Roper Annabelle Studio Air Journal by Annabelle Roper

STUDIO AIR

2017, SEMESTER 1, FINNIAN WARNOCK ANNABELLE ROPER

TABLE OF CONTENTS

6 A.1 CONCEPTUALISATION 7 Design Futuring 8 Case Study 1: Rock Print 10 Case Study 2: Sky Farm 14 A.2 COMPUTATION 15 Computational Design 16 Case Study 1: ICDITKE Research Pavilion 2015-16 18 Case Study 2: Armadillo Vault 22 A.3 COMPOSITION/GENERATION 23 Composition/ Generation 24 Case Study 1: Subdivided Columns - A New Order 26 Case Study 2: Under Magnitude 30 A.4 CONCLUSION 32 A.5 LEARNING OUTCOMES 34 A.6 APPENDIX - ALGORITHMIC SKETCHES 40 B.1 RESEARCH FIELD 41 Material Performance

42 B.2 CASE STUDY 1.0 82 C.1 DESIGN CONCEPT 43 Voussoir Cloud 83 Reflecting on Feedback 44 Iteration Matrix 84 Site Analysis 46 Successful Iterations 86 Pseudo Algorithm 48 B.3 CASE STUDY 2.0 88 Construction Sequence 49 Weaving Carbon Fibre Pavilion

90 C.2 TECTONIC ELEMENTS AND PROTOTYPES

50 Reverse Engineer

91 Prototype 4

52 Outcome

92 Iterations of Strip Base Lines

54 B.4 TECHNIQUE DEVELOPMENT 94 Iterations of Bulges 56 Iteration Matrix 95 Prototype 5 60 My Successful Iterations 61 Group Chosen Successful Iterations

98 C.3 FINAL DETAIL MODEL 99 Installation Location 102 Prototype 6

62 B.5 TECHNIQUE: PROTOTYPES 63 Testing Material Properties

104 Iteration Matrix of Final Model 106 1:3 Model

64 Prototype 1 108 Final Model 68 Prototype 2 70 Prototype 3 72 B.6 TECHNIQUE PROPOSAL 73 Ballroom Proposal 74 B.7 LEARNING OBJECTIVES 76 B.8 APPENDIX - ALGORITHMIC SKETCHES

116 Alternative Applications 118 C.4 LEARNING OBJECTIVES AND OUTCOMES 120 LIST OF FIGURES 121 BIBLIOGRAPHY

My name is Annabelle Roper, I am a third year architecture student. I have had an interest in architecture and creating for a long time. I am constantly interested in thinking of way to make our built environment more functional, comfortable and more sustainable. I have had a little experience with digital design theory in the past in the subject Digital Design and Fabrication. I currently know only a small amount about digital architecture but it is something that interests me greatly and I am keen to learn more. It seems that with the aid of technology architects are able to produce beautifully constructed buildings that are highly functional and constructed easily. During my studies I have learnt how to use Rhino 3D modelling and Archicad. I have found that the benefits of these programs is great and enables me to do more than I thought I could. Rhino was used for our portable sleep pod project, allowing us to benefit from laser cutting. Archicad was use in my project for Design Studio: Water, it offered a quick, accurate was to make plans and a model for my presentation.

CONCEPTUALISATION

1. FRAME AND INFILL IN EARTH STUDIO

2. FINAL EARTH STUDIO PROJECT

3. SECOND SKIN SLEEPING POD PROJECT

4 WATER STUDIO FINAL PROJECT

CONCEPTUALISATION 5

CONCEPTUALISATION

FIG 1: ROCK PRINT DETAIL

Design Futuring

We are currently in a unique situation. According to Fry we are currently in an age of defuturing our lives, meaning we are making choices that are limiting our future1. In order for society to progress design needs to adapt. Design futuring, designing towards a future, relies on the ability of designers to think critically and analyse the current norm2. They need to challenge peoples conceptions of what can be done and what can come to be. Dunne and Raby suggest that as designers we should not provide society with a how to of solving the world but instead give them the ability to find that preferable future for themselves 3 by designing problems and engaging the public in the proceeding discussion.

1 FRY, TONY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG, 2008), P. 1. 2 ibid., P. 12. 3 DUNNE, ANTHONY & RABY, FIONA, SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING ([N.P.]: MIT PRESS, 2013), P. 44. CONCEPTUALISATION 7

Case Study 1: Rock Print Chicago Architecture Biennial Grazio Kohler research, ETH Zurich & Self Assembly lab at MIT 2015

Through Rock Print Grazio Kohler research, ETH Zurich and the self assembly lab at MIT have started a discussion that challenges archetypal architecture. Their design combined robotically printed twine over layers of rock gravel, creating a structure of compression and tension. Employing critical thinking of what materials and methods can be used for designing a stable structure the team have posed several questions for the public to digest. By utilising very basic materials not commonly used for construction and in themselves not a construction material, the ability of all materials to construct is questioned. Methods of construction are also challenged; what does it meant to construct? Through this design people question what else they have overlooked, what else they are able to analyse and use to its full potential to further progress their lives. The team also question the permanent nature of structures with their structure being completely reversible and re-usable. Allowing society to rethink their conceptions of architecture as permanent, construction materials as single use and structure as rigid boundaries for creativity. Through this design the team have successfully involved the public in the discussion of design futuring, inviting them the think critically and creativity about the norms of society by exploring the limitless possibilities that are enabled by creativity.

CONCEPTUALISATION

FIG.2: ROCK PRINT

FIG.3: ROCK PRINT DETAIL

FIG.4: ROCK PRINT IN CONSTRUCTION

CONCEPTUALISATION 9

Case Study 2: Sky Farm Conceptual Rogers Stirk Harbour + Partners 2016

Skyfarm is a unique attempting to redesign the way we farm and interact with farming. The tower is a hyperboloid that is constructed with bamboo and tensile chords. It supports aquaponic, hydroponic and aeroponic farming of fish and crops, water collection, wind and solar energy collection and a restaurant or market1. This conceptual design explores the possibilities for alternative farming testing us to use our imagination. Digital programs have been instrumental in achieving this design. The hyperboloid shape of the structure is essential in the lightweight construction that utilises the strength of bamboo. The hyperboloid also enables the structure to be scalable2. This creative use of digital design has enabled a modular and scalable project to be born. This process can be applied to many other areas and projects and inspire new creative possibilities. The project inspires a new way of approaching our lives. In the capitalist world of today many aspects of our lives have been removed from us and managed by much larger companies in much larger numbers. This project brings the aspect of food production back to our lives. Instead of having an area focus simply on one crop this tower combines them all back together in a way similar to how a family would have lived off their own farm. It also incorporates the newer necessities of our time, water and wind and solar energy collection. This project doesnâ&#x20AC;&#x2122;t simply aim to just solve the issue of land intensive food production it plans to continue the discourse of our subsistence through the education of visitors and involvement of the community.

1 FREARSON, AMY , ROBOTICALLY FABRICATED PAVILION BY UNIVERSITY OF STUTTGART STUDENTS IS BASED ON SEA-URCHIN SHELLS (2016) <HTTPS://WWW.DEZEEN.COM/2016/03/17/SKYFARMROGERS-STIRK-HARBOUR-PARTNERS-GLOBAL-FOOD-CRISIS-VERTICALFARM-CONCEPT-BAMBOO/> [ACCESSED 3 MARCH 2017]. 2 ibid.

CONCEPTUALISATION

FIG.5: SKYFARM CONCEPT IMAGE

FIG.6: CUSTOMISABLE HYPERBOLOID STRUCTURE

FIG.7 SKYFARM OPERATIONAL DIAGRAM

CONCEPTUALISATION 11

Critical thinking in design is essential to design futuring and progressing the profession and society towards an ideal future. Through critical thinking creative and challenging design is created and prompts others in society to discuss topics of importance. Architects have thought that the meaning of architecture is to create an encounter between the building1 and the public, to create something that the public engage with. Critical thinking achieves exactly this, through trying to illustrate an issue the design invites a discussion from the public and as such causes the public to engage in the architecture.

1 PETERS BRADY, â&#x20AC;&#x2DC;COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHTâ&#x20AC;&#x2122;, ARCHITECTURAL DESIGN, 83.2, (2013), 8-15 (P. 13).

FIG.8: ROCK PRINT DETAIL

COMPUTATION

CONCEPTUALISATION

FIG FIG1:9:ROCK ARMADILLO PRINT DETAIL VAULT

Computational Design

Digital computation enables designs to be informed by “performative design, tectonic models and digital materiality”1. This has pushed designers to explores the limits of manipulated material systems and reconnect with the role of architect as master builder2. Computational design enabled Achim Menges and students’ to explore an alternative material system in their biomimetic ICD/ITKE research pavilion through research of natural elements and material performance. Powered by the creativity of computational design ETH Zurich researchers were able to experiment with the limits of the structural ability of stone. Computational design allows architecture to extend beyond the realm of stylised functionality and into a design that “produces forms in response to conditions of the environmental context” a kind of second nature of which architects are the creators 3.

1 OXMAN, RIVKA & ROBERT OXMAN, THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE, 2014), P. 6. 2 ibid., P. 5. 3 ibid., P. 6-8. CONCEPTUALISATION 15

Case Study 1: ICD-ITKE Research Pavilion 2015-16 Stuttgart, Germany ICD-ITKE University of Stuttgart 2015-16

This pavilion and research project broke boundaries of peopleâ&#x20AC;&#x2122;sâ&#x20AC;&#x2122; conceptions of the limitations of common materials. Digital programs were essential in this design; from measuring material properties to modelling these as tectonic systems and experimenting through parametric modelling the forms and structures this could create. This project is ground breaking in the overall treatment of the material. Not only has it been shaped and arranged in unique ways but its has been constructed in a pioneering fashion. Through the use of programmed robots the beech plywood was able to be industrially sewn together1 forming a tensile structure of individual unique cells, almost completely eliminating human construction.

able to replicate elements in construction2. In this way the design project was not simply a project in the design and exploration of new construction in a building but in its entirety a research project of natural systems and how they can be applied to the built world. In this way it is addressing the idea of design futuring, by thinking critically about how we use materials, which materials we use and our ideas of architecture and how to design spaces. This could only be possible through computational design, employing digital technology throughout the entire process allowing for a fluid, adaptive design flow.

