Hi, my name is Cassandra Tom, a third year in architecture, grown up in Hong Kong, a tiny little city full of hustle and bustle. There are dozens of reasons that makes me choose Architecture, but it has first came to my interest at 4 when I knew that architects have the ability to build the home like a castle. I am not sure whether which reasons I am doing it for right now, perhaps it’s because I find it challenging and interesting in the way it transform ideas into living sculptures… perhaps it’s because it’s a profession of creativity… just one thing for sure, and that is I love what I am doing, and I enjoy it!
Studio Earth: Secrete on Herring Island
Digital Design Fabrication: Sleeping Pod
Studio Water: Boathouse inspired by Master
Design futuring is not merely technological improvement in finding better alternatives for building techniques and materiality, more importantly, architecture has to concern invisible problems in ways of either expands the current scope of problem solving or changing the perspective of handling problems.
Designing and reimagining buildings for the future requires the engagement of inhabitants [1] . The future is not a reality objectively independent of our existence [2] . Whether or not a design is being sustainable does not merely dependent on technological development and embracement on nature, it is moreover a social issue, a thing about people. However, people were often bounded by fixing wicked problem [3] yet without realising problems were unfixable and what truly matter is the value and attitude that uphold our society. This then amplify the
unsustainability of our city’s future, and entered the ‘auto-destructive mode’ [4] . Instead of fixing practical problems, this project treats architecture as a relationship builder, and look into redirecting people’s attitude and values to improve unfixable problems through the architecture. In achieving the purpose of the space for social justice relationship, it begins with the investigation on relationship between spatial arrangement and the pattern of people’s engagement. The building’s tri-axis organization addressing three surrounding
contexts – the campus, grove, and neighbourhood, anchored with a fireplacand kitchen at the centre [5] . Glass facades at the three ends create visually opened space has given a sense of openness and informal atmosphere for people to gather and have a casual meet up. This project breaks the traditional way of handling problems, it blends connection of people from different groups around the community of context through its strategic spatial arrangements, bring in new insight with the materiality, and make architecture a channel of relationship connection. In varies ways it has expressed the ideology of architecture that put forward positive social effects is the key to open up possibilities to the improve problems for the future.
[1] Gang, Jeanne, Buildings that blend nature and city, 2016 < http://www.ted. com/talks/jeanne_gang_buildings_that_blend_nature_and_city> [assessed 2 March 2017] [2] Tony Fry, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16 [3] Anthony Dunne & Friona Raby, Speculative everything design, fiction, and social dreaming ( MIT Press: 2013) p. 1-9, 33-45 [4] Tony Fry, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16 [5] Gang, Jeanne, Buildings that blend nature and city, 2016 < http://www.ted. com/talks/jeanne_gang_buildings_that_blend_nature_and_city> [assessed 2 March 2017]
“We focus on architecture’s potential to contribute positively to the experience of city.” – Spark Architect. Unnecessarily built projects, conceptual design could also call for instigation of a change in design approach for a city’s future. Homefarm, a concept design of retirement housing combining apartments, senior facilities and vertical farming, is an example of expressing what architecture to be like as design futuring. The project based on Singapore as the preliminary location. Unlike conventional retirement housing as a place of hedonism or a growing health care burden to the society, the project aims to put forward social issues of rapid aging population and food security into a self-sustainable cycle, making architecture a treatment to heal the city’s future. The project taken urban farming as focus, on one hand, agricultural waste to create biomass energy to generate electricity and nutrients back to farming creates a low carbon cycle self- sustainable food system; on the other hand, the urban
farm serves as another community for the senior to reconnect and contribute the society [6] . I find it innovative in the way it turns existing problems into an opportunity, it expressed design intelligence of having the abilities to draw content of the existing environment to designing under the increasingly more unsustainable world [7] . The way Homefarm proposed in addressing social issues of a place and the fortune of living environment, critiques architecture to deliver awareness in the current and ongoing environment, and expressed thoughts of environmental and social cohesion as the path to unlock new perspective and inspiration in approaching city’s sustainability.
[6] Spark Architects, ‘Homefarm singapore concept design’, 2014 < http://www.sparkarchitects.com/portfolio_page/homefarm/> [assessed 9 March 2017] [7] Tony Fry, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16
Before the evolution of digital technologies, building techniques were derived through complex mathematical testing, physical experiments, and even more, lessons learnt from failure. Limitation of knowledge and time consuming process of testing has long been a barrier to design possibilities, which past design ideas were geometrically and methodically bounded by these constraints. Then the development of computation has put the above frustrations into history, and move forward to a new era of design methodology. Parametric design redefines the practice as a thinking generation through logic of algorithm [8] . Through simulation of structure and material, it allows a more time-efficient and cost-effective testing of greater variety. Hence, engagement of computation in architectural practice has taken advantages of expansion in form-finding possibilities and efficiency in fabrication process. [8] Rivka Oxman & Robert Oxman, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10
For consecutive years from 2010, the ICD and ITKE have conducted and tested computational materials over a series of full-scaled pavilions. Looking into their research pavilion in 2012 on investigating fibrous composites, they have undertook a computational approach in understanding and deploying the complex fibrous behaviour, with conjunction the pre-stress induced by robot testing the application of fibre [9]. Formation of the pavilion gradually emerges through the interaction of fibre applied on a minimal scaffold during a robotic filamentwinding process, forming a self-supportive thin composite shell, and surface texture made out of black glass- and carbon-fibre roving emerges from the computationally modulated material-formation process [10] . Materiality has always been an important part of the design process, it determines
the range of geometries it could possibly create, it defines how the design structurally supports, and it manipulate the results of whether a concept could be brought in reality. The ability of structuring material system could significantly contribute to the contemporary architectural practice as the shift focus of material design in the architectural process redefines architecture as a material practice [11] . From the aspect of utilizing amputation to efficiently understand different material composite properties and test out of the new material performance, the project has been an example of showing computational approach could unlock potential in possible innovation materially that were unreachable before evolution of digital simulation. In such, through strategic exploration and experimentation, it pushes boundary outwards the conceivable and achievable geometries by materiality limitations.
