ARCHITECTURE DESIGNSTUDIO AIR 2013STEVE QINGCHEN MENG

Cover Image: Aranda\Lasch: Rules of Six, Installation at MoMA, New York, United States, 2008. < http://archinect.com/features/article/29553480/safavid-surfaces-and-parametricism > [accessed 19 August 2013]

CONTENT

INTRODUCTION

PART A. EOI I: CASE FOR INNOVATIONA.1. Architecture as a DiscourseA.2. Computational ArchitectureA.3. Parametric ModellingA.4. ConclusionA.5. Learning OutcomesA.6. Appendix - Algorithmic Explorations

PART B. EOI II: DESIGN APPROACHB.1. Design FocusB.2. Case Study 1.0B.3. Case Study 2.0B.4. Technique: DevelopmentB.5. Technique: PrototypesB.6. Technique ProposalB.7. Learning Objectives and OutcomesB.8. Appendix - Algorithmic Sketches

PART C. PROJECT PROPOSALC.1. Gateway Project: Design ConceptC.2. Gateway Project: Tectonic ElementsC.3. Gateway Project: Final ModelC.4. Learning Objectives and OutcomesC.5. Appendix - Alogorithmic Sketches

REFERENCES

AFTERWORDS

INTRODUCTION TOMYSELF

My name is Steve Qingchen Meng, born in China, lived and studied in Australia since 6 years ago. Grew up with my grandparents in a very conservative and traditional Chinese family, breaking free from restraints had somehow become my greatest longing during childhood. Thus there was no surprise when I moved in with my parents (who are more free-minded) I im-mediately decided to take a big step out and lived in a foreign country.

For a kid like me who grew up the only child of the family, there will always be very high expectations of you, and you automatically become the centre of the conversation whenever there’s a family gathering. Luckily I was quite successful during my school years, getting high grades most of the time and made my parents proud.

That’s all for a bit of background of me, someone or-

dinary who works with all heart and strives for becom-ing an excellent influence in whatever he does.

Many people have defined what architecture is for them, and to me, I’d like to see it as a restless search for solutions that respond to human beings, environ-ment, and the intertwined relationships among differ-ent elements in this society. In short, architecture is problem-solving. It also fascinates me by the complex-ity of it, meanwhile comprimising its environment, it strives to express the mind of the architect. This is why I chose Architecture over all other po-tential occupations such as arts, economics, psychol-ogy, science etc. As I believe that ‘architecture is the epitome of all intelligent acts’ [1].

Being a junior architecture student I personally don’t think I have any particular design style, nor should I

(from left) Me looking touristy; stu-dio works from Earth and Water in

previous years.

stick to any. But in general I do prefer a sense of clean-ness and elegance in its artistic expression. Beautiful yet strong and agressive in its form. My favourite architects include I. M. Pei (Le Grand Louvre), Toyo Ito, Bjarke Ingels. I am also quite fond of classic architecture, amazed by the reverance and grandeur of their beauty.

My professional experience do include internship at a small practice which involves some basic measuring, drafting and documenting of projects. Coming from a very practical and domestic background means that the contents of this studio will be quite new to me, which in other words it seems like an exciting adventure in my long journey ahead.

On the technical side, at the university I did familiar-ise myself with common programmes such as Rhino,

AutoCAD, Revit, Sketchup etc. I do find them useful at different stages of the design, and using a combina-tion of various programmes has always been the way I work.

“Whatever you hand finds to do, do it with your might.”[2] has always been a motto to me. And there is always a attractive charisma around those who devote to whatever they are doing.

If you want to know more of me, I do keep a personal blog (if anybody still writes blog these days) and an online portfolio for myself.

manofhisheart.blogger.com.autimotheosdesign.com

1. Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004), p. 5; 2. Ecclesiastes 9: 10 (Illinois: Crossway, the Holy Bible ESV)

Unless the LORD builds the house,those who build it labour in vain. [3]

Psalms 127:1

3. Psalms 127:1 (Illinois: Crossway, the Holy Bible ESV)

PART A. EXPRESSION OF INTEREST ICASE FOR INNOVATION

3. Psalms 127:1 (Illinois: Crossway, the Holy Bible ESV)

A.1. Architecture as a Discourse

Tokyo Bay Project (1960), Kenzo Tange [i]

Being an occupation that can date back to nearly the beginning of human civilisation, an architect, strangely was not such a clearly distinguished profession as it is today. Architectural design was not considered a cru-cial part of constructing a building, rather, it is deeply integrated into the craftsmanship of a builder. Thus buildings, prior to the Renaissance, were constructed, not planned. [4]

No one will disagree with the fact that in today’s world most of a person’s life time is spent inside a building. Just like good parents will allow their child to be making good friends, we all know that people are constantly being shaped by the environments, with or without knowing it. Just like Richard Williams had stated that ‘Works of architecture frame our lives; we inhabit them; they define our movement through cities; they

moralise and discipline, or attempt to.’ [5] Therefore we could say that architecture exceeds more than just the physical realm, it also goes into the philosophical and social field as well. [6] However, the discourse around architecture is mainly about the material or the aes-thetic realms of it.

