Gates holly 583535 finaljournal by Holly Saunders

Holly Gates

AIR Journal S2 2017 01

Studio AIR Semester 2, 2017 Student: Holly Gates Student No. #583535 Tutor: Finnian Warnock ABPL30048 Design Studio: Air Assessment Task: Design Journal Pages: 112 Part A Conceptualisation: Pages 08-45 Part B Criteria Design: Pages 46-77 Part C Detailed Design: Pages 78-109 Group Formation: 2 members Members: Holly Gates, Djuro Djuranovic Published to issuu.com/ Link: https://issuu.com/ Publication Date: 31/10/2017

Design Journal

0.0 Introduction

Part A: Design Conceptualisation

Part B: Criteria D

A.1. Design Futuring

B.1. Research Field

Precedent 01 - Jacque Fresco: The Venus Project Precedent 02 - EcoLogisticStudio: Algae Folly A.2. Design Computation

Precedent 03 - MvS Architects: The Centre for Ideas Precedent 04 - Tom Wiscombe: Lo Monaco House A.3. Composition Generation

Precedent 05 - ICD/ITKE: Research Pavilion Series Precedent 06 - Jose Sanchez: Plethora Project Series

Biomimicry & B.2. Case Study 1.0

Aranda/Lasch B.3. Case Study 2.0

CLJ02: ZA11

B.4. Technique: Develop

B.5. Technique: Prototy

A.4. Conclusion

B.6. Technique: Propos

A.5. Learning Outcomes

B.7. Learning and Objec

A.6. Appendix - Algorithmic Sketches

B.8. Appendix: Algorith

Contents

Design

Part C: Detailed Design C.1. Design Concept

& Patterning

Diagram of Technique Diagram of Construction Theory

h: Rules of Six

C.2. Tectonic Elements and Prototypes

Critical Component: Panels Pavilion

pment

ype

Critical Component: Ribbing Prototyping & Reflection in Action C.3. Final Detail Model

1:20 Scale Model

sal

1:1 Scale Model

ctive Outcomes

Digital Renders

hmic Sketches

C.4. Learning and Objective Outcomes References Part A References Part B References Part C

0.0 Introduction My name is Holly Gates, and I’m currently a third year student undertaking the Bachelor of Environments at the Melbourne School of Design. I have a passion for architectural discourse and design from an environmentally ethical approach. My key interest lies in reducing the greater cost of societal living in an unprecedented, tricky economic climate which ideally results in less miles between our needs and our doorstep. I find the challenge to truly understand the built environment incredibly engaging. So much so, that I’ve built a hobby around challenging architectural norms. When I ask ‘why’ and ‘what if’ I endeavour to find a new way to see and approach problems. In this journal you will find that I rely on 3D Modelling software; these are McNeel’s Rhinocerous with Grasshopper, Lunchbox and Kangaroo plug-ins. I also like to explore design through the Autodesk applications such as Autocad and Revit, on various other design projects. I find it liberating to use visualisation software with plug-ins such as these which help the user creatively enhance the uses of particular materials I choose to work with. The great thing about computer aided design is that it opens a window to the mind of the designer and displays the evolution of the project in real time. Thats why I believe paper (or computer space) architecture is just as influential as built when new designers consider the canvas that’s perpetually evolving from concepts of the past. keeping in mind that we are building a whole human system, It’s important to ask ourselves what such ethical standards look like and mean for a future of design. Also, considering that ethical design largely focuses on human values, one might ask what other values are there when designing for human use?

Part A

Conceptualisation

A.1 Design Futuring

When I read Tony Fry’s assertion of Design Futuring1 I recognised a mandate aimed not at political figureheads but towards architects. I was impressed by his attention towards the speed, scale and complexity of modernity by relating it to elaborate design. The exposition of these designs, whether they are built or remain in model space as a concept, still carry a vast amount of influence on future concepts – especially where technological advancement makes daring concepts feasible. Through computer generation, Fry challenges architects to define their own ethics and to make this integral to collaborative design both now and in the future. Fry calls this ‘design intelligence’ and ‘redirection’ where built and paper architecture are equally influential2. When Fry relates design intelligence to modernity he’s saying designers don’t have a lot of time on their hands, their projects are more complex than ever and the scale of these projects is exponential but that should not detract

Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). Anthony Dunne and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014). Patrik Schumacher, The Autopoiesis Of Architecture (Southern Gate: Wiley, 2011).

1, 2, 3 4 5

from designing ethically. I believe that using software in the conceptualisation phase makes achieving both design intelligence and a social redirect, possible. Being able to see it in model space allows for a great deal of critical reflection and revision as the design progresses. This in turn reduces human error and allows a variety of outcomes. It becomes a thoroughly explored concept and the embodied logic, where functionality liberates the mind of technical bearings. The sheer speed of this process provides incentive to channel further creative analysis. Therefore, when Fry says “The state of the world and the state of design need to be brought together3” he is asking us to design so that the public may have access to ethical solutions that might not have otherwise been available. That’s why the future is exciting and inspires us to design in the first place. Dunne and Raby’s assertion in Speculative Everything4 is to deradicalise futurism socially

and politically to make it more accessible and adoptable. The goal is to reach through complacency, comfort zones and routine to draw out questions or maybe even epiphanies over what is and could be. Critical design is what reinvents the role of the designer who is capable of delivering project answers that might not be feasible but are highly creative and ethical. Creativity is what helps us find the questions we want answered through a clever composition of technologies. The more possibilities through software development, the greater the possibility that we’ll arrive by design at an ecologically sound and preferred future. Schumacher’s concept of autopoiesis5 in design makes for a question of balance between ethics and necessity. It could be that potential and paper design, never built, informs the academic mandate for a system that is capable of self-maintenance and resilience within it’s context.

I will address the Futurist Jacque Fresco founder of The Venus Project and EcoLogisticStudio’s Algae Folly, on their balance of ethics and design. I aim to build an understanding of how design intelligence may inform designers to make the right choices and relate with enduring logic. If we consider that the volatility of infashion design will always go hand-in-hand with a social trend we may understand that it’s this very volatility that keeps architecture relevant. The fear is that architecture will be automated but automation cannot fathom ethics. We will always need human input to best reflect who we are in a world that we want to live in. As architects, we need to be better people who are capable of safeguarding and restoring intrinsic values. The architect has a role in deciding what those values are, which then brings us back to Fry’s mandate for social redirection, that we may design a future where we all wish to be.

“The state of the world and the state of design need to be brought together”- Tony Fry

Figure A.1.01: Concept: Futuristic City

Jacque Fresco 12 6, 7,

Image Figure A.1.01 and A.1.02 The Venus Project, Concept, 2017 <http://heapsmag.com/venus-project-futuristic-society-run-by-technology-interview-with-project-founder> [accessed 7 August 2017].

Figure A.1.02: Concept: Central Pavilion

The Venus Project 13

Figure A.1.03: The Venus Project Research Centre, Florida USA

14 9

Fig A.1.03: The Venus Project, Research Centre Florida USA, 2017 <http://heapsmag.com/venus-project-futuristic-society-run-by-technology-interview-with-project-founder> [accessed 7 August 2017].

The Venus Project attempts to make many changes to society in one sweeping design. The reason I chose this project was to link ethics in architecture with merely using analog methods to design. I hope to consider this as a counter argument for using a classic manual form of algorithmic design: the geodesic dome, which has been calculated to use the least amount of material to enclose a space. This design did have to withstand extreme weather conditions, being located in Florida, USA - which also influenced the design where it was situated. This concept continued to manifest in all future theoretical concepts developed by Fresco and ignores the implicit circumstances outside of his home state. It is important to note that by linking analogue methods of algorithimic design with a futurist agenda Fresco’s radicalism undermined an ethically legitimate goal for social redirection. Franco overstepped himself as an architect in his effort to abolish monetary transactions for goods and services by moving to a resources-based economy. This is reflected in highdensity urban designs. Admittedly, the value of The Venus Project does not lie in architectural design, but in the dialogue created through collaboration of science and design. So when Tony Fry says in ‘Design Futuring’ that “redirective design practice can never be universal, it can only ever be situated and circumstantially reactive”10 he was giving us an insight into how society affects change. It isn’t enough to have ethical intentions. Changes also have to be relevant to the social context, timely and made with reference to existing norms.

The Venus Project, formerly registered as Sociocyberneering Inc. is, on paper ecologically sound according to their original intentions. The concept was fatally flawed in implementation, rather it was the science behind our ecological footprint that can be managed through responsible design practice. The research centre in Florida developed in the 80’s12, remains our only built example and the hub of the project and only tangible link to architecture. Their radicalism is what undermines their effectiveness. As Fry suggests, change is affected by reacting to the context and they are intellectualising the reaction to current societal problems but they are doing it in such a radical way that they alienate the people they are trying to reach. One revolutionary aspect in contrast is that they did recognise the importance of creativity and how vital it is to solving existing societal shortcomings.There is value in the many seminars, documentaries, public talks and tours run by Franco and Meadows as it builds a dialogue around ecological ethics. Summarily, The Venus Project has raised ideological deficits in architectural and societal norms. Irrespective of whether or not this project was successful in it’s own intentions, it was successful in opening that dialogue so that others may build on their research. It is not the role of the architect to dictate how society functions, but without overstepping our function, architects can design for a more palatable middle ground.

“By its very character redirective practice can never be universal or theoretically generalised. It can only ever be situated and circumstantially reactive” -Tony Fry

Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). Jacque Fresco, “This Is What The Future Should Look Like: Jacque Fresco’S The Venus Project”, Collective Evolution, 2017 <http://www.collective-evolution.com/2013/11/17/this-is-what-the-future-

10, 11

Figure A.1.04: Algae Folly: Tank and Frame

EcoLogistic Studio 16 13, 14

Image A.1.04 and Image A.1.05 “:: Algae Folly - Ecologicstudio ::”, Ecologicstudio.Com, 2017 <http://www.ecologicstudio.com/v2/project.php?idcat=3&idsubcat=71&idproj=148> [accessed 7 August 2017].

