tingyu lin 615497 part a journal

STUDIO AIR

TING YU LIN 2015

CONTENTS

INTRODUCTION 1-2

PART A. COMCEPTUALIZATION

A.0 DESIGN FUTURING 6-10

A.1 DESIGN COMPUTATION 12-16

A.2 COMPOSITION/GENERATION 18-22 A.3 CONCLUSION 23

A.4 LEARNING OUTCOMES 24

A.5 ALGORITHMIC SKETCHES 25

REFERENCE 26-27

2

INTRODUCTION

My name is Ting yu Lin and my friends call me Sophie. I’m from Taiwan and I’ve lived in Melbourne for three years. I’ve met some people who happens to have the same English name as me, just like the other Sophie in our tutorial, and it’s con-fusing when our common friends call our names. So we’ve decided to have nick-names, I call her Soso and I named myself Socute. We tried and it’s hilarious when they call my nickname in public, I just love being called Socute.

I have interests in things like singing, watch-ing movies, traveling, drawing and cook-ing. What made me decide to choose ar-chitecture as a major is that we live and work in buildings every day, buildings can affect so much in our daily life. A good building gives convenience, comfort, nice atmosphere and positive energy.

I’ve done designing studio Earth and Wa-ter, and I’ve learned rhino, autocad, pho-toshop, indesign and illustrator through-out the process.

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This is a lantern I made in a first year subject, Virtual Environments, which

rhino was first introduced to me. This project required us to analyze a pat-tern and find the relationships in the arrangement of it, we need to ana-lyze how the structure is formed and what is important and can be used in your design. It is when I was exposed to computation and digital design, I was able to experiment on the digital models and be fascinated by the out-comes beyond my original thoughts. We also learned some basic fabrica-tion techniques through grasshopper to make our design printable. Not only did I learn about digital design, but also graphic design. The layout of your design is important as well, nice visual presentation attracts people to get interested to your project.

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This was a great challenge for me to absorb so many knowledge and to put them into practice. Although there were lots of frustrating times in the pro-cess of making this project, I was really proud of myself being able to put so much effort in it and eventually made a good design. The experience I’ve learned from this subject helped me in the following design studios, I was able to apply the skills I learned onto other designs and explore further.

DESIGN FUTURING

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Vancouver Convention Centre West (VCCW) is designed by LMN archi-

tects of Seattle, it has 12,400 m² of space including exhibiton hall, 20 meeting rooms and a ballroom, and it was the main press centre for the 2010 Winter Olympics.

VCCW was built in 2009, it locates ate the intersection of Vancouver’s downtown and adjacent ecosystems. Jeremy Mur-phy, the co-director of Sustainable Solu-tion Group, stated that “Our strategy was to generate a sense of investment in all members of the design team—engineers, contractors and architects—in reaching our sustainability targets.”1 It is designed to protect and engaged environmental in-terface: landscape, marine and human. An artificial marine habitat skirt preserves salmon migration routes, and roof angles follow view corridors to the harbour from downtown streets.2 Meeting rooms take advantage of daylight and open onto city and waterfront vistas. Local glass and wood used in construction support the lo-cal economy, encouraging growth in the sustainable building products sector.

The most important part of the building is its building envelope, especially the living roof. The roof features 20 species of indig-enous flora pollinated by local bee and provides a nesting habitat for migratory and resident birds, this creates a sustain-able system for the local environments. In addition, in the water conservation plans, rainwater is and collected for reuse rath-er than being discharged into sewage system, this function of “living roof” is the fundamental resource for the creation of green space.

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The benefits of the dedication towards sustainable systems can be seen here: The Centre recycles an average of 180,000 kilograms of materials annually, nearly half of the total volume of waste generated. All wastewater generated In the building is treated and recycled for reuse which can save over $21,000 per month.3 The site of the expansion is a for-mer marine and rail industrial area, most of which was covered in impervious sur-faces and contaminated. The decrease in site impervious surfaces is almost 30%, mitigating total suspended solids and phosphorus content from stormwater and reducing the site’s heat island con-tribution.4

This building contributes to the idea of sustainable development, just as Fry indi-cates in the reading, a design of future should not be sacrificing ecological sys-tems but to design for a long term har-mony with nature.5 These sustainable ap-proaches put VCCW on the list of 2011 top ten green projects by The American Institute of Architects.6 It is also certificat-ed as the highest level platinum rating by the Leadership in Energy and Environ-ment Design.7

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My second precedent is the Jellyfish Barge, it is a floating house designed by an Italian

firm, Studiomobile.8 The world Bank predicts that the world population will grow to almost 10 bil-lion in the next four decades, by 2050, the global demand for food is expected to be 60-70% high-er than today.9 Agriculture is the human activity that relies most on the existing water resources. The scarcity of arable land and fresh water for agriculture is being exacerbated by changes in the climate, exposing many areas to increased risks and contribute to make them even more vulnerable to the problem of water and food se-curity. The rising sea level, for example, contrib-utes to flooding of extensive areas of fertile land with salt water.

