STUDIO

A I R

J E S S I C A Z H A N G3 9 1 0 2 8

journal.

CONTENTS

EOI

ARCHITECTURE AS A DISCOURSE 3

COMPUTATION IN ARCHITEC

PARAMETRIC DESIGN 3

DEVELOP - MATRIX 3

DEVELOP - REVERSE-ENGINEERING 3

DEVELOP - MATERIAL EFFECTS 3

THE CASE FOR INNOVATION

C U T

ARCHITECUTRE AS A DISCOURSECOMPUTATION IN ARCHITECTURE

PARAMETRIC DESIGN

DEVELOP - MATRIXDEVELOP - REVERSE-ENGINEERING

DEVELOP - MATERIAL EFFECTSCONCEPT EXPLORATION

EOI

ARCHITECTURE AS A

DISCOURSE

STUDLEY PARK BOATHOUSE T H E K O O L H O U S E

2011 ---- The Kool House in the manner of Rem Koolhaas

This project was strongly influence by the works of Dutch architect Rem Koolhaas. This design could not be completed without computational tools, Revit Architecture 2011 was adopted here in order to accomplish a dynamic shape and innovative design features. The triangular skylights on the roofs are aligned carefully in order to maximise the site’s sunlight and cast similar shadows as window frames, creating a stylish movement on the floor during a sunny day. The pliable surface, the kiosk’s frosted glass roof which lifts from the ground, could not be achieved without the simulation of the design in a three dimensional space. Conventional drawing techniques limit the possible geometrical outcomes, however modelling in three dimensional space allows critical thinking whilst designing. That is, taking advantage of computational tools as a way to express design intentions quickly, at the same time, once sees the result instantly.On the other hand, this project causes architectural discourse for that it evokes question of whether or not such a computational driven building is suitable for a serene boathouse. Nevertheless, it achieves all the criiterias in the proposal and was lucky enough to be displayed.

C C T V - CHINA.CENTRAL.TELEVISION

H E A D Q U A T E R S 2002

---- The Loop

Rem Koolhaas’s practice Office for Metropolitan Archi-tecture (OMA) designed this project for CCTV in Beijing, China. OMA decided to create a building which the three dimensions would force all of the facilities and activi-ties involved in one single giant loop. Structurally, the team described the building as a ‘continuous tube’, they realised the only way to deliver this daring and unique architectural form was to ‘engage the entire façade structure, creating in essence an external continuous tube system’. That is how and why CCTV building could resist earthquakes and wind load, as well as the huge forces generate by the cranked and seemingly unstable form. The planes of bracing are continuous throughout the building volume, as shown in the pictures, in order to reinforce the corners. CCTV Headquaters building caused the discussion about the emerging East/West architec-tural discourse and the rapid urbanisation of China. This building is indeed becoming an iconic building in Beijing, whether the people live in there like it or not. It is indeed revolutionary, for its truly three-dimensional shape on the outside and three-dimensional experience on the inside.

‘It pushes the limits of architecture, not just formally but

socially, culturally, and technologically.’

PROJECT NAMEARCHITECTSSTATUS

CCTV Headquaters Rem Koolhaas/OMAConstruction

‘It pushes the limits of architecture, not just formally but

socially, culturally, and technologically.’

---- Tina di Carlo

T H E V M H O U S E S 2005

Bjarke Ingels Group (BIG) designed this multilevel-apartment building which interlocks in complex compositions on the façade, making the whole building seem like a three-dimensional game of tetris. It also won the best building prize in Denmark in 2006. The best and the most eye-catching feature of this building must be its distinctive triangular balconies along the north façade facing the park. The balconies are designed like that, which incorporates maximum cantilever with minimum shade, is to encourage residents to have a vertical backyard community with their neighbours in a vertical radius of 10 metres right on their balconies. It also promots a kind of experience as if one is standing at the bow of a ship in the air. If architecture is meant to make people feel comfort-able and happy, BIG’s VM Houses was definitely heading towards the right direction.

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COMPUTING IN ARCHITECTURE

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Computers in our daily lives are making everything more convenient, efficient and easier. Due to the fact that computers are superb analytical engies, they will transfer human’s knowdedge into their systems and will do everything quickly, repeatedly and correctly. Marc Forne from THEVERYMANY is one of the leading figures in the field. He certainly understands the translation of simple code could be structured into complex and appealing form easily using computers. NonLin/Lin Pavillion is one of the examples. NonLin/Lin’s computationally driven construction attempts to resolve an architectural gesture that could potentially be replicated indefinitely. The materials used in this project were lightweight perforated aluminum in parts then assembled. Something that could be related to final gateway project is what Forne said about this project: ‘the parameters of these protocols are based on form finding (surface relaxation), form description (composition of developable linear elements), information modeling (reassembly data), generational hierarchy (distributed networks), and digital fabrication (logistic of production).’ the project originates from a ‘Y’ model which referred to the most basic level of multi-directionality. Computational architecture allows designers to discover errors in design and fix them and control them on a local level, while having a picture of the whole complexity of the design in mind. Although Forne does a lot of installation projects rather than buildings, it is promising that computing in architecture might be the dominant of all methods in the future.