[9] Achim Menges, ‘Computational Material Culture ‘, Architectural Design, 86 (2016), p. 76-83 < http://onlinelibrary.wiley.com/doi/10.1002/ad.2027/abstract> [10] Achim Menges, ‘Computational Material Culture ‘, Architectural Design, 86 (2016), p. 76-83 < http://onlinelibrary.wiley.com/doi/10.1002/ad.2027/abstract> [11] Rivka Oxman & Robert Oxman, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10
We engage in the process of design when the current situation is different from the desired situation [12] . Quite often, we begin with analysis and research to explore possibilities to achieving the outcome. This might be a time consuming process and not always driven to the right track in visualizing desirably. Computation, with the characteristics like tangram puzzle, formulating solutions independent from search for solution, simply testing with the given parameters, might be an alternative path to achieve the desired situation. Looking at an example from Austria, the White Noise, a small pavilion project, is a seemingly random load-bearing structure from computation generation. The geometry of the pavilion was parameterized with Grasshopper, and then tested structurally using Karamba [13] . Effectively, it achieves the chaotic shape with uniform aluminium rods calculated and connected in a minimal system. The White Noise is an example of product by the redefined design process using logic of algorithm, and a beneficiary of computational design. The involvement of computational fabrication has developed a new linkage between design concept and production[14] . Architecturally, it releases geometries from limitations of binary/ pure forms to chaotic/ fluid free-forms and arrangements. In terms of construction, computation minimizes error via simulation and speeds up process by means of fabrication. Time-effective process shifted design approach’s time and effort from composition of simple geometries and extensive craftsmanship to strategic sampling of variation in computational generation and fabrication.
[12] Yehuda E. Kalay, Architecture’s New Media: Principles, theories and methods of computer-aided design (MIT Press: 2004), p. 5-25 [13] Clemens Preisinger, ‘Linkubg Structure and Parametirc Geometry ‘, Architectural Design, 83 (2013), p. 110-113 < http://onlinelibrary.wiley.com/doi/10.1002/ad.1564/abstract> [14] Rivka Oxman & Robert Oxman, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10
The transition from designing composition to generation appears to be phenomenal in the recent decade, and majority in architectural practice adopt digitalization in design process. Indeed, even though there was a heavy practice in computerization, computation is not as common as that. I would say shifting to computational generation design is inevitable, not necessarily replaced composition, but largely, I believe this trend is more benefiting than harming the architectural practice.
In conventional architectural practice, form finding usually begins with conceptual sketches and then composite them into structural-possible form of space. Yet, without precise mathematical calculation, there is always a limit for this approach to go crazy in conceptualizing forms or having complex geometries buildable. In comparison, computation allows designers to extend their capabilities to deal with highly complex situations, it allows architects to predict and simulate architecture more accurately and sophisticatedly [15] . In the project of constructing the Fondation Louis Vuitton Museum, they introduced highprecision design tools to perform simulated rules for form finding [16] , which the approach of computational-based form-finding has
allowed a piece of crazy sketchy lines drawing turning into a geometrically complex structure in real life, forming an envelope of panels each alternating differently to specific local geometry. The intelligence brought by computational generation in the project went through the design process from parametrical optimisation to material optimisation. In achieving construction of the envelope, they have utilized robotic fabrication to ensure customised glass and concrete panels were to precise curvature and situation under control. Comparing to conventional composition method, generative approach has enable complexity in geometries and breakthrough barrier of production precision to creation of radical forms.
In react to the shifting from composition to generation, design practice has change in terms of information flow as well. Traditionally, from designing to construction, information flow from one to another step by step, but the introduction of generative system, information is synchronized [17] . With the shared digital models, it has then accelerated and enhanced collaboration of different parties, having different expertise group to work at the same time, being timeand cost- effective. In the sense of the resulting appearance of this project, it does not appear to me as aesthetic in the way as the fluidity expressed the in sketch. Perhaps a drawback of design generation would be that over utilizing tools in production in how you perceive a nice curve in computation blindly. The beauty of this project is more on the way it effectively fabricated the complex geometry, yet in terms of geometry exploration, computation
in this project might not be as success in the sense of aesthetic means.
[15] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p. 8-15 [16] Tobias Nolte & Andrew Witt, ‘Gehry Partners' Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), p. 82-89 [17] Tobias Nolte & Andrew Witt, ‘Gehry Partners' Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), p. 82-89
“Computation makes possible the experience and the creation of meaning.” – Brady Peters Experimenting with computation in simulating building performance for performance analysis and materiality, tectonics and parameter for fabrication is getting common in architectural practice [18] . The National Bank of Kuwait Headquarters is an environmental responsive building generation driven by entirely an integrated computational design. In reaction to the era of shifting from composition to generation in designing approach, instead of physical observation on site and by intuition of human estimation to response context climate, the Foster used Generative Components (GC) as primary parametric modeling software with various other scripting tools for simulation and prototyping throughout the entire design process [19] . In achieving the project’s focus on responding to maximization of day lighting and views, the Foster have utilized parametric modeling in early design stages to efficiently generate various vertical fins orientation options for prototyping and further exploration. With developed logic of algorithm scripting, the orientation of fins could then remains flexibility in adjustments throughout the design investigation [20] . The application on construction also allows
repeat testing for the strength of curvature of elements effectively. The project’s adoption of entirely computational generation approach, on one hand shows the advantage towards the investigation and designing process for complex building, on the other hand, it required involvement of entirely computational expertise to conduct the design process. Yet it is essential to work closely with prototyping to make computational design complete, and ensure that digital simulation is successfully translate into reality.
[18] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p. 8-15 [19] Dusanka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Headquarters’, Architectural Design, 83 (2013), p.34-35 [20] Dusanka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Headquarters’, Architectural Design, 83 (2013), p.34-35
Architects are few of the generalists that could possibly manipulate values and thoughts of living, at the least place, architecture provides a channel that gradually redirect the way people interacts, more in more, possibilities to alter a city’s future. This may not necessarily be meaning existing problems solved, but at least, under the circumstances of a world full of unsolvable issues, our future could prevent generating even more issues, and emerging a self-sustainable cycle. Hence, as a futuristic approach in designing, it is believed that architect has to maintain high social and environmental awareness, and be critical to design at all times. Without doubts, computation to design practice has create a lot of convenience in fabrication and that it opens up more possible forms and materiality, which great utilization of computation tools is beneficial to designing from generating ideas till fabricating ideas to real life. Unlike conventional composition design approach, computational generation could go beyond the intelligence of human and parametric rules that designers created, unexpected computation results, in the could be inspirational innovation or even breakthroughs. Yet, all given that designer is being knowledgeable in algorithmic design skills.
Hence, whether or not computational generation design approach is beneficial to architectural practice is largely dependent on designer’s skills and knowledge regarding the parametric field. Comparing to designing composition, the boundary of generation appears infinite. Indeed, limits are set to the intelligence and knowledge the designer has. It will not work well without the involvement of computational expertise. Therefore, for benefits of both the architectural practice and personal development, it is being more or less an essential thing to have digitalization skills of computerization and computation, such that we as the designer could have the flexibility to which approach to adopt for each and every unique projects, and effectively taken the advantages of parametric design.
“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” – Brady Peters.
