Inter-Woven: Gamified Democratic Urbanism _ AADRL Thesis 2019-2021

NAHMAD-BOOSHAN STUDIO 2019-21

INTERWOVEN CEREN TEKIN HAMZE MACHMOUCHI SUTHINEE CHAROENSAWASD

Architectural Association 36 Bedford Square, London WC1B 3ES Architecture and Urbanism (MArch) Design Research Laboratory 2019-21 Nahmad-Booshan Studio

Studio Masters Shajay Bhooshan Alicia Nahmad Team Members Ceren Tekin Hamze Machmouchi Suthinee Charoensawasd

Š 2019-2021

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INTRODUCTION DRL Agenda Studio Agenda

THESIS Thesis Statement Research & Precedents The 21st Century Economy From XL to SME Urban Vibrancy Trinity Buoy Wharf Decentraland and SimCity Surface-Based Architecture Fabric & Textile-Based Materials Site: Euston

URBAN GAMIFICATION Netlogo: Agent-Based Model Simulation Wolf-Sheep Predation Ten Percent Energy Neighbour-Based Algorithm Participatory Setup Agent-Based Urban Growth 01 Agent-Based Urban Growth 02 Developers Game Inter-Woven Game

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ASSETS (ARCHITECTURAL GEOMETRY) Geometry Studies Physics Modelling Parametric Modelling Procedural Modelling Form Finding: Surface-Based Geometry Mesh Relaxation Tensile Structure Surface Types Surface-Based Topology Study Architectural Assets Discrete Elements Thin Shells Variety of Fabric Applications

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FABRICATION & PROTOTYPES Fabrication Techniques Prototypes

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AFTERWORD Phase 2 Review Critics Commentary

BIBLIOGRAPHY & ACKNOWLEDGEMENTS

CONTENT

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INTROD

DUCTION

DRL AGENDA AADRL 2019/21: SOCIAL ECOLOGIES (1.0)

The DRL’s new agenda expands on the notion of the evolutionary city and its relationship to the different social agents that will inhabit it. From participatory systems to adaptive resilient strategies, the goal of the agenda is to introduce novel interactive and transformative agencies that would allow to challenge and speculate on how different lifestyle systems can begin to emerge. Through the correlation of different actors, the agenda focuses on the layered nature and the transformative power of our social interactions.

These clustered intensities can then initiate new ways of civic life.

The reality around this kind of subject matters that the studios has been looking at is basically building on researches which have been developed in terms of living, working, and issues around culture. These then manifested into an attempt to explore a more participatory and more co-authored ways of collaborating on complex problems that necessitate progressive, to explore a lot of computational aspects within real-time environments, and to construct our

Architecture in this expanded field is understood as a spatial framework that challenges the norm and the habitual tendencies that limit possibilities. The attempt is to offer more – to examine architecture as a mode of enquiry that enables social and material agency.

These particular 16 months worth of a continuous work in progress is a design research that tries to set out the definition of “social ecologies”.

STUDIO AGENDA NAHMAD-BHOOSHAN STUDIO: PEOPLE-MATTER

“The 19th century was a century of empires, the 20th century was a century of nation states. The 21st century will be a century of cities.�

- Wellington E. Webb, Former Mayor of Denver

The studio explores a digitally empowered revival of the humanist urban settlement. Towns that become cities in which citizens actively deliberate and collectively decide about the urban form, building typologies, adjacencies and sequences of creation. The 20th century established a gap between citizens and their cities, a gap that has only increased further. The urban environment has to be in the service of its citizens.

The studio proposes an alternative paradigm in which AI-augmented citizens actively engage in informed decision-making of their urban space. At the core of the exploration lies the concept of participatory urbanism that pairs a virtual, online space of urban and architectural experimentation, transactions and negotiation with a periodically synchronised physical, offline counterpart.

The on-demand and periodic physical realisation of urban and architectural forms is powered by maturing technologies of robotic and digital manufacturing with their material conserving, ecologically and structurally effective credentials.

The studio foresees the future of the urban environment as a digitally augmented reality. A future in which there is a feedback loop between the preferences of people, their needs and their urban environment. This idea differs from the status quo in which urban environments just ‘happen’ to people, forcing people to adapt to them.

Through the use of emerging technologies that allow to understand and work with large amounts of data and gaming platforms that enable individual users to negotiate in multiple dimensions, the studio expects a democratic, citizen-centric, techno-gaian urban environment to emerge. This humanist endeavour and environment will be shaped by the collective intelligence, dynamic consensus, trade-offs and negotiations between its inhabitants – recalling not only the early urban settlements but also echoing the socio-economic successes of democratic online metaverses such as Second Life.

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THESIS

THESIS STATEMENT INTER-WOVEN

Neighbourhoods, and cities are the culmination of the development, renewal, and adaptation of a dialogue between different stakeholders with a similar aim: human progress and effective resource utilisation. Therefore, it becomes natural for us to claim the role of the architect as both an observer and an enabler in improving the built environment.

From factories to hot desks, our workplace has undergone a transformation from XLarge to Small- and Medium-sized enterprises. Since one-third of our life is spent at work, this evolution shows a shift in the way we live. Working, living, and playing can now all happen within a short walking distance.

We see this as an opportunity to build an incentive for people to shape their 21st century city, block by block. An opportunity where each neighbourhood will be grown from the bottom up with the workplace as its catalyst.

Examples of successfully completed participatory models are scarce, primarily because the main stakeholders consider the execution of architectural projects to be a highrisk endeavour. Therefore, we ask, how could we enhance stakeholder participation while also de-risk investment of societal resources into the built fabric?

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Our response is to offer a prototypical urban platform that exists both physically and virtually and would work like a marketplace where investors, producers, and consumers (buyers and sellers) could meet, shape their own neighbourhoods, and explore their qualities. The world’s largest place for exchange is currently located online, more speciďŹ cally, in digital game space where virtual economies and communities are growing exponentially. In this digitalphysical domain, every consumer can also become a producer.

The user would be propelled in an open-world digital-twin of a site they select to live/work in. The site becomes a blank slate where different stakeholders could be exposed to endless possibilities in a low-risk environment while also collaborating with each other. As a result, different ways of living emerge. Different morphological variants shaped by the players offer alternate versions of existing neighbourhoods.

In other words, we intend to deliver the technological layer for governance that will facilitate the allocation of resources and assist in making decisions. This increased connectivity and cooperation will be carried out physically through masscustomised textile and fabric-formed geometrical assets that will drive a project into reality.

INTER-WOVEN I THESIS

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A city is much more than a col in space, serving a purpose o The core of a city is its peop they allow for individuality a amplify every aspect of our l unique environment of unlim hubs of innovation, centers o intera

A city is a place Richard Sennett put it, “where ideas are formed in a public sp to anyone and everyone. A p inhabitants, a physical re

This ability of cities to not on society but also amplify and should be enough to recogniz core of our

“Cities have the capability of providing something for everybody, only because, and only when, they are created by everybody.”

-Jane Jacobs

llection of objects suspended r reminding of times gone by. ple; cities represent diversity, as well as a collectivity, they life and, in this way, create a mited possibilities. They are of revolutions, and places of action.

e, as the writer e strangers meet, where new pace.” A common ground open place directly created by its eflection of society itself.

nly exist as a reflection of our d affect its future evolution e their importance as the real civilization.

London, United Kingdom Source: Google Earth

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RESEARCH & PRECEDENTS CYBER-PHYSICAL Our urban societies are a dynamic ďŹ eld of interrelated forces that make our task as architects inherently social.

Our research is divided into three parts that explores the interrelation between architectural geometry, industrial construction, and an Urban participatory platform that consolidates the three of them together.

Through Participatory urbanism, we intend to achieve a virtual environment that allow people to experience, build, and take ownership of their neighbourhood settlement. The future urban fabric will be grown bottom-up from individual moves with incentives from experts represented through spatially & structurally effective architectural geometries that link between the cyber and physical environment.

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THE 21ST CENT

DIGITAL &

The games we have played ever since our childhood shaped the way we perceive the free market economy today. With the development of game technologies such as virtual reality platforms, players have the ability to not only create and monetize their content but also own virtual pieces of land by using a non-fungible token system which is different from cryptocurrecies like bitcoin, and many other network or utility tokens that are fungible in nature.

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TURY ECONOMY PHYSICAL

Non Fungible Tokens (NFT) are a special type of crypto token backed by an asset. Our response is to offer a prototypical urban platform that exists both physically and virtually and would work like a marketplace where investors, producers, and consumers (buyers and sellers) could meet, shape their own neighbourhoods, and explore their qualities. The world’s largest place for exchange is currently located online, more specifically, in digital game space where virtual economies and communities are growing exponentially.

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Economic Aspects in Game Developments, Source: https://mojkripto-com.medium.com

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-2020

-2050?

Trends of increasing global urbanization are visible in mapping predominantly urban versus predominantly rural areas of the world. In a map from the year 2018, we can already see that the vast majority of the world lives mostly in urbanized areas; Europe, North, and South America, and Australia are predominated by urbanized settlements with only the relatively undeveloped Africa and Asia lagging.

In a later projection for the year 2050 based on assumed population growth and related urbanization trends, we can see that practically the entire world will be living in urban environments with the only exceptions being a handful of countries in central Africa and small parts of Asia. In conclusion, it seems that a highly urbanized environment - the city - is humanity’s future of the optimal habitat for our survival.

Share of the populations living in urban areas, 2018

Share of the total population living in urban areas, with UN urbanization projections to 2050.

Source:UN World Urbanization Prospects 2018 Note: Urban populations are deďŹ ned based on the deďŹ nition of urban areas by national statistical offices.

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ACCESS TO OPPORTUNITIES AN URBANISING WORLD To accommodate the increasing development, the City has become more critical than ever before. We can efficiently house our growing populations, enable them access to work, leisure, and other daily activities. As a result, urbanized regions are rapidly expanding and becoming the prime human habitat in which we can thrive. This evolution has inuenced Europe in our environment for quite some time.