Figure A.1.05: Algae Folly: Internal Frame

Algae Folly 17

Figure A.1.06: Algae Folly: Pipes and EFTE Skin

Figure A.1.07: Algae Folly: Full Design Installation

According to Tony Fry, “finding ways to curb our currently autodestructive, world-destroying nature and conduct15” is our design direction. The challenge is to design ethically with a new means of technological development and evolving practice. EcoLogicStudio’s Algae Folly is a perpetual selfcontained and self-sufficent system. This system expands on the functionality of architecture in the urban setting (Figure A.1.07). Perhaps less radical than The Venus Project, but still thoroughly revolutionary; this team of designers has integrated a variety of disciplines to resolve this technology over a period of six years. Collaboration with microbiologists, agronomists, EFTE Manufacturers and computer systems engineers has resulted in a biodigital design with a living, edible skin (as seen in Figure A.1.06). This collaboration between disciplines is a significant step forward for architecture as the functional application of this technology exhibits passive and direct benefits. This instigates change as the technology is refined and becomes easier to replicate on a larger scale. This also contributes a readily available supply of chlorella and spirulina that can be integrated into a facade and harvested regularily.

The strain of algae in use through this project is Chlorella Vulgaris, native to Japan and Taiwan, though they also experiment with Spirulina; chosen for their high nutrient value as a supplement. With the success of Algae Folly, EcoLogicStudio have expanded on the concept with their design for the Benetton Tehran Headquarters competition (Figure A.1.08). Although it was not successful it has taken the concept of Algae Folly and expanded upon it. Online magazine 33rd Square gives us an extensive list of deliverables for this concept design: “an innovative approach to materials and systems engineering, where thermal mass, radiation control, cooling, on site carbon sequestration and renewable energy generation has been embedded in the architectural fabric of the building” of the concept below. Imagine the impact of a green building in a cityscape - it’s a provocative statement about the importance of ecologically responsive architecture. This concept broadens our understanding of the role of architecture. Algae Folly is proof of concept that the materials we choose to implement in our designs can be alive.

Figure A.1.08: Concept: Benetton Tehran Headquarters

Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008). 15

Images Figure A.1.06: and Figure A.1.07 ”:: Algae Folly - Ecologicstudio ::”, Ecologicstudio.Com, 2017 <http://www. ecologicstudio.com/v2/project.php?idcat=3&idsubcat=71&idpr oj=148> [accessed 7 August 2017]. 16,17

Image A.1.08 Emily Matchar, “Will Buildings Of The Future Be Cloaked In Algae?”, Smithsonian, 2017 <http://www. smithsonianmag.com/innovation/will-buildings-future-becloaked-algae-180955396/> [accessed 11 August 2017]. 18

A.2 Design Computation The biggest question presented by Kalay19 and Kolarevic20 revolves around how to use computational design methods advantageously. I previously established that the designer is required to input ethics, but how do we ensure that creativity isn’t limited by software? I believe the answer lies in two factors, the first of which is that all architectural designs are inherently four dimensional. For these designs to compete with modernity, designers need to grasp ‘feasibility analysis’ as quickly and efficiently as possible. The feasibility analysis is developed from limitations imposed by the site, brief, client and a host of other factors, in conjunction with the heirarchy of problems discovered amidst putting together the design. It’s less efficient to comprehend the issues that arise when viewing in two dimensions. I once attended an open house where a balustrade stopped a window from opening; a dynamic model would have shown what the plan, section and elevation may not so that the design fault didn’t occur. To illustrate, let’s consider the tesseract. If I draw in plan, section and elevation a box within a box, I inevitably end up with either axonometric or isometric perspectives.

19, 22 20, 21

Yehuda E Kalay, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004). Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003).

By the nature of the four dimensional shape I can safely assume each orthogonal perspective is the same as the one I’m looking at. If then given a brief that says I need a hollowed out bench space in the bottom right corner and a storage cupboard towards the front, how is that best represented for construction? If the brief states the storage cupboard must be diagonally opposite and facing inward it would obscure the internal logic of the design. Time could be wasted on replicating iterations of the design where all nooks and crannies are visible across all drawings, this is a static, normal approach. Why not instead render it in a four dimensional space where I can better quantify all dimensional, fabricative and analytical information in a fraction of the time. This represents a paradigm shift where computation has entered the design phase and become an extension of the mind of the architect. I could then go on to iterate a series of variations on the bench and cupboard space and go back to the client with a contemporary, possibly asymmetrical geometric solution. So, when Kolarevic states “Models of design capable of consistent, continual

and dynamic transformation are replacing the static norms of conventional processes”21 I sympathise as it is obviously more efficient to create without being limited to standard conventions; this affords versatility. The second factor that advocates working in four dimensions, digitally, is that the arrangement of space gives greater control over every surface with immediate logic- based feedback. As I model inside the tesseract I can control planes of space within it’s X, Y, and Z coordinates. If I then wish to modify anything along that plane I can establish a U and V coordinate - even on an undulating surface. Furthermore, I can manipulate a W value to scale my design so that I can see if my cupboard clips the bench space. Kalay makes a specific point about computational design being the fail-safe against human error22. Being digital and accessible instantly for all stakeholders. These files become the basis for timely collaboration which means more room for error with the more people accessing the design. However computers are capable of maintaining the integrity of the file by alerting others to human error as it occurs.

The term ‘file to factory’ illustrates this relationship as an express link between the conception and construction of a design, with coded accountability measures. Because of this liberty in design, new and thoroughly complex ideas are computationally achievable. We see this complexity in precedent with the examples of Centre for Ideas by MvS Architects and the Lo Monaco House by Tom Wiscombe. As long as we aren’t relying on the tool to feed us the ethics, or client/environmental circumstances, computer generation is advantageous. Designers use computers to better comprehend their solutions and deliver their exclusive approach for construction in an entirely comprehensive way.

“Models of design capable of consistent, continual and dynamic transformation are replacing the static norms of conventional processes” - Branko Kolarevic

Figure A.2.01: MvS Architects: The Centre for Ideas

MvS Architects 22 23, 24

Figure A.2.01 and Figure A.2.02: “Home:Projects:Victorian_College_Of_The_Arts [Minifie Van Schaik Architects]”, Mvsarchitects.Com.Au, 2017 <http://www.mvsarchitects.com.au/doku.php?id=home:projects:v

Figure A.2.02: MvS Architects: The Centre for Ideas

Centre for Ideas

victorian_college_of_the_arts> [accessed 8 August 2017].

Figure A.2.03: MvS Architects: Cent Figure A.2.04: MvS Architects:

25, 26, Figure A.2.03 and A.2.04 â&#x20AC;&#x153;Home:Projects:Victorian_College_Of_The_Arts [Minifie Van Schaik Architects]â&#x20AC;?, Mvsarchitects.Com.Au, 2017 <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts>

[accessed 8 August 2017]. 27 Figure A.2.05 Bond University - FSD, Minifie Van Schaik Architects, 2017 <https://vimeo.com/102084730> [accessed 9 August 2017]. Image pulled from 20:57 28 Bond University - FSD, Minifie Van Schaik Architects, 2017 <https://vimeo.com/102084730> [accessed 9 August 2017]. 30:48 29, 30 Bond University - FSD, Minifie Van Schaik Architects, 2017 <https://vimeo.com/102084730> [accessed 9 August 2017]. 20:21

Computational design replaces static norms with dynamic generative ideas that bend the rules of conventional form. This is especially true of MvS Architects and their design for Melbourne University’s Centre for Ideas. Their use of euclidian geometry, materiality and compositional elements articulate the relationship between the virtual and “the fully materialised28” exhibited in the facade and framed internal spaces. As a centre for ideas, the building facade has become a metaphor symbolising the playfulness and creativity that fosters inspiration. The initial concept behind this design was an analogue form-finding exercise with the use of sink holes on a plane (Figure A.2.05). By sinking sand through these holes, they playfully formed a manually derived voronoi pattern29 (Fig). Whether the concept is analogue or digital, the euclidian properties of this form-finding exercise gives us a better understanding of how computers can better simulate mathematical outcomes attributed to four dimensional spaces. This project was then manually coded30 and resolved with the aid of computer simulation as both a way to communicate the concept to the client and refine the design to the client’s satsifaction. This being the first instance where coded software was used in the design highlights Kolarevic’s point about using computation advantageously. More specifically, computation has

not infringed upon the creative process. It’s much more difficult to refine a design when the mathematical input is not immediately and visually obvious. Computer simulation is therefore the most effective way to resolve these complex conic boundaries under this time-sensitive project. It also enabled the refinement of internal spaces such as the light cavities in (Figure A.2.04) The role of computing in practices like MvS Architects is much more consistently represented. Designs where spatial arrangement involves complex angles and curved geometry. In this example, the use of sharp cornering in the facade needed to be resolved along a sweeping, concave boundary.This formed an unconventially sharp edge, (Figure A.2.03), made even more sculpturally evocative through the choice of material. In this way computing continues to impact spatial arrangement to inform non-traditional framing of forms and form-finding techniques. The manufacturing and construction processes are streamlined so that there is no human error in the file-to-factory process. Modelling the final concept in a four-dimensional simulation makes potentially complex forms easy to identify and resolve. This design is one of my personal favourites as I find it inspires creativity, a quality I find endearing.

tre for Ideas Centre for Ideas Top Internal

Figure A.2.05: MvS Architects: Analogue Voronoi Concept

Figure A.2.06: Tom Wiscombe: Concept: Lo Monaco House External

Tom Wiscombe 26 31, 32

Figure A.2.06 and Figure A.2.07 Tom Wiscombe, Lo Monaco House, 2017 <http://tomwiscombe.com/> [accessed 9 August 2017].

