STUDIO AIR SUN JIALI 2018 SEMESTER 1 TUTOR: JACK MANSFIELD-HUNG
2
Table of Contents A.0. INTRODUCTION
4-5
A.1. DESIGN FUTURING
6-7
1.1 CASE STUDY 1
8-9
1.2 CASE STUDY 2
10-11
A.2. DESIGN COMPUTATION
12-13
2.1 CASE STUDY 3
14-16
2.2 CASE STUDY 4
17
A.3. COMPOSITION/GENERATION
18-19
3.1 CASE STUDY 5
20-21
3.2 CASE STUDY 6
22-23
A.4. CONCLUSION
24
A.5. LEARNING OUTCOMES
25
A.6. APPENDIX - ALGORITHMIC SKETCHES
28-35
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01 SELF-
INTRODUCTION
JIALI SUN MAJOR: ARCHITECTURE
My name is Jiali Sun and my preferred name is Annabelle. I am currently a third-year architecture student in the Bachelor of Environments Course. I was born in Shanghai, China and I have been interested in Architecture since childhood, which was affected by my father, who is a civil engineer. For me, I enjoy in architecture because it provides opportunities to represent ideas. This major helps me to pay more attention to the details in the daily life and understand the world.
STUDIO EARTH
My fascination with architecture derives from exploring the conception, space, form and function, and how they can react with the social context. Through a series of design studios, I learned how to represent my ideas by using different techniques like drawings, models, also the software.
STUDIO WATER
I am fascinated with using digital tools to represent my design ideas. It is convenient, efficient and makes the conversation of ideas much easier. In my first year, I took a subject which teaching a bit of numbers of software like AutoCAD, Rhino and In design, and I learned Photoshop and some of other software by myself. I feel the power of computer in architecture field, and it actually improves the design process, provides more potentials for our design. For me contemporary architecture shows better understanding in using digital and parametric design, they further extend the capability of architecture to be more responsive to its context and environments, thus sustainability future can be achieved, so I am looking forward to develop my skills in digital and also learn more about using computational design throughout the semester in studio Air.
PAST INTERN EXPERIENCE 4
INTRODUCTION
INTERN DESIGN EXPERIENCE
INTRODUCTION 5
A.1. DESIGN FUTURING
6
CONCEPTUALISATION
Future
Leap up to the future
What? How? Today
Plan from the future backward
In the highly dynamic world we live, it is always a big challenge for earth to keep updating it supply in order to satisfy our demand, and resources is in an increasing rate of depletion along with the time. Under this situation, we will not have a future if we do not make a change from now. In response to this issue, design futuring addresses the slowing of defuturing and the redirection of design towards sustainability. By changing the materials and forms in architecture design, we somehow can make the design more efficient, and the design itself is updated towards the sustainable future. Architects should become the leaders of flow, to produce a change in design process and the techniques applied in design. Therefore, the advanced design process could extend the possibilities and potentials of futuring in the design.
CONCEPTUALISATION 7
A.1. DESIGN FUTURING 1.1 CASE STUDY 01
Buckminster Fuller, Montreal Biosphere, 1954 & The Living, Hy-Fi, 2014 As Fry pointed out, we human beings have been using too much resources than we can reproduce, which accelerating defuturing conditions of unsustainable. Therefore, design need to counter the sustainable stage in order to preserve the possibility of future. Alongside with this idea, Hy-Fi pavilion is a good example which use new building materials – organic and compost-able bricks. This new technology made the design sustainable and minimize the waste and input of energy. It is characterized not only by its unique, biodegradable materials which enclose the bottom space, but also three cylindrical openings at the top of the structure. Each rim was made of moulds and used to create the bricks. [1]These bricks were all covered with a reflective 3M film for two different reasons – reflect summer light into the cooler interior, and aesthetic purpose.
can be composted and turned into fertilizer, which changes the global supply chains of building materials from the origin.[2] This new material represents a new challenge and opportunity for architects that to dream about using bio-materials for architectures in the future. In addition, it offers a new vision for our society’s approach to physical objects and the built environments. Conversely, although the approach of Biosphere built by Buckminster Fuller also emphasized on the idea of sustainability, Fuller explored the concept of “doing more with less” ,[3] which based on the new principle of using tension instead of compression force.