The understanding of architectural commutating has actually changed my attitude and views towards parametric designing quite a bit throughout the 3 weeks of research. Before taking this studio, parametric design was to my thought that it was more like a shortcut to create complex geometries through writing formulates, which instead of designing something original, it is more about studying the logic of getting those geometries. And I am rather neutral about it. It is after having understood the foundation of algorithm thinking, and the logic of parametric designing, it started convincing me that designing computation is way more exciting that what I was expecting. It was from the precedent research that makes me realize that parametric modeling is not just a tool of convenience and efficiency. More importantly, it is also a door to exploration of greater opportunities and possibilities. I am often struggles a while during the start of designing, which having the tool of parametric designing, it may be helpful in terms of exploring ideas in a more logical sense. In my past studios, I have probably done things a lot on computerization, making use of software like AutoCAD and Rhino along the way to digitalize ideas to something more visually presentable than sketches. Yet, I have not come across much with computation designing so far. Having learnt these new knowledge, it could have improve in varies aspects of my previous projects. In my DDF: Sleeping Pod project, I previously explored on the geometries to
interpret personal space through a series of physical prototyping and then fabrication. As we come to finalize our concept to be a series of foldable panels connected with strings that tailor-made for the dimension of a specific chair, it has been a time consuming process to get through prototype testing in the fabrication process. We have utilized digital tools such as rhino and laser cutter for fabrication with greater accuracy, yet there has been unexpected condition happening in various ways. Such as distance between panels not able to get strings in tension, gradient effects of strings to be modified, and that we are taking a risk of whether the force of the panels get to balance off hinging on the chair. It was a time consuming process, as we have to remodel the entire thing digitally every time when we encounter unexpected conditions. With the application of parametric rules to the geometric shape of the panels and having script written for logic of where strings connected, it could have been more efficiently generate various options on testing the gradient effects of strings. As well as easing the remodeling process without manually trimming thousand of holes I the digital model for where the strings to get through. Moreover, I may have applied other plug-ins, such as kangaroo to test out the physics of whether the material works with the force to balance off on the chair.
Attractive point Transformation
CONCEPTUALISATION 33
34 CONCEPTUALISATION
Box Morph Mesh
Polygon Curve Loft
CONCEPTUALISATION 37
38 CONCEPTUALISATION
Cull Pattern Extrusion
CONCEPTUALISATION 39
Geometry is fundamentally a mathematical principles based approach. It is a process of studying the relationship of different dimensionality through the generation of geometries. And because of the approach links up the relationship from 1D to 3D, the potentials application could be broad and often widely cross over with the other research fields. For example, 2D geometry is often seen as patterning, and the process of generating a 3D geometry may involve techniques of strips and folding. In the digital age, the generative parametric approach has allowed speedy and accurate calculation , and innovation of robotic mechinary has pushed the limits of achievable geometries.
Fig.1
Fig.2
Fig. 3
Project: SG2012 Gridshell Project Year: 2012 Designer: MATSYS
Fig.4
Series A Triangulation of grideshell
A.1
A.2
Lunchbox QuadRand U=30
LunchBox TriB
A.5
A.6
Testing out different method to achieve surface panellization, including lunchbox, relative items
SDivide U=40 RelItem 2;1 0;1 -2;-1
Series B Surface Curves
SDivide U=13 RelItem 2;1 0;1
B.1
B.2
Divide Crv N=6
Divied Crv N= Loft no rebuild Changing Ge
B.5
B.6
Replacing geodisc crvs with field lines in generative crvs along surface
Divied Crv N=100 Popogeo N=16, S=8.0 Cull TF, PCharge C=-2.42/2.51
Divied Crv N=1 Popogeo N=1 Cull TF, PCharg
U=34
A.3
A.4
LunchBox TriB U=34 Cull FTFF
SDivide U=40 RelItem 0;0 1;1 0;1
A.7
-2;-1
=2 d eodisc Crv Start & End pt.
100 6, S=8.0 ge C=-0.6/0.6
SDivide U=13 RelItem 2;1 0;1 -2;-1 Cull TFF
B.3
B.4
Divied Crv N=100 Popogeo N=16, S=10.0 Cull TF, PCharge C=-2.42/0
Divied Crv N=100 Popogeo N=16, S=10.0 Cull TF, PCharge C=-2.42/1.22
B.7
Divied Crv N=100 Popogeo N=16, S=4.8 Cull TF, PCharge C=-0.6/0.6
B.8
Divied Crv N=363 Popogeo N=16, S=4.8 Cull TF, PCharge C=-0.6/0.6
Series C Base Geometry
C.1
C.2
Changed base curves and test out mesh geometries: Delaney edges, geodesic curves, lofts Changing baisc crv, geodisc crvs
Series D Volumetric extrusion With surface panelizing method developed in Series A, I start to generate voulme from surface, and experiement with attractor point and transformation menu in the extend of extrusion
D.1
Lunchbox Hex Cull TTFF, Move, ruled srf
D.5
Lunchbox Quad Scale F=0.72, Move with attractor pt. T=FaceN*Expression z/u=0.53
D.9
Lunchbox Quad Scale F=0.25 Cull TF, Move with attractor pt.
Changing baisc crv, l
D.2
Lunchbox Hex Cull TTFF, Move with a
D.6
Lunchbox Quad Scale F=0.72, Move with T=FaceN*Expression u=0
D.10
Lunchbox Quad Scale F=0.25 Cull TTFF, Move with att
loft
attractor pt.
h attractor pt. 0.191
ractor pt.
C.3
Popgeo N=185, Del Mesh
D.3
Lunchbox Quad Scale F=0.36, Move T=FaceN*0.5
D.7
Lunchbox Quad Scale F=0.25 Move with attractor pt. T=FaceN*Expression z=0.573
C.4
Popgeo N=185, Del Mesh Cull TTF, WB Frame D=9.114
D.4
Lunchbox Quad Scale F=0.72, Move T=FaceN*6.3
D.8
Lunchbox Quad Scale F=0.25, List Item 1&2 Move with attractor pt. T=FaceN*Expression z=0.573
Species B.5 Materiality Aesthetics Fabrication Development
Species C.4 Materiality Aesthetics Fabrication Development
Species D.7 Materiality Aesthetics Fabrication Development
Species D.9 Materiality Aesthetics Fabrication Development
Project: San Gennaro Northgate Project Year: 2011 Designer: SOFTLab This hanging installation project is fabrication of a minimal surface with surface geometry. The base shape is created using a minimal surface blending the two oculi together and the piece is completely held in tension from cables attached to the surrounding buildings. The shape is completely site specific and would only held in shape by attaching each unique geometrical piece at these specific points and tensioned with the proper lengths.