Figure A.2.07: Tom Wiscombe: Concept: Lo Monaco House Internal

Lo Monaco House 27

Tom Wiscombe breaks all conventions of design to build from an entirely conceptual basis. It’s almost as if he’s teasing us to take architecture beyond the norms of conformity. He has taken inspiration from several sources including his early experience with NASA34 and merged conceptual ideas into a computationally obscure, hypnotic form. An essential aspect of this design process is the capacity for “consistent, continual and dynamic transformation34” which is, according to Kolarevic, now replacing the conventional paradigm in design. This form may only be possible to achieve through modelling software but command of that software leads to a greater capacity for intuitive, intentional design. The geometric irregularities and asymmetrical composition requires four dimensional computation so that the design of overlapping space be thoroughly explored and resolved. All the elements of composition, design intent and general program amount to a highly complex multi-story design that embodies enormous conceptual realisation. Wiscome has incorporated various influences to arrive at this unprecedented architectural outcome. Another source of inspiration evident in this design comes from Constantin Brancusi36, a sculptor of human and animal forms that Brancusi would reduce into minimalistic abstractions. Abstraction remains a theme throughout Wiscombe’s works not limited to this particular example that could bear resemblance to canidae cheeks, ears and snout. This inspiration also explains the use of a pedestal on which the crystalline form sits, almost as though it’s on display. Computation seems the only way to visually tie these remote concepts to the innovative and otherwise inconceivable array of

merging geometries. The processes employed during the design phase exceed conventional practice. This is an example of how the architect is free to interpret the frame, shape, space and micro-articulation points. It is this creative freedom that is central to Kolarevic’s argument. The central importance of this design is the fundamental use of computational design so that it is advantageous rather than restrictive. There are many aspects in this design that do just that. Take for example the internal spatial arrangement that is expansive and cavernous, making it possible to accomodate sharp geometries that would otherwise be lost space. The unconventional use of wing-like points in the program exemplify the liberty of form achievable. The crystalline component is clad with panels that meet in micro-seams that resemble joins in leather to purposely obscure construction techniques. Descriptions of the design express the immense variation in emotional and conceptual ideas that it evokes. Shuttle, crystal, leather, cocoon37 (Figure A.2.06); The representational qualities are transcendent. I would say that the culminaton of all these factors makes this concept a major contributor to architectural discourse in redefining practice.

Figure A.2.08 Tom Wiscombe, Lo Monaco House, 2017 <http://tomwiscombe.com/> [accessed 9 August 2017]. James Holloway, “Future Forms: Lo Monaco House By Tom Wiscombe Design”, New Atlas, 2013 <http://newatlas.com/lo-monaco-house/27542/> [accessed 11 August 2017]. 35 Branko Kolarevic, Architecture In The Digital Age (New York: Taylor & Francis, 2003). 37 Marija BOJOVIC, “Lo Monaco House By Tom Wiscombe Design”, Evolo, 2013 <http://www.evolo.us/architecture/lo-monaco-house-by-tom-wiscombe-design/> [accessed 9 August 2017]. 33

34, 36

Figure A.2.08: Tom Wiscombe: Concept: Lo Monaco House: Aerial

A.3 Computational Generation

“ For computational techniques to be useful, they must be flexible, they must adapt to the constantly changing parameters of architectural design.”

-Brady Peters38

Designers had a CAD department to rely on for drafting and returned hours later for the plotted points. At the same time, private industry was developing specialist software for greater refinement of the automotive and aero chassis. These CAD Operators were exorbitantly expensive making their services exclusive to industries that were capable of a financial return after they invested in them. In 1980, a CAD system would sell for US$125,000 per seat. During the 80’s the mainframe and workstations could share over a network and the cost gradually decreased to $50,00041. As these changes in the price of the software reduced, they

Brady Peters and Xavier De Kestelier, Computation Works. p11 The Engineering Design Revolution; CAD History (Bethesda: Syon Research, 2017), p. Chapter 2 <http://www.cadhistory.net/02%20Brief%20Overview.pdf> [accessed 10 August 2017]. Kostas Terzidis, PHD, Algorithmic Design; A Paradigm Shift In Architecture? (Harvard: Harvard University, 2017), p. 206 <http://papers.cumincad.org/data/works/att/2004_201.content.pdf> [accessed 10 August 2017]. 44 Lecture Notes W1, Semester 2, 2017, Design Studio Air 45 “Architizer Editors”, A History Of Technology In The Architecture Office, 2014 <http://graphics.cs.yale.edu/site/sites/files/Arch.pdf> [accessed 10 August 2017]. 38

The benefit of computational generation wasn’t fully appreciated in practice until computers became capable of running algorithmic simulations. This was a shift from manual drafting to a digital interface of mathematically defined curves developed within the United States and Canada39. The additional development of Oslo Algorithms further resolving B-spline functionality in 1979 meant that suface definition techniques for automotive and aerodynamic designs improved significantly40. The research was being developed within universities resulting in published articles which could then be accessed so that development was possible. Practices had to wait until the technology implemented the research findings into an industry-relevant system.

39, 40, 41, 42 43

became more accessible and architectural designers were able to implement them in workstations. There was a transition to feature-based parametric design called Pro/ENGINEER in 1987. Drafting as a profession has all but disappeared in response to the development of this software. The process of design conception and plotting once required multiple departments, now one person is capable of the entire process. Scripting cultures developed through Frank Gehry’s use of CATIA42 software for the 1989 Disney Concert Hall followed by Autodesk’s release of 3D Studio and Revit in 199745. Then later McNeel’s Rhinoceros in 199844 and the development of explicit history for Rhino in 2007 heralded the use of four dimensional modelling in an accessible, affordable capacity. However, the response has still been to apply drafting techniques in digital format. Algorithmic thinking has a limitation in its application which is only now being overcome. This limitation was a development of cooperative shifts in the design paradigm43 where the function of algorithmic design, both, influences unprecedented discovery and documents an architect’s intuition and ingenuity. It is the merging of the old paradigm of

design intention, mixed with the newer, more digitally integrated paradigm that blends computation with creativity. The machine becomes the new extention of the human mind in place of the pencil, but much more so - a pencil cannot compute. The new forms achievable through advances in software can be much more than parametric. Dynamic systems and versatile programs are now possible. I could argue that there are flaws in simulating physics in the design. Advances in most modelling software isn’t explicitly for architectural simulation. For that reason further advances are needed in the development of interfaces within current modelling programs. However, Architecture projects such as ICD/ ITKE Research pavilion series and the Plethora Projects lead by Jose Sanchez and Sergio Irigoyen offer insight into how architects may re-invent their capacity to build their own modelling engines. The difficulty in having architects code their own programs for internal use is the lack of software uniformity and intellectual property rights. Those rights will be owned by the company, not the individual. When the scripting communities begin to break convention and publish their findings it furthers the architectural discourse. The open sharing of concept is what drives further passion for discovery.

Figure A.3.01: ICD/ITKE Research Pavilion 2014-15

ICD/ITKE 32 47

Figure A.3.01 Image: Archim Menges, ICD/ITKE Research Pavilion 2014-15, 2015 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017].

Figure A.3.02: ICD/ITKE Research Pavilion 2012

Research Pavilion Series 46

Figure A.3.02 Image: Archim Menges, ICD/ITKE Research Pavilion 2012, 2012 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017].

While exploring the role of robotic fabrication on the design process I discovered a composite construction paradigm that combines a designerâ&#x20AC;&#x2122;s creative autonomy with unprecedented concepts that were arrived at through the liberty of the fabrication method. For the purposes of this critique I will briefly focus on three projects from the University of Stuttgart, Germany. These projects are of the research pavilion series - specifically the 2012, 2013-14 and 2014-15 programs of the Institute of Computational Design (ICD) in conjunction with the Institute of Building Structures and Structural Design (ITKE) with collaborative interests in biology and geosciences. The most fundamental question that arises when we arrive at an advanced, digitally fabricated anomaly is: How much is human-driven and how much is the result of computational advances/ limitations? The 2012 model pavilion (Figure A.3.02)) runs through the conceptual phase as a human-driven interpretation of biomimicry. This specific project examined the exoskeleton of arthropods. Factors that deviate from this aspect all revolve around the limitations in the fabrication stage, influencing the materiality and programming required to robotically generate it. The material composition of fibreglass, carbon fibre and ETFE formwork were reasonably light-weight which also contributes to the range of possible design outcomes and how they are situated on-site to achieve a professional quality outcome. To quanitfy this, the design would need to reflect: 1. Heterogeneity, or efficient use of material and composition for optimal material performance; 2. A heirarchy of tensile load transferrence while also maintaining optimal stiffness in the frame and woven members; 3. A functional integration of materials that are chosen specifically for the design intent.49 These parameters create intentional limitations. While this may limit the extent of creative variability in the design, there is still at the core of the concept a human driven intent towards biomimicry. In the 2013-14 design (Figure A.3.03)) a different biometric concept was collaborated upon to similar effect.

The limitation of fabrication styles taking precedent from beetle wings converted conceptually into a woven form. Coursing forward to the 2014-15 model (Figure A.3.01) that uses the woven air bubble of a water spider as its conceptual origin; the similarity of fabricative technique in nature and in digitisation meant that all outcomes, would be fundamentally algorithmic, no matter the human insight. Realising that much of the mathematical processes we imitate, occur naturally, outside our control, there still remains the intuitive desire to implement any specific method that arises.

Achim Menges, Prof., "ICD/ITKE Research Pavilion 2012 | Achimmenges.Net", Achimmenges.Net, 2017 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017].

Figure A.3.03: ICD/ITKE Research Pavilion 2013-14

The limitation is an advanced exercise in creativity set within defined limits. Instead of branching across a variety of computational techniques the process becomes a focus upon technique. One shortcoming is the limitation of materials - for something like this, a weather resistant, nondeteriorating material that can withstand lots of tensile force is just an inevitable requirement. As a further limitation it needs to require less torque to weave than is determined safe for the robot to manipulate. Overloading the robot fails the project. Perhaps the greatest strength of this project, though, is the way it urges the designer to consider design from both a creative and computational perspective.

Finally this concept engages with non-conventional applications of digital fabrication. Itâ&#x20AC;&#x2122;s important not to get so comfortable with existing modelling interfaces that we as designers forget how diverse programmable outcomes can be. We arenâ&#x20AC;&#x2122;t at all obliged to use the Autodesk, Nurbs or BIM software, or anything else - as long as it does not overpower our capacity to engage creatively with the brief.

Figure A.3.03 Image Archim Menges, ICD/ITKE Research Pavilion 2013-14, 2014 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017].

Figure A.3.04: Jose Sanchez: Plethora Project Series: Polyomino

Jose Sanchez and Sergio Irigoyen 36 Image: Jose Sanchez, Plethora Project, Polymino 2016 <https://www.plethora-project.com/> [accessed 9 August 2017].

