wan zhang 581921

CONCEPTUALISATION 5

Table of ContentsPart A. Conceptualisation

Cover 1

TITLE PAGE 3

Introduction 6

A.1. Design Futuring 11

A.2. Design Computation 16

A.3. Composition/Generation 20

A.4. Conclusion 23

A.5. Learning outcomes 25

A.6. Algorithmic Sketches 27

CONCEPTUALISATION 7

DEGREE: BACHELOR OF ENVIRONMENT MAJOR: ARCHITECTURE

FEW YEARS AGO, I WATCHED AN ADVERTISEMENT OF MIT ARCHITECTURE WHICH PRESENTING THE PROGRAMME THEY ARE RUNNING IN UNIVERSITY. I FASCINATED ABOUT HOW THEY PLAY GEOMETRY, PROCESS AND MATERIAL, BY ANALYSING AND LEARNING THE MATERIAL FROM NANOSCALE TO LARGESCALE, DESIGN METHODS AND TECHNOLOGY TO CREATE MODEL WHICH WOULD POSSIBLY APPLIED TO ANY OTHER WORKS. DESIGN INVOLVING THE ENERGY RESOURCE WHICH CAN BE HIT, SHAKING, ELECTRONICS, ETC. THIS IS MY FIRST IMPRESSION ABOUT THE DIGITAL DESIGN THAT IS TO INVOLVE ANY ENERGY RESOURCE IN DESIGN PROCESS. I PURSUE THAT I WOULD ALSO DO THIS KIND OF STUDY IN UNIVERSITY LIFE OR IN FUTURE CAREER.

THOSE WHO ARE MAJOR IN ARCHITECTURE OR OTHER DESIGN RELATIVE COURSES ARE USING DIGITAL DESIGN AS AN EFFICIENT COMMUNICATION TOOL FOR THEM TO REPRESENT THEIR WORKS. MOST ARE USING SOFTWARE PROGRAMS LIKE ADOBE PHOTOSHOP, ADOBE DREAMWEAVER, ADOBE ILLUSTRATOR AND ADOBE INDESIGN TO CREATE PIXEL-BASED IMAGES. AUTO CAD, SKETCHUP AND RHINO ARE ALSO USED TO CREATE IMAGES AS WELL, AND ALSO CAN CREATE MODEL WHICH COULD HELP OTHERS TO CLEARLY VISUALIZE DESIGNERS’ WORKS.

8 CONCEPTUALISATION

FIG.1 MODEL OF VIRTUAL ENVIRONMENT

CONCEPTUALISATION 9

FIG.1 MODEL OF VIRTUAL ENVIRONMENT FIG.2 LIGTING EFFECT OF THE MODEL ON THE WALL

I STARTED TO USE SOFTWARE RHINO IN VIRTUAL ENVIRONMENT, BUILT THE MODEL IN COMPUTER THEN DEVELOP IT BY USING PLUG-IN TOOLS (PANELLING TOOL) WHICH COULD APPLY GEOMETRY PATTERN ON SURFACE OF THE MODEL. AFTER FINISH THE THREE-DIMENSIONAL MODEL, BREAKDOWN IT INTO PLANER SURFACES IN ORDER TO DO CUTTING. AFTER THIS I UNDERSTAND THAT IT NOT ONLY USE COMPUTER AS A TOOL TO DEVELOP DESIGN BUT ALSO USE IT IN FABRICATION.

10 CONCEPTUALISATION


A.1 DESIGN FUTURING

NANJING ZENDAI HIMALAYAS CENTER BY MAD ARCHITECT

MA YANSONG OF CHINESE STUDIO MAD PRESENTS A MASTERPLAN FOR NANJING, CHINA, WHERE BUILDINGS ARE DESIGNED TO LOOK LIKE MOUNTAINS AND PUBLIC SPACES OVERLAP WITH THE NATURAL LANDSCAPE, AS PART OF THE SHENZHEN AND HONG KONG BI-CITY BIENNALE OF URBANISM\ARCHITECTURE.

