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Hi, My name is

Qiuliang Li. In my brief

21 years. I have

studied in China,

Botswana, New

Zealand and Australia.

Since I was a child,

drawing had always

been my main method

of communication,

second to speaking of

course. Throughout the

years, drawing had

helped me in many

ways to gain popularity

and achievements

among friends and

school. It all started

with a pen and my

bedroom wall, from

stick figures to the

best graphic designer

in the school, a

homeless man’s shack

to New Zealand

scholarship winning

cliff house. All of these

were the result of my

sixth-sense in drawing

and of course, the

hard work. Throughout

my senior years in

school, I have travelled

to both developed and

developing countries

and was inspired by

the close relationship

between social,

cultural and

economical factors of

a country to its

architectural style. One

major difference is the

use of computation in

constructing buildings.

In developing

countries, such as

Botswana where I

worked on site as a

labourer, the

interaction between all

parties were direct and

on paper. Whereas,

everything was set out

on BIM in New

Zealand. Thus, I

believe computation

still has a long way to

fully aid the human

society as a whole,

first, we must make it

available to everyone.

However, with the

rocketing prices on

software, it is very

hard. I have been

using ArchiCAD since

high school to produce

designs, however,

hand drawing has

always been my

strength as I think it is

important to have the

mind and the body to

work as one. Until

recent time, I have

taken up interest in

learning grasshopper,

which is fascinating in

terms of how simple

algorithms can be

transformed visually

into designs.

Computation is a

booming skill to have

and I will try my best to

acquire it.

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What is Design

Futuring? What is

sustainability? What is

nature? What is a

question that cannot

be defined?

Indefinable or

incomprehensive? We,

humans, live in a world

we do not fully

comprehend. The

rocks are being melted

into iron, the soil is

drained for crops, the

roots are made into

furniture, yet, we keep

pushing our

overweighted bodies

erratically onto the

crumbling cliff to test if

it would hold. It

will…just kidding.

Before one more

person becomes the

victim of climate

change due to

unsustainable

development. We must

wake up to the fact

that the end is near! A

spaceship needs to be

designed and built in

order to accommodate

the elite and leave the

everyday people in the

apocalypse, which I

believe is the case with

architecture today.

People with the

appropriate financial

and political means

gain free access to the

spaceships made from

steel and glass while

the rest shelters in

wood cabins burning

coal to survive.

Anyhow, the point is

that architecture today

has become a

materialistic mean

that focuses on the

aesthetical

appearance to a very

narrow group of

people. For example,

mansions build for the

rich in the desert in

Las Vegas .2How much

is enough in order for

us to realise that sea

level is expected to

rise 7 metres by the

end of century with

500-750 million plus

environmental

refugees?3 Social and

political aspects in

society have set a

general standard in

promoting democratic

designing, which

allows a wider variety

of design to be

accomplished by a

wider group of

designers. This grants

a more satisfied

society, but also

humans have become

so proud and

comfortable in their

architectural

developments that

they are reluctant of

creating the will and

means to mobilize

appropriate

technologies at the

scale needed to make

a real difference.4

Thus, design

intelligence must

intervene to create a

sustainable future.

Parametric design is

the tip of the iceberg in

design futuring as it is

an effective method in

finding the optimal

structural strength and

form from different

materials to produce

an advanced, durable

and functional

construction with

minimum outputs.

Therefore, in

increasingly

unsustainable worlds,

design intelligence

would deliver the

means to make crucial

judgements about

actions that could

increase or decrease

futuring potential.5

Essentially, design

intelligence has

become design futring.