Figure A.3.05: Jose Sanchez: Plethora Project Series: Chromomino

Plethora Project Series Image: Jose Sanchez, Plethora Project, Chromomino 2016 <https://www.plethora-project.com/> [accessed 9 August 2017].

The Plethora project is a thesis under the instruction of Jose Sanchez and Sergio Irigoyen which explores architectural concepts driven heavily by a combinatorics paradigm that leans more towards human ingenuity than the previous precedent: The Research Pavilion series. Gaming software adapted to architectural performance in a non-conventional approach to generative forms. This depiction of real life through simulation, while not explicitly marketed to architects can do what other architectural software cannot. The designs explored can be heavily creative and human driven without the hinderance of user-interface dependencies in a parametric system. By exploring repetition of intuitive forms to a finite degree, designers can overcome the rendering limitations of hardware. Additionally, game simulation engines are designed to render complex spaces. With dedicated gaming engines such as Unity and Unreal it’s possible to get a higher level of detail. But they are also likely to overwhelm mediocre hardware.

Figure A.3.06: Jose Sanchez: Plethora Project Series: Polyomino III

“These pioneering works remind us of the indisputable impact and think about architecture; as the tools continue evolving, so

Jose Sanchez, "THE PROJECT", Plethora Project, 2017 <https://www.plethora-project.com/> [accessed 10 August 2017]. ”A History Of Technology In The Architecture Office”, Archetizer, 2014 <https://architizer.com/blog/a-history-of-technology-in-the-architecture-office/> [accessed 10 August 2017].

The significance of the Plethora Project within architectural discourse is also political and economical. An open source library of concepts that move beyond parametric design is under construction and accessible through their website. They cite Patrik Schumacher’s neo-liberal agenda towards design as a divergent practice, labelling their collectivism as an “architecture for the commons”. in (Figure A.3.04) Polyomino explores interlocking bricks that use minimal material, produce no waste and can be 3D printed in a variety of iterations. What this project offers is an alternative to conventional interlocking members that can be assembled into complex geometries. It’s possible to make those same geometries by assembling these individual components to form. Polyomino III (Figure A.3.05) explores the same concept with a cull-type command that necessitates resolving how members interlock with one another. This results in emergent forms and complex geometric derivatives.

Chromomino (Figure A.3.06) explores connectivity through magnetisation and variable assembly that informs overall shape. The components are colour coded to reflect their combinational potential49. All of these projects are designed to push the parameters of linkable members into complex arrays without the political connotations associated with using parametric scripting. Theoretically speaking, I could use the same concept and explore it through each of these precedent examples and come up with a completely different generative answer in all of them. Using computer software in any capacity will still infringe upon mental associations and this will make us question our role in the design process. That’s acceptible as long as we are aware and actively engaged with the differing paradigms they inspire. I value this project as a way of looking beyond the dedicated software packages.

digital tools have had on the way we design will the forms and structures we create.” -Architizer

Image: Jose Sanchez, Plethora Project, Polymino III 2016 <https://www.plethora-project.com/> [accessed 9 August 2017].

A.4 Conclusion A.1 - Design Futuring Drawn together with themes of ethics, design intelligence, social redirection and political direction, Fry, Dunne and Schumacher taught me the importance of retaining relevance in a complex world. The Venus Project helped to illustrate how a great concept can go awry in the implementation phase if the designer tries to change too much far too radically. By contrast, Algae Folly introduces a revolutionary, multi-faceted and evocative use of technology along with the benefits of collaboration. The project adheres to key political issues such as climate change and renewable energies without causing social disconnect. A.2 - Design Computation This component of my research brought themes that necessitate using existing technologies to affect a broad range of issues through design practice. Computational design is capable of teaching core design principles. The translation of mathematical relationships in structured spaces negates human error. Themes also encourage collaboration and refinement of complexity in all aspects of design.

The Centre for Ideas shows us that human autonomy in design is not only possible but distinct. Computers are simply a tool for depicting designs that have some measure of resolution already. Whereas the Lo Monaco House pushed conceptual boundaries and demonstrated that proficiency with these programs will result in generative concepts that are thoroughly refined and incredibly complex, down to minute details. If applied properly, expertise in such programs can actually assist to communicate an even deeper understanding of autonomous design intent. A.3 - Conceptual Generation Building on the previous two stages, I discovered the rapid development of computational methods in alternate design industries. Programs that were developed for automotive and aero industries were slowly integrated and appropriated by architects. No sooner had they done so, than practice began to shift and architects were required to redefine themselves as digitally proficient. Through this, architects had to define creative autonomy and arrived at a complex paradigm shift that would allow creative generation to coexist with structured documentation of concept.

Through the Research Pavilion Series I found that computational solutions are relevant to all stages of the design process so long as reflective criticism and human creativity presides over it. Through the Plethora Project series I realised that design methodology is still profoundly political whether or not it garners innovation. I did notice that no matter the platform, digital design offers the speed, scale and complexity that Fry was so adamant we relate, if for nothing else than to remain future-relevant. A.4 - Conclusion & Proposed Intention My intended design approach will be to consider pattern and biomimicry as a thematic driver of explorative design. This innovation in these concepts comes from the capacity to push precedental boundaries like Tom Wiscombe and the ICD/ITKE projects. I believe that the capacity for exploration through generative practice is what sets this apart from other concepts. The significance of designing with all of this in mind is to contribute to the discourse around architectural innovation and possibly even surprise myself. I find that prospect truly exciting! Sincerely,

Holly Gates

A.5 Learning Outcomes

For the duration of this design we will explore various fabrication techniques through McNeel’s Rhinocerous which they developed for the purposes of modelling four dimensional objects in a two dimensional space. We will also rely on the plugin known as Grasshopper, developed by David Rutten so that through a logical progression of nodes, we may exercise yet more precision over the design in model space. There are further plugins that I can and may explore for increasing control over a system that would take a master architect their career to comprehend in an analogue scheme. We are given the tools to visualise and then build our understanding even before many of us have started our professional career path. This kind of knowledge equips us to find our footing and get a head start on the learning curve. It’s a learning curve that does not plateau, there’s always a new concept/approach/benchmark to comprehend. That’s what I find so enthralling about this industry. I do feel that my understanding of the role of computing in design has expanded. I have found confidence in a design direction as a result of seeing the success and misconceptions of others. While considering a past project where I was asked to design a boat house with evidence of inspiration from Louis Kahn, my current knowledge would have helped me rationalise my spatial composition. My design was a bland mix of concrete and framed spaces that drew excellent conceptual ties to the brief, but lacked my own personal signature. Had I considered generating a series of compositions, along with my own personal scheme, I may have been more successful and enjoyed the process a lot more.

A.6 Appendix My research for figure A.603 allowed me to experiment with additional attractor points to create compelling effects with different sections of decay that were independent of each other. I selected this sketch because I was proud of my capacity to achieve the task and because I believe this concept could aid me in the next stage of the design. Iâ&#x20AC;&#x2122;ve now learned how to subdivide a surface and attach a form to those points so I hope to experiment with this concept a little more.

Figure A.6.03:

Figure A.6.04:

I chose to put the image in Figure A.6.04 in the journal so that I could demonstrate the possible variations that may have connectivity properties. I want to experiment with joining and overlapping components, clever locks and snaps or just interesting and dynamic components similar to Jose Sanchez and the Plethora Project. I found that concept fascinating and would love to explore it more, only with parametric concepts.

Figure A.6.01:

I chose to include the image in Figure A.6.01 to demonstrate the image mapping capabilities of grasshopper. I believe that using interesting forms as a basis to draw from, could result in some interesting forms and relationships. I would like to experiment with the colour tone options and see what I can come up with.

Figure A.6.02:

I selected the progressive growth of the vase in Figure A.6.02 to represent the variety of generative forms I will be able to iterate with minor input. I learnt about the command of seperate sections that can rotate and extend/ contract independently of each other which might also help me in the next section as I model and manipulate form. I feel this relates most heavily with the second weekâ&#x20AC;&#x2122;s readings because of the versatility of this concept and how quickly I could generate lots of iterations without human error.

Part B

Criteria Design

B.1 Research Field

Biomimicry and Patterning I am intrigued by projects that draw their inspiration from nature. When we take precedent from nature we invoke balance, symmetry and complexity that, through parametricism results in mathematically derived beauty. This is why I have chosen to research Aranda \ Lasch’s various projects and in particular, “Rules of Six” (Figure B.1.01) for the generative potential it exibits from snowflakes. In the study that served as this project’s inspiration, a man by the name of Wilson Bently documented over six thousand individual snowflakes that always and without deviation shared six primary fractal paths. Rules of Six compliments my intended direction of exploration for the vast pool of generative possibilities the snowflake and crystalline ‘rules’ offer. I see this as an excellent starting point for the development of my personal technique and notional approach. Biomimetic qualities imply conceptual opportunities as we saw in Tom Wiscombe’s Lo Monaco House. When Brady Peters wrote that computation makes possible the communication of constructional aspects, the experience, and, the creation of meaning, he was giving us a way to construct our designs around ‘rules’ that inform design choices. We must deliberately hone in on those rules to communicate meaning and intent.

The core concept of the Research Pavilions by ICD/ITKE at Stuttgart University, was biomimetic. Beetle wings, submersive spider webbing and anthropod carapaces drove form and technique. Each curve stitching iteration differs depending on the concept while linking the relationship between creature and habitat. To draw from this, any meaning in my design will (like Tom Wiscombe) be the source of multiple biomimetic concepts so long as it adheres to ‘Rules of Six.’ Since Rules of Six is a generative project that builds a compounded pattern from its initial ‘brick’ component, I will need to consider how my concept will interlock. My design must be capable of diversive pattern or logical progression of the fractal if the brick base is asymmetrical. This is a limitation to conceivable outcomes. I will also need to impose further rules, yet undetermined and investigate structural solutions where gaps in the fractal appear; Polyomino III by Jose Sanchez raised this issue and queried fabrication implications to inform the design. Fabrication concerns exist through the choice of material as both a structural and connective obstacle. My preferred material choice is carbonated bamboo in either veneer or 2mm board. I believe this will play a crucial role in the direction and potential of the design.

