STUDIO AIRJOURNAL

ong simnan | 731491 | semester 1 /2015TUTOR: SONYA

ARCHITECTURAL DESIGN

ContentsINTRODUCTION about me 4 past experiences 5

PART A A.1 Design futuring 6-9a.2 Design Computation 10-11 A.3 Composition/Generation 12-13A.4 Conclusion 14 A.5 Learning Outcomes 15A.6 Appendix 16-17

My name is Ong Sim Nan. I am 22 years old this year. I was born and raised in Malaysia of Chinese descent. I am currently embarking on my third year studying at University of Melbourne. I am studying in Bachelor of Environment and majoring in Architecture. Yet this is my first semester to study in the university because I entered as an exchange student with my Year 1 & Year 2 done in Malaysia. I am interested in the field of arts since I was at very young age. I spend most of my free time on exposing arts and crafts since young. Besides, traveling has also been giving me so much pleasure in my life. I meet the experience of new cultures, different history, scenery, food which I think is really would let me discover who I am in a way that only the road brings. Also, there are always some touristic spots even I don’t want to miss in every town especially historical buildings or iconic building. Thus, I think my love for arts and traveling has bring me to a world of Architecture.

The pictures were taken at Wat Arun Temple, Bangkok on September, 2014.

ABOUT ME

Throughout my two and a half year studying Architecture in Malaysia, I have learnt a range of architectural tools. I used 3D Max for first year of my study while I have learnt a lot about SketchUp in my second year. Other than that, AutoCAD, Adobe Suits like Illustrator and Photoshop have assisted me to produce my projects too. Thing that makes me excited is that I am introduced to new digital modeling program in this semester which is ‘rhino’ modeling which I was just started to get familiar with. I look forward the challenge of mastering the skills of digital design when exploring ‘rhino’. I believe that it would be an essential tool for me to learn as I could create structure or design which would barely to draw using hand-sketching.

PAST EXPERIENCES

Perspective views of my previous projects done in Year 2.Project: Proposed Hybrid Club House in Danga Bay, Johor.

Perspective views of my previous projects done in Year 2.Project: Proposed Hybrid Club House in Danga Bay, Johor.

PART A

a.1DESIGN FUTURING

Clearly defining what we meant by design was a good way to begin. What is design? Design is not just specifying. Far from it, it’s creating. What makes it distinct from art, science, or engineering? From the reading of Design Futuring by Tony Fry, design has to be understood anthropologically. It names our ability to prefigure what we create before the act of creation at the same time define fundamental characteristic that makes us human.

The book says, “nature alone cannot sustain us, we are too many, we done ecological damage and we have become too dependent upon the artificial worlds that we destroyed.’’1 Hence, an ethical practice, like changing thinking must be acknowledged by us because we could possibly secure a future by design.

In order to have a future, we have to understand the importance of sustainable design and its effects towards mother earth. “Without sustainability, neither, we nor have a future.” Design Futuring argues that ethical, political, social and ecological concerns now require a new type of practice.

Theatrical robots. 3D printers that churn out cells. While these technologies are paving new paths for design practices, it is possible for us to increase the variation of the creation of design. Besides, to visible the pace to reach sustainable architecture, there are various of applications and materials are significant to be realized by the designer.

“forgot design as a territory and practice that can be laid claim to, stop talking to yourselves, give up on repackagin design within, start talking to people, other disciplines, broaden your gaze, engage complexity of design as a world-shaping force.”1

In conclusion, architects and designers need to not only design for themselves, but for the future, people and our mother earth.

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

Living in a time when the mother earth is suffering from uncountable environmental issues, I believe encouraging the application of green building practices could make a lot of difference. Buildings that built with eco friendly techniques would have lesser environmental impact compare to a normal one. Selecting green materials has always been holding the majority part of it reason being it could lead to infinity of long term energy saving of a living space1.