Population

Area

41%

4%

Urban 41%

Urban 4%

Suburban

Suburban

Rural 28%

Rural 83%

With a look at a population distribution map of Europe, we can look into the future of our planet virtually; Europe, 72% of the total population, live on only 17% of the total land area.

INTER-WOVEN I THESIS

This statistic becomes even more drastic if we look solely at urban areas where 41% live on 4% of the area. These are growing trends worldwide. Despite the majority of Europe already being urbanized, the share of the urban population continues to increase.

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SMEs increase employment density.

They also have the capacity to accommodate growing demand.

Moreover, SMEs facilitate the exchange of goods and skills and the cooperation between the town and its citizens. This new form of work will be the seed that will initiate the growth of the town by providing forms of production and construction to the urban area

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Good urban urban design design isisatat heart Good thethe heart healthy living. living. By Bycreating creatingwellwellof healthy designed neighborhoods that designed neighborhoods that areare connected through ofof land-uses, connected througha amix mix landhousing types, and access to quality uses, housing types, and access public transport, we can create more to quality public transport, we can healthy communities. These connected create more healthy communities. and walkable places are where people These connected and walkable can live, work, and play.

People places can are where people can live, work,local and spend their free time and access play.

People can spend their free time services, including community hubs and local services, including that access encourage social interaction. community hubs that encourage social interaction.

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These are places where people want to be. While many of our established areas have some built form features for a 15-minute neighborhood, they are not always walkable and offer affordable housing options. Inter-woven aims to make the 15-minute neighborhood concept a reality for every person.

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SME & START-UP ENVIRONMENT TRINITY BUOY WHARF CREATIVE COMMUNITY IN LONDON DOCKLANDS In 1998, Trinity Buoy Wharf was an empty, derelict site. It is a place with studios for people in the creative industries, workspace for people who work to provide transportation on the river, classrooms for education, indoor and outdoor spaces for arts events, and a wide range of activities from conferences to products launches.

With over 500 people working on the site, in enterprises large and small, established and start-up, mainstream and way-out, Trinity Buoy Wharf has been given a new life.

Studio spaces range from 200 sq.ft to over a 1,000 sq.ft in both modern and historic buildings. They’re committed to the growth of the arts and creative industries and willing to negotiate studio prices for artists.

Figure: Trinity Buoy Wharf

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INTER-WOVEN I THESIS

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CITY BUILDING GAMES FROM CORPORATION TO CO-OPERATION

Figure: SimCity Source: https://www.ea.com

SIMCITY CITY BUILDING

In the SimCity games, the player develops a city from a patch of undeveloped land.

The player controls where to place development zones, infrastructures like roads and power plants, landmarks, and public services such as schools, parks, hospitals, and fire stations. The player also determines the tax rate, the budget, and social policy. The city is populated by “Sims,” simulated persons, who live in the city created by the player. The three development zone types are the major areas in which Sims inhabit: residential zones for houses and apartment buildings; commercial zones for shops and offices; industrial zone for factories, warehouses, laboratories and farms.

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BLOCKCHAIN-BASED GAMING FROM CORPORATION TO CO-OPERATION

Figure: Decentraland Source: https://decentraland.org

DECENTRALAND + METAVERSE & VIRTUAL ACTIVITIES Decentraland is a decentralized virtual reality platform that users can create, experience, and monetize their content and applications. The finite, traversable, 3D virtual space within Decentraland is called LAND, a non-fungible digital asset maintained in an Ethereum smart contract. The land is divided into parcels that are identified by cartesian coordinates (x,y). These parcels are permanently owned by community members and are purchased using MANA, Decentraland’s cryptocurrency token. This gives users full control over the environments and applications they create, ranging from anything like static 3D scenes to more interactive applications or games. Some parcels are further organized into themed communities or Districts. By organizing parcels into Districts, the community can create shared spaces with common interests and uses.

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SURFACE-BASE ARCHITECTURE

Previous generations of master builders like Eduardo Catalano, FĂŠlix Candela, and Miguel Fisac pushed the boundaries of architectural form by designing from available materials and labour, such constraints that help shape innovative and novel structural systems. Surface-based architecture have shown a design of non-prismatic geometries, which enhance user experience while being structurally effective through its use of curvature.

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Building complex geometries uses more than 400 million tons of material a year, many of which are due to an overly complex formwork system that has an adverse impact on the environment.

The expansion of the built environment due to the rapid growth of the urban population poses a challenge for construction development.

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FABRIC & TEXTILE-BASED MATERIALS

Figure: Soap Film Experiments, Frei Otto Source: https://materialpraxis.files.wordpress.com/2010/09/s6-1

In the sixties, the German architect Frei Otto started to experiment with soap films. He had in mind to use the models of minimal surfaces to produce a completely new structure to be used in architecture. He created the so-called Tensile Structures, all based on soap film models. Minimal surfaces, including those expressed by soap film and their use as models for geometry and architecture, constitute a specific aspect of the relations between architecture and mathematics, which started to be developed in the twentieth century and has continued into the twenty-first.

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Figure: German architect and structural engineer, Frei Otto (31 May 1925 – 9 March 2015) was well known for his pioneering innovations in lightweight and tensile structures.

Source: https://www.bmiaa.com

With the advancement of form ďŹ nding method and digital fabrication, Fabric and Textile-based materials offer a rapid deployment of construction, conserving more materials and energy and minimising waste production.

It have shown to allow for structural efficiency while maintaining possibilities for spatial diversity. A variety of architectural vocabularies can be created through the design applications of surface-based, textiled materials to enrich spatial experience for users as our approach to a vibrant urbanism.

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Figure: La Pagoda, Madrid Source: https://www.archdaily.com/152936/ad-classics-the-pagoda-miguel-fisac

FLEXIBLE FORMWORK I MIGUEL FISAC The work of the Spanish architect Miguel Fisac exemplifies this trajectory of the 20th-century material practice. Working in post-war Spain, Fisac hovered between architect, engineer, and fabricator and focused on the rigorous development ofpre-cast concrete structuralbeams and façade systems. Known mostly for his long-span concrete roofs of the 1950s and 1960s, Fisac’s later work in the 1970s and 1980s concentrated on using flexible formwork in precast concrete façade modules. Fisac first began thinking about these ideas early in his career during the Teacher Training Center project in Madrid in the 1950s.

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Figure: Juan Zurita residence Source: Fabric-formed concrete: A novel method for forming concrete structures

JUAN ZURITA RESIDENCE I MIGUEL FISAC Concrete members have traditionally been cast using a rigid formwork.

However, casting concrete in a flexible formwork may be used nearly anywhere a rigid formwork is used and is beginning to attract attention as a construction method. Straightforward analysis and design methods are available for the traditionally cast concrete member – be it a concrete floor, beam, wall, or column member. One of the first architects to use a flexible formwork in an architectural application was the late Spanish architect Miguel Fisac with his 1970’s design of the Juan Zurita residence in Madrid, Spain. His use of rope and plastic sheeting to create these precast panels imparts a sense of “warmth and softness.”

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Figure: Serpentine Sackler Gallery Source: https://www.zaha-hadid.com/interior_design/serpentine-sackler-gallery-2/

SERPENTINE SACKLER GALLERY | ZAHA HADID ARCHITECTS The first permanent tensile structure and realization of a research into curvelinear structural surfaces. The tailored, glass-fibre woven textile membrane is an integral part of the building’s loadbearing structure. It stretches between and connects a perimeter ring beam and a set of five interior columns that articulate the roof’s highpoints. Instead of using perimeter columns, the edge beam - a twisted ladder truss supported on three points - dips down to the supporting ground in front, in the back, and on the free west side. On the east side this edge beam (and thus the roof of the extension) swings above the parapet of the Magazine. A linear strip of glazing gives the appearance that the roof is hovering above the Magazine without touching. The Magazine’s western exterior brick wall thus becomes an interior wall within the new extension without losing its original function and beauty.

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Figure: Diagram depicting the systems that support structural growth Source: https://www.kasubaworks.com

ALEXANDRA KASUBA Kasuba developed stretched fabric structures that received wide publicity in the 1970s. Her work is of great importance in the continued search for meaningful integration of art and architecture. In the late 1960s, she began works called Space Shelters. They are space shaping environments made of stretched fabric in tension. Because of the material, this architecture has “craft” associations. In 1971, Kasuba transformed a floor of her large brownstone in a “Space Shelter for the Senses,” a continuous flow of luminous white spaces for experiencing the sense of sound, smell, light, and touch, in addition to the daily activities of living, eating, working, and sleeping.

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Figure: Mathematics: The Winton Gallery, Science Museum Source: https://www.zaha-hadid.com/architecture/mathematics-gallery-science-museum/

SCIENCE MUSEUM’S MATHEMATICS GALLERY | ZHACODE The spatial organisation of the Gallery places a central emphasis on an important product of British aviation, the successful flight of the Handley Page aeroplane in the 1929 Guggenheim competition, and the transformational capacity of mathematics and science, by taking inspiration from one of the key moments in the flight of the plane and the concepts of aerodynamics embodied within. The geometry is formed by particular fabric patches which tensioned with fixed boundary edges.

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Figure: Full-scale construction prototype of the NEST HiLo shell roof, 2017 Source: https://block.arch.ethz.ch

NEST HILO SHELL ROOF I BRG The HiLo roof is built with a cable-net and fabric formwork system. This system is designed to dramatically reduce the material waste that is typically involved in constructing concrete shells. It improves traditional formwork structures for doubly curved surfaces, comprising custom timber carpentry or milled foam, by using mostly reusable components. The cable net is spanned within a reusable timber boundary supported by conventional scaffolding. The cable net is designed to deform under the wet concrete’s weight into the desired shape of the HiLo roof. This is achieved by the nonuniform distribution of forces in each one of the cables, a distribution that is planned by computational methods developed by the Block Research Group.

