AIRSEMESTER 1, 2015 GUO YU 634209ABPL30048 STUDIO 04 GEOFF KIMM

CONTENTS

Introduction

PART A. Conceptualisation

PART B. Criteria Design

PART C. Project Proposal

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INTRODUCTION

My name is Hugo Yu. And just as most of my colleagues do, my experience over digital

design mainly comes from Virtual Environments. To me, ‘parametricism’ is a rather familiar yet distant term. My favourite architects has always been the ones who thrives in the parametric paradigm of design. Those global big names of cause. However personally, I am still considering myself a newbie in this realm.

In the past years of study. I have always stayed conservative to my own design language. Or in other words, focusing on formal expression rather than technical process. Not because I am incapable or disliked the style, but is because I wish to stay true to myself. Perhaps, the Rhino and Panelling Tool introduction from Virtual really hasn’t provide me enough design gestures. To allow me use it freely and explore new techniques.

However, a unique internship experience at EWS over the past holiday gives me an alert on my current state of mind. Simply by observe the professional design process as a whole, gives me a completely new take on architecture. And of cause there is Grasshopper.

The firm’s lead designer demonstrated to me how important it is to have a consistent and accurate data flow as the basis for future design documentation or BIM.

And how timesaving it can be by using Grasshopper as the main modeling tool. And above all else, how Grasshopper is different to all other modelling tools, which allows designers to explore new ways of making architecture.

It is absolutely fascinating to me how efficient they work. And most importantly, as a team. I am now eager to equip myself with a range of digital modelling skill. Not just because I want to survive in this coming new age of computational design, but simply because I wish to become a competent designer.

At last, I think the great controversy over parametric architectural design in the past decade has only making this style more appealing. However, it is absolutely critical to all of us designers, to introspect constantly as we dive deeper into the digital field. What and how should architecture be responsible for the climate change, the increasing population, the ethnic issue, the political matter, the moral consequences and the people, in which our design serves.

I believe, no matter how advance the technology will be in the future. Our role as designers or architects will never change. That is to create something that is truly liveable and for the greater goods of the next generation, and bring nature ever closer to the heart of humanity.

Who / What / How

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PART A. Conceptualisation

A.0. Design Futuring

A.1. Design Computation

A.2. Composition/Generation

A.3. Conclusion

A.4. Learning Outcomes

A.5. Appendix

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A.0. DESIGN FUTURING

In recent years, architecture as a discourse has been converged into an increasingly pluralistic field of

study, seemingly as a ‘molecular compound’. (Which at the same time is extremely unstablised) As indicated in the reading as well as in the lecture, the works of contemporary architecture are becoming more and more process based. But at the same time, common understandings and public enforcements is still the predominant driving force that pushes architecture into an utilitarian track. In this case, ‘Design Futuring’ is nothing but an amalgamate that having the two sides juxtaposed into one single collage. From this point, today’s architects start to spread this argument across globally and starting to implement their own understandings into practice.

BanQ restaurant (fig.i ) is an interior design, focusing on the renovation of an existing context-an old savings bank. The overall geometry of the design is an undulating wave of wood slats that is intended to set a dynamic dining atmosphere. It is intended to showcase the idea of a futuristic design under a traditional framework. However, unlike other similar designs that essentially utilise the Grasshopper script for contouring and produce an inner skin. BanQ is trying to acknowledge the existing room structurally by suggesting no new columns or walls. It does not suggest a recreation of the room, but is re-

imagining how people can generate a sort of new understanding of the old building. Perhaps in a poetic manner, it is trying to mirror the old building’s persona to the interior and gives it a virtual make-up.

On the other hand however, the VCA Centre for Ideas (fig.ii) are a complete clash of the traditional and the virtual. It is trying to convey a conflicting yet appealing set moment of becoming. The force in which the two opposites applies on each other, is shown continuously throughout the interior and the exterior. It clearly instigates the merging of the two sides by using a coherent materiality throughout. But is also able to show the inharmonious, by the rude formal interruptions. The use of Voronoi as the basic algorithmic principle is quite obvious on the intendedly virtual part of the design. However, the other part is not as so obvious. Seemingly modernist styled, which clearly differentiates itself with its counterpart. According to their own description, the textured reflective stainless steel facade is intended to reify the building. Personally, I take this as adding vagueness to the mixture. Making a ‘fuzzy’ impression, in order to distinguish itself from the rest of its habitat.