Unlike other structures, those bricks used in Fy-Fi
Fig.1: Archdaily, Hy-Fi, The Organic Mushroom-Brick Tower, 2014.
Fig.2: Archdaily, Hy-Fi, The Organic Mushroom-Brick Tower, 2014.
1. “Behind “Hy-Fi”: The Organic, Compostable Tower That Won MoMA PS1’s Young Architects Program 2014,” Avinash Rajagopal, ArchDaily, 17 Feb 2014, <https://www.archdaily.com/477912/behind-hy-fi-the-entirely-organic-compostable-tower-that-won-moma-ps1-young-architect-s-program-2014/> ISSN 0719-8884 2. “Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Courtyard,” Rory Stott, ArchDaily, 27 Jun 2014, <https://www.archdaily.com/521266/ hy-fi-the-organic-mushroom-brick-tower-opens-at-moma-s-ps1-courtyard/> ISSN 0719-8884 3. “AD Classics: Montreal Biosphere / Buckminster Fuller,” David Langdon, ArchDaily, 25 Nov 2014, <https://www.archdaily.com/572135/ad-classicsmontreal-biosphere-buckminster-fuller/> ISSN 0719-8884 8 CONCEPTUALISATION
The biosphere is at a diameter of seventy-six meters, and it dominates the island on which it is located. The form is obfuscated by the fragmentation of its faces, which are subdivided onto a series of triangles with a bit distortion that combined these individuals into shells.[4] From the perfect form of triangles, the composition of the dome is more spherical. In addition, biosphere improved that it is possible to create a liveable space using fewer materials compared with a conventional architecture. By combining the triangle shape, maximum efficiency with minimum structural effort and be achieved. The dynamic construction composed by a series of identical geometrical units showed how the individuals are independent, but also relied on each other.
Fig.3: Flickr user abdallahh, montreal biosphere, 2014.
The new technology creates largest volume of interior space with the least amount of the surface area, saves money and materials. On the other hand, biosphere was intended to exist between mankind and nature, it plays the dominate role in elevating the state of humanity and promoting the responsibility towards the environment, indicates how the concept of sustainability is used widespread.
Fig.4: THE BASIC PRINCIPLES BEHIND THE SPHERE STRUCTURAL - TRIANGLES
4. “Montreal Biosphère of 1967 / Buckminster Fuller,” ArchEyes, 9 April 2016, http://archeyes.com/montreal-biosphere-1967-buckminster-fuller/
CONCEPTUALISATION 9
A.1. DESIGN FUTURING 1.2 CASE STUDY 02
Ant Farm, The Dolphin Embassy, 1974 The dolphin Embassy was a utopian design for a floating research basis to set up the communication between human being and the dolphins.[1] This architectural project was interested in the social relations between humans and dolphins. With the help of high-tech, for example, hydrophones, underwater cameras, biological sensors, audio synthesis and recorders, Ant Farm got the idea to change the underwater building into an open, mobile laboratory craft to facilitate interactions between human and dolphins in the wild. It aimed to receive the maximum close interaction between human and dolphins in a long-term basis. Therefore, the architectural form of the embassy is “triangular, powered by ‘fluidic’ computers and roaring with the
‘suction rush of water’ through a network of pipes and pontoons.” [2] As dolphins have a very intelligent communication system, they are sociable, which enables them to make contact easily. Although the project was not built due to limited budget and the difficultness of solving the cetacean communication,[3] the idea of creating a common language with the dolphins by using the power of video technology inspired a lot of designers in the future. The dolphin embassy’s design holds out the hope of using technologies to develop an interface which allows communication between human and sea mammals. Important knowledge on the land and also oceans can be collected based on Ant Farm’s Embassy and therefore, a harmonious
Fig.5: HIDEN ARCHITECTURE, DOLPHIN EMBASSY, 2016
Fig.6: MICHEL, ‘BLUESTAR‘, 1976
1. “Ant Farm,” Raversyde, accessed by 3 Mar 2018, https://www.raversyde.be/en/ant-farm-0 2. “Underwater Worlds,” Iconeye, 17 Apr 2011, https://www.iconeye.com/architecture/features/item/9437-underwater-worlds 3. “Dolphin Embassy,” Hidden Architecture, 21 Feb 2016, <http://hiddenarchitecture.blogspot.com.es>
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CONCEPTUALISATION
co-evolution can be achieved in the future. Michels’ design was based on Ant farm’s concept. He kept developing the idea in Embassy and built his own design which was named ‘Bluestar’, a space colony which can adapt both dolphins and human and water is ultrasonically stabilized within a glass wall.[4] The Dolphin Embassy indicated how people proposed to extend the hand of human diplomacy towards animals, therefore creates the social relations with animals in the wild.