MAD IS IMPLEMENTING ITS SHAN-SHUI CITY CONCEPT ACROSS A NUMBER OF PROJECTS IN CHINA, INCLUDING THE NANJING ZENDAI HIMALAYAS CENTER DEVELOPMENT, DUE TO BE COMPLETED IN 2017, WHICH THE PRACTICE IS PRESENTING AT THIS YEAR’S VENICE ARCHITECTURE BIENNALE.

“A SHAN-SHUI CITY IS A MODERN CITY, A HIGH DENSITY URBAN SITUATION, BUT WE PAY MORE ATTENTION TO THE ENVIRONMENT,” YANSONG SAYS. “WE BRING WATERFALLS, WE BRING IN A LOT OF TREES AND GARDENS. WE TREAT ARCHITECTURE AS A LANDSCAPE.” THE CONCEPT IS BASED ON A TRADITIONAL STYLE OF CHINESE PAINTING, WHICH DEPICTS NATURAL SCENERY SUCH AS MOUNTAINS, RIVERS AND WATERFALLS AND SOMETIMES IT INVOLVES TEMPLES AS WELL. RETHINKING OF ARCHITECTURE AS LANDSCAPE, WHICH IS A SUSTAINABLE WAY TO CHANGE THE EXISTING ISOLATED FORM OF BUILDING AND ENVIRONMENT, BUT ALSO COULD PROMOTE THEN SOCIAL ENVIRONMENT WHERE SOCIAL LIFE, THE SPONTANEOUS ENCOUNTER AND NEIGHBOR INTERACTION AND CLIMATIC CHAOS WHICH DECREASE THE TEMPERATURE AND INCREASE HUMIDITY. THE CONCEPT OF BRINGING NATURE AND ARCHITECTURE TOGETHER ISN’T A NEW ONE BUT ATTEMPTS TO DO SO AT SUCH HIGH DENSITY AND SUCH A LARGE SCALE ARE UNPRECEDENTED. AND THERE IS A NEW CHALLENGE THAT “HOW TO INVENT A NEW TYPOLOGY FOR HIGH DENSITY

FIG.3 MODEL OF NANJING ZENDAI HIMALAYAS CENTER

FIG.4 SHAN-SHUI CHINESE OIL PAINTING

CONCEPTUALISATION 13

FIG.5 VISUALISATION OF MAD’S NANJING ZENDAI HIMALAYAS CENTER


TAICHUNG METROPOLITAN OPERA HOUSE BY TOYO ITO & ASSOCIATES

TOYO ITO AND HIS TEAM ASKED TO BUILD A NEW THEATRE, AND THEY THINK THAT THE MEANING OF THE NEW THEATRE IS EQUAL TO ENQUIRING THE ESSENCE OF PERFORMING ARTS, WHICH IS ACTUALLY TO RETHINK THE NATURE OF THE ARCHITECTURAL DESIGN SINCE THE PERFORMING ARTS ARE INSEPARABLE WITH THE ARCHITECTURAL SPACES.

THEIR STRATEGY US TO USE THE SOUND CAVE AS A SPATIAL CONCEPT WHICH ACTS AS SPATIAL INTEGRATION OF ALL THE THINGS THAT INVOLVED IN. THEREFORE, THE DEVELOPED A SYSTEM CALLED EMERGING GRID, “WHICH IS A NON-LINEAR GEOMETRICAL SYSTEM, CREATING AN ORGANIC AND COMPLEX SPACE THROUGH SIMPLE AND FLEXIBLE RULES. THE 3D CONTINUOUS CURVED SURFACE IS FORMED BY MANIPULATING THE MULTI-LAYERED 2D GRIDS.” BY MANIPULATING THE EMERGING GRID, THEY SUCCESSFULLY INTEGRATE THE FUNCTIONS INTO THEIR CONCEPT-SOUND CAVE.

“NOW ‘ADVANCED’ TECHNOLOGY IS ENABLING THE APPROPRIATION OF KNOWLEDGE EMBEDDED IN CONTEMPORARY DESIGN SKILLS” AND THE APPLICATION OF COMPUTER DIGITAL TECHNOLOGY ALLOWS THE NONLINEAR SYSTEM TO BECOME REALITY.

