CFI_367353_Yangyang He.pdf

ACHITECTURE STUDIO

AIR

YANGYANG HE STUDIO 4

CONTENT

INTRODUCTION PART A

PART A - CASE FOR INNOVATIONA.1 ARCHITECTURE AS A DISCOURSE 4-13A.2 COMPUTATIONAL ARCHITECTURE 14-25A.3 PARAMATRIC MODELLING 26-33A.4 ALGORITHMIC EXPLORATIONS 34-35A.5 CONCLUSION 36

A.6 LEARNING OUTCOMES 37

PART B - DESIGN APPROACH

PART C - PROJECT PROPOSAL

INTRODUCTION 1-3

PART B PART C

INTRODUCTION

INTRODUCTION PART A

YANGYANG HE

I am an international student which major in architecture in University of Melbourne. My hometown is a little city which called Guilin in the southwest of China. Because my father is an architect, I was growing up with seeing his work in my hometown. It is incredible when we were walking in the streets and he said the building on the opposite side is his design. And my dream during that time is being an architect like my father, and then I received a lot of drawing training from school which he said is the foundation of being a good architect. But I am planning to study urban design in the future since the work can contribute to more people live than a single building in my concern.

I thought architecture is just about designing a beautiful building that satisfies the customer and me, but after 2 years of learning in the university, it is more complex than what I was thinking before. It is not only what Richard Meier¡¯s believe that it is “the mother of arts” which “connects the present with the past and the tangible with the intangible” but also...

“Achitecture is really about well-being. I think that people want to feel good in a space...On the one hand it’s about shelter, but it’s also about pleasure” by Zaha Hadid

PART B PART C

It is a language that communicates people and the environments. And I believe a good architecture design should contribute to the environments and people in a variety of perspective such as culture and social. And I will argue that even though digital design is not the only way to produce a nice result but it is necessary for architects since it can help them to express their idea which cannot simply draw by pen and paper.

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INTRODUCTION

Beacause of those previous drawing trainings, I rather do my design by hand drawing before leaning the digital design software. Sometimes it is quite hard for me to visualize my idea in the computer instead of just drawing it by pen and paper. But I know it is necessay to be familar with the comtempary design software if I want to get a job when I graduate.

University is the first time that I am getting touch with digital design. Since I took another subject which is Mapping Environments instead of Virtual Environments, the first design software that I am more familar is Sketchup which is easier to learn as a beginer of 3D modeling. And I usually use it as the tool of visualize the space and refining my design. While I was just knowing a little bit of Rhino from the workshop of Visual Communication which only require some simple stuffs.

INTRODUCTION PART A

hand drawing

practice of rendering

practice of knowing those tools

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PART B PART C

But I also got some experiences in Sketchup

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INTRODUCTION PART A

STUDIO AIR PART A

Richard Williams, 'Architecture and Visual Culture', in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116.

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PART B PART C

In the ancient time, architecture can be simply described as shelter which is for safety usage. But as the development of human civilization, it becomes more than the material building itself but also a large range of other things (Richard, 2005, pp103). As the “most public of arts”, architecture, is not only about being beautiful and usable by people nowadays. It is a combination of art, symbolic realm as well as spatial experience (Richard, 2005, pp102).

“In other words, the discourse around them.” (Richard, 2005, pp102).

In my opinion, architecture is rather than a simple art which can be done with freedom since it require the architects to consider not only about its visual appearance but also fulfil the clients, the environments, as well as its influence to the culture and urban contexts. It is not engineering as well since it is not only about design the building which can stand and use by the people. It is a discourse between the building and its cultural and natural environments. On one hand, architecture is design base on those requirements such as theory, urban context. On the other hand, it also effects the environments around it, for example, the reshaping of the physical context. In addition, it also influences the people in the context with its physical structure, visual appearance, as well as cultural representation. And the discourse is bidirectional.

Moreover, I think architecture is about pleasure by considering those influences to the people as I mention before in the introduction. The approach can be diversified, but usually limit by the physical structure of the building. In order to break this limitation and creating new discourse around it, I will suggest computational design for the Gate Way Project that will be focus in this journal.