Fig.7: RAVERSYDE, THE DOLPHIN EMBASSY, 1974
Fig.8: HIDEN ARCHITECTURE, DOLPHIN EMBASSY, 2016 4. “Cue the dolphin embassy,” Greg.org, 1 Jun 2010, http://greg.org/archive/2010/06/01/cue-the-dolphin-embassy.html
CONCEPTUALISATION 11
A.2. DESIGN COMPUTATION
12
CONCEPTUALISATION
Computational methods can be introduced into the practice and the real architecture design. As computation is used in the design process, ideas can be communicated and shared between designers in a simpler way. It is now not an unnatural technique, but an efficient method that can be a method of designing architecture. Computation is redefining the practice of architecture. As digital tools are used in design process, fabrication and construction, new opportunities are created. It helps designers to extend their abilities to deal with some quite complex issues. In addition, due to its high ability to solve complex conditions, inspirations may be generated due to the unexpected results. By integrating computation in the design, materials and environment context can be set, this creates opportunities for architects to design architecture which is more response to its specific site and help architects to analysis their decisions during the process, even experience the space before it is set.
CONCEPTUALISATION 13
A.2. DESIGN COMPUTATION 2.1 CASE STUDY 03
“MUSHTARI”- 3D PRINTING PRJECT, NERI OXMAN & “BIO-THING”, ALISA ANDRASEK Computing allow designers to perform design operations in a new way that is impossible in the past. By using computers in the design process, designers can abstract and comprehend the design problem, reconstruct, figure out and resolve them. It can be described as an attempt to recreate reality, as mentioned by Kalay.[1] The most important feature of computing is that people can test the viability of the design by a computer program before they actually realize the architecture. It has become part of “an ongoing negotiation about what constitutes the work of architects versus that of engineers.”[2] If we make the building forms really complex, it is hard for us to predict intuitively whether the design will be good or not when considering the acoustical
Fig.9: NERI OXMAN, MUSHTARI, 2015
and structural and lighting and airflow conditions. With generative design, designers and engineers can explore all the possible permutations of a solution by input their design goals along with parameters such as materials, manufacturing methods and also budget. [3] It fasten the design process and accurate the actual design, meanwhile reduce the cost. Parametric design also enables a digital continuum from design to fabrication. It makes a continuous logic of design thinking and modelling. Mushtari is a project designed by Neri Oxman, which displays Oxman’s concept of computing the chemical and physical properties of materials to connect the
Fig.10: MUSHTARI CONCEPTS
1. Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp.14. 2. “Bits of buildings: How is computing changing the architect’s job?”, Peter Dizikes, MIT News, 25 June 2012, http://news.mit.edu/2012/computing-architecture-0625 3. Yehuda E Kalay, Architecture’s New Media.
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CONCEPTUALISATION
periodic table to the genome. She subjected to the new idea-processes of form-generation are directly informed by the combination of material properties and environmental constraints.[4] For her project that bio-inspired, computational design can offer limitless and unique solutions to design challenges, Another example is “Biothing”, designed by Alisa Andrasek, which is a transdisciplinary laboratory. The design focuses on the generative potential of computational systems for design. She interested in selforganizing and adaptive systems, which can create forms in different scale.[5] The logics of attraction and repulsion were computed in plan, and then lifted via a series of structural micro-arching sections through different frequencies.
physics, but also the dynamic processes of matter itself. Computing allows us to figure out more complex building environments. Computational design thinking is a creative synthesis where we can capture emergent phenomena within design work.[6] We can thus develop closer relationships to the conception of matter and physics and employ open forms of abstraction that go beyond limits of cognition, to real the impossible become possible.