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float house is created to support population growth in the future, it can produce considerable improve-ment in water and food security of coastal commu-nities. Jellyfish Barge is an eco-friendly module for crop cultivation that doesn’t rely on soil, fresh water and chemical energy consumption. It is a floating agricultural greenhouse, able to purify salt, brackish or polluted water using only renewable energy such as solar, wind and tidal waves. The structure of the green house is built with low-cost technologies and simple materials, it is framed in wood, light weight and can easily be pushed by waves. The system allows people in the community to sustainably cul-tivate crops and food. It also provides a gathering space for people in the community to interact with one another, harvest local fruits and vegetables.

In my opinion, this design can answer the question by Fry “How can a future actually be secured by de-sign? ”10 The sustainable idea from this float house signifies a changing in thinking that we start to think for future generations. In the reading of Speculative Everything, it points out that many of the problems nowadays are unfixable, and the only way to over-come them is by changing our values, attitudes and behavior.11 I think design futuring is supposed to meet the needs and doing benefits to human beings.

Although this is a small scale design, it enlightens people on being aware of the present problems and contributes a positive approach to solve it in the future. The possibility of the float house can be expanded to a greater scale project, with growing number of people using the design will actually result in a different future.

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DESIGN COMPUTATION

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This requires advanced computing for the continuous control and communication of these complexities among the numer-ous project participants. Computation in this project is significant, this can be seen in the framing system which was devel-oped to incorporate a flexible relationship between the rigid grid, and also enables the building to have a free-form structure. Computation saved time throughout the construction process due to rationalizing the complex geometry in digital model-ing.

In the readings, Oxman points out the idea of digital chain in conception, gen-eration and material production.14 From my perspective, computation links every aspects in a design process together. A design leads digital modeling and vice versa, computation is able to explore further than the original design attempt, and thus broaden the possibilities of out-comes.

This precedence is Heydar Aliyev Center located in Baku, Azerbai-

jan by Zaha Hadid. The center was asked to design for the nation’s pri-mary building cultural programs, and to show break from the rigid and monumental former Soviet so-ciety.12 The design concept of the building is to establish a continuous, fluid relationship between its sur-rounding plaza and the building’s interior. The ground floor surface is designed to define a sequence of event spaces, and with an equal access to all areas.

In order to achieve the fluid ar-chitectural landscape, formations such as undulating, folds and in-flections composite functional spaces. With this form, the building blurs the conventional differecia-tion between architectural object and urban landscape, building en-velope and urban plaza, figure and ground, interior and exterior.13

From my previous experience in dig-ital modeling, making a fluid struc-ture is challenging because the nu-merous vectors involved in creating a surface is hard to control. One of the most challenging elements of

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“I tried to create something melt-ing into the green”- Sou Fujimo-

to.15

Serpentine Gallery Pavilion by Sou Fujimoto was built on the lawn

outside the Serpentine Gallery. Fu-jimoto’s design was inspired by the natural greenery of the garden, and he tried to design a structure that fits into the surroundings.

Fujimoto mentioned that he want-ed to combine inside and outside space within the structure, and he put the emphasis on transparency which allows users to see through the nature from inside the pavilion. He was fascinated by the contrast of sharp, artificial white grids and the organic, formless experience.The pavilion comprises a three-di-mensional steel grid of white poles that ascend upwards to form lay-ered terraces, with circles of trans-parent polycarbonate inserted to shelter from rain and reflect sun-light.16 The structure is broken to allow people access as well as to generate different uses around, below and upon it.

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This irregular geometry of the pavil-ion is made of fine grids, creating strong system that can be expand to become a large cloud shape. This displays a combination of strict order with softness. A simple cube, sized to the human body, is re-peated to build a form that exists between the organic and the ab-stract, to create an ambiguous, soft-edged structure that will blur the boundaries between interior and exterior.

In the design process of any proj-ects in recent times, computational mechanisms has been widely used for the exploration of design sys-tem. This practice is attempting to address issues by using new tech-niques and methods. The benefits of using computers in the pavilion design process can be seen in the use of cube structures. Through computation, the cubes can be created repeatedly and over-lapped on top of another, and by using the cubes to shape geometry in order to achieve the desire out-come of the designer.

