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S I Y U L E I (L E R A I N)

ARCHITECTURAL DESIGN STUDIO

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SEMESTER 1 , 2014

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Siyu Lei (Lerain)

Student Number: 590520Studio 13, Semester 1, 2014Tutors: Brad Elias and Philip BeleskyUniversity of Melbourne

2014 Architectural Design Studio: Air Journal

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PART A -- CONCEPTUALIZATION

8 A.1. DESIGN FUTURING

13 A.2. DESIGN COMPUTATION

21 A.3. COMPOSITION / GENERATION

28 A.4. CONCLUSION

29 A.5 LEARNING OUTCOME

30 A.6. APPENDIX – ALGORITHMIC SKETCHES

32 A.7. BIBLIOGRAPHY

CONTENT

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INTRODUCTION

My name is Siyu Lei (Lerian) and I came from the middle part of China named Henan Province where the ‘mother river’ Huanghe River passes by. I have chosen architecture as my major because I am very curious about how to turn a paper designed figure to a real building when I was young. Now I am a third year Bachelor of Environment student, I feel that the more I learned and the more I will get into this subject, because architecture design is not just about simple diagram or figures but how designers connect their ideas with aesthetic, technologies and constructions.

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PREVIOUS EXPLORATIONSThis idea comes form when I was watching the slow motion of water balloon explosionmoment on the internet. What attracts me is when the balloon explode it looks like afirework within a very short term, it also shows the death of the balloon. When we keeppouring water into the balloon it will change the original shape of the balloon. The insidecapacity remains the same but the pressure is keep increasing by the water , the insidewall of the balloon will be overwhelmed and eventually explode.

Digital techniques are very accurate and effective for fabrication and it always give us different materials to use in order to ex-press different ideas. But I real¬sized that the digital model is not exactly the same as the actual physical model during construction. My model is quite different from others, because I used combined materials; 2D panelling for bottom part and 3D panelling for top parts to create the moment of water balloon explode which could give the feeling of how powerful the explosion is.

“ Design Futuring requires having a clear sense of what design needs to be mobilized for or against. Even more significantly, it means changing our thinking, then how and what we design. ”

By -- TONY FRY [1]

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A.1. DESIGN FUTURING

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A.1. DESIGN FUTURING

Land Art Generator - 2012Fresh Kills Landfill, New York

Solar Pixels

Artist Team : Ana SaiyedLocation : Freshkills Park

The aim of the Solar Pixels project is using the zero energy technology which absorbs the solar energy

during the day and emits it during the night with certain colors in order to create a renewable

energy generation and green advertising. [2]

How can a future actually be secured by design? Tony Fry has indicated in the text named design futuring

that “design futuring actually means changing our thinking, then how and what we design”. These solar pixels project has

expanded the future possibilities by using renewable solar energy which has been used in many ways

around us. The designers combine their idea with sustainable energy in order to achieve a more livable

environment for our generation.

My opinion -- In contrary, this design covers gigantic land area causing the waste of land.

Secondly, the maintenance of the dome will become very costly.

Image 3 - Section of Solar Pixels

Image 2 - Single Solar Pixel changes from day to night

1. Tony Fry, ‘Design Futuring: Sustainability, Ethic and New Practice’, (Oxford: Berg, 2009), p.1-162. ‘Solar Pixels’, Land Art Generator Initiative Competition 2012, last modified 13 March 2014, <http://landartgenerator.org/LAGI-2012/AS03AJ90/>

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Image 1 - Solar Pixels

Image 4 - Light Experiences 1

Image 5 - Light Experiences 2

The original purpose is to create a green advertising billboard across the landscape for companies or services by using solar energy. The entire 100 acre land was covered by innumerable large domes that measure 30 feet in diameter. Each dome is absorbing solar energy during the day and emitting a certain color by night which can be experiences through two ways: at ground level when users visiting the site for a close up experience or from the air, to have an entire view creating by the patterns.

This design initiated a new advertisement generation by using sustainable and renewable energy. They have changed the rigid television or magazine advertisement method with more energy cost and more damage to the nature into an energy saving and environment friendly way in the world. People will be more appreciated with this design due to the advantages and benefits of the renewable energy.

Advantages of solar energy

• Saving money• Saving energy• Sustainable anAd renewable • Environment friendly • Less Pollutions • Secure • Clean • Raise renewable energy effi-

ciency

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A.1.2 ENERGY TECHNOLOGY RESEARCH

Solar RoadwayA solar roadway is a road surface that generates electricity by solar power photovoltaics. [3]

The fundamental principle of this design is to create a safer night time driving and rigorous weather driving by using sustainable and renewable solar energy. “The idea is to replace all current petroleum-based asphalt roads, parking lots, and driveways with Solar Road Panels that collect energy to be used by our homes and businesses.” This renewable energy replaces the current fossil fuels used for the generation of electricity.