In fact, the way we work with computation accelerates design intent as well as decision-making within design. And right now, people can access to computational physics at a micro scale for different materials and production sequences, which means we can deal with some formal geometries and linear
Fig.11: DAILY TONIC,BIOTHING,2009
4. “Material Compulation,” Neri Oxman, Matter media, accessed by 10 March 2018, http://matter.media.mit.edu/assets/pdf/Publication-MatComp.pdf 5. “Biothing-a transdisciplinary lobratory founded by Alisa Andrasek,” Nora Schmidt, Daily Tonic, 5 Nov 2009, http:// www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/. 6. “Compleity, multiplicity, and adapatation within ecosystems,” Alisa Andrasek, Stream, 2014, https://www. pca-stream.com/en/articles/complexity-multiplicity-and-adapatation-within-ecosystems-17.
CONCEPTUALISATION 15
Fig.12: BIO-THING MODEL
Fig.13: BIO-THING CONCEPTS 16
CONCEPTUALISATION
A.2. DESIGN COMPUTATION 2.2 CASE STUDY 04 Brass Swarm, Prototype, Zhao Sheng & Cai Yuan Zhen team, Shanghai, 2015 Brass Swarm is an experimental prototype developed by using self-organizational algorithmic design process and digital fabrication. The project involves creating intricate, continuous surfaces using Brass rods that are bent and welded together to create a cohesive three-dimensional form. [1] It explores the relationship between robotic and algorithmic behaviour. The project is characterized by its unique technique used in the design process. A multi-agent algorithmic strategy is used for this model to create its intricate ornamental and structural networks, which makes it complex and coherent. In addition, due to the interactions between organisms and heir natural environment, natural self-organizing patterns are created. [2] The design is fabricated successfully by adopting
interactions between the robotic fabrication tools and also the algorithmic coding, and these robots are featured with the rod-bending technique. It is constrained by factors such as the minimum length between bend, a maximum bend angle, and these factors are controlled by the generative algorithm. [3] With these limitations, robotic fabrication can drive the formation of pattern and geometry within the project in a broader set of design concerns. All in all, this project shows how computation can be engaged in architectural design and fabrication, and how the algorithm designed can be helpful in striking a balance between the complex design behaviour and the fabrication process, there is a great potential of computational work in architectural design process and fabrication.
Figure 14. Dagmar,Brass Swarm. 2016
Figure 15. Kokkugia,Brass Swarm. 2015
1. Dagmar Reinhardt, Rob Saundes and Jane Burry, Robotic Fabrication in Architecture, Art and Design 2016 (New York: Springer,2016), 223. 2. â&#x20AC;&#x153;Brass Swarm,â&#x20AC;?Kokkugia, accessed by 14 March 14, 2018, http://www.kokkugia.com/brass-swarm 3. Reinhardt, Robotic.
CONCEPTUALISATION 17
A.3. COMPOSITION & GERNERATION
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CONCEPTUALISATION
Composition and generation which integrate with parametric design introduces the concept of iterative generation to us. Generation can be seen as an exploration method by changing its parameters. It is advanced in creating a numbers of design alternatives in a short time. A working definition for computation could be digital information processed by algorithmic expressions. Computation can be further subcategorized into compositional and generative techniques. Designers write algorithms to do the design, therefore algorithmic thinking starts to become the focus behind the design process, it is the logic and the key of generation. Furthermore, there are different types of generative approaches in design, performance-based and evidencebased simulations allow architects to predict and experience the interactions between human and architecture.
Parametric modelling allows architects to design buildings faster and more efficiently. It also helps people in developing their outcomes which may be unpredictable, and benefits the communication during the design process. Some modern architecture at present can not be designed without the use of parametric modelling technique. The biggest shortcoming of generative design is that it requires a professional background to code the script, then they can translate their design ideas into the programs. Apart from that, generation by computers is limited to narrow parts of the design process, especially in the conceptual stage.