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COMPOSITION / GENERATION

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The NonLin/Lin pavilion is a prototype which engages in a series of architectural experiments referred to as text based morphologies. Beyond its visual perception of sculptural and formal qualities, the pro-totypes are built forms developed through custom computational protocols. The parameters of these protocols are based on form finding, composition of developable linear elements, information model-ing, distributed networks, and digital fabrication.18

Computation marks a significant improvement between the designing approaches in previous times, it allows designers to be able to be more precise of drawings and digital modeling, it is also easier for them to make changes on the computer.19 With the aid of computation, designers can go beyond their abilities to deal with complex situations and generate unexpected results. Algorithms are the language instructions between users and the computer, we have to be able to generate the code in order to modify and explore a new outcome. Computation helps to connect the virtual design with the physical model, the output of any modification can be seen immediately and clearly. This helps reduce mistakes and the gap between real work and imagination for complex design like the NonLin/Lin Pavilion.

The NonLin/ Lin Pavilion is designed by a French architect Marc Fornes, it is a perforated aluminium project that looks like a giant piece of coral. The pavilion has a computer generated form com-

posed of tubes and donut shapes. Assembled from 27 components, the four metre high structure can be taken apart and reassembled in different locations.17 This design relies on computation to generate over 155,000 asterisk- shaped perforations that comes in different sizes, which creates a pattern on the surface of the pavilion.

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The NonLin/Lin pavilion is a prototype which engages in a series of architectural experiments referred to as text based morphologies. Beyond its visual perception of sculptural and formal qualities, the pro-totypes are built forms developed through custom computational protocols. The parameters of these protocols are based on form finding, composition of developable linear elements, information model-ing, distributed networks, and digital fabrication.18

Computation marks a significant improvement between the designing approaches in previous times, it allows designers to be able to be more precise of drawings and digital modeling, it is also easier for them to make changes on the computer.19 With the aid of computation, designers can go beyond their abilities to deal with complex situations and generate unexpected results. Algorithms are the language instructions between users and the computer, we have to be able to generate the code in order to modify and explore a new outcome. Computation helps to connect the virtual design with the physical model, the output of any modification can be seen immediately and clearly. This helps reduce mistakes and the gap between real work and imagination for complex design like the NonLin/Lin Pavilion.

The NonLin/ Lin Pavilion is designed by a French architect Marc Fornes, it is a perforated aluminium project that looks like a giant piece of coral. The pavilion has a computer generated form com-

posed of tubes and donut shapes. Assembled from 27 components, the four metre high structure can be taken apart and reassembled in different locations.17 This design relies on computation to generate over 155,000 asterisk- shaped perforations that comes in different sizes, which creates a pattern on the surface of the pavilion.

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This projects discusses a mode of responsive archi-

tecture based on the com-bination of material inherent behavior and computational formations. The project em-ploys design strategies of phys-ically programming a material system, which produced the surface with a unique spatial experience. what interests me is the discuss of dimentional lin-stability of wood in relation to mosit content, mere fluctua-tions in relative humidity trigger the changes of material-innate movement, which means that the material itself is the ma-chine.

Computation is in the principle of information, in this project, the design methodology of material computation is intro-duced as a form of investiga-tion on the physical model. Ar-chitectural systems commonly seek for clear definition of ele-ments, however in this design, what forms the structure itself is closely engaged with the ma-terial. A computation design focuses more on a chain rela-tion rather than sigular units. 21

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CONCLUSION

Architecture has always been a presentation of what people

think and what is valued at the gen-eration. It means so much more than a structure or a built form, it is more than a place you work and live in. It is a reflection of economic, culture and society in time. We are now in a digital age that advanced compu-tation has rooted in the field of archi-tecture design. There is an increasing importance in computer design, not only because of its accuracy and fast documentation in projects, but its progress in moving towards paramet-ric design and algorithmic sketching. This creates a new way of thinking in forms and geometry. Although there has been arguments about com-putation design is not a real form of design, I believe in the benefits that computation brings to us and how the unexpected possibilities are go-ing to surprise me.

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LEARNING OUTCOME

In the first three weeks of working on studio Air, there were a lot things go-

ing on every week. The workload is heavy and intense, I am still adjusting my pace. Despite this, it has been a joyful process of learning. Studying algorithmic design through learning Grasshopper, readings and analyzing precedents has broaden my knowl-edge. The thinking of parametric de-sign also opened a new field to me. Through learning from the lecture and readings, I began to realize the logic and how it digital design works, and be enlightened that a thought and at-titude can make significant influence to the future. Through studying prece-dents, I was acknowledged that good architectural design really helps the environment to get better. The learn-ing so far made me realized that I still have a long way to go in architecture, it is so deep and involves knowledge from all kinds of fields, and I am just about to begin.

