studio air part a journal

STUDIO AIRJOURNAL

SIYUN YANG698893

2 CONCEPTUALISATION

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CONTENT

PART A CONCEPTUALISATION

A.0. INTRODUCTION

A.1. DESIGN FUTURING

A.2 . DESIGN COMPUTATION

A.3 . COMPOSITION/GENERATION

A.4. CONCLUSION

A.5. LEARNING OUTCOMES

A.6. APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION 3

PART A

CONCEPTUALISATION

ONCE YOU MAKE DECISION,

THE UNIVERISE CONSPIRES TO MAKE IT HAPPEN.

——BY RALPH EMEERSON

CONCEPTUALISATION 55 INTRODUCTION

Siyun had spent her high school career in Brisbane for the first three years after she arrived in Australia. Then she moved to Melbourne since successfully received the offer of Bachelor of Environments from the University of Melbourne. She is currently studying architecture major in the third year of her university life.

She was attracted by the word ‘Architecture’ ever since she initially tasted a subject called ‘Graphics’ in Year 10. Unfortunately she did not have the chance to pick up this subject for the rest of high school life in some reasons, and therefore, she resolutely chosen Architecture as her first preference while she was applying university.

However, the university life was not what she expecting before entered into it. Architecture is not a subject that fully contains Mathematics, Mechanics, Physics or Engineering, it is more inclined to design, to innovate, to create, to develop, and to achieve the sustainable development towards enhancing human life.

INTRODUCTION

6 CONCEPTUALISATION

It also considers about the energy consumption that uses local resources to reduce the embodied energy usage. Except for rammed earth, sand clay is the primary feature composition of the site, gravel and water supply both obtained from the adjacent river.

The future possibilities of the design can be expanded from two approaches: without damaging the ecological environment, this design is well-integrated artifact and nature in this limited space, and as much as possible to increase the area of animal husbandry; the design of residence itself is effectively utilized (such as thin corrugated metal shelters to ban the sunlight), and the energy consumption (such as air-conditioning) is reduced by the innovative local resource (such as sand dune roof). As the results, the considerations of environmental and energy issues can both achieve toward the sustainable development.

The Project The Great Wall of WA (Western Australia) by Luigi Rosselli is the winner in the Housing Category from Archdaily in 2016. It is the longest rammed earth wall in the southern hemisphere. Only 230 sqm spaces create twelve earth covered residences, as a short-term accommodation for a cattle station during grazing season.

Some great techniques have employed by materials in the project. The 450mm thick rammed earth façade and the sand dune (for forming both rear and roofs) provide a great thermal mass that makes residences naturally cool in the subtropical climate.

A new approach is represented by the design of the accommodation for the remote North Western Australia. The sun baked can be moved away by the establishment of thin corrugated metal shelters, which cools down the architectural earth formations naturally.

FIG.A.1.1 TOP VIEW OF THE GREAT WALL OF WA

FIG.A.1.2 GROUND FLOOR PLAN

FIG.A.1.3 THIN CORRUGATED METAL SHELTERS

FIG.A.1.4 BOTTOM VIEW

A.2. DESIGN COMPUTATIONA.1. DESIGN FUTURING

FIG.A.1.7 MASTER PLAN

CONCEPTUALISATION 7

The project Harbin Opera House by MAD Architects was the winner of International Open Competition for Harbin Cultural Island in 2010. Due to the Harbin Opera House is located within the wetlands, the ideas were contributed by the force of untamed wilderness and the spirit of frigid climate of this northern city in China.

The landscape of architecture is magnificent. A well-integrated of nature and the topography is represented by this architectural design, and the local identity, art, and culture are also be interpreted. The exterior curvilinear façade is consisted by the smooth white aluminum panels. Also, crystalline glass curtain wall soars above the lobby as the lightweight diagrid structure of the architecture.

The overall pattern of Harbin Opera House is emphasized on the interaction and participation between public and building. It intensifies the emotional connection between public and surrounding environment (e.g. through the landscape), and focus on the experience of visitors such as walking along the path to ascend the building to observe the surrounding wetlands or even the panoramic views of Harbin City. Therefore, it is no doubt that the importance of Harbin Opera House blends humanities, art and nature, and they become the heart of this land which nourishes the soul of the city.