The 18 ‘super tree’ at Gardens by the Bay is the largest garden located at the heart of Singapore.2 I personally got the chance to visit the Graden myself and I was totally impressed by the how eco-friendly it is. The man-made mechanical forest which consists of 18 ‘super trees’ that act as vertical gardens. Like trees, they provide shades. The Supertrees are embedded with sustainable energy and water technologies integral to the cooling of the Conservatory.3 Wtith the contemporary approach and interesting design of ‘supertrees’ which looks like a real giant trees, it has directly appealed to the world that we do need more green

The 18 ‘super trees’ are made of four main part which are trunk, planting panels, reinforcement concrete core, and canopy that made it a parametric design.

18 ‘super trees’ just like an iconic garden in Singapore, they even have canopies from one ‘tree’ to another.

Daytime view of 18 ‘super trees’.

Nighttime view of 18 ‘super trees’.

A1.1 precedent casethe 18 ‘super tree’Location: Garden By the Bay, SingporeFunction: An eco-tourist destination showcasing sustainable practices and plants from across the globeStructure: steel frameworkFloor Area: A250-acre landscaping projectDesigning Period: Completion on 29 June 2012

Gardens by the Bay was a remarkable blend of nature, technology, environmental management and imagination, highlights of Bay South include 18 Supertrees (25-50 metre) and two giant Cooled Conservatories. The cool dry conservatory was more challenging due to its asymmetry.3 An artificial mountain was envisaged in order to achieve the effect of highland experience. The envelope was then formed tall and vertical meaning the grid shell arch combination worked particularly well. The final form combined two different structural systems which are grids hell and radiating arches. The design incorporates a complex configuration of contraction/expansion between the variation in the arches and rotation in two axis adjustment details, enabling access to most of the glass roof area and keeping the cradles vertical at all times.

The garden is acting as virtual sign especially for those people who have visited it or see it when they are travelling pass. It is reflected the architecture is not only about a form but also something that used to change human’s perception. While acting as a virtual sign to redirect people’s attitude is perceived as a long term response to the environment.

Cloud Forest (Conservatories) is a man-made mountain inside a climate-controlled dome at ‘Garden By The Bay’, Singapore.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162. ‘Solar-powered ‘supertrees’ breathe life into Singapore’s urban oasis’, Lauren Said-Moorhouse, for CNN, last modified June 8, 2012, http://edition.cnn.com/2012/06/08/world/asia/singapore-supertrees-gardens-bay/3. ‘GARDENS BY THE BAY, SINGAPORE’, unknown resource, http://www.istructe.org/getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx

A1.2 precedent caseOrganic London SkyscraperLocation: London, UKFunction: To incorporate waste produced by its occupantsStructure: Prefabricated tube framingFloor Area: -Designing Period: -

The new, London-based conceptual project, “Organic Skyscraper,” proposes a high-rise building built from the recycled materials of its residents. The building would essentially “grow” vertically as inhabitants discarded waste like plastic bottles and paper, their garbage turning into insulated panels for floors to come.4

Inspired by the use of bamboo scaffolding in parts of Asia, the building materials would be manufactured on-site, with a reconditioning plant installed in the top of the building as the construction area lurches up, and recuperation containers on the bottom floor to collect the paper and plastic used in the office building. There’d be no need for tower-cranes, amounting to an entirely new vision of what urban construction might look like.

Programmatic Section.

Like all skyscrapers, this project will require scaffolding, but in this case the scaffolding will become part of the aesthetic.4 Prefabricated tube framing will be attached to the exterior, and will rise with the building, allowing for components to be added to the building over time. This framework will also support generators supplying power to parts of the building. The tubing of the scaffolding will be hollow to minimize wind load and will be of a single size so that workers need not spend time cutting the scaffolding to size.5

4. ‘This Organic Skyscraper’, Katherine Brooks, last modified July 17, 2014, http://www.huffingtonpost.com/2014/07/17/organic-skyscraper_n_5592690.html5. ‘Concept skyscraper rises from recycled waste of residents’, Stu Robarts, July 8, 2014, http://www.gizmag.com/chartier-corbasson-organic-skyscraper-london/32868/

a.2DESIGN COMPUTATION

The pavilion is thus made out of 20 triangular components, each fabricated with CNC machines and then folded together into a textile igloo.2

The pavilion could be used as a room for gathering, celebration, exhibition, performance, workshops, fabrication, partying or anything else the community would like to.