1.ARCHITECTURE AS A DISCOURSE

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STUDIO AIR PART A

INTRODUCTION PART A

BEIJING 2050 PROPOSAL BY YANSONG MA

Because of my background and future interests in urban reforming, Ma’s Beijing 2050 proposal is really impressed me with his “madness” of destruction and creation. The proposal includes three main parts which are accentuating green space in the People’s Park (Fig A1.3), expanding vertically with a floating island over the CBD building (Fig A1.4 and Fig A1.5), and updating traditional housing with futuristic bubble space(Fig A1.1 and Fig A1.2). When he starts thinking of this large proposal, the main idea is trying to serve the urban residents and solve the problems that Beijing is facing in the future. Unlike the futurism approach in Italy before the World War One which is about machinery, speed and movement (Marinetti, 1909), Ma is coming with his idea of improving the living conditions in the old context rather than totally reconstructing the whole environments for future.

As said by Nico Saieh (2010), it is a kind of discourse that the architects communicate with the future instead of keep referring to the past, which “the past and the future can thus coexist in a finite, yet dream like world”. Even though the idea of floating island is mainly come from his famous proposal of rebuilding the World Trade Centre in New York which can concern as the past, his strategy is more likely to be considered as the future model.

Fig A1.1 and Fig A1.2 http://www.i-mad.com/Uploads/ExhibitionsFile/ExhVideoImgFile//20111023/20111023165025_7500.jpg

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PART B PART C

Fig A1.3 http://www.i-mad.com/Uploads/ExhibitionsFile/ExhVideoImgFile//20111023/20111023164948_4218.jpg

In general, all of these three aspects are promoting one main idea which is creating new space experience for the people with remembrance of the traditional culture. It can be seen from the updating traditional housing aspect that he is trying to create a mixture of traditional and modern with those bubbles sitting in the Hutong in Beijing. In addition, the floating island is also transforming the horizontal spreading urban space into a vertical space which may solve the problem of growing population in the urban area. Moreover, regarding to Richard (2005, pp108), architecture can also been seen as sign such as the Eiffel Tower. In this case, Ma is creating new symbol for Beijing which make discourse between the people and this proposal.

In my opinion, even though this proposal cannot be built in the future, the idea of this proposal will also impact the urban planners and reformers to consider what Ma is thinking of. And the parametric design that use in this proposal is not only look beautiful or strange in others’ thoughts. It is a result of a systematic thinking and designing which may be the answer of future. And I think the idea that architecture or urban designing is a discourse of past and the future may help my design in this course. More importantly, I think using architecture to improve the current situation or the future problems of local urban context will also be the main parts of my approach to the Gate Way Project.

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STUDIO AIR PART A

INTRODUCTION PART A



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PART B PART C

F.T. Marinetti, “The Futurist Manifesto”, (1909) First published in Le Figaro on 20th February, 1909, Text Translation taken from James Joll, Three Intellectuals in Politics, (New York: Harper & Row, 1965).

Nico Saieh, “Beijing Hutong Bubble/Mad”, http://www.archdaily.com/50931/beijing-hutong-bubble-mad/, archdaily, 2010


Yansong Ma, http://www.i-mad.com/

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INTRODUCTION PART A

STUDIO AIR PART A

CASA DA MUSICA BY REM KOOLHAAS

Rem Koolhaas who is the winner of Pritzker Prize, Cassa da Musica (Fig A1.7) is one that I like the most from his practices. The project is sitting in the Porto which is the city of European culture in 2001. The starting point of this project is creating an odium which opens to the urban. In this perspective, Rem’s architecture is a discourse between the private to the public. He always tries to make communication from interior to exterior environment. In this building, he not only design the building itself but also a large square which surround the building to making living space for the public. Every angle of this design is referring to the surrounding local build environments. http://www.primaverasound.com/galeria/porto/plog-content/images/2012/ambiente--atmosphere/ambiente-casa-da-m__sica-01-hugo-lima.jpgFrom the bird view (Fig A1.6), we can see the building itself is separate from the large context by its form and material. But when we further consider this project by looking at the influences on the environments, it creates a different life style and experiences for the residents. Since the site originally has a very high density of building which is lack of space for people meeting with each other and having recreational activities. The square provides the space for those usages and the opening on the ground floor is also connecting the private musical practice with the normal urban life together. Additionally, in terms of transportation, the site is centralizing people’s movement towards the building and creating conversation with themselves and the building. (Fig A1.8 & Fig A1.9)