The Tokyo Bay Project (1960) by Kenzo Tange was his climax work expressing his prospect of seeing cities as metabolism. Functional units (residential sectors, recreational sectors, governing sectors etc) are ‘plugged into’ the city and are ‘plugged out’ when replacement is required. Though his (and many of his fellow architects’) ideas were too expensive and enourmously complicated to be realised, the concept of metabolism offered a whole new perspective on the possibilites of human inhabitats. And this is the same

with many similar ‘avant-garde’ architects who probably did more writing and sketching rather than realising their projects. Thus the discourse arises whether their research realm still belongs to architecture and is valu-able or their ideas should be treated unfavorably.

Talking about built projects, Mies’ Barcelona Pavil-ion used beautiful architectural language in both of its form and proportions. The intentional use of this pavilion was for World Expo exhibition only, the design somehow expressed the German spirit of precisions, perseverance and minds of intellects. This building is certainly a masterpiece in post-modern architecture, and conceptual in every way. Although one may argue the function of this building is poor and oblivious of context or insulation, it certainly inspired many archi-tects of the time.

And alike, Tange’s Tokyo Bay Project proposed a new way of procuring landscape, and now Tokyo Bay has some 20% area of artificial land. In conclusion, if anyone is not simply satisfied by what the architectural design world has to offer today, and is ambitious to advance the architecture discourse to a higher level, he or she is bound to look beyond the materiality of architecture, and soberly consider what it is to human beings today. In this way we can prevent our designs from being repetitive and wearisome. Just like Archigram has stated, ‘buildings with no capcaity to change can only become slums or ancient monu-ments.’ [7]

Barcelona Pavilion (1929), Mies van der Rohe [ii]

4. Kalay, p.7.5. Richard Williams, Architecture and Visual Culture, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh, Edinburgh University Press, 2005) p. 1026. Williams, p.108; 7. Archigram, dir., Archigram, BBC Productions, 1966.

A.1.1 Precedent: Sendai Mediatheque/ Toyo Ito

Toyo Ito has been known for his idea of creating ‘wind-like’ architecture and ‘fluid’ internal space. In his project of building a multifunctional cultural centre ‘the Mediatheque’, computing and technology are certainly integrated into his design, which reflects his view on the modern society. The thirteen-internal-supporting steel columns are representing similar structural function as trees. This metaphor of trees, which is present in many of Ito’s projects, indicated his ideal of When confronted with this commission of contructing a ‘museum and the library’, Ito embraced the idea of technology and acknowledged it as the central motif of modern society (remember it was early as 2001 which

marked the entering of a new century, and Ito sensed his building would somehow stand for his expectations for the coming century). The two precedents that Ito refered this projects to are Mies’ Barcelona Pavilion and Le Corbusier’s Dom-ino House, which are two influential masterpieces from the last century. Looking from this prospective, Ito did bring in the central ideas of the master architects’ (Mies’ fluid space and ‘less is more’, and Le Corbusier’s emphasis on the floors and columns). However Ito used very high-end technology to develop around these ideas, looking for the best way to represent the ‘zeigeist’, meaning ‘spirit of the age’.

2001, SENDAI, JAPAN.

Sendai Mediatheque (2001), Toyo Ito. from left: [iii] [iv] [v]

A.1.2 Precedent: Flinders Street Station/ Herzog & De Meuron2013, MELBOURNE, AUSTRALIA. (Competition Winning Entry)

In the competition of the Flinders Street Station revamp that just recently closed, among the six short-listed candidates, Herzog & De Meuron (HDM)’s ‘vault-featured’ station design beat the others. In the short description of the design intent, HDM mentioned that ‘An important part of the original design for the Flinders Street Station from 1899 was a gener-ous arched roof, adjacent to today’s existing heritage building, with 3 large vaults. This roof was never real-ized, and therefore, the station’s intended glory has never fully materialised.’ [8] HDM’s design was one of those firms who really looked into the context of the design and thus make it relevant to the people, the

culture and their daily life.

Architecture can only engage with people and be truly appriciated when it shows respect and acknowledge-ment of the local environment, which does not neces-sarily compromise creativity in any way. Comparing to the competition entry of Zaha Hadid Architects, I’d say their work emphasises more on the identity of the firm than trying to adapt the local context. Thus their design, though beautiful in its form, looks somehow ‘egotistic’. Another one of their projects in Beijing, the Galaxy Soho, received accusation for destroying heritage buildings and streets.

Flinders Street Station Revamp (2013), Herzog & De Meuron. From Left: [vi] [vii]

8. Herzog & De Meuron, Flinders Street Station, < http://www.herzogde-meuron.com/index/projects/complete-works/401-425/403-flinders-street-station.html > [accessed 19 August 2013]

Therefore it is important for architects to understand their role in the society as ‘presenters of zeigeist’ rather than ‘revolutionists’. Presenters strive for express-ing and capturing the central value of the society and preserve it in the form of architecture, whereas revolu-tionists only care about promoting their own value and idea regardless of heritage and the rituals which people have been living with and have become part of their identity, their source of security.

A.2. Computational Architecture

The invention and development of computers have brought complete changes to the world, and the architecture in particular, has gained much benefit from enabling computer-aided designs. Digital drawing, modelling and documenting has become the standard in the industry, and digital fabrication has also become increasingly popular. By computerising drawings and developing concep-tual ideas, the architects are able to achieve results in a few minutes where it used to take years for people to achieve similar. However the computerised designs in nature is still paper-based design, as they have somewhat the same methodology, only improved per-formance and accuracy. Computational architecture is still somehow unfamiliar to the world today.