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EUSTON PROTOTYPICAL SITE

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The area in North-west London around King’s Cross and Euston is the second most popular destination for the capital’s SMEs. Various firms are attracted by the transport links to the rest of the UK and Europe. It can become a key location for many corporations, small medium enterprises, and start-ups as fast transportation hubs and research institutions all nearby.

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EUSTON AREA CALCULATION

01 03

04

02 05

Land Area Calculation (sqm): 01 02 03 04 05 06 Total:

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6,659.68 16,801.54 22,179.52 23,928.47 37,438.66 101,510.98 208,518.85 , (0.2 sqkm)

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3

URBAN

AGENT-BASED MODELLING

In agent-based modeling (ABM), a system is modeled as a collection of autonomous decision-making entities called agents. Each agent individually assesses its situation and makes decisions based on a set of rules. Agents may execute various behaviors appropriate for the system they represent, such as producing, consuming, or selling.

Repetitive and competitive interactions between agents are a feature of agent-based modelling, which relies on computers’ power to explore dynamics out of the reach of pure mathematical methods.

Agent-based models are similar to computer games.

Types of agents, an environment, and agents rules can be deďŹ ned how to behave and interact. Then the virtual experiments and data can be processed and collected.

This work proposes a better understanding of generative city games to open up the city-making processes to more massive crowds. These games are invented to bridge the gap between understanding cities as nonlinear, unpredictable, complex processes and the lack of present operational methods treating the city as a complex system. The strategy is geared for direct implementation of game outcomes in practices of citymaking.

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SigniďŹ cantly, the operational property differs from other gaming genres that aim to learn, train, strategize, predict, and entertain. Building on the tradition of serious games, generative city games revolve around real complex urban problems.

Different than serious gaming, however; city gaming integrates both design and decision making dimensions, or the topological context and social and political structures of cities, in a generative medium to make and maintain cities.

Source: NetLogo

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NETLOGO: AGENT-BASED MODEL SIMULATION WOLF-SHEEP-PREDATION

Wolves and sheep wander randomly around the landscape, while the wolves look for sheep to prey on. Each step costs the wolves’ energy. When they run out of energy, they die, so they must eat sheep to replenish their energy.

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Similarly, the sheep must eat grass to maintain their energy. When they run out of energy, they die. Once the grass is eaten, it will only regrow after a fixed amount of time. In addition, to allow the population to continue, each wolf or sheep has a fixed probability of reproducing each step.

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NETLOGO: AGENT-BASED MODEL SIMULATION FOOD CHAIN WITH 10% ENERGY RULE: THE PREDATOR ONLY GAINS ABOUT 10% OF THE PREY’S ENERGY.

This model simulates the energy transfer between trophic levels using a simple one-stop predation system. Suppose an organism of one trophic level encounters an organism of a trophic level below it. In that case, the prey dies, and roughly ten percent of its energy is given to the predator. Each organism begins the simulation with 1000 energy and loses 50 energy per move. If an organism drops below 100 energy, then it dies. Each trophic level can reproduce. If reproduction occurs, then one identical agent is hatched at a location near the organism, and the organism loses one-third of its energy.

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Additionally, the grass acts as a producer, consumed by the second trophic level, and “die� or turn brown. After a selected amount of time, the grass regrows and becomes green and edible again. Together, the predation, energy, death, and reproduction features allow simulation of population change in a food chain with the ten percent energy rule applied.

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NEIGHBOUR-BASED ALGORITHM RULE-BASED SPACE GENERATOR

The previous simulation helped shape and understand the ruleset that influence relationship between users. The configurator is a multi-player simulation that qualifies spaces by their relation with neighbours. The objective is to accumulate as much “points” as possible, so players will have to play collaboratively and aggressively depending on their particular situation.

How to start?

How to play?

2 players start from the predefined tiles, occupy the spaces by growing in two directions. Players take their steps simultaneously for each turn.

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public

circulation

The configurator starts with a square grid frame with only 4 predefined “public” tiles which is grey and 2 types private units which comes (dark&light red) with the own circulation tiles which is yellow.

private unit-I private unit-II

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Rules

I

II

y Continuity If a unit has no same colour or public neighbour dies.

Shortest Path The user tends to occupy the shortest path in terms of circulation.

Re-Production If a unit has exactly 3 private unit neighbours comes to life as public space.

Overcrowding Maximum 4 private units can come side by side.

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Setting new rule The simulation could also generate new rules based on user’s utilization and objectives leading to a continous densified ecology.

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PARTICIPATORY SETUP SIMULATING SOCIAL DYNAMICS

Micro 1 buildable area 400 m2 (20 m * 20 m)

5 buildable area 5 buildable area

25 buildable areas 10,000 m2

Living

Working

Leisure Macro 1 block = 100 m * 100 m (10,000 m2)

In this organizational setup for UX & UI, we tested a turn-based system using Unreal Engine software. We speculated each character’s roles and relationships played from urban scale to building typologies to unit cells, from macro to micro.

Different characters have different involvements in creating an urban scenario.

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10 blocks 10 blocks

100 blocks 1km2

The simulation has four actors, and each one has a pre-set task. First, the government outlines the different zones of inhabitation and the infrastructures.

The developer selects where he would like to invest. Then, the architect delivers massing. Last, the citizen(s) chooses where he would like to live, work, and relax—an urban setting results from all players’ collaborative actions.

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Macro Government: Zoning & Main Circulation

Developer: Built Area & Building Typologies (Public Space)

Outlining main circulations

Complete zoning

Setting-up residential zones

Selecting investment (commercial)

Setting-up leisure zones

Selecting investment (residential)

Setting-up commercial zones

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Micro Architect: Massing (Building Topologies)

Citizens: Cells (Private Space)

Delivering massing regarding investment boundary (residential)

Occupying residential units

Delivering massing regarding investment boundary (commercial)

Occupying working units

Delivering massing regarding investment boundary (leisure)

Occupying leisure units

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AGENT-BASED URBAN GROWTH 01 ENERGY-TRANSFER RULES APPLICATION

The model consists of 4 players/actors whose growth numbers depend on an input from its previous player’s action. 4 players/actors include: Production(Seed) = Grey, Public Investor = Blue, Residential Investor = Red, and Retail Investor = Yellow. There are 3 different initial input from the production regarding the size of the Production module, feeding different numbers of infrastructure for the neighbourhood. The model starts to grow from a kickstarting of the Production Seed. Then the modules of each actors are being calculated regarding the relationship loop, which illustrates the supply and demand cycle among 4 actors. Following this, the number of inhabitants changes according to an increase of these modules.

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Agent Rules: - Every modules should be connected to the existing ones or next to the circulation in order to stay active. These buildable location are guided by the light blue area.

- The number of residential modules follows the number of current inhabitants.

- 3 residential modules require 1 retails module.

- If there is no new retails module added, the seed produce fewer facility (-1 module) in the next round.

- One public facility adds 2 more inhabitants.

- One retails module adds 1 more inhabitants.

- One more inhabitant is added every round.

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Step 01 Circulation: Public: Residential: Retails: Population:

00 00 00 00 03

Step 02 Circulation: Public: Residential: Retails: Population:

03 00 00 00 03

Step 03 Circulation: Public: Residential: Retails: Population:

03 00 03 00 03

Step 04 Circulation: Public: Residential: Retails: Population:

03 00 03 00 03

Step 05 Circulation: Public: Residential: Retails: Population:

03 00 03 01 04

Step 06 Circulation: Public: Residential: Retails: Population:

05 01 03 01 07

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Step 07 Circulation: Public: Residential: Retails: Population:

05 01 07 01 07

Step 08 Circulation: Public: Residential: Retails: Population:

05 01 07 01 07

Step 09 Circulation: Public: Residential: Retails: Population:

05 01 07 02 08

Step 10 Circulation: Public: Residential: Retails: Population:

08 01 09 02 09

Step 11 Circulation: Public: Residential: Retails: Population:

08 01 09 02 10

Step 12 Circulation: Public: Residential: Retails: Population:

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Step 13 Circulation: Public: Residential: Retails: Population:

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Step 18 Circulation: Public: Residential: Retails: Population:

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AGENT-BASED URBAN GROWTH 01 ENERGY-TRANSFER RULES APPLICATION Gameplay Overview:

STEP 01

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STEP 02

STEP 03

STEP 07

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STEP 12

STEP 13

STEP 17

STEP 18

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AGENT-BASED URBAN GROWTH 02 ENERGY-TRANSFER RULES APPLICATION

There are three actors as three developers: they can place and allocate their modules on the site. Different types and sizes of modules set different cost values as an investment cost. In this case, the production investor can place urban facilities, the SME, circulation blocks, and public buildings.

The residential investor can place different living units, and the retails investor can allocate retails like shops, cafĂŠ, restaurants, or supermarkets.

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The relationship between these actors based on the same logic from the example of wolf-sheep-predation and energy transferring of NetLogo. The SME and public facilities will attract people to the neighborhood, then if people decide to inhabit within the area, they require residential units, the numbers of inhabitants then demand an increase or decrease in the number of retails.

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The ownerofthe retails then get resources from the SME. So,The SME needs more retails, the retails investors need more inhabitants, and the residential investor needs more public facilities. They all depend on the actions of other players.

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Similar to the concept of reproduction, when the SME and public facilities are placed, they attract people (different modules attract different numbers of people), some of them then decide to occupy the residential units (different living modules can provide different numbers of units).