It has to confront two

tasks; slow the rate of

defuturing and

redirecting us towards

far more sustainable

modes of planetary

habitation.6

Design Intelligence (not to be confused with ‘intelligent design’).1

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The Swiss Re,

designed by Norman

Foster and Arup

group is a

commercial

skyscraper with 41

floors that was

completed in

construction in

December, 2003. The

building is an iconic

symbol of London

and one of the most

widely recognised

examples of

contemporary

architecture. It

demonstrates the

power of the linkage

between parametric

modellers and their

scriptable mediated

variability and

performance

simulation software.7

This is evident in the

design of the

building’s effective

ventilation system ,

The six air shafts in

the building act as

natural ventilation

systems as well as

creating a double

glazing effect,

trapping air within to

force warm air to

escape upwards in

summer, while using

passive solar heating

in winter. As a result,

it only consumes half

the power that a

similar tower would

typically use.8 The

commitment to

curvilinear design

and the preference

for non-orthogonal

geometries, such as

aerodynamically

splitting wind paths

rather than blocking

them like typical

orthogonal buildings

have redirected the

Swiss Re to the

differentiating

potential of

topological and

parametric

algorithmic thinking

and the tectonic

creativity innovation

of digital materiality.9

In turn, it formalises

the biomimetic

principles of design

as it combines the

concept of

morphogenesis with

the tectonics of

futuring materials,

e.g. glass in

conjunction with

performative

simulation, such as

the natural ventilation

to create naturally

ecologic systems.

Ultimately, the Swiss

Re pushes

architecture towards

a sustainable design

future.

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With 40,000 square metres

of exhibition space, the

Qatar National Convention

Centre (QNCC) in Doha is

the largest Congress centre

in the Middle East. The

building complex was

designed by Arata Isozaki,

and it impresses with

construction shaped tree

trunks and monumentally

uprising branches that take

on a vital supportive

function.10 Through the use

of advanced computing

software, the structural

form, e.g. the sharp

connection from the trunk

structure to the roof was

able to be executed to an

optimal connection in

relation to the materials

used. The exhibition not

only exhibits what is inside

but also its futuristic

structural experimentations

only made available by

computation technologies.

Made of steel, wood,

marble and glass – it

demonstrates the powerful

potentials of materials in

supporting the building with

minimal quantities and

extreme, non-orthogonal

shapes. The building has

already received the

'Leadership in Energy and

Environment Design' (LEED)

award by operating

efficiently with innovations

such as water conservation

and energy-efficient

fixtures. One of the features

is the 3,500sq m of solar

panels providing 12.5

percent of the Centre's

energy needs.11 The

exhibition centre is a vivid

example of innovative

integration between

material fabrication, form

generation and

performative form finding.

The end result is a

democratic design free

from restrictions, limits or

unsustainability. This

building has revolutionised

architecture as multiple

functions can be

accomplished by a single

building. For example, a

power station could also

perform as a recycling

centre, or a commercial

office with water

catchments and farming

facilities this concept was

already visioned in Le

Corbusier’s roof gardens.

However it lacked the

appropriate technologies to

materialise. Today, with

design intelligence and

performative parametric

computing, we must take

the next step and use this

advantage to create

complex systems that are

effective in harmonising

with nature and

sustainability. As already

evident in the exhibition

centre, many other

integrative design elements

were included in the

building to achieve the

highest level of

environmental and

sustainable standards.

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Computing technology

has become so

effective in today’s

society, especially in

designing that it has

formed part of our

daily practices and we

are dependent on the

efficiency it provides.

In fact, we are so over

reliant on it, without it,

society would be

paralysed. Thus, it

leads to a common

question to whether

we must continue

down this path or find

other solutions.

Lawson's theory on

'fake‘ creativity

encouraged by CAD,

that technology can

replace design12 is a

reasonable argument

and that we are more

dependent on

machines rather than

our imaginations and

dreams. However, our

imaginations are

limited by what we

understand and the

ability of our brains to

process these

information. Thus, a

majority of designers

use programs simply to

computerize their

ideas electronically

onto CAD. Whereas,

computation not only

eliminates these

limitations but also

helps us to discover

new comparable

possibilities each with

its own processes and

data. Computer aided

design (CAD) helps to

formulate randomized

concepts into informed

designs through the

processes of

calculating structural

performance, load

distribution, optimal

strength threshold of

materials13 in merely

minutes, granting

major reductions in

work loads, material

quantities and time

spans. Furthermore,

BIM (Building

Information Modelling)

as part of CAD has

become an

international

communicating tool

that brings designers

from different ethnic,

social and political

backgrounds together

to share and develop

architecture as a

global goal towards

major developments,

such as sustainability,

Form generation and

composition have

never been made

easier with the

redirection of

computation to a

precise, puzzle making

process, allowing

architects to find,

instead of making14

patterns inside and

outside the puzzles.