Fig A1.6 EL Croquis 134/135, amoma Rem Koolhaas

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PART B PART C

Fig A1.7http://upload.wikimedia.org/wikipedia/commons/6/60/Casamusicaexterior.jpg

According to Nicolai Ouroussoff (2005) in The New York Times, Casa da Musica is “A building whose intellectual ardor is matched by its sensual beauty.” And it is Rem’s exploration of the discourse between the building and the “messy social, psychological and economic realities outside the walls of the rationalist modern box”. From this point, we can also see the public is reflect to Casa da Musica in a larger context rather than the diamond like strange shape itself. Moreover, Richard’s point is also reviewed in this project as well, since it perfectly combine and reintroduce the approaches of art, symbol and spatial experiences through its shape, interior space as well as its urban space.

From my point of view, the design is destructing the traditional grid building form set by Corbusier which transforming the box into something more comfortable for the visitors. And it also shows that form making in architecture is not just cube or rectangle, it is more about how to create unique experience and making contribution to the people. Again, this project is also under the agenda of offering pleasure to the people and the local environments in a different way from Ma’s proposal. But I think it is also helpful to the Gate Way Project since it provides me a different view to contact to the local environment in the design.

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STUDIO AIR PART A

INTRODUCTION PART A

Fig A1.8 http://w-a.home.pl/official/all_files/userfiles/image/2008/portugalia/casa-da-musica-OMA-Koolhaas_big.jpg

Fig A1.9 http://farm4.staticflickr.com/3605/3370108927_e16b046d21_o.jpg

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PART B PART C

Nicolai Ouroussoff, ‘Rem Koolhaas Learn Not to Overthink It’, (New York Times: April 10, 2005), http://www.nytimes.com/2005/04/10/arts/design/10ouro.html?scp=1&sq=casa%20da%20musica&st=cse


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1.ARCHITECUTURE IN THE PAST

STUDIO AIR PART A

INTRODUCTION PART A

Fig A2.1 http://www.daringideas.com/wp-content/uploads/2009/10/mistakes6gm0.jpg

Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 1 - 25

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PART B PART C

2. COMPUTATIONAL ARCHITECTURE

Architecture as a professional practice in contemporary world is very different from the time before the 1450s when the Italians evolutionally transformed the original building process into principles of architecture (Kalay, 2004, pp6). Designing in architectural practice was more likely based on construction experiences in the ancient time without any specific principles. It is highly limited to the builder’s knowledge and their life experiences. Different from those craft men like builders, architects were separate from the actual construction process after the renaissance period. They are more focusing the design itself rather than trying to solve the problems that engineer are more familiar with. The design process is change from design in site when construction is processing in the same time to having the design complete before construction. According to Kalay (2004, pp7), that “Buildings, prior the Renaissance, were constructed, not planned”. Therefore, in this kind of new design process, architects are planning and designing the building rather than constructing it. However, there are still many problems will appear to this method of design such as incorrect communication between the architects and the engineer as well as the builders which may have side-effect of the building design to the site environments. Even though architects are trying to communicate with the other professionals in each steps of the designing process though scale drawings and models, the results can be very different from the original design by the architect (Kalay, 2004, pp9).


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2.THE TWO FACILITIES OF ARCHITECTURE

Secondly, there are two main facilities in architectural design process which are the analytical facility and the creative facility (Kalay, 2004, pp2). Both of them are equally important to a well resolution of the goals that an architect want to achieve. The analytical facility is associated with fixing problems that the design facing. For example, the topography and climate of the site is one of the major components that architects cannot change much because of variety of reasons such as building code and build budgets. In general, all this analytical data can be systematically evaluate if the designer has enough knowledge and time to deal with. But in real practice, sometimes it is impossible for architects to analysis all of those data without any error forever. On the other hand, human are the only animal in the world

that can creatively design and think to solve problemes (Kalay, 2004, pp2). With critical and creative thinking, human can generate a large range of solutions to problems. An in architecture practice, the design may achieve different requirements and express the creativity of the designer in the same time. This kind of creativity should and can only be done by humans. A good resolution of an architectural project should combine systematic analysis as well as designers’ creation.