Instead of tranferring handdrawings into digital draw-ings, computational architecture creates design by following a set of equiations, algorithms, parameters to

achieve something that is complex yet well-informed.

One way we could describe the design process is turning the six sides of a Rubic Cube. There’s a certain stage where we want to get, which is, uniform colour on each side. By turning each side and working within constraints we achieve at the final stage as envisioned.However, Computational architecture should be com-pared as puzzle making or building blocks. There are pieces of different shapes at our hands, and there is a general direction in our mind as to what to achieve (functional, representational etc), but as working and playing around with pieces, we tend to be surprised by the outcome and the effect of the design. Thus com-putational design is not merely about precise control, but exploring into the realm where human imagination wouldn’t be able to perceive.

Arctic Flowers, Evan DouglisThe assembly is similar to that of a puzzle-making. From left: [viii] [ix]

A.2.1. Helioscopes/ Evan DouglisFRAC Centre Collection, Orleans, France

The material of this indoor decoration is called CNC miled master foam unit, it was uniquelly designed for the client who was seeking for a most futuristic archi-tecture design. The swirling shape and the surface movement are controlled by a set of algorithm in order to maintain integrity of the design while offering a range of different geometry.

The monolithic property of this design would’ve been hard to achieve with traditional materials such as stone, concrete, cement etc. With the aid of the CNC machine and plastic materials, this design can be made with a quite limited labour and resource, and allowance for adjustments.

As this product designed by Evan Douglis can be or-

dered and customised according to the client. Compu-tational design and digital fabrication make the mass-production of this decoration possible. By changing the parameters, different outcomes can be easily achieved, thus ensuring the product to be ‘one of a kind’.

From left: [x] [xi]

A.2.2. Smithsonian Institution/ Foster+ Partners2004 - 07, Washington DC, US

Articulating the new over the old, the new courtyard design for the Smithsonian Institution (the formerPatent Building) features the wave-form truss roof. Be-ing a finecrafted Greek revival architecture, the Patent Building has long been Washington’s landmark and now is housing exhibitions and public performances of all kinds. The challenge for the design team was how to incop-erate a contemporary design harmoniously into theclassic. And how to collaborate the new digital design thinking with the rigid and elegant forms of classic.

This project reminds me of the prestigious glass pyra-mid of the Grand Louvre by I. M. Pei, which was also a challenge of mixing two designs that are hundreds of years apart.

The roof was majorly comprised of three continous vaults that flow into one another. Unlike the Louvre Glass, the flowing roof structure was formed using parametric design tools. The positions and dimensions of the grid were calculated with computation methods.The contrast between the symmetrical rigid classical building and the free-form transparent canopy commu-nicates to the audience an interesting discourse. The

result was not merely ‘adding on’ an extra structure, but to transform the culture of the surroundings and to express a subtle humerous of the combination of the old and the new.

Projects like these are tricky as precedents are few and it all depends on the existing site and the old building. It is a perfect example when looking at the constraints that architects are working within. Compu-tational tools allow architects to control this constraint and make changes to the shape quite easily. It also makes possible for a structure like this to express its monolithic feature, though joints are present due to fabrication, when looking afar, it is the continuous fluid-ity that is the most eye-catching.

From left: [xii] [xiii] [xiv]

A.3. Parametric Modelling

As degital design tools are becoming more user-friendly, providing there are a handful of very high-end programmes to offer, one may think these would be sufficient to accomplish any design tasks. However, this mindset restrains the computer’s abilities mostly as a new type of ‘paper’, and three-dimensional visual aid. There is a tendecy now for architects to move from ‘aspiring expert users’ to ‘being digital toolmakers’. [9]

Scripting (which should somehow be differed from parametric modelling) has several definitions but in design programmes, ‘scripting is the capability offered by almost all design software packages that allows the user to adapt, customise or completely reconfigure software around their own predilections and modes of working’. [10]

Providing this opportunity to fine tune the programmes you are working on, there’s a greater chance for the user to engage with the computer and to utilise its capability (as a superb analytical machine) in full. The value of scripting is free from the restrictions that the programme developers embodied, allowing the archi-

tect to focus more on design activity. As it is stated by Kostas Terzidis, ‘It is possible to claim that a designer’s creativity is limited by the very programmes that are supposed to free their imagination.’ [11]

Patrik Schumacher, architect and theorist who’s work-ing under Zaha Hadid Architects, says that ‘Parametri-cism is the great new style after modernism’. [12] Despite receiving criticisms on his definition of para-matricism and a seemly ‘self-promoting’ attitude, I’d like mention that this is a common misunderstanding of parametric design. Schumacher believes that there’s a major shift from the rigid geometries of classical and modern architecture, to the splines, nurbs and dynamic designs of parametricism. When post-modernism has gone into the dead-end of minimalism, or ‘function follows form’. The shifting back to mathematics and parametric modelling offers a greater opportunity to rely upon the algorithm and be expected to see what we can hardly forsee in our own mind.

Rules of Six, Aranda/ Lasch [xv]

Rules of Six, Aranda/ Lasch [xv]

By looking at Safavid Mosque ceilings, architects traced the algorithm by which the surface patterns are generated. [xvi]

9. Mark Burry, Scripting Cultures: Architectural Design and Programming (Chichester: Wiley, 2011)10. Burry.11. Kostas Terzidis, Algorithmic Architecture (Boston: MA: Elsevier, 2006), p.xi.12. Patrik Schumacher, ‘Let the Style Wars Begin’ in Architects’ Journal 231.

