STUDIO AIRLINUS QU595617

JUNBO QU

My childhood was surrounded by my grandfather’s craftsmanship of carpentry, making small toys and other tools. There weren not so much entertainments then yet the memory embedied in those hand-made objects was so warm when I look back. These memories have sowed seeds in my heart and later lead to my interests in architecture.

Programmes I used before were only AutoCAD, Rhino, PS, InDesign and Illustrator. I prefer hand-drawn and most of my previous designs were based on that, I think its better for me to engage with the design. However, I still wish to develop my technical skills through this semes-ter. I think over-rendering is deviating from the right path to consider the real building. Yet I still want to grasp it to see if that changes my opinion later.

INTRODUCTION

The interaction between people and architecture is so important to me. We are not living in buildings but are living in this world with buildings. I believe architectures are like humans, they are alive, they grow old; they have memories, memories that were rooted in the changing of their materials; they broke their hearts if we treated them badly during the design and as a results lose the confidence living with us. I believe architecture silently helps people to live. It is like relationships: a good architecture makes its user a better person.

I did not like parametric design because I thought they are just sculptures with fancy shapes, they just play with themselves and care little about human experiences. They are like people with pretty appearences but unattractive personalities. This oppinion was changed the time I saw Norwegian Wild Reindeer Cen-tre Pavilion. The dynamic timber cave looks so safe, so warm, so relaxing and so peaceful. Its a perfect shelfter to prevent the harsh weather outside. The form would be much harder to find without computer aided design and would not be so ele-gant. Thats when I realize parametric design was a tool, just like brushes, pencils and watercolors for painting, we need to learn these tools to achieve the most important thing: idea and thoughts behind. Therefore I really want to learn it well and find a result chanllenge its conventional meaningless impression on me.

ARCHITECTURE AS DISCOURSE

Dovrefjell is a mountain range that forms a barrier between the norther and southern parts of Norway. It is home to Europe’s last wild reindeer herds and is the natural habitat for many rare plants and animals. A long history filled with travellers, hunting traditions, mining, and military activities has left its mark on this land. In addition to the natural and cultural landscape, the Dovre mountains also holds significant importance in the Norwegian conscious-ness. National legends, myths, poetry (Ibsen) and music (Grieg) celebrate the mystic and eternal qualities of this powerful place. The founding fathers of the Norwegian constitution are ”agreed and faithful, until the fall of Dovre!”

BACKGROUND

PRECEDENTS

Figure 1 Norway Reindeer Watching Pavilion [1]

The Norwegian Wild Reindeer Centre Pavilion is located at Hjerkinn on the outskirts of Dovrefjell National Park, overlook-ing the Snøhetta mountain massif. The 90m2 building is open to the public and serves as an observation pavilion for the Wild Reindeer Foundation educational programmes. A 1,5km nature path brings visitors to this spectacular site, 1200 me-ters above sea level.

This unique natural, cultural and mythical landscape has formed the basis of the architectural idea. The building de-sign is based on a rigid outer shell and an organic inner core. The south facing exterior wall and the interior create a pro-tected and warm gathering place, while still preserving the visitor’s view of the spectacular panorama.

Considerable emphasis is put on the quality and durability of the materials to withstand the harsh climate. The rectangular frame is made in raw steel resembling the iron found in the local bedrock. The simple form and use of natural materials reference local building traditions. However, advanced tech-nologies have been utilized both in the design and the fabri-cation process. Using digital 3D-models to drive the milling machines, Norwegian shipbuilders in Hardangerfjord created the organic shape from 10 inch square pine timber beams. The wood was then assembled in a traditional way using only wood pegs as fasteners. The exterior wall has been treat-ed with pine tar while the interior wood has been oiled. The pavilion is a robust yet nuanced building that gives visitors an opportunity to reflect and contemplate this vast and rich landscape.

NORWEGIAN WILD REINDEER CENTRE PAVILION

“One of the most critical yet challenging elements of the project was the architectural development of the building“s skin. Our ambition to achieve a surface so continuous that it appears homogenous, required a broad range of different functions, construction logics and technical systems had to be brought together and integrated into the building“s envelope. Advanced com-puting allowed for the continuous control and communication of these com-plexities among the numerous project participants.“

Figure 2 Heydar Aliyev Center [2]

Heydar Aliyev Center

Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids, or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical space. Continuous cal-ligraphic and ornamental patterns flow from carpets to walls, walls to ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions between architectural elements and the ground they inhabit. Our intention was to relate to that historical understanding of architecture, not through the use of mimicry or a limiting adherence to the iconography of the past, but rather by developing a firmly con-temporary interpretation, reflecting a more nuanced understanding. Responding to the topographic sheer drop that formerly split the site in two, the project introduces a precisely terraced landscape that estab-lishes alternative connections and routes between public plaza, build-ing, and underground parking. This solution avoids additional excava-tion and landfill, and successfully converts an initial disadvantage of the site into a key design feature.

