Lin hao 743375 finaljournal

Page 1

STUDIO AIR 2017, SEMESTER 1, Manuel Hao Lin



Table of Contents 4 Introduction 6  A.1 Designing Future 16  A.2 Design Computation 26  A.3 Composition to Generation 34  A.4 Conclusion 36  A.5 Learning Outcomes 38  A.6 Appendix 40  Reference List 42  Part B: CRITERIA DESIGN 44  B.1. Research Field: Geometry 46  B.2. Case Study 1.0 50  B.3. Case Study 2.0: Canton Tower 56  B.4. Technique: Development 62  B.5. Technique: Prototypes 66  B.6. Technique: Proposal 75  B.7. Learning Objectives and Outcomes 76  B.8. Appendix 80  Reference List


Introduction

I am Hao Lin, a third year student and major in architecture in University of Melbourne. I have been interested in urban planning since I was in middle school and I thought that doing jobs in urban planning with architecture background would be better. Therefore, I choose to study architecture in my bachelor degree. I think architecture is an art about spatial design, arranging things in space and topography. But at the present time, how to use algorithmic design to approach the best solution for a project would be very important in present days. Despite of design itself, I am also concerned about the sustainable design in architecture since I learnt EBS. During the two years studying of architecture, I have learnt how to use Rhino during the Earth Studio and DDF course and I grasp the basic part of Rhino. Moreover, in the fabrication process, I know how to use 3D printing and laser cutting in the fab lab, and used these fabrication techniques in the constructing in my Earth and DDF projects. At other subjects, I would use SketchUp for a draft models and use AutoCad for architectural drawings.

4

CONCEPTUALISATION


Stable sheet Layer 4-13

Stable sheet

Tapes

Tubes

Layer 3 Layer 2

Layer 1

ASSEMLY DRAWING IN DDF

PROJECT IN EARTH

CONCEPTUALISATION 5


A.1 Designing Future

6

CONCEPTUALISATION


“But they can also inspire us to imagine that things could be radically different than they are today, and then believe we can progress toward that imaginary world.� 1

1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p 1. CONCEPTUALISATION 7


PLUG -IN CITY2

8

CONCEPTUALISATION


PLUG -IN CITY3

A.1.1 THE PLUG-IN CITY UNBUILT 1962-1964 Peter Cook, Archigram

Plug-in City was considered as a radical project at that time because it offered a different future that it is not just concrete, but a new way of urbanism and infrastructure. The modular residential units are movable, they can be install and uninstall in a central infrastructure according to population. The space station like modular units are connected by escalators. This radical design broke the idea that city must be fixed and localised and seen buildings as moveable and disposable.

Archigram The Plug-In City and other unbuilt designs such as The Walking City and The Instant City done by Archigram. These works “suggested a nomadic way of life and, more importantly, a liberation from the modernist answer of suburbia.”1 Archigram was the Beatles of Architecture at that time, inspiring the High-Tech Architecture such as Norman Foster, Richard Rogers. Nicholas Grimshaw, and the Japanese Architecture Metabolism, for example Kurokawa’s Nakagin Capsule Tower. The most famous design inspired by Archigram might be Pompidous Center by Richard Rogers and Renzo Piano.

1. Archdaily, AD Classics: The Plug-In City / Peter Cook, Archigram, (2013), <http:// www.archdaily.com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> 2. Ibid. 3. Ibid. CONCEPTUALISATION 9


PLUG-IN CITY2

“It (Archigram) was revolutionary in a sense of wanting life to be better, but not necessary having a political agenda to how better life could be… How can we irrigate the desert? How can we make more use of recycled water? How can we use more economic materials, but not make it dreary and boring? I don’t think THAT is Utopian, I think it is applied common sense!” Peter Cook

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CONCEPTUALISATION


PLUG-IN OFFICE3

Things are different from the 20th century, resources are no longer considered as infinite. “We live in a very different world now but we can reconnect with that spirit and develop new methods appropriate for today’s world and once again begin to dream.”1 Although some ideas of Archigram seem to be unsuitable for a sustainable future, the value and the spirit of changing the world are the things that we need to carry on. Bringing changes to the world, in a different way, for our future.

1. Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), p.9. 2. Image Source: Archdaily, AD Classics: The Plug-In City / Peter Cook, Archigram, (2013), <http://www.archdaily.com/399329/ ad-classics-the-plug-in-city-peter-cook-archigram> 3. Ibid. CONCEPTUALISATION 11


“I thought about the fusion between modern architecture and the traditional techniques, between architecture and nature, so that man would be happy in his environment.” 1 Wang Shu

1. Contal, M, Revedin, J, & Herzog, T, Sustainable design: towards a new ethic in architecture and town planning (Boston: Birkhäuser, 2009), p.83. 12

CONCEPTUALISATION


Left: “An interior view to the east campus. The volumes become entangled and the circulation routs are arranged over serveral levels.”4

VIEW

A.1.2 CHINA ACACEMY OF ART XIANGSHAN CAMPUS HANGZHOU, CHINA, 2002-2013 Wang Shu and Lu Wenyu Amateur Architecture Studio/ City Tectonic Institute of China The campus is built at the foot of Elephant Hill, which is one of the few “rural” places in urbanised Hangzhou. 21 buildings have the traditional features in design (e.g. enclosure), with two traditional bridges across the river and hillsides. U-shape, which is the traditional Chinese courtyard are applied in the design. He used the traditional techniques into modern buildings, with the use of recycled materials into making Wapan.1 These fragments came from walls or roofs destroyed by typhoon or demolition site. They could be reused for repairs or saved for future construction.2

The using of local materials and local techniques combining into modern architecture might be a “sustainable” way for our future. We are living in a finite world while we cannot sustain the current lifestyle anymore in the near future, but design could solve this problem.5 In the ancient times, people lived in a truly sustainable way, the traditional constructing techniques might be more sustainable than the current modern ones. The use of traditional techniques in modern architectures might be a possible way to sustain our future. Wang Shu is a proponent of traditional style in modern times, while many architects design “modern” buildings in China, his traditional style design might be against the mainstream in China. The building design looks like hundreds of years old but it still uses steels, concretes and other modern materials. Although it is traditional style, it could be still considered as “design futuring”.