ADVANTAGES • No more power shortages• No more roaming power outages• No more need to burn coal• Less need for fossil fuels and less dependency upon

foreign oil. • Much less pollution.• Safer for night time driving • Safer for rigorous weather driving in northern climates

DISADVANTAGES• A gigantic project • Difficult for maintenance • Costly

Image 6 - Solar panel leads the way

Image 7 - Solar panel testing

3. ‘Solar Roadways: Crackpot Idea or Ingenious Concept?’, SingularityHUN, last modified 13 March 2014, <http://singularityhub.com/2010/08/08/solar-roadways-crackpot-idea-or-ingenious-concept-video/>4. ‘Solar Roadway’, solar roadways a real solution, last modified 13 March 2014, <http://www.solarroadways.com/intro.shtml>

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Existing prototype panels consist of three layers

1. Road surface layer - translucent and high-strength in material , it is rough enough to provide sufficient traction and still passes sunlight through to the

solar collector cells at the mean time, along with LEDs and a heating element. This layer needs to be capable of handling today’s heaviest loads under the worst of

conditions and to be weatherproof, to protect the electronics layer beneath it.

2. Electronics layer - Contains a microprocessor board with support circuitry for sensing loads on the surface and controlling a heating element with a view to reducing or

eliminating snow and ice removal as well as school and business closings due to inclement weather. The microprocessor controls lighting, communications, monitoring, etc. With

a communications device every 12 feet, a solar roadway can be an intelligent highway system.

3. Base plate layer - While the electronics layer collects energy from the sun, it is the base plate layer that distributes that power as well as data signals down the line to all

homes and businesses connected to the solar roadway. It needs to be weatherproof to pro-tect the electronics layer above it. [4]

This design intent may lead people to a new generation of road and car designing in a more livable way and environment friendly.

Image 10 - New generation Solar Roadway

Image 8 - Solar Roadway structure layers Image 9 - Solar Roadway structure layers

“ Digital design and its growing impact on de-sign and production practices have resulted in the need for a re-examination of current design theo-ries and methodologies in order to explain and guide future research and development. ”

By -- Rivka Oxman [5]

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A.2. DESIGN COMPUTATION

The most remarkable technological transformation is the invention of elec-tronic computers in the mid 20th cen-tury. Computer design has become very popular and famous in recent years along with the innovation of 2D and 3D design software. Computer becomes a design tool to transform designing idea into a digital way that generates a new type of architectural knowledge. ‘Digital design technologies have been adopted almost universally as the predominant means of production in architectural practice.’[6]Moreover, computer technologies in-troduces a new method of design that is more precisely than human brain and leads to a regeneration of current design theories.[7] Hence the significance of digital design is trying to achieve not only the unique form, but also a unique body of architecture concepts. [8]

Computer could trans-form the initial idea from the designer’s mind to a digital form and represents it graphically and numerically.[9] Designers use computer program as a platform where drawing quickly and pre-cisely edited and it will never make silly arithmetical mis-takes, known as computeriza-tion. In addition, computer-ization used to describe when an idea is already formed by designers, and then they are using computer program to transform the idea into a digital way.

Similar but different to computational design techniques, it is still relatively uncommon practice in architecture today. “Computation allows design to extend their abilities to deal with highly complex situations.” [10]Basi-cally, computation is a design method which still using the computer techniques but without any design ideas conceptualized by designers. It is the use of computer programs to aid in the creation of a structure that is designed through the limitations set by a framework. Hence the role of computational technique is beyond simply making digital models, but becomes integral to the design itself.[11] “Parametric design is a new form of the logic of digital design think-ing.” [12] More design outcomes can be expressed by using computational simulation tools to manipulate the parameters.