As Ma Yansong (the founding principal of MAD Architects) said, “we envision Harbin Opera House as a cultural center of the future – a tremendous performance venue, as well as a dramatic public space that embodies the integration of human, art and the city identity, while synergistically blending with the surrounding nature.” This kind of innovative architecture may be able to lead the trend of architecture into a new age, while the building is no longer focus on the function itself, but integrates with local customs, natural and cultural, becomes a local landmark, becomes a widely known presence.

FIG.A.1.5 TOP VIEW OF HARBIN OPERA HOUSE

FIG.A.1.6 INTERIOR: CRYSTALLINE GLASS CURTAIN WALL

8 CONCEPTUALISATION

A.2. DESIGN COMPUTATION

FIG.A.2.1 PANORAMIC VIEW OF GALAXY SOHO

CONCEPTUALISATION 9

The Galaxy SOHO project by Zaha Hadid Architects in central Beijing is inspired by the grand scale of Beijing. This architectural complex (which contains office, retail and entertainment venues) is gracefully merging dynamic form that creates a fluid and continuous internal space. The four continuous and flowing volumes are apart from each other but fused by stretched bridges to form as a composition. By generating a panoramic architecture, the entire architectural complex is without any corners or abrupt transitions that may break its fluidity and integrity. This is definitely a new approach of evolution of design process by computation, since the technology in the early time cannot reach such high level, the calculations for such hierarchical curvilinear building complex is unimaginable by human’s brain.

Parametric design as an emerging concept is a bright spot of this composition without any doubt. Those parameters are interconnected as a completed system and, making a single change of data will affected the whole network and causes global influence. Systematic, adaptive variation, continuous differentiation, and dynamic figuration are the main characteristics of parametric design, it is a diversity of digital design in terms of the scale of urbanism to the scale of architecture, interior and furniture.

Glass cladding and reflective aluminum panels as the modern material are the main features of these elliptical towers. Some digital design approaches have applied in here as well. The architectural design of double-curvature panels were used as models in Visual Basic operating in a Rhino environment. The local curvature morphology is the basic that leads to generate flat and single-curvature panels from the original double-curvature panels. Also, the software-driven panel-generation method can achieve the promoting rational use of manufactured sheet metal panels, and the higher demands in terms of cost requirements and manufacturing complexity can be managed.

FIG.A.2.2 FLAT VIEW OFGALAXY SOHO FIG.A.2.3 PLAN DRAWING OF GALAXY SOHO

FIG.A.2.4 BOTTOM VIEW OF GALAXY SOHO

10 CONCEPTUALISATION

The Yas Hotel, an example of futuristic design, is designed by Hani Rashid and Lise Anne Couture and Asymptote Architecture (Architects) in Abu Dhabi, UAE. Asymptote’s design of this architecture balances the dramatic site conditions with a luxury 500-room hotel and a Formula 1 Racetrack. A new F-1 track passes through the building complex under a monocoque steel and glass bridge linking two hotel towers. This Grid-Shell component is provided an atmospheric-like veil and produced optical effects and spectral reflections, and caused the entire complex visually connects and fuses to each other. These outstanding structure and trendy materials within the design have vividly demonstrated the power of construction industry.

One of the main features of the design is the architectural and engineering significance. The expanse of curvilinear forms on the surface constructed of steel and pivoted diamond-shaped glass panels. The strategy of parametric design is applied to group curvilinear and panel and therefore they can be analyzed and extracted automatically by software.

FIG.A.2.6 GRID-SHELL COMPONENET OF YAS HOTEL

The appearance of computational design is absolutely a revolut-ion of creation of innovative buildings. It has a cross-era signific-ance that improves work efficiency, enhances data accuracy, and even shortens the modification time. However, the software pro-gram is definitely cannot design the project by itself, it is essential that designers still need to rely on their own to design but to rely on computing.

The working efficiency and accuracy can be identified through the comparison between past and present. The complex structure such as curvilinear or girdshell taking unimaginable time by sketching or hand-drawing, however, it takes less time if using digital software to generate the outcome. By using the computation, the traditional mathematic method can be replaced, and this impact on the design thinking, which not only stopping at the conceivable stage, but also moving forward to the achievable stage.