Despite the traditional techniques and design features, each building is carefully designed based on its location: views, breeze, the sun and its relationship to the rest of the campus are taken into consideration.3 1. Wapan is a dry masonry technique to build walls while incorporating broken tiles, bricks, and stones. 2. Contal, M, Revedin, J, & Herzog, T, Sustainable design: towards a new ethic in architecture and town planning (Boston: Birkhäuser, 2009), pp.84-89. 3. Ibid. 4 .Ibid, p.86. 5. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p 2. CONCEPTUALISATION 13


WALKWAY1 The start of the walkway, at garden level. One can clearly see the stone base upon the campus building sit.

1. Contal, M, Revedin, J, & Herzog, T, Sustainable design: towards a new ethic in architecture and town planning (Boston: Birkhäuser, 2009), pp.85. 2. Ibid, p.88. 14

CONCEPTUALISATION


ISOMETRIC VIEW2

CONCEPTUALISATION 15


A.2 Design Computation

16

CONCEPTUALISATION


“The research and application of digital and information-based design methods and production processes increasingly inform architectural practice. Innovative production methods not only lead to new formal expressions, but also allow architects to directly communicate with production to customize complex and highly specialized building components.� 1

1. Mark Muckenheim nd Juliane Demei, Inspiration: Contemporary Design Methods in Architecture (Amsterdam: BIS, 2012), p.241. CONCEPTUALISATION 17


GUANGZHOU OPERA HOUSE5

18

CONCEPTUALISATION


A.2.1 GUANGZHOU OPERA HOUSE GUANGZHOU, CHINA, 2003-2010 Zaha Halid Architects

The Guangzhou Opera House is one typical example of design that pursued the potential of computing in design produce a design in China. “The Guangzhou Opera House design has been particularly influenced by river valleys – and the way in which they are transformed by erosion.”1 It represents the landscape of the Pearl River and connects to the history of Guangzhou As Patrik Schumacher, one of the main designer of this project, points out that the parametric design should “consider all forms to be parametrically malleable, differentiate gradually (at variant rates), inflect and correlate systematically” 2 and “avoid rigid geometric primitives like squares, triangles and circles, avoid simple repetition of elements, avoid juxtaposition of unrelated elements or systems.” 3 The twin-boulder design is following this rule. However, each boulder is different from the another, but can be still seen as one style.

digital technology, nonstandardised and personalised components are able to produce. Moreover, computer can help a lot in performance oriented design, it tried to simulate both quantity and quality and offer a new approach to the design of built environment.4 In this project, architects write codes in Rhinoscript to analyse the acoustic performance in interior space and achieve the requirement for performing just by architecture design without using any professional materials. Architecture’s development is always with the use of innovative technology, such as the Renaissance and perspective, Baroque and projective geometry, Modernism and isometric. Therefore, as Patrik Schumacher announced “Parametricism” at the Venice Biennale, it seems that “Parametricism” is related to parametric, or digital technology. Anyway, the design for Guangzhou Opera House is by using computing and digital technologies, and computing can help the development of architectural design. In another word, computing is a form of calculation that is accurate and untiring while it can influence the design process by allowing us to create things in a more creative way.

The last decade, when Rhino gradually became a mature software, Zaha used Rhino to find the reasonable form in the design. The external uses tessellation, by using

1. Zaha Hadid Architects, Guangzhou Opera House <http://www.zahahadid.com/wp-content/files_mf/guangzhouoperahouse.pdf>. 2. Patrik Schumacher, 'a new global style for architecture and urban design', Architecture Design: Digital Cities, 79 (2009), pp.14-23. 3. Ibid. 4. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 9, 24. 5. Image Source: Zaha Hadid Architects, Guangzhou Opera House <http:// www.zaha-hadid.com/architecture/guangzhou-opera-house/> CONCEPTUALISATION 19


INTERIOR DETIAL1

INTERIOR DETIAL

INTERIOR DETIAL 1. Image Source: Zaha Hadid Architects, Guangzhou Opera House <http:// www.zaha-hadid.com/architecture/guangzhou-opera-house/> 2. Ibid. 3. Ibid. 20

CONCEPTUALISATION


“The personalized set of media skills of this generation revolves about the form-generation capabilities of modelers based on Non-Uniform Rational B-Splines (NURBS)...� 1

1. Rivka and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p. 3. CONCEPTUALISATION 21


RESEARCH PAVILION, INTERIOR4

22

CONCEPTUALISATION


This is an age in which digitally informed design can actually produce a second nature. 3

A.2.2 ICD/ITKE RESEARCH PAVILION 2014-2015 STUTTGART, GERMANY 2015 UNIVERSITY OF STUTTGART This research pavilion in University of Stuttgart a practice of computation design, it provides the opportunities for designers to create their own tools to produce potential evolutionary design. This pavilion is a relatively small scale experiment that collaboration of natural sciences, architecture and engineering. The pavilion simulates the air bubble that support water spider live under water. The fibre-reinforced air bubble can resist water flow and pressure. Researchers analyse the form and building sequences of underwater air bubble, and transfer into digital information and the constructing sequences. Finally, using construction robot to build the pavilion. Computational form finding method is used to generate the main shape of the shell.1 This allows designers to insert parameters and find possibilities of the performative fibre in a more efficient way.

In this case, the computational methods and customised robots help to build personalised components. This allows them to design and construct very complex forms in an economic way, while it is “very difficult and expensive to design, produce and assemble using traditional construction technologies.� 2 By building this pavilion, they not only explored how computing use in design, but also explored how it can help in the constructing process.

