Part A Journal by Jiaqi Mok

STUDIO AIR 2016, SEMESTER 2, TUTORS: Caitlyn Jiaqi Mo 716101

PART A. CONCEPTUALISATION A.0. Introduction A.1. Design Futuring A.2. Design Computation A.3. Composition/Generation A.4. Conclusion A.5. Learning Outcome A.6. Appendix - Algorithmic Sketchs

A.0. Introduction

Hello I am Jiaqi, a second year architecture student at the university of Melbourne. I have done studio earth and digital design and fabrication for the last semester. After studying the subject digital design and fabrication, my knowledge of using digital modeling tools, especially Rhino, have been improved a lot. Furthermore, with the digital design theory background and the focus point on transforming digital modeling into the actual fabrication of this subject, it evokes me to start interesting in the influences that digital design has brought to not only the designers, the architecture industry but also the society. Inshort, I am excited to explore my computation design skills to the next level.

CONCEPTUALISATION

FIG.1: STUDIO EARTH: A PLACE FOR KEEPING SECRETS

FIG.2:DIGITAL DESIGN AND FABRICATION: THE FLOATING POD CONCEPTUALISATION 5

“designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images” --- John Wood

A.1. Design Futuring How could a secured future be designed? According to Fry1, the increasingly serious condition of unsustainability has pushed human beings to a critical point that would threaten our existence. The ongoing future for human beings is predictable and hopeless if we remain unchanged. In this case, he argued that ‘design futuring’1 should satisfy two requirements: not only should it slow down the accelerated condition of unsustainability, but also, more importantly, it should redirect us human being toward a much more sustainable path to the future. Design has the nature ability to “shapes the form, operation, appearance and perceptions of the material world we occupy”1. It is our designers’ responsibility to fully realize the potential changes or directions we could make or lead the society to. In this case, there is no doubt that sustainability awareness should permeate our design process. Computation design approaches, which is definitely the ongoing trend for future, would be illustrated and discuss how this advanced technology design process would cause huge influences on sustainable future thinking in the case studies. Furthermore, as mentioned in the week I lecture, “designers should become the facilitators of flow, rather than the originators of maintainable ‘things’ such as discrete products or images”15 Indeed, in order to overcome the challenges we faced today, attitudes, values, beliefs and behavior need to be switched. 2 Architecture should not limit us just focusing on thinking of buildings, but rather, we should open our mind and speculating how things should be, not just buildings but also our city, society and our future. 2 Paying attention to what’s our contemporary need and desires for the place we living in, architectures should be those pioneers that draw the outlines of future and provide different perspectives so that we can learn something from it and hopefully close up the gap between reality and the utopia we both dreaming about.

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162.

2.Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

15.Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)

Project Name: ICD/ITKE RESEARCH PAVILION 2011 Architect: ICD & ITKE Location: University of Stuttgart, Germany

This pavilion has a sea urchin like skeleton look. It was developed as a project that using the computational process to design and invest a biological structure, which completed with robotic fabrication. This research pavilion could be regarded as a successful example to show the computational design process could be a new direction for us to achieve sustainability future. By analyzing and transfer the biological system of the sand dollar to the morphology of the structure, this approach demonstrates the high lightweight structural potential, which allows the whole project to build with 6.5 mm thin plywood sheets only and largely improve the material efficiency.

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From this project, we can glance a bit of the upcoming design future: with the aid of computation design, robotic fabrication and rapid prototyping in the architectural industry1 will no longer be something special. Furthermore, biological stimulation and digital materiality study will be another main alternative discovery area that they would not only expand our design capacity but also they would lead us to a more sustainable future. 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1â&#x20AC;&#x201C;162. Dunne, Anthony

CONCEPTUALISATION 9 Image Source: https://vimeo.com/48374170

Project Name: Emotive City Architect: Minimaforms Location: London

Emotive city is a conceptual project that discovered the possibility of a contemporary city. The framework of the city aims at exploring the mobility and selforganization. As unfixable is the main challenge we faced today2, this project brought up a speculative model that enables everyday emotive interactions of the public and the social scenarios within the city to influence the organization of how a city is structured. 3 The idea behind that the city is moveable is very similar to the idea of walking city, proposed by Archigram in the 1960s. Yet what’s more than that, this model proposes a possibility that our living environments would organize through a local relative collective intelligence so that the communities and society would be able to be constructed by everyday local iteration and behaviors. 3 Although this idea in today’s view may be less radical, but still it is a perspective challenging and provoke model. Indeed, this project makes us consider how to design our living environments that are shared between participants and still allow for complex interactions.4