FIG.6 STRUCTURE MODEL




FIG.7 STRUCTURE MODELFIG.8 TAICHUNG METROPOLITAN

OPERA HOUSE


“A DIGITAL CONTINUUM FROM DESIGN TO PRODUCTION, FROM FORM GENERATION TO FABRICATION DESIGN.”BY CREATING A SYSTEM WITH ALGORITHM AND SCRIPTING AS THE MEDIATOR TO CONTROL THE DESIGN AND INFLUENCE FORM GENERATION AND PERFORMANCE OF THE DESIGN, EVEN HELP TO DEVELOP THE RELATIONSHIP AND TO FIND THE BALANCE BETWEEN BUILDING AND ITS SURROUNDINGS.

A TEAM OF GRADUATE STUDENTS RECENTLY CREATED A TEMPORARY INSTALLATION ON THE KENT STATE UNIVERSITY, KENT CAMPUS IN OHIO. THE PROJECT GREW OUT OF AN INTERNAL CHALLENGE IN THE MATR DESIGN COMPETITION. THE STUDENTS CREATED THE INITIAL FORM IN RHINOCEROS WITH A COUPLE GRASSHOPPER DEFINITIONS AS A WAFFLE STRUCTURE OF 26 VERTICAL RIBS AND 24 HORIZONTAL STRUTS AND FINALLY CREATED TUNNEL-LIKE STRUCTURE CALLED “THE PASSAGE”. COMPUTATION PROVIDES OPPORTUNITY TO CREATE STRUCTURES WHICH ARE NOT ABLE TO BE DONE BY PEN AND EVEN COULD APART THE MODEL INTO PIECES WHICH HELPS TO DO THE FABRICATION.COMPUTATION ACCELERATES THE DEVELOPMENT OF ARCHITECTURE WHICH HELPS DESIGN PROCESS, FABRICATION EVEN CONSTRUCTION TO BE EFFICIENT.

FIG.9 2011 MATR PROJECT: “THE PASSAGE”

FIG.10 2011 MATR PROJECT: “THE PASSAGE”


PROJECT SOHO HAILUN PLAZA BY UNSTUDIO THE FACADE DESIGN OF THE TOWER CONSISTS OF 33 FLOOR PLATES OF EQUAL PERIMETER LENGTH AND SAME SURFACE AREA. THE DESIGN MAKES USE OF A UNIFIED COMPONENT SYSTEM THROUGHOUT ALL FLOORS. THE UNITS ARE COMPOSED WITH INTEGRATED SHADING AND OPAQUE PANELLING, FORMING A UNIFIED PATTERN OVER THE FACADE. THIS MATERIALISATION AND ITS GEOMETRY ALLOWS FOR FLEXIBLE AND DIFFERING PERFORMANCE ACCORDING TO THE POSITIONING OF THE UNITS WITHIN THE PERIMETER OF THE TOWER. THE UNITS ALSO PROVIDE RELIEF AND A DIAGONAL ORIENTATION THAT EMPHASISES THE SLIGHTLY CURVED VOLUME OF THE TOWER.

FIG.11 SOHO HAILUN PLAZA / UNSTUDIO


FIG.11 SOHO HAILUN PLAZA / UNSTUDIO

THE FACADE SYSTEM FOR THE PAVILION IS BASED ON THE USE OF A SEMI-UNIFIED SYSTEM WITH PRE-FABRICATED ELEMENTS. AS THE PAVILION PROPORTIONS, SCALE AND VERTICAL SECTION ARE DIFFERENT FROM THE TOWER FACADE, THIS SYSTEM AIMS TO REDUCE THE HEIGHT OF THE FACADE COMPONENTS. COMPUTATION CAN CONTROL THE RELATIONSHIP OF PARTS AND WHOLE THEN EFFECTS THE PERFORMANCE OF BUILDING BOTH INTERIOR AND EXTERIOR.