Base on the lecturer, design can be interpreted as direct interaction of natural system with man-made system and in two ways: nature

adaptive or man-made serves nature. In this case, none of the two can be considered as nature adaptive. However, the two do have different takes on the same theory.

In the case of BanQ restaurant, the skeleton of the wood slats has been set by the existing infrastructures and functional arrangements. The slats serves as a medium in-between the two, creates a seamless conjunction for human to interact with it. The VCA is less ambiguous as it makes nature to be more of a bystander.

On the first sight, BanQ reminds me of the famous Metropol Parasol design by J. Mayer H. Although, these two are based on slightly different computational design process. Both are intended to rejuvenate an old inhabitant community. The VCA Centre for Ideas on the other hand, has a clear continuation relationship with the HygroSkin-Meteorosensitive Pavilion design by Achim Menges Architect. The latter has a more elaborated analogy for its structural openings based on studies of climate-responsive materials.

Nonetheless, both typologies has been practised by architects across globally. However, I do prefer the more tactile intention of BanQ and how it really concerns about the role of design as an agency in-between nature and man, rather than a human centric conceptual debate.

BanQ / Office dA VCA Centre for Ideas / MvS

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A.1. DESIGN COMPUTATIONMUMUTH Music Theatre / UNStudio

From Ben van Berkel’s, lead architect of UNStudio own words: “The three most important

architectural potentials of the new mediation techniques are: the expansion of the spatial imagination, the radical break with a hierarchical design approach, and the introduction of different disciplines into the design process, relating the design immediately to its final execution”. I think this statement concisely explains the effect of mediation techniques, another phrase used for design computation on contemporary architecture.

From lecture, we are informed that design computation is not merely a tool to generate formal or rational ideas. In the case of MUMUTH, the

process is not just a translation from the sketch (fig.iv) to the actual (fig.iii) Although at first glance, it seems like that his design approach is very much a form-based analogy from ‘Serialism’ music into an intertwining spirals that extends both vertically and diagonally generated by computational process. But the actual effect of this process is allowing van Berkel to apply his spatio-psychologic study and combine it with computing produced a series of flowing, movement-based volumes

The hand sketches are merely a mimicry of an actual performance. However, the actual design is not just about the ‘Performance’, but rather a performance list of elements that contribute to the whole design. This list is based on van Berkel and his

team reestablishing a relationship between music and architecture. From rhythms, continuity, channeling and more importantly the use of repetition as it intensify the overall effect of the design. It becomes truly imaginative.

Last but not least, is van Berkel’s believe on a multi-disciplinary design approach, which is the basis for bringing computation to reality. In my opinion, this building is in fact a redefinition of architectural practice in theatre designs. From this precedent, I think a truly good computing process must be achieved by innovating computational details at the same time while dealing with the broad picture. In other words, a strategy based on the detail-to-whole relationship.

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A.1. DESIGN COMPUTATIONPrototype Aggregate Architecture 2011 / ICD

I must confess, I was absolutely blow away by merely the complexity of the Prototype Aggregate

Architecture 2011. And the sheer multitude of individual components, which is called ‘granules’ in this case and its responsive interlocking mechanism. This project can be clearly identified as an Adaptive Architecture as its ability to reconfigure into any assembly systems. However on the contrary, it does have certain shortcomings that is necessary to take note of and possibly to improve in the future.

First of all, computational process plays a vital role in this project. The challenge here is not to set an overall parameter but rather individual ones for each of the granules. Allowing

them to have prospective ability. (fig. v, vi) Combining this with the intrinsic granular structure of each individual piece, can then be assembled into clumps, walls or even domes.

This design also suggests a closer responsibilities of architects, animators, robotic engineers and structural engineers to collaborate together. Each of them contribute in different fields in this particular practice. Whereas architects and structural engineers needs to deal with the algorithmic model and mathematics, robotic engineers needs to innovate a new assembly or ‘pouring’ process for the granules. Animators can simulate the process by performing a range of simulated benchmarks prior to the final pour.