Fig A2.2 Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), pp. 10

INTRODUCTION PART A 16


3.COMPUTATIONAL ARCHITECTURE

In current world or even earlier in the modern history of architecture, the invention of computer is revolutionary not only affecting the design process and appearance but also influenced people’s world in almost every parts of their life. Computer can evaluate and store set data in the speed that human cannot achieve. In addition, it is hardly mistake if the program and human inputs are correctly since the process is straight forward. A metaphor of the difference between human thinking process and computer process can be a complex geometric comparing to one single line (Kalay, 2004, pp3). Which means the computer is the perfect tool that architects can use in terms of the analysis and evaluation of the design process with the combination of human creativities. In addition, computer is providing the easy and fast way for the architects to communicate with their partners and clients. For example, the 3d rendering picture of the design can communicate with the clients and the detail modeling is also useful for the constructors to understand how thing should be done in order to perform the way that architects wants to achieve.

Moreover, architecture is still changing due to the rapid development of technology which is related to Patrik Schumancher’s parametricism New material and construction possibilities are developed that architects can design some impossible shape and nurb that cannot be constructing or even create by human’s pen and paper. The opportunities of well resolved design are open to more people. Computational architecture is more easily communicate with other professional as well since the program language is the same that engineer and builder can get the information directly from architects with the possibility to upgrade and refined the design during the design and construction process.

PART B PART C17


STUDIO AIR PART A

GUGGENHEIM MUSEUM BILBOBY FRANK GEHRY

Guggenheim Bilbao, as one of the most well-known practice by Frank Gehry, is “a radical affirmation of the spirit of our age”, said by Nicolai Ouroussoff (1997). The giant unsymmetrical building is sitting on the side of Nervion River in Bilbao, Spain which finished in 1997 and covering 24,000 square meters on the site. It is the one of the perfect example of the design revolution of computational architecture in the history. Even though, this kind of free-from architecture which has curve surface can be traced back to the Baroque period that architects started to think “beyond the Cartesian grid and established norms of beauty and proportion in architecture”, Guggenheim Bilbao is still one of those buildings that people will never expect during the 1990s.

The Museum is famous of its distinctive titanium curve surface and the soaring glass atrium (Nicolai Ouroussoff, 1997). Both of these materials are developed by the technology improvement in science of the time, and more importantly, they are making reference to the cultural of the city which is shipbuilding. The construction and design are really similar to how people build and design ship. In addition, in order

Fig A2.3 http://mk.christogenea.org/_files/DEGENERATEARTANDCULTURE/15-Disney_Concert_Hall.jpg



Fig A2.4 http://juanjosemonge.files.wordpress.com/2011/06/guggenheim-2.jpg

PART B PART C

to achieve this complex and smoothly form, the use of CAD/CAM technology and digital modeling are necessary (Cesar Caicoya, 1998). Even though the original design was done by sketches and models by Gehry, the real and practical design process was finished by computational design. From here, we can see the combination of the two facilities that I mention, which are analytical and creative facilities working in a harmony. The result is incredible, as the museum is not only surprising and attracting people to visit it but also influence and reflect the cultural and natural environments of the city as well which can be seen as discourse. Moreover, in regards to Kolarevic (2003, pp60), the building “will not stand there without the computational innovation in architecture design, not to mention generating a new era of Architecture.” And he also describe that the design process as well as the construction process is based on digital model as well as a physical scale model which means there is no construction drawings for Gehry’s projects. And this design process is saving a lot of time and money as well.

In my opinion, this project is also suggesting that computational architecture is the spirit of this age which should and must be cooperate in the Gate Way Project. Additionally, it provides more opportunity for me and

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STUDIO AIR PART A

Fig A2.6 http://moreaedesign.files.wordpress.com/2010/09/model.jpg

Fig A2.5 http://3.bp.blogspot.com/_JN855kqMkgU/THgqlQcrb6I/AAAAAAAAABA/PnTngJkQRaU/s1600/2006_sketches_of_frank_



Nicolai Ouroussoff, ‘The Architect’s New Museum in Bilbao, Spain, Emerges as a Testament to One Man’s Optimism Amid a Landscape of Industrial Decay’, (New York Times: June 02, 1997), http://articles.latimes.com/1997-06-02/entertainment/ca-64765_1_gehry-guggenheim-bilbao-krens

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28.