In this architectural composition, if the surface is the music, then the seams between the panels are the rhythm. Numerous studies were carried out on the surface geometry to rationalize the panels while maintaining continuity throughout the building and landscape. The seams promote a greater understanding of the project’s scale. They emphasize the continual transformation and implied motion of its fluid geometry, offering a pragmatic solution to practical construction issues such as manufacturing, handling, transportation and assembly; and answering technical concerns such as accommodating movement due to deflection, external loads, temperature change, seismic activity and wind loading.

Figure 3 Heydar Aliyev Center Interior [2]

A.1. DESIGN COMPUTATION

The emerge of computational design has completely changed the old design process. The algorithmic thinking is systemetic and rational whereas the normal design process can be non-linear and inspirations are largely accidental. Problems can be solved with computational strategies by dividing big problems into smaller ones and conquer them step by step. Computational design requires designers to have directions and to know where they are going before the scripting begins. Unlike this, traditional design process always does not have a clear goal at the beginning and the solution reveals itself gradually.

The complex innovation of computer technology provides us an op-portunity to push the limit of architecture. Computational design can generate plans that are impossible to be drawn by hand, achieve geometries that cannot be conceived before. These will give us much more options to realize and push our ideas.

Performance design determines that forms are generative rather than set in the start. Unlike Mies Van der Rohe’s opinion that form follows function, or form follows form, form now follows algorithms. The con-sequence and priority in design practice are now changed and being rethinked. Forms grow from the design of the logical algorithms.

Conventional construction method was changed. Computational design has also shifted the real materials focus into virtual but hybrid, smart, extreme textile materials and leads to digital fabrication and mass production.

SERPENTINE PAVILION 2002

“Although fun to look at, this structure was rooted in complex geometry...the pavilion had no façade and no hidden structural frame behind it... what you saw was 100% pure structure, its holistic beauty like that of a crystal or a snowflake.”-Bal-mond

What appeared to be an extremely complex random pattern was in fact derived from an algo-rithm of a cube that expanded as it rotated. The intersecting lines formed different triangles and trapezoids, whose transparency and translucency gave a sense of infinitely repeated motion.

The innovative use of computational design in this pavilion is that not only its form but also its structure is determined by algorithm. The complex structure is already beautiful and becomes the external building itself.

Figure 4 Serpentine Pavilion 2002 [3]

Figure 5 Pavilion Interior [3]

Figure 6 Pavilion Ceiling [3]

Guggenheim Museum Bilbao

Figure 7 Bilbao Guggenheim Museum [4]

Figure 8 Sketch of Frank.G [4]

The form of the Bilbao Museum was found by Frank Gehry using physical model then scanned into computers. As Frank Gehry said that com-puter is only a tool to capture the line but not to create it. The plan of the Bilbao Museum is absolutely beautiful and cannot be done purely by hand.

Unique thing about Frank Gehry is that he has set up a company, Gehry Technologies, to sell his expertise in computer modelling to other architects. He also uses the inventions of oth-ers such as iCrete, or “intelligent concrete”, a version of this sloppy, messy building material that is computer-calculated to achieve the ideal specification, which saves on waste, which saves money and reduces carbon emissions. Therefore all of Frank Gehry’s buildings are on budget.

Figure 9 Sections [4]

Figure 10 Floor Plan [4]

Figure 11 Interior [4]

Figure 12 Interior Two [4]

A.2. COMPOSITION/GENERATION

The traditional way of architectural composition was largely dependent on the use of grid, which makes most architectures and cities homogenous, with all the nighty dgree angles and box like appearence. This makes the people living and working inside the building homegenous too.

The natural world is extremely complicated and variable, and its systems are fluid-it is built on a fluid world. In contrast to this, architecture has always tried to establish a more stable system.

The reason for the traditional architectural composition is the lack of advanced analytical tool. Human minds are much slower and cannot process as much factors as computers can. With the help of algorithmic thinking, the logical analysis behind the design process becomes more clear and easier to control. Also, the complex analytical process of the sur-rounding environments could result in more fluid and environmental interactive buildings.

However, the disadvantage of generative design is it cannot deal the mysterious design aspects well. Mental feelings and human experiences are too subtle and too complicated to be analyzed.Yet those things are the soul of architecures. All of Antonio Gaudi’s build-ings are organic and have no straight lines. All these fantastic buildings have adopted basic rules from nature, just like the biomimicry process in the generative design, yet none of them used computer aided design. The traditional way of composition in Gaudi’s archi-tecture has provided much more profound and fantastic human experiences than many modern parametric designed architecture with fancy looks.

The generative design process needs to have a speculative design direction at the be-ginning and to be gradually modified and clarified. All the process are linear and logical. However, inspiration usually comes accidentally and unexpected. This gives generative design less opportunities to change directions as progressing.