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Located in Kuwait City, the

National Bank of Kuwait is a

successful computing

architecture. "The building is

an environmentally

responsive building and a

complex geometry designed

that was designed to

integrating various

performance parameters

while continuing to

investigate geometrical

solutions".15 GenerativeComponents™ (GC) was theprimary parametricmodelling software thatquickly produced variousoptions for the designconsidering a range ofperformance parametersincluding “aspirations,structural, environmentalfunctional and operationalrequirements”. 16 The speedyanalysis and generation ofmodels enhance the tectonicsof materialization and

fabrication. The fins that

create the shading system

were studied for buildabilitythrough testing the level ofcurvature of the elements andthrough the derivation ofelements with possiblerepetition, all whilemaintaining the shape. 16

Three sides except the South

façade are covered by the

intelligent shading system

where fins are angle at such

degrees to reduce sunlight

penetration but at the same

time, allowing views and the

daylight to facilitate the

interior spaces. The building

responds well to local

weather conditions.

Parametric and performative

design have been utilised

with integrated simulation

software for wind, sunlight,

energy and structural

calculations (shown in Fig. 4)

in scripting the angle and

shape of the saw-tooth form

for optimal shading and

energy efficiency.

Furthermore, computation

processes have turned the

facades from singularities to

multiple singularities, which

consists of multiple

performative layers that

integrates with each other to

create an optimal product

that provides maximum

efficiency and minimum

environmental impacts.

Required interdisciplinary

skills and communication to

accomplish these is much

easier to be expressed and

managed with computer

generations. Time span of

designing is shortened as

multiple performative forms

can be simultaneously

calculated, evaluated and

perfected.

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The national aquatics

centre in Beijing, China,

also known as the ‘water

cube’ brings aspiration to

computer generation

technologies. 22000

structural elements and

4000 unique cladding

panels were modelled

and designed using CAD

with rapid prototyping

machinery.17 The exterior

pattern was generated by

randomized shapes

formed by computation,

it is similar to the result

of Voronio in grasshopper

3D. The end result is an

iconic futuristic building.

Environmentally, the

cube is an insulated

greenhouse with diffuse

natural light.

Functionality wise, the

main steel structure is

housed in a cavity,

isolated from both the

outside and the corrosive

pool atmosphere. ETFE, a

fluorine based plastic

cladding was used to be

an efficient means of

construction as it would

use minimal material

and remove the need for

a secondary structure,

while providing better

insulation than

single glazing. These

innovative and

performative features are

made possible solely by

computation. Materials,

costs and time are saved

by the continuum of form

generation and testing by

CAD. With the exterior

cladding generated with

computation, this

demonstrates another

advantage of

computation that it can

be used to spark ideas

and to continually

generate forms in order

to keep the design

process circulating as

sometimes, designers

grow weary and run out

of concepts. With the

development of material

fabrication, structural

tectonics was

simultaneously

calculated by CAD to test

and execute performative

forms in hands with the

morphological structure.

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Parametric design has

given us countless

opportunities and

ideas that we would

never dream of without

it. It has made

unbuildable designs

buildable.

Unimaginable form

generations generated.

The trial and error age

has passed and today,

with powerful

computers, knowledge

is key to create

imaginations.

Knowledge in systems,

modelling, sharing and

reuse of computational

tools. With more

powerful computers

come with much more

sophisticated

analytical algorithms

and visualisation

techniques that render

the analytical data.