Models of the capacity of the material to bend were made and this data was included in the parameters of the algorithm. With this capability that computation offers, the full extent of the material is able to be utilised with the knowledge that a limit is set so that it cannot fail. This results in many curved elements that are stable and seem to defy logic but are in fact completely defined by logic. The success of this project is not only due to the understanding and experimentation of the material system, the project succeeded by analysing and de-constructing natural forms. The team focussed on a sea urchin, deeply investigating the properties of the structure to be 1 MAIRS, JESSICA , ROBOTICALLY FABRICATED PAVILION BY UNIVERSITY OF STUTTGART STUDENTS IS BASED ON SEAURCHIN SHELLS (2016) <HTTPS://WWW.DEZEEN.COM/2016/05/05/ ROBOTICALLY-FABRICATED-PAVILION-UNIVERSITY-OF-STUTTGARTSTUDENTS-PLYWOOD-ICD-ITKE/> [ACCESSED 10 MARCH 2017].

CONCEPTUALISATION

ibid.

FIG.10: ICD/ITKE RESEARCH PAVILION 2015/16

FIG.11: ICD/ITKE RESEARCH PAVILION 2015/16 DETAIL

FIG.12: ICD/ITKE RESEARCH PAVILION 2015/16 DETAIL

CONCEPTUALISATION 17

Case Study 2: Armadillo Vault Venice Architecture Biennale ETH Zurich 2016

The Armadillo Vault by Block Research Group used computational methods to stretch and enhance the traditional methods of construction to bring common materials into leading architecture. The project is by nature of computational design a research project. Computational design almost requires a topic to research and explore through design and this project set out to explore compressive forces. Digital technology was used to analyse the structural abilities of stone and the structural flow of compressive forces1. With digital technology the flow of compressive forces was able to be modelled to then use in parametric design. The ability for computational design to integrate digital materiality, tectonic models and performative design is what enables this project to succeed. It is through this morphological parametric design process that a gravity defying, stable structure is able to be built with a material thought to be limiting in it simplicity. Parametric design processes enable research like this design to realise the excess use of steel and the capabilities of natural materials in minimal amounts. Not only were the team able to research and design this structure from digital design but they were able to fabricate the structure as well. This process of design from inception to fabrication makes the design process once again a single whole unit controlled and designed by the architect rather than just one individual step in a large manufacturing process. Through the use of computation techniques this research team has renewed that sense of the architect being the master builder becoming more than just an artist and now more of an experimental and research engineer discovering the capabilities and nature of the natural materials around them. 1 BLOCK RESEARCH GROUP, BEYOND BENDING VENICE ARCHITECTURE BIENNALE 2016 (2016) <HTTP://WWW. BLOCK.ARCH.ETHZ.CH/BRG/PROJECT/VENICE-BIENNALE-2016_ BEYOND-BENDING> [ACCESSED 10 MARCH 2017]. 18

CONCEPTUALISATION

FIG.13: ARMADILLO VAULT

FIG.14: ARMADILLO VAULT DETAIL

FIG.15: ARMADILLO VAULT

CONCEPTUALISATION 19

Computational design enables experimental and progressive design and research to occur furthering the design process while posing and suggesting answers to many complex problems faced by the profession. It has also enabled the design profession to evolve and adapt to become more succinct and able to respond to the current environmental circumstances. Computational design is essential to the precise nature that is required of design in this era. It allows for constant iterations of designs and modification that could not be comprehended in any other form of designing, and that are essential to the exact response to the brief and environment and precise fabrication and construction that products of this method exhibit. Computational design is causing the evolution of design and the design profession, allowing it to better respond to the needs of society and the world.

FIG.16: ICD/ITKE RESEARCH PAVILION 2015/16 DETAIL

COMPOSITION/ GENERATION

CONCEPTUALISATION

FIG 17: SUBDIVIDED COLUMN - A NEW ORDER NEGATIVE DETAIL

Composition/Generation

The existence of computational design techniques has caused a shift in the design thoughts and processes a designer goes through to develop a design. The architectural world now with the use of parametric design models has changed from a compositional approach to a generative approach whereby the form of the building is produced from a designed algorithm. This shift from designing the look of the building to designing how the design is made or defined has led architects to stretch the possibilities of the built world. This requires algorithmic thinking, being able to interpret and “understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials.”1 The key role of the designer in computational design is now designing the tools for the creation of the outcome, this “takes place within the design process, and becomes integral to the design itself.” 2

1 PETERS BRADY, ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83.2, (2013), 8-15 (P. 10). 2 ibid., P. 11. CONCEPTUALISATION 23

Case Study 1: Subdivided Columns - A New Order Gwangju Design Biennale Michael Hansmeyer, 2011

Michael Hansmeyerâ&#x20AC;&#x2122;s Columns project is an experimental and engaging discourse on the limitless possibilities of generative design. The project was centred around establishing a new column order that reflected the nature of computational design1. The form of a Doric column was used as a base form and the measurements of the different segments of the column was information that the code took into consideration. Hansmeyer developed a code that divided the surfaces of the geometry inputed and respected the existing rules of that form2. In this way the columns produced by this code still exhibit a base, shaft and capital. In this way the architect has diverged from past processes where they would actually design a new column and instead computation has allowed the processes that produce a column to be designed. The intricacies of the columns could only be possible through a generative design approach. By not limiting the designer to their imagination of what could be and instead providing tools that respond to slight instances of creativity highly creative products can be produced. The columns created respond to so many rules resulting in a unique effect that from every angle the column appears symmetrical but every view of the column is unique. Algorithmic thinking has been essential in this project to lead the architect to generate the columns. Generative design rather than compositional results in the emergence of similar yet individual columns, all completely different but linked through their common code defining them. This form of designing takes us closer to designing like nature where we define the rules but not the outcome and thus create related but distinct products.

1 HANSMEYER, MICHAEL , SUBDIVIDED COLUMNS - A NEW ORDER (2013) <HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/COLUMNS_INFO. HTML?SCREENSIZE=1&COLOR=1#UNDEFINED> [ACCESSED 17 MARCH 2017]. 2 ibid. 24

CONCEPTUALISATION

FIG. 18: SUBDIVIDED COLUMN - A NEW ORDER COMPUTER RENDERING

FIG.19: SUBDIVIDED COLUMN - A NEW ORDER COMPUTER RENDERING DETAIL

FIG.20: SUBDIVIDED COLUMN - A NEW ORDER

CONCEPTUALISATION 25

Case Study 2: Under Magnitude Orange County Convention Center MARC FORNES / THEVERYMANY 2016

Marc Fornes project Under Magnitude is a leading edge exploration of the structural possibilities computational design is capable of reaching. The project researches the structural properties of intensive curvature, “maximizing double curvature while constraining maximum radii” 1. This results in a dynamic, tubular, organic form created with 1mm thick aluminium. The generative design process was essential to this design, beginning with one simple idea of a definition and fine tuning it to develop the end product. Thinking algorithmically allowed Fornes to develop a code to produce intensive curvature and then sketch and model the outcomes, altering the code with each iteration until it was complete. This smooth continuous process from code to model and back allows Fornes to exhaust all the opportunities of intensive curvature to come up with the most structurally stable product of the code, strong enough through its shape that the 1mm thin aluminium that it is constructed of can still hold a person standing on it. The use of computation enabled the studio to achieve a unity of “surface, structure, and space” 2. This design and process of generation has and will further push the limits of structure in the built world and the use of materials in construction. The development of a form so new and unprecedented in physical buildings required ingenuity in not only the form generating process. The whole structure has been developed by the studio not only the form but the material system 1 BARI OSMAN, MARC FORNES / THEVERYMANY USES INTENSIVE CURVATURE TO CREATE SUSPENDED SELF-SUPPORTING STRUCTURE (2017) <HTTP://WWW. ARCHDAILY.COM/804473/MARC-FORNES-THEVERYMANYUSES-INTENSIVE-CURVATURE-TO-CREATE-SUSPENDED-SELFSUPPORTING-STRUCTURE> [ACCESSED 17 MARCH 2017]. 2 ibid.

CONCEPTUALISATION

of strips of less than 1mm thick aluminium that fit together transferring the load along the surface of the structure. These kind of innovations are possible in the realm of computational design. Thinking algorithmically is essential to the designs Fornes produces through generation, it enables the natural growth of an idea from seed to product and the endless modification of the code and interpreting the results. Generation is key to Fornes’s spectacular designs that test the boundaries of construction, and pushes design to make new discoveries not simply realise an idea of what someone already thought was possible.

FIG.21: UNDER MAGNITUDE

FIG.22: UNDER MAGNITUDE INSTALLATION

FIG.23: UNDER MAGNITUDE COMPUTER MODEL OF STRUCTURAL SYSTEM

CONCEPTUALISATION 27

Generative design opens up new opportunities for designers and design. By designing with only a start point in mind a designer is not limiting themselves to what their imagination can come up with, they are instead feeding their creativity and letting it thrive with the new possibilities that digital design can offer. Generative design leads to so many new and boundary testing results by allowing a designer to not know where they are going but letting them explore and test the limits of a topic they have chosen. It is a very unique and unprecedented form of designing that offers so many benefits and can lead to discoveries of structural properties of forms and properties of materials that were previously unexplored. This form of designing is almost essential for progressing the realm of the built world and overcoming problems we as a society face.