FIG.12 PAVILLION PATTERN

FIG.13 LOBBY WALL MODEL(INTERIOR)


SINCE ARCHITECTS HAVE POWER AND AVAILABILITY OF COMPUTER TO APPLY THESE SCRIPTING LANGUAGES, AND NOW ALSO ROBERT MCNEEL & ASSOCIATES’ GRASSHOPPER® VISUAL PROGRAMMING LANGUAGE INCREASED USAGE OF COMPUTATION IN PRAXIS. ALGORITHMIC THINKING MEANS TAKING ON AN INTERPRETIVE ROLE TO UNDERSTAND THE RESULTS OF THE GENERATING CODE, KNOWING HOW TO MODIFY THE CODE TO EXPLORE NEW OPTIONS, AND SPECULATING ON FURTHER DESIGN POTENTIALS. WE ARE MOVING FROM AN ERA WHERE ARCHITECTS USE SOFTWARE TO ONE WHERE THEY CREATE SOFTWARE.1BY USING COMPUTER TO GENERATE AND EXPLORE ARCHITECTURAL SPACES AND CONCEPTS THROUGH THE WRITING AND MODIFYING OF ALGORITHMS THAT RELATE TO ELEMENT PLACEMENT, ELEMENT CONFIGURATION, AND THE RELATIONSHIPS BETWEEN ELEMENTS. COMPUTER USE SHIFT FROM CAPTURE THE COMPLEXITY OF HOW TO BUILD A PROJECT, TO THE MULTITUDE OF PARAMETERS THAT

SKIDMORE, OWINGS & MERRILL (SOM) BUILT THIS TOWER IN DUBAI, THE LATERAL STEPPING OF THE PERIMETER COLUMNS FOR THE INFINITY TOWER BECAME A DRIVER OF THE BUILDING’S EXTERIOR ARCHITECTURAL EXPRESSION, AND WERE DESIGNED IN A CLOSE COLLABORATION BETWEEN THE SOM ARCHITECTS AND STRUCTURAL ENGINEERS. THE USE OF FINITE ELEMENT (FE) ALGORITHMS WAS CRITICAL TO THE SUCCESS OF THE COLLABORATION, PROVIDING ANALYSIS AND VISUALISATION OF THE STRUCTURAL FORCES FOR THE VARIOUS STRUCTURAL DESIGN OPTIONS THAT WERE CONSIDERED FOR THE BUILDING’S TWISTING FORM.

GENERATIVE DESIGN ENABLES THE ARCHITECTURE BECOME SMARTER AND FLEXIBLE OF ITSELF AND THE SURROUNDING ENVIRONMENT, WHICH IS MORE RESPONSIVE TO THE ENVIRONMENT AND EMBEDDED THE SUSTAINABLE CONCEPT I THROUGHOUT DESIGN PROCESS. ARCHITECTURE

FIG.14 INFINITY TOWER


IT STARTED TO PLAN RATHER THAN CONSTRUCTION. IT COULD DO PROPLEM ANALYSIS WHICH GENEREATE THE POSSIBLE SOLUTION TO FIT REQUIREMENT.THE ARRAGEMENT OF MULTI-DISPLIANRY KNOWLEDGES HELPS TO EVLUATE POTENTIAL IMPROVEMENT OF THE DESIGN, THIS KIND OF COMMUNICATION ENABLES DESIGN ACCESS TO ALL THE DIFFERENT FACTORS.

AND THERE ARE PROBLEMS REVEALED, IS THAT ALL THE BUILDINGS OR PROJECTS ARE SIMILAR IN APPEARANCE FORM, AS DESIGNER ARE ALL USING SAME PROGRAMMES AND TOOLS, AND IT IS INEVITABLE TO APPLY THE SAME TOOL IN THEIR DESIGN. THE HIGHLY RELIANCE ON THE COMPUTER CONSTRAINT DESIGNERS OWN CREATIVITY, DESIGNERS START TO PURSUING COMPLEX FORM WITHOU MEANINGFUL CONCEPT AND IDEAS.

FOR EXAMPLE, THERE ARE TWO PROJECTS FROM ZAHA HADID- 2020 OLYMPIC STADIUM AND SUPERYACHT FOR BLOHM+VOSS, AND FROM THE VISUALIZATION THAT IT IS DIFFICULT TO FIGURE OUT THE DIFFERENCE BETWEEN BUILDING AND YACHT. WE NOW SEE LESS DIVERSITY IN DESIGN FIELD.