Fig. 5
Step 1: Drawing base curves in grasshopper
Step 2: Loft curves into surface & join them into a single mesh
Step 3: Using kangaroo to generate minimal surface
Step 6: Move Surfaces along normal of surfaces to create a twisted box
Step 7: Drawing base curve for surface geometry in grasshopper
Step 8: Join curves & closed surface
o simulation a smooth e
create a
Step 4: rebuild mesh with to create quad mesh surface
Step 9: Box morph geometry
Step 5: Explode & deconstruct mesh to draw surfaces from 4 points based on mesh face vertices
surface
Series A Base Form Recreation
A.1
A.2
Changing the initial form with Loft order and base curve alterations
Adjust circle radius & quad size Move Center quad vector
Adjust circle radius Move Center quad vector
A.7
A.6
Change circles & quad to polygon Kamgaroo simulation
Change circles & quad to polygon
Series B Surface Geometry
B.1
B.2
Testing variation of surface geometry using Iteration A.7 as starting geometry
Mesh Popgeo = 200 DelMesh
Mesh Popgeo = 50 WB Loop L=1 Surface geo remove edge circles
B.6
B.7
Popgeo = 50 DelMesh Surface geo remove edge circles Polar array Morph crv N=8 Scale f=0.605/0.711, RuledSrf
Popgeo = 50 DelMesh Polar array geo N=8 Surface geo remove edge circles Change Morph crv position, mirror crv
v
A.3
Adjust circle radius & quad size Move Center quad vector Rotate circles
A.4
A.5
Adding extra loop to loft Change center qud to polygon
Adding extra loop to loft Change center qud to polygon 4ptsrf mesh
A.8
Change circles & polygon Kamgaroo simulation WB SplitQuads
quad
to
B.3
B.4
Mesh Popgeo = 200 DelMesh Cull Nth =5
B.8
Popgeo = 50 DelMesh Polar array geo N=8 Surface geo remove edge circles Change Morph crv position, mirror crv Twisted box (3 edged)
Popgeo = 50 DelMesh WB CatmullClark L=2 Surface geo remove edge circles
B.5
Popgeo = 50 DelMesh Poar arraygeo N=8 Surface geo remove edge circles
B.9
B.10
Popgeo = 50 WB Catmullclark, DelMesh Polar array geo N=8 Surface geo remove edge circles Change Morph crv position, mirror crv Twisted box (4 edged)
Popgeo = 50 WB Catmullclark, DelMesh Polar array geo N=8 Surface geo remove edge circles Change Morph geo to circle Twisted box (4 edged)
Series C Mesh Panelization
C.1
C.2
WB Tri L=1 DBrep, 4ptsrf
WB Tri L=3 DBrep, 4ptsrf
C.6
C.7
Del Mesh, 4ptsrf Cull TF, Brep Edge Scale F=0.798 Fillet R=0.282, loft
Del Mesh, Explode mesh Cull TTFF, Subdivide mesh, 4ptsrf Scale edge with attractor pt. Cull TTTF, Fillet with attractor pt., loft
D.1
D.2
Popgeo 40, WB Catmullclark L=2 WB Edge, Scale F=0.4 Cull TF , FaceN, move1/-1, ruledsrf
Popgeo 40, WB Catmullclark L=2 WB Edge, Scale F=0.510 Cull TF , FaceN, move 0.32 Loft scaled geo only
D.6
D.7
Testing of different ways of panelling minimal surface, with the play around of attractor point & cull pattern
Series D Changing Mesh parameter Play around with surface curves in dynamic geometry formation based on iteration C.8
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, Kscoop S=11 with YZ plane
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, Kscoop S=4 with custom plane
C.3
C.4
C.5
WB Tri L=3 DBrep, 4ptsrf
Vorinoi 3D BBX, Move, loft
Del Mesh, 4ptsrf Brep Edge Scale F=0.798 Fillet R=0.282, loft
C.8
C.9
C.10
Same setting as C.7 Data Cull not grafted, data not matched up
Del Mesh, Explode mesh Cull TTFF, Subdivide mesh, 4ptsrf Scale edge with attractor pt. Cull TTTF, Fillet with attractor pt., loft
Del Mesh, Explode mesh Cull TTFF, Subdivide mesh WB Catmullclark L=2, WB Frame, 4ptsrf
D.3
D.4
D.5
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, move vec X & Z with attractor pt., loft moved X & Z geo
Popgeo 40, WB Catmullclark L=2 WB Edge, Scale with attractor pt. Rotate with custom vector FaceN, move with attractor pt.
D.8
D.9
D.10
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, Kscoop S=11 with custom plane
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, Move vec Z with attractor pt. Kscoop S=11 with XY plane
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, Move Vec X with attractor pt.*Expression Kscoop S=4 with custom plane
Popgeo 40, WB Catmullclark L=2 Voronoi 3D, BBX Cull TTFFFF, Kscoop S=11 with XY plane
Series E Changing Mesh parameter
E.1
E.2
Adjusting kangaroo inputs, simulation pause, exoskeleton in creating dynamic form Set anchor pt: mid & top loop only
E.6
Cap geo, Wb quad mesh WdEdge len*0.244 Unary force F=3724 Anchor pt: vertices Cull TFFF
E.11
Del mesh Exoskeleton WB Loop L=2
Change loop radius Anchor pt: mid & top loop only
E.7
Cap geo, Wb Tri mesh WdEdge len*0.244 Unary force F=3724 Anchor pt: vertices Cull TFFFFFF Simulation pause
E.12
Del mesh Exoskeleton Cytoskeleton
E.3
Change loop radius Anchor pt: mid & bottom loop only
E.8
Cap geo, Wb Tri mesh WdEdge len*0.244 Unary force F=3724 Anchor pt: vertices Cull TFFFFFF Simulation pause
E.4
Change loop radius Anchor pt: top & bottom loop disc only
E.9
Popgeo loft, Del mesh WdEdge len*0.244 Unary force F=10 Anchor pt: E1 edge disc, vertex pt. from bottom of del mesh
E.5
Cap geo WdEdge len*0.325 Unary force = -216 Anchor pt: top disc only
E.10
Del mesh Exoskeleton
Species C.4 Materiality Aesthetics Fabrication Development
Species C.7 Materiality Aesthetics Fabrication Development
Species C.8 Based on our design intend of reflecting dynamic motion of a ballroom, I find the random-like lofted surface reflects a great sense of movement even-thought they are just flat surfaces. In terms of material performance and the development of this definition, there appears to have great potential, yet the effectiveness of whether it is fabricable might be a concern, as more sophisticated definition is needed to get clear where surfaces intersects.