FIG.24: UNDER MAGNITUDE

CONCLUSION

CONCEPTUALISATION

FIG 25.: SITUATION ROOM

The plan is to approach this design with all that has been discussed in the research presented; critical thinking, computational design and generation will be key. With critical thinking I will be able to explore a topic and through this I will create a design that causes the public to engage in the design and starts a discussion that may influence others. Computational design has been proven to be a very successful and powerful way to research and explore through design pushing the limitations set by precedents and limited understanding of design as we know it to create superb exhibitions of structure, form and material performance. Approaching this design from a generation perspective will allow for a unique product that precisely addresses the brief and contextual environment while simultaneously allowing for a design process that is fluid and grows naturally exploring endless possibilities unrestricted by imagination or computing power. This approach to design is essential to dynamic, influential designs that impact and further progress society towards a more preferable future. This approach furthers the profession of designers and furthers the possibilities of the built world, thus benefitting society and aiding our development as a species and our interaction with this world.

CONCEPTUALISATION 31

LEARNING OUTCOMES

CONCEPTUALISATION

FIG. 26: DIGITAL GROTESQUE

Through Part A I have developed a much greater understanding of architectural computing and design as a profession. From the beginning learning about design futuring and critical thinking in design, I learned that design can be more than just creating an object for a function that society demands. In fact design can be about thinking and analysing society and providing them with designs that cause them to think and progress society through their interaction with design. Computational architecture has truly astonished me it is astounding what the benefits of parametric design and generative design methods can be. I have come to think about architecture in a whole different way, seeing it not just as a single instance of responding to a brief but as a continuous exploration and research of the possibilities of this world. This research on computational architecture has caused me to think about my contribution to this growing real of architecture. I plan to continue my skills in computational design that were previously null but have now become somewhat competent. Computational design offers so much to the design process that I now want to explore this further. These skills and knowledge I now have could have helped me to further develop the second skin sleeping pod design for digital design and fabrication. We could have used parametric modelling to design a screen similar to the one we developed that was more dynamic, by responding to personal space more closely and to light and sound parameters the density of the mesh pattern could have changed to resolve those issues.

CONCEPTUALISATION 33

APPENDIX - ALGORITHMIC SKETCHES

CONCEPTUALISATION

This Sketch was and experiment in attractor points. It used the tools lofting, divide surface, create spheres and difference. It was a useful exercise exploring parametric modelling.

CONCEPTUALISATION 35

This sketch was an experiment with divide curve and bi-arcs. It was interesting to realise how the loft function works differently on bi-arc and arcs. I also experimented with the gradient tool and using it to represent attractor points.

CONCEPTUALISATION

This sketch was an experiment in offset and array tools. It was interesting to see how the loft tool worked on non-planar curves. It was also impressive to see how well the array tool worked along a non-planar curve.

CONCEPTUALISATION 37

This sketch was an attempt to replicate the Heatherwick Cathedral. It was a more complex sketch than previous. It involved setting brep surface and dividing a sphere having lines project from the points on the surface. Then finding the intersect of the brep and the lines to become the start point of new curves. these curves were bent by finding the end point of the curves and adjusting their z value to make the poles look as if they droop under gravity.

CONCEPTUALISATION

This sketch was an exploration with the image sampler tool. I first made circles on a grid where the radius was dictated by the image sampler. I then tried spheres. I also tried moving the spheres in the z direction by the image sampler values. I then used this set of values to also define cones and extrude the circles.

CONCEPTUALISATION 39

RESEARCH FIELD

CRITERIA DESIGN

FIG 27: TEXTILE HYBRID M1

Material Performance Understanding and celebrating unique material properties

Material Performance is a research field in computational design that focuses on material behaviour. In this field a material is chosen to explore and through computational modelling the limits of the material are mapped out. In this way new material uses and forms can be achieved. Light weight materials can be constructed in mass material type systems and mass materials can seem weightless. To achieve a good design in material performance particular attention has to be paid to not only the materials behaviour but to the fabrication. How is it joined, cut, how does it respond to other materials. The Textile Hybrid M1 at La Tour de lâ&#x20AC;&#x2122;Architecte in France is an example of a design created in the research field of material performance. The pavilion was designed to have minimal impact on the land so had to be a very light weight structure. The result was a textile hybrid system that was capable of resisting loads from wind, rain and snow1.

1 INSTITUTE FOR COMPUTATIONAL DESIGN, TEXTILE HYBRID M1: LA TOUR DE Lâ&#x20AC;&#x2122;ARCHITECTE (2012) <HTTP://ICD. UNI-STUTTGART.DE/?P=7799> [ACCESSED 28 MARCH 2017].

FIG.28: TEXTILE HYBRID M1

To achieve a structure like this the team had to go through a process of computational model, prototypes and back to computation. They tested the physical properties and varying scales to further inform the computational model2. The system was very dynamic having an element of self-organisation3. The Structure is able to span up to 8 metres with a fairly unstable material through the effects of stress stiffening, by bending and stretching the material. Various lashing and lacing techniques were employed to join the structure together4. Metal eyelets were used to be able to tie the textile to the rods. string of various kinds were used to tie the rods together and to tie the textile to the rods. The area of material performance offers many opportunities for exploring potentials of materials and material systems. It also has many consideration for fabrication depending on the material chosen.

2 ibid. 3 ibid. 4 ibid.

FIG.29 : DETAIL TEXTILE HYBRID M1 CRITERIA DESIGN

CASE STUDY 1.0

CRITERIA DESIGN

FIG 30: VOUSSOIR CLOUD

Voussoir Cloud Southern California Institute of Architecture gallery, Los Angeles IwamotoScott, 2008

The design is a purely compressional structure with a material that is ultra-lightweight. The design relies on the vaults and the walls of the gallery for the compressive structure to work. The form finding process involved a digital chain hanging method and others to find a form purely of compression. The vault is made up of cells that are found with a Delaunay tessellation. The cells both dissolve and articulate the structural forces seen in the design. They do not show the paths of the forces but the cells can be seen to get more dense and small in areas where more strength is required. The design is effective in reinterpreting the traditional voussoirs from hefty masonry pieces to light, fragile cells of a larger system. The design is an interesting exploration of the structural properties of a flexible light weight material as a single repeatable element. It is a simple idea taken to the extent of its structural ability. The form is completely defined by the properties and behaviour of the individual cell. This is an interesting method for developing an idea but it is quite restrictive in its potential possibilities and creativity. The form will always result in similar ways and will always have to follow the same rules and limitations.

CRITERIA DESIGN

Altering Kangaroo physics properties

Iteration Matrix

2 Increase z-force

3 Change force to x-force

7 Subdivide surface for of grid points

8 loft 3 curves to get fold at end

9 loft 3 curves straight

13 change from scaled cells to circles

14 increase number of cells

15 loft to moved copy of top surface

16 decrease cells

18 twist loft

19 increase number of strips

20 loft between lines in same direction and one in opposite

21 increase strips and twist loft

25 create lines from cells to curves

26 move circles above surface

27 join two previous shapes

28 change surface shape to be rounder

Changing geometry and point arrangement

1 Original

CRITERIA DESIGN

5 Reduce anchor strength

6 Testing line of mesh

10 project voronoi onto non planar surface

11 increase amount of scaled curves

22 make lines along cell curves, extend the lines

17 shorten the lines at smaller cell

23 apply strips to non-planar surface

24 twist loft

29 loft between new surface a circle and a copy of the surface

30 loft up to circles

Strips to Lines and trumpeting meshes

From mesh to strips

4 Reduce line strength to min.

31 loft up and then to larger circles lower down

CRITERIA DESIGN

Successful Iterations Critically anaysing the results

This iteration I thought was successful because the forms that are existent are unique and can be applied to a ceiling or wall installation. There are a few kinks to be ironed out in the lofting but overall it is an interactive shape.

I thought this iteration was successful because could see it easily fabricated and yet it is still fairly interesting. The strip I imagine being a fabric and twisting them like the loft command. With quantity and the detail in the fabric a interesting piece could be made.

I really like this iteration. I think the simplicity but intricacy of just lines really highlights the interesting form here. By making it a sort of whole form its now an object with no back and no front.

This iteration is successful because of the interesting form that is created. It is engaging and could be a ceiling installation. It could be fabricated by making a frame and then stretching a fabric over the surface.

The definition that has been created can be very useful for the ceiling/ wall installation design. It could also be used to design a pavilion or sheltering element for a design. It is a very curvy, interactive form that is produced. It could create spaces that are created from textiles, strings, maybe metal strips. It is a very unique definition

CRITERIA DESIGN

FIG.24: UNDER MAGNI

CASE STUDY 2.0

CRITERIA DESIGN

FIG 31: WEAVING CARBON FIBRE PAVILION

Weaving Carbon Fibre Pavilion University of Tokyo T_ ADS team, the University of Tokyo, 2015

Discuss the design intent (idea/concept) behind the project and critically analyse if it has been successful in what it set out to achieve The project aims to use the tensile forces of a frame and membrane system to create a self supporting structure. The design achieves the intent of becoming self supporting through a weave of carbon fibre rods secured to a stretchable fabric that is 60% the size of the grid. The carbon fibre rods are then deformed by this tensile fabric creating a natural dome. This project is quite successful in its intent, it does however seem fairly limited in its develop-ability. That is usually the result of a individual project driven design, being suitable for that situation and not for others. It would be interesting to see what a different grid pattern could do to then form that is created.

FIG.32: WEAVING CARBON FIBRE PAVILION

FIG.33 : WEAVING CARBON FIBRE PAVILION

CRITERIA DESIGN

Reverse Engineer Re-making the design

Setting a surface

Panel the surface

Finding the centre of

Instead of coming up with a curved surface from a physics model the surface has been defined from the beginning as rather curved and in a similar doe shape as the precedent.

The surface is then divided into diamond panels to get the grid like pattern.

The centre of the pane finding the centre of th panels and then drawin

CRITERIA DESIGN

panels

els is found by he edges of the ng a line between.