FIG.15 2020 OLYMPIC STADIUM FIG.16 SUPERYACHT FOR BLOHM+VOSS

FIG.15 2020 OLYMPIC STADIUM FIG.16 SUPERYACHT FOR BLOHM+VOSS


PART A CONCLUSIONCOMPUTATION AS DESIGN FUTURE (AS IT SEEMS TO COVER ALL ELEMENTS IN DESIGN)DIGITAL IN ARCHITECTURE NOT ONLY HELP UN PRECISELY REPRESENT DESIGN WORKS BUT ALSO AS A CONTINUOUS TOOL CAN BE USED THROUGHOUT DESIGN PROCESS. IT’S ABOUT MANIPULATE SYSTEM IN OUR DESIGN OR DESIGN IN SYSTEM. LEARNING FROM NATURE PRINCIPLE THEN MIMIC THOSE ORGANIC PROCESS TO GENERATE FORM(GENERATIVE). PARAMETRIC DESIGN BASED ON A LOGIC OF ASSOCIATED AND DEPENDING RELATIONSHIPS BETWEEN OBJECTS AND THEIR PARTS-WHOLE RELATIONSHIPS. ALGORITHMIC PROCEDURES MAKE RULES FOR DESIGN AND THOSE PARAMETERS CAN UPDATE AUTOMATICALLY. ALSO THE PERFORMANCE OF THE BUILDING CAN BE ANALYSED BY SOFTWARE, WHICH USE PARAMETERS PRODUCE DIGITAL MORPHOLOGIC STATE THEN INTEGRATED WITH TECTONIC INNOVATION (DIGITAL MATERIALITY) TO ANALYSIS THE PERFORMANCE. BETTER DEVELOPED AND SUPPORTED BY DIGITAL SYSTEM, THE BETTER FINAL PRODUCED.

FOR THE PROJECT, THE DESIGN CAN BE MORE INTERACTIVE WITH USERS AND ENVIRONMENTS. AS THIS PROJECT IS TO ENVISION PUBLIC ART THAT GENERATESUTILITY-SCALE CLEAN ENERGY FOR THE CITY OF COPENHAGEN, THEREFORE I WILL LARGELY FOCUS ON ENERGY RESOURCE AND INTEGRATED IT WITH DESIGN. HOW’S SOLAR, WIND, WATER, AIR AND PEOPLE PERFORMED AND HOW DO THOSE FACTOR EFFECTS FROM GENERATION OR PERFORMANCE OF THE DESIGN. FROM DAY TO NIGHT THE POSITION OF THE SUN IS DIFFERENT THUS EACH PART OF STRUCTURE CAN BE DIFFERENT OR ACT FLEXIBLE FROM PARTS TO WHOLE. THE VELOCITY, DIRECTION AND ALTITUDE OF WIND CAN EFFECT THE TECTONIC CREATIVITY OF THE DESIGN. MIMIC ORGANIC PROCESS AND PERFORMANCE IN ORDER TO CREATE THE DESIGN MORE GREEN AND RESPONSIVE TO ENVIRONMENT WHICH HELPS THE DESIGN TO BE MORE SUSTAINABLE


LEARNING ABOUT THE THEORY AND PRACTICE OF ARCHITECTURAL COMPUTING BROADEN MY SCOPE OF ARCHITECTURAL DESIGN. COMPUTER IS NOT ONLY ABOUT ADJUSTING BUT ALSO CREATING, USE DIGITAL PROGRAMME TO CREATE COMPLEX BY INPUTTING PARAMETERS AND USE ALGORITHMIC PROCEDURES TO CONTROL AND MODULATE DIFFERENTIATIONS.