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As mentioned in Dunne’s book, a new wave of interest in thinking about alternatives to the current system of our society is required. This model focuses on the dissatisfaction due to the rapid change from the accelerated urbanization and tries to provide us an alternative designed vision. What could be taken from this project is not only the idea of emotive city, but more importantly, the pluralism of ideology and values2 it standing for. 2.Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

3.Minimaforms,

‘Emotive

City’2015)

<http://minimaforms.com/emotive-city/>

[Accessed 10 August 2016].

4. Theodore Spyropoulos, ‘Behavioural Complexity: Constructing Frameworks for Human-Machine Ecologies’, Architectural Design, 86 (2016), 36-43.

CONCEPTUALISATION 11 Image Source: http://www.uncubemagazine.com/blog/15572449

“Algorithmic thinking is the ability to understand, execute, evaluate, and create algorithms.” --- Wayne Brown

CONCEPTUALISATION

A.2. Design Computation The evolution of design processes According to Kalay5, all buildings before Renaissance were directly constructed without any considered planning. Architecture design was actually not regarded and developed as a professional practice until the 1490s5. After all these years development, architectural design process could be generated as the following major steps: problem analysis, solution synthesis, evaluation and communication. â&#x20AC;&#x153;Analyzing problems, setting goals, devising actions that might accomplish them, evaluating the efficacy of these actions, and communicating with others involved in the process is what designers do.â&#x20AC;?5 Design is definitely not a one direction process. It requires the designer to keep trying various creative methods to solve the problem, constantly analyzing and evaluating the outcomes or feedbacks with consistently standards. Furthermore, during the evaluation process, different tradeoffs have to be made by the designer to balance the conflicted desired outcomes from those wicked problems. 5 Using these evaluated feedbacks to communicate with the previous decisions, changes or adjustments would be required to improve the design performance. Thus, communication process could help generate solution ideas and along with the unpredictable factors may have influences on the design outcome, the design problem-solving process is more like a puzzle making process rather than a Rubik cube problem-solving process, which is regarded as a top-down design process as the desired outcome could be forecast. The designer has to keep discovery and picking the right choices to make a successful combination outcome, which is exactly like the venerable tangram puzzle making process. 5 Therefore, Kalay considered design as a searching process. 5 It needs analysis and evaluation to filter those white solutions, which fail to meet the goals. Computer, as an excellent analysis machine, is much more superior in rational preforming. They will follow the instruction logic perfectly, without making any careless mistakes. Besides, they also good at performance evaluation in measurable factors occurred during the design process. However, they lack any creativity when there is no instruction. Thus, Kalay argued that we should found a symbiotic design system that combines the creativity of human beings and the superior analysis and evaluation ability of computers5 to generate the optimized outcome. 5. Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

16. Wayne Brown, Introduction to Algorithmic Thinking

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Project Name: ICD/ITKE RESEARCH PAVILION 2010 Architect: ICD & ITKE Location: University of Stuttgart, Germany In this project, the computing affects the design process by analysis and show performance evaluation of the bending thin plywood strips how elastic it could achieve. The design generation was based on the data analysis of the bending behavioral feature. By computing, the materiality profiles could be fully analysis and experiment in many time. As a result, it redirects the design direction by telling the designer what form it could achieve. Normally, computation design would pay attention to complex façade or structural performance but not the material performance. Even when the designs pay attention to the materiality, usually they applied the top down design process that the role of material was thrown into passivity rather than being treated as a generation factor. This project, in the contrast, put the materiality in the first priority. First of all, the project team set up experiments to test out deflections of the elastically thin bent plywood strips in relation to various specification parameters. Then, the data of the changing physical performances were mapped and recorded by the computer. According to these data, the computation simulated the material behavior and generated the form and structural of the design by the algorithm. After testing out the intricate plywood strip system 6 and making an adjustment for the clipping positions of each strip, the final data of digital model was sent to the robotic fabrication system directly. Thanks to the robotic system, the transformation from digital model to the actual physical outcome were economical and efficient.