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STEP 01

SME & Circulation Setup

STEP 02

Connecting residential type

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STEP 09

Placing residential & retails

STEP 18

Populating

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STEP 20

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Inactive retails when disconnected

Connecting with circulation to activate module

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STEP 24

Public typology as an attraction

STEP 30

Moving out & Demolition

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STEP 32

Different sizes of circulation

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Retails as attractions

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STEP 37

STEP 38

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Occupying an asset

Keeping up with the demand

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AGENT-BASED URBAN GROWTH 02 ENERGY-TRANSFER RULES APPLICATION Gameplay Overview:

STEP 01

STEP 04

STEP 05

STEP 06

STEP 09

STEP 10

STEP 11

STEP 14

STEP 15

STEP 16

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STEP 02

STEP 03

STEP 07

STEP 08

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STEP 19

STEP 20

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STEP 22

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DEVELOPERS GAME COST CONSIDERATIONS

STEP 00 SCRATCH

We registered a 3-player scenario in which we analyzed how people negotiated their space and how developers’ satisfaction levels were affected by profit accordingly. As you see, value relationships will be given to developers as zones through people’s land use. Players should take into account all these criteria for each investment.

Players can check important numbers to control through the game.

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STEP 01 PLAYER, PRODUCTION

The first production player places 1 unit in the red area. Since the value of one unit of the red area is 600, the construction cost of two units is 1,200. He rents this to 4,000 in total and earns 2,800 profits.

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STEP 02 The next player is residential developer.

STEP 02 According the potential areas‌

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STEP 02 Builds 2 units of houses within the settlement rules of the game. It spends 1,200 as it occupies 2 red areas. As a result earns 1,300 profits after finding tenants.

STEP 03 The 3rd player is retail developer.

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STEP 03 According the potential areas‌

STEP 03 Builds the retails to meet this demand from the population and generating 500 revenues.

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STEP 04 As we continue the game in the next stages , we see the growth from the sme and possible settlement results after each turn.

We see possible consequences in terms of general overview of

STEP 07 We see possible consequences in terms of general overview of the initial neighbourhood.

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STEP 10 PLAYER, PRODUCTION

STEP 14 PLAYER, RESIDENTIAL

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STEP 18 PLAYER, RETAIL

STEP 22 PLAYER, PRODUCTION

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STEP 29 PLAYER, RESIDENTIAL

INTER-WOVEN IN INTE NTE TER ERR-WOV WOV WO VE EN I U URBAN RB BA AN NG GAMIFICATION AM MIIF FIIC CATIO ATIIO AT ON

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STEP 42 PLAYER, RETAIL

IINTER-WOVEN INTE IN NTE TERTER R-WO R-W WOVE WOV VEN I U URBAN R AN RB A G GAMIFICATION AMIF AMIF AM FIC CAT ATIO ATIO ON

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DEVELOPER’S GAME

TOWNSCRAPER GAME MAKING TOWNSCAPER-STYLE ORGANIC GRIDS

Figure: How to make a Townscaper-style grid (@OskSta).

Figure: #30DayMapChallenge - day 12 - Map not made with GIS software Re-created Venice with the amazing #Townscaper.

In terms of the urban grid, we worked on having different sizes o plots to have more vibrant neighborhoods. As we know, Oskar Stålberg’s Townscraper is a city-building game based on procedural generation. One of the features we liked is the “organic grid”: We found his approach has a high potential for the situation we want people to shape the city. so we were curious to apply it to our approach to generating such a grid.

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PART 1: GENERATING A QUADRILATERAL

To generate a quad mesh, the first step is to sample 2D points using Poisson disk sampling.

This is followed by a Delaunay triangulation and filtering out triangles.

Then, triangles are iteratively merged to form quads.

Finally, each quad is tiled with smaller quads, to give us the final quad mesh wich shapes the plots. So, each plot is formed by this gridal method.

PART 2: SQUARING QUADRILATERALS

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TOWNSCRAPER GAME USER MANUAL INITIAL INFORMATIONS FOR DECISION-SUPPORT SYSTEM Based on our decision support system for developers, there are some main criteria that players should take into account for each investment.

1st one, each land’s value depends on the distance, the attraction points-like main roads, tube stations, etc. So, darker areas show higher land values.

CONSTANT

For the 15-minute city idea, We divided the whole area into 4-5 minutes, and each area has one factory as a seed. The urban fabric will grow from these factories. The second thing to consider investments is the construction cost, which increases further away from the factory.

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As the 2nd criterion, the value of each building effected by nearby buildings.

Such as retail price increases when there is a residential near it.

DYNAMIC IN TIME

BUILDING TYPES

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GENERATING AN ORGANIC GRID MAKING TOWNSCAPER-STYLE ORGANIC GRIDS

STEP 1 PLAYER, PRODUCTION

STEP 4 PLAYER, PRODUCTION

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STEP 2

STEP 3

PLAYER, PRODUCTION

PLAYER, PRODUCTION

STEP 5

STEP 6

PLAYER, PRODUCTION

PLAYER, PRODUCTION

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KICKSTARTING THE SEED URBAN GROWTH

STEP 1

PLAYER, PRODUCTION

STEP 3

PLAYER, PRODUCTION

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PLAYER, PRODUCTION

3

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PLAYER, PRODUCTION

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1ST CONSTANT PARAMETER: LAND DISTANCE TO ATTRACTION POINTS

For all these growth algorithms, we adapted economic parameters to our growth stra At ďŹ rst, we observed the area attractiveness on a gradient map with different scena attracted and the lighter areas where the land value decreases as we move away from 110 I

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ategy. The 1st one, each building’s value depends on the distance to attraction points. rios through people’s frequently visiting areas. Maps show us the darker areas more m these.

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2ND CONSTANT PARAMETER: CONSTRUCTION COST DISTANCE TO ATTRACTION POINTS

We analyzed the results if we place the SME in 3 different points according to those at areas. Because it affects material and goods transportation, this strategy will briefly pr or new seeds can be generated in the areas brought to life.

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ttracted points. building cost is less in the seed’s surroundings and is higher in remote omote certain areas in different periods. For this promotion, an existing seed can move, INTER-WOVEN I URBAN GAMIFICATION

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DYNAMIC PARAMETER: RETAIL PRICE RESIDENTIAL As well as the area where each building is located in the city, as 2nd criteria, each building’s value is increased or decreased based on the proximities of nearby buildings.

This means being in the nearest first zone affects the building’s value more, being in the tertiary zones less. Construction movements in later zones don’t affect its value. This interaction happens in two directions, which means it affects the price of both sides.

In terms of RESIDENTIAL buildings, if a new PUBLIC facility is built to the nearest first zone increases its value 3/2 times, being in the secondary zones increases its value by one time, and being in the tertiary zones increases its value by half. If a new RETAIL is built to the nearest first zone increases its value two times, being in the secondary zones increases its value by 3/2 times, and being in the tertiary zones increases its value by one time. Overall, we can see that nearby retail increases a residential’s value more than a public facility.

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DYNAMIC PARAMETER: RETAIL PRICE RETAIL In terms of RETAIL buildings, if a new PUBLIC facility is built to the nearest first zone increases its value 3/2 times, being in the secondary zones increases its value by one time. Being in the tertiary zones increases its value by half.

If a new RESIDENTIAL built to the nearest first zone increases its value two times, being in the secondary zones increases its value by 3/2 times. Being in the tertiary zones increases its value by one time. Overall, we can see that a nearby residential increases a retail value more than a public facility.

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Public

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ASSETS (ARCH (ARCHITECTURAL HITECTURAL GEOMETRY) GEOMETRY) will be updated d .... ....

ARCHITECT

DYNAMIC PARAMETER: RETAIL PRICE PUBLIC In terms of PUBLIC FACILITY, if a new RETAIL is built to the nearest first zone increases its value 3/2 times, being in the secondary zones increases its value by one time, and being in the tertiary zones increases its value by half.

If a new RESIDENTIAL is built to the nearest first zone increases its value two times, being in the secondary zones increases its value by 3/2 times. Being in the tertiary zones increases its value by one time. Overall, we can see that a nearby residential increases a public facility value more than retail.

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RESIDENTIAL

Public

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PRODUCTION

Residential

RETAIL

Retail

HOW TO PLAY? START FROM SCRATCH, INITIAL GAME SETUPS

Based on this decision support system, we played this game to discover how to play smart with the same players, the same rules, and different actions. Players will be able to track income/cost/profit and updated budget in each round. Until the 5th round, investors will invest only from their initial budget. We consider this period as finding tenants. In the first game, all players had the same actions: Buying land and putting one building or stacking one building on existing land.

GAME 01

POPULATION JOB 2 4

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In the second game, Ceren’s action was after buying land; she has to keep stack my assets on it. She can not buy new land before having three storage.

On the other hand, Hamze was putting one building in each land, and next turn, he has to buy new land. So couldn’t stack or put a new asset on existing land. New before buying a new land, she had to fulfill of her existing land.

GAME 02

POPULATION JOB 2 4

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EVALUATION OF THE OUTCOME TOWNSCRAPES GAME RESULTS

As a result of this situation in the first game, at round 4, New almost went bankrupt despite making a sensible investment because she still could not find tenants and make money. At round 6, Hamze has gone bankrupt, and we can see from here that it did not make sense to buy new land to replace the existing land continually.

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As a result, in terms of the game’s economic aspects, it makes more sense stacking a building to the existing land than to buy a new land each time. But still out of these economic outcomes, we are working on urban outcomes to prove that it results in a vibrant-accessible or dense neighborhood that we want to achieve.

GAME 02

POPULATION JOB 36 28

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INTER-WOVEN DEMO

REAL LIFE AGENCIES

Inter-woven generative city game is a multi-agent platform and involves human agents in the literature, also referred to as ‘free-form gaming.’

Instead of running on closed game software, free gaming opens up the game’s course to the dynamics between real stakeholders. This is how city gaming can consider complex urban agents’ unpredictability, typically impossible to model through mathematical algorithms. As a first step, we examined the real-life actors and the power relations between them.

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COLLECTIVE INTELLIGENCE OF AGENTS

Who can influence how and to what extent in planning a city. We try to use these relations to see how they can benefit urban growth in a game platform.

Inter-woven generative city game as a participatory urban method facilitates the complexity of interactions amongst engaged players. The multi-agent play platform triggers the collective and competitive intelligence of real stakeholders. Engagement of human agents through play leads to a community with loose ties. Community matures as urban players commit to shared visions and define their responsibilities to implement Inter-woven outcomes.