1. University of Stuttgart, ICD/ITK Reasearch Pavilion 20142015 <http://icd.uni-stuttgart.de/?p=12965> 2. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3. 3. Rivka and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p.8. 4. Image Source: University of Stuttgart, ICD/ITK Reasearch Pavilion 2014-2015 <http://icd.uni-stuttgart.de/?p=12965> CONCEPTUALISATION 23


CONSTRUCTION ROBOT BUILDING PROCESS1

1. Image Source: University of Stuttgart, ICD/ITK Reasearch Pavilion 2014-2015 <http://icd.uni-stuttgart.de/?p=12965> 2. Ibid. 3. Ibid. 24

CONCEPTUALISATION


BUILDING PROCESS2

RESEARCH PAVILION 2014-2015 3

CONCEPTUALISATION 25


A.3 Composition to Generation

26

CONCEPTUALISATION


“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” 1

1. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p15. CONCEPTUALISATION 27


FONDATION LOUIS VITTON MUSEUM 7

28

CONCEPTUALISATION


Computation reconstructs the architecture practice. Firstly, it increases architects’ intellect and potential to solve complex problems and explore new forms, new ideas. Writing codes becomes the brush for designers to draw what they think, for example, the Khan Shatyr Center locates in Astana.1 Secondly, computation (or scripting) has integrated in the design process in some architecture firms. Custom tools have become part of the design and many firms has adjusted to this trend in their own ways, they all need the work of computational designers.2 (p.11) Thirdly, it becomes an essential part in architectural practice, larger scale buildings such as airports must use parametric models as part of the design3 Algorithmic thinking has changed the traditional way of architecture practice, and design process are also influenced by it. Partrik Schumacher believe that the shift to generative approaches would continue and even has more influence in design works in the age of parametricism.4 (p.14) In his Parametricism manifesto, The Autopoiesis of Architecture, he describes the Parametricism as “the great new style after modernism” and argued that “Parametricism is architecture’s answer to contemporary, computationally empowered civilization”. to which attention must be paid in task completion”.

However, Mark Foster Gage argued that parameter has influenced the design, but parametricism is not new to architecture and it can date back to classicism, and consider parametricism is not yet a style that can compare to modernism.5 On one hand, computation enables new ways of thinking, it can construct and test the model in a more efficient way. On the other hand, when architects pay more attention on writing codes, “scripting degenerates to become an isolated craft rather than developing into an integrated art form.” 6 One disadvantage for using computing in design, might be the complexity of the software. The unnecessary complexity with too much information “may require additional effort may increase complexity if local design decisions and increases the number of items".8

1. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p.11. 2. Ibid. 3. Patrik Schumache, ‘Parametricism 2.0: Gearing Up To Impact the Global Built Environment’, Architectural Design, 86 (2016), p.10 4. Ibid. p.14 5.Mark Foster Gage, A Hospice for Parametricism. Architectural Design, 86(2016), 128-133. 6.Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p.15 7.Ibid. p.13 8. Robert Aish and Robert Woodbury, 'Multi-Level Interaction in Parametric Design', in Andreas Butz et al. (eds.), International symposium on Smart Graphics: Springer Berlin / Heidelberg, 2005), p.151. CONCEPTUALISATION 29


FORM-FINDING PROCESS2

FORM-FINDING PROCESS 4

30

CONCEPTUALISATION

COVER3

COVERT FROM INSIDE 5


A3.1 Khan Shatyr Entertainment Centre Astana, Kazakhstan, 2006-2008 Foster + Partners This project is a multipurpose center located in Astana. The team used parametric design tools (form-finding algorithm) to find different forms and it quickly generates a cable net structure and they use programs to test the model. There is a unique and efficient design tool in the team, which can produce the prototypes rapidly. The custom programs help the design team to rapidly come out with several possible form options and then they use 3D printing to generate the sketch models. Although there are thousands of components, computer programs can help greatly reduce the works. 1

1. Brady Peters, Khan Shatyr Entertainment Centre <http:// www.bradypeters.com/khan-shatyr-centre.html> 2. Ibid. 3. Ibid. 4. Ibid 5. Ibid CONCEPTUALISATION 31


FORM-FINDING PROCESS2

FORM-FINDING PROCESS54

32

CONCEPTUALISATION

ROOF MODEL3

ROOF5


A3.2 Thomas Deacon Academy Peterborough, UK 2003-2007 Foster + Partners This academy building has a central courtyard that is surrounded by a curving band. A doubly-curved roof covers the central area. The design team used different parametric tools and 3D modeling software to find a variety of the roof forms, which needs a large spa and panelisation strategy. The final form, which is an inflated pneumatic surface is found by a custom program. 1

1. Brady Peters, Thomas Deacon Academy <http://www. bradypeters.com/thomas-deacon-academy.htmll> 2. Ibid. 3. Ibid. 4. Ibid 5. Ibid CONCEPTUALISATION 33


A.4 Conclusion

Design has the mission to build a sustainable future for us. How to design sustainability becomes a significant issue at this time. The purpose for introducing computing in design and architectural practice is not just about expending the potential for designers, but also makes a sustainable future for us and our next generations. Through the help of digital design methods and its related technologies such as parametric and algorithms, architects can design the building more sustainable because the software can simulate the design’s impact and its performance. The evolution of digital technologies in design has make more possibilities for architects to explore new ideas. And the architecture practice has been reshaped by the shift from composition to generation. Using algorithmic software such as Grasshopper gives me a new opportunity to find new ideas and expand the imagination boundaries through the help of algorithm. Sketch on a real paper could provide the basic forms, but using algorithm could make it more efficient and provide more possibilities.