A.3.1. Precedent: Seroussi Pavillion/ Alisa Andrasek

‘Seroussi Pavilion was “grown” out of self-modifying patterns of vectors based on electro-magnetic fields (EMF). Through logics of attraction/repulsion trajecto-ries were computed in plan and than lifted via series of structural microarching sections through different frequencies of sine function.’ [13]

Though the description above sounds like it is an experimental project that exists without any context, however there is a script that was built-in later in order to fit the pavillion in the site (the pavillion is on a steep hill).

The automatic growth of cocoon-like spirals saves time of generating the shape as well as avoiding repeti-tion that all human handcrafts tend to have. 3D fabrica-tion technology allows this project to be precise and to express the monolithic nature of the material, the continual stretch of the surface.

From left [xvii] [xviii] [xix]

Computation allows us to represent sophisticated properties of design ele-ments or complex between them within our design models/algorithms.[...] Parameters can be-come far more informed than merely intuitive.

Stanislav Roudavski [14]13. Seroussi Pavillion/Paris/2007, < http://www.bioth-ing.org/?cat=5 >, [accessed 19 August 2013]14. Stanislav Roudavski, Lecture 2: Introduction to Computation

A.3.1. Precedent: Cottbus Technical University Library/ Herzog & De Meuron

This library project is sitting within a context of build-ings with uniform style, they are all essentially the same in shape, height and material. The group decided to communicate with a new spirit of the university by placing this landmark architecture in the campus.

The building was not planned out arbituarily, but rather it is following a certain configuration of different flows of movement inside the building.

‘The development of specialized treatments of con-crete and glass, customization through digital fabrica-tion, and parametric design tools have brought about a contemporary resurgence of surface articulation, reopening the general issue of surface composition as a “legitimate” aspect of design, after almost a century of (near) omission by modernism.’ [15]

Contemporary architects start to bring back the value of ornamentation (despite being rejected for nearly

a century), by looking at patterning ornamentations from the mosque ceiling is one example. Parametric tools help to develop and have further control over the patterns that are automatcially generated by computer following a certain written algorithm.

From left [xx] [xxi]

15. Derek Kaplan, Safavid Surfaces and Parametri-cism, < http://archinect.com/features/article/29553480/safavid-surfaces-and-parametricism > [accessed 19 August 2013]

A.4./ A.5 Conclusions/ Learning Outcomes

Architecture can be looked at more indepth when it is considered beyond the clustering of building com-ponents. The discourse of architecture, which means looking at architecture from multiple disciplines, and practise it through researching, writing and experi-menting, becomes increasingly crucial to advance the history of architecture. Therefore architecture has to be relevant and re-spectful to its context, which is the very nature of the profession - to work with outer constrains and inner creativity.

The development of new media and computing technology offers revolutionary changes to the field of architecture. While being thrilled by the accuracy that computers have to offer, designers tend to confront with the problems of being restrained by their tools. Computerised designs, in its very nature, are still paper-based designs, only in digital forms. Computa-tional architecture is becoming increasingly popular. By scripting and constructing the set of algorithms the designers are offered with greater control. Designers are shifting from expert programme users to toolmak-ers. Computational design and parametric design thinking not only offers greater control and precision over the project, but also explores the possibilities of manipu-lating and populating geometry.

Before starting this course and researching into the area of parametric designs, I thought these projects are mainly experimental and far from functional. How-

ever, now I have encountered a lot of new projects and architects and realised that this design thinking has already be adapted by many successful archi-tects/firms.

Though the complexity of forms and ornamentation has been rejected by the modernist movement for nearly a century now, it starts to come back to archi-tects to realise the beauty of ‘orderly chaos’, and look-ing at ways of generating complex but not complicated form. Since the post-modernism has been restricted by minimalism (not speaking against it as there are many beautiful projects still being built), thinking in al-gorithm and bringing in digital fabrications will certainly open up new realm to the industry.

A.4./ A.5 Conclusions/ Learning Outcomes

A.6. Appendix - Algorithmic Explorations

Exploration with ‘perpendicular frames’ and ‘pipes’ on a lofted Brep. A series of different geometries can be achieved by simply altering the parameters in Grasshopper.

Populating a grid of cylinders on a loft Brep. The grid can be random or following a certain set of algorithm. The finishing result’s application will be an assembly of structures on a contoured terrain.

A.7. Bibliography ABurry, M, Scripting Cultures: Architectural Design and Programming (Chichester: Wiley, 2011).

Herzog & De Meuron, ‘Flinders Street Station’ < http://www.herzogdemeuron.com/index/projects/complete-works/401-425/403-flinders-street-station.html > [ac-cessed 19 August 2013].

Holy Bible, The (English Standard Version)(Crossway)

Kalay, Yahuda E., Architecture New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, Mass.: MIT Press, 2004).

Kaplan, D, Safavid Surfaces and Parametricism, < http://archinect.com/features/article/29553480/safavid-surfaces-and-parametricism > [accessed 19 August 2013].

Kostas Terzidis, Algorithmic Architecture (Boston: MA: Elsevier, 2006), p.xi.

Patrik Schumacher, ‘Let the Style Wars Begin’ in Architects’ Journal 231.

Roudavski, S, Lecture 2: Introduction to Computation.