Bioclimate dome at Glorias Square in Barcelona. Environmental parametric process.

A2.1 precedent caseFAB CONDENSERLocation: Glorias Square in BarcelonaFunction: Pursue to render the surrounding thermodynamic and climate processes.Structure: Wood and fabricsFloor Area: 200sqmDesigning Period: Completion on 29 June 2012

Architecture and the design process is an evolutionary process, with many changes occur or the time of mankind, such as the new found prominence of computational design. Computation allows the possibility of working with geometric complexity and variability3. At the same time, the mathematical logic that organizes such variability allows, with digital fabrication tools, to share prefabrication strategies and pick up the pace of communication processes (machine design) and production and construction processes.

“Such a symbiosis is predicated on communication, the ability to share information between computers and humans”3

Symbiotic design process allows a positive interaction and can generate better designs and a more organized process of designing and finalizing ideas.3

The algorithm of the pavilion was designed in only 2 months, prefabricated in 5 days and assembled in 4 days.2 Digital fabrication has the ability to bridge the gap between raw material, post-production, designer and end user. Yet, the components of the pavilion are all different but share the same formal, constructive and material. The current rapid shift to computerization as well as computational design, which involved the process of problem solving as well as a discussion with the problem allows the lab explores connections between parametric design and passive climate strategies. New techniques to maximize design potential and time reduction can be motivated by the great analytical of computers3, can seen currently, the design aspects that computer programs can achieve with the cooperation of the designer.

1. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–102. ‘THE ENDESA WORLD FAB CONDENSER’, Peter Smisek, last modified September 26, 2014, http://www.frameweb.com/news/endesa-world-fab-condenser-by-margen-lab

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

A2.2 precedent casethe Burnham Plan PavilionsLocation: ChicagoFunction: To invites people to gather, walk around and through and to explore and observe; Shelter.Structure: Aluminum frameworkFloor Area: 120m2

Designing Period: 2009

The pavilion is made of aluminum to form the parametric design, while the steels were donated by an industries. The pavilion is attractive by daylight, but the use of sunlight limits the multimedia duality to sunset.4

This pavilions emphasize bettering the future, which echo the ideals of the 1909 Burnham Plan to maintain the Millenium Park’s tradition of displaying dynamic public art. The computational design process allows the creation of the design environment by the designer’s domain, allowing parameters that can control the result, and allow the change to be done efficiently.5

By incorporating random generators to establish a change in the sculpture, and using technology to narrow the premises for the design, therefore allowing a more focused and concise process to occur.3

Parametric design and construction technology have enhanced the organic and unique structure of the pavilion. Hadid’s pavilion is a tensioned fabric shell fitted over a curving aluminum and with contain beyond 7,000 pieces of framework. Although the frame is composed of 7,000 individually bent pieces, every single of each is different from another. The shell is made up of merely 24 custom-made panels of fabric.

The development of the software by the digital technology group allow specific form making for such sculpture and deliver clearer results, such as the using steel to give a more exciting form, also using computational ideas to facilitate different openings and features.3

It is about reinvention and improvement on an urban scale and about welcoming the future with innovative ideas and technologies. The design continues Chicago’s renowned tradition of cutting edge architecture and engineering, at the scale of a temporary pavilion, whilst referencing the organizational systems of Burnham’s Plan. Hadid then overlay fabric using contemporary 21st Century techniques to generate the fluid, organic form. It has combination of naturalistic forms and alien shapes.– while the structure is always articulated through the tensioned fabric as a reminder of Burnham’s original ideas.

This pavilion resembles a conch shell with openings like shark’s mouths.

“Fabric is both a traditional and a high-tech material whose form is directly related to the forces applied to it – creating beautiful geometries that are never arbitrary. I find this very exciting.”5

- Zaha Hadid

4. ‘The Burnham Pavilions in Millennium Park’, Patrick T. Reardon, last modified June 16, 2009, http://burnhamplan100.lib.uchicago.edu/node/1294/

5. ‘Burnham Pavilion / Zaha Hadid’, last modified 24 Aug 2009, http://www.archdaily.com/33110/burnham-pavilion-zaha-hadid/

a.3DESIGN COMPOSITIONA3.1 precedent caseShenzhen International AirportLocation: Shenzhen, Guangdong, ChinaFunction: AirportStructure: Concrete, SteelFloor Area: 500,000 sqmDesigning Period: 2013

Now, designers are equipped with a tool that increased the capability to solve complex problems and to explore innovations that can sustain the future through design. Also, computation provides designers to be inspired and go beyond the ‘intellect of the designers’ by the unexpected results.