BAO’AN INTERNATIONAL AIRPORT TERMINAL 31 Massimiliano Fuksas and Knippers Helbig Advanced Engineering, Bao’an International Airport Terminal 3, Shenzhen, China, 2012

1. Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p.15. 34

CONCEPTUALISATION


CONCEPTUALISATION 35


A.5 Learning Outcomes

I think I have developed a lot since the beginning of this semester through playing the definition of grasshopper components, computation is really changing the way architects design. Using digital software, designers can simulate the performance of designs without building physical models. After reading many articles in these three weeks, I do experience the power of algorithmic computing, it expands one’s intellect and design capability to a new frontier. Not only in the digital design process, algorithm and computing can improve the efficiency of constructing process. Furthermore, I just realised that the skills I learnt before are just “computerisation”, not “computation”. A truly computation is one can deal with a complex problem with the help of computing, but I can only do the basic jobs by using computer. Computing can help me to improve my previous works. For example, in Studio Earth, I wanted to create a random cutting at a pavilion, but all I did were just manually cutting the wall without any strategy. By using computing like Grasshopper in Rhino, I could redesign it according to proportional theories.

CAYAN TOWER1 Skidmore, Owings & Merrill (SOM), Cayan Tower, Dubai, 2012

1. SOM, CAYAN TOWER <http://www.som. com/projects/cayan_tower> 36

CONCEPTUALISATION


CONCEPTUALISATION 37


A.6 Appendix

38

CONCEPTUALISATION


CONCEPTUALISATION 39


Part B: CRITERIA DESIGN

40

CRITERIA DESIGN


CRITERIA DESIGN

41


B.1. Research Field: Geometry

GEOMETRY: PYRAMID 31

GEOMETRY: RULED SURFACES 4

Geometry, is the basic of the language of shapes. From Egyptian Pyramid to today’s skyscrapers, geometry is always the fundamental part of architecture. In the western history, architecture has been related to mathematical geometry since the ancient times. Any other files like patterning, structure etc. need to rely on the surface of a geometry. Many geometries can be achieved by mathematical formulas. “Use Mathematics and Computation Understanding mathematics (especially geometry) and computation can bring some design concepts into sharp focus.”1 Parametric design gives an unlimited boundary for architects to generate the geometry

USING GRASSHOPPER TO ACHIEVE RULED SURFACE5

3. Image Source: duardo Souza, 'AD Classics: Le Grande Louvre / I.M. Pei', Archdaily (revised November 2010) <http://www.archdaily.com/88705/ad-classics-le-grandelouvre-i-m-pei> [Accessed 28 April 2017]

That’s indeed correct. If an architect wants to create a geometry that is about mathematics, one way is to input the formulate of the geometry, and then the parametric tools would generate the shape automatically. For example, in grasshopper, one can create a helicoidal by input the formulate at x, y, z parameter. But this needs architects to “think mathematically” 2. (pp.161-162) How to achieve a certain type of special geometry by parametric tools, remains an important role for the current architects to explore.

4. Image Source: <http://discovery.ucl.ac.uk/4557/1/4557.pdf> 5. Image Source: OM, Grasshopper tutorial-helicoidalmath surface #2 [You Tube video], 8 March 2017 < https://www.youtube.com/watch?v=Mv2z8kZZ2us&t=818s> [Accessed 25 April 2017]

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CRITERIA DESIGN

1. Woodbury, Robert F., ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), p 166. 2. Woodbury, "Parameters", pp 161-162


VOLTADOM2

VOLTADOM3

VOLTADOM is built for the celebration of 150th anniversary of MIT and the Fast Arts Festival. It forms many continuous vaults alone the hallway and the oculi of the vaults allow light and views to come in. This project combines by many doubly curved surfaces. It is a self replicate project with repeating the same thing. Voltadom changes what doubly curved surfaces’ potential. It does not only increase the depth of the surfaces but also make them relatively easy to assembly and fabricate. The definition for Voltadom begins with generating cones with oculi and trim the duplicated boundary, then unrolled the surface to install. Voltadom changes what doubly curved surfaces’ potential. It does not only increase the depth of the surfaces but also make them relatively easy to assembly and fabricate.1

1. Dina1990, 'Voltadom by Skylar Tibbits | Skylar Tibbits', ARCH2O (revised April 2017)

<http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/> [28 April 2017] 2. Ibid 3. Ibid CRITERIA DESIGN

43


B.2. Case Study 1.0 PO 2D 1

POP2D 1

POINT CHARGE 1

CONE

CYLINDER

SPHERE

POLYGON

PLATONIC GEOMETRY

44

NOT SUCCESSFUL

CRITERIA DESIGN


POINT CHARGE 2

POP3D 1

VORONI

POP3D 2

NOT SUCCESSFUL

NOT SUCCESSFUL

NOT SUCCESSFUL

NOT SUCCESSFUL

CRITERIA DESIGN

45


Selection Criteria: Geometry: the shape of the iteration can inspire others Fluidity: the organic feeling (how strong is related to air} Constructability: How easy to fabricate the surface and make it constructable as a canopy or the cover of a pavilion

46

CRITERIA DESIGN


Geometry Fluidity

This one is the basic geometry with 3d population. Although the definition just a bit, I think it create a different feeling from the original one.

Constructability

Geometry Fluidity Constructability

Geometry Fluidity Constructability

Geometry Fluidity Constructability

This one is not by using cone as basic geometry, but I change it to my own definition of ruled surface with a slightly rotation. The effect of rotation would be much better if it is applied on a curved base surface.

This one is based on sphere. Since the definition has its limitation to identify the boudary, but it provides something different and make it a sense of floating, which is related to the air concept.

This itration gives me a sense of random. Maybe it has the potential to develop further. But it seems to be very sharp and hard to construct.