Seroussi Pavillion/Paris/2007, < http://www.biothing.org/?cat=5 >, [accessed 19 August 2013]

Williams, R, ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005).

IMAGES

i. Tokyo Bay Project, < http://test.classconnection.s3.amazonaws.com/298/flashcards/47298/png/tokyo_bay.png >, [accessed 17 August 2013].ii. Barcelona Pavillion, < http://threedimensionalde-signs.files.wordpress.com/2012/01/barcelona-pavilion.jpg >, [accessed 17 August 2013].iii. Sendai Mediatheque, <http://www.flickr.com/photos/gravestmor/46780196/>, [accessed 17 August 2013].iv. Sendai Mediatheque, <http://www.flickr.com/photos/24cut/2763683867/> [accessed 17 August 2013].v. Sendai Mediatheque, <http://www.flickr.com/photos/ida-10/5001440980/>[accsessed 17 August 2013].vi. vii. Flinders Street Revamp, < http://vote.majorproj-ects.vic.gov.au/entrant/hassell-herzog-de-meuron >, [accessed 18 August 2013].viii. ix. Arctic Flowers: <http://www.evandouglis.com/?gallery=arctic-flowers>, [accessed 18 August

2013].x. xi. Helioscopes: < http://www.evandouglis.com/?page_id=84>, [accessed 19 August 2013].xii. xiii. xiv. Smithsonian Institute: < http://www.fos-terandpartners.com/projects/smithsonian-institution/>, [accessed 19 August 2013].xv. xvi. Safavid Surfaces and Parametricism: < http://archinect.com/features/article/29553480/safavid-sur-faces-and-parametricism>, [accessed 19 August 2013]xvii. xviii. xix. Serrousi Pavillion: < http://www.biothing.org/?cat=5>, [accessed 19 August 2013]xx. IKMZ University: < http://www.flickr.com/photos/alexkorting/3002550994/>, [accessed 19 August 2013]xxi. Safavid.

‘For which of you, desiring to build a tower, does not first sit down and count the cost, whether he has enough to

complete it?‘[1]

1. Jesus the Nazarene, Luke 14:28 (Illinois: Crossway, the Holy Bible ESV)

PART B. EXPRESSION OF INTEREST IIDESIGN APPROACH

B.1. Design Focus - [M]onolithic

Crowded Hong Kong apartment buildings [2]

What first intrigued us about the monolithic was that it gave us a sense of extreme clarity and determined focus. Almost instantly I could recall some of the most famous architectural icons (mostly from 20th century) that favor monolithic materials, such as plain concrete, glass panels and almost emotionless simplicity of the structures. For half a century and longer, ‘Less is more’ has been obeyed to and and exalted almost like a doctrine by Modernist architects. Soon architects (not necessarily the public, most of whom are still easily amazed) are bored by their repetitiveness. It almost seems like the modernists and minimalists have gone into a dead end and something different must be intro-duced to awake the architectural designers.

Then again ornamentations are embraced and ap-preciated as a high level of aesthetic creativity. With

the development of algorithmic thinking and parametric design tools, designers started to discover new oppor-tunities for minimalistic buildings. By applying detailing on the facade, or introducing a combination of different materials, the building design will look more deliberate and less arbitrary or as if it was carelessly done.

Monolithic designs mean more than just the materials used are uniform. It must be seen as an approach to design and a mentality in order to avoid looking ‘last-century’.

Monolithic designs are closely related to terms such as patterning, repetiveness, consistance, solidity and mas. Even a single brickwall can be looked as a means of monolithic design, as the bricklayer lays and aligns each brick so as to achieve structural integrity and

a unified facade. There is an internal logic and rela-tion between each brick, and their positioning can be expressed through a set of algorithm.

Likewise, we tend to define monolithic design beyond the realm of materiality, but rather, the use of single elements, the repetition with mathematical precision, and the underlying logic that links each element. In summary, monolithic design can be defined with three parts:

<1> _Continuous and connected;<2> _Showing a flow;<3> _Repetitiveness.

Giving that these three criteria do not have to be fulfilled at the same time, it offers a good directon and

range of flexibility for design. Our aim is to betow the design with ‘unity without uniformality’. Much like when playing in the key of G, you can play C, D, E minor, F; they aren’t the same notes but altogether they work harmouniously.

RMIT Design Hub [3]

2. < http://images.mnn.com/sites/default/files/user/131413/architecture-density02.jpg > [viewed 24 Sep 2013]3. < http://www.australiandesignreview.com/wp-content/uploads/2012/11/rmit-design-hub-1.jpg > [viewed 24 Sep 2013]

B.2. Case Study 1.0_Palazzetto dello Sport/ Pier Luigi Nervi (1957)

Though this project was built in 1957 and Nervi was really more of an engineer than an architect, it doesn’t look as dated and the structure of the dome still bring forth amazement about how complex yet organised it is. Nervi was famous for his innovative use of rein-forced concrete and his ingenius mathemetical ability to structurally position each element. Sixty years back they did not possess CAD programmes or parametric modelling, thus everything was calculated and drawn by hand.

What draws my eyes about this project is that the laying-out of the concrete beams followed a very strict calculation and planning so that each one of them has a purpose. The use of concrete instead of other materi-als stressed on the idea of a monolithic system, there are joints yet they are mechanically inseparable.