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USER INTERFACE HOW IT WORKS?

Welcome to Inter-Woven an online cyber physical platform where different stakeholders can collaborate to build an entire neighborhood. Inter-woven is an easy-to-use platform that allows you to develop, buy, and sell real-life parcels of land before they get built. With the tools offered, each can design and create their slice of the virtual world and allow others to explore it.

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Players place units at the preferred position after evaluating cost, views, and neighboring conditions. This virtual blocks will then translate into an architectural design. Citizens will make choices to occupy or not occupy places through developers’ offers. Places that are left unoccupied will be discontinued based on the player’s will.

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USER INTERFACE FACILITIES OF COLLECTIVE VIRTUAL SHARED

SELECT YOUR AVATAR

NAME & INITIAL BUDGET

GAME UNIFORM The first step is choosing an avatar.

PERSONAL INFORMATION Additionally, they need to fill perso name and put the initial budget th

BUY & SELL ASSETS

START BUILD

INTER-WOVEN LOBBY Buy and sell LAND, Estates, Avatar wearables in the Interwoven Marketplace: stocking the very best digital goods and paraphernalia backed by the ethereum blockchain.

PLANING THE NEIGHBOURHOOD Participatory urbanism is a virtual to experience, build, and take own settlement. The future urban fabr individual moves.

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EXPLORE THE SITE

onal information. They will give a hey would like to start.

SITE INFORMATION In this step, some basic geospatial data about the area will be provided to assist the players in their area selection. These are locations of the trees, tube stops, rail stations, railways and bus stops, etc.

SOCIALIZE

l environment that allow people nership of their neighbourhood ic will be grown bottom-up from

NETWORKING Inter-woven users will be experiencing lots of different virtual activities. Users can attend seminars, workshops, lectures, and share ideas. Additionally, they can create and monetize their own music venues, clubs, entertainment spaces, or any virtual experience you can imagine!

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SITE INFORMATION GEOSPATIAL MAP LAYERS

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SITE INFORMATION GEOSPATIAL MAP LAYERS

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BUILDING I

STAKEHOLDERS OF THE

To intensify the engagement between each stakeholder and build incentive to join the platform, we decided to have two types of users: the contributors and the clients. The contributors deliver different architectural assets with their variants that are speciďŹ c for the plot. The clients buy and evaluate each asset.

INCENTIVE

E INTER-WOVEN GAME

INTER-WOVEN LOBBY INTERACTION WITH SMEs

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In the lobby of Inter-Woven, each player has the ability to interact with each other and different NPCs. Some represent the stakeholder SMEs. They can buy and sell different architectural assets that can help generate different layouts on their plot of land

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PLAYER ASSETS BLOCK VARIANTS

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Each asset that the players buy ďŹ ts different types of blocks. These blocks are then used to provide different options based on the existing conditions, construction cost, and adjacencies.

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PLAYER ASSETS EXAMPLE OF CONFIGURATION Here’s an example of how the different geometries could fit the blocks.

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O ed ver ita vie bl w e of pa t rt he so d f t iffe he re pl nt ot

SIMULATION Player decisions+growth

Player1

Player2

Player5

Overview Outcome 1

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Player3

Player4

Player5

Player6

Overview Outcome 2

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INTER-WOVEN BUILDER INTERACTION WITH STAKEHOLDERS The builder mode allows for players to easily transition what they bought into their own plots. They get offered different options based on their inventory slots.

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GAMEPLAY SIMULATION PLAYER 1

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GAMEPLAY SIMULATION PLAYER 2

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GAMEPLAY SIMULATION PLAYER 2 ROAMING + INTERACTING

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ARCHITECTU

ASSETS

URAL GEOMETRY

GEOMETRY STUDIES

PERIODIC MINIMAL SURFACES Our geometry study of minimal surfaces is divided into three parts regarding different approaches; - Physics Modelling: imitating physical world (force ow) - Parametric Modelling: applying mathematical methods of differential equations - Procedural Modelling: manually modelling complex geometries from simple components.

The aim is to study how minimal surfaces can be digitally modelled in order to have a better control of the geometries.

From this we can apply them to our design, and they can be more easily organised and fabricated.

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7

Initial Geometry

Low-Poly Mesh

Smooth Mesh Preview

Smooth Mesh

Rest Length=1

Rest Length=0.5

Rest Length=0

PHYSICS MODELLING | nCLOTH SIMULATION Physics modelling is an imitation of the physical world, resulting in the formation of geometries. The nCloth simulation is applied to simulate material behaviours, such as minimal surface created from the soap ďŹ lm. The zero rest length is calculated causing geometries to shrink to the centre of itself.

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PARAMETRIC MODELLING DIFFERENTIAL EQUATIONS Here the application of differential equations is done through two software programs, Monolith & Grasshopper script. The logic of “Iso-surface” is applied to both as the isovalues define the degrees of smooth surface, merging vertices together, thus being parametric.

Horizontal Sections

x2-y2-z2 Isovalues: 0.66 - 0.71

Isovalues: 0.95 - 1.00

Isovalues: 0.91 - 0.96

Isovalues: 0.84 - 0.89

Isovalues: 0.76 - 0.81

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sin(u*fx:(1,0,10))* sin(v*fy:(1,0,10))* sin(w*fz:(1,0,10))

Gyroid sin(u*fx:(1,0,10))*cos(v*fy:(1,0,10))+ sin(v*fy:(1,0,10))*cos(w*fz:(1,0,10))+ sin(w*fz:(1,0,10))*cos(u*fx:(1,0,10))

x2+y2+z2

Schwartz cos(u*fx:(4,0,10)) + cos(v*fy:(4,0,10)) + cos(w*fz:(4,0,10))

x2-y2-z2

Scherk atan(exp(w*t:(1,0,10))* cos(v*t)-cos(u*t))

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1.

2.

3.

4.

1. Construct Points

2. Create Bounding Box

step: distance between points count: numbers of points in a row

box: Boundary Volume

3. Apply Equation

4. Smooth Mesh

plug-in: Iso-surface

subdivision: increased

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step: 1 count: 4

step: 1.1 count: 5

step: 1 count: 5

step: 1.5 count: 5

step: 1 count: 8

step: 2 count: 5

step: 1 count: 11

step: 2.7 count: 5

Example Iterations [Equation: Holes]

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Holes

Neovius

Diamond

Gyroid

Schwarz G

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Holes

Neovius

Diamond

Gyroid

Schwarz G

iwp

1/4

1/2

3/4

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PROCEDURAL MODELLING 2D & 3D MODELLING The last approach is the procedural modelling which aims to manually create complex minimal surfaces, especially the Doubly and Triply Periodic Minimal Surfaces, from simple steps. Two methods are used, combining components and low-poly modelling.

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9 1-6.

7.

8-9.

10.

Perimetral curves Diameters Curves patching Initial surface of Gyroid 10

2D MODELLING | CURVES PATCHING A surface is created in a cube by adding one curve for each faces as the surface’s perimeter. Then, three diameters intersect at the center of the cube, dividing the surface into 6 faces.

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5

1. Gyroid a 2. Gyroid b 3. Gyroid c 4. Gyroid d 5. Gyroid e

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Initial Component

Aggregation

3D MODELLING | COMPONENT REPETITION

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2

1

3.2

2

3.3

1. Initial Geometry 2. Low-Poly 3. Smooth Mesh 3.1 Schwarz P-Neovius 3.2 Schwarz 3.3 Batwing

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3.1

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Scherk’s Surfaces (Singly Periodic)

Scherk’s Surfaces (Doubly Periodic)

Scherk’s Surfaces Aggregation

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3D MODELLING | AGGREGATIONS The initial components are repeated by mirroring vertically or horizontally to create continuous aggregations.

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Spatial Application

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The gradient represent the degrees of inclination regarding the XY plane.

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0°

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90°

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Selecting a range of desired degrees.

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5

FABRICATION & PROTOTYPES will be updated

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FAB P PR

1-2. Adjusting resolution for a precise measurement by increasing subdivisions.

3. Selected resolution.

4. Measuring the angle of normals.

5. Highlighting the areas in range of the desired degrees. (0째 - 8째) 3

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6. Highlighting the areas in range of the desired degrees. (0째 - 12째)

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FOR M FINDING: FORM SURFACE-BASED GEOMETRY INTER-WOVEN I ARCHITECTURAL GEOMETRY

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Spatial Application

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FORM FINDING: TENSILE STRUCTURE | ANCHORED VERTICES 196 I

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Warped Surface - Hypar

Warped Surface - Conic Type

Warped Surface - Barrel Type

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Pre-deямБned Boundary Edges - Arch Type

Tensile Structure - Conic Type

Minimal surface - Funnel Type

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SURFACE-BASED TOPOLOGY STUDY Iterations of surface-based modelling for quad subdivision that can then be applied to material patterning. Starting from a coarser mesh, the resulted geometry only consists of UV directions and singularities in the middle.

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ARCHITECTURAL RCHITECTURAL ASSETS

A’

A’’

B’

B’’ Kit of Parts

Workspace Aggregation 01

Workspace Aggregation 02

Workspace Aggregation 03

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height: 3 m

Diago Conne

height: 4.5 m

Horizo Conne

height: 6 m

Mir

RESIDENTIAL MODULES

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onal ction

Wide-Span

height: 6 m

height: 4.5 m

ontal ction

roring

MODULES

height: 4.5 m

Here we deďŹ ned a plurality of topologies that can be part of our library of components.

SME MODULES

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THIN SHELLS

Aquad -based space is deďŹ ned as a vecto in 2, 3, and 4 axes. Then, the supports we type apertures are introduced to lift the f

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S | MORPHING

or pointing in a radialdirection, in this case ere added between these axes. The conic fabric up and create spaces underneath.