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In the process of learning Grasshopper, it is inter-esting to see the number variations result in dif-ferent outputs. From the readings, I was surprised to know that computation is under a principle of mathematic. Each control point that can be moved and changed by us is a precise mathe-matic equation written by engineers. After know-ing the basics of how algorith-mic sketch works, I feel more understandable of the function of number slides and the codes. it is really interesting to see the forms created by changing the vec-tors. this is a series of variation of a sphere i made, the shapes just popped out unexpectedly. i was suprisedand amazed by it.

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A L G O R I T H M I C S K E T C H E S

R E F E R E N C E

1. Halifax.mediacoop.ca, ‘Nova Scotia Consulting Co-Op Lands Canadian Project On International Top Green Buildings List’, 2015 <http://halifax.mediacoop.ca/news-release/7159> [accessed 19 March 2015]

2. AIA Seattle, ‘What makes it green?’ , 2015 <http://wmig.aiaseattle.org/node/123> [accessed 19 March 2015]

3. ’Vancouver Convention Centre » Jack Poole Plaza’, 2015 <http://www.vancouverconventioncentre.com/jack-poole-plaza/> [accessed 19 March 2015]


5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16


7. Sustain.ucla.edu, ‘What Is Sustainability? | UCLA Sus-tainability’, 2015 <http://www.sustain.ucla.edu/about-us/what-is-sustainability/> [accessed 19 March 2015]

8. iGNANT, ‘Floating Greenhouse By Studiomobile’, 2015 <http://www.ignant.de/2014/12/18/floating-green-house-by-studiomobile/> [accessed 19 March 2015]

9.Studiomobile.org, ‘Studiomobile’, 2014 <http://www.stu-diomobile.org/Jellyfish-Barge> [accessed 19 March 2015]

FIGURES

1.Halifax.mediacoop.ca, ‘Nova Scotia Consulting Co-Op Lands Canadian Project On International Top Green Buildings List’, 2015 <http://halifax.mediacoop.ca/newsrelease/7159> [accessed 19 March 2015]


3-6. iGNANT, ‘Floating Greenhouse By Studiomo-bile’, 2015 <http://www.ignant.de/2014/12/18/float-ing-greenhouse-by-studiomobile/> [accessed 19 March 2015]

7-9.Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Hadid Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-ali-yev-center-baku-azerbaijan-zaha-hadid-architects> [accessed 19 March 2015]

10-12. Dezeen.com, 2015 <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 19 March 2015]

13-15. Dezeen, ‘Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many’, 2011 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 19 March 2015]

16.Evolo.us, ‘Digital & Parametric Architecture - Evolo | Architecture Magazine’, 2014 <http://www.evolo.us/magazine/digital-parametric-architecture/> [ac-cessed 20 March 2015]

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2. AIA Seattle, ‘What makes it green?’ , 2015 <http://wmig.aiaseattle.org/node/123> [accessed 19 March 2015]





7. Sustain.ucla.edu, ‘What Is Sustainability? | UCLA Sus-tainability’, 2015 <http://www.sustain.ucla.edu/about-us/what-is-sustainability/> [accessed 19 March 2015]

8. iGNANT, ‘Floating Greenhouse By Studiomobile’, 2015 <http://www.ignant.de/2014/12/18/floating-green-house-by-studiomobile/> [accessed 19 March 2015]

9.Studiomobile.org, ‘Studiomobile’, 2014 <http://www.stu-diomobile.org/Jellyfish-Barge> [accessed 19 March 2015]

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11. Dunne, Anthony & Raby, Fiona (2013) Speculative Every-thing: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

12. Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Had-id Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-aliyev-center-baku-azerbai-jan-zaha-hadid-architects> [accessed 19 March 2015]

13. Voyatzis, Costas, ‘The Heydar Aliyev Center By Zaha Had-id Architects In Baku, Azerbaijan | Yatzer’, Yatzer.com, 2015 <http://www.yatzer.com/heydar-aliyev-center-baku-azerbai-jan-zaha-hadid-architects> [accessed 19 March 2015]

14.Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

15.Dezeen.com, 2015 <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 19 March 2015]

16. Dezeen.com, 2015 <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 19 March 2015]

17. Dezeen, ‘Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many’, 2011 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 19 March 2015]

18.Dezeen, ‘Nonlin/Lin Pavilion By Marc Fornes/ And The Very Many’, 2011 <http://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/> [accessed 19 March 2015]

19. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

20. Evolo.us, ‘Digital & Parametric Architecture - Evolo | Archi-tecture Magazine’, 2014 <http://www.evolo.us/magazine/digi-tal-parametric-architecture/> [accessed 20 March 2015]

21. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

tingyu lin 615497 part a journal

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