Materiality Aesthetics Fabrication Development
Species E.12 Materiality Aesthetics Fabrication Development
Fig. 6
It is often quite different when a design goes from digital to fabrication, and that because our design intend to reflect the dynamic movements in ballroom in an architectural language which could be something abstract, we aim to explore the possibilities and the most balance approach in fabricating our concept through the series of prototypes. We intended to use dichroic films and PETG plastic as our material for this project, yet we have not get the supplier deliver the material for our prototype testing, at the moment, alternatively we used polypropylene, which has a similar degree of flexibility to test out possible geometries and effects based on some of their shared properties. Fig. 7
Prototype 1
Polypropylene strips held in place by running through frames
Prototype 2 The first 2 prototypes focused on using different connection method to fabricate an iteration of an irregular geometry formed by undulating strips. From the rhino file, we first unrolled curved strips and laser cut 2 sets of strips with polypropylene, then we tried to put them in shape using metal brads and clear perspex frames accordingly. Comparing the 2 prototypes, metal brads/ fishing lines bolting apparently a more clear and less visible connection, yet it turns out being hard to control the overall shape of the strips as metal brad allows moments at the connection. Comparatively, the use of perspex framing to held strip in place is more stiff. However, because the need of contour framing in a close distance to achieve the undulating shape, the framing turns out more like part of the design than just a connection. This may be a potential for our later stage design, as our intended material is translucent, meaning that connections may possibly be exposed.
Iteration to sample shape for prototyping
Metal brad connected
Strips could be bend/ flip to both directions
Strips could be rotated to different extend along the joint
Prototype 3
Original shape of geometry segment
Some possible shapes made from rotating along the flexible joints
It came to our interest of how different shapes could formed along flexible joints. In particular to this iteration, we notice the pattern of share edge are on one side of the geometry, hence we extracted a segment to conduct shape testing though physical transformation along joints.
Iteration to sample shape for prototyping
Prototype 4
Geometry arrange to held in place with order by 3D print
Even though the geometry digitally is one continuous piece, in reality, they are more effective to fabricate as combined individual pieces. Since the initial form of the prototype is irregular, we experimented on 3D printing a rigid joint to held pieces into its digital positions.
Even though the geometry digitally is one continuous piece, in reality, they are more effective to fabricate as combined individual pieces. Since the initial form of the prototype is irregular, we experimented on 3D printing a rigid joint to held pieces into its digital positions.
Iteration to sample shape for prototyping
Flexibility of the ring connection between triangle panels creates diffe
Metal rings used as flexible joint
In this prototype, we tried to fabricate the curved surfaces through triangulating surfaces into smaller fragments. Given the limitation of the chosen material (mirror acrylic), which the shared edges are always perpendicular, we used a more flexible connection ( metal rings) in joining fragments together such that it allows flexibility to fold at an angle along edges. Yet, the flexibility of the joint arise another issue, which we find it difficult to create an exact angle as we expected from the digital model. Such that it has lead us to our next prototype.
Fishing lines at different angle used to hang the shape
Another possible solution might be getting the exact distance from the panel to the joint, so the shape may be controllable by the hanging strings.
erent shape at a different angle free fall
Iteration to sample shape for prototyping
Cable ties in tension to minimize the flexibility for moments at the connection
3D print angled plate for bolt connection acrylic pieces in different angles
This prototype is a simple testing of rigid joints in fabricating a digitally designed shape. We tried out tensioning cable ties on the connection, but limitations are cable ties come with standardized size, meaning that gaps in different joins are different and extend of joint flexibility. From the previous prototyping experience of controllability in flexible joints, we decided to 3D print connection to ensure shape to be fully controllable from digital to physical fabrication.
Apart from simple bolt geometry, we have then developed a similar geometry with a different material and connection technique to previous ones. As our intended material are more likely something as flexible as polypropylene than something as rigid as mirror acrylic, we used polypropylene to approximate the degree of flexibility in creation of joints.
Iteration to sample shape for prototyping
Taking the flexibility of the material, we test out on creating conceal joints by having a surface extrusion along normals of shared
Corners doesn’t stay in position which folding panels are not bolt together
Tried to bolt folded panels together with cable wires
Staple folded panels together as a temporary connection in replacement of glue
edges, so connection are done on the extruded surfaces and kept surface geometry clean from other visible connection. However, since polypropylene is not a suitable material for gluing, we used stapler to nail folded panels to achieve bolt-free-surface.
Further to our previous prototype in connection of overlaps, this prototype aim to integrate the technique of fabricating dynamic surface geometrically to test out the most effective way in having control on the free form. The connection of the prototype is having panels overlap at vertices and bolt together, then having certain vertices of the panels ties with fishing line in tension to stretch out dynamic forms.
Iteration to sample shape for prototyping
Design Brief/ Intention
Design Proposal
What makes a ballroom a ballroom, is the diversity of atmosphere it creates when different occasions happens within the spaces. Different from other type of spaces, it requires the interaction between people and with the space in creating the atmosphere ballroom. Without people, the space would not be activates as a ballroom.
With the techniques and exploration in connections we developed through prototyping, and consideration to our intended materials are translucent, we would like to put focus on:
Hence, we would like to abstract the idea of capturing and reflecting the these dynamic motions in an architectural language through our ceiling (and potentially column/ wall) design.
Firstly, test out material performance we intended to use (Dichroic films & PETG plastics) including flexibility, fabrication caution and importantly performance under lightings. Secondly, deeper into junctions between discontinuity, in particular to integrate connection points as a part of the overall design, and its interaction with lighting under the translucent material. Thirdly, put forward our techniques from developable surfaces to volumetric surfaces with the engagement of lighting effects in different ways.
To a large extent, I think that the matrix exercise has helped me in address a great range of design possibilities under a given situation. I was actually a bit doubt about my choice of taking geometry as my research field. The matrix exercise in B.2 has been helpful for me in familiarizing myself with parametric design. Instead of ideas generation from my thoughts, some of pretty outcomes in this task were unexpected. These surprising outcome from the matrix has then trigger my interest in approximating mesh geometries with developable surfaces, which is part of the driving force that I have chosen a more freeform geometry than something geometrical. B.3 has been a critical part that driven my focus of techniques to generate fabricatable possibilities. In the study of the logics to achieve the project outcome, I have spent quite sometime moving back and fore editing the reverse engineering script, in improving the approach to recreate the project simplest possible. With these convenient parametric tools, I find that it is not really that hard to generate something looks decent enough to approximate the form regardless of the logic to digitally process a fabricatable solution. Indeed, the difficult part is to approximate the project in a way that is later fabricatable. This also highlights the important role of computation in design process to solve and approximate undevelopable/ difficultly developable geometries.
Computation’s role the design process does not end at getting digitally ready for physical fabrication, instead it is another back and fore process until the final model built. In our process of prototype for instance, we basically have pieces and joints ready from digital file to be fabricated, yet, sometimes dis-match between material performance and assumption in digital model may arise other issues, and require adjustments to solve, making the physical prototyping and digital processing an alternating process. This has also been part of the reason that we created a series of prototypes. With the range of exploration we had tested out prototyping, I believe that in the next stage of prototyping (Part C), we would be spending more time to focus on one or two of them to strike for a greater depth in engaging the parametric modelling process further more.