CONCEPTUALISATION

This research design not only succeeded in forming the skin of the design as well as the structure at the same time but also it tied the relationship between materiality and generation process inseparably. Such design strategic, generating the design by largely analysis and applying the material performative behavior, could be regarded as a tectonic innovation in terms of materiality. This project showed the ongoing trend of research-based experimental design that could utilize the characteristics of the material and its performative behavior and accordingly generate the form of the architectural design. Such design process is also the puzzle making process. 5 The accurate capacity of the material performative behavior was unpredictable until all the experiments were conducted and the result had been evaluated and analysis. Without the aid of computation, there is no way for this project to be an economical and possible design that to be generated. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

6. Achim Menges, ‘Computational Material Culture’, Architectural Design, 86 (2016), 76-83.

CONCEPTUALISATION 15 Image Source: http://network.normallab.com/portfolio/pavillion-2010

Project Name: Vaulted Willow | Permanent Public Art Pavilion 2010 Architect: MARC FORNES & THEVERYMANY™ Location: Borden Park, Edmonton, Canada

This pavilion is a lightweight, self-supported shells, which it’s structural form-finding and descriptive geometry were developed by the custom computational protocols.

prototype testing and actual fabrication, which highly improved the efficiency of the design and manufacture process.

The design process of this studio follows a linear sequence: “all morphologies result from explicit protocols- or finite series of steps, unambiguous instructions, hierarchically organized into a linear sequence, and translated through the shortest possible notation into an operational algorithm.”7 The logic behind the design protocols is written as a text file firstly, then it was explicitly encoded to be interpreted by a computational syntax (Python) and was finally translated into a software environment(Rhino 3D).7 Working within such design strategies, there is a delicate boundary that evokes the architect to consider what part of the protocols should be controlled and what part of it should remain open to leaving room for surprise. Indeed, most parts of the protocol need to be precise so that the morphologies could be the least randomness and implementable. However, the fascinating part of the computation is that by changing parameters, designers would be able to explore the potential possibilities and even invent new morphologies.

Aside from the catenary network structure, the color of this pavilion is also a noticeable characteristic. Due to the highly subjective nature of colors, normally architects would be very careful about picking colors for their design, worrying the wrong choice would destroy the aesthetic and classiness of the design. However, this project shows us that using computation and procedural protocols of tessellation might be a new way of coloring.7 For instance, in this project, the skin of the design, lightweight monocoque shells, is an intricate assembly of similar but unique, digitally fabricated stripes that overlap through their extended tabs to double material thickness. 8 Thanks to the large amount of stripes and digital fabrication, each single stripe was able to assign a particular color and the sum of these strips allow the whole design to have parametrised smooth gradient coloration.7 Such coloration succeed in highlighting the unique geometry form and variation, offering the opportunity to view the design in different perspectives. Relating back to studio air, I think the computation coloration could be useful aesthetically and increasing variation to our garment project.

In this project, aiming at embedding the skin, structure and ornamentation into a single unified system, the studio invested in the non-linear architectural typology which is a 2D geometry of catenary curves “by exploiting a computationally derived dynamic spring network with behavioral attributes”.9 By using multiple parameters such as rest length, angle constraint, and strength, the springs have various types. The catenary network is inflated twice to achieve double curvature. Furthermore, structural analysis: dynamic analysis, maximum deflections and stress ration- utilization were done on digital model and according to the data analysis, the studio could find out the structural weakness of the design and fix it before

CONCEPTUALISATION

7. Mark Fornes, ‘The Art of the Prototypical’, Architectural Design, 86 (2016), 60-67.

Karissa

Rosenfield,

‘Marc

Fornes

Theverymany

Constructs

Self-Supported

“Vaulted Willow” with Ultra-Thin Aluminum Shells’, ArchDaily, (2015) <http://www. a r c h d a i l y. c o m / 5 9 6 0 3 3 / m a r c- f o r n e s - t h e v e r y m a n y - c o n s t r u c t s - s e l f - s u p p o r t e d vaulted-willow-with-ultra-thin-aluminum-shells> [Accessed 10 Aug 2016].