IMPROVEMENT ON PAST PROJECTTHERE’S A MORE SOPHISTICATED WAY TO MIMIC NATURE IS TO MANIPULATE THEIR ORGANIC PATTERN AND PERFORMANCE RATHER THAN DERIVE IDEAS FROM ITS FORM.LEARNING OF THE GROWTH PATTERN OF FEATHER THEN APPLY IT WITH PARAMETERS INTO ALGORITHMIC PROCEDURES, THEN THE OUTCOMES COULD BE FAR MORE COMPLEX AND SOPHISTICATED.MAKE EACH PANEL MORE RELATED TO OTHERS, THIS COULD BE ACHIEVED BY SETTING RULES FOR THE FORMATION OF THOSE APERTURES, SUCH AS THE RADIUS OF ONE APERTURE CANNOT BIGGER THAN OTHER ADJACENT APERTURES, IF DO THEN DIVIDE ITSELF INTO SMALLER APERTURES.

28 CONCEPTUALISATION CONCEPTUALISATION 28


FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16

FERRY, ROBERT & ELIZABETH MONOIAN, ‘DESIGN GUIDELINES’, LAND ART GENERATOR INITIATIVE, COPENHAGEN, 2014. PP 1 - 10

SCHUMACHER, PATRIK (2011). THE AUTOPOIESIS OF ARCHITECTURE: A NEW FRAMEWORK FOR ARCHITECTURE (CHICHESTER: WILEY), PP. 1-28

OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10

KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25

ISSA, RAJAA ‘ESSENTIAL MATHEMATICS FOR COMPUTATIONAL DESIGN’, SECOND EDITION, ROBERT MCNEEL AND ASSOCIATES, PP 1 - 42

KOLAREVIC, BRANKO, ARCHITECTURE IN THE DIGITAL AGE: DESIGN AND MANUFACTURING (NEW YORK; LONDON: SPON PRESS, 2003) SUGGESTED START WITH PP. 3-62

PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 PDF

FERRY, ROBERT & ELIZABETH MONOIAN, ‘A FIELD GUIDE TO RENEWABLE ENERGY TECHNOLOGIES’’, LAND ART GENERATOR INITIATIVE, COPENHAGEN, 2014. PP 1 - 71 LINK

DEFINITION OF ‘ALGORITHM’ IN WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 12

“TAICHUNG METROPOLOTAN OPERA HOUSE”, ARCHI CREATION, N0.176 JANUARY 2014, PP.85-90.

“SOHO HAILUN PLAZA”,ARCHI CREATION,NO.168-169 MAY AND JUNE 2013, PP.268-275.

REFERENCE


HTTP://WWW.DEZEEN.COM/2013/12/10/MAD-NANJING-MASTERPLAN-MA-YANSONG-MOUNTAINS/ ACCESSED BY 19/08/2014

HTTP://WWW.DEZEEN.COM/2014/08/06/MOVIE-INTERVIEW-MA-YANSONG-MAD-SHAN-SHUI-CITY-INVENT-NEW-TYPOLOGY-HIGH-RISE-ARCHITECTURE/ ACCESSED BY 19/08/2014

HTTP://WWW.ARCSPACE.COM/FEATURES/TOYO-ITO--ASSOCIATES/TAICHUNG-METROPOLITAN-OPERA-HOUSE/ ACCESSED BY 19/08/2014

HTTP://WWW.ARCHELLO.COM/EN/PROJECT/TAICHUNG-METROPOLITAN-OPERA-HOUSE-0 ACCESSED BY 19/08/2014

HTTP://WWW.ARCHDAILY.COM/161894/2011-MATR-PROJECT-THE-PASSAGE/ ACCESSED BY 21/08/2014

HTTP://WWW.ARCHDAILY.COM/414501/SOHO-HAILUN-PLAZA-UNSTUDIO/ ACCESSED BY 21/08/2014

HTTP://WWW.ARCHDAILY.COM/331128/IN-PROGRESS-INFINITY-TOWER-SOM/ ACCESSED BY 21/08/2014

HTTP://WWW.ARCHDAILY.COM/436900/JAPANESE-ARCHITECTS-PROTEST-ZAHA-HADID-S-2020-OLYMPIC-STADIUM/ ACCESSED BY 21/08/2014

HTTP://WWW.ARCHDAILY.COM/444766/ZAHA-HADID-DESIGNS-SUPERYACHT-FOR-BLOHM-VOSS/ ACCESSED BY 21/08/2014

wan zhang 581921

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