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SME with thin concrete shell 260 m2 Tensioned woven polypropylene Stainless steel 3mm cable nets

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SME with central courtyard 210 m2 Tensioned woven polypropylene Stainless steel 3mm cable nets

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SME with Mezzanine 130 m2 Tensioned woven polypropylene Stainless steel 3mm cable nets

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RESIDENTI

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IAL STUDIES

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1 BEDROOM STUDIES In these examples, we studied how textile formwork could help partition and follow the conďŹ guration of each unit

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FLOOR STUDY In this example, we studied the adjacencies of each of the unit in order to deďŹ ne the accessibility and stackability.

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VARIETY OF FABRIC APP 234 I

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EXAMPLE UNITS | PUBLIC SPACE A catalogue of morphed surfaces is created from different directions of aggregation. When small units are merge, they become a single large surface.

The topology then follows the minimal surface’s logic when connect between boundary edges.

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Voxel Aggregation

Morphed surface

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EXAMPLE UNITS

We develop 3 different residential un direction, a single unit, a single unit w Aggregation is done by stacking and r duplex comes from a co 244 I

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it types that have a diagonal growing ith a terrace, and a larger double unit. rotating the upper unit. Additionally, a ombination of unit A&B. INTER-WOVEN I ARCHITECTURAL GEOMETRY

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EXAMPLE UNIT

We also developed another category f diagonally. We chose for this

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TS | MIXED-USE

or mixed-use elements that also grow s instance anticlastic vaults

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EXAMPLE U

Similarly, we developed another set previous e

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NITS | SMEs

that uses the same alphabet as the examples.

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5

FABR PR

RICATION & ROTOTYPES

MATERIAL & FORM-FINDING EXPERIMENTS PHISICAL EXPERIMENTS

Fabric dipping technique Fabric dipping technique

Our preliminary research has led us to develop physical form-ďŹ nding and form-making experiments that informed our quest for material control. We stretched, folded, dipped fabric in multiple manners, and understood its behavior. We then took this knowledge and combined it with digital studies and simulations to execute precise outcomes, ďŹ rst with a scaffold, then with

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INITIAL EXPERIMENTS FORM-FINDING EXPERIMENT

Interwoven mould technique

Interwoven mould technique

Soft cast

Inspired by the precedents, we have decided to try different physical formďŹ nding methods ranging from soft-cast (below), fabric dipping and stretching, to woven molds.

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CASTING IN CAGE FORM-FINDING EXPERIMENT

In this experiment, we translated the digital model into the physical realm using nCloth and Grasshopper. We sprayed plaster manually onto the fabric until we reached a thickness of at least 2cm; we removed it off the cage, layed it out on a at surface, and started to build thickness and build out the edges. We then removed the fabric for possible future uses.

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TYPES OF CO

FABRIC TO

Ring Minimal Surface

STITCHING TYPES OF CONNECTIONS - I Using fabric-to-fabric stitching allows us to form the geometry by stretching the different parts in different directions.

This method is the most suitable for fabric forming since it allows for the easy dissassembly and reassembly of each part.

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ONNECTIONS

O FABRIC

Fabric stitching done through sewing machine

A tube is inserted in a loop stitched together i.e. Spline Connection

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Heat gun (or welder)

Roller

HEAT WELDING TYPES OF CONNECTIONS -II Fabric-to-fabric heat welding only works on some plastic coated fabrics (i.e polyethylene or polypropylene). Heat welded joins are generally stronger than sewn joints. For it to work, you have to melt the coatings on the two facing surfaces and pressing them together until they bond. If the bond is partial, it allows for an easy on site assembly and dissassembly.

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Clams

CLAMPING TYPES OF CONNECTIONS - III This method attaches two pieces of fabric together by pressing them together through two pressure plates. The clamps can be sewn, bolted, pressed, or nailed together. It is quick and efficient.

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ROBOTIC MOULD MAKING FABRIC FORMING

Physics simulation

Physics simulation for a catenoid

End Effector

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Installation of End Effector

Calibration

Cast in Place

Remove Fabric

Interested in the CAM process, we developed an end effector that would allow for the fabric’s digitally controlled stretching. We applied the same cast-in-place technique onto the mold. After building up the thickness, we removed the fabric and prepared it for further use.

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ROBOTIC MOULD MAKING FABRIC FORMING

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ASSEMBLY ANALYSIS

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CABLENET GRIDS &

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& FABRIC PATCHES

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Key Structural Elements

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1

4

2

5

3

1.

2.

3.

4.

5.

Tension - Define supports Cablenet Tension Displacement Tensile Axial Force Compression - Define supports FEA - Shell Displacement

FABRIC FORMWORK | THIN SHELLS TENSION-COMPRESSION ANALYSIS For structures that will be casted with concrete, both tension and compression analyses are required. The Tension analysis includes boundary edges as supports, while the compression analysis shows the arches as cantilever elements.

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Applied Loads: Self-Weight

Applied Loads: Casting Weight

Wind Load: Horizontal

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Deflection: Self-Weight

Deflection: Casting Weight

Displacement: Wind Load

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Aggregation

Local Deection (in tension)

Local Displacement (in compression)

Global Stability Global Displacement (in compression)

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FABRIC FORMWORK | CONSTRUCTION SEQUENCE The sequence of structural analysis reflects the construction sequence as in the order of loads applied to the design elements. Tension cablenets and fabric patches are spanned within the boundary edges supported by adjustable scaffolding. The fabric surface acts as a formwork to carry concrete during the casting process. It is later removed, leaving the concrete structure as a full compression thin shell.

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Tension cablenets and fabric patches are spanned within the boundary edges supported by adjustable scaffolding.

This formwork system can reduce material wastes that are typically involved in constructing concrete surfaces, and improves formwork strategy especially for doubly curved surfaces.

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FABRIC PATCHES | TENSILE STRUCTURE The fabric patches as seen with seamlines are an integral part of the building’s loadbearing structure, stretched between and connects perimeter edges.

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Voxel Aggregation

Boundary Edges

Solid Partitions

Fabric Patches

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Fabric Forming

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“ENCOFRADO FLEXIBLE”

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Set up the fabric

Fill the formwork

Demould

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AFT AFTE

ERWORD

PHASE 2 REVIEW JANUARY 15th 2021

CRITICS

Course Director Theodore Spyropoulos Course Founder Patrik Schumacher Course Masters Shajay Bhooshan Alicia Nahmad Vazquez Invited Guest Critics Ali Rahim Wolf D. Prix Marta Male-Alemany Robert Stuart-Smith Paulo Flores Jelle Feringa

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COMMENTARY Marta Male-Alemany: Maybe I can say something. I really appreciate the kind of focus on the SME’s because there is really a need for a collective endeavour at the level of SME’s otherwise-because of the big companies, the SME’s cannot survive and cannot do certain moves unless they do it collectively. So I think it’s a very well-chosen stakeholder. If I may say. Also, for that kind of community, I really appreciate the kind of approach to having a fabrication system that is somehow more economic and that it’s allowing for very different types of applications with a similar fabrication/construction process behind. So again, I think it’s a very good match. There are many levels of the project that I really appreciate on how things seem to come together. Maybe what is less convincing from my perspective, is the amount of open space that there is on this side compared to the amount of square footage that is actually occupiable and made economically productive. It’s where I don’t see so much the alignment with the stakeholder. Like whom pays for the land work, for the groundwork? Let’s say that, somehow, this is a little bit of a discrepancy. If you see, between the kind of approach that you have taken to the stakeholder and construction system in relation to the scale of the operation and at the cityscape, if I may say, that [discrepancy] comes obvious to me and I would like to hear you speak about it.

Hamze Machmouchi: So, regarding the density, actually what I could add to the conversation is: the way we had this game set up was that you have different morphological options that are presented to the user based on an inventory, and that set of inventory comes with different variations. We just outlined here one of the results. For sure, it’s less dense and this is part of the evaluation criteria, like one part of this outcome was that it was less dense, but we also found that it’s the result of different players collaborating with one another. As you can see, for example in this video, each plot of land has its own neighbourhood identity, this whole neighbourhood block has an opportunity to create these sorts of adjacencies that can help each correlate or collaborate with one another. I hope this makes sense from this perspective. But I do agree, the renders here don’t look as dense.

Marta Male-Alemany: It seems, let’s say, from my perspective, to sustain your business case. Yeah, because this is all about business cases. I think I really appreciate the kind of gaming approach to this business case like say small SMEs being able to join collectively in defining a space that is determined for them with a common construction system with variable possibilities and so on, but I, but I think

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that to sustain your business case, you need way more square meters, way more. Otherwise, if people were to intervene in this, you would have a lot more tensions. If I may say, between the different architectural components between the different architectural resolutions, and at the end, what now looks coherent, and everything beautifully put together, is almost like pavilions in the middle of a park. That might not be the case anymore if you want to make your business case work.

Hamze Machmouchi: Yeah, actually, I agree we should definitely take this into consideration.

Paulo Flores: If I can jump in a bit more on the resolution of the project because I agree with that business case Marta mentioned. I think just to focus the conversation a bit more on other aspects. I totally respect the research part, and I think the coherency of understanding Dieste and Candela to make these shells and how they are formed. However, it is a bit disappointing when, after all of your process and development and fabrication, that they do remain quite recognizable elements, right? I think there they don’t move as further away as we would have wanted with exception of the residential towers where I think those have a bit more playfulness and articulation using that material fabric and stuff but, the pavilions, they don’t really go beyond, right? I think, and I would have wanted to see, since this is beside the game, about fabrication processes, it remains too recognizable, right? And it does not become anything we want to see as a fresh identity as a fresh way of understanding materials composition. Going back to the comment from Marta, then the density because they end up being what they are, pavilions in the park, right? They don’t really suit for densifying different scenarios or compositions of that. So those would be my good moments and also critics of the to the final solution, yeah? But overall, I think it is very well put together and very well presented.