MARC

FORNES

THEVERYMANY™,

‘2013

Vaulted

Willow’2010)

theverymany.com/public-art/11-edmonton/> [Accessed 10 August 2016].

<https://

Image

Source:

https://www.google.com.au/search?as_st=y&tbm=isch&hl=en&as_

q = R E SE ARCH+PAV ILI O N+2011&as _ ep q = ICD +I T K E&as _ o q = &as _ e q = & cr= &as _ sitesearc CONCEPTUALISATION 17 h=&safe=images&tbs=isz:lt,islt:xga#imgrc=dHy52kNxrpQhQM%3A

â&#x20AC;&#x153;Natural design is more than imitating the appearance of the organic. It is learning from natural principles of design how to produce form in response to the conditions of the environmental context. This is an age in which digitally informed design can actually produce a second nature.â&#x20AC;? --- Rivka Oxman

CONCEPTUALISATION

A.3. Composition/Generation

Apart from being a domain in the analysis and evaluation process, computers have far beyond significant influence in nowadays architectural world. The “digital in architecture had become the de facto locus of architectural theoretical discourse”.10 Digital design, has already developed from the stage of computerization, which uses the computer as a visual communication tool only, to computation in the design process. Although computerization is still the domain mode. As mentioned in week 2’s lecture, different from computerization, just representing the already exist idea or images in the designer’s mind, computation is actually allowing the computer to help generate the unpredictable optimized outcome. This is exactly a puzzle making process mentioned in the last paragraph, but with the aid of computer rather than just human activity. Moreover, I think computation achieve the goal of a symbiotic design system that Kalay5 argued for and even more. Computation is a new logic thinking of design process. In general, it can help designers easily generate a complex geometric pattern, stimulating biological system and create crazy structural form and so on. More importantly, in terms of parametric design, it force designers to rethink the logic relationship between each single design components and the design as a whole10. One we would keep in mind is that Louis Sullivans famous proclamation “form follows function”5. Computation is leading us as architects to an area that is more interest in“ the differentiating potential of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality”10. Multiple disciplines collaboration, especially with structural engineering, materiality and biology science, would become necessary due to the research-base experimental design nature generated by the computation design process. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

CONCEPTUALISATION 19

Project Name: ICD/ITKE RESEARCH PAVILION 2014/5 Architect: ICD & ITKE Location: University of Stuttgart, Germany This pavilion was based on the study of underwater nest construction of the water spider. This species spends most of its life underwater and constructs a reinforced air bubble to survive. In order to build its nest, the spider would first build a horizontal sheet web. Then the air bubble would be placed under the sheet web. In a further step, reinforced fibres would be sequentially laying in a hierarchical arrangement within the air bubble.1 As a result, this natural structure would turn into a stable construction that could resist mechanical stresses. In order to transfer this biological process to an architectural design and construct application, the team had to formulate a fabrication process that places an industrial robot within an air supported membrane ETFE envelope. This membrane structure was air pressure supported at first and then gradually reinforced the inside with carbon fibres by the robot to achieve a self-supporting monologue structure outcome.12

This project is a great experimental research design that fully utilized the combination of the advanced computation simulation and generation, robotic fabrication and digital materiality research. It also demonstrates the endless potential possibility of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality.10 Nevertheless, scalability may be the main resistance restriction that prevents the innovation tectonic of this project being widely adopted in the architecture industry due to the scale of this fiber- reinforced structures totally depend on the size of the fabrication robot. Maybe in the future, flying fabrication robot will be invented to solve this kind of problems.

10. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture

According to their study, the fibre-laying process would be the core of the design. In this case, computation was necessary for the design generation process. At the beginning of the design process, the spider’s fibrelaying behaviour was stimulated by computation.11 In the next stage, the main pneumatic shell geometry and the precise fiber-laying path were generated by computation from finding process. Then, the digital modelling data would be sent to the robotic fabrication system and finish manufactory in a short time.