These simulation tests are particularly appealing to me. As demonstrated in figure vii, the process is intended to investigate the feasibility of the project as well as potential failures and the ability to deform or reform that may occur during the pouring process. Beyond this, a physical test (fig. viii) is also undertaken to investigate its ability to perform structural reconfiguration.

At last, this concept suggests a very promising architectural morphology. However, some underlying elements are still missing, such as the ability to apply and investigate speed, contact points and force networks. Nonetheless, I am certainly interested, and perhaps having my own concept based this project.

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A.2. COMPOSITION / GENERATIONResearch Pavilion 2013-14 / ICD / ITKE

From Ben van Berkel’s, lead architect of UNStudio own words: “The three most

important architectural potentials of the new mediation techniques are: the expansion of the spatial imagination, the radical break with a hierarchical design approach, and the introduction of different disciplines into the design process, relating the design immediately to its final execution”. I think this statement concisely explains the effect of mediation techniques, another phrase used for design computation on contemporary architecture.

From lecture, we are informed that design computation is not merely a tool to generate formal or rational ideas. In the case of MUMUTH, the process is not just a translation from the sketch (fig.iv) to the actual (fig.iii). Although at first glance, it seems like that his design approach is very much a form-based analogy from Serialism music into an intertwining spirals that extends both vertically and diagonally generated by computational process. But the actual effect of this process is allowing van Berkel to apply his spatio-psychologic study and combine it with computing produced a series of flowing, movement-based volumes

The hand sketches are merely a mimicry of an actual performance.

However, the actual design is not just about the ‘Performance’, but rather a performance list of elements that contribute to the whole design. This list is based on van Berkel and his team reestablishing a relationship between music and architecture. From rhythms, continuity, channeling and more importantly the use of repetition as it intensify the overall effect of the design. It becomes truly imaginative.

Last but not least, is van Berkel’s believe on a multi-disciplinary design approach, which is the basis of bringing computation to reality. In my opinion, this building is in fact a redefinition of architectural practice in theatre design. From this precedent, I think a truly good computing process must be achieved by innovating computational details at the same time while dealing with the broad picture. In other words, a strategy based on the detail-to-whole relationship.

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A.2. COMPOSITION / GENERATIONJyväskylä Music and Arts Center / Ocean North + Archim Menges

From Ben van Berkel’s, lead architect of UNStudio own words: “The three most

important architectural potentials of the new mediation techniques are: the expansion of the spatial imagination, the radical break with a hierarchical design approach, and the introduction of different disciplines into the design process, relating the design immediately to its final execution”. I think this statement concisely explains the effect of mediation techniques, another phrase used for design computation on contemporary architecture.

From lecture, we are informed that design computation is not merely a tool to generate formal or rational ideas. In the case of MUMUTH, the process is not just a translation from the sketch (fig.iv) to the actual (fig.iii). Although at first glance, it seems like that his design approach is very much a form-based analogy from Serialism music into an intertwining spirals that extends both vertically and diagonally generated by computational process. But the actual effect of this process is allowing van Berkel to apply his spatio-psychologic study and combine it with computing produced a series of flowing, movement-based volumes

The hand sketches are merely a mimicry of an actual performance.

However, the actual design is not just about the ‘Performance’, but rather a performance list of elements that contribute to the whole design. This list is based on van Berkel and his team reestablishing a relationship between music and architecture. From rhythms, continuity, channeling and more importantly the use of repetition as it intensify the overall effect of the design. It becomes truly imaginative.

Last but not least, is van Berkel’s believe on a multi-disciplinary design approach, which is the basis of bringing computation to reality. In my opinion, this building is in fact a redefinition of architectural practice in theatre design. From this precedent, I think a truly good computing process must be achieved by innovating computational details at the same time while dealing with the broad picture. In other words, a strategy based on the detail-to-whole relationship.

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A.4. LEARNING OUTCOMES

A.3. CONCLUSION

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A.5. APPENDIX