Robert Stuart-Smith: Continuing a little bit on Marta and Paulo’s points, I really appreciate; first I think there are a few contributions you’re making intellectually here. The first one is to kind of upend, the whole economic model of the way the architecture industry works. I think it’s a really interesting one where you basically provide a product. It’s actually something that could be owned by multiple people, so it challenges the idea that the architect operates in a service industry and almost makes it a product. It also talks about the IP and the fact that perhaps multiple users or clients could own a version of that and, rather than that, being something that is done only in one place. I think there’s a lot of interesting things there and that obviously, though, ties into robotic production and the idea of how you can mass customize and it 302 I

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wasn’t so clear when you were demonstrating the economic model, that those buildings could be customized. It looked like they were predefined, and I could drop them into any plot, but ideally; I mean if you leverage all the technology and design methods you’ve been developing, each of those could be adjusted to each individual site. You know, you could vary the number of units in the housing or the proportions of a pavilion and so forth, so I think that’s one thing that didn’t come across so clearly, when you get to, what Paulo was talking about. When it gets to fabrication, I thought the robot holding up the fabric so you could cast that minimal surface; that was pretty interesting and quite a beautiful piece and I think it’s at a scale that is more the size of some feature in a prefabricated component. You know, like a typical prefabricated part up to the size of something that fits on a semi-trailer. When you get to the project, I do see a lot of beautiful and interesting things going on in the minimal surfaces of the pavilions and in the housing but I do agree with the kind of comments the others made and that and it comes down to the scale at which you’re working, like the fabrication was novel at a scale that is smaller than the individual part, and you know that could have become things like skylights on the pavilions, window openings and if you can start to vary the geometry through, the robotic fabrication process at that scale; I think then that starts to really offer something that could be more customized and unique for each state of the housing units. That would be particularly important. How can they have windows orientate to different solar orientations taking different user requirements to really offer something where the user becomes the key driver not only as a consumer, but as someone who participates in shaping their individual apartment perhaps, or their individual plot of land, I think you’re close, but that that seems to be the missing link.

Jelle Feringa: What I think is interesting in the studio is what Rob mentions is that it’s quite a business proposal. But on the other hand, I mean this area is also located in central London, it’s probably some of the costliest turfs in the UK. Rather exclusive, so the risk also of this approach is that you sort of start to make a distinction between what consists of the business proposal versus what is the architectural proposal here, right? And in that sense, the business proposal seems very far removed from reality in a sense, right? Because it’s, well, it is some of the costliest grounds in the world available. So, kind of by definition, these shells are...well you can’t build these vertically, right? So because you’ve chosen to present it as a business case, it’s also been tempting as a reviewer to sort of neglect some of the visual and architectural aspects and you know to focus a little bit too much on the business aspects. So in a sense, it seems that in terms of, sorry to use a cooking cliche, but you’re sort of at the “mise en place” phase where you are still learning the software tools, where you still learning the visual language, INTER-WOVEN I AFTERWORD

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but the amalgamation such that the ingredients become something novel; I don’t think that that you’ve arrived at this point. Otherwise, I mean still, there’s such a quantity of knowledge and tooling and ideas to dissolve and to learn and come to terms with, in a short while. Also, there are a lot of interesting aspects that you’ve presented, but it hasn’t formed into something novel yet.

Ali Rahim: I do though enjoy the relationship between you know, formulating a proposal that is based potentially in a new way of thinking about developing sort of not only the architecture and urbanism but also sort of a culture, right? It’s kind of moving the discipline kind of closer to contemporary culture in a literal sense which as an idea I find fascinating, right? I think that’s the goal of all of the contemporary designers out there. Is like how do you do that? So, I do appreciate that aspect of the project in tremendous amounts. Also, I mean, I just like the exhaustive nature of the range of material that they have shown.

You know from the gaming, coding scripting. I mean it’s like the entire gamut which, also as a student, is fantastic! To go through their process and a material investigation, etc. You know. So there is a lot to this project, which actually, I’m very fascinated with, and if you take each component on its own merit, I find the very interesting avenues that one can continually explore. I mean, I love the Candella you know, the shell structures, what that could produce, for example. I love the business aspects of it and the gaming aspects and how these cultures and communities can develop and you know, I mean, so really I commend this team in kind of trying to develop something that is potentially a way of materializing a moment in contemporary culture, you know. So I enjoy that aspect. I mean I can hear the discussion for days, but I think that for their development, the first question I have is like how far up the processes did Candella come, you know, Fisac and Catalano, I mean, these are the guys, that I think almost stunted the project a bit, right? They were fantastic when they were doing these things and they’re building these shells and they would just build them out as far as it could until they collapse, and then they’ll rebuild them right? So, but there’s a completely different sort of culture of making now in that point in time and in history. But I mean I have a feeling that may have been the problem, because you had gone and just studied some of the video gaming and even the explanation through the voxelisation of space, and it’s material. I mean, that’s fascinating as an idea, right? So if you think about that and think that potentially to link that to a material sensibility, that is something that has to do with a contemporary version of Candella and these guys, what would it be? And I think that that’s the link that- I am just as just speaking as a pure architect, you know- that’s the link I’m missing because then the product looks very similar to things we’ve seen out of the DRL for a while and I think that that’s a missed opportunity. Quite honestly, from my lens. So I do really find it ambitious and interesting. I’m also beginning to think to move around the question of you know -property is so expensive in London304 I

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perhaps there are ways of opening up the financing a bit to not only the users and the way you’ve described it, but it could be a micro-opportunity for a global way of producing wealth. For example, you can put in $10 as opposed to putting in thousands of millions, right? And for those $10 if you live in Moscow for example, and you visit London, you have a gate pass, an entry for the day, or whatever it is. So there are other ways of gaining that capital back, right?

But, beyond what you have described which will make it even more viable as an opportunity for this location in London. So anyway, I enjoyed the sort of making sense of this project, and I enjoyed going through the entire sort of lineages in history, but it also made me dream a little bit. It made me think a lot about what the future could yield in regard to what you have contributed here, so I find it, as a thesis, very interesting. I just think the links could have been a little stronger between each aspect, that’s all.

Patrik Schumacher: First of all, yes, it’s a beautiful project. There is a number of very beautiful building types. The minimal surfaces and these kinds of interesting diagonal ramps sliding up. Nesting and volumes and then stretching the fabric. I appreciate that you have a diversity of typologies and all types are put together by using fabric. So there are always anticlastic surface elements translated it remains fabric. You don’t see enough about these variations, actually, but you know the cable-net was the fabric. So, I do like that as the catalog. I think there is no urbanism, and I wonder if you step back where this is. This is a piece of collage city that ended-up with this density because the game wasn’t played, really. But in general, it makes me think with this particular project of Shajay is the what do you desire as to we have aspect as an urban outcome and how much can we desire more order and not just kind of random assembly. Market constraint game process delivers that.

That’s difficult; one has to kind of, in a way, make an economic decision mode to simulate that credibly. If your toy around non-committedly, you know, you play around; it doesn’t cost you anything, and you don’t consider properly the weight of what you’re doing. If that was simulated it would get something else. You also would may have to leave with an outcome and learn to like it.

But at the moment, urbanism here is particularly random and far too much green, and the creek is far too dominant. Some of the other versions were an urbanistically little bit more convincing. But I guess, of course, they all designed. All of these projects so far are not simulating the game process; they are just illustrating something. That would be for me the next step. For instance, the land value gradient would become a density gradient probably.

But then it would also have to be interspersed by can’t be monofunctional probably all the way through. Maybe the pavilion is on your fault by a larger structure which attaches too etc. So, these principles need to go through, and we start to see something which has an intricate order, we would find them more convincing. Just this kind of collage city, a toy ground which is not INTER-WOVEN I AFTERWORD

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convincing on the level of urbanism. But, I think all the components are really think very smart and strategy of using as I said fabric in various ways. in the pieces of the game.

Shajay Bhooshan: Coming on Ali’s and Patrik’s comments, we fully agree on the evaluation of the state the play. This is the first year we wanted to explore various technologies and design expectations and outcomes to sample them efficiently before taking a deeper dive in developing more detailed studies etc. So, in that sense the urbanism like not standing it’s clearly as Marta suggested maybe at best is this starting point it’s like the first initial minimum set of buildings, and maybe we can see like if you place these buildings what will happen five years from now or things like that. So, that can be explored further. As Rob mentions that there is something here or the motivation is to see digital fabrication. All of these maturing technologies make one of the buildings but I like to see sufficiently large urban districts construct that using such proven technologies. I mean clearly material conserving and structurally effective etc. So, why not actually attempt to describe an urban neighborhood that is built in this way. That’s another thing this team has put on the table and also the idea like financing it through fractional means to an intentional online community. So, it’s not a random community but like a community that is kind of brought together through a synergy or some communality just the fact that they own the same-similar platform. Let’s say it already makes them some more similar than you might expect otherwise. So, many aspects that the team has put forward and worked on sincerely considering the kind of user experiences or user value of a digital or cyber environment and how that may potentially relate to the one that would physically build, etc. So, we agree completely with what Ali says that for year one, they put a lot of things on the table, and the proposed urbanism is not convincing, but the research and the particular ideas spirit that encouragement they put into research side is has been very rewarding from our side to watch and evolve. Definitely set up for us the next year’s agenda with far greater clarity than we were at the beginning of this year. Because we definitely feel that, like you know, digital fabrication is maturing rapidly and so to see mainstream use. We have to see not only the economic side of it but also the user value side of it. What does it offer from a user’s perspective, what does it offer from an investor’s perspective, and so on. I want to thank the students, particularly for this project. They tried to explore all of these differing aspects that put them on the table as Ali said like it made it enjoyable for us to make sense of it. In that sense, it was intellectually rewarding and maybe not in the final outcome but like in the various things they have suggested.