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STUDIO AIR PART A

INTRODUCTION PART A

Southern Cross station, which is the major railway station in Victoria, is sitting at the edge of the Hoddle Grid of Melbourne city. Each time I walk pass by it will be impressed about its incredible structural performance and the wave-shape of this large project. There is no doubt that it is also a result of computational architecture. The vault roof is not simply to make the station looks different but in order to improve the performance which is the way to “extract diesel fumes from interstate trains, and steam from the occasional steam locomotive, without resorting to costly mechanical devices” (Fig A2.9) as said by Keith Brewis (2005). Instead of keep mentioning about the computational design process, Southern Cross Station is an example of the advantage of computational architecture in regards to the performance of the building. After decide the main concept of the building, Nicholas Grimshaw & Partners is using 3D-modeling and

SOUTHERN CROSS STATIONBY NICOLAS GRIMSHAW WE

Fig A2.7 David Lister, 2013, Studio Air 2013-lecture 04- Performative Design

Fig A2.8 http://upload.wikimedia.org/wikipedia/commons/2/2a/Southern-cross-station-melbourne-morning.jpg

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PART B PART C

Fig A2.8 http://upload.wikimedia.org/wikipedia/commons/2/2a/Southern-cross-station-melbourne-morning.jpg

software to exam and refine the design before the construction. Almost every problem is considered and express in the design during the design process in computer software. Architects and engineers were working in computer and physical model for the best performance. The advantage of computational architectural is very obvious during this process, since it can be down by the architects himself without sending the design to the more professionals who may waste a lot of money and time for the project. Computational software was used in every steps of the building which made the structural really strong to support the heavy and beautiful roof (. Moreover, linking back this station to the Gate Way Project, I think there are some similar issue may appear such as the steam or gas created by the automobile under the structural complex or the effect to the local environments

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STUDIO AIR PART A

INTRODUCTION PART A

Fig A2.9 David Lister, 2013, Studio Air 2013-lecture 04- Performative Design

Fig A2.10 http://c1038.r38.cf3.rackcdn.com/group1/building3380/media/4cb30d4292aa00.01795463.jpg

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PART B PART C

The Age, “The roof transporting us to tomorrow”, (The Age: 2005), http://www.theage.com.au/news/National/The-roof-transporting-us-to-tomorrow/2005/03/24/1111525284371.html#top

David Lister, 2013, Studio Air 2013-lecture 04- Performative Design (University of Melbourne: 2013)

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STUDIO AIR PART A

INTRODUCTION PART A

Ipek Gursel, Dino ( 2012). CREATIVE DESGIN EXPLORATION BY PARAMETRIC GENERATIVE SYSTEM IN ARCHITECTURE, (jfa.arch.metu.edu.tr) pp 218-219

Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-48Yeomans, J (1973). The Other Taj Mahal: What Happened to the Sydney Opera House, (Australia: Longman).

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3 . P A R A M E T R I C MODELLING

Parametric modelling is defined by Robert Woodbury (2010, pp11) in his article as computational designs generated thought mathematical algorithms. Even though the start point of parametric design can be traced back to the Sketchpad period or further to the architectural practices done by Antonio Gaudi, this new kind of style is accepted and be constructed in reality in the recent decade(Robert, 2010, pp11). From the perspective of the changing history of architectural design, each period has its own architectural style due to the cultural, political and scientific contexts of that time. In my opinion, parametric design should be the style of the future or it can also be described as the style of the contemporary world. Like the rise of modernism, the development of technology, the invention of new material and the important usage of computer, parametric design is developing and spreading all over the world just like the international style occupied in the post-war period. I have to say it is the time to change the design.

When discussing parametric modelling, it is usually related to algorithm and complex outcome of it. Before all of those knowledge and technology is available to architects, the form is restricts by the material as well as the simple geometric mind of the architecture education. For example, the most famous architecture practice in Australia which is the Sydney Opera House by John Utzon has its problem of unify the optimal architecture form and the optimal structural design because lack of technology and knowledge during that time (Yeomans, 1973). Architects are very hard to modify and change their design once their drawings are all done when they facing the engineering problems. And in order to find the solution of this kind of problem, architects and engineer need to work corporately and it is quiet time and money consuming. (eg. It takes 16 years to construct the Sydney Opera House)

However, parametric modelling can help architects and engineer to solve this problem in a more sufficient method, or even avoid the existence of this problem since the structural system is also considered during the design process of parametric modelling by architects which is done by computer and it will take less time for the builder or the engineer to find the perfect way to transfer this design into reality (Ipek Gursel, Dino , 2012, pp218).