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MODELLING

Not just another brick in the wall? But lots of holes. This particular computer-aided design explores the possibilities of architecture in the near future combining skin, geometry, space and structure into one form. In the future, parametric modelling allows people to really express what they want. Since parametric design is not exactly very mature right now, the experimental stage we are at right now encourages a lot of architects and designers to explore and experiment; fail and learn; just go with it. Thus there is nothing quite conservative about parametric designs, they all appear to be very modern and innovative. On the other hand, it must be very hard for the public to accept the dramatic change of architecture from classical to modern and eventually parametric. In order to make parametric designs people’s design, it is essential to consider not only the functionality of the building, but also aesthetics -that can be accepted by the public -of it (some parametric buildings have far too many holes on them, which might make people have trypophobia). Nevertheless, the concept of parametric modelling highlights an interesting trend in the world of architecture and generative scripting.

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8

ATTRACTOR POINT

CURVE ATTRACTOR

IMAGE SAMPLER

ATTRACTOR POINT

CURVE ATTRACTOR

IMAGE SAMPLER

MATHSFUNCTIONS

MULTI. MATHSFUNCTIONS

STREAMING TEXT FILES

USINGSETS

EXPLICIT GRIDS OVERLAPPING

A matrix of combinations of definitions for the inputs: explicit grids, overlapping patterns and surface normals with 7 associations is presented on this page. The aim is to mix and match in order to find interesting geometry and patterns generated by the different combinations. By having a matrix it makes one easier to spot the similarities and differences. For example, Explict grids are straight forward, once a shape is identified, the particles form themselves together or apart to generate a certain result. Overlapping is an interesting one. By overlapping two surfaces one on top of another, the images start to differ and change, forming an overall new effect together. it certainly reminds me of lots of innovative parametric facades on the streets, where double thin layers of parametric designed surfaces are overlapped to create a skin of the buildings. If we are to create a double skin or even multi-skin sculpture for the Gateway, ‘overlapping patterns’ shall definitely be used and explored further. Surface normal on the other hand, generates definitions in not 2D, but 3D. Although same associations are plugged in here as explicit grids’, the results are quite different. Dynamically it changes the whole perception of the same defitions and makes them more interesting and less facade like. For the Gateway project, to work out a 3D overlapping sculpture sounds tempting yet achievable.

IMAGE SAMPLER

MATHSFUNCTIONS

MULTI. MATHSFUNCTIONS

STREAMING TESTFILES

PATTERNS SURFACE NORMALS

A matrix of combinations of definitions for the inputs: explicit grids, overlapping patterns and surface normals with 7 associations is presented on this page. The aim is to mix and match in order to find interesting geometry and patterns generated by the different combinations. By having a matrix it makes one easier to spot the similarities and differences. For example, Explict grids are straight forward, once a shape is identified, the particles form themselves together or apart to generate a certain result. Overlapping is an interesting one. By overlapping two surfaces one on top of another, the images start to differ and change, forming an overall new effect together. it certainly reminds me of lots of innovative parametric facades on the streets, where double thin layers of parametric designed surfaces are overlapped to create a skin of the buildings. If we are to create a double skin or even multi-skin sculpture for the Gateway, ‘overlapping patterns’ shall definitely be used and explored further. Surface normal on the other hand, generates definitions in not 2D, but 3D. Although same associations are plugged in here as explicit grids’, the results are quite different. Dynamically it changes the whole perception of the same defitions and makes them more interesting and less facade like. For the Gateway project, to work out a 3D overlapping sculpture sounds tempting yet achievable.

The Airspace Tokyo designed by Faulders Studio has a very interesting voronoi double-layered screen. It’s absolutely great to see this very innovative facade. It was apparently designed through a series of computational geometric patterns overlaid and projected. Through research I learnt that there is one command in grasshopper that would help me achieve this effect, it’s called Voronoi. When first started experimenting the pattern, I assigned several point on grasshopper, eventually I stopped after the first layer because there was no way to change the points for the second layer as shown on the facade of the Airspace to create void. One wall falls another rises, to create a wall/facade, a surface was needed. Then, instead of manually click in all the points, a Random was used to get random numbers, which was basically, random locations of points. When that was done, Voronoi was inserted and created offset around the points, that basically meant each point is a void we see on the facade. That concludes the first layer of the facade, then I went on and did 2 more and made a triple-layered screen using voronoi in grasshopper.