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Marta Male-Alemany: Shajay, can I add something to what you say? Maybe it’s more of a suggestion for the future. But especially in the last two weeks of this team. Because I don’t want to be seen as like the one who is killing the project because of the business case. Actually, not at all. I am very fond of the project, and I want to follow up a little bit also on Ali’s comments and somethings I said before. To me, what would be really, really interesting here is that the game is actually the business case. So, that in fact, if you think and in here, digital fabrication is the enabler of that game. So, for example, if you think of okay if we are able to produce minimal surfaces in a very easy way and we have a system of fabrication that allows us for all these variations. ‘‘By minimal’’ what is it that we are reducing. So, are we reducing assembly, are we reducing kilos of material? Take the example of Philippe Block bringing whole building form-work in a suitcase on a site. What does that reduce in terms of cost? So, you could play the game the other way around is like what is digital fabrication enabling to save? So that the money that is saved is actually invested in all the parts of the urbanism if you want that traditionally can be seen as more expensive, right? Maybe as a community, you would say until we reach that point and we need that many players, that many savings, etc. This project can not go on. And is a way of simulating that the community can grow and is a way of simulating there is more evolvement etc., and there is where Ali’s comment is very perfect because, in fact, you could even play in this game contributing to the making of that place without necessarily being in it. So, I think there is really really a very interesting proposition. But I think the game is not so much to populate the site but to actually make the business case work and then have the resolved and investigated from an architectural perspective.

Shajay Bhooshan: Yes, absolutely. We totally agree of what you were saying, and also what Ali suggested previous to that.

Ali Rahim: Marta, it’s interesting, and I like your case which you’ve made. I just want to go to the other extreme. We did quite a lot of research in New York Real Estate on the real estate market in New York, and, most unbelievable to find, probably the most expensive real estate here is 15,000 dollars a square foot, and it’s probably the same in London in this location, what they’re suggesting.

What’s fascinating is that a grave costs 60,000 a square foot. So, you could go the other way and say, ‘Okay! We’re going to do this thing, and it’s above graveyard.’, and so I got something else going on that’s actually generating a lot of income. Then, they could free up with technologies and explorations of how they would want to develop this project in a slightly freer way. So, they could go either way but both would work, is what I’m suggesting.

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Shajay Bhooshan: Yes, absolutely. If these shapes and experiments have to go beyond pavilions, we definitely think these conversations have to be had, and we have to bring that in some form of architectural discourse and grabble with it. Marta mentioned Philippe Block’s cablenet, and both Alicia and I were part of it and experienced several of these kinds of pavilions, and we’re totally convinced by the efficacy of digital fabrication, both materially, structurally, and energy-wise, etc. But if we have to start from pavilion and want to imagine urbanism as unconvincing as the first attempt is, I think that’s why we came upon the kind of game mechanics as a way to consider economic rationality because we don’t know how you might model it other way.

Theodore Spyropoulos: Different addition way, Shajay, may be to consider that, is because you guys are trying to do this kind of incremental, populating kind of strategy, I think there has to be a kind of believe of the radicality of that’s extreme, you know, it’s radical urban form. In some sense, if the project is developing a platform, one could use an AI bot as a simulator to actually build up a strategy to version different ideas of what a city is. Yesterday, I was reminded by Albert (Albert Williamson-Taylor) in his talk about energies of building on existing strategies, like he added 12 stories to an existing tower in the city of London, or for example, when he was working on the Bloomberg building, looking at the ground and looking at existing piling systems. So, when we’re playing the economy game, there has to be an agenda on the urban form. What’s a certain kind of deliverable? Let’s say for example, the ground is going to be liberated, or air rights has this kind of strategy, and I think beyond just are trying to do this kind of incremental, populating kind of strategy, I think there has to be a kind of believe of the radicality of that’s extreme, you know, it’s radical urban form. In some sense, if the project is developing a platform, one could use an AI bot as a simulator to actually build up a strategy to version different ideas of what a city is. Yesterday, I was reminded by Albert (Albert Williamson-Taylor) in his talk about energies of building on existing strategies, like he added 12 stories to an existing tower in the city of London, or for example, when he was working on the Bloomberg building, looking at the ground and looking at existing piling systems. So, when we’re playing the economy game, there has to be an agenda on the urban form. What’s a certain kind of deliverable? Let’s say for example, the ground is going to be liberated, or air rights has this kind of strategy, and I think beyond just production of fab-lab production, I think there has to be a coupling of dynamics of structures that allows that kind of freedom. Otherwise, we get into this kind of Poundbury’s strategy of populating in a very kind of cute way, smaller scale pavilions which now the pressures of actually dealing with the economic models kind of fall through.

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I think there has to be a kind of believe that actually it’s not about incremental, it is about really somehow playing the game and versioning to be able be exhausted in this. I think sets up may be something that you guys need to consider in the ways that you looking at the processes of play because I think play should be ways that people can contribute, but it shouldn’t be like buying a sneaker and customising it like in terms of which colour I want. So, the kind of decisions, the kind of questions from a platform perspective, should be tested with some radical and raciality.

Shajay Bhooshan: Very much so, in Phase 1 they were closer to that, I think. They got carried away with the kind of realism of some of these game engines, like forgetting about the game aspects of it, the visual realism.

Theodore Spyropoulos: My point is more about how you set up the rules of the game, and how that can creatively be something that can be participatory, extending this kind of literal kind of gameplay into thinking about how one can develop through rules of engagement. So, I think the more of that that can be conceptualised, and as we see this process is kind of unfold, I think the more opportunity that we can work on it more creatively, so that we’re not recreating an expo site where we populating territories and have conventional ideas of what site actually is. I think these are the kinds of questions that are there. I think the students in this particular group can start to problematise that as they write up there thesis in the next two weeks, but I think these are larger conversations that we have to really critically engage, but through I would argue a much more radical take on a specialisation and it’s advanced use of some of the simulation strategies that we’re implementing.

Wolf D. Prix I was a little bit late, so I really missed the goal of this exercise. What I appreciated is that you guys are moving into foreign fields, say, economic field, and in the field of being realistic. That means you’re moving into the field of building industry, that’s an advantage. It could be a disadvantage at all because if you’re going too far into the economic issue, then you have to make a business plan. Otherwise you’re dilettante. And it could be very interested to have a business plan to build this whole exhibition area, I would say, because what I’m desperately missing is that the guys would have design urban plan. I’m missing an urban concept, on one hand, because it looks like a garden city with no density, and I don’t know how many people will live there, and this is very important for the business plan. On the other hand, the variety of shapes and forms, which looks to me very old-fashioned, I have to say, because the role model is Candela, and we’re very far ahead INTER-WOVEN I AFTERWORD

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of this kind of construction right now. We could be very far ahead and out of these to make a new point of departure in city planning could be very interesting. So, this is the first step of a development which, I would say, it’s very interesting, and I would like to see that on other schools as well.

Theodore Spyropoulos: Thank you, Wolf. I think we can leave a conversation for this project and move on to the next one, but I think it’s a good conversation to kick off the second session. Thanks guys.

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BIBLI ACKNOWLE

OGRAPHY & EDGEMENTS

BIBLIOGRAPHY Introduction & Thesis Vidotto, Marco. Alison + Peter Smithson. p34. Barcelona: Gustavo Gili, 1997.

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Urban Gamification Urban Age/LSE Cities analysis based on data from the European Commission Date published: December 2018 Victor, Bret (2013). “Media for Thinking the Unthinkable”. MIT Media Lab, Apr. 4, 2013.

Tan, E. Games Informing the Urban Development, 2017.

Agent-based (multi agent): Theodore Spyropoulos, “Architecture’s Adaptation by Brett Steele,” in Adaptive Ecology: Correlated Systems of Living (London: Architectural Association, 2013), 8 wolf-sheep: Wilensky, U. (1997). NetLogo Wolf Sheep Predation model. http://ccl. northwestern.edu/netlogo/models/WolfSheepPredation.

Center for Connected Learning and Computer-Based Modeling, Northwestern University, Evanston, IL.

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Pinkall, Ulrich, and Konrad Polthier. “Computing Discrete Minimal Surfaces and Their Conjugates.” (February 1993): 1-33.

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Carpo, Mario. The Second Digital Turn: Design beyond Intelligence. Cambridge, MA: The MIT Press, 2017.

Kwon, Hyojin. “1970s.” Medium. Medium, April 14, 2017. https://medium.com/@ hyojin.a.kwon/1970s-ca5463385285.

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“Minimal Surface.” Wikipedia. Wikimedia Foundation, March 14, 2020. https:// en.wikipedia.org/wiki/Minimal_surface.

Popescu, Mariana, Matthias Rippmann, Andrew Liew, Lex Reiter, Robert J. Flatt, Tom Van Mele, and Philippe Block. “Structural Design, Digital Fabrication and Construction of the Cable-Net and Knitted Formwork of the KnitCandela Concrete Shell.” Structures. Elsevier, March 3, 2020. https://www.sciencedirect.com/science/article/pii/S2352012420300655.

Veenendaal, Diederik, and Block, Philippe. “Computational form-finding of fabric formworks: an overview and discussion.” Semantic Scholar, 2012. https:// www.semanticscholar.org/paper/Computational-form-finding-of-fabric-formworks-%3A-an-Veenendaal-Block/0d3edbf1eacb93f3797750c8837d1eeeb8e6cce3

ACKNOWLEDGEMENTS

THANK YOU TO: Studio Masters Shajay Bhooshan Alicia Nahmad Vazquez Course Director Theodore Spyropoulos Course Founder Patrik Schumacher Course Tutors Pierandrea Angius Evangelia Magnisali Apostolos Despotidis Mostafa El-Sayed Federico Borello Mariana Cabugueira Custodio dos Dantos Konstantina Stella Tsagkaratou Aleksandar Bursac Alexandra Vougia AKT II Edoardo Tibuzzi Megan Greig Special Thanks Andy Watts Jorge Sainz Vishu Bhooshan Leo Bieling Cesar Fragachan Jianfei Chu Ariadna Lopez