Aranda \ Lasch “Computation makes possible not only the simulation and communication of the constructional aspects of a building, but also the experience and the creation of meaning”

-Brady Peters

Aranda Lasch, Image 2, 2017 <http://arandalasch.com/works/rules-of-six/> [accessed 25 August 2017]. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp 13

Rules of Six Figure B.1.01: Aranda/Lasch, Rules of 6

Figure B.2.01

The Morning

Fig B.2.01 Aranda Lasch, Image 1, 2017 <http://arandalasch.com/works/the-morning-line/> [accessed 25 August 2017]. Fig B.2.02 Aranda Lasch, Image 14, 2017 <http://arandalasch.com/works/the-morning-line/> [accessed 25 August 2017].

Figure B.2.02

In order to explore biomimetic patterning I have chosen The Morning Line by Aranda / Lasch for a parametric precedent. It uses repetitious geometric form, while bezier patterning and offsets provide a patterning logic for development of enclosed spaces and frames. What I learn from this definition will help me piece together a bezier-inspired logic later while drawing on their other project - Rules of 6. To that end, this definition works with equilateral geometries and divides them by a third in each corner. This results in a scaling that is explicit and precise. By pushing this definition until it breaks or becomes unrecognisable, I hope to hone in on greater potential if not determine a suitable direction to apply to my Part B proposal.

Line Aranda \ Lasch 51

< Species

B.2 Case Study 1.0

Iteration >

Species 1 I began by exploring the definition of The Morning Line by Aranda/Lasch where I discovered potential in modifying the bezier curve on a truncated triangular pyramid.

Using a separate number slider with both nodes, I recorded the variations that formed the basis for the panels of the Morning Line on tri, quad and quintet fractals to build a logical heirarchy.

By iteration 2 I realised the potential for fractal-inspired faces using the centroid as a start and end point while adjusting the jitter and curve evaluation nodes.

I ultimately chose the triangular pyramid for the hexagonal faces after truncation to tie into another Aranda/Lasch project: Rules of 6 in a strong biomimetic rationale.

Species 2 Using just one face of the truncated pyramid and mapping the bezier curve then divided it to set a voronoi then trimmed the external lines. I was left with cells that fit around the curve.

I increased the number of cells around the bezier curve to further query the heirarchy. only a slight variation in cell size denotes the Bezier curve. without visual cues is an influence still explicit?

I hid the bezier curve and the edge of the hexagon for clarity and considered how a voronoi picks its path when there are less centroids and the cells range in edge number.

I again increased the divisions and started to see the curve through cell order. I liked this so much I decided to modify the script and see what else I could do to it.

Species 3 I used the divide surface component to the voronoi definition and increased the curve divisions. A clear articulation of cells on the line formed a potential pattern that I could use.

Taking precedence from rules of 6, I swapped the hexgrid for populate geometry and referenced it to the surface. It became a highly complex surface that was intriguing but undevelopable.

I swapped the divide surface component for a hexgrid which made the voronoi more rigid. It looks less natural and less developable so i scrapped it.

I dropped the scale of the geometry and the influence of the bezier curve became clearer, although no more developable. Itâ&#x20AC;&#x2122;s a personal favourite despite being rejected.

Species 4 Using the Hex-Cell Lunchbox node, I decided to test these macro patterns across multiple panels. Adjusting the Bezier, vastly increasing voronoi and attraction I produced celular patterns. In the same way I customised the initial species I developed the pattern of the panels. Using list item, I reduced curves to experiment but preferred the original.

I found these panels developed into an almost woven pattern that looked as though it had depth without even being three dimensional, I thought this was quite effective. While far-removed from The Morning Line with so many variations on the original script, the success of adaptability over surfaces was its most engaging trait.

Aranda/Lasch The Morning Line Definition Species 1, Iteration 1:

Species 2, Iteration 1:

Species 3, Iteration 1:

Species 4, Iteration 1:

Species 1, Iteration 2:

Species 1, Iteration 3:

Species 1, Iteration 4:

Species 2, Iteration 2:

Species 2, Iteration 3:

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Species 3, Iteration 2:

Species 4, Iteration 2:

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Species 4, Iteration 4:

As part of my exploration into this case study I started with the script of The Morning Line by Aranda/Lasch, a visibly open design that bears no obvious acoustic qualities with the intention to devise something that could. I chose to refine my exploration with a selection of criteria, the first of which is to relate it to the brief provided. The second, that it follows the hexagonal Rules of 6, also by Aranda/Lasch. Thirdly, it needs to be acoustically developable into no less than a semienclosed space, depending on the level of acoustic treatment the space requires. The brief asks for a developable concept, parametrically devised and treated acoustically. As the brief makes special mention of a preference for natural to semi natural materials, I have decided on carbonated bamboo which will influence potential fabrication limitations for this concept. I have chosen to consider selections 1 through 4 using the bezier curve to inform a pattern of their size, profile and location which drives the emersive pattern of the bezier curve around the entire acoustic pod. Since the pattern is confined to individual tiles perhaps I could fabricate sections of the wall in panels of large and small nodes and alternate the pattern between each of these to drive a complex pattern of bamboo panels.

Figure B.2.01:

I like that this pattern seems to imply a as a two-dimensional effect. It could be heirarchy of panels as Iâ&#x20AC;&#x2122;m toying with the the voronoi pattern to inform a larger versi one of these panels, for instance you migh the wall of the acoustic pod which if compa Wetlands project by MvS Architects it wo hard to commit to with a simple rotation. U I have decided not to use the moulding method and will instead look to incorporate bamboo. Figure B.2.02:

This pattern has a distinct circular infinite forms from the arcs in the bezier curve. I one of those arcs and while the disrupte less bland, I still preferred to have the whol potential in this example is more a questio space. How do you address the continuity and the smaller, less developable areas pattern? Iâ&#x20AC;&#x2122;ve spent a lot of time querying t example and find it easy and fun to engag

Figure B.2.01:

a weave even e good as a idea of using ion. For every ht have 1/4 of ared with The ouldnâ&#x20AC;&#x2122;t be so Unfortunately g fabrication e this into the

e pattern that I tried culling ed pattern is le circles. The on of negative y of a pattern s within that this particular ge.

Figure B.2.02:

Rules of 6 drives the concept that no matter how large or small the panels, there are always six sides to the fractal pattern that emerges. The smaller panels in the voronoi represent the outer fractal. There are three distinct sizes much like the gradual fractalisation of The Morning Line and the selection 1 through 4 creates an effect in a variety of iterations. Thirdly, my design needs to consider acoustic treatment, can there be holes? In offices where I have worked, the workstations had felt in cubicle walls and were designed for call-centre like conditions. My last employer placed acoustic art works on the walls in the lunch room, and on various other solid walls where the density of the material would reflect or amplify sound. Cork ceilings helped absorb noise, but the office was still open plan. I was able to discuss senstitve information with clients over the phone without other headsets picking up their data. In my best assessment an acoustically treated space would be a mixture of hard and soft materials with enough polar surfaces to bounce and deaden sound. My intention is that someone working around the area would not overhear unless they specifically intended to. The selections of 1 through 4 are most successfully able to demonstrate the influences of Aranda/Laschâ&#x20AC;&#x2122;s works while being adaptive to biomimetic intentions, material constraints and fabricative potential. I believe the alternatives were influential but not as potent.

Figure B.2.03:

This pattern has a weave, circles and b to panels at every centroid which makes to break up and develop. Because of thi into acoustic treatment that can harbour if sound intentionally gets through one these small and large holes but then becom Patterned panels can do this. Figure B.2.04:

While not overtly different from any of examples it does still have a contrast whic I could pick one of each of these panels a interchangably. I believe that this partic holds potential for strips and forks in the m larger of the voronois seems to diverge in in every panel. Perhaps I can design for a discongruity where the internal space crosses itself.

Figure B.2.03:

branches out s it very easy is Iâ&#x20AC;&#x2122;m looking r holes. What side through mes trapped?

the previous ch means that and use them cular pattern material as the nto two paths an experiential e merges or

Figure B.2.04:

Figure B.3.01: CLJ02, ZA11 Pavilion

CLJ02 58

Figure B.3.02: Holly Gates, Reverse Engineering Exercise

ZA11 Pavilion 59

B.3 Case Study 2.0 Trim mesh to shape Circle Hexagon Cells Explode Region Intersection

Setup Kangaroo Physics Merge Region Intersection Deconstruct to Faces, Edges and Vertices Line x Value 0.01-1.0 for Rest Length Stiffness Value 1 to 20 Connect Edges with Connection + Plasticity Kangaroo Springs

Bake vertices, del dupes Unary Force with z factor

Kangaroo Physics Force Objects (flat) Attractor points to Anchor Points Boolean Toggle (false) Timer Form Loft Polyline Bake Reference/scale/explode/ Line 2pt & Flatten Tree

loft

For my inquiry of Case Study 2.0 I chose to reverse engineer the ZA11 Pavilion by CLJ02. I found this process was much harder than it looked. In the first stage the challenge was in learning how to trim the hexgrid with a circular boundary, resolved when I discovered the region intersection command. In the second stage, I used kangaroo to simulate the physical dome. It was hard getting this to work. I experienced a lot of issues with the model succumbing to excessive tensile manipulation and watched it literally fly away from the viewport like it was flapping wings. Ultimately, in what was both a highly amusing and horribly frustrating experience, I managed to set the circle’s control points as an anchor point tree and found the dome I was looking for. In the third stage, I baked the geometry and referenced it as a curve and started a new line of script. I exploded the curve, scaled it and exploded it again to give me the control points. In the fourth stage, I placed lines between the control points in scaled and original curves, I merged the geometries of each with two seperate ‘flatten tree’ components, then lofted them into a new set of surfaces.

For the fifth stage, I found a mixed degree of success and failure. I successfully discovered how to orient geometry using the area centroid in Case Study 1.0. But I was unable to master what should be a very simple orient of the cutout triangles in this pavilion using the surface normal or area centroid and orient commands. For whatever reason the shapes refused to populate on the model and created a cloud of triangles in and around it, confusing the overall image. I also couldn’t understand why there were so many. Given more time I believe, without a doubt, that I could resolve this issue. However, baking it as it is, then removing panels that were unnecessary still provided the overall effect. That’s why I’d like to use this definition to explore hexagonal cells further. Aside from the lack of panel articulation, the other major difference between this concept model and the original is the proportion of the hexagons and their density. I didn’t input any data into the original ‘UV’ or ‘t’ values of the hex-cell component and ended up with this stock-standard shape as a result. The vector line drawing is simply deleted panels.

