is about the transformation of different forms.

The project shown on the right, is called Alpenzoo Station, which is located in Innsbruck, Austria, designed by Zaha Hadid. During the design process, the parametric design was used, aims to create the ideal morphology, by incorporating with the surrounding landscape condition.

Comparing with the work that generated in the past, there was a very strong allegiance for rigid geometrical figures, however, the new style, like parametric design helps in creating a dynamic system, and it also offers a flexible set of components to manipulate, which is helpful in leading to an infinite amount of variation. [17]For example, the artificial landscape was created by the lightweight roof structure that float on the concrete plinths, soft shapes and contours, which describes the movement and circulation within the project.

A.2 DESIGN COMPUTATIONPRECEDENTS STUDY


Fig 15.Zaha Hadid Alpenzoo Station


A.3 COMPOSITION / GENERATION

Currently, the architecture is experiencing a shift from the physical drawing to the algorithm as the method of capturing and communicating designs. Moreover, the parametric modelling technologies make it possible for designer to explore their designs and simulate performance, in terms both of physical and experiential.[18] Therefore, the ability of architect is enhanced, like constructing complex models and gaining performance feedback.

The composition and generation

are two different strategies being used by architect to create design. Compositional strategy uses the computational technique to create the architect’s wanted form or function of design, and then the computation will be used to help them to finish up their idea. Using a good example from our tutor, Philip Belesky, designer may use traditional CAD computational technique to start the basic shapes of a building, and after that, computation technique like Grasshopper might be used to tweak that basic shape, which makes it easier to construct or to optimise its performance.

Generative strategy is more difficult than composition, as the architect usually doing their design without a specific form in mind, but instead creates certain rules that the computer will use to generate forms. And based on this, the architect may select from the different options which are produced by computer, according to what they looks best. So both of these two strategies use computation, but in different methods. The Generative strategy is usually be used to create a certain part of a design, such as, a facade, rather than designing everything.


A.3 COMPOSITION / GENERATIONPRECEDENTS STUDY

Fig 16. Photo of Arum


The Arum project was designed by Zaha Hadid Architects for the Venice Biennale in 2012. The theme of Biennale of that year was called ‘Common Ground’, and it means the current architectural culture is relied on a rich historical continuity of diverse ideas rather than the independent talents. [19]The pleated metal structure is derived from the work of German architect Frei Otto, who made a great contribution in paving the way for material-structural form-finding process.

Based on the achievement made by Frei Otto, the designer find out that, the more their design research and work evolved on the basis of algorithmic form generation, the more appreciation they learned from the work of pioneers like Frei Otto had done. More than that, the designers also expanded Frei Otto’s method to include not only the environmental but also structural logics, and they moved from material to computational simulations. [20]

In the project of Arum, the computation techniques were introduced by the architect, such as, the parametric modelling, algorithmic thinking and also scripting culture.

For example, the algorithmic thinking plays a significant role in helping designers to achieve the shifting from the composition to generation. [21]As the complex structure was explored with the idea that creating the intensive qualities, and the complex spatial form was achieved through establishing the relationship among the architectural systems. Moreover, the parametric modelling was also used by designer, aims to refine and achieve the complex design.

ArumZaha Hadid Architects, Venice Biennale, 2012


Fig 18. Perspective of Arum



A.3 COMPOSITION / GENERATIONPRECEDENTS STUDY

Fig 20 Modelling of FXFOWLE Lounge Fig 21 Photo of FXFOWLE Lounge

Fig 22 Photo of FXFOWLE Lounge

FXFOWLE LoungeFXFOWLE Architects, Miami Basel, 2012

The FXFOWLE Lounge is a temporary architectural pavilion, designed by FXFOWLE Architects, led by Sarah Gerber, at Miami Basel in 2012. The designer points out that such 24-foot-long pavilion embodies the duality of very high-tech and sophisticated fabrication, and low-tech material and assembly process. Moreover , the designing of this pavilion is the first attempt in fully using scripted computational methods for design and fabrication.[22] As in usual, they are working on larger scale projects, where computational and parametric processes are sometimes used in conceptual design phases for form finding and especially for facade studies. And in this designing approach the designers are exploring the potential of different digital tools, platforms and work-flows.

In order to create an organic sculptural form with a

non-repetitive textural pattern, the computational design and fabrication technique were used by the architects. For instance, the series of scripts were created by the Rhino-script, aims to generate a pattern on a base surface, and then unroll and label each component, then create tabs around each component for assembly. All the components were able to be identified through layer controls and colour values.[23]

Moreover, the designer also introduced algorithmic thinking in the design, as they set up the algorithmic computational system to explore the design, which shows the features of self-organization within a range of scales in nature. In addition, the pavilion designed with technologically-sophisticated scripting software, comprises 180 varying segments,[24] together, take the form of complex structural geometries.