CRITERIA DESIGN

47


B.3. Case Study 2.0: Canton Tower

DESIGN PROCESS OF THE ARCHITECTS 1

Canton Tower locates at Guangzhou, China, alone the new central axial of Guangzhou. It becomes the new symbol of Guangzhou when Guangzhou hold the 2010 Asian Games. The architects wanted to create a sense of free form tower that is not related to “male” structure. Instead, they want to express feminine feeling through the TV tower. The tower has the feeling of movement and alive. STRUCTURE WEB OF CANTON TOWER2

1.Image Source: Arch2o Editorial Team, 'Case Study: The Parametric Twist of Canton Tower', ARCH2O (revised April 2017) <http://www.arch2o.com/case-study-parametrictwist-canton-tower/> [28 April 2017] 2.Ibid 3.Ibid 48

CRITERIA DESIGN

The tower used doubly-curve surface as its geometry, with the top ellipse to rotate 45 degrees. “First, the elliptical cylinder was tapered to be narrow at the top. Then, the vertical elements were rotated to create the tightness and the upper profile was twisted more for further tightness. After obtaining the desired geometry, the solid was converted to a 3D wireframe for structural analysis. The surface was transformed to columns, diagonals, rings, and nodes”3


CRITERIA DESIGN

49


Top Ellipse

move: z

rotate 45 degrees

Middle Ellipse

move: z

rotate 22.5 degrees

rotate to form narrow top

Bottom Ellipse

DEFINITION FOR GENERATING CANTON TOWER

Perpendicular frames

Graph mapper for rotation

Graph mapper for shape of Tower

Step 1: generating 3 ellipses as the basic geometry of the tower

50

CRITERIA DESIGN

Basic Shape (Polygon or Ellipse)

Step 2: rotate the middle plane for 22.5 degrees, rotate the top plane for 45 degrees; twist the top plane alone the middle lane of the ellipse to narrow the top

C

loft bo

Step 3: Genera by loft three el


Cap loft or ruled surface for main body

Divide Surface

Flip

Vertical Column

Shift

Flip

Diagonals

Cap

t main ody

ate the tower llipses

Step 4: Divide & Offset the surface to generate vertical columns

Step 5: Divide & Offset the surface to generate diagonal supports

CRITERIA DESIGN

51


CANTON TOWER 1

1.Image Source: ARCH2O 52

CRITERIA DESIGN


Difference with the original project: the tower would rotate different angle at vertical plane for the ellipse at each floor. The structure web for Canton Tower has 24 vertical columns, diagonals and rings. My model only has the vertical columns and diagonals, and does not contain the rings. The original design process has rotated the rings according to shear, but I just rotate the top one. But the initial design process is very similar, both are generated from basic geometries. The original one also has opposite direction diagonals in specific area. It needs further physical analysis to consummate the structure.

CRITERIA DESIGN

53


B.4. Technique: Development Perpendicular frames

Graph mapper for rotation Basic Shape (Polygon or Ellipse)

Graph mapper for shape of Tower NEW DEFINITION TOGENERATE THE TOWER SPECIES 1: OLD DEFINITION

SPECIES 2: DEFINITION 2 BASIC GRAPH TYPE: PARABOLA SEG: 8 PLANE 70

54

CRITERIA DESIGN

Cap loft main body


At this stage, I change the fundamental definition that I built in B3 to rebuild the Canton Tower. I arrange the base plates and set the shape and rotating angle of the tower by using graph mapper. The Graph Mapper is an excellent way to visually control the shape of objects. By changing the curve types in graph mapper, I can also generate some intersting gemetry.

SPECIES 3: DEFINITION 2 WB

6X6

12X6

12X6

12X6

12X6

40X20

145 DEGREE

90 DEGREES

0 DEGREE

GRAPH: PERLIN

GRAPH: PARABOLA

GRAPH: PARABOLA

WB FRAME: 20

WB FRAME: 70

WB FRAME: 20

WB FRAME: 20

WB FRAME: 20

WB FRAME: 20

PLANE 20

PLANE 20

PLANE 95

PLANE 20

PLANE 20

PLANE 20

12X6

12X6

12X6

12X6

12X6

40X20

90 DEGREE

0 DEGREE

GRAPH: BEZIER

GRAPH: POWER

GRAPH: PARABOLA

GRAPH: PARABOLA

WB FRAME: 20

WB FRAME: 20

WB FRAME: 20

WB FRAME: 20

WB FRAME: 20

WB FRAME: 5

PLANE 20

PLANE 20

PLANE 20

PLANE 20

PLANE 20

PLANE 20 CRITERIA DESIGN

55


SPECIES 4: DEFINITION 2 WB & VORONI

SPECIES 5 HELICOID SURFACE

SPECIES 6 BOX MORPH ON SURFACE

GRAPH: SIN

POP 100

POP 100

CONE

POP 100

POP 100

POLY 16 REVERSED

POLY: 4

POLY: 4 10X10 ROTATE 270

POP 200

POLY: 3

POLY: 4 10X6 ROTATE 270

56

CRITERIA DESIGN


SPECIES 7 DEFINITION 2, WB 2

SPECIES 8 DEFINITION 2, WB 3

GRAPH TYPE: SIN

SMALL NUMBER OF GRIDS

PLANE 70

GRAPH TYPE: PARABOLA

WB FRAME THICK: 15

POLY: 8

6X6

25X10

10X6

POLY 16

10X10

10X10

50X10

2X3

6X4

6X4

WB THICK: 5

WB THICK: 5

WB THICK: 81

PLANE 70

PLANE 4

PLANE 70

2X3

6X4

WB THICK: 100

WB THICK: 5

PLANE 70

PLANE 1

2X3

6X4

WB THICK: 40 PLANE 70

WB THICK: 40 PLANE 70

CRITERIA DESIGN

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Selection Criteria: Geometry: the shape of the iteration can inspire others Fluidity: the organic feeling (how strong is related to air} Constructability: the surfaces are undevelopable, how easy to fabricate the curved surface and how strong can it support a pavilion when the tower acts as a “column�

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Geometry Fluidity Constructability

Geometry Fluidity

This one is generated by applying voroni onto the tower surface. It creates very organic shapes on the surface but it is hard to express fluidity since the rotation is hard to observe from the complex voroni surface. And its voroni surface makes it hard to build with its random shapes.