CONCEPTUALISATION 11

FIG.A.2.5 PLAN VIEW OF YAS HOTEL

FIG.A.2.7 MONOCOQUE STEEL AND GLASS BRIDGE FIG.A.2.8 DIAMOND-SHAPED PANELS


A.3. COMPOSITION/GENERATION

FIG.A.3.1 FACADE OF GEGGENHIEM MUSEUM BILBAO


The Guggenheim Museum Bilbao by Frank Gehry was built between 1993 and 1997 where located on the edge of the Nervión River in Bilbao, Spain. The complexity of this composition integrated in terms of performance and materiality through intricate program and urban context.

The entire building looked like a tangled root if only by observation from its appearance, but it actually has own pattern and logic among the generating process. The ‘random’ curves of the exterior aimed to catch the light and react to the sun and the weather, and furthermore, since the curve surfaces toward to different directions, making the changing of lighting effects of all levels of the building while the changing of angle of sunlight. Both classical and modern materials are used for the outer skin of the building, the extremely thin titanium sheets, limestone and glass are harmonized perfectly, which achieved the architectural design with a great visual impact.

Digital modelling software is applied during the design process. A 3D design software is called CATIA, initially conceived for the aerospace industry, which provides an advanced technology for complex designs and calculations over that period. Therefore, the software faithfully translate Gehry’s concept to help him digitizes points for all the edges, surfaces and intersections in the further construction. And also, animations can be made out by manipulating the software, providing a preview and overall composition.

Another benefit of CATIA is the computing calculation. The number of bars can be calculated for the requirement in each location, even the positions and orientations of bars. Every single piece such as walls, ceilings (including insulating layers), outer coating of titanium, have their exclusive location. This means, the number of each piece can be minimized to avoid additional expense, and the work efficiency is also greatly improved by modelling the design through software rather than re-draw everything by hand.

During the progress of design development, Gehry drew plenty of plan drawings and a few 3D models by software, also, several prototypes had made out for overview. Good things are taken, and shortages are made up, and consequently the combination integrated into this final outcome.

FIG.A.3.2 FRONT VIEW FIG.A.3.3 PANORAMA VIEW

FIG.A.3.4 -8 PLANS AND PERSPECTIVE VIEWS FROM VIDEO


A new terminal at Shenzhen Bao’an International Airport in China is designed by Italian architects Massimiliano and Doriana Fukas. The concept of the plan for this project evokes the image of manta ray – a fish is able to breathe and to change its own shape, undergoes variations, and turns into a bird which symbolizes the emotion and fantasy of a flight.

3D modelling software Rhino is applied through the design development, and then the aid of specially developed parametric software tools is implemented to undertake the

discretization of the surfaces. Those different geometries shapes, directions of curvilinear, placements of column and even sculpture-shaped objects (they are the supply of air conditioning that have been designed as big stylized white trees), calculating through the computing program and having their exclusive performance and position. Therefore, the essential of algorithm can be identified by allowing designers to model and visualize such sophisticated structure, have benefits in terms of building performances/appearances and structural systems.

A.3. COMPOSITION/GENERATION

FIG.A.3.10 INTERIOR FIG.A.3.11 INTERIOR


discretization of the surfaces. Those different geometries shapes, directions of curvilinear, placements of column and even sculpture-shaped objects (they are the supply of air conditioning that have been designed as big stylized white trees), calculating through the computing program and having their exclusive performance and position. Therefore, the essential of algorithm can be identified by allowing designers to model and visualize such sophisticated structure, have benefits in terms of building performances/appearances and structural systems.

The shift from composition to generation in the architectural design is a development of digital technology. This changing is not simply on the translation from hand-drawing to computer drawing, but also providing more advancement for architects, exploring new design options and communications. Those digital tools allow architects generate more opportunities in terms of structural, material or environmental performance, and becoming a fundamental parameter in the creation of architectural form. In addition, the increasing simulation capabilities of computer have the more accurate and sophisticated methods by the abilities of prediction, simulation and modelling, thus, the possibility of building is no longer on the simulation and communication of constructional aspects, but also the experience of public and the creation of meaning.

Therefore, computation becomes a necessary tool in architectural field. As Mouzhan Majidi has said: ‘this hasn’t simply transformed what we can design – it’s had a huge impact on how we build.’ Even though pens or pencils can give sketch drawings for building and the performance of building details, but at the same time, using digital tools are faster and more efficient to design a complex models and performances in a better communication.