5. Rivka Oxman, ‘Theories Of The Digital In Architecture’, Architectural reading (2014), p.1-106. Tony Fry, ‘Design Futuring: Sustainability, Ethic and New Practice’, (Oxford: Berg, 2009), p.1-167. Rivka Oxman, ‘Theory and design in the first digital age,’ Design Studies (2006),p.1-378. Rivka Oxman, ‘Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium,’ Design Studies (2008), p.1-229. Kalay, ‘Architectures New Media’, Architectural reading (2004), p.1-2510. Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-1311. Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-1312. Rivka Oxman, ‘Theories Of The Digital In Architecture’, Architectural reading (2014), p.1-10

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A.2.1 ICD / ITKE RESEARCH PAVILION 2011Project : RESEARCH PAVILIONArchitects : ICD / ITKE UNIVER-SITY OF STUTTGARTLocation: STUTTGART, GERMANY

Surface: 72 sqmVolume: 200m³Material: 275 sqm Birch plywood 6,5mm Sheet thicknessProject Year: August 2011Photographs: ICD / ITKE University of Stuttgart

The ICD / ITKE RESEARCH PAVIL-ION led by the Institute for Computa-tional Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) together with students at the University of Stuttgart. This project is based on a bionic research which transfers of biological principles of the sea urchin’s plate skeleton morphology by using computer-based design and simulation methods, along with a range of different geometries through compu-tational processes.[13]

The design concept is inspired by the sea urchins skeleton morphol-ogy to form a multifunctional space for various users. The pavilion is a semi-open structure which allows sunlight penetrates through the top of the roof in order to achieve energy saving. [14] Lighting system is installed in the pavilion to maximize the usage during night time.

The project demonstrates how a complex pavilion could be builds in order to achieve sustainability through the material, structure and dynamic forms. The whole form is covered by thin sheets of plywood which has very high uniform strength that is very strong to support the entire structure. Plywood could also reduce the possibility of shrinking, swelling and warping even efficient for relatively large size structure. [15] Moreover, the architect decided to use plywood in this case is because plywood is easy for fabrication of curved surface. The material can be reused, and the structure can be reform or reconnect quickly and easily.

I found a very interesting point through the construction of the pavilion is that the major supporting structure is com-pletely by using plywood, each pieces of the plywood has sawteeth at the four edges, and therefore the whole structure is automatically buckled up without any metal joints.

From my point of view, the computing techniques affect the design process through several approaches. Firstly, com-puter technologies will enable designers to express their design intention without being set in a frame. Hence, designer could produce more creative designers by using computer techniques. Secondly, Kalay has indicated that “computers, by their nature, are superb analytical engines”.[18]Computer techniques are far way accurate and convenient than human brains through editing, copying and modifying of the drawings.

The range of conceivable and achievable geometries can be impacted by computational designs through “exchange scheme to repeatedly read the complex geometry into a finite element program to analyze and modify the critical points of the model.”[16] Thus the form con-ceptualizing is closely interlinked to the structural design during the computational design process. “Computational design is the practice of using programing to create and modify form, structure and ornamentation”. [17] By using computing program the form of the structure can be relatively easy to manipulate by adjusting the parameters of the design compare to traditional hand drawing which will reduce manpower as well as saving energy.

In contrary, Computation does lead a way of unique innovations by formulating ideas directly through com-puter without pre-conceived idea from designers. But this technique is not highly practiced and it is still rela-tively uncommon practice in architecture today. Many research projects on website are still a proposals, not yet been turn into reality.

Image 11- inside pavilion

Image 12 - parametric process

Image 13 - cutting edge

Image 14 - connecting

13. ‘ICD | ITKE Research Pavilion 2011’, Archiable the platform for architecture students, last modified 21 March 2014, <http://www.archiable.com/2012/20120519_ICD_ITKE_Research_Pavilion_2011.html> 14. ‘ICD | ITKE Research Pavilion 2011’, Archiable the platform for architecture students, last modified 21 March 2014, <http://www.archiable.com/2012/20120519_ICD_ITKE_Research_Pavilion_2011.html> 15. ‘General advantages’, Panguaneta: plywood for life, last modified 21 March 2014, <http://www.panguaneta.com/en/plywood/key-advantages/general-advantages>16. ‘ICD | ITKE Research Pavilion 2011’, Archiable the platform for architecture students, last modified 21 March 2014, <http://www.archiable.com/2012/20120519_ICD_ITKE_Research_Pavilion_2011.html> 17. ‘General advantages’, Panguaneta: plywood for life, last modified 21 March 2014, <http://www.panguaneta.com/en/plywood/key-advantages/general-advantages>18. Kalay, ‘Architectures New Media’, Architectural reading (2004), p.1-2519. ‘ICD | ITKE Research Pavilion 2011’, Archiable the platform for architecture students, last modified 21 March 2014, <http://www.archiable.com/2012/20120519_ICD_ITKE_Research_Pavilion_2011.html>