Secondly, this stadium was based upon classical Ro-man domes. Classical domes do not have the internal beams intersecting each other, Nervi reinterpreted how domes could be designed and explored the beauty of geometric shapes, and the beauty of clarity. A more recent application of this form might be the Bifid by Alisa Andrasek (see [6]). Instead of a standard geometry, the intertwining of strips are applied onto a wave surface. The intersection points were algorithmi-cally controlled, as well as taking into consideration of fabricate material properties. We can see the digital technology has enabled designers to challenge even more complex geometries.

Palazzetto dello Sport [4]

4.5.6.

BIFID/ Alisa Andrasek (2005) [6]

The plan of the dome [5]

B.2.1. Palazzetto Regeneration

The regeneration of this dome plan followed quite a step-by-step process, and the dome was broken down into several circles for configuration. The relationship between each circle depends on the even division and to duplicate one algorithm from one small section to the whole.

However, this method does not offer much flexibility for further changes. Thus it shows a rigidity in the struc-

ture itself, and there is still much separation between elements. It means the change of one part of elements not necessarily bring changes to the other parts. But this is the strong side of algorithm design, which is the alteration of one element may result in rapid changes of the whole system.

_Reverse engineering of the dome plan

_Point Charge Exploration (Circular)

This point charge method was developed from the original Mesonic Pavilion definition. The original profile curves are rather arbitrary (though there could be some underlying reasons), I changed them to regular geometry, thus the simplest yet most intriging shape of a circle. Field lines are generated according to each small charge circle, and resulting in intertwining and beautiful regular forms.

This exercise was used as a starter for investigat-ing the capablity of parametric design in terms of duplicating geometry. The result was great in terms of presenting both clairty (i.e. following a certain rule) and complexity.

B.3. Case Study 2.0_Museo Soumaya/ Fernando Romero

This project was built in 2011, and I categorised it as a monolithic design definitely not becasue of its building material. From a material point of view, it’s mainly composite and unconventional.

Though this architecture is shaped like an alien structure, the form actually was derived from a series of internal circulation research. The plan of this building can even be said as an exellent example of ‘form follows function’. As it is decribed on the architect’s website:

Museum buildings tend to be conceived either for maximum functionality [...] or as iconic structures [...] The Museo Soumaya was designed as both. [8]

This has also become what we want to achieve: a structure that exhibits both aesthetics and functionality.

Hexagon panel are used to pattern the facade, the fact that all panels are identical and carefully seamed gave the impression of unity despite of the organic shape.

A similar project is the Water Cube in Beijing which was built for olympics. The facade of this plain cube was derived into a voronoi-like structure. These two buildings helped us to decide that we would introduce a surface pattern as the detailing is what makes the building beautiful either from close-up or afar.

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[7][8][9][10]

Due to manufacture and fabrication issues, the engineering group worked to generate identical surface panels all over the facade. [9]

A close up of the Water Cube in Beijing, which used similar surface patterning within a rigid frame. [10]

[7]

B.3.1 Soumaya Regeneration

The regeneration of this building was quite simple. The logic was to simulate a set of profile curves and loft them all. Then use the ‘Lunchbox’ plug-in to analyse the Brep and generate patterns.

A very common way is to mesh the object using triangles or hexagons. These two geometries are chosen because:_1 There is continuity of among each geometry;_2 They provide good flexibility and can best approximate the shape.

Another property I have discovered of hexagon panels is that they are direction-less. A constrast can be seen on the top of the right page where the patterning suggest a strong horizonal direction. In this case is

not necessarily very helpful, because the form itself is rather organic and doesn’t indicate any particular direction (rather than circulation).

However this can be a choice if a sense of direction is needed in the design. This exploration shows that patterning on surface offers great opportunity as they aren’t that much affected by the shape and their mutual relationship is controlled algorithmically. But we have been suggested to consider the relationship between the patterns and the form itself, which will be discussed in latter sections.

_Patterning brick-like strips around the whole building, resulting in horizontal ciculation.

_Drawing hexagons within hexagon, resulting in very condensed pattern with a sense of stress and fabric.

_Mapping 2D voronoi onto the surface, resulting in interesting, irregular patterning.

B.4. Technique: Development_Matrix #1/ Point Charge _Matrix #2/ Point Charge

(Polygonal)_Matrix #3/ Sectioning

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_Matrix #4/ Map to Surface _Matrix #5/ Attractor Wave

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B.4. Technique: Development_Matrix #6/ 3D Trusses

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_Matrix #8/ Structural

Notes:

001_ Attractor points being applied onto a Charge Field. The result has a strong sense of direction and progression.

016_ Hexagon has so far been proved as the most balanced geometry and by revolving them around the same centre, one gets the perception of depth and distance.

014_ Rather than sectioning the surface conventionally using straight cutting curve, I used the profile curves as direction of cutting. The results are some intersecting and curvy lines that run across the surface. This developed from B.3.1., and made connections between the form itself and the surface patterning.

022_ The technique of applying Map Surface is not hard, yet this method present several fabricational difficulties. In this case, a grid of attractor points have been applied. The bigger the factor for the radius, the better the result seems to be.

_Matrix #8/ Structural

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_Matrix #9/ Map to Surface (Attractor Wave)

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B.5. Technique: Prototypes

_Exploring Materiality

_Melting and solidificationOne way to transform monolithic material (in this case, wax) is to introduce heat. Wax was melted and casted inside a frame.