CONCEPTUALISATION 19
A.3. COMPOSITION & GENERATION 3.1 CASE STUDY 05
SILK PAVILION, NERRI OXMAN, 2013
Following the development in computational design, material efficiency and sustainability begin to be considered more in architectural design. Therefore, the design starts to shift from form-driven top-down to bottom-up design. This avoids the preconception of the design and solves one of the disadvantage of generation in some extent. Algorithms extend the possibilities we can explore and help us to analysis the design solutions. In addition, biological advantages can be achieved by computation as it allows a better understanding in materiality and compositional tectonics. The silk pavilion designed by Nerri Oxman is a good example of bottom up design. It is a design integrates computational form-finding strategies with biologically inspired frabrication. Just like the example mentioned in the lecture, the Bird-Oid, it successfully illustrates how generative design process can based on the behavioral response of animals.
using an algorithm that assigns the biological idea – providing various dense of density through silkworms’ thread across the patches. The robotic arm imitates the way how a silkworm deposits silk to build its cocoon. So, by studying the natural process, the limitations in techniques about the scale and complexity can be overcome. [2] The program successfully connected the digital and biological fabrication techniques with architecture design. The biological system has self-organizing properties that helps people in the design process. Algorithmic thinking and parametric modelling behind the project enables designers to create composition that explore the new qualities.
With the inspiration of the habitat of silkworms weave delicate cocoons from a single strand of silk, the pavilion created a based on the robot-woven threads which wrapped a steel frame. [1] It was designed
Fig.16: ARCHDAILY, SILKWORM, 2013
1. “Silkworms and robot work together to weave Silk Pavilion,” Dan Howarth, Dezeen, 3 June 2013, https://www.archdaily.com/384271/silk-pavilion-mit-medialab. 2. “Silk Pavilion,” Rory Stott, Archdaily, 6 June 2013, https://www.dezeen.com/2013/06/03/silkworms-and-robot-work-together-to-weave-silk-pavilion/.
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CONCEPTUALISATION
Fig.17: ARCHDAILY, SILKWORM, 2013
Fig.18: EXPLORATION BEHIND THE ALGORITHM
CONCEPTUALISATION 21
A.3. COMPOSITION & GENERATION 3.2 CASE STUDY 06
NONLIN/LIN PAVILION, MARC FORNES, AND THE VERY MANY,2011
The design developed a generative-performative script, which was used to design this prototype, with the goal to test its constructability within a precise economical and cultural context. As a result of increasing pressure on architects to both design well and meet a diverse range of performance criteria, the project aimed to explore the potentials offered by incorporating parametric or generative tools in the architecture design and fabrication. Beyond its visual perception of sculptural and formal qualities, the Lin Pavilion is built through the computational protocols. [1] The parameters of the project are based on form finding, description, information modelling and logistic of digital fabrication. [2] Originated from a “Y” model, it represented the lowest level of multi-directionality. [3] The structure shows a transformation from one state to another by varying the radii of individual members, and this idea interrupts the hierarchy of the structure. [4] And, the
attention of the design shifts from the structural towards surface condition. The particular shape of the design challenged the generative design as most of the algorithmic design is based on a single bi-directional surface. It addressed issues in the shifting from linear spaces to a multiplicity of social conditions. [5] Biomimetic design technology is incorporated in the design, which creates the organic form, looks like coral species underwater. Marc Fornes creates a sense of mystery and beauty through the deign of interaction between voids and solids by using the perforated material, and a unique experience is created by this organic structure. He uses the generative design to approach the integration of human being and the natural world, achieves the coherent of composition between human and the environment context.