Finding the sag

Loft

The centre point of the panels is then moved down in the z vector depending on the angle of the normal of the panels so the panels with normals closest to the z vector move further. Then an arc is drawn between the start and end points of the line through the centre of the panel and the moved point.

The panels were then created by lofting between one edge of the panel to the arc through the centre to the other edge of the panel. This loft reflects the behaviour of the material when it is stretched.

CRITERIA DESIGN

Outcome Reflecting on the final geometry

The final outcome of the reverse engineering went fairly well I thought, however there are many differences. My technical abilities are not capable of creating a physics model so I was not able to create a model whose form was created by the material properties of the grid and fabric. Because of this my model only models what I think the material would look like over the grid that I had created. This designâ&#x20AC;&#x2122;s grid is also not as curved as the case study project, because it was created with only four curves all going the same direction and not in perpendicular directions. The case studyâ&#x20AC;&#x2122;s form was created with each rib in the grid having a different curve pattern. The reverse engineered model however looks similar in the ways that the structural grid is clearly displayed through the loft. The material is also modelled fairly similarly through the modelling of the sagging/ tensioned fabric by adjusting the curve amount by the angle of the plane of the panel.

CRITERIA DESIGN

This design can be further be explored by differing the grid pattern. By doing this the dome could take a different form. The material properties could also be played around with, making it more slack of more taught. It would be interesting the explore the possibilities of a different material that instead of sagging could bulge. A different material or individual panels could be fixed to the grid to create a more interesting design.

CONCEPTUALISATION 53

TECHNIQUE DEVELOPMENT

CRITERIA DESIGN

The following iterations were an exploration from the reverse engineered Weaving Carbon fibre Pavilion of the possible directions to design a ceiling or wall installation for a ballroom. We have been searching for a material to create this unique design with and have a felt material in mind.

CRITERIA DESIGN

Altering bulge of panels

Iteration Matrix

1 Make panels bulge outwards

2 Change surface to vertical

3 Change panels to skewed rectangle

7 Change the radius of arc in different columns

8 loft 3 curves to get fold at end

9 make alternating columns arc forward and back

13 change some panels to flat and curve both edges

14 change the panels to skewed quad

15 change panels to diamond

16 alternate catenary curve forward and back

20 change number of panels to see the pattern from attractor points better

21 use a line attractor

22 change to arcs on both edges of curve

23 alternating quads with more panels

26 use particle trajectory from spin fields to map lines,

27 alter the spin fields

28 change the graph-mapped surface distance

29 change the spin radius and decay

6 lift only one edge of the panel in an arc

project them to a graph mapped surface, loft. 56

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Changing to strips that arch on the side 5 Change panels to offset quad

10 lift edge of panels with catenary curves

11 apply catenary curve to all panels

12 changing catenary arc height

17 catenary curve both edges and twist other panels

18 change arc height due to attractor point

19 change height based on multiple attractor points

Point trajectory mapping and graph mapping

4 Change panels to quad

24 change to skewed quads

30 change the graph map

25 change panels to quad

31 move the spin fields

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Random panel generation 32 make random panels on surface and curve edges

33 change the random panels curve both edges on alternating columns

34 change random panels again

38 change to squares to circles

39 change to fewer panels

40 change to alternating quads

44 change circles to squares

45 change to diamond panels

46 change the distance the surface lofts with range

47 change the distance with random numbers

50 arched hoods on surface

51 increase randomly located hoods

37 add more panels

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Lofting to different shapes

35 change random panels, more panels

42 remove random panels

43 increase number of panels

Testing patterning on surface

41 change to diamond panels

36 loft panel edges to square

48 change to random quads

49 regular strips, odd ones curved, holes in surface

CRITERIA DESIGN

My Successful Iterations Critically anaysing the options

I liked the bulging of the material here, it created a nice soft finish. It seems unrealistic for our material however to make this shape. This bulging would be interesting on a randomly panelled surface too

I thought this iteration was successful because of the natural curvature that the caternary curve makes. It is intriguing having the panels curve back and forward. It would be interesting having more random panels.

CRITERIA DESIGN

I really like how this iteration looks. Having a line attractor has made a dynamic pattern across the surface. The pattern works well having both sides of the panel curved as it makes it more interesting when looking from the side.

I found this iteration to be the most successful. I really like the natural order the lines make, it is really interesting where the line come closer together making more shadows. It is also successful because when seen from the side the graph mapper made it possible to change the depth of the strips relate to the arrangement of the lines, getting shorter where the lines come closer together.

Group Chosen Successful Iterations Critically anaysing the combined options

I like the overlapping bulges that have a clear logic behind the size of the bulges. The line attractor makes it very legible.

We liked the organisation of the curved panels here. We liked the movement the spin forces creates. Its a nice dynamic design.

MY ITERATIONS

We liked the drama of the bulges in this iteration. There are a lot of bulges and the variation in the heights is interesting.

This iteration is nice in how there is a multitude of different bulges at different heights. The thinness of the strips makes the bulges not look to messy when seen together.

JASMINâ&#x20AC;&#x2122;S ITERATIONS

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TECHNIQUE: PROTOTYPES

CRITERIA DESIGN

Testing Material Properties

Testing limits of bending

In this test we tried to see the limit of the bending of the felt. In this test the felt curved nicely and had no kinks. We believe this is because the felt had been manipulated quite a bit so it could bend easily.

In this test we tried to see the limit of the bending of the felt again however this time the felt kinked and bent crookedly. This could be because of the properties of the felt but it could also be due to the stiffness of the edge of the felt from being melted in the laser cutter.

In this test we tried to test if the material could bend on one edge and stay flat on the other. We found that the material can only bend a very slight amount on one side without lifting the other side. This amount relates to the width of the panel with the thinner panels able to bend small amounts before both side bend. This is something we will have to consider in the algorithm and prototypes, that the material will bend on both sides of the panel not just one side.

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Prototype 1 Exploring detailing effects and design concept

Detailing Testing

1. DETAIL TESTING FOLDING AND SEWING - FRONT

2. DETAIL TESTING FOLDING AND SEWING - BACK

This was a test in a patterning detail. We think it looks really nice and has interesting detail but it isn’t a develop-able approach. It is also very labour intensive and craft rather than architectural. Image 1 is with a thin felt and it is much more pliable than the thicker felt in image 2. The side showing in image 1 is also more interesting because of the shadows created. It would be interesting to use this to control the filtration of light such as in an outdoor setting but not for a ballroom.

The detail in image 3 was an experiment in detailing with a threading type method. It turned out quite boring, completely crafty and has no interesting direction to further develop a design. The detailing in image 4 attempted to create openings to create interest. It didn’t wok as well as we thought it would as the felt was more rigid and thus didn’t fold open. It could have been used to control light filtration if it did work. 3. DETAIL TESTING TREADING FELT THROUGH FELT

4. DETAIL TESTING SEMI CIRCULAR OPENINGS

Concept test prototype - Connection detail

5. DETAIL OF JOINT CONNECTION 64

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6. DETAIL OF JOINT FAILING WITH SOFT FELT

The connection methods involves a male and female part that slot nicely together with very clean detail on the front. The connection detail is quite rigid partly because the edge that has been laser cut is stiffer from being melted. In image 6 male part is pulling out of the connection because the felt is a thin felt that is very flexible. This is one reason why we have decided against this material. The connection is quite big and bulky though and needs refining.

Failures of Prototype 1

7. ONE ARRANGEMENT OF PANELS

8. KINK IN FELT

9. DETAIL OF JOINT FAILING WITH SOFT FELT

10. UNEVEN BULGE

11. KINK IN FELT

12. ARRANGING PANELS VERTICALLY

Prototype 1 allowed us a lot of freedom to explore what our system is capable of and how it responds to certain factors. The prototype is made of three panels that have female and male connections in different locations so that many arrangements can be made. We tried using the 1mm thin felt as seen in image 9 and it made some lovely soft curves however the material was very limp and didnâ&#x20AC;&#x2122;t bring anything unique to the design. In images 7 and 8 the 3mm thick felt when bent in on one edge and bent out of the other kinks and folds. In image 11 kinks are also seen this is because the material has reached its maximum bend.

In image 10 the bulge is uneven bending more on ones side than the other. This could be because the bend is near the end of the panel and thus the edge can bend more. This is something that we would like to avoid and should design maybe smaller arches near the edge of panels. Finally in image 12 the panels were hung vertically, this is kind of interesting with one side being able to see into the bulges and the other side being smooth. It isnâ&#x20AC;&#x2122;t really what we are after however, the light washes out the bulges instead of highlighting them reducing the effect of our design.

CRITERIA DESIGN

Successes of Prototype 1

1. MULTIPLE BULGES

2. SLIGHT BULGES AND FLAT

Prototype 1 had a few aspects we wanted to keep and improve. In image 7 some bulges can be seen and although they arenâ&#x20AC;&#x2122;t perfect seeing multiple medium bulges and a flat section is and interesting view. The prototype in image 2 shows that even with very slight bulges the design still has some interest because of the shadows. The shadows

3. SMALL BULGES AND FLAT

mean that even tiny bulges are shown meaning our design doesnâ&#x20AC;&#x2122;t have to have dramatic bulges. Image three shows a transition between medium bulges and small or flat bulges. This is successful because it shows that it is possible to alternate sizes of the bulges without interrupting the material system.