This one is by applying box morph onto the surface. I want to make random lengths for the shapes to strectch out at first. But it became randomly strectch into the tower.

Constructability

Geometry Fluidity

Helicoid surface is a kind of ruled surface. It is indeed fluid and different geometry comparing to other iterations. However, its shape make it hard to construct and stand.

Constructability

Geometry Fluidity Constructability

This shape is simply ahieved by rotating the tower. But its unique texture gives people a sense of moving, like the texture of desert after wind blowing, which is a very point for fluidity. Its shape and texture can be easily achieved by 3d printing.

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B.5. Technique: Prototypes The selection criteria are about the light affect and how easy to fabricate and assembly. The geometries I explored and discovered in B4 were basically undevelopable surface, they all achieved organic and dynamic to a certain extent. So that how easy to fabricate without using 3d printing and assembly becomes an important factor. The other one is about light effect because the brief is about building a perfomantive pavilion in the interior space. Light effect is a significant factor that is related to performance.

Prototype 1

CURVED SURFACE GENERATE BY GRAPH MAPPER AND RANDOM POINTS

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WAFFLE GRID TO FORM THE SURFACE


The first prototype I used graph mapper and random numbers to generate the curved surface. Although it is not ruled surface and the shape is very simple, it can be tested as the canopy over the pavilion which would largely influenced the perfomantive light effect. I used the fabrication definition “waffle grid type 1� to generate waffle grids of the curved surface. The outcome is very satisfied. It is very easy to assembly and fabricate, with light effects that can interact with the surrounding environment.

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Prototype 2

UNDEVELOPBLE SURFACE

RATIONALIZED LASER CUT FILE

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AFTER RATIONALIZED


The second prototype I tried to rebuild one of the tower I discovered in B4. Instead of using strings to build a ruled surface, I preferred to rationalize the curved surface and make it developable. The prototype is better built by thinner materials because it is easier to glue together with a folded edge. Although I prepared a folded edge to glue, I selected a relatively thick material which made the prototype difficult to build. The light effect is relatively satisfied. When moving the light sourceďźŒthe shadow and light would move which creates an intersting light effect like a shining star.

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B.6. Technique: Proposal

SHAPE OF WIND 1

FIELD LINES THAT SIMULATE MOVEMENT OF AIR AT TH E SITE

The geometry of air flow, of wind, inspired me to the basic shape of my proposal. Air movement are organic and we cannot observe the movement of air by our eyes. We could only feel it. However, we could capture the shape of air movement in the nature: during winter, the water vapour inside air could be frozen. And that is how we observe the shape of wind. 1. blizzard-ice-storm <http://hoshimem. tumblr.com/post/70877030197/our-amazingworld-blizzard-ice-storm-amazing> 64

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I want to bring air into the interior space, creating a sense of fluidity. So I tried to use point charges to generate the field lines. The field lines give me a sense of wind and how the air is moving. It also gives me a huge potential to generate the geometry of my proposal design through manipulate the field lines.


LIGHT EFFECT OF THE PROTOTYPE

As I discovered during B5, the light direction can change the structure’s shadow, which gives an opportunity for me to use the shadow direction of the pavilion as the sign of movement and performance. SHADOW DIRECTION AT START OF PERFOMANCE

And this could also make people interact with the interior environment, having a better performative effect.

Fluidity SHAOW DIRECTION DURING PEOFORMANCE

Dynamic Light, & Shadow

SHADOW DIRECTION AFTER PERFORMANCE

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Graph mapper to control the move of lines

Generate field lines

Move Divide lines HOW TO GENERATE THE FORM IN GRASSHOPPER

N

1

2

3

5m

2

3

5m

FRONT VIEW

N

1 :RIGHT VIEW

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Generate curve from points

Divide curves & Flip matrix

Generate curves and loft to form the surface

WB components to thicken


N

1

2

3

5m

PLAN

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B.7. Learning Objectives and Outcomes

Through the tasks that I have done in part B, I could finally have a relatively good idea compared to my previous studios’ design outcomes, I think I have improved a lot since I get in touch with parametric design. I am able to produce a proposal according to brief by algorithm methods. For the perfomantive pavilion, during the discussion with the client and classmates, things would change in mind. How to enhance the performative effect and facilitate the existing effect form the basic concepts of the design proposal. However, sometimes things do not follow your wish. One example is I want to use the light as a tool to make audience interact with the surrounding environment, but client said most people would hide in dark and refuse to interact. And one shortcoming for my proposal I notice is my proposal seems better fitting the outside more than the interior. The further development I need to consider how to make the pavilion fit inside the room. During the few weeks of generating iterations and making prototypes, I must learn many knowledge of grasshopper from the form and videos. That makes me able to experience different things and know what’s the general logic inside grasshopper. One component that I like to use is graph mapper, it has huge potential to control things visually. Another thing is field lines. Through manipulate field lines, I could generate organic lines, which is much related the air concept. However, one annoying things that I have met during my study of grasshopper is the difference between Brep and surface. I think this is one of the disadvantage for algorithmic design which needs an architect to be very familiar with definitions. To be able to use the tools. Digital models can make fabricating the physical model much easier. For example, I want to fabricate a curved surface, but it is an undevelopable surface. Through digital process, I can rationalize the surface and make it constructable. The fabrication definitions are very helpful to make physical models.

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B.8. Appendix

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Part C: DETAILED DESIGN

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C.1. Design Concept Reflection The pavilion successfully conveys the feeling of air movement in the interior condition. However, the size of design is obviously too big for an interior pavilion, and the shape seems like it is an outdoor pavilion. And I fail to present the surrounding environment during the presentation, and the thinking of playing with light & shadow also fail to apply at the interim design. But the idea of light & shadow could continue using in our group design as a main method to deliver the message we want to convey. At the next stage, I need to address the brief, concept, and the surrounding environment into the design, make more passive interactive with the audience, to create a sense of inspiration and creation.