B.4 Technique: Development 1-20 Project Concept: After reverse engineering the ZA11 Pavilion I chose to explore the caternary base that I started with so that I could develop a basis for panel alignment. What I’m after is a gradient for the panels to follow, where the hexagons scale. These panels are all flat, which is ideal for our current concept. The veneer bamboo isn’t strong enough to handle structural requirements on a scale of 1:10 or similar. What I have found from this task is that an overlap of panels is desirable to catch as much sound as possible slipping through cracks in the panels. I also need to consider how the panels will join. For each of these, the simple vector line drawing doesn’t do justice to the problem of assembly. I also found that the less panels I use, the more interesting the outcome. I think it’s best to use smaller panels with large variations rather that simply large panels. As a team, Djuro and I investigated the Galapagos solver to see if we could find the best possible voronoi with the least combined line length which would save time and money in cutting, as well as being planar. To reiterate, the ultimate intent of these designs is to query versatility and explore the kangaroo script as much as possible to find a successful hexagonal arrangement. The initial 10 vector line drawings to the right are how I learned to reference the attractor points. All other inputs remain unchanged and I managed to get some really interesting effects.

B.4 Technique: Development 21-41

B.4 Technique: Development 42-58

B.5 Technique: Prototypes

After building a number of concept models in Grasshopper, as a team, Djuro and I considered how our research fields could be integrated with the brief. Djuro brought the concept of Strips and contouring while I put forth a precedent of Biomimicry and Patterning. Since the Bamboo was predetermined, we needed to look to soft materials for our accoustic treatment. We ultimately decided on a designer felt. We did have the option of colours to choose from but decided that the dark grey was best suited for a corporate environment. Our motivation was to demonstrate concepts of cell structure and growth while building a transitional cavity wall. Based on the precedent ZA11 Pavilion we were not resolved on whether or not to enclose the area completely like a dome. That is why our model is of a portion of wall that could be scaled. It can be read as 1:5 or 1:10 based on the outcomes of B.4 Technique Development which allowed me to interpret the scaling of the hexagonal panels. We didnâ&#x20AC;&#x2122;t have a method to secure the panels to the strips despite forming the strips from the centres of the panels, so we made do with small metal pegs.

Our chief priority was to provide soundproofing through a layered shell that incorporates biomimetic solutions to the three stages of sound constraint: absorbtion, traps and diffusion. We found examples in a range of solutions so we sought to merge concepts to come up with a central idea. It was a fairly simple concept with a parametrically devised scheme: The panels would have the felt attached to the interior face so that any sound that trasferred between the panels would be bounced off the strips and into the felt to diffuse. It would also work the same way on the other side of the wall, for sound coming in. Potential issues we ran into were the orientation of the strips on the boards for laser cutting. They needed to be cut against the grain to avoid splitting when we put them under tension. To help with this we submerged the strips in boiling water and again after they were screwed in place. We used galvanised nuts and bolts to secure the strips so that there would be no issue with rust. We needed to use glue for the felt in attaching it to the panels. Ideally our exploration of the joints would have been better fleshed out with subsequent models and the diagram presents the solutions we were looking at. But we had little time to implement in this prototype.

B.6 Technique: Proposal

Our aim is to facilitate meetings of up to five people, as well as individual projects with sensitive content and phone access in 2-3 breakaway pods, accessible around the perimeter. Each space needs to be evocative and private. But not claustrophobic or poorly lit, also, deaden sound beyond the enclosure but not produce an echo. We believe that strips and patterns are the best approach to limiting sound transference, while biomimicry gives us conceptual logic and composition. Some of the best examples of soundproofing for a corporate environment play on the way we enclose spaces, transition between spaces and work around corners.

We believe what weâ&#x20AC;&#x2122;re being asked is to deliver a parametrically derived solution by design that functions on an adaptive level with itâ&#x20AC;&#x2122;s varied uses as a functional space.

We intend to combine our concepts by creating a cavity wall for the accoustic pod with gaps and holes in the inner wall, and a fully panelled outer wall. The sound should be greatly reduced from the reflective and diffusive properties of the bamboo and felt, while the alternation of hexagonal panels and incorporated lighting creates a pleasant ambience.

Our exploration of biomimetic principles within parametrics, led us to draw two of Aranda/Lasch’s projects; specifically: 1. The Morning Line’s bezier curves that segment seeds and cells similar to what we see in gourds, for example: cucumber, pumpkin, or even spices such as cardamom and peppercorn. 2. The many instances of repetition by multiples of six in nature. The hexagonal/scaled replication of patterned cells are a clear derivative of this. These principles frequently exist in a broad range of natural occurances which gives it a sense of dynamism. We are designing for a versatile aesthetic that can be interpreted in a multitude of

ways much like the Lo Monaco House by Tom Wiscombe. Nevertheless, as a driving principle we chose to explore cell structure in a variety of organisms where we queried how mitosis occurs in an optimal relationship with the area of the cell and perimeter. The hexagonal organisation happens naturally because it’s the most optimal way to pack cells that have a circular nucleus. Our Proposal is aimed at catering to the design brief in a parametrically complex way with high quality materials. The combination of biomimetic principles and felt-bamboo panelling provides an accoustically diffusive array for the pod’s internal and external walls, leading to an ambient space for meetings.

B.7 Learning Objectives and Outcomes

Hindsight provides a valuable cause for reflection and self-progression. I have successfully explored Kangaroo and various other Grasshopper plugins to deliver a thoroughly resolved and fairly successful base-concept. I am proud of what Djuro and I have achieved by working cooperatively. Looking back over the past several weeks I feel a lot more confident with multiple plug-ins. I should also note the way this process has forced me to come to terms with the mathematical component. Mathematical aptitude is a personal limitation that I am slowly overcoming, and my hope is that I eventually resolve my inability to remember the steps the more I expose myself to the system. You can’t forget where you’re up to when explicit history is immediately in front of you and alerting you in real time. Because of this, I believe this project has imparted a profound level of learning and personal growth that bolsters my confidence through my capacity to design with parametric software. Personal development aside, I feel confident that Djuro and I made a strong case for our design proposal and were met with extremely helpful feedback This contributed to our knowledge base

for the future. I am absolutely building a personal repertoire of computational techniques and I have noticed that there are multiple ways of going about solving a parametric puzzle depending on the components you choose to work with. Knowing what components exist and where they’re appropriate is half the battle. I have pursued an excess of tutorials and subscribed to the OM channel on YouTube for their parametric scripts so that I can develop my abilities further. I have spent more time than I care to say on the grasshopper forums looking through all of the queries people have solved for others. Some definitions have been crucial in the development of our design outcome to date. We have explored plugins from Weaverbird, particularly the mesh from lines, mesh edges and verticies components; Millipede in exploring the gyroid and isosurface as a personal curiosity - not because it’s related to our design; Panelling Tools for Grid and 2D panelling components; Kangaroo one and two because some older definitions don’t have the latter. We have explored Galapagos planarize solver, springs, unary force and the physics solver itself; Lunchbox has been invaluable for it’s grids and panels and finally, Anemone for the growth loop.

I have made an honest effort to build my understanding around matrices but there is always room for improvement. I hope to refine my skills through the next section so that the progressive design is also reflected in the complexity of the modelling. I’m looking forward to the opportunity to explore python or C#. In the meantime, juggling between Rhinocerous, Autodesk and otherwise, as far as I can tell I’m developing a well rounded approach to computer based design. Skills in three dimensional media extends to the bamboo and the experience of laser fabrication. I spent approximately two hours sanding back the bamboo to save splinters and the burn of the laser since we went with the 1.5mm carbonated sheet. Djuro and I both drilled holes in every panel and strip so that we could use our nuts, bolts and pins to secure pieces in place. Many of the strips required finess in order to properly connect them due to interference from other members. We had an issue with minor splits in panels that were susceptible to too much tension. It’s barely noticable but that

was a fabrication concern we can’t afford to pass on to a client. I was pleasantly surprised that there was little to reconcile in terms of creative differences and that issues such as these can be rectified with little difficulty. I still believe I have an enormous amount to learn about the potential in grasshopper. At the moment it seems as though I’m grasping one concept only to be thrown straight back into the deep end with the next. In Part C I will focus on broadening my understanding in Grasshopper, testing and recording more prototypes prior to the final outcome, building on current priorities of the brief while resolving the composition and challenging myself to put forth a confident and well-resolved concept that exceeds expectations with innovative ideas. The best is yet to come! Sincerely,

Holly Gates

B.8 Appendix: Algorithmic Sketches

After using this definition I started to become a lot more confident with the move component, line between two points component and list item component. I imagine this example when I remember those nodes for future definitions because it was a relatively simple and easy process that can apply to all sorts of models. I really liked the way we adapted it to attractor points and have also started to use them more as a result. I absolutely consider this a technical precedent to my parametric research.

Figure B.8.01: Week 4 Algorithmic Task I found this task extremely useful in the development of my project as I was wanting to learn about growth and re-iteration with breps. This concept allowed me to experiment further with The Morning Line and prompted my design decision to try to imitate additional â&#x20AC;&#x2DC;panelsâ&#x20AC;&#x2122; because I was able to simulate growth and orientation. While this task may not be exactly the same as the nodes I use to build on truncated pyramids, the concept is similar and helped me better understand what I was trying to do. I also appreciate the loop components and found them easy enough to understand from my experience with clusters in The Morning Line.

Figure B.8.02: Week 6 Algorithmic Task I have always struggled with lofting and understanding how to correct a twisted surface. This task allowed me to build on that skill as I found that by completing it I had a better understanding of the relationship one line has to another. I understand now that for lines to form a sensible connection they need to be aligned and have their start and end values in the same order. I have found this useful as a tool to return to.