Prototype 1: Stripping
Prototype 8: Panelling
Digital fabrication maybe a challenge, yet flexibility & fluidity of strips potentially provide interesting dynamic form.
Complexity of this prototype is simple, yet utilizing the tectonics of panelling may be a fabrication advantage.
Materiality Choice of our material intended to have changeable lighting effects properties in creating different atmosphere for the ballroom in different events. Since no found supplier in Australia in provides Dichoric material, considering the time frame given might not be sufficient to purchase material overseas from USA, we decided to use Mirror Acrylic and other translucent materials i.e. Polypropylene in test out lighting effects.
Design Direction
Fig.1
From the feedback in Part B suggesting us to narrow down the direction of development, we have chosen 2 prototypes as our starting point based on 3 criteria: 1. Aesthetics 2. Fabrication Chances 3. Relation to our Design Intention
Fig.2
SCREEN
Site Plan
Elevation
W Hotel, Melbourne Ballroom size 513m2
Windows on the North & West Design may have to consider reflection of daylight through Mirror Acrylic may cause dazzling
Screen Any extension of ceiling installation shall avoid blocking of the screen
Ceiling Area Roughly 16m x 30m, may consider scale of design in proportion of the long span ceiling
Ceiling Height Roughly 7.2m, may need to consider height of installation that may not interrupt spatial atmosphere of the ballroom
Form Finding Sequence Having fabrication chances as a key criteria in our form finding process, our focus is driven to whether the form is developable or not. Hence we have combined form finding and prototyping as one whole process to test out the better outcome of developable form that achieves our design intent.
1. Form Combining Strips & Panels
2. Form from Collection of Strips
We begin our form finding process combining panels and strips in one form, however the outcomes appears that the form is generally simple and regular. So we decided to pick strips instead to strike for more interesting shapes.
We tested out several methods in generating a overall form from collective strips, and work out on fabrication details and prototyping. Yet striking between aesthetics and fabrication has made this process hard to further develop on.
3. Undulating For
So we tried gene undulating form strips/ panels in cr and prototype to developable or not.
rm with Panels
erating a overall and use long reating the form, test whether it’s
4. Strips as Overall Form
5. Panelling Strip Form
Meanwhile, we have also tried to test out on making long strips as overall form and usually small panels in formulating the strip form.
At last, we have taken long strips as the overall form, and we tested out several ways of panelling the form.
Form from Collection of Strips
We begin try out with radical methods to create collective strips, but the outcomes tends to be control in control and messy.
So we work on adjusting graph m However, the sca variation effect fit i a ceiling installatio
Undulating Form with Panels
We then tried dividing crv/ srf pts, and adjust pts position with graph mapper, pt. charge etc. interpolate and loft to generate undulating form.
During the proce pt. charges to ge to move points ve can interpolate c a twisting like pa visual effect throu angle.
the previous script, mapper & initial pt. ale to generate the in a suitable height as n.
ss, we found that using enerate a vector force ertically and horizontally crvs that could loft into anels, with a dynamic ugh looking at different
Then we’ve work out generating 3D strips by creating fractal pattern, and test out with prototyping. Yet issue raised in prototyping make us decide to move onto the next stage of form finding. (Further explain in C.2)
So we tried prototyping this 2 forms on testing and comparing the twisting effects digitally and physically.
Strips as Overall Form
Meanwhile, we have test out strips as overall form with interpolate crv, attractor pt., and graph mapper and attractor pt. to create dance-motion like curves.
The final form we come up with, and then we fine tuned scale and orientation.
And transform these developable surfaces fabrication concerns.
curves into for further
To allow a greate undulation of strip curves running to lo areas to the colum
Lastly, we tested o panel the form, in lunch-box, delaun item to draw srf.
er extension of the ps, we tried having ower point at corner n.
out several ways to ncluding the use of ay edges, relative
Aesthetics Fabrication Development
Among the methods we’ve tried, having contouring spheres union in pop3D generates the most desirable outcome, however as the irregularity of strips is based on controlling graph mapper, a certain extend vertical to horizontal scale is restricted to give that effect, which makes it hard to size into a suitable scale as a ceiling installation. Nevertheless, we would like test out whether feasible or not to hold the strips in shape with framework and/ or intersection.
Framework (White)
Strips (Black)
Digitally, we extracted parts of the design on testing the framework needed to hold up the shape. It appears to work with strips that gradually change in shape, however, for strips that are not intersecting and significantly differential from the adjacent ones, it might require framework double the amount of strips in order to held up the shape, which is an inefficient method. Hence we would like to look for better alteration then this way of connection.
Since we have low controllability with graph mapper to create the irregularity of strips, we tried using fractal pattern to generate strips form that scale from an initial strip. In such way, we could then have control on the shape of the initial strip, and by adjusting the scale factor and point on crv to scale for in creating the variation. Aesthetics Fabrication Development
New Strips (White)
Previous Strips (Black) Strips connecting point (Blue)
By fractal pattern, the overall form will be determine by the control on the ‘growing curves’, we could control where the strip position on the previous strip, allowing us to work on the intersection/ connection in prototyping. Yet, the concern of this form is the scale of strips might be relatively small to put in a ballroom, which the installation has to be rescale in order to give visual effect and able to play with lighting effects.
Laser Cut Perspex
3D Print joints
We first obtain the curve form from the fractal pattern method.
Flat strips form into 3D curves with the ball connectors
Then offset curves based on the x vector of PFrame to obtain a flat curve surface for laser cutting.
Lastly, draw for strips to i print the ba
The displayed connection system needs a proportion of thin strips and small balls to make it works well, yet the prototype has to be scale up partially in fit in the ceiling with visual impact. Also, some of the ball connection is unstable as the depth of intersection varies according to the location. A more complex joint needed to lock the strips in position, meaning that the displayed connection might not work as minimal as the prototype in a reality scale. Hence, we decide to look for an alternative form that could avoid a complex connection displayed in form.
w sphere and trim off intersect with, and 3D ll connections.
This form finding iteration is particularly to our interest for its potential to perform dynamic lighting effects. Panels are oriented in a twisted manner with a slightly different angle for each, which could work with translucent material for overlaying or reflective materials for shadow casting. Aesthetics Fabrication Development
Concerning fabrication, since panels are twisted, we may look for having a flexible material to be twisted and held in shape with something rigid on the 2 ends intersecting each other.