“The research pavilion offered the opportunity to investigate methods of modular bionic construction using free-form surfaces representing different geometric characteristics while developing two distinct spatial entities: one large interior space with a porous inner layer and a big opening, facing the public square between the University’s buildings, and a smaller interstitial space enveloped between the two layers that exhibits the constructive logic of the double layer shell.” [19]

15Image 15 -- ICD / ITKE RESEARCH PAVILION 2011

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A.2.2 CHANGSHA MEIXIHU INTERNATIONAL CULTURE & ARTS

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A.2.2 CHANGSHA MEIXIHU INTERNATIONAL CULTURE & ARTS

Image 16 - Bird eye view of the Chengshang Art Center

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A.2.2 CHANGSHA MEIXIHU INTERNATIONAL CULTURE & ARTS

“The International Culture & Art Centre embodies a unique variety of civic nodes and spaces: A grand theatre, a con-temporary art museum, a multipurpose hall and support-ing facilities.”[21] Each individual building is related to the central and open space. The design of the pathway around the three buildings is firstly matching the exterior appearance of sinuous curves. Secondly, it leads the way to reaching each buildings from different viewing angles such as city view and river views. Most importantly, the flows of pedestrian visitors that come from all sides of the site intersect and meet.

Each building is planned as a grouping of petal-shaped vol-umes that curve around one another to create a central plaza and a series of connecting lawns, terraces and pathways.[22]

Computational design technique is a better way of creating a very dynamic and sinuous shape than traditional design. Different outcomes will be presented in a very unique way whenever the parameters have been manipulated. Parametric design as a facility for the control of topological relationships enables the creation and modulation of the differentiation of the elements o f a design. [23]

The design intention of Changsha Meixihu International Cul-ture & Arts Center creates a harmonious relationship between the building and the landscape. This building is very significant of its dynamic and extreme sinuous curves form that reflects on the urban experience and flows of the Meixi Lake. The concept idea for this particular design will be achieved much more eas-ily by using computational design compare to the traditional way. The ability of applying the computational techniques will accelerate the communication with designers, because compu-tational technique is the continuation from a different aspect of designer’s mind and stimulation their imaginations.

Image 17 - genrating idea for the Art Center Image 18 - interior 1 of the Art Center

21. ‘Changsha Meixihu International Culture & Arts Center’. Zaha hadid architect, last modified 14 March 2014, <http://www.zaha-hadid.com/architecture/changsha-meixihu-international-culture-art-centre/>22.‘Changsha Meixihu International Culture & Arts Center’. Zaha hadid architect, last modified 14 March 2014, <http://www.zaha-hadid.com/architecture/changsha-meixihu-international-culture-art-centre/>23. Rivka Oxman, ‘Theory and design in the first digital age,’ Design Studies (2006),p.1-37

Image 19 - interior 2 of the Art Center

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A.2.2 CHANGSHA MEIXIHU INTERNATIONAL CULTURE & ARTS

The design intention of Changsha Meixihu International Cul-ture & Arts Center creates a harmonious relationship between the building and the landscape. This building is very significant of its dynamic and extreme sinuous curves form that reflects on the urban experience and flows of the Meixi Lake. The concept idea for this particular design will be achieved much more eas-ily by using computational design compare to the traditional way. The ability of applying the computational techniques will accelerate the communication with designers, because compu-tational technique is the continuation from a different aspect of designer’s mind and stimulation their imaginations.

Location: Changsha, ChinaArchitect: Zaha Hadid architectsArea: 115000m^2

The impact from computational techniques for this project is achievable by using parametric design. Zaha Hadid is one of the most famous modern architects, known by having a good ability for utilizing computer programming to conceptualize the project. She has indi-cated that, even she will never know the final outcome of the design, it is all control by parametric program, and people can feel motivation of the building while manipulating the parameters during the design process. In my opinion, when we experiment with some new technologies, it is easy to think it has no basis, similar to computational design which presents no pre-conceived idea in designer’s mind.

The smooth and fluid surface is perforated with win-dows on top of the Grand Theater, where sunlight could penetrates through the glazed skylight in order to reduce the usage of artificial light, hence to achieve energy saving. Ventilation will also be improved due to this material.

From my point of view, I think this design way too dynamic and exaggerated of the interior space. If the interior plan is too flexible, people will lost their direc-tion and would be able to visit very internal part of the building. More signs will be produces either on the wall or free-standing for leading direction, which kind of destroy the harmonious environment internal space. In addition, both stability and flexibility should be dis-tributed equally in order to express more convenient environment for different users.