Figure B.8.03: Week 5 Algorithmic Task

Part C

Detailed Design

C.1 Design Concept Prior to the critique, our group knew there would be some key strengths and areas that would require further development. To our delight, our proposal was well received, though there were some significant aspects of our design that presented opportunities for greater review and refinement. We demonstrated our command of nurbs software by devising the entire process from conception to fabrication in order to present a model with strong ties to the brief. These strong ties as mentioned through Part B were attributes of the acoustically treated bamboo and felt modelled on biomimetic principles found in Aranda/Lasch’s ‘Rules of Six’. The qualities best received were: material choices, biomimetic principles, as well as the evident engagement with an acoustically treated composition and form. However the design was not an enclosure but rather a series of planar panels situated at a tangent along a non-planar curve. The actual strips themselves were too thick to be developed at 1:1. We also needed to resolve connections throughout the concept. This meant we needed to rethink the overall composition of elements to build a much stronger narrative for the final design. We considered how others have explored planarisation with hexagons and quickly came to the conclusion that others could not reconcile a whole hexagonal panel. Existing projects break the hexagon up into triangles or by combining squares and trapezoids which didn’t align with our rationale, so the next step was to devise a way to interpret our hexagonal bamboo pieces onto a curvaceous surface. This is where deriving form and utility presented opportunity for innovation. We chose to simplify the strips much further and still implement tensile forces but in a different arrangement. The site plan offered a limited amount of room for the pod which forced us to accept that

the design would need a rather thin cavity between its inner and outer wall; this posed an issue for us to resolve from the critique. Given that we are committed to using bamboo and felt with an air gap, we needed to aim for the most sound absorbant method as possible to work within these limitations. It became a matter of maximising the alotted space while keeping in line with our existing parameters for ingenuity. An exception to this is where we sought to incorporate a breakaway standing-room booth for single-person use. It has to be situated without obstructing thoroughfare beyond the designated space as a ‘growth’. Ideally we wanted three breakaway sections, as specified in B.6 for individual use. Instead we have settled on one to adhere to time and spatial constraints, though this would have added complexity to the overall composition. Using the Kangaroo Physics engine we hope to form-find and reference our hexagons so that there is continuity amongst planar forms on a curved surface. One development from the critique on this matter is that we are moving away from pattern and more towards tesselation which is an unforseen but positive development. Patterned components seemed to interfere with the acoustic qualities of the bamboo which was meant to act as a sort of shell following the metaphor of cell-structure. If we tesselate the components and experiment with modular - possibly equilateral or elongated components - then we can get the flexibility of form that we need. However, if we can make it work, we would prefer to match scale and pull the mesh with attractor points. We discovered different ways of doing this by; 1. making dips and curves in the z-plane along an otherwise 2D Mesh then projecting the 3D lines to a flat surface. 2. using springs to stretch it threedimensionally or 3. a two-dimensional application for attractors and springs that stretched the mesh for innovative potential. We went with Option 3.

C.1 Design Concept: Technique, Conception to Propos A diagrammatic process outlining the four core Grasshopper scripts governing our proposal.

Separate Mesh Edges According to Direction

Reference-In Surface & Form a Mesh with Narrow Quads

Defining Rib Curvature & Form Finding

Orient Mesh Faces

Reference-In Surface to Cut

Forces: Planarisation of Quads Springs Need Two Stiffnesses Unary Forces Sculpt Curvature

Isolate Curves to Prep for Ribbing

Sectioning the Algorithm into Managable Parts

Add Range to Multiply the Vectorâ&#x20AC;&#x2122;s Intensity

Specify Points Relevant 1

Divide the Mesh Into Strips

Form Finding the Mesh

Find Surface Closest Point then Interpolate the Curve on the Surface

Making the Wall Openings Divide Curve into Points

Making the Ribs (Perpendicular to the Mesh)

Make a Vector From One Point to Itâ&#x20AC;&#x2122;s Corresponding Index on Alternate Wall

Reference: 2 Adjacent Surfaces Curve with a Mutual Edge

Scaling Based on Distance (For Inner Panels)

Hexagons Culled by Distance

Create a Region for Scaling

Correct Directional Irregularities

Interpolate to Find a Curve

Hexagons Scaled by Distance

Loft Curves and Offset for Thickness

Reference: An Attractor Point

Multiply Vector Forces

Moved Points of Original Divided Curve using Vectors

Find Surface Normals

Divided points used to Reference Closest Points on the Surfaces

Reference: The Outline of the Panel

Interpolate the Curve from Moved Points With a Graph - Bezier Curve

Unrolled Surface of the Pod (Inner & Outer)

Region Intersection between the unrolled surface and the surface edges and the Hexagon Curves 7

Correct UV Directional Irregularities, Align Unrolled Brep with Original Surface

Offset to Define edge of Region

Form

sal

Culling by Length to Keep Only Vertical Lines

Flipped 2 Problematic Curves 11 Loft

Interpolate a Curve from Vertices

a Brep & Cap 9

Found Centroid and Closest Point on the Surface to the Centroid

Evaluate Original Surface at these UV Parameters 13

Reference: Original Surface from Pod

Evaluated Unrolled Surface at these UV Parameters.

Used the Frames from Evaluate Surface Components to Orient the Geometry from the unrolled Brep to the original.

C.1 Design Concept: Advance Planning for Constructio

The greatest advantage to designing with digital software is that it gives the designer greater insight on proposed tectonic components. Our design anticipates the need for bracket joints and the classic nut & bolt which delivers the desired compression to a large concentration of parts. By feeding every component through the rib in configuration with these bolts staged at many intervals along the rib, we are able to comfortably fix the heavy panels until taut without permanently disfiguring the felt under tension. The setlist of parts for assemby is as follows: 40x Nuts and bolts per ribbing 80x Washers per ribbing 4x Bracket per ribbing 24x Timber screws per ribbing Lasercut & scored polypropelene sheet - frosted matte white Lasercut and prefabricated felt and bamboo panels (internal and external) 6x Lasercut bamboo ribbing per section Flex Strip LED lighting - low voltage, warm white 1x Lighting switch - Affixed to first internal rib 4x Power and ethernet outlets Seating panels and ribs Table panels and ribs This joint also allows the fixture of lighting and electrical wiring in an obscure manner along the internal face of the rib and fixing it to the ribbing before attaching the felt. The entire construction process would need to follow an either clockwise or anti-clockwise logic though cannot be installed both ways at the same time. The design relies on previous pieces of felt to start the sequence on the bolt. The power supply and ethernet outlets are configured into the front of 4 of the seating panels between ribbing and are easily configured or packed down for space saving.

The Construction Sequence is as follows: 1. The compression plate is threaded with washers and bolts. 2. The outside-facing felt is lined up with the holes and threaded over the top. 3. The internal felt is lined up and threaded over that. 4. The internal lighting cover is threaded on one side. 5. 6x ribbing panels are threaded in place. 6. Electrical wiring and lighting is fixed along the ribbing. 7. The second set of tabs to the lighting cover is then threaded on, enclosing the wiring and thus obscuring it. 8. The next internal sheet of felt and panels is lined up and threaded in place. 9. The next external sheet of felt and panels is lined up and threaded in place. 10. A new plate for compression is added on top. 11. A washer and nut are applied and tightened with a socket wrench. 12. The ribs are aligned with the base and top plate and then brackets and screws fix it in place. 13. This is a repeat sequence for each consecutive rib until constructed. If the ribs are secured then the felt is put in place then it increases the chance of damaging the felt panels and warping the facade. The advantage of the system is that it is comfortably simple to assemble, fairly incomplex and relatively affordable despite the size. The most expensive component is the bamboo, priced at roughly $80 per sheet of carbonised narrow grain 2400x1200x1.5. Seating and Table configuration is much the same though is completed top down and brackets are affixed internally with screws from the outside and caps over the top for a proper finish. Tabletop and seating cushions are locked in over the top

C.2 Tectonic Elements and Prototypes

The bamboo panels were the first core component we chose to prototype. We queried the panelling through triangular divisions of hexagonal panels and arranged them for flexibility . One of the main reasons for doing this was to experiment with gluing techniques and spacing the pieces. This prototype helped to inform the spacing of panels in our final design. We also determined that the folding effect was not so achievable in felt as it wouldnâ&#x20AC;&#x2122;t retain the fold. I was hesitant to use glue, for the issue of Volatile Organic Compounds (VOCs) found in some glue and sealant products. PVC was suitable for a bond in this prototype but that was not strong enough for the bamboo to adhere to the felt so we experimented with UHU Power Glue. This glue does expose the user to toxic fumes if the area is not properly ventilated though provided the best

bond between materials. We considered the draping of Bamboo and Felt over a frame structure that would take advantage of the malleable nature of this arrangement. However, it lacked our fundamental drive for solid hexagonal panels. What we learned from this prototype was the need for algorithmic dictation of panel location and proximity to every other panel. That was the first and last place our design should model symmetry. Every other aspect needed to be an asymmetrical growth of form that supports the biomimetic principles we have established. We decided after this prototype to move away from modular tesselation and resolve the way our panels would interact with the felt-bound pod. Materiality was, in this way, the major driver in compositionally motivated decision-making.

C.2 Tectonic Elements and Prototypes

After realising the utility of the panelling we were able to experiment with paper and cardboard to imitate the structural ribbing. We discovered this component was due to come under excessive tensile force from the taut felt, made heavier under panelling. Because of this we realised that there needed to be both a clamping action either side of these ribs, and a thickness to counteract any twisting or deformation that might occur. We were also able to gain a sense of spatial ambience caused by the arching members. We decided to use this to our advantage and develop an opening to the main meeting space so that even the entrance would be protected audibly. Another observation to arise from this model was the suggestion of nogging to further reinforce the members. Since we had braces on each rib on either side fixing it to the top and bottom plate, we deemed it unnecessary. The pod is not expected to come under wind loads; live loads such as people using the seating should not disrupt the sturdiness of the structure. A final conclusion from this portion of prototyping was the question of lighting and electrical wiring to support power sockets or ethernet outlets. it was concluded that electrical components could be applied along the internal edge of the ribbing. Lighting would be LED, meaning negligible heat loads and no visible wires. This would be installed immediately following the bracket joints as per predicted assembly mentioned on the previous page.