Fig 23 Photo of FXFOWLE Lounge

Fig 24 Diagram of FXFOWLE Lounge


A.4 CONCLUSION

The sustainable development has become a hot topic in recent years, so the efficient using of renewable resources is significant. Referring to the architectural discourse, the developed technology should be effectively token into consideration, during the design and construction process, to make the architectural design achieve the sustainability as well.

The innovation of computational technique makes it a lot easier for architect to manipulate and refine

their design. And the complex and ideal surfaces can be created by these software. In the mean time, the abilities of architect are also required, which means, they will need to learn and control some of the new strategies and skills that being used in computation. For instance, the parametric modelling, the designer will need to be able to defining the relationship and the logic among each component.

By contrast, there are also some shortcomings of the

computational technique. Like the scripting of the design may degenerate to an isolated craft, rather than integration, if the advantaged computational skills are allowed to obscure and diverts from the real design objectives. In my own point of view, I think people may loss some skills that they used before, such as, sketching and physical model making, as now they are more and more rely on the computing technique. And the computer-based tools also still have some limitations and there are some other uncertain factors that can affect the design performance.


A.5 LEARNING OUTCOMES

From the last few weeks theoretical study, I gained the knowledge about the computational design techniques, like parametric modelling and algorithmic thinking, and I’ve found theses are very helpful in designing process. Moreover, I

noticed that the current designing environment is very tight, the sustainable designing by incorporating with the renewable resources becomes an inevitable trend to the future.

More importantly, the weekly

exercises help me gaining some basic technology and idea, like how Rhino and grasshopper working together and the relationship in-between them, which would be very necessary and significant in the future study.


A.6 APPENDIX

ALGORITHMIC SKETCHES

These sketches are selected from recent week exercises, as I think they represent the steps that I have done so far, from point to surface, from simple to complex, And these weekly exercises give me a opportunity to practice these techniques in real, and which alsohelps me better understanding the articles and research that I’ve done during the week. These sketches also represent the knowledge, like parametric modellings (grasshopper), and algorithmic thinking in the design process, which would play a significant role in the future study.


A.7 Reference List1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16

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

3. Ferry, Robert & Elizabeth Monoian, ‘Design Guidelines’, Land ArtGenerator Initiative, Copenhagen, 2014. pp 1 - 10

4. Review: Land Art Generator Initiative Competition Entries, 2012

5. Oscar,Wilde(2012). Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/



8. Wind Towers(2012): http://landartgenerator.org/LAGI-2012/mf0dc0mf/



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

12. Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42

13. “ICD | ITKE Research Pavilion 2011 / ICD / ITKE University of Stuttgart” 18 Jan 2012.



16. Cilento, Karen. “Parametricist Manifesto / Patrik Schumacher” 16 Jun 2010.

17. Cilento, Karen.“Parametricist Manifesto / Patrik Schumacher” 16 Jun 2010.

18. Woodbury, Robert F. (2014). ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge), pp. 153–170

19. Rosenfield, Karissa. “Venice Biennale 2012: Arum preview / Zaha Hadid Architects” 20 Aug 2012



22. Furuto, Alison.“FXFOWLE Lounge Installation / FXFOWLE Architects” 15 Dec 2012

23. Furuto, Alison.“FXFOWLE Lounge Installation / FXFOWLE Architects” 15 Dec 2012

24. Furuto, Alison. “FXFOWLE Lounge Installation / FXFOWLE Architects” 15 Dec 2012

IMAGE

Figure 1-2: Photo of Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/Figure 3: Perspective of Solar Loop: http://landartgenerator.org/LAGI-2012/w0w855ss/Figure 4: Wind Towers on the site: http://landartgenerator.org/LAGI-2012/mf0dc0mf/Figure 5: Diagram of Wind Towers: http://landartgenerator.org/LAGI-2012/mf0dc0mf/Figure 6: Photo of Wind Towers: http://landartgenerator.org/LAGI-2012/mf0dc0mf/Figure 7-12: Photo of ICD/ITKE Research Pavilion: http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/Figure 13-15: photo of Zaha Hadid Alpenzoo Station: http://www.archdaily.com/64581/parametricist-manifesto-patrik-schumacher/Figure 16-19: Photo of Arum: http://www.archdaily.com/269061/venice-biennale-2012-arum-zaha-hadid/Figure 20-24: Photo of FXFOWLE Lounge: http://www.archdaily.com/305573/fxfowle-lounge-installation-fxfowle-architects/

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