Image 19 - interior 2 of the Art Center Image 20 - interior 3 of the Art Center

“ We are moving from an era where architects use software to one where they create software. ”

By -- Peters Brady [24]

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A.3. COMPOSITON / GENERATION

Architects are now taking advantage of the computer in new ways through experi-mentation with algorithmic and simulation-driven design. Computing program becomes a basic method for designing recently. It is faster and more accurate than human brains, also it has less constrains than traditional design theory. For example, thousands of outcomes may produce by using computational tech-niques from a simple shape to dynamic and unimaginable shapes by control the ratio of it.

Architects start to bring the forms of the design to the computer and coded as algorithms, rather than doing by hand. “Algorith-mic thinking means taking on an interpretive role to understand the result of the generating code, knowing how to modify the code to explore new options, and speculation on further design po-tentials.” [25]Algorithms creates a loop consists four main steps namely design, analyze, imple-ment and experiment. It operates from the initial design to analyze the concept by using implement of computing programs and ex-periment the outcomes then back to the starting point of design thinks.

Large amount of drawing can be simply done by following the algorithms which may take very long time when doing them by hand. Most important aspect is, through the traditional architecture design, the final form can be produced in a certain way which has already been designed by designers known as compo-sition. Whilst, no one knows what will be the final outcome of a certain project, because the outcomes of a project are unimaginable by using parametric de-sign techniques in computing program known as generation. Architects are now facing a digital period that shift from composition to generation.

There are many constrains and limita-tions when design a model physically. For example, architect will spend much more time and energy when building a large scale model by hand. But the com-puter may calculate all the processes for architects in a very short of time and less cost. Therefore computing program are free from physical constrains.

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24. Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-1325. Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-13

A.3.1 SLIPSTREAM INSTALLATION

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Image 21 - colored plywood Image 22 - plywood cuves of the structure

Image 24 -- left view of the structure

26. ‘Slipstream Installation Translates 2d Drawing into 3d Structure’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/slipstream-installation-translates-2d-drawing-into-3d-structure/> 27. Wison, ‘Algorithm definition’, MIT Encyclopedia of the Cognitive Sciebces (2000), p.1-228. ‘Slipstream Installation’, Free Land Buck, last modified 27 March 2014, < http://www.freelandbuck.com/Projects/SlipstreamInstallation>29. ‘General advantages’, Panguaneta: plywood for life, last modified 21 March 2014, <http://www.panguaneta.com/en/plywood/key-advantages/general-advantages>30. ‘Slipstream Installation’, Free Land Buck, last modified 27 March 2014, < http://www.freelandbuck.com/Projects/SlipstreamInstallation>31. Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-13

Image 23 - dynamic form of the structure

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26. ‘Slipstream Installation Translates 2d Drawing into 3d Structure’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/slipstream-installation-translates-2d-drawing-into-3d-structure/> 27. Wison, ‘Algorithm definition’, MIT Encyclopedia of the Cognitive Sciebces (2000), p.1-228. ‘Slipstream Installation’, Free Land Buck, last modified 27 March 2014, < http://www.freelandbuck.com/Projects/SlipstreamInstallation>29. ‘General advantages’, Panguaneta: plywood for life, last modified 21 March 2014, <http://www.panguaneta.com/en/plywood/key-advantages/general-advantages>30. ‘Slipstream Installation’, Free Land Buck, last modified 27 March 2014, < http://www.freelandbuck.com/Projects/SlipstreamInstallation>31. Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-13

This design is inspired by the eddying motion of surface of the water. Architects used computing software to generate the form of the structure from a 2D drawing to a 3D model. Before the innovation of computing programs, it was very hard and wasting energy for formulating a large scale of model. After the invention of computational design techniques, software enables architects to create new, modern and dynamic forms digitally.

“Architects have used digital software to imbue structures and spaces with some of the same qualities as Da Vinci’s meticulous drawings: fluidity, undulation, instability and temporality.” [26]

Algorithm is an unambiguous, precise, list of simple operations applied mechani-cally and systematically to a set object.[27 ]

It is now commonly used in computational design, in order to create various outcomes. The invention of parametric design technique turns the 2D drawing into 3D structure in an easier and creative way compare to ancient times. For this particular design, each pieces of plywood are either interlocking or overlapping each other, to create a visual performance of turbulence and flows of water.

“The linear extrusion acts as structure and dynamic visual filter, shifting views through the installation and between the spaces it defines.” [28]The function of this installation is to form set of interconnected spaces through a gallery, express a feeling of standing on the surface of water from my point of view.