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Concept / Group Yes From Lung to Heart Our final concept is the integration of breathing, heart, lung, and our body. We are always breathing because we need to live. Our heart, lung, and our body are doing many things that we seldom aware. The mechanism of our body, is the most delicate machine that exists in the nature world. Breathing make us feel alive in a silent way. It feels invisible but it does indeed one of the fundamental way that keep us alive. Through our design, we wanted to enhance the awareness of the mechanism, the rhythm of breathing underneath our body.

LUNG

Moreover, the heart generates an electromagnetic field in our body which could be influenced by our emotion. The existing of electromagnetic field gives us the inspiration of the exhibition of a heart structure. So that we want to celebrate the “invisible� mechanism within body, heart through our design. And We wish to explore and represent how the heart works and enlighten the audience.

ELECTROMAGNETIC FIELD GENERATED BY HEART

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LUNG PROPOSAL FROM PART B, THE INITIAL DESIGN REPRESENTS TWO ABSTRACT LUNGS.

THE INITIAL LUNG PROPOSAL, ABANDONED BECAUSE WE WANT PEOPLE TO WALK ON IT

ALL THE CURVES ARE FROM ONE ORIGIN POINT, USING SIN CURVES. REPRESENT BOTH MUSICAL PERFOMANCE (SOUND WAVE) AND THE LUNG SHAPE.

REALISING THE TWO LUNGS ARE UNEQUAL, THE LEFT LUNG CONTAINS HEART. DECIDE TO MAKE IT UNEQUAL AND ADDING COLUMNS IN ORDER TO WALK ON IT

SITTING VERTICAL AND REMOVE COLUMNS ARE NO LONGER REQUIRED

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STRUCTURE MEMBERS ARE ADDED, WITH DIAGONAL SUPPORT.


Lung At the initial stage, our group decided to retain the concept from biomimicry, the concept for "breathing" which is related to "air". We wanted our design could breath, could glow from inside to outside. This aimed to facilitate the audiences to their inner rhythm and create emotional resonance.

PATTERNING AND STRUCTURAL MEMBERS ARE ADDED AT THIS PROPOSAL

The first thing we were looking for was the structure of lungs. We tried to use our technics to show the structure and characteristic of lung. I started to do some research about the lung's shape, and came up with a series of geometries that is related to lung.

The desired effect of the final lung proposal is achieved by using spot lights. For the fabrication, we tried to reduce number of ribs and get rid of unnecessary structures so the nodes (need to 3d print) would be reduced to save budget. The patterning are using laser cut and then sew to the structure. PATTERNING ARE ADDED AT THIS PROPOSAL

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Patterning

We found that at the end of lungs, there are many cells called alveoli to transfer oxygen into blood. The cells represents the exchange of air. The patterning team was inspired by these cells and wanted to apply them into the patterning. By using voronoi, they successfully manipulate the size of the “cells� and could apply them to the surface of geometry.

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From lung to heart

At this stage, we began to change our initial design due to the lung proposal did not achieve the ideal effect. We want something that could be interactive and inspiration. The lung proposal started to deviate from its original course. The design was too simple to convey our concept and it does not look like designed by algorithm. We started to consider using other organs that could be related to “breath” concept and have the desire effect to make audience find the mechanism underneath their skin. As mention above, heart is the organ between two lungs, and it is literally the “heart” of the mechanism in our body. The heart pumps blood so that blood can transport air from lungs to other place inside our body, the concept “breath” is strongly related to heart. Moreover, the heart has a complex geometry, it is an ideal organ to develop.

3D MODEL FOR HEART

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EXTERNAL VESSELS

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INTERNAL PART

HEART GEOMETRY


REDUCE MESH 95%

REDUCE MESH 80%

The patterning group experimented reduce mesh and exoskeleton to produce patterning.

REDUCE MESH 50%

Mesh

Reduce mesh

Wb Mesh Edges

Exoskeleton

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The heart and lungs work together to get oxygen to the tissues. The heart pumps the blood, and the lungs put oxygen into it. This oxygen-rich blood then circulates throughout the body to nourish the cells.

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... contemplation of the breath, the lungs and the human body and rhythmic flow. ... to facilitate awareness of the ebbs and rhythms that underpin our lives. ... the

heart of the exhibition.

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C.2. Tectonic Elements & Prototypes Development

INITIAL HEART SURFACE

USING WEAVERBIRD TO MESH

Our design combines structure, geometry, and patterning into one object by using 3d printing, for example, the patterning is integrated into the overall design; the effect of light & shadow would become the patterning.

PIPE

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Using karamba to optimise the overall structure.

KARAMBA BEAMS

Using cocoon to rebuild mesh alone the karambar beams because Karamba does not provide mesh.

COCOON

After using cocoon to generate the marching cubes, the result seems very rough and the mesh need to be smoothened. By using weaverbird Laplacian smoothing, we can smooth the rough mesh of tubes generated by cocoon without increasing the mesh number. WB LAPLACIA

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Prototypes: 3d printing

Reduce mesh This mesh contains too many component make it hard and expensive to 3d print

Split into half to make it easy for 3d printing Rescale and control the thickness of

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3d printing Material: PLA Size: 40mm x 50mm x 60mm

In order to make the 3d printing’s price reasonable, the supporting structure need to be reduced. So we removed the internal part (we just need the shape) and split the 3d model into 2 parts to reduce the cost and make it print faster.

The main component

Remove the internal useless part

strut to 3d printing

Pipe

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In the prototype, we tested the light effect with a small LED inside the structure. Using light inside the structure, represents the electromagnetic field of the heart and the feeling of glowing out. The elegant light and shadow effect projects the complex patterning and structure onto the wall, which would make people have the sense of rhythm inside the body.