The tubular shape of the airport shows the idea of motion. The “cross” is the intersection point where the 3 levels of the concourse are vertically connected to create full-height voids which allow natural light to filter from the highest level down to the waiting room.2

Sculpture shaped objects which is big stylised white trees have been designed for air conditioning all along the terminal and the concourse, replicating the planning of amorphous forms that inspired by nature.

The interiors designe in the internet-point, check-in, security-check, gates and passport-check areas have a sober profile and a stainless steel finish that reflects and multiplies the honeycomb motif of the internal “skin”.2

With computation, structural, material, environmental performance can become a fundamental parameter in creating architectural form. 1This provide a chance for architects to analyze on how the design could achieve structural, material, and sustainable way. The efficient and well-integrated structure has developed the free-flow building envolope.

1. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf2. ‘New Terminal 3 for Shenzhen Bao’an Airport: a 1250m long structure’, lKnippers Helbig Advanced Engineering, Stuttgart, New York, http://www.knippershelbig.com/sites/default/files/pdf/new_terminal_3_

shenzhen_boa_an_airport_th_fk1.pdf

The honeycomb motif is transferred and replicated on the interior design.

A2.2 precedent caseDongdaemun Design PlazaLocation: Seoul, South KoreaFunction: Multi-purpose design centerStructure: Metal cladding panels and concrete frameworkFloor Area: 89574.0 sqmDesigning Period: 2014

Construction the exterior envelope of DDP was a challenge as the cladding system consists of over 45,000 panels in various sizes and degrees of curvature. This was made possible by the use of parametric modeling with an advanced metal-forming and fabrication process to develop a mass-customization system. Parametric modeling enabled the cladding system to be designed and engineered with much greater cost and quality control.3 The efficiency of computation has clearly been shown in this precedent.

The shift of architecture literature and practice from composition to generation establish a new generation with a different kind of design process take part in sustaining the future.

DDP is the first public project in Korea to utilize the 3-Dimensional Building Information Modelling (BIM) and other digital tools in construction.3 Throughout the design process, every building requirement was considered as a set of inter-related spatial relationships which will define the social interactions and behavioral structure in/around the project. Hence, computation does not only work as a tool to design and experiment forms, it could model and stimulate the relationship between architecture and the public use in a more accurate method. The technologies helped to maintain the original design aspiration throughout the project’s construction. With parametric building information modeling software and design computation, we were able to continually test and adapt the design to the ever-evolving client’s brief as well as integrate engineering and construction requirements.

The parametric modeling process not only improved the efficiency of workflow, but also helped to make the most informed design decisions within a very compressed project period; ensuring DDP’s success throughout life-span.3 In construction, the benefits of using the parametric modeling techniques are apparent. The digital design model could be refined at any time throughout the design and construction to accommodate additional onsite conditions, local regulations, engineering requirements and cost controls. Understanding of algorithmic is significant in order to explore new innovations and think of further explorations that are possible.3

3. ‘Zaha Hadid’s Dongdaemun Design Plaza opens in Seoul’, Amy Frearson, last modified March 23rd, 2014, http://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/

conclusionArchitecture is not only about designing and constructing a building for the clients, to design for the future, sustainability will be more of an issue. Design futuring is the consideration to make in order for us to sustain our future. It is our responsibility as designers to create the greater public. As precedents have been analyzed in the previous pages, we could see the challenge designers and engineers have put in, in order to take a part in sustaining our future.

The role of computers and its programs is an important one, a new innovation in architecture in recent history that can allow ‘unworkable’ ideas and concept to be constructed, something that older practices would not allow us to do, especially with the possibilities of 3D Modeling over orthogonal views. My design approach will be more open to ideas and forms which would contain sustainable criteria that might have been incapable to comprehend earlier, incorporating new skills in programs such as Grasshopper to fulfill a concept’s potential.