Moreover, from the material perspective, plywood presets a very high uniform strength that is very strong to support the entire structure. Plywood could also re-duce the possibility of shrinking, swelling and warping even efficient for relatively large size structure. [29]Architect decided to use plywood in this case is because plywood is easy for fabrication of fluid surface. The material can be reused, and the structure can be reform or reconnect quickly and easily. In addition, col-ored plywood emphasizes the undulating lines, establishing cross currents that intensify as visual eddies.[30] In order to enable the fabrication of this design is to control the appearances during the digital design process.

The advantages of using computational design technology are through several approaches. Firstly, computation has a potential to stimulate designers imagina-tion. [31] There is nothing special of a 2D water motion, whilst when bring the 2D drawing to the computer more creative outcomes may produce by using parametric design techniques.Secondly, the shape of the structure can be ma-nipulated through elements configuration, elements placement and relationships between elements. In addition, varieties of outcomes may produce from a simple design to dynamic and unimaginable shapes controlled by algorithmic program. Hence, computing program aids the conceptualization of the final outcomes of this project.

In country, if more and more designs are produced by using parametric tech-nique, the world will be full of abstract and dynamic buildings; therefore, it will lose the initial and original idea of simple geometries from my point of view. The beauty of simplicity of architecture will be replaced or deprived by complex and abstract designing concept.

Image 23 - dynamic form of the structure

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A.2.2 FIBROUS TOWER HONG KONGHong Kong, China, 2008

Project Team: Roland Snooks (Design Director), Robert Stuart-Smith (Design Director), Juan De Marco.

Computational design technique is a better way of creating something that no one knows the final outcome of it due to the changing of parameters. Different outcomes of the facade will be presented in a very unique way than traditional design whenever the parameters have been manipulated in order to achieve more alternative solutions. The building shows a sig-nificant outcome of the façade which creates a very interesting reflection when light penetrates through it. The innovation express through exploring ornamental, structural and spatial or-der based on algorithmic design.[32]

The ability of applying the computa-tional techniques will accelerate the communication with designers, be-cause computational technique is the continuation from a different aspect of designer’s mind and stimulation their imaginations. The impact from com-putational techniques for this project is achievable by using parametric design. Without the using of comput-ing program, this project may not be achievable, because it will become very hard and wasting time if the de-sign is drawn by hand. In my opinion, when we experiment with some new technologies, it is easy to think it has no basis, similar to computational de-sign which presents no pre-conceived idea in designer’s mind.

The advantages of computation are not only applying new computational methods to their problems, but also reformulated those problems to be amenable to com-putational strategies.[33] It has become a useful tool to enable architects to design and construct innovative buildings with more exacting qualitative and quantitative conditions.[34]

In addition, glazed window allows sunlight to penetrate through in order to reduce the usage of artificial light, hence to achieve energy saving. Ventilation will also be improved due to this material. The exterior façade also act as a shading element. But on the other hand, the pattern of the façade may block the views from inside out. It may also harder the excavation when fire breaking out.

Image 25 -- fibrous tower down view Image 26 - fibrous tower concept

32. ‘Fibrous Tower’, Designboom architecture, last modified 21 March 2014, < http://www.designboom.com/architecture/kokkugia-fibrous-tower/>33. Jeannette M. Wing, ‘Computational Thinking: What and Why?’, Architectural reading (2014), p.1-634. ‘Parametric Design: a brief history’, AIACC, last modified 21 March 2014, < http://www.aiacc.org/2012/06/25/parametric-design-a-brief-history/>35. ‘Fibrous Tower’, Studio Roland Snooks, last modified 21 March 2014, < http://www.rolandsnooks.com/#/fibrous-tower/>

“This cast in situ concrete shell provides the struc-ture, sun-shading, and a series of enclosed balco-nies within a fibrous bun-dle of strands. The project compresses the structural and tectonic hierarchies of contemporary tower design into a single shell whose articulation self-organizes in response to an often conflicting set of criteria. The shell allevi-ates the need for internal columns providing clear span office space, while the varied pattern of the shell creates distinctive characteristics for each space.” [35]

25Image 27 -entire view of fibrous tower

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A.3.2 MOBILE PAVILION

‘“Project Distortion” is a parametric installation that mixes light, sound, space and infinitely altered reflections into fantastic reality.’[36]

The concept of mobile pavilion integrated with natural element such as light, sound and the environment around as Hansmeyer has indicated that “Nature has been called the greatest architectural forms; we can borrow ideas from nature process to create something new. ”[37] It started with a simple shape and generated within a defined matrix through folding and crumbing based on the behavior of textiles.[38] Algorithmic techniques have taken a great roll of simulate the appearance of the structure under-lying hinged triangles. [39] Designers are trying to create a harmonious relationship between the space, acoustic effect and social interaction driven by parameters in order to express a feeling of humanity in architecture.