Ultimately, design

outcomes become

more sophisticated in

creating much more

complex design briefs

with the access to gain

profound discoveries

about abstract

concepts. It is

fascinating to observe

forms, patterns,

structures generated

with the aid of

algorithmic thinking,

such as the pattern of

bird flocks through

Boids by Craig

Reynolds. 18 Multiple

briefs can be fitted

into one design with

the help from form

generation to

composition of

performative forms to

form a complex brief

that meets multiple

functions. Sustainable

fabricated materials

are used to achieve a

more environmental

friendly design.

Computer programs

such as Grasshopper

relies on visual

connections in writing

parametric script.

Visually descriptive

nodes are only shown

in a visual form similar

to the architecture

field, which heavily

relies on visual

communications. This

creates a barrier

between developers

and users as

beginners in the field

are constrained by

their insufficient

knowledge in

computing. Thus,

unable to fully express

themselves through

CAD programs.

Ultimately, hand

drawing is still a

popular method in

designing. However,

educational videos on

the internet have

proved in encouraging

more designers to use

CAD, which increases

the data base online

for sharing and reuse

throughout the world.

Nevertheless, sharing

have caused existing

designs to be modified

due to individuals’

vague believe in only

form and structure,

leading to the loss of

connection to the brief.

The individuals ‘simply

being a designer’.19

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In this pavilion, the efficiency of

computational generation is achieved

through advanced simulation and robotic

fabrication that expands the design space

towards hitherto unsought architectural

possibilities, 20 enabling material

behaviour to unfold a complex

performative structure from a surprisingly

simple material system. Referring to the

pavilion, the development of a generative

computational process based on the

morphological principles of the plate

skeleton of echinoids

enabled the design and robotic

manufacturing of a modular system,

which exploited the hygroscopic

behaviour of wood in the development of

no-tech responsive architecture. The

pavilion only uses extremely thin (6.5mm)

plywood sheets, 20 thus making it both

economical to build and materially highly

efficient. At the same time providing an

enriched spatial extension of the public

space. By utilising computer generation,

the surface of the building was able to be

created through form generation in

cooperation with performative form

finding. A series of computerised detailing

, such as digital fabrication and

compositing the surfaces greatly

enhances the structures adaptability to

the surrounding environment as well as

simplifying the designing and construction

processes while maintaining its

complexity. The surfaces were divided

into singular panels which were digitally

fabricated, then fitted on site efficiently

with the aid of CAD. Similar in putting

together a puzzle. The morphogenetic

property of the pavilion form a

relationship between its surrounding

vegetation and the pavilion’s interior.

Elaborative formations such as

undulations, bifurcations, folds, and

inflections modify this pavilion surface

into an architectural landscape that

performs a multitude of functions:

welcoming, embracing, and directing

visitors through the interior spaces. With

this gesture, the building blurs the

conventional differentiation between

architectural object and urban landscape,

building envelope and urban pavilion,

figure and ground, interior and exterior.21

Thus, form generating through algorithmic

thinking allows the design to relate to its

surroundings in harmony both

aesthetically and environmentally.

Advanced computing allowed for the

continuous control and communication of

these complexities between a wide variety

of participants also reduced time span

and allowed for the bottom-up system

where more productive ideas and

concepts were combined to perfect the

pavilion as a whole..

With Toyo Ito’s

Serpentine Pavilion. The

aesthetic and tectonic

possibilities of the

algorithmic was

eloquently

demonstrated.22 It was

designed during the time

when multidisciplinary

research were developed

to expert the ability to

exploit computational

geometry in the

mediated generation and

analysis of digital

designs.23 The design

can be related to the

Delaunary and Offset

commands in

Grasshopper, which

allows computation to

tease out the patterns in

which the building could

utilise. Experimentations

with the modelling of the

tectonic potential of the

square was carried out. A

series of squares were

drawn with the same

centre point, with the aid

from form generation,

patterns were formed

during the process which

composited together to

form a computational

design we see as the end

product. Moreover, this

pavilion portrays one of

the symbolic properties

of form generation, that,

it creates randomised

patterns and designs

through controlled

parametric algorithms.