Fig.19: ARCHDAILY, NonLin/ Lin Pavilion sketch, 2011
Fig.20: ArchDaily, NonLin/ Lin Pavilion, 2011
1. “NonLon/Lin Pavilion/ Marc Fornes,” Kelly Minner, ArchDaily,24 July 2011, https://www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes 2. “NonLon,” Kelly. 3. “NonLin/Lin Pavilion by Marc Fornes/ and The Very Many,” Amy Frearson, Dezeen, 2 Aug 2011, https:// www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/ 4. “NonLin,” Amy. 5. “nonLin/Lin Pavilion by Marc Fornes & THEEVERYMANY,” Marcia Agyriades, 24 July 2011, https://www.yatzer.com/nonLin-Lin-pavilion-by-Marc-FornesTHEVERYMANY. 22
CONCEPTUALISATION
Fig.21. ArchDaily, NonLin/Lin Pavilion, 2011
Fig.22: Amy Frearson, NonLin/Lin Pavilion,2011
CONCEPTUALISATION 23
A.4. CONCLUSION Part A explores architectural precedents and its variations in relation to the technology and computer development. From this, it can be ascertained that the development of the algorithmic and computational process in architecture design process change the ways of thinking in what we design, and what we could design. Computation is now not only a tool for noting and architecture documentation like using Autocad, but has become a new method of generating designs through scripting algorithmic software by inputting the parameters like materials, limitations, cost and environmental considerations. It extends the possibilities of the design outcomes and make the process more efficiently, which tends to create a sustainable future. Architecture is now much more that a space for people to occupy, rather than just focus on its architectural form and the appearance, it tends to
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CONCEPTUALISATION
test the optimum solutions for both the building itself, and also the intelligences, in another word, the ability it can to communicate with human and environment context. In relation to the design brief given, the Merri Creek, I think it is important to understand the eco-systems and how the systems in the site interact with each other. I will focus more on the biological influence of the design, and how the principles of nature can lead our design toward a more sustainable future. I believe that by integrating the information we got in natural environment into the parametric design, an outcome which strongly responses to the specific site will be achieved, thus the design can produce the unique experience which benefits both the native species and also human.
A.5. LEARNING OUTCOMES The theory and computing has enlightened me to another way of design which I have never experienced before. It is quite interesting, and by doing these three weeksâ&#x20AC;&#x2122; researches, I started to get an idea about how design process can be different by using computation. Without the invention of parametric design, we can never build an architecture like many of modern buildings around the world. It provides us an ability to explore a much more complex form of design, which can still be efficient and sustainable. Through my own experience of using Grasshopper, I also understand how the software works, and how we can produce different design outcomes easily by changing the input parameters. The biggest problem I met during my own exploration is that, as it is such a strong software, it requires the algorithmic thinking as a basic skill to play within this software. The logic thinking behind the design will lead us toward the
outcomes, so it is not that easy to understand. I was quite confused at the beginning of the semester as I never think the difference between computerization and computation. As studying follow the guide, I began to understand it and test different ideas by using Grasshopper. I feel that by algorithmic designing and computation via Grasshopper, many opportunities are offered. While Grasshopper is certainly increasing my workflow I model, it also brings me understand the logic behind the design and understand the nature better. Learning grasshopper was tough to begin with, but I feel enjoyable during the learning process, and I am motivated with this new skill.