The function of using parametric design is not only enable transforming a 2D drawing to a 3D structure from previous precedent, but also generate an object from a very single “cell” to a massive and complex model by manipu-lating the manipulating parameters and experiment it repeatedly to find the best outcome.

Parametric design provides an inseparable relation between each element and joint them together precisely which may not be achieved by using tradi-tional compositional method. Elements follow a certain infinite set of rules to emerge their forms coded as algorithm during the generation process. It shows a great shift from a traditional design approach to more precise way of thinking.

Image 28 - parametric process 1 Image 29 - parametric process 2

36. ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>37. Michael Hansmeyer, ‘Building unimaginable shapes’, TED, last modified 27 March 2014,< http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes>38. ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>39. ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>

36. ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>37. Michael Hansmeyer, ‘Building unimaginable shapes’, TED, last modified 27 March 2014,< http://www.ted.com/talks/michael_hansmeyer_building_unimaginable_shapes>38. ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>39. ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/> 27

Image 30 - interior of the pavilion Image 31 - pavilion under construction Image 32 - front view of the pavilion

Image 33 -- side view of the pavilion

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A.4 CONCLUSION

WITH the use of computational techniques, designers start entering a new era of digital design. Computer technologies introduces a new method of design that is more precisely than human brain and leads to a regeneration of current design theories. It breaks out from traditional way of thinking that has an obvious intent of being aesthetic of the architecture. Whilst, along with the innovation of generation, even the design-ers will not know how the final outcome looks like, it jumps form the rigid framework by manipulating the parameters and trying to formulate the best result of the design.

There are advantages and disadvantages towards computational techniques, as there is a tight connection between art and technology. But the most important rule that designers need to follow is that we should not lose the basic mental thinking during the digital designing age. Computer programs can deal with very complex works and calculate the design outcome in a fast way than human brain very could, but back to the original, hand drawing is the initial way of record what comes to the top of designer’s mind.

My intended design approach is to follow the principle of practical, aesthetic and economical. A good design is not only about the magnificent of the exterior appearance unlike the traditional composition way of de-sign. The architecture should be designed to meet human’s need and achieve environment friendly through the use of material or the concept of project in order to achieve sustainable and energy efficient, that is main goal for long-term design. The innovative parametric design and algorithmic thinking could experiment the best way for fabrication by follow set of rules.

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A.5 LEARNING OUTCOME

Through the whole project of part A I have learnt many very interesting design technologies that I never touched before for example grasshopper. I realized that a design can be done either by already conceptualized or by no pre-conceived from designers through the document research. I have also gain the understanding of applying parametric design to produce more unimaginable outcomes which is free from physical constrains compare to traditional design. I may improve my past design by using these techniques to jump out of the rigid framework.

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A.6. APPENDIX – ALGORITHMIC SKETCHES

THE TUTORIALS OF USING GRASSHOPPER SO FAR FROM WEEK1 TO WEEK 3 ARE VERY INTERESTING AND HELPFUL. GRASSHOPPER IS VERY STRANGE TO ME BECAUSE I NEVER LEARNT THIS TECHNOLOGY BEFORE. BUT AFTER SOME QUICK TUTORIAL, THE MORE YOU LEARNT THE TUTORIAL THE MORE YOU WILL GET INTO THE COMPUTING PROGRAM. IT IS VERY INTER-ESTING THAT THE SHAPE OF OBJECT WILL CHANGE WHEN MANIPULAT-ING THE PARAMETERS OF CHANGING STATISTICS OF IT. I HAVE SOME PAR-TICULAR INTERESTS IN FORMULATING CURVES. BEFORE TOUCHING THIS AREA, I FEEL IT’S SO UNREAL BY USING PARAMETRIC DESIGN PROGRAM, BUT AFTER GETTING TO KNOW RHINO AND GRASSHOPPER, I THINK THAT THIS KIND OF TECHNIQUE IS ACTUALLY VERY CONVENIENT COMPARE TO TRADITIONAL HAND DRAWING. IT NOT ONLY SAVES ENERGY FROM DRAW THE DRAWINGS, BUT SO YOU CAN PLAY THIS THE PARAMETERS TO TEST DIFFERENT OUTCOMES.