Prototype with straight sides
Top view
Polypropylene
Perspex side panel
We first prototype with the twisted ribbons with 2 straight rigid panels. As the twisted panels are increasing size from one end to the other, the ribbon could position stiffly with the panel locks at the intersection.
Front view
Considering these impractical issues, we decided to take an alternative form for our final proposal.
Perspex top support
Polypropylene side panel Prototype with curved sides
Top view
Then, we prototype a second set with the side panels as a flexible curved panels. Even with the rigid top panel, flexibility of the material allow tolerance of intersection to move, which cause the pattern deforms and out of control. Moreover, as we intended a continuous flow in the curvature, the twisted ribbon has to be a continuous piece. Hence, there will be a material limitation for the span of the ribbons.
Meanwhile having the twisted ribbons tested, we tried out creating long huge strips as our overall form, then having it panellized to form the continuous shape, combining our previous part B prototypes’ focus: strips and panels.
Aesthetics Fabrication Development
Parrt B Prototype 6: 3D print joint with bolt connection
In such way, fabrication can be more simplified, and apply method of one previous prototype, with fine tuning of 3D print angle joint and bolts. And to enhance the lighting effects of mirror acrylic, we create curve pattern on the back of mirror acrylic that could penetrate light through.
Using method of 3D print joint from Part B Prototype, we extracted a part of the form and further detailed the connection in a 1:5 scale to demonstrate the connections.
The extracting part is a surface without thickness.
We first offset inwards to give space for extrusion for the material thickness.
Then scale individual panels at vertices and union to create the location and shape for the 3D print joint.
Lastly trim holes throw the 3D print connection and mirror acrylic.
Hook & Transparent String
3D Print connector & Bolt
Mirror Acrylic Panels
Etched Pattern
Based on the feedback given to our final proposal, the application of panellization to a strip form has not end up with a visual impact as strong as we intended to be. The panels are too regular and small in scale, in which the visual effect is not as efficient at a ceiling scale. Issue of the panel size of the final proposal is fundamentally based on the overall form, and because we were attempting to combine both strips and panels as much as we could, making the design difficult to balance between two. Since the overall form generally regular in volume, the differentiation of outcoming panel size is not obvious. Hence I decided to put my focus on exaggerating the visual effect of panel size variation , and readdressed the logic of form generation to further developed the design in response to the above aspects.
Rethinking our design intention of dynamic motions, I picture the motion of ladies’ turning dress during dancing, and would like to capture and reflect this motion as the idea of the ceiling design.
In grasshopper, an initial polygon curve is moved and rotated into 7 curves with an increasing value top and bottom.
Then curves the bottom to twisted shape
are lofted from o top forming the e.
Then, the lofted surface is panelled into quads and triangles.
Finally, the panels are culled into 3 parts for 3 different way of panelling of the overall form with individual volume.
Center Trimmed Panels
Concave Panels
As the lowest part of the installation is extended to just above ground, the panels are trimmed through the center to create a more dynamic shadow casting through daylight / internal lights.
At the middle top part of the swirl, panels are more densely located, hence, in order to achieve a dynamic volumetric form without too many dazzling from the mirror acrylic, these panels are made a concave volume.
Convex Panels Panels at ceiling level are more scattered as its getting further from the center of the swirl. Since they are less densely located, panels are made to a convex volume to exaggerate the visual effect.
Ceiling plan p
Loft surface
Mesh panels to 4pt. srf
panelling sequence
Extrude to a point based on surface normal
Cull panels fitting in ceilig boundary
~1m
Installation is ext just above ground w touching the floor.
~18m
Convex panel is separately hanged maximum 2.5m below ceiling level to avoid breaking the vertical spatial atmosphere.
The swirl part is centered at the back of the ballroom to minimise blocking view to screen at front.
tended without
Center Trimmed Panels
Concave Panels
Convex Panels
Center Trimmed Panels
As the frame-like mirror panels are low in position meaning that the connection will have to be exposed. Hence, I propose having a metal framing folding in the above way, forming as a bone structure to tie/ bolt mirror acrylic on top.
Concave
To reduce the amount of panels for this bulky part, I su 3D print joint to held every v having all this individual conc to a bone structure to put the
e Panels
connections between uggest to have a union volumetric panels, then cave panels connected em in shape.
Convex Panels
For the convex panels, I suggest to remain the use of previous 3D print angle connector, joining adjacent pieces together at the internal volume of the panels.
Parametric Modelling Skills
Generative Approach in Design
The most significant attempt of our project is that we have gone through a long process of testing all different approaches to generate a final form in achieving our design intent. Having learnt to utilize parametric tools has opened up us more options to experiment on.
I found generative approach a good and bad thing to me in this studio. On one hand, this approach has widen the scope that I could imagine myself to create a design based on the brief without these parametric tools, on the other hand, the attractiveness of getting experiment every discovery in the process has pull my focus to form finding and testing in the studio, ending up with less time on working out physically as much. Even though we have not chosen the best alteration to develop for the final proposal, I believe that beyond the scope of this studio, the amount of attempt we carried out in the generative process would have help me in designing.
Physical Prototyping Physical prototyping has been a helpful process throughout our project. Having test with a physical prototype , it has help us to identify practical issues and details of which we might not had thought of digitally to work out the feasibility.