CONCEPTUALISATION 25
BIBLIOGRAPHY "AD Classics: Montreal Biosphere / Buckminster Fuller," David Langdon, ArchDaily, 25 Nov 2014, <https:// www.archdaily.com/572135/ad-classics-montreal-biosphere-buckminster-fuller/> ISSN 0719-8884 “Ant Farm,” Raversyde, accessed by 3 Mar 2018, https://www.raversyde.be/en/ant-farm-0 “Behind “Hy-Fi”: The Organic, Compostable Tower That Won MoMA PS1’s Young Architects Program 2014,” Avinash Rajagopal, ArchDaily, 17 Feb 2014, <https://www.archdaily.com/477912/behind-hy-fi-the-entirelyorganic-compostable-tower-that-won-moma-ps1-young-architect-s-program-2014/> ISSN 0719-8884 “Brass Swarm,”Kokkugia, accessed by 14 March 14, 2018, http://www.kokkugia.com/brass-swarm “Bits of buildings: How is computing changing the architect’s job?”, Peter Dizikes, MIT News, 25 June 2012, http://news.mit.edu/2012/computing-architecture-0625 “Biothing-a transdisciplinary lobratory founded by Alisa Andrasek,” Nora Schmidt, Daily Tonic, 5 Nov 2009, http://www.dailytonic.com/biothing-a-transdisciplinary-lobratory-founded-by-alisa-andrasek/. “Compleity, multiplicity, and adapatation within ecosystems,” Alisa Andrasek, Stream, 2014, https:// www.pca-stream.com/en/articles/complexity-multiplicity-and-adapatation-within-ecosystems-17. “Cue the dolphin embassy,” Greg.org, 1 Jun 2010, http://greg.org/ archive/2010/06/01/cue-the-dolphin-embassy.html Dagmar Reinhardt, Rob Saundes and Jane Burry, Robotic Fabrication in Architecture, Art and Design 2016 (New York: Springer,2016), 223. “Dolphin Embassy,” Hidden Architecture, 21 Feb 2016, <http://hiddenarchitecture.blogspot.com.es> “Hy-Fi, The Organic Mushroom-Brick Tower Opens At MoMA’s PS1 Courtyard,” Rory Stott, ArchDaily, 27 Jun 2014, <https://www.archdaily.com/521266/hy-fi-the-organicmushroom-brick-tower-opens-at-moma-s-ps1-courtyard/> ISSN 0719-8884 “Material Compulation,” Neri Oxman, Matter media, accessed by 10 March 2018, http://matter.media.mit.edu/assets/pdf/Publication-MatComp.pdf “Montreal Biosphère of 1967 / Buckminster Fuller,” ArchEyes, 9 April 2016, http:// archeyes.com/montreal-biosphere-1967-buckminster-fuller/. “NonLon/Lin Pavilion/ Marc Fornes,” Kelly Minner, ArchDaily,24 July 2011, https:// www.archdaily.com/152723/nonlinlin-pavilion-marc-fornes “NonLin/Lin Pavilion by Marc Fornes/ and The Very Many,” Amy Frearson, Dezeen, 2 Aug 2011, https://www.dezeen.com/2011/08/02/nonlinlin-pavilion-by-marc-fornes-the-very-many/ “Silkworms and robot work together to weave Silk Pavilion,” Dan Howarth, Dezeen, 3
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June 2013, https://www.archdaily.com/384271/silk-pavilion-mit-media-lab. “Silk Pavilion,” Rory Stott, Archdaily, 6 June 2013, https://www.dezeen.com/2013/06/03/ silkworms-and-robot-work-together-to-weave-silk-pavilion/. “Underwater Worlds,” Iconeye, 17 Apr 2011, https://www.iconeye.com/ architecture/features/item/9437-underwater-worlds Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp.14.
CONCEPTUALISATION 27
A.6. APPENDIX- ALGORITHMIC SKETCHES SEASHELL
PSEUDO ALGORITHM
Point
28
Form Spiral lines form point CONCEPTUALISATION
Divide curve into equal segments
Draw curve between points Loft curves
FAMILIES & ITERATIONS
CONCEPTUALISATION 29
TRIANGULATED 3D GEOMETRY
30
CONCEPTUALISATION
CONCEPTUALISATION 31
ADJECTIVES RELATED WITH RESEARCH & CONCEPTS
PRIVATE
SHARP
ERODED
UNEVEN
PIMLED
BULBOUS
Different adjectives are used to describe the features about the bee hotel, and some are inspired by the habits of bees. Blue banded bees are normally solitary, they prefer dark space. Bulbous symbols the shape of the bee, and also represents the main material I did for the research, the Mycelium. 32
CONCEPTUALISATION
Eroded is the most important feature comes into my mind, as they usually live between the gaps of bricks, which shows an erosion of the material.
MORPH & BOX MORPH PSEUDO ALGORITHM
Create 2 curves and loft them to be a surface
Divide the surface into equal parts by points
Extrude these separated faces in a different scale to produce the variation in the volume
Insert the basic geometry into these boxes to finish the model
CONCEPTUALISATION 33
MORPH & BOX MORPH
34
CONCEPTUALISATION
MORPH & BOX MORPH
CONCEPTUALISATION 35