Parametric modelling makes it possible to achieveing the final form without consider the uniqueness of different materials. For example, kengo kuma’s project always start from the small things such us material finishes and construction details. Even bamboos grow in Japan and in China have difference that could result in astoishing different result. It is important to consider these in order to make the building reall interact with the surround-ing environments. Also, Carlo Scarpa’s beautiful detail designs always result in fantastic buildings. Generative design process will more or less ignore these craftmanships and push architectural globalization that buildings all over the world looks the same.

A tree assumes its form depending upon its variety. By repeating very simple rules, the tree creates a very complex or-der.

But a tree also decides its own specific form as it grows. A tree decides its shape in response to its surroundings. A tree is always open toward the environment.

When you stand beneath a tree-within the span of its branches, within the space it creates-it is impossible to determine whether you are inside or outside.

-Toyo Ito

Figure 13 Tree Branches [5]

TAICHUNG METROPOLITAN OPERA HOUSE

The initial idea for the project came from taking two flat surfaces, dividing them into a grid, and then systematically connecting circles around alternate points vertically with a flexible fabric to create a three-dimensionally curved, continu-ous surface. If this form is repeated vertically, it result in this A/B organization of space, connected vertically and horizontally.

In the vertical direction, the building is made of four levels. By repeating the pol-yhedrons and then connecting them vertically and then smoothing them out, this structural system is created.

Figure 14 Opera House [6]

The external form of the build-ing is orthogonal, but the inte-rior is punctured with countless holes, so that levels are con-nected horizontally and verti-cally. Cave-like holes penetrate the form.

The interior is a cave-like white space spreading in every direc-tion.

Structural system was generated from basic geometric system. Simple rules leading to a spatially highly complex structure. ALGORITHMIC RULES

A regular grid with alternating A and B zones is pulled apart to open up inter-stices separated by the surface.

Transformation into a flexible grid allows for a strategic redistribution according to programmatic needs of area/volume and local adjacencies.

The flexible grid system is applied on a per level basis responding to specific needs in local programmatic changes.Eventually, structural links evole be-tween the flexible grid.

Figure 15 Opera House Model [6]

Figure 16 Interior [6]

Figure 17 Model Two [6]

Figure 18 Generative Diagram [6]

UNIVERSITY OF CARLIFORNIA BERKELEY ART MUSEUM

A museum ordinarily has a lot of wall space, but rather than cut holes in the walls to create open-ings, Toyo Ito bend the walls and have the visitors slip or slide in be-tween the gas. The comings and goings of people like water flowing through were expressed here.

The bottom of the corner area was opened or moved away using a curve. Top of the corner was treated the same to create visual relationships. Both horizontal and vertical dimensions were used to create continuity.

Through this kind of operation, the interior wall becomes the exterior wall, or the exterior turns into the interior. Through the repetition of this inversion, the relationship be-tween galeery spaces were creat-ed, as if people are walking along one long ribben of wall.

Figure 21 UCB Art Museum AXO [7]

The site context for this project is extremely exciting: it faces the main gate of the campus and it is backed by the grid of the city.

This project tries to follow the grid of the city, and to superimpose the flu-id green space of the campus.

Figure 19 UCB Art Museum [7]

Figure 20 UCB Art Museum Plan [7]

A.3. CONCLUSION

Part A mainly discussed the role of parametric design in the world of architecture as well as its advantages and disadvantages, through analysis of different precedents. My design approach through para-metric design will focus on biomimicry, and looking algorithmic thinking as a tool to achieve my understanding of architecture. Through biom-micry I will look into the basic principle of nature and adapt it into a fluid and interactive rather than stable design. More specifically, I will focus on the relationship and interaction between animals, humans and vegetations in the Collingwood Children Farm.

A.4. LEARNING OUTCOMES

Compared to the opinion from the start, which I had as a person knows nothing about parametric design in detail, that parametric architecture is sculpture like and focus less on human experiences. After analyzing precedents I realized that all the parametric buildings I like have an idea or concept beneath their fancy form. For example, making circulation as water flow in Toyo Ito’s UCB art museum did not generated from parametric design. Algorithmic thinking was just a tool to help him achieve the result. It is hard to imagine that these forms and final results found purely by hand. However, even have not under-stand too much from this stage, I find that normally beautiful forms has a beautiful, clear and highly logical algorithm behind. The algorithm itself is also an art and should also be treated with well design and consideration.

A.5. ALGORITHMIC SKETCHES

In order to complete the weekly algorithmic task, I did a lot of researches on finding the com-mand and different algorithms. I find that in order to model the expected model in grasshopper I have to know the speculative direction at the start. Otherwise the modeling procedure will just deviate from the right path. It is normally need to first find the general shape of the final result then refine later.