C.2 Tectonic Elements and Prototypes

After experimenting with cardboard we sent our drawings for laser cutting. We specified four seperate material jobs, namely: Bamboo Veneer and Black Canvas for the 1:20 model And, 1.5mm Carbonated Bamboo with 2mm Dark Grey Felt for our 1:1 model. The issues that arose from laser cutting through the veneer bamboo became immediately evident. The timber was extremely quick to cut but buckled and curved, disrupting the line of the laser and often ending in pieces that were disproportionate. Some pieces were thicker or thinner in compromising areas, while others had to be worked free from incomplete intersections. This led to a poor finish along edges and caused some members to break. We anticipated that the material would be fragile and so created two of every panel to connect together. The Veneer only had one decorative side so the secondary member had to be flipped in model space to account for being placed back-toback. This never eventuated as the majority of

members had broken in transit. Another disadvantage to working with the veneer bamboo was the instance of tiny panels. Once cut with the lazer, these panels fell through the lazer bed and were non-recoverable. This wouldnâ&#x20AC;&#x2122;t be an issue with the 1:1 model, however unforseeable mishaps are the reason prototyping plays such a crucial role in the process. Once we assessed the damage to the veneer pieces the decision to re-cut in the carbonated bamboo was unanimous. Being thicker and treated with the carbonation process, the bamboo was much more pliable and resilient. A twist-test was performed on both the veneer and carbonated members and the results clearly favoured the carbonated rib. This was important, not just for fabrication capacity but also because the model required a certain amount of controlled deflection to brace and distribute structural loads around the perimeter. The final core component in this design is the felt which under excessive tension permanently disfigures as seen in the example to the left. The rib deflection issue was resolved through prototyping where we alleviated the controlled deflection with better resolved felt dimensions.

C.3 Final Detail Model

We assembled the final model with superglue for the bamboo and UHU Power strength for the canvas. the UHU was also effective as securing the panels. We found it complicated to assemble to this scale as the fabrication technique does not reflect the real construction of the 1:1 model and requires a lot more adhesive. This further exposes someone making this to VOCs if the space is not properly

ventilated. Issues we discovered were limited to the tensile dynamic in a 1:20 scale, while we found a greater flexibility to the singular ribbing that allowed for deflection as intended on our digital model. The end result was a partially de-constructed model that aimed to relay the process of assembly in an office environment. Despite the complete enclosure represented in digital depictions of our actual proposal, this model aimed to engage with the construction stage.

C.3 Final Detail Model

Our 1:1 model was successful in itâ&#x20AC;&#x2122;s communication of the intended composition between ribs and their manipulation of the felt and panelling to create a soft curve that represents the overall effect of a full panel. We designed temporary bracing inside the top and bottom ribs to imitate the rigidity of the ribs and their intended angle once fixed to a base and top plate. We chose a white plastic nut, bolt and washer combination to answer the acoustic requirements of the brief. We believed that using metal in this model would interfere with the acoustic integrity. If undesirable as white, they could easily be coated in black or an alternative colour as desired.

This model also demonstrates the intention for lighting and electrical paths. The interior of the ribbing is dedicated to light fixtures that create a soft warm glow and cast ambient shadows across the timber. This shell and purposeful placement of panels is intended to treat sound with diffusion and deflection so that meetings with clients and colleagues may be held in confidence. The compressive panel over felt and ribs is crucial to the fold in the felt and helps to guide the curve by extending felt beyond the line of the ribs internally. This creates a seamless continuity of form.

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C.4 Learning Objectives and Outcomes

Upon reflection from the final critique I realised that the mostly positive response to acoustic pragmatism won favour. However our overall form was conservative and deceptively simple. We could have tried to develop a more dynamic base and top plate to inform a more complex ribbing and that would be where this design would progress given more time and a greater budget. The internal ribbing, obscured by lighting was also queried for itâ&#x20AC;&#x2122;s positioning, for hiding the character of the Bamboo. The panels were said to detract from the ambience inasmuch as the lighting contributes to it. Alternatively lighting could be arranged on the top plate, allowing a diffusive effect without the polypropelene. This would also be easier to fix and wire, and alert others to the boothâ&#x20AC;&#x2122;s occupancy. This would reduce costs by limiting materials.

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The learning objectives of this studio, as presented throughout this journal have intended to communicate the latent potential in adopting the parametric paradigm in a world of design. it also highlights our responsibility to function as ethically as possible by giving paramount regard to nature and the environment. Where applying the universal principles of computation to our design method we can achieve new design typologies that model innovation in an efficient, streamlined process from conception through to construction. I have with great confidence developed a design through the Rhinocerous suite, and inclusive of various plug-ins. The experience of taking a design process through to production was invaluable. I have then outsourced the fabrication of parts and constructed a proof-of-concept model.

In Part A I learned that computation was a must for process, ethical self-reflective practice, expanding my creative potential. Mastering computation is the basis for competitive advantage in the workforce. In Part B I discovered that I was capable of developing my skills and manipulating form within model space to exact an intended outcome. I consistently challenged myself and became confident with components that I previously did not understand. I learned how to read and interpret an individualâ&#x20AC;&#x2122;s approach to design which varies from person to person, not because of the components but rather from their own level of understanding. I applied this to myself and found that competence is inherently bound to profound understanding and interpretation methods in practice. I did this with multiple approaches taken for panelling the interior

and exterior felt. In Part C I found great benefit in collaborative development through working closely with Djuro Djuranovic on this project. It was a thoroughly enjoyable and enlightening experience such that we combined strengths to deliver our final design proposal. The culmination of efforts resulted in a thoroughly fleshed-out design that answered previous feedback and continuously benefited from the constructive feedback provided. Designing through reflection in action whilst enabled by our passion for computational design led to an outcome that we would happily develop further with added complexity. It is my hope that after reading this, you have enjoyed the process as much as I have. Sincerely,

Holly Gates

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References Part A "A History Of Technology In The Architecture Office", Archetizer, 2014 <https://architizer.com/blog/a-history-oftechnology-in-the-architecture-office/> [accessed 10 August 2017] ":: Algae Folly - Ecologicstudio ::", Ecologicstudio.Com, 2017 <http://www.ecologicstudio.com/v2/project.php?idc at=3&idsubcat=71&idproj=148> [accessed 7 August 2017] "Architizer Editors", A History Of Technology In The Architecture Office, 2014 <http://graphics.cs.yale.edu/site/ sites/files/Arch.pdf> [accessed 10 August 2017] BOJOVIC, Marija, "Lo Monaco House By Tom Wiscombe Design", Evolo, 2013 <http://www.evolo.us/ architecture/lo-monaco-house-by-tom-wiscombe-design/> [accessed 9 August 2017] Bond University - FSD, Minifie Van Schaik Architects, 2017 <https://vimeo.com/102084730> [accessed 9 August 2017] Dunne, Anthony, and Fiona Raby, Speculative Everything ([S.l.]: MIT, 2014) Fresco, Jacque, "This Is What The Future Should Look Like: Jacque Frescoâ&#x20AC;&#x2122;S The Venus Project", Collective Evolution, 2017 <http://www.collective-evolution.com/2013/11/17/this-is-what-the-future-should-look-likejacque-frescos-the-venus-project/> [accessed 7 August 2017] Fry, Tony, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008) Holloway, James, "Future Forms: Lo Monaco House By Tom Wiscombe Design", New Atlas, 2013 <http:// newatlas.com/lo-monaco-house/27542/> [accessed 11 August 2017] "Home:Projects:Victorian_College_Of_The_Arts [Minifie Van Schaik Architects]", Mvsarchitects.Com.Au, 2017 <http://www.mvsarchitects.com.au/doku.php?id=home:projects:victorian_college_of_the_arts> [accessed 8 August 2017] Kalay, Yehuda E, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004)

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Kolarevic, Branko, Architecture In The Digital Age (New York: Taylor & Francis, 2003) Matchar, Emily, "Will Buildings Of The Future Be Cloaked In Algae?", Smithsonian, 2017 <http://www. smithsonianmag.com/innovation/will-buildings-future-be-cloaked-algae-180955396/> [accessed 11 August 2017] Archim Menges, ICD/ITKE Research Pavilion 2012, 2012 <http://www.achimmenges.net/?p=5561> [accessed 8 August 2017] Peters, Brady, and Xavier De Kestelier, Computation Works Schumacher, Patrik, The Autopoiesis Of Architecture (Southern Gate: Wiley, 2011) Terzidis, PHD, Kostas, Algorithmic Design; A Paradigm Shift In Architecture? (Harvard: Harvard University, 2017), p. 206 <http://papers.cumincad.org/data/works/att/2004_201.content.pdf> [accessed 10 August 2017] Sanchez, Jose, Plethora Project, 2016 <https://www.plethora-project.com/> [accessed 9 August 2017] The Engineering Design Revolution; CAD History (Bethesda: Syon Research, 2017), p. Chapter 2 <http://www. cadhistory.net/02%20Brief%20Overview.pdf> [accessed 10 August 2017] The Venus Project, Concept Central Pavilion, 2017 <http://heapsmag.com/venus-project-futuristic-society-run-bytechnology-interview-with-project-founder> [accessed 7 August 2017] Tom Wiscombe, Lo Monaco House, 2017 <http://tomwiscombe.com/> [accessed 9 August 2017]

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References Part B Aranda Lasch, Image 2, 2017 <http://arandalasch.com/works/rules-of-six/> [accessed 25 August 2017] Aranda Lasch, Image 1, 2017 <http://arandalasch.com/works/the-morning-line/> [accessed 25 August 2017]. Aranda Lasch, Image 14, 2017 <http://arandalasch.com/works/the-morning-line/> [accessed 25 August 2017]. Djuranovic, Djuro, Diagram A & B, 2017

Part C Djuranovic, Djuro, Diagrams Various Gates, Holly, Various Images, DSLR, 2017

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Gates, Holly, Various Images, DSLR, 2017 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp Piker, David. (2011) ‘Nervsys: Rhinocerous and Grashopper files’ Grashopper Forums, ‘How to change a flat hexagonal grid’s density with an attractor ?’ p1 http://www.grasshopper3d.com/forum/topics/how-to-change-aflat-hexagonal?id=2985220%3ATopic%3A153445&page=1#comments Accessed 09 Sept 2017

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