The complexity of the geometry can be achieved by 3d printing. However, one problem is the size of sculpture is limited by the size of 3d printer, and it would be costly and time consuming.

ELECTROMAGNETIC FIELD

LIGHT EFFECT REPRESENTS THE FIELD

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PROTOTYPE BY 3D PRINTING

LIGHT EFFECT

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C.3. Final Detail Model

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Our final design aims to create the effect of light and shadow, which would. The final design would be small yet large. Light source would be install within the heart structure and radiate from inside to outside. It would make the small structure have large volume. Due to the size of 3d printer we could use, the final size would be limited to 600 mm x 600 mm x 600mm. But the effect of light & shadow would utilize the effect of the heart to the whole interior studio, which is like the electromagnetic field of the heart.

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C.4. Learning Objectives and Outcomes

During the presentation, we successfully develop the concept into a final proposal. The ideal effect is achieved by the renders and prototypes. However, the change of design from lung to heart need to be clearly explained. We fail to convey the connection to the surrounding environment and how does the sculpture interact with the audience. We need to consider this questions into further. My development from the final proposal is placing the heart design between two lung structures, the lung structures can act as the board for projecting light & shadow. And the concept of breath and the rhythm inside body can be emphasized because the heart locates at the left lung and the heart is placed between.

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In Part C, it is my first time to design in a team. It is my honor to work with other teammates. Each team member contributed their best in the field they charged and we finally come up with an integrated design. During teamwork, we could learn from other’s parametric technic and this is a very meaningful because each person can learn the things he/she doesn’t know form others.

Objective 1

Objective 2

The brief asked us to design a perfomantive pavilion which can enhance the performance. We successfully followed this objective by using paramedic tools because it is easier to manipulate and change the design according to the brief than before. We abandoned many iterations (especially the lung designs) because it is not appropriate to the brief and our selecting criteria.

We generate a series of proposals for the design by using algorithmic design tools according to the given situation. For example, when we still worked on the lung structure, I generate different iteration for the design according to the situation and our concept. We can explore the area and space by manipulate the area and direction of the design.

Objective 3

Objective 4

We generate a series of proposals for the design by using algorithmic design tools according to the given situation. For example, when we still worked on the lung structure, I generate different iteration for the design according to the situation and our concept. We can explore the area and space by manipulate the area and direction of the design.

Our final concept is strongly related to air. My part B proposal aims to bring the sense of air into the interior studio. And in Part C, the group’s concept focus on breath, the human body’s relationship with the concept of air. The heart, the rhythms inside body can have a common feeling of air through our design and the ideal light & shadow effect.

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Reference List Aish, Robert and Robert Woodbury, 'Multi-level Interaction in Parametric Design', in Andreas Butz, et al. (eds.), Smart Graphics (Berlin / Heidelberg: Springer, 2005), 924-24. Arch2o Editorial Team, 'Case Study: The Parametric Twist of Canton Tower', ARCH2O (revised April 2017) <http://www.arch2o.com/case-study-parametric-twist-canton-tower/> [28 April 2017] Archdaily, AD Classics: The Plug-In City / Peter Cook, Archigram, (2013), <http://www.archdaily. com/399329/ad-classics-the-plug-in-city-peter-cook-archigram> Contal, M, J. Revedin, and T. Herzog, Sustainable design: towards a new ethic in architecture and town planning (Boston: Birkhäuser, 2009), 84-89. Dina1990, 'Voltadom by Skylar Tibbits | Skylar Tibbits', ARCH2O (revised April 2017) <http://www.arch2o.com/voltadom-by-skylar-tibbits-skylar-tibbits/> [28 April 2017] Dunne, Anthony and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013), 1-9, 33-45. Eduardo Souza, 'AD Classics: Le Grande Louvre / I.M. Pei', Archdaily (revised November 2010) <http://www.archdaily.com/88705/ad-classics-le-grande-louvre-i-m-pei> [Accessed 28 April 2017] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), 1-16. Gage, M. F., A Hospice for Parametricism. Architectural Design, 86(2016), 128-133. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3. Muckenheim, Mark, and Juliane Demei, Inspiration: Contemporary Design Methods in Architecture (Amsterdam: BIS, 2012), p.241. OM, Grasshopper tutorial-helicoidal-math surface #2 [You Tube video], 8 March 2017 < https://www.youtube.com/watch?v=Mv2z8kZZ2us&t=818s> [Accessed 25 April 2017] Oxman, Rivka, and Robert Oxman, Theories of the Digital in Architecture, (London; New York: Routledge, 2014), p.8. Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15. Peters, Brady, Khan Shatyr Entertainment Centre <http://www.bradypeters.com/khan-shatyr-centre.html> Peters, Brady, Thomas Deacon Academy <http://www.bradypeters.com/thomas-deacon-academy.htmll> Schumacher, P. 'a new global style for architecture and urban design', Architecture Design: Digital Cities, 79 (2009), 14-23. Schumache, P., ‘Parametricism 2.0: Gearing Up To Impact the Global Built Environment’, Architectural Design, 86 (2016), 8-17.

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SOM, CAYAN TOWER <http://www.som.com/projects/cayan_tower> Robert Aish and Robert Woodbury, 'Multi-Level Interaction in Parametric Design', in Andreas Butz et al. (eds.), International symposium on Smart Graphics: Springer Berlin / Heidelberg, 2005), 151. University of Stuttgart, ICD/ITK Reasearch Pavilion 2014-2015 <http://icd.uni-stuttgart.de/?p=12965> Woodbury, Robert F., ‘How Designers Use Parameters’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 153–170. Zaha Hadid Architects, Guangzhou Opera House <http://www.zaha-hadid.com/wp-content/files_mf/guangzhouoperahouse.pdf>.

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