Reflections and Improvements for Prototype 2 For prototype 2 we would like to explore our system in more detail. Longer length panels will be needed to stop the uneven bending in the bulges and to keep the system flatter and not curl up as much. We want to try and explore more connection and a wider variety of different spacings so that different height bulges can be seen. More panels will be needed to see a larger effect of connecting panels to each other once they are already curved. Having more than three panels will mean we are able to see how multiple panels behave together. We would like to test different width panels having 66

CRITERIA DESIGN

a variety of different widths to make the system less regular. It will be interesting to see how the varying widths respond differently to the bulges. We want to improve our connection detail so that interrupts the curving of the fabric less. It would be interesting to test different patterning and to see how this affects the bulge or how the bulge affects the patterning. Finally for easy of testing we should etch numbers into the panels to keep track of the order of the panels

CRITERIA DESIGN

Prototype 2 Exploring detailing effects and further testing design concept

Successes of Prototype 2

1. ONE ARRANGEMENT OF PANELS

2. ACCUMULATION OF BULGES

Prototype 2 was very informative on the behaviour of our material in our designed system. We were able to explore more opportunities and more variations of bulging. In image 1 there is a range of dense medium bulges and more spaced larger bulges. This creates a very organic natural growth in the design. Image 2 displays the accumulation of an overall bulge in the system because each successive panel is attached to an already curved panel just adding to the bulge. This could be an interesting feature if we wanted to create a feeling of the wall curving outwards at the top making the visitor feel more enclosed. Image 3 shows what happens when the panels get smaller towards the base becoming less able

4. REDUCED JOINT SIZE 68

to resist the overall curving force of the system. This creates a nice natural curve and tail to the design which could be an interesting avenue to explore for detailing the edges of the design. In prototype 2 we have successfully reduced the size of the fixture joints and still have them function successfully. The material is quite rigid so it works but we would not want to make them any smaller as it becomes difficult to construct. Images 5 and 6 show the variation we can achieve in our system. The design looks good both with areas of high density bulges and with more subtle smoother areas creating a dynamic design.

5. HIGH DENSITY OF BULGES CRITERIA DESIGN

3. CURVING OF PANELS

6. LOW DENSITY OF BULGES

Failures of Prototype 2

7. VERTICAL PANEL ALIGNMENT

8. PANELS VIEWED FROM CLOSED SIDE

Prototype 2 also had areas for us to improve. We again explored the vertical arrangement of the panels to see if more panels would make it wore interesting. This did make a difference but because of the accumulated bulge the panel dis-formed and hung diagonally looking like a design defect. The view from the closed side (image 8,9) was nice and was very subtle. This could be a possibility if we had multiple directions in our system by changing the sides that the male and female

10. PATTERNING RUINING CURVE

11. DEFECTS FROM FABRICATION

9. PANELS HUNG OPEN SIDE UP

were on with panels of double male or female joints. We tested patterning in the design and it didnâ&#x20AC;&#x2122;t work. It disrupted the material behaviour creating broken arc rather than smooth and caused kinks. The patterning also cause issues with the fabrication. The density of the lines cause the material to heat up and curl causing burns, lines cut through folded material, incomplete/ sealed cuts and missing cuts (image 10-13)

12. SEALED CUTS

13. KINK AND FOLD FROM PATTERNING

Reflections and Improvements for Prototype 2 Overall prototype 2 was successful and informative however it has also given us much to think about and improve on. It was useful for testing to have regular female joints however in our design we donâ&#x20AC;&#x2122;t want to have any unnecessary male or female joints. We want to have more control over the placement of bulges and the size of bulges with some idea governing the decision. We were thinking possibly mapping dancers movement or sound waves.

We should also have greater control over the overall shape of the system instead of being simply a rectangular curtain. We have thought about maybe using the curling edges in image 3 or maybe shaping the panels to not be rectangular at the end. We also want to look at controlling the accumulative bulging possibly by having panels with male or female on both edges of the panel to change the direction that the accumulation occurs.. CRITERIA DESIGN

Prototype 3 Exploring detailing effects and further testing design concept

Observations of Prototype 3 Prototype 3 was a chance to explore what the system would look like at larger scale. The prototype was interesting because it showed us what happens when the system is hung and how the overall bulges have to be controlled. The system of using a double male and double female panels to change the direction of the open and closed sides. The double male panels (image 2) mark the peak of the accumulated curve and the double female panels are at the trough between the accumulated bulges. This prototype showed us that it is possible to hang the system around doors and make it have thin sections. We do however need to be careful about where we put the areas of dense bulges to stop the accumulated bulge affecting the overall shape as seen in image 1 where the panel seems to have a waist.

1. PROTOTYPE 3

2. DETAIL OF DOUBLE MALE PANEL

There were areas to improve upon in prototype 3. In image 5 it is clear that the bulging has become too large and thus obtrusive. Wee will need to further control the greater curves of the system so that they do not occur in inconvenient locations. 4. DETAIL OF BULGES

In this prototype we tried controlling the bulges with a base image of a dancer. This didnâ&#x20AC;&#x2122;t however show up so well and the whole system just looks messy. I think this is because there were not enough smaller bulges and flat areas, this is partly due to the scale of the model. The system was easily hung from four points holding its own weight and bulging naturally between the points.

3. HANGING METHOD 70

CRITERIA DESIGN

5. ACCUMULATED BULGE

Reflections and Improvements for Prototype 2 Prototype 3 was interesting and gave us many things to think about. We need to very carefully place the fixture points in our model as they can change the whole behaviour of the design. We also need to come up with a guiding image or pattern to create some sense out of the natural chaos of the design. I think we also need to think about how to fit it into the site of the ballroom more fluidly. At the moment the design acts as a curtain on a rectangular wall and cuts around the

door way. We should come up with a more creative way of dealing with the space that we can install our design. It would be interesting although difficult to explore differently shaped panels to create a clearer design idea.

CRITERIA DESIGN

TECHNIQUE PROPOSAL

CRITERIA DESIGN

Ballroom Proposal

Our proposal for the ballroom is a sophisticated, acoustic wall hanging which inspires the atmosphere of a traditional ballroom brought into the contemporary era. We want to contribute to the atmosphere of the ballroom with an innovative, luxurious and grand wall installation that additionally has functional acoustic properties. Through exploring the areas of material properties and strips and folding we have developed a system that can be arranged on the walls in a dynamic and interactive way. The design is a system of interlocking panels that snap together and form bulges of varying sizes. These bulges are dictated by a governing image of the movement of a dancer. These bulges accumulate and cause the system to billow out at the top enclosing the space and exaggerating the height of the room, emphasising the grandness of the space.

FABRICATION SEQUENCE

The design functions well acoustically due to the shape of the system, the space between the system and the wall and the material choice of felt. The design is innovative because of the way we have taken a material usually attached to a support structure and given it structure of it own. It is also unique in its approach to acoustic properties as most systems tend to use a patterning or sectioning method.

CRITERIA DESIGN

LEARNING OBJECTIVES

CRITERIA DESIGN

In Part B I have developed my skills considerably. To begin with my skill in computational design have grown and I am not capable of reverse engineering designs and exploring the possibilities for extending the algorithm. Sketching using parametric modelling is something that is new to me and is becoming more familiar. It is a very useful tool and completely unique. With computational design it has helped me discover that there are multiple solutions to a given situation. Through creating numerous iterations multiple different design opportunities were created and very quickly. In Part B we were thrown head first into the realm of prototyping. We learnt so much so quickly about the way it works and the benefits of prototypes. It was extremely useful to fabricate what you had been working on digitally and see how it reacted and most often it reacted differently to the way you expected thus informing you and helping you improve the algorithm. It is amazing how much your ideas can develop from prototyping and between prototypes. When we got our first prototype we thought it was really interesting, now looking back at it after all the other prototypes its hard to see what we found so interesting. In part B we worked on creating a proposal and we learnt many things. We had an idea but we learnt how to formulate it and fine tune the idea to present it and to get our idea across clearly to an audience. It is difficult getting an idea across that is so clear in your mind but foreign to others. It was also an important part of our proposal to find out the site and try and come up with a unique way to implement our design within the site.

CRITERIA DESIGN

APPENDIX - ALGORITHMIC SKETCHES

CRITERIA DESIGN

This sketch was an exploration of the technique of scaled panels such as those in the Albahar tower. We explored ways of dictating the scale level based on the orientation of the panels.

CRITERIA DESIGN

These sketches took the same principle and applied it to different geometries. I also explored the effects of changing the orientation of the plane that I am using to manipulate the scale of the panels. Some of the sketches also changed the orientation of the panels themselves.

This s that th so tha

CRITERIA DESIGN

sketch is more like the Albahar tower in the way he scale of the panels is dictated by a XZ plane at the control of incoming light is achieved.

CRITERIA DESIGN

This algorithmic sketch attempted to rebuild a basic version of the exterior facade of the SAHMRI building. It was interesting the way the data for the panelling had to be split to be able to manipulate it. I manipulated the way the panels pointed and how much they extended..

CRITERIA DESIGN

DESIGN CONCEPT

PROJECT PROPOSAL

Reflecting on Feedback monotonous, messy, unclear guiding logic

The feedback we received from the Part B crit was that our design was quite monotonous and the relationship or guiding logic of the design was not clear in the finished project. The design at this stage is too boring with straight strips it doesn’t allow us much creativity. To change this we are going to explore the possibilities of curved strips that have a varying width along their length. This will create more interesting shapes and bulges. Currently we have been trying to explore the changing size of the bulges but focussing more on the width of the bulges, moving forward we will try looking at changing the height of the bulges instead and creating more dramatic change between the height of the bulges of the whole installation. This will create a more interesting design as their will be obvious change and movement between the height of the bulges. The other feedback was that there wasn’t clear logic seen in the finished design. In our previous design it was guided by an image mapper but because of the straight strips and the ineffective change in bulge size this didn’t come across clearly. The image mapper also didn’t work because the detail in the image was hard to get across in the scale that our strips and bulges were in, it was like having a very pixelated image where the content is no longer discernible. So we will move away from the image mapper and instead try and guide our bulge heights by the geometry of the strips. We will look at changing the bulge height based on the width of the panels,

the direction of the panel at the that location or the distance between the connections. The last bit of feedback was that the organic nature of our design and material was nice and that we should harness it but at the stage we are at now it just looks messy. To help guide us to a controlled organic aesthetic we have looked at Sift Studio and the couture designs by Iris Van Herpen. Sift Studio’s work is very organic, this is best seen in the Hover project, but there is an underlying parametric control in their work that allows these designs to be highly considered and legible, without being messy. They have been able to convey very tiny details and subtle effects that look completely organic and natural because they have embraced the properties of the material they are working with and cleverly controlled the design parametrically. The designs by Iris Van Herpen are brilliantly controlled explorations of the capabilities of the material she is using. Her designs are relevant to our design in that we are also using a fabric and bulging it to get stiffness. WHat we will be looking at most however is how she uses mass amounts of thin strips to create an elegant controlled form but also allows the material to behave naturally to create something quite unique and informed by the material. We wish to combine these two aspects from both Sift Studio and Iris Van Herpen to create a more controlled but still unique material informed design.