FIG.A.3.9 PONORAMA VIEW

FIG.A.3.12 SURFACE

FIG.A.3.13 INTERIOR


A.4. CONCLUSION

Under the computer era, computation is the main character which influencing the design process for the future of architecture. Considerations such as amounts of energy consumption, usages of unrecycled resource occurred in the early age, however, attentions have to be taken seriously and, moving towards the sustainability after the rapid developments of science and technology. Hence, architectural design is no longer just focus on its performance or function, but also considers the environmental problem.

The engagement of computing expresses the evolution of design processes in architecture. Architectural form is no longer limited by poor design tools, the shapes of building are increasingly creative and diverse. Furthermore, for designers, they have more opportunities to explore more possible ideas, which can be all achieved by digital design. It can be said this is a revelatory for moving ideas and designs from conceivable to achievable.

The conceptual changes instigated by computing. It is important because algorithmic thinking and parametric modelling are gradually walking into everyone’s sight, becoming more and more popular just in the past two decades. Computation benefits both designer and user, for designer, design development is more comprehensive, by covering computer technique, material, structure, construction, and environment (or plus landscape); for user, a more relaxed, joyful and comfortable environment is provided.


A.5. LEARNING OUTCOMES

Architectural computing is not simply as a design tool for designer. By understanding what computation is progressively, I have change my own definition of computation. Many of design software appearing during these two decades, the design is no longer just expressing by hand-drawings, but also digital design tools are well-performed those designs. It also influences the ways of thinking of design process, exaggerated geometric shape is not staying on paper anymore, and it can be modeled, constructed and used. Hence, it is important to understand the operation of those tools and well-integrated with ideas, generating a better design in the further.


A.6. APPENDIX - ALGORITHMIC SKETCHES


Drawing four curves in Rhino, as the basic for Grasshopper.

Creating arches between each curve.

Shifting by 5 units.

Dividing each curve into 36 units.

Making loft.

Creating surface and baking it into Rhino.


Setting multiple Breps from Rhino (surfaces). Offestting 18 units from 2 units apart.

Extruding curves by 26 units and splitting surfaces with a bunch of curves. Baking surfaces into Rhino.

Creating three patch surfaces for trimming extra surfaces.

After trimming. Final outcome.


FIGURE A.1.1 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/ce97/e58e/ce67/c100/03a3/slideshow/Luigi_Rosselli_Architects__The_Great_Wall_of_WA__002.jpg?1439420049 accessed 5 March, 2016.

FIGURE A.1.2 Luigi Rosselli, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/cf5a/e58e/ce5c/7d00/0378/slideshow/ground.jpg?1439420243, accessed 5 March, 2016.

FIGURE A.1.3 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/ced4/e58e/ce5c/7d00/0374/slideshow/Luigi_Rosselli_Architects__The_Great_Wall_of_WA__007.jpg?1439420109, accessed 5 March, 2016.

FIGURE A.1.4 Edward Birch, 2015, The Great Wall of WA, http://images.adsttc.com/media/images/55cb/cea2/e58e/ce5c/7d00/0372/slideshow/Luigi_Rosselli_Architects__The_Great_Wall_of_WA__004.jpg?1439420060, accessed 5 March, 2016.

FIGURE A.1.5 Hufton+Crow, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/7b18/e58e/cec5/7900/0005/slideshow/MAD_Harbin_Opera_House_001_%C2%A9Hufton_Crow.jpg?1450277641, accessed 5 March, 2016.

FIGURE A.1.6 Hufton+Crow, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/7c08/e58e/cec5/7900/0009/slideshow/MAD_Harbin_Opera_House_017_MAD_%C2%A9Hufton_Crow.jpg?1450277874, accessed 5 March, 2016.

FIGURE A.1.7 MAD Architects, 2010, Harbin Opera House, http://images.adsttc.com/media/images/5671/79e3/e58e/ce4c/6300/0003/slideshow/MAD_Harbin_Opera_House_Masterplan.jpg?1450277323, accessed 5 March, 2016.

The Great Wall of WA:

http://www.archdaily.com/771780/the-great-wall-of-wa-luigi-rosselli

Harbin Opera House:

http://www.archdaily.com/778933/harbin-opera-house-mad-architects

FIGURE A.2.1 Hufton+Crow, 2013, Zaha Hadid Designs the Galaxy SOHO Complex in Beijing, China, http://media.architecturaldigest.com/photos/55e76fab302ba71f3016c212/3:4/w_700/dam-images-daily-2013-04-viewpoint-beijing-galaxy-soho-may-viewpoint-zaha-hadid-01-beijing-galaxy-soho-complex.jpg, accessed 12 March, 2016.