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INTRODUCTION PART A

As described the Arch Daily(2011), the new Guangzhou Opera House which is sitting on the riverside of the Pearl River in the Zhujiang new town of Guangzhou is “like pebbles in a stream smoothed by erosion. “ The whole project is a combination of two components with the exoskeleton which cover the solid interior space. The design is using the analogy of the transformation of rocks in the river by erosion. In this project, Zaha and her partner Patrik Schumacher is obviously using the parametric design and modelling to express their idea and make discourse between the building and the city itself.

As we know, rocks are not a geometric object that can simply defined as cube or some other geometries. With the idea of cooperating the building with the landscape or create new landscape by the building, the two main components of the Opera House is design like an extension of the dock and the bank. In the larger contexts, it also response to the other building in the area with its unique parametric design comparing to the other modernism style building as well as the large mass sitting on a low density area comparing to the high density of buildings in the surroundings. It is not hard to see the whole building is using parametric modelling since the most notable feature of the building is the triangular pattern which in the exoskeleton, the structural members, as well as the interior space.

GUANGZHOU OPERA HOUSEBY ZAHA HADID ARCHITECTS

Fig A3.1 http://3.bp.blogspot.com/-6XmCNFeK8Nc/UNxXmfqSgPI/AAAAAAAAC-M/-JGFz7U-Yvg/s1600/Guangzhou+Opera+House+19.jpg

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When we look back to the start stage of this design, the original concept is more smooth and evasive. But due to the construction problems in China, it is transforming into what we see today, two large buildings with 64 big surfaces and 47 corners (Nicolai Ouroussoff, 2011). The transformation is one of the typical transformations that happened in the Rhino which is transforming a nurb to polygonal mesh. And within the mesh, we can see that triangular shape that I mention before because when transforming the nurb to the mesh, triangle has the most advantages in the computer modelling as reliability, speed and clarity which is also features of parametric modelling.

From the perspective of embryology, the triangle can be seen as the key gene combination that propagates to the whole project. Studying from the nature and using their natural pattern is related to parametric design as well. By using the basic unit, the expression is infinite like the biodiversity of the nature.

Fig A3.2 http://4.bp.blogspot.com/-zi81S82lVbQ/Tb1-5bLr6jI/AAAAAAAACS4/Ya6NVpjQH2U/s1600/opera%2Bhouse%2523.bmp

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INTRODUCTION PART A

Fig A3.3 http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d1300db123ce22f6e2569fb36764f8_01062_ld_n12_higha4.jpg

Fig A3.3 http://www.zaha-hadid.com/wp-content/files_mf/cache/th_65d1300db123ce22f6e2569fb36764f8_01062_ld_n12_higha4.jpg

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Arch Daily, (2011), Guangzhou Opera Hous/ Zaha Hadid Architects, http://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects/

Nicolai Ouroussoff, ‘Chinese Gem That Elevates Its Setting’, (New York Times: July 5, 2011), http://www.nytimes.com/2011/07/06/arts/design/guangzhou-opera-house-designed-by-zaha-hadid-review.html

Zaha Hadid Architects, http://www.zaha-hadid.com/architecture/guangzhou-opera-house/

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Zaha’s another project in China is locating at the heart of the China, Beijing. Similar to the Guangzhou Opera House, the Galaxy SOHO is also an attractive project which is also parametric architecture from its continuous and floating terrace and the brup shape. The original idea is reflecting the local culture which is the Chinese court yard which can be seen from it plan that four single buildings forming a space in the middle. However, all those single components are not isolated; they are all connected by elevated bridges which makes them as a whole (Arch Daily, 2011). In order to transforming the original square Chinese court yard into this dynamic and curve shape complex, parametric design is really necessary for the architects to achieve this approach. On the other hand, the Galaxy SOHO is also using the parametric design to sectioning its floors which can be achieved in Grasshopper easily.