_CastingThe advantage of casting is that it allows the shape to follow the mold exactly. But the making of the mold is the key of creating interesting design.

_DistortionUse flame to distort a plastic shape. The result was very good as it maintained its structural integrity while expressing interesting surfaces.However this method is very hard to control. The surfaces distorted according to its thicknesses, bending angles and directions etc.

B.6. Technique Proposal/ The Wyndham City Gateway_From the highway site to initial design proposals

_As the site was very plain and only full of green and brown colours, we wish to introduce colourfulness and gladness onto the site. Thus we’ve decided to look at both colours and liquid forms, as the flowing liquidity best suits the site condition. Our design intent is:

To design an engaging architecture that captures the essence of the locality, providing a station of relaxation and communi-cation, in a contemporary sense, embracing digital technology.

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A_ Site birdviewB_ Liquid form sampler [ ]C_ Proposed shapeD_ Site photographE_ Prototype#1F_ Prototype#2

B.7. Presentation Feedback/ Learning Outcomes

_Presentation Feedback

The main focus of the mid-semester presentation was to present to the jury of our perception about the idea of monolithic design and our findings. As our design has not yet come to a final shape, but the general direction has been set and a lot of the parameters of the design are already known.

The jury were concerned about not being able to see our exploration manifested through our prototypes. The prototyping process was in general not very successful mainly due to fabricational issues. Thus we have decided that our next step will be looking at the sectioning method, as it provides us with good fabrication opportunity as well as form-control.

Another way we could explore our design is to generate a matrix like the Holocaust Memorial, and introduce different heights to create organic movement.

*The presentation slides can be viewed on:<issuu.com/stevemeng/docs/mid_sem_pres>

_Learning Outcomes

Parametric modelling and algorithimic controlling help the surface pattern to avoid being arbitrary. What used to take days to generate now only takes minutes. The challenge lies how to utilise this great tool intentionally so as to avoid falling into another pithole of randomness. Parameters of fabrication must be taken into consideration.

Jewish Holocaust Memorial, Berlin (one of the precedents we’ve been suggested to) [ ]

B.8. Appendix - Algorithmic Sketches

_#1 Attractor Wave

_#2 Image Sampler _#3 Fractal Triangles

‘Where were you when I laid the foundation of the earth?Tell me, if you have understanding.

Who determined its measurements - surely you know!Or who stretched the line upon it?’

[1]

1. Job 38:4-5 (Illinois: Crossway, the Holy Bible ESV)

PART C. PROJECT PROPOSAL

C.1. Gateway Project - Design Concept

A few sketched concepts developed from the last phase.

During the mid-sem presentation, the jury were gener-ally happy with our definition of monolithic, and agreed with how we associate with the idea of a ‘monotonous arrangement’. By defining ‘monolithic’ in this way, we would have a broader opportunity and thus more likely some innovative approaches towards the project.

Although we have sketched quite a number of con-cepts but the jury pointed out that we are mainly just generating variables on surface patterns, and thus our research had been limited on surface studies.

Therefore we considered not to separate the surface completely from the form, but to embed one concept which will be manifested by both the form and the pat-tern.

So we have kept the approach of a monotonous ar-rangments but seeking a more definite way of express-ing the essence of the locality as well as the ‘zeitgeist.’

The Wydham City Council was looking for an ‘exciting and eye-catching highway installation which enriches and inspires the local municipality.’ Given such a broad definition, after some discussion we’ve come to a design statement of our own:

To design an engaging architecture object that captures the essence of the locality, providing a station of relaxation for travellers, in a contempo-rary sense, embracing digital technology.

Feedback Review Design Brief

The aerial view of the locality.

The allocated site.

C.1. Gateway Project - Design Definition

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The base shape of the gateway is based upon the flow of the highway, as well as the directions of the cars. As we wanted the motorists to engage with the structure as much as pedestrians do, we have to ensure the structure will be clealy visible alongside the road.

The structure should also indicating the direction of the road, so as not to confuse the motorists which would be utterly dangerous and undesirable.

After several changes, we came to the decision of two curves intersecting with each other, forming almost like the form of a flowing river.

We sectioned the form into a sequence of frames as it expresses unity and distinctiveness within the struc-ture. This however would only form the framework of

the design, which would be panelised by the repetition of a single shape.

The height variation along the form was also deter-mined by a vector image from the site.

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01 _ Allocated site near highway02 _ Main road outlines03 _ Direction of travel04 _ Service Station Circulation05 _ Extending lines along circulation06 _ Refinement

07 _ Refinement08 _ Sectioning the form to create frame-work (GH: Perpendicular Frames)09 _ Digital framework10_ Locating on site

C.2. Tectonic Elements

In order for the structure to be realised, as well as optimised for manufature, we designed steel network structure in order to accommodate the triangular panels onto the framework.

By patterning the triangles onto the form, some triangles are deformed to an extent that not one triangle is the same with the other. This in real life would create massive cost on manufacture.

To avoid this situation, we aimed to make every triangle identical, much like what the engineer group had done to the Museo Soumaya’s facade. However we did not success to accomplish such a complex process digitally, thus we created steel frames to overcome this problem.

The advantage of using a network of frames is that it allows tolerances between triangles yet holding them close up together. For a highway structure, structural integrity is absoloutely crucial.