FIGURE A.2.2 Iwan Baan, 2012, Galaxy SOHO: Design & Architecture, http://galaxysoho.sohochina.com/assets/property/galaxy/gallery/Galaxy-design_module_425x274-01.jpg, accessed 12 March, 2016.

FIGURE A.2.3 2012, Zaha Hadid Architects, http://www.zaha-hadid.com/wp-content/files_mf/cache/th_ded8de6ef54c061a659828a26028150e_f17topview.png, accessed 12 March, 2016.

FIGURE A.2.4 Iwan Baan, 2012, Galaxy Soho/Zaha Hadid Architects, http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/508ee0ab28ba0d7fe4000005-galaxy-soho-zaha-hadid-architects-photo, accessed 12 March, 2016.

FIGURE A.2.5 2010, Asymptote Architecture: Yas Viceroy Hotel, https://static.wixstatic.com/media/b3e12d_96ef5f4f9fd670e271e0fef331031d83.jpg/v1/fill/w_980,h_440,al_c,q_85,usm_0.66_1.00_0.01/b3e12d_96ef5f4f9fd670e271e0fef331031d83.jpg, accessed 12 March, 2016.

FIGURE A.2.6 Asymptote Architecture, 2010, The Yas Hotel/Asymptote Architecture, http://images.adsttc.com/media/images/5012/075b/28ba/0d55/8100/0285/large_jpg/stringio.jpg?1360898226, accessed 12 March, 2016.

FIGURE A.2.7 Unknown photographer, 2010, Asymptote Architecture, http://images.adsttc.com/media/images/5012/0722/28ba/0d55/8100/027a/large_jpg/stringio.jpg?1360898186, accessed 12 March, 2016.

REFERENCES


FIGURE A.2.8 Unknown photographer, 2010, Asymptote Architecture, http://images.adsttc.com/media/images/5012/0727/28ba/0d55/8100/027b/large_jpg/stringio.jpg?1360898189, accessed 12 March, 2016.

Galaxy SOHO:

http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects

http://galaxysoho.sohochina.com/en/design

http://www.architecturaldigest.com/story/zaha-hadid-beijing-galaxy-soho-complex

http://www.zaha-hadid.com/architecture/galaxy-soho/

The Yas Hotel:

http://www.asymptote.net/#!yas-slide-show/cau8

http://www.archdaily.com/43336/the-yas-hotel-asymptote

http://www.dezeen.com/2009/05/14/the-yas-hotel-by-asymptote/

FIGURE A.3.1 βιит є Ãhʍ€ď, 2013, The Guggenheim Museum [Bilbao Spain], http://hqworld.net/gallery/data/media/130/louise_bourgeois_sculpture__guggenheim_museum__bilbao__spain.jpg, accessed 18 March, 2016.

FIGURE A.3.2 Unkown photographer, 2013, AD Classics: The Guggenheim Museum Bilbao/Frank Gehry, http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry/521fa097e8e44eb94a000038-ad-classics-the-guggenheim-museum-bilbao-frank-gehry-photo, accessed 16 March, 2016.

FIGURE A.3.3 Iker Merodio, 2013, AD Classics: The Guggenheim Museum Bilbao/Frank Gehry, http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry/521fa07fe8e44e56b500006b-ad-classics-the-guggenheim-museum-bilbao-frank-gehry-photo, accessed 16 March 2016.

FIGURE A.3.4 - 8 Unkown editor, Guggenheim Bilbao: The Construction, http://player.vimeo.com/video/45965421, accesed 16 March, 2016.

FIGURE A.3.9 - 13 http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas, accessed 17 March, 2016.

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

The Guggenheim Museum:

http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry

http://www.guggenheim-bilbao.es/en/the-building/the-construction/

http://au.phaidon.com/agenda/architecture/articles/2012/november/23/buildings-that-changed-the-world-the-guggenheim-museum-bilbao/

Shenzhen Bao’an International Airport Terminal 3:

http://www.archdaily.com/472197/shenzhen-bao-an-international-airport-studio-fuksas

http://www.e-architect.co.uk/hong-kong/shenzhen-airport

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