PROJECT NAMEARCHITECTSCOMPLETEDFACADE DESIGNFACADE COMPUTATIONPUBLISHED

Airspace TokyoFaulders Studio2007Faulders StudioProces2Birkhäuser; Springer distributor, 2010

INITIAL SURFACE ORGANISATION OF POINTS

VORONOI OFFSET DISTANCE EXTRACTION OF CURVES

FILLET TYPE

INITIAL GEOMETRY, ORGANISATION OF POINT IS THE MOST IMPORTANT FACTOR, AS IT EFFECTS THE COMPOSITION

EXTRACTION OF FINAL GEOMETRY AND ABILITY TO OFFSET AND FILLET INTO FABRICATED PANELS

PRODUCES THE PLANAR VORONOI DIAGRAM USING THE INITIAL GEOMETRY TO ORGANISE THE CELL STRUCTURE

Although the production of a Voronoi is considered as simple in grasshopper, we used this technique to show how you could create and manipulate many ilterations in a short period of time. Voronoi is in its primitive form, an organisation of points. By using grasshopper to manipulate how this geometry is spread over a surface, we can see how the voronoi patterning can be aesthetically organised.

Matrix ExplorationThe organisation of points and the number of points in a voronoi patterning determine the various results generated from grasshopper. The matrix on the right demonstrates the ability of grasshopper make variations of voronoi patterning possible.

Voronoi Patterning

1. BENDING|OVERLAPPING

2. 2D FOLDING

3. 3D FOLDING

4. TRANSPARENCY

5. MOISTURE DEFORMATION

Material ExplorationThe following experiments explore the use of 2D voronoi patterning produced by laser cutter. They attempt to introduce dimensionality into voronoi patterning. 1

2

4

3

5

WEATHERING EFFECTSIn order to understand the project better, it is

essential to consider the possible weathering effects on site , both in long-term and

short-term period of time.

short-term: instant weather change like rain and moisture

long term: the split of the material over a long period of time caused by

weathering

Capsular Theory:The capsular theory speaks of how people often feel the need to be protected and therTefore live in cities that are large capsules for humans. The car is seen as an extention of this capsule. The people in these moving capsules are in a controlled environment with controlled climate and protected from the sounds of the exterior world. Our concept of Reconnection needs to reactivate their senes, to bridge them out of this capsular environment and to inter-act with the site.

RECONNECTIONGEELONG|WYNDHAM|MELBOURNE

Our geographical observation of Wyndham at the moment shows how people are often going past Wyndham on the way to Geelong and do not interact with the site. Our aim is to reconnect the people who go through the site and there is a need for the site to be a place-maker for Wyndham - to put Wyndham on the map.

The sun path was generated in order to provide us a better understanding of the site. The effect the sunlight would have on the site help us to think about the posi-tioning of the gateway, how people would approach the site (towards or against the sunlight from different directions at different times), and the materials to utilise for the gateway.

EMPLOYMENT LOCATION (WYNDHAM)57.5% of people work in Wyndham but do

not live in there

OCCUPATION OF WORKERS36.7% are tradesmen.

EMPLOYMENT LOCATION (OUTSIDE)57% of Wyndham residents travel out for

work

MODE OF TRANSPORT TO WORK73.9% use cars to get to work

Research shows the stakeholders of the site, that 73.9% of Wyndham residents use cars to get to work, which means our site has a very high possibility of being used by them. Among which, 36.7% are tradesmen. That means, they are mostly likely to use the site for the longest time, that sure shall be take into consideration to our design. Hence, our idea of the gateway project is something that would be constantly changing throughout the whole day, connecting people to the site, and thus reconnecting the site to Geelong and Melbourne.

PLAYING WITH MOVEMENT

This model shows our concept of ‘Reconnection’. The basic notion of this model is to domonstrate how the sculpture would react to vehicles. Earlier we described the drivers are isolated in capsules. To encourage interaction, the model would move with the circulation, providing interesting movement on site. This would generate interest and encourage the drivers to interact with the site more. This concept works especially well if they move through the site twice a day, it would somehow produce different effects everytime they go through.

This model highlights the variations of the concept of movement that we are trying to explore. The individual discs rotates in different directions that create various patterns.

Feedback from Group EOI-Instead of mechanical forces, think about forces that can be passively driven by wind on site-Site analysis and data collection were good, but connect it back with the concept-Learn from Victor’s articulated cloud, experiment movement