Fabrication Process

C.3. Final Model_ Prototypes

In Tim Brown’s book Change by Design, he in-troduced his idea of ‘design thinking’. And one of his principles of developing such a thinking is by acknowledging the power of prototype’.

We’ve considered a variaty of products in order to produce the triangular panels. And by prototyping other materials (such as wax, plaster and plastics) in the last phase, we finally became really keen on using resin. As it has such a clear and crystal materiality.

We were generally happy with our material choice and the effect that it gave us. However, we made a poor choice on casting the resin using boxboard. The resin soaked the boxboard so much it was almost impossible to separate them after drying.

We did some research and realised the proper way to cast resin is actually using silicon rubber (which wasn’t overwhelmingly difficult, but given the time frame, it was too costly both in time and energy). In the end we got suggested to use PVC.

The framework came to be quite easy and straight-forward. Nevertheless, this black frame finally got rejected as it appeared to be too dark and visible.Our goal was to make it less visible in order to signify the triangular panels.

However, we did capture so shots simulating what the motorists would possibly see from the road. It gave us some quite interesting results of the framed structure.

C.3.1. Final Model_ Fabrication

C.3.2. Final Model_ 1:100 Detail Model

Being the most time and money consuming part of our project, the 1:100 detail model did come out very nicely. With a few surprising inspirations along the way, the model-making process became more innovative. This got me thinking of design as an unpredictable journey, as things don’t often go exactly as planned.

We didn’t intend to cover the whole model with triangu-lar panels, but designed it to be arranged from con-dense to less condense to inform a sense of direction.

However after we did a few trials by temporarily attach-ing the panels on the framework, the results weren’t as satisfying. Thus why we came to the arrangement of the panels following from one end of the model to the other, over crossing from one side to the other side.

(So that the motorists on both side could get a view of the project).

It is also a combination of digital fabrication and handcrating fabrication. Meanwhile the rigid parts get accurately cut into pieces, we spent much time produc-ing each individual triangles (which by all means not an enjoyable part....).

However, the result is rewarding. As handcrafted models are deeply embedded with a sense of original-ity and variaty, there are no two pieces that are exaclty the same. Some are cut neatly and washed spotless, while some are not so well-cut and had pieces of PVC left on them.

Each triangualr resin piece has different thicknesses and dimensions, yet they are all within a tolerable range so that the project on the whole still looks unified and monolithic. This responds to our design principle of ‘unity without uniformity.’

Shadow tests.

Motion blur captures. How motorists will engage with the structure.

C.3.2. Final Model_ 3D Printing 1:500

As the design wasn’t the easiest to be fabricated on such a small scale of 1:500, also due to the freeform nature of the design, we decided to use a 3D printer. We considered a few options to generate a 3D model that exactly resembles the design, but at last halted as the file got oversized.

This got us to rethink about the 3D printing. As the material that the printer uses is not able to express the materiality of our intial design, such as the colour and the thickness. However, 3D printing is a powerful tool of expressing the curva-ture of the design, and showing the flow which was embedded in our earliest ideas.

Though sacrificed almost 2/3 of our triangular panels (due to file size, we couldn’t afford the time of getting the pro-gramme crashed again and again), the printed product came out nicely.

C.3.3. Final Model_ 1:20 Tectonic Elements

C.4. Learning Outcome/ Reflections

The journey through these 4 months has been not the easiest yet very valuable. Parametric design wasn’t new to me yet it was first time to study such in depth and to have hand-on experience of creating one.

The idea of algorithmic thinking, to me, seems to be the next big thing of the century. As it frees designers from endless ‘parti’ and opens up a new realm where mathematics come to play part. It also saves archi-tecture from the dead end of post-modernism. The

parametric tools enable the designers to think dynami-cally and to visualise things human brains wouldn’t be able to imagine.

At the same time, so long as the architect could keep in mind the real-life constraints, it is very likely for them to generate a few versions of the design quickly.

Though planning is the crucial stage of a project (and often times takes the longest time), there is no perfect

planning. There will always be errors and things that one didn’t or couldn’t expect. Being able to confront the challenges and make smart adjustments is an invalu-able lesson, which changes crisis into opportunity.

Teamwork is also a very valuable ability for architects. As we’ll be consistently working in teams and commu-nicating with other people (whether they are leaders, collegues or clients). How to interact with them and get the message across is a life-long lesson. From this stu-

dio, I’ve learned how to deal with stress, meeting goals and expectations, honest discussions and conflict.

Time management and work efficiency are also the parts that often determine whether you are a success-ful architect, though I admit I am still on the way of mastering this area, I could see in a few years time this would make me a lot more healthy, confident in both work and family life.

C.5. Appendix - Algorithmic Sketches

Piping on mesh.This helps to discern some structural joints within the structure, which also provides some great design oppurtunituy.

ACKNOWLEDGEMENT

I’d like to first thank Finn and Adam my studio leaders who helped us through this project, advising few major changes to it, and had inspired us much.

I’d also like to thank Stephanie Ng, my wonderful and diligent groupmate, without whom this project would’ve been impossible to finish. Thanks for dealing with the tricky triangular panels and spent night after night sleepless working on the models.

Also thanks to the friends who encouraged me much during this semester, these include Tifa Wang, Wilber Qian and Angela Huang.

Lastly and most significantly praise God Almighty who let all things work together providing wisdom and help in the most wonderous way.

For more please visit timotheosdesign.com