STUDIO AIR PART A

INTRODUCTION PART A

Zaha’s another project in China is locating at the heart of the China, Beijing. Similar to the Guangzhou Opera House, the Galaxy SOHO is also an attractive project which is also parametric architecture from its continuous and floating terrace and the brup shape. The original idea is reflecting the local culture which is the Chinese court yard which can be seen from it plan that six single buildings forming a space in the middle. However, all those single components are not isolated; they are all connected by elevated bridges which makes them as a whole (Arch Daily, 2011).

In order to transforming the original square Chinese court yard into this dynamic and curve shape complex, parametric design is really necessary for the architects to achieve this approach. On the other hand, the Galaxy SOHO is also using the parametric design to sectioning its floors which can be achieved in Grasshopper easily.

GALAXY SOHOBY ZAHA HADID ARCHITECTS

Fig A3.4 http://www.huftonandcrow.com/images/uploads/ZH_Galaxy_Soho_013.jpg

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Moreover, I can observe from the components lay out that embryology is also used in this project as well. The interior spaces are similar to the shape of animal cells under the microscope. If we see the building as a living object, those internal space created by parametric modeling will be the basic cells of the body.

And the part that excites me the most is the urban environment that Galaxy SOHO created in the local context. It provides unique experience for the visitors that they cannot observe the whole architecture from any angle of it. They have to explore and feel the building by themselves. And I think that’s also relevant to the Gate Way Project which the design must provide unique experience for the user not only from its skin but also from the internal space.

Fig A3.5 http://www.architizer.com/blog/wp-content/uploads/2012/10/508ee0ab28ba0d7fe4000005_galaxy-soho-zaha-hadid-architects_galaxy_soho_zha_12-10_5230.jpeg

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INTRODUCTION PART A

A.4 ALGORITHMIC EXPLORATIONS

This is one of the simple practices that I did in grasshopper, which is transforming the square shape brep into the smoothly and natural shape. It is very easy for freshman to grasshopper like me. But what I want to emphasis through this exploration is that starting from the geometry which I familiar with can be used in the Gate Way Project. The outcome can be really natural curve shape that I want. In addition, the mesh that created by grasshopper can also edit to forming holes which can bring shadow to the interior. And the shadow is one of the most effective ways to create unique experience for the visitors. In addition, the mesh can be some patterns which come from the local environments as a symbol of the local area as well as the project. And after the other experiments of grasshopper, I am strongly believed that parametric design is the most effective and convenient way for the Gate Way Project.

Fig A4.2

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Fig A4.2

Fig A4.1

Fig A4.3

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STUDIO AIR PART A

In conclusion, architecture in the contemporary and the future is more about the discourse between the building and social, cultural and environmental contexts around it. Architecture is not only the physical appearance such as the structure and material it used, it is about using those physical concepts to reshape and influence the local area. I will argue that using patterns and shapes which reflect the local cultural background will be the most effective way to design the Gate Way Project. And the design must provide unique experience to the users and visitors by offering them pleasure as Zaha said in the introduction. Moreover, parametric architecture will the most efficient way to achieve this agenda since it can transforming the basic concept into complex multiplex which will affect people socially, psychologically and physically. And it will save money and time for the constructors as well as the architects to realize this dream like architectural approach.

INTRODUCTION PART A

5. CONCLUSION

Fig A5.1 http://nomadicform.com/yahoo_site_admin/assets/images/C.22181239_large.jpg

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PART B PART C

From the past few weeks, I understand that architecture is stepping toward a new style or new approach which is parametric architecture. Even though some of those approaches still have problems at the moment, but those problems are also the discourse from the architect to the environments which may create some interesting influences that the designer never expect. For me, learning grasshopper and rhino is the combination of love and hate. I am struggle with understanding those mathematical concepts of parametric architecture while I am really attracted by the natural and magic outcome it may give us.

In addition, architecture as a discourse is also affecting my perspective of designing and architecture. Before reading and researching those parametric architectural projects, I cannot understand the reasons for having the nurb shape and complex structure. But at this moment, I believe that parametric modeling will help me through my architectural practices in a more efficient and interesting way. I think I will surprise by the result of the final design of this project. And I am developed and more familiar with parametric design through this course which will be very useful for my future career.

6. LEARNING OUTCOME

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Fig A6.1 http://www.ikuku.cn/wp-content/uploads/project/p50904/080612171627005.jpg

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