Through computational design, there are a range of benefits which help designers, users and the environment. Multi-disciplinary projects can occur with optimized time frames and extensive possibilities for a group of innovative design solutions.

a.4intended design approach

learning outcomesBefore attending Studio Air, I have never heard of the word of parametric. All I ever know is about sustainability, which by architecture is it possible to help sustain the future. Also, I did not know that software could help sustaining our future by material innovation, structural elements and create forms that could minimize waste by fabrication.

The precedents shown me how parametric design could bring efficiency and flexibility in the design process and bring opportunities for innovation and expand future possibilities of designing.

I feel like I have gained a significant understanding of the principles behind computational design and its difference with computerization.

Learning and practicing Grasshopper was never easy for me, it is something very new to me but this is a new approach. During the practice I had no idea what outcome there would be like. Yet, after learning theory of computing, I knew that it is a tool that I can use for my future career, as I could improve my past designs, and I could use is to sustain the future by designing. This Studio has totally opened up my eyes and understanding of designing of the future.I wish that I could polish my basic Grasshopper skills in the upcoming weeks and be able to innovate designs that would sustain the future.

a.5my learning experiences

Appendixa.6

Algorithmic Sketches

When exploring Rhinoceros and Grasshopper, I found the possible of line intersection very interesting. Exploring alternative outcomes with different lines and points like creating curve however it was not very successful. I found my limited knowledge in the exploration as I had ideas to add to the design yet did not have the knowledge to execute them.

The first week of algorithmic sketches explored basic functions of parametric modeling. We were expected to produce a sea sponge model. It was my first attempt on Grasshopper, I got the form by lofting several circle on different axis. This involved developing an understanding of how altering the parameters alters the relationship between elements of the design.

I use component ‘Random’ to create the uneven surface of the sea sponge and repeat them.

Few of my attemps when exploring parametrical form.

The first week task of the semester is to immitate the shape of any seasponges.

references list

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

2. ‘Solar-powered ‘supertrees’ breathe life into Singapore’s urban oasis’, Lauren Said-Moorhouse, for CNN, last modified June 8, 2012, http://edition.cnn.com/2012/06/08/world/asia/singapore-supertrees-gardens-bay/

3. ‘GARDENS BY THE BAY, SINGAPORE’, unknown resource, http://www.istructe.org/getmedia/e8f33300-c603-4675-9c7f-fc5e07a54b6d/Exemplar-Submission-2.pdf.aspx

4. ‘This Organic Skyscraper’, Katherine Brooks, last modified July 17, 2014, http://www.huffingtonpost.com/2014/07/17/organic-skyscraper_n_5592690.html

5. ‘Concept skyscraper rises from recycled waste of residents’, Stu Robarts, July 8, 2014, http://www.gizmag.com/chartier-corbasson-organic-skyscraper-london/32868/

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

7. ‘THE ENDESA WORLD FAB CONDENSER’, Peter Smisek, last modified September 26, 2014, http://www.frameweb.com/news/endesa-world-fab-condenser-by-margen-lab

8. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of

Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 pdf

9. ‘The Burnham Pavilions in Millennium Park’, Patrick T. Reardon, last modified June 16, 2009, http://burnhamplan100.lib.uchicago.edu/node/1294/

10. ‘Burnham Pavilion / Zaha Hadid’, last modified 24 Aug 2009, http://www.archdaily.

com/33110/burnham-pavilion-zaha-hadid/

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

12. ‘New Terminal 3 for Shenzhen Bao’an Airport: a 1250m long structure’, lKnippers Helbig Advanced Engineering, Stuttgart, New York, http://www.knippershelbig.com/sites/default/files/pdf/new_terminal_3_shenzhen_boa_an_airport_th_fk1.pdf

13. ‘Zaha Hadid’s Dongdaemun Design Plaza opens in Seoul’, Amy Frearson, last modified March 23rd, 2014, http://www.dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/

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

15. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12

Few of my attemps when exploring parametrical form.