PROJECT PROPOSAL

FIG.34: CAPRIOLE COUTURE

FIG.35: CAPRIOLE COUTURE

FIG.36: THE MATERIAL FRINGE II

FIG.37: HOVER

Site Analysis Analysing a potential location

The site being a functional ballroom has little areas of blank walls. The two sides of the room that are solid have many cupboards and entrances perforating the wall to the full height of the ceiling. The other two sides of the room are floor-to-ceiling glazed with only four structural columns ensuring the most views. It was suggested in the crit that we should look at our design encompassing a smaller space than the entire wall. This will change our design from simply being a nicely design wall covering to being a unique design more like an art installation. This idea fits with our design intent of a contemporary wall tapestry for a ballroom, like the tapestry our installation would be a unique piece of art that fits in the ballroom and doesnâ&#x20AC;&#x2122;t have to cover the entire wall of the ballroom.

ENTRY FLOWS

SIDES VIEWED ON

To find a new location for our installation we looked at the many existing functions and conditions in the room. From our analysis the areas that would be most suited for an art style installation would be on the two glazed sides of the room. In this location the installation would have the greatest impact on entry to the room, be least interrupted by functional uses such as exits and could be the most functional location to absorb sound.

COLUMN OPTIONS

PROJECT PROPOSAL

HANGING BETWEEN COLUMNS OPTIONS

WALL OPTION

N ENTRY

LEAST INTERUPTED SURFACES

SOUND SOURCES

Possible Locations The two locations we are most interested in exploring are wrapping the installation around the columns or hanging the installation in front of a window. The column location would be least interrupting to the current functions of the room however we need to test whether the effects of our design would be lost. The location in front of a window would be dramatic but contentious, covering a window is counterproductive to the purpose of the window. However because of the porous nature of our design there would still be a connection between the external and internal spaces. The bulges would allow light to be filtered in and when the lighting is low inside would create a nice dappled shadowing effect inside the room from the city lights outside. The installation would also not completely block view to the outside, instead it would frame the views and direct peopleâ&#x20AC;&#x2122;s view up through the bulges and give them a unique view of the city through the curved portals of the bulges. Both these locations would suit the location and its function and engage the visitors to the ballroom. LIGHT FILTRATION

PROJECT PROPOSAL

Pseudo Algorithm Description of our algorithm

cull index

eval length

cull cull

curve series

eval length graph mapper

merge

series

interpolate

graph mapper

x6 cull cull index

define strip geometry

eval length

define location of connection points for bulging

PROJECT PROPOSAL

cull

define height of bulge

remap

relative item

line

length

mul

ltiply

make points into strip surfaces

sort along curve

surface closest point

interpolate

orient

connection geom

move

remap

loft

laying strips onto laser bed

unroll brep

move sort along curve

eval surface

interpolate

orient

brep edges list item

point on curve

text tag

tree stat

relative item brep edges relative item make points into strip surfaces

line

eval length

series line

line 2pt eval length

cull pattern

extrude

intersection

end

line 2pt loft move

design hanging connection - bake PROJECT PROPOSAL

Construction Sequence

The construction method for this design is quite simple. The felt is able to connect to itself and create enough structure from the bending stiffness. The felt is also strong enough when the edge is laser cut to create a connection from the felt so that no other material is needed to make a join. This makes the construction process rather straight forward. The only other connections required for the hanging are typical and well know connections to reduce overcomplicating the construction.

1010.00

710.00

1. LASER CUT UNROLLED STRIPS FROM 3MM FELT

PROJECT PROPOSAL

2. SLOT MALE CONNECTION INTO FEMALE CONNECTION ON SUBSEQUENT PANEL

3. CUT STEEL WIRE TO LENGTHS D

(X )

DETERMINED BY ALGORITHM

4. CONNECT STEEL WIRE TO ROD AND TOP PANEL OF INSTALLATION CRIMPING TO SECURE

6. FIX ROD TO COLUMNS RAISING THE INSTALLATION AT THE SAME TIME

PROJECT PROPOSAL

TECTONIC ELEMENTS AND PROTOTYPES

PROJECT PROPOSAL

Prototype 4 Testing non-linear strips

Successes This prototype was done to test whether non-linear strips would be fabric-able and constructable. Although it is not performing like the felt would this prototype proved to us that non-linear strips would in fact work.

The bulges all still bulge uninterrupted and make nice smooth arches. When made of our felt it would not look confusing and we could get a unique design with control over the shapes of the strips and the height of the bulges.

Failures and Improvements

The prototype is made with thin box-board as we thought is could be cheaper, faster to laser cut and could behave similarly to our material. It obviously hasn’t behaved in the same way. It was much more rigid and tore the connections in many places. Due to its higher stiffness the whole form twisted much more and wouldn’t lay flat. There were also a lot of kinks and deformations that wouldn’t occur in our material. The strips were

VERTICAL HANGING

also not as refined or the connection locations weren’t as considered as we would like them to be. In further prototypes we will work on controlling the connection placement more clearly having a logic to where they are located. We also want to have a greater control over the shape of the strips, having them all end at the same location so they line up and form an overall shape.

VERTICAL HANGING

HORIZONTAL HANGING

PROJECT PROPOSAL

Iterations of Strip Base Lines Exploring different strip sizes and shapes and overall form of the design These iteration of strip shapes was used to create the strips for prototype 4 and prototype 5

1 panels are too wide and too thin to produce

2 difference between thinnest panel and widest is too large

3 arrangement too unbalanced

4 lines overlap so un-producable

8 very lovely shape of lines, possibly too little variation in strip widths

9 interesting idea but lines get too close and some overlap

10 lines overlap and the overall form is not quite right

11 nice overall form, good variation in strip

15 nice shapes and varying panel widths

16 varying panel widths although balanced, almost yin-yang look is not quite right

17 rounder shape is interesting but not organic enough

18 the drooping tail is not to our selection the panel widths arenâ&#x20AC;&#x2122;t varying enough

PROJECT PROPOSAL

p widths, lines overlap though

n criteria and

5 panels to wide and too thin

6 nice shape of lines but too close together

7 nice form and arrangement of lines, good change in strip width variation

12 nice dramatic variation in strip widths, good overall

13 nice varying widths good overall form, possibly remove top line

14 great varying widths and good overall shape

shape, lines overlap at ends though

19 much better varying widths and curvier form

20 lines are nice but overlap

PROJECT PROPOSAL

Iterations of Bulges Exploring different strip sizes and shapes and overall form of the design

1 too smooth and regular bulges

2 too wild and too much difference between height of bulges on each side

3 not enough difference in the bulge heights

4 this is a nice shape but the bulges are too regular

5 this is nicer with the bulges but there isnâ&#x20AC;&#x2122;t big enough gaps in them

6 the bulge heights are too asymmetrical

7 the bulges are better here, less lopsided but the heights donâ&#x20AC;&#x2122;t differ much.

8 the bulges have bigger gaps here and there is a more perceivable

9 this is much nicer the bulges have nice gaps and there is a change

difference between the heights of the bulges

in the bulge heights and the bulges arenâ&#x20AC;&#x2122;t too dramatic

PROJECT PROPOSAL

Prototype 5 Successes This prototype was really successful, we liked the way it had a unique overall shape and we liked the coordination of the bulges. The prototype had a nice variation between larger bulges and smaller bulges. We liked the larger wider bulges how they were more smooth and pulled apart a bit more. The edges looked nice fanning out and not lining up perfectly. But it also looked nice when they were lined up. In the middle of the design the longer bulges got successively larger and make a nice array as seen in the image to the right.

Reflections and Improvements Although this design is quite nice the material still looks a bit messy. The joint locations need to be rearranged to be neater. Also some of the bulges are too wide so the material is incapable of holding its form, we will need to remedy this by making them closer. The difference in bulge heights is not clear in this prototype, they all seem the same height but just different widths. The strips also get too thin at some points becoming very fragile and hard to connect to other strips. The end joints are also quite weak, because there is only one connection point is allows some rotation and changes the shape of the bulge, this could be fixed by placing two joints at the ends of the strips.

TOP RIGHT: CLOSE DETAIL OF BULGES BOTTOM RIGHT: VIEW FROM BELOW OF BULGES BELOW: HORIZONTAL HANGING

PROJECT PROPOSAL

Observations of Vertical Hanging

The installation looks nice hung vertically and the bulges look good all lined up so that there is a repetition in the design. The shape of this prototype doesn’t suit being hung vertically but its shows the idea. The idea of hanging vertically doesn’t quite make the most of the design though. if it is hung vertically the strips are no longer hanging off each other and using gravity instead they are each hung from the top and only really need to be connected to the one beside to make the bulge. This arrangement also makes the design look like

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an ordinary drape with the strips being each fold in a bunched up drape or curtain. Because the bulges only open up on one side when hung vertically one view is much more interesting than the other. This something we wanted to be able to control, if hung horizontally with the open side of the bulges towards the ground we can control viewing of the installation to the way we like it, but in a vertical position people are able to see both the side we like and the side we don’t.