Image Reference Part A Fig.1 Archdaily, Arcus Center Site Plan, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justiceleadership-studio-gang/54891c0ae58ece8515000067-site-plan > [assessed 17 March 2017] Fig.2 Archdaily, Arcus Center Iwan Bean, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justice-leadership-studio-gang/54891c1be58ecec57200008e-arcus_center_-c-_iwan_baan_07-jpg > [assessed 17 March 2017] Fig.3 Archdaily, SPARK section, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd50fe58ece47940000ec-section > [assessed 17 March 2017] Fig.4 Archdaily, SPARK, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd4cfe58ece47940000eb-0240_01_aerial-jpg > [assessed 17 March 2017] Fig.5 Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136aa04b3fc4b828e000238-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Fig.6 Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a8beb3fc4bf0a8000227-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Fig.7 Architectural Design, Parameterisation strategy for the White Noise music pavilion, 2013, < http://onlinelibrary. wiley.com/doi/10.1002/ad.1564/epdf > [assessed 17 March 2017] Fig.8 Pinterest, KOSICE 2013 The exhibition Äutria DESIGN – Surprisingly Infenious”, 2013, < https://www.pinterest.com/ pin/328973947751122817/ > [assessed 17 March 2017] Fig.9 Frank Gehry, Sketch, 2011< http://www.fondationlouisvuitton.fr/en/l-edifice.html > [assessed 17 March 2017] Fig.10 Thibaud Poirier, Fondation Louis Vuitton night, 2014,< http://thibaudpoirier.tumblr.com/page/4 > [assessed 17 March 2017] Fig.11 Architectural Design, Overall tower geometry showing the different levels of development, 2013, < http://onlinelibrary.wiley.com/doi/10.1002/ad.1550/epdf > [assessed 17 March 2017] Fig.12 CSCEC ICP, National Bank of Kuwait New Headquarter, 2015, < http://sstr.cscec.com/art/2015/11/4/ art_5348_234214.html > [assessed 17 March 2017]
Part B Fig. 1 Antoni Gaudi’s Sagrada Familia - Interior - Barcelona, 2011 < http://www.flickriver.com/photos/antuanysmith/5646743311/ >SOFTLab, IBM MWC 2017, 2017 < http://softlabnyc.com/portfolio/ibm/ > Fig. 2 SOFTLab, IBM WMC 2017, 2017 , <http://softlabnyc.com/portfolio/ibm/> Fig. 3 UTAOT, scared geometry and architecture in Iran, 2012,< http://www.utaot.com/2012/11/15/sacred-geometry-and-architecture-in-iran/> Fig. 4 MATSY, SG2012 Grideshell, 2012 < http://matsysdesign.com/2012/04/13/sg2012-gridshell/> Fig. 3M Fasara™, Dichroic < http://www.decorativefilm.com/3m-fasara-dichroic-df-pa-blaze-48-wide-3 > Fig. 5 SOFTLab, ‘San Gennaro North gate < http://softlabnyc.com/portfolio/san-genarro-north-gate/ > Fig. 6 3M LifrLab SXSW 2015, 2015, < http://softlabnyc.com/portfolio/3m-lifelab-sxsw-2015/> Fig. 7 Marcelo Spina ,StalacTile ,Tessellated Manifolds , 2009 < http://designplaygrounds.com/deviants/stalactile-tessellated-manifolds/>
Part C Fig. 1 Mirror Art Installation, Pinterset, 2016 < https://uk.pinterest.com/pin/383580093235199856/ > Fig. 2 The installation Untitled (Mylar), Taradonovan, 2011 < http://roscidum.blogspot.com.au/2011_12_01_archive. html >
Bibliography Part A Images
Archdaily, Arcus Center Iwan Bean, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justice-leadership-studio-gang/54891c1be58ecec57200008e-arcus_center_-c-_iwan_baan_07-jpg > [assessed 17 March 2017] Archdaily, Arcus Center Site Plan, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justice-leadership-studio-gang/54891c0ae58ece8515000067-site-plan > [assessed 17 March 2017] Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136aa04b3fc4b828e000238-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a8beb3fc4bf0a8000227-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Archdaily, SPARK section, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd50fe58ece47940000ec-section > [assessed 17 March 2017] Archdaily, SPARK, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd4cfe58ece47940000eb-0240_01_aerial-jpg > [assessed 17 March 2017] Architectural Design, Overall tower geometry showing the different levels of development, 2013, < http://onlinelibrary.wiley.com/doi/10.1002/ad.1550/epdf > [assessed 17 March 2017] Architectural Design, Parameterisation strategy for the White Noise music pavilion, 2013, < http://onlinelibrary.wiley. com/doi/10.1002/ad.1564/epdf > [assessed 17 March 2017] CSCEC ICP, National Bank of Kuwait New Headquarter, 2015, < http://sstr.cscec.com/art/2015/11/4/art_5348_234214. html > [assessed 17 March 2017] Frank Gehry, Sketch, 2011< http://www.fondationlouisvuitton.fr/en/l-edifice.html > [assessed 17 March 2017] Pinterest, KOSICE 2013 The exhibition Äutria DESIGN – Surprisingly Infenious”, 2013, < https://www.pinterest.com/ pin/328973947751122817/ > [assessed 17 March 2017] Thibaud Poirier, Fondation Louis Vuitton night, 2014,< http://thibaudpoirier.tumblr.com/page/4 > [assessed 17 March 2017]
Part A
Research Source Dunne, Anthony; Raby, Friona, Speculative everything design, fiction, and social dreaming ( MIT Press: 2013) p. 1-9, 33-45 Fry, Tony, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16 Gang, Jeanne, Buildings that blend nature and city, 2016 < http://www.ted.com/talks/jeanne_gang_buildings_that_ blend_nature_and_city> [assessed 2 march 2017] Kalay, Yehuda E., Architecture’s New Media: Principles, theories and methods of computer-aided design (MIT Press: 2004), p. 5-25 Menges, Achim, ‘Computational Material Culture ‘, Architectural Design, 86 (2016), p. 76-83 < http://onlinelibrary. wiley.com/doi/10.1002/ad.2027/abstract> Nolte, Tobias; Witt, Andrew, ‘Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), p. 82-89 Oxman, Rivka; Oxman, Robert, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p. 8-15 Popovska, Dusanka, ‘Integrated Computational Design: National Bank of Kuwait Headquarters’, Architectural Design, 83 (2013), p.34-35 Preisinger, Clemens, ‘Linkubg Structure and Parametirc Geometry ‘, Architectural Design, 83 (2013), p. 110-113 < http://onlinelibrary.wiley.com/doi/10.1002/ad.1564/abstract> Spark Architects, ‘Homefarm singapore concept design’, 2014 < http://www.sparkarchitects.com/portfolio_page/ homefarm/> [assessed 9 March 2017]>
Part B Antoni Gaudi’s Sagrada Familia - Interior - Barcelona, 2011 < http://www.flickriver.com/photos/antuanysmith/5646743311/ >SOFTLab, IBM MWC 2017, 2017 < http://softlabnyc.com/portfolio/ibm/ > MATSY, SG2012 Grideshell, 2012 < http://matsysdesign.com/2012/04/13/sg2012-gridshell/> Marcelo Spina ,StalacTile ,Tessellated Manifolds , 2009 < http://designplaygrounds.com/deviants/stalactile-tessellated-manifolds/> SOFTLab, IBM WMC 2017, 2017 , <http://softlabnyc.com/portfolio/ibm/> SOFTLab, ‘San Gennaro North gate < http://softlabnyc.com/portfolio/san-genarro-north-gate/ > UTAOT, scared geometry and architecture in Iran, 2012,< http://www.utaot.com/2012/11/15/sacred-geometry-and-architecture-in-iran/> 3M Fasara™, Dichroic < http://www.decorativefilm.com/3m-fasara-dichroic-df-pa-blaze-48-wide-3 > 3M LifrLab SXSW 2015, 2015, < http://softlabnyc.com/portfolio/3m-lifelab-sxsw-2015/>
Part C Mirror Art Installation, Pinterset, 2016 < https://uk.pinterest.com/pin/383580093235199856/ > The installation Untitled (Mylar), Taradonovan, 2011 < http://roscidum.blogspot.com.au/2011_12_01_archive.html >