This is in the similar case

with nature as it is the

randomness of trees and

mountain ranges formed

by a broader pattern of

genetics and plate

tectonics that creates

beautiful and natural

sceneries. This cannot be

achieved by hand as one

will always be limited by

his/her design patterns

and way of thinking.

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It is with urgency to

inform the industry that

architecture has come

to a stall. In one hand,

futuristic and

fascinating buildings

are being designed and

constructed. However,

on the other hand, they

are still been built at a

cost on environmental

degradation no matter

how energy efficient it

is. ‘one must destroy

something in order to

create something new’,

animals must be killed

to make meat, trees

must be chopped to

turn into timber.

Architecture is forever a

create and destroy

relationship. Natural

resources are burnt in

need for constructing

skyscrapers or

providing energy for

households. Thus, the

most feasible option

would be to slow down

‘defuturing’ and prolong

our habitable

environment, which can

be accomplished by

computation. Design

intelligence/algorithmic

thinking is able to aid

us for optimal

performative form

finding, in relation to

utilising resources and

materials to generate

precisely the minimal

resources needed in

generating the maximal

efficiency in all areas of

a design from energy

consumption to

material strength. With

the constant

development of

programing, designers

will be able to use

algorithmic formulas to

calculate the

unpredictable growth

patterns of renewable

resources such as trees

or bird flocks by Craig

Reynoids. This can be

used directly as design

elements. Leading to

the creation of live

architecture which

cooperates with nature

to build shelter.

Therefore, there are

endless possibilities

with computation to

turn undefinable

designs on paper into

an algorithmic system

where designs come

from generation and

generation from

intelligence.

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Through the process of

comprehending

computational theories

and practices, I am able

to understand the

necessity of being able

to grasp this important

skill. Being a designer, it

is not only about

creating new styles or

forms of architecture,

but to experiment with

different genres of

architecture in order to

discover and find the

optimum solution to a

puzzle. Whether it is an

environmental puzzle or

a social puzzle, I am

able to use computation

to aid me in

performative form

finding and providing

accurate calculations for

multiple goals. The

precision of

computational tools

fascinate me the most

as it is crucial in

constructing major

projects. I will utilise

these tools to their full

potential in order to find

the puzzles that were

considered to be

impossible on paper.

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This algorithmic

stretch consists of

many fundamental

elements of

computation. It

represents

parametric design’s

ability to generate

mesh , then dividing

it precisely into

producible

components while

adding appropriate

thickness and

details to the

design. Following up

to the mesh and

geodesic

components, I have

added thickness as

well as transformed

the rigid outcome

into a more

morphogenetic

structure which

relaxes its

protruding

characteristic and

maintain its

structural integrity

at the same time.

From this sketch, I

have discovered

that by using

computation,

structures can now

be generated into

interesting shapes

that can be exposed

purposefully to

achieve both

aesthetical and

structural success,

such as bridges or

skyscrapers. With

the aid of

computation, model

making has become

more efficient and

time saving as

parametric

algorithms

automatically

calculate and

generate the

necessary elements

into producing the

model with an

infinite number of

modifications in

perfecting the

outcome.

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The diversity ofalgorithm outcomein this parametricdesign interestsme. By simplychanging a fewnodes, (BoxMorph> Orient,Weaverbird)grasshopper wasable to generatebrand new façadepatterns for theentire design in

mere seconds. Thisgreatly reducesdesign time andmore importantly,allow designers toexplorer muchmore feasiblepossibilities thatwould never beachieved by hand.This once moreemphasise on theefficiency ofcomputation.

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This parametric designdisplays the beauty ofrepetition through formgenerating. It

demonstrates the limitlessfreedom of algorithmicthinking. The design canbe infinitely expanded

using Offset and theNumber Slider inGrasshopper.

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