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A.7.1 REFERENCES LIST

‘Changsha Meixihu International Culture & Arts Center’. Zaha hadid architect, last modified 14 March 2014, <http://www.zaha-hadid.com/architecture/changsha-meixihu-international-culture-art-centre/>

‘Fibrous Tower’, Designboom architecture, last modified 21 March 2014, < http://www.designboom.com/architecture/kokkugia-fibrous-tower/>

‘Fibrous Tower’, Studio Roland Snooks, last modified 21 March 2014, < http://www.rolandsnooks.com/#/fibrous-tower/>

‘General advantages’, Panguaneta: plywood for life, last modified 21 March 2014, <http://www.panguaneta.com/en/plywood/key-advantages/general-advantag-es>

‘ICD | ITKE Research Pavilion 2011’, Archiable the platform for architecture students, last modified 21 March 2014, <http://www.archiable.com/2012/20120519_ICD_ITKE_Research_Pavilion_2011.html>

Jeannette M. Wing, ‘Computational Thinking: What and Why?’, Architectural reading (2014), p.1-6

Jennifer Jacobs, and Leah Buechley, ‘Computational Design and Digital Fabrication for Novice Programmers’, Massachusetts Institute of Technology (2014), p.1-10

Kalay, ‘Architectures New Media’, Architectural reading (2004), p.1-25

Michael Hansmeyer, ‘Building unimaginable shapes’, TED, last modified 27 March 2014,< http://www.ted.com/talks/michael_hansmeyer_building_unimagi-nable_shapes>

‘Parametric Design: a brief history’, AIACC, last modified 21 March 2014, < http://www.aiacc.org/2012/06/25/parametric-design-a-brief-history/>

Peter Brady, ‘computation works – the building of algorithmic thought’, Architectural reading (2014), p.8-13

‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>

Rivka Oxman, ‘Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium,’ Design Studies (2008), p.1-22

Rivka Oxman, ‘Theory and design in the first digital age,’ Design Studies (2006),p.1-37

Rivka Oxman, ‘Theories Of The Digital In Architecture’, Architectural reading (2014), p.1-10

Tony Fry, ‘Design Futuring: Sustainability, Ethic and New Practice’, (Oxford: Berg, 2009), p.1-16

Toni Kotnik, ‘Digital architectural design as exploration of computable functions’, Swiss Federal Institute of Technology (2014), p.1-16

‘Slipstream Installation’, Free Land Buck, last modified 27 March 2014, < http://www.freelandbuck.com/Projects/SlipstreamInstallation>

‘Slipstream Installation Translates 2d Drawing into 3d Structure’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/slipstream-installa-tion-translates-2d-drawing-into-3d-structure/>

‘Solar Pixels’, Land Art Generator Initiative Competition 2012, last modified 13 March 2014, <http://landartgenerator.org/LAGI-2012/AS03AJ90/>

‘Solar Roadway’, solar roadways a real solution, last modified 13 March 2014, <http://www.solarroadways.com/intro.shtml>

‘Solar Roadways: Crackpot Idea or Ingenious Concept?’, SingularityHUN, last modified 13 March 2014, <http://singularityhub.com/2010/08/08/solar-roadways-crackpot-idea-or-ingenious-concept-video/>

Wison, ‘Algorithm definition’, MIT Encyclopedia of the Cognitive Sciebces (2000), p.1-2

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Image 1-5: ‘Solar Pixels’, Land Art Generator Initiative Competition 2012, last modified 13 March 2014, <http://landartgenerator.org/LAGI-2012/AS03AJ90/>

Image 6-10: Solar Roadway’, solar roadways a real solution, last modified 13 March 2014, <http://www.solarroadways.com/intro.shtml>

Image 11-15: ‘ICD | ITKE Research Pavilion 2011’, Archiable the platform for architecture students, last modified 21 March 2014, <http://www.archiable.com/2012/20120519_ICD_ITKE_Research_Pavilion_2011.html> Image 16-20: ‘Changsha Meixihu International Culture & Arts Center’. Zaha hadid architect, last modified 14 March 2014, <http://www.zaha-hadid.com/architecture/changsha-meixihu-international-culture-art-centre/>

Image 21-24: ‘Slipstream Installation Translates 2d Drawing into 3d Structure’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/slipstream-installation-translates-2d-drawing-into-3d-structure/>

Image 25- 27: ‘Fibrous Tower’, Designboom architecture, last modified 21 March 2014, < http://www.designboom.com/architecture/kokkugia-fibrous-tower/>

Image 28-33: ‘Project Distortion – Reality Altering Parametric Installation’, EVOLO, last modified 27 March 2014, < http://www.evolo.us/architecture/project-distortion-reality-altering-parametric-installation/>