VERTICAL HANGING VIEWED FROM FRONT

VERTICAL HANGING CLOSED SIDE OF BULGES

Wrapping Around a Column

We tried wrapping our prototype around a column to test the effect our design had when not hanging against a planar surface. We liked the effect that it had and thought it could look interesting. However it was hard to get the same impact as a flat installation got. As the design was curved you couldnâ&#x20AC;&#x2122;t see the whole installation at once and as such you couldnâ&#x20AC;&#x2122;t read the transition and difference in the bulges as clearly. Hanging the installation diagonally got some interesting

WRAPPING AROUND COLUMN DETAIL

results because it was a medium between horizontal and vertical there was a larger amount of views from which the bulges were open to than the vertical hanging, but there were still some angles that were less appealing. The column idea is interesting but we liked the impact and overall comprehensibility of the flat horizontal hanging, it is clearer to see what is happening and to see a difference in bulges.

WRAPPING AROUND COLUMN

WRAPPING AROUND COLUMN DETAIL PROJECT PROPOSAL

FINAL DETAIL MODEL

PROJECT PROPOSAL

Installation Location Framing views and filtering light

We have chosen to locate our installation in the centre of the longest wall of windows. In this location the installation will have the most impact when people enter the room and get peoples attention by hanging in front of the window. People will want to interact with it and look at it because it has purposefully been located in front of the views people usually build windows to see. By locating the installation in front of the windows we are inviting the guests to come closer to the installation and experience the views through the bulges we have created. It will cause people to look up through the bulges rather than looking down on the view below them. The openings in the fabric of our design also allows for very unique shadows to be cast into the ball room. When the lights are dim inside the room the city lights from the surrounding context will filter through the bulges and cast nice shadows of the installation in the room.

With the hanging method of a multitude of thin steel wires across the top of the installation we want the design to float within the frame of the columns creating an ethereal presence in the space. This will help the design look light and feel like its not actually taking up that much room in the window space. It will seem to hover ghostly and be not a covering over the window but instead an art piece hanging in space that just so happens to be in front of a window. The location of the installation is also a key area for sound. The noise from speakers at the stage would fan out to the centre of the room and the noise from guests would also be originating from the centre of the room. Thus the installation is most effective in absorbing the most amount of noise from the location in front of the window.

INSTALLATION IN CONTEXT

HANGING DETAIL

PROJECT PROPOSAL

Installation Location

SECTION B

SECTION A

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PLAN

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Prototype 6 Exploring different connections

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All of the connections threaded into the female hole and stayed connected snuggly. They all stuck out at a slight angle due to the nature of the joint mechanics.

This was an interesting option but the two points at the end make it hard to thread into the female slot. It may also be a problem having it asymmetrical when seeing lots of them.

This is a nice option it was the curvy geometry as se It was easy to connect and in the fabrication process. long if the panels are thin a overlap and look messy

This connection was not so great, the asymmetric shape is undesirable and looks rather unconsidered.

This connection got too thin at the end and so burnt a bit in the fabrication. We also donâ&#x20AC;&#x2122;t like the asymmetric shape, when lots of the connections are seen on the back it will look strange.

This was another try at rep however in this one the lin together and so the felt and didnâ&#x20AC;&#x2122;t cut all the way this made it easier to threa

PROJECT PROPOSAL

s trying to continue een in our design. d had little defects . It may be a bit at a point they may and unconsidered.

This was an interesting idea, we were looking as replicating a tassel such as those seen on ropes or ties around tradition ballroom curtains. It ended up being really hard to thread into the female slot and got bent easily.

This is our favourite connection as it reflects the curve of our design and has relatively dynamic curves. It was easy to thread and fabricated easily without complications.

presenting a tassel nes were too close t melted together through. Although ad it looked messy.

This connection was an attempt at making the connections as minimal and unobtrusive as possible. We didnâ&#x20AC;&#x2122;t like the contrast in fact between the straight lines and the curvy lines in the design. It would distract from the main effect of the piece.

This was the final try at a tassel and instead had an angled edge, but again the tassels were very difficult to thread into the female slots. They also contrast too much with the main design because of their straight lines.

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Iteration Matrix of Final Model Exploring different strip sizes and shapes and overall form of the design

1 strips get too thin

2 too dramatic bulges, looks messy

3 too smooth not enough drama

4 too overall smooth with too small bulges

8 gets too messy and chaotic in the middle

9 good drama but transition is not smooth enough

10 smooth transition but too flat on one side and not on the other

11 strange panel sizes, too thin in places

2.2 better distribution of bulges and connection points

2.3 better distribution of bulges

2.3.1 increased differences in height of bulges

2.3.2 changed the input curves sizes but it is

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7 more even interesting shape, bulges too even though

Further development of 2

6 not enough bulges, looks odd with larger panels at centrea

12 bulges start looking messy, panels are too large in places

2.1 much smoother transition in strip sizes and bulges, bulges too steep on the right

Further development of 7

snâ&#x20AC;&#x2122;t working

5 strange balance, not enough difference in bulge heights

7.1 the bulge arrangement is better but the panel sizes are too odd

7.2 tried moving the bulges to the thin bit of the strips and make the wider strips flatter

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1:3 Model Showing real material properties and detailed connection

BACKSIDE OF MODEL WITH CONNECTION DETAIL

To get across the tactility and properties of the selected fabric this sample of our final design was made at a larger scale. This shows the detailing of the connection elements at the back of the design all aligning and adding to the legibility of the design. The connection details when seen on mass add a sense of the verticality and the curves of the aligning connections to the backside of the installation.

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1:3 SCALE FINAL MODEL DETAIL OF BULGES

The thick felt we have chosen has a rigidity but also a lot of flexibility, this allows for the lovely soft curves in the bulges. It also supports the material system in total by allowing the individual strips to be flexible enough to be influenced by its neighbours. This creates a fluid complete system that is completely integrated and reliant on each piece in the design. This sample prototype gives an idea of the tactility and softness of the design that canâ&#x20AC;&#x2122;t be displayed in a digital model of a small scale model.

1:3 SCALE FINAL MODEL DETAIL OF SMOOTH BULGES PROJECT PROPOSAL

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Final Model Our design elegantly floats between the columns, filtering light through softly curving bulges and casting unique shadows into the ballroom. The fluid dynamism of the design reflects the eclectic movement occurring in the ballroom adding to the experience and fitting smoothly into the context. The organic bulges and curves of the soft, tactile material invite guests to interact with the design thus enhancing their experience of the ballroom. With the bulges ranging in size and shape unique views of the city are framed by the design provoking a new and alluring perspective of the surrounding landscape. Our final 1:10 scale model shows the entirety of the design and its behaviour when hung. I believe it successfully portrays our desires for a sophisticated, structural design, that has elegant and smooth curves. The organic nature of our material has been harnessed and controlled whilst simultaneously allowing the organic behaviour of the material to come through and lend its personality to the design. Its this element of the natural character of the felt that doesnâ&#x20AC;&#x2122;t quite get portrayed effectively in the digital models but comes out beautifully in physical models such as this one. The model is made of a thinner felt than it will be made of at scale so that the flexibility of the fabric reacted similar to our chosen material would at scale. The thinner felt is less stiff and structural then the chosen felt so we had to add extra stiffness to our model with the use of hairspray. The hairspray is a perfect option because it doesnâ&#x20AC;&#x2122;t set our felt in one rigid position it simply added strength to the felt and allowed it to behave naturally. Due to the scale of the model the connection details were not able to be laser cut, instead we laser cut tiny holes at the locations of the connections. This meant our model was still directed by the algorithm and the joints were in the exact positions they were at in the digital model. The hanging system was equally fabricated from our algorithm. Points were made on a rod and along our top strip and then lines were drawn between them. These were used to make strips that were then unrolled and cut. This is how our hanging system is accurate because the top strip of the model is not flat or straight all the lines had to be unique lengths.

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Alternative Applications Responding to critical feedback

The feedback we received for our design was quite informative. The main concerns were the application we had chosen and some other suggestions were made to further explore the use of our design. It was pointed out that putting it in front of a window could not sit well with the client as views from large windows are highly valued. So we explored options of wrapping our design around columns as one option instead of covering the window. Our hanging system also inspired the idea that our design could be adapted to be a fringe on a curtain. This could be used in multiple way in a ballroom such as for covering windows, for covering a screen for presentations or dividing space. It doesnâ&#x20AC;&#x2122;t quite display the complexity or beauty of our design however by changing the application from installation to functional curtain. Finally it was suggested that the scale of our 1:10 model in real life would be nice so reducing the size of our strip and bulges. We have tried this and it does add extra complexity and sophistication. It has a greater sense of organic behaviour when the scale of the strips and bulges are reduced similar to the precedents of Iris Van Herpen and Sift Studios.

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COLUMN 2

PROJECT PROPOSAL

COLUMN 3

SMALLER STRIP AND BULGE SIZES

CURTAIN FRINGE SKETCH

The columns shown were some iterations we came up with using our algorithm. They are all interesting and could make some unique installations. The first column is quite uninteresting and doesnâ&#x20AC;&#x2122;t stray too far from the geometry of the column itself. The following three columns were inspired by the flow and movement of dancers dresses. In the last three the flow and movement is much more dramatic and more sophisticated. These last few fit our selection criteria of being sophisticated, elegant and performing acoustic functions. In their location around the columns they successfully reduce the sound reverberation from the concrete columns.

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LEARNING OBJECTIVES AND OUTCOMES

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This project expanded my understanding of the benefit that architecture can have in society. Previous to this subject my idea of architecture was limited to buildings only but now it has been expanded into a vast region of opportunities such as installation, or designing how people engage in a space or how they perceive certain aspects; architecture can be designing anything that affects the way humans interact with the built and natural worlds. With computational design this can truly be achieved with the sophistication and complexity that is requires. To achieve a unique and natural design that will fit with the context and become integrated into society a high level of execution is needed that can only be realistically achieved with computational design. This understanding of what architecture can be with with aid of computation has been new to me before this subject but through the creation of our design I have become more familiar with it. In our design we were able to break down the brief and analyse our context of the ballroom to successfully create a functional and aesthetic installation that adds value to the ballroom and the experiences of the guests in the space. The design suits the location and sophistication required and expected in ballrooms and references the fluidity and movement experienced in the location. It additionally has a functional effect of controlling acoustics which is needed in a large room such as the ballroom. We were able to quickly and thoroughly produce multiple iterations of our designs or possible designs in the developing stage and in the modeling stage. We found this capability of algorithmic design very useful. Once we had our algorithm close to or at completion we were able to quickly produce many possibilities and

come together as a group, chose our favourites and create even more possible designs. It was extremely useful to have this otherwise our design would not be to the standard that it is, we could not have done this without parametric modelling and we would have been stuck at a much more basic design. The benefit of this capability was completely proven when we wanted to explore the alternative applications. We had to change only simple elements such as the input curves for the columns or a number slider for the scale. The benefit computation technologies add to the designing and the design process is incomparable. Our skills in parametric modeling, analytical diagramming and digital fabrication have grown significantly since beginning this subject. We are capable of creating an algorithm that performs our needs parametrically and further developing the algorithm. We are capable of creating analytical diagrams that show conditions we are designing to and diagrams that show the performance of our design. We are skilled in the digital fabrication of digital geometry, laying it flat for a laser bed and setting up the file for the best result from the laser cutter. We were quite successful in the construction of a proposal for our design. We were able to think critically about the requirements of the brief and the effects our design could add. We are able to base our proposal on past precedents and build upon existing work in the area we are working in. Critical analysis of the conceptual, technical and design ideas of these precedents enables us to further our ideas of our own projects and ground them in the existing work seen in the precedents. Through research we progressed our design and supported these developments with existing work and ideas.

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LIST OF FIGURES 1. HTTPS://WWW.DEZEEN.COM/2015/10/13/MIT-ETH-ZURICH-RESEARCH-LAB-ROCK-PRINT-INSTALLATION-STRUCTURE-STRING-ROBOT- CHICAGO-ARCHITECTURE-BIENNIAL-2015/ 2. HTTPS://WWW.DEZEEN.COM/2015/10/13/MIT-ETH-ZURICH-RESEARCH-LAB-ROCK-PRINT-INSTALLATION-STRUCTURE-STRING-ROBOT- CHICAGO-ARCHITECTURE-BIENNIAL-2015/ 3. HTTPS://WWW.DEZEEN.COM/2015/10/13/MIT-ETH-ZURICH-RESEARCH-LAB-ROCK-PRINT-INSTALLATION-STRUCTURE-STRING-ROBOT- CHICAGO-ARCHITECTURE-BIENNIAL-2015/ 4. HTTPS://WWW.DEZEEN.COM/2015/10/13/MIT-ETH-ZURICH-RESEARCH-LAB-ROCK-PRINT-INSTALLATION-STRUCTURE-STRING-ROBOT- CHICAGO-ARCHITECTURE-BIENNIAL-2015/ 5. HTTPS://WWW.DEZEEN.COM/2016/03/17/SKYFARM-ROGERS-STIRK-HARBOUR-PARTNERS-GLOBAL-FOOD-CRISIS-VERTICAL-FARM-CONCEPTBAMBOO/ 6. HTTPS://WWW.DEZEEN.COM/2016/03/17/SKYFARM-ROGERS-STIRK-HARBOUR-PARTNERS-GLOBAL-FOOD-CRISIS-VERTICAL-FARM-CONCEPTBAMBOO/ 7. HTTPS://WWW.DEZEEN.COM/2016/03/17/SKYFARM-ROGERS-STIRK-HARBOUR-PARTNERS-GLOBAL-FOOD-CRISIS-VERTICAL-FARM-CONCEPTBAMBOO/ 8. HTTPS://WWW.DEZEEN.COM/2015/10/13/MIT-ETH-ZURICH-RESEARCH-LAB-ROCK-PRINT-INSTALLATION-STRUCTURE-STRING-ROBOT- CHICAGO-ARCHITECTURE-BIENNIAL-2015/ 9. HTTPS://WWW.DEZEEN.COM/2016/05/31/ARMADILLO-VAULT-BLOCK-RESEARCH-GROUP-ETH-ZURICH-BEYOND-THE-BENDING-LIMESTONESTRUCTURE-WITHOUT-GLUE-VENICE-ARCHITECTURE-BIENNALE-2016/ 10. HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART 11. HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART 12. HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART 13. HTTPS://WWW.DEZEEN.COM/2016/05/31/ARMADILLO-VAULT-BLOCK-RESEARCH-GROUP-ETH-ZURICH-BEYOND-THE-BENDING-LIMESTONESTRUCTURE-WITHOUT-GLUE-VENICE-ARCHITECTURE-BIENNALE-2016/ 14. HTTPS://WWW.DEZEEN.COM/2016/05/31/ARMADILLO-VAULT-BLOCK-RESEARCH-GROUP-ETH-ZURICH-BEYOND-THE-BENDING-LIMESTONESTRUCTURE-WITHOUT-GLUE-VENICE-ARCHITECTURE-BIENNALE-2016/ 15. HTTPS://WWW.DEZEEN.COM/2016/05/31/ARMADILLO-VAULT-BLOCK-RESEARCH-GROUP-ETH-ZURICH-BEYOND-THE-BENDING-LIMESTONESTRUCTURE-WITHOUT-GLUE-VENICE-ARCHITECTURE-BIENNALE-2016/ 16. HTTP://WWW.ARCHDAILY.COM/786874/ICD-ITKE-RESEARCH-PAVILION-2015-16-ICD-ITKE-UNIVERSITY-OF-STUTTGART 17. HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/COLUMNS.HTML?SCREENSIZE=1&COLOR=1 18. HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/COLUMNS.HTML?SCREENSIZE=1&COLOR=1 19. HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/COLUMNS.HTML?SCREENSIZE=1&COLOR=1 20. HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/COLUMNS.HTML?SCREENSIZE=1&COLOR=1 21. HTTP://WWW.ARCHDAILY.COM/804473/MARC-FORNES-THEVERYMANY-USES-INTENSIVE-CURVATURE-TO-CREATE-SUSPENDED-SELF- SUPPORTING-STRUCTURE 22. HTTP://WWW.ARCHDAILY.COM/804473/MARC-FORNES-THEVERYMANY-USES-INTENSIVE-CURVATURE-TO-CREATE-SUSPENDED-SELF- SUPPORTING-STRUCTURE 23. HTTP://WWW.ARCHDAILY.COM/804473/MARC-FORNES-THEVERYMANY-USES-INTENSIVE-CURVATURE-TO-CREATE-SUSPENDED-SELF- SUPPORTING-STRUCTURE 24. HTTP://WWW.ARCHDAILY.COM/804473/MARC-FORNES-THEVERYMANY-USES-INTENSIVE-CURVATURE-TO-CREATE-SUSPENDED-SELF- SUPPORTING-STRUCTURE 25. HTTPS://THEVERYMANY.COM/14-STOREFRONT/ 26. HTTP://WWW.MICHAEL-HANSMEYER.COM/PROJECTS/DIGITAL_GROTESQUE.HTML?SCREENSIZE=1&COLOR=1#21 27.

HTTP://ICD.UNI-STUTTGART.DE/?P=4458

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HTTP://ICD.UNI-STUTTGART.DE/?P=4458

. HTTP://ICD.UNI-STUTTGART.DE/?P=4458

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HTTP://WWW.IWAMOTOSCOTT.COM/VOUSSOIR-CLOUD

31. HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/WEAVING-CARBON-FIBER-PAVILION-UNIVERSITY-OF-TOKYO-T-ADS-TEAM-08-07-2015/ 32. HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/WEAVING-CARBON-FIBER-PAVILION-UNIVERSITY-OF-TOKYO-T-ADS-TEAM-08-07-2015/ 33. HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/WEAVING-CARBON-FIBER-PAVILION-UNIVERSITY-OF-TOKYO-T-ADS-TEAM-08-07-2015/ 34. HTTP://WWW.IRISVANHERPEN.COM/COUTURE#CAPRIOLE-COUTURE 35. HTTP://WWW.IRISVANHERPEN.COM/COUTURE#SEIJAKU 36. HTTP://SIFTSTUDIO.COM/NDXZ/FILES/GIMGS/11_DSC0009.JPG 37. HTTP://SIFTSTUDIO.COM/NDXZ/FILES/GIMGS/27_DSC0185.JPG

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BIBLIOGRAPHY Bari Osman, Marc Fornes / THEVERYMANY Uses Intensive Curvature to Create Suspended SelfSupporting Structure (2017) <http://www.archdaily.com/804473/marc-fornes-theverymany-usesintensive-curvature-to-create-suspended-self-supporting-structure> [accessed 17 March 2017] Block Research Group, Beyond Bending - Venice Architecture Biennale 2016 (2016) <http://www. block.arch.ethz.ch/brg/project/venice-biennale-2016_beyond-bending> [accessed 10 March 2017] Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming ([n.p.]: MIT Press, 2013) Frearson, Amy , Robotically fabricated pavilion by University of Stuttgart students is based on sea-urchin shells (2016) <https://www.dezeen.com/2016/03/17/skyfarm-rogers-stirk-harbourpartners-global-food-crisis-vertical-farm-concept-bamboo/> [accessed 3 March 2017] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Hansmeyer, Michael , Subdivided Columns - A New Order (2013) <http://www.michael-hansmeyer. com/projects/columns_info.html?screenSize=1&color=1#undefined> [accessed 17 March 2017] Oxman, Rivka & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014) Peters Brady, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83.2, (2013), 8-15 Mairs, Jessica , Robotically fabricated pavilion by University of Stuttgart students is based on sea-urchin shells (2016) <https://www.dezeen.com/2016/05/05/robotically-fabricatedpavilion-university-of-stuttgart-students-plywood-icd-itke/> [accessed 10 March 2017]

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