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(London; New York: Routledge), pp. 1–10

11. Moritz Doerstelmann, Jan Knippers, Valentin Koslowski, Achim Menges, Marshall Prado, Gundula Schieber, and Lauren Vasey, ‘Icd/Itke Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web’, Architectural Design, 85 (2015), 60-65.

12. ICD & ITKE, ‘Icd/Itke Research Pavilion 2014-15’, University of Stuttgart, (2015) <http://icd.uni-stuttgart.de/?p=12965> [Accessed 10 August 2016].

Image

Source:

http://ap-architecturememories.tumblr.com/post/124399103040/ CONCEPTUALISATION 21

icditke-research-pavilion-institute-for

Project Name: GALAXY SOHO Architect: Zaha Hadid Architects Location: Beijing, China Inspired by the traditional Chinese courtyard architecture type, Galaxy SOHO is compositing by four continues, flowing volumes, which coalesce to form the internal open space within this large multiple use complex. The design process of this project has two main notable and evocable computation generation strategies. One of the computation strategies applied on the geometry form generation. Starting from taking the Chinese courtyard as inspiration style, ZHA (Zaha Hadid Architects and Associates) invest the initial main ‘driving’ geometry form in a Maya subdivision surface model. Then based on this initial geometry form, a series of overlaid models in CATIA, each of which was generated to achieve a higher level of geometric definition and constructability for fabrication and assembly than the previous one.13 Furthermore, in the parametric modelling process, the ZHA team directly wrote the descriptive definition of the initial developable surface into the parametric models that control the precise geometry shape of the building.13 TThis means adjustments were able to make by the team to respond various wicked problem5 that may occur and affect the design during the design process.

technical capacity, the team also started to explore the parametric design performance in terms of social functionality.14 The occurrence of a new kind of simulation techniques is actually the key foundation that instigated such conceptual development of parametric design. This computational crowd-simulation technique and agentbased models that will “reproduce and predict collective patterns of movement, occupation, and interaction as emerging from individual rule-based actions.”14 This new methodology is a significant improvement of simulation application as it unlocks a brand new simulation research area that human itself could be the simulated object. With this crowd simulation, the team would be able to model and analysis the multi group’s user’s movement patterns within the building. This offered them a unique opportunity that generating the spatial functionality and arrangement of the building with deep and reliable understanding. Schumacher14 argued that the generalised life-process modelling should become a new standard for best practice in architecture. 5. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

Another computation generation strategy focuses on the social-functional capacity of the building.

13. Cristiano Ceccato, ‘Material Articulation: Computing and Constructing Continuous Differentiation’, Architectural Design, 82 (2012), 96-103.

As computation design is gradually becoming the mainstream from now on, parametric design is also getting into the era that merely aiming at complex geometry pattern, new form finding and technological advancement is not enough. In the case of SOHO project, despite the

CONCEPTUALISATION

14. Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiology’, Architectural Design, 86 (2016), 108-13.

Image

Source: http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/ CONCEPTUALISATION 23 508ee04f28ba0d7fe4000003-galaxy-soho-zaha-hadid-architects-photo

A.4. Conclusion

In this conceptualisation part, the main topic of computation has been explored and discussed. Different Started with questioning about the future, A1 design futuring attempted to argue architects should be aware and take the responsibility to not only taking care of our living environments through design, but also regard themselves as future speculators for the society in respond to the insecurity future coming in short. Opening up their mind and exploring the potential possibility, architects ought to be the pioneers who have the ability to change and reshape peopleâ&#x20AC;&#x2122;s value, attitude and behaviour and redirect the society to a real sustainability future. Analysing the ICD/ITKE RESEARCH PAVILION 2011, this case study illustrates that computation design could be the key progression that helps designers achieve their sustainability goals as well as enlarge their design capacity. On the other hand, the emotive city project shows that pluralism in designâ&#x20AC;&#x201D;different ideology and values are required by this time. In A2 design computation, the evolution of design processes and how computation design has become part of it have been discussed. Furthermore, the value of computation design is another main focus in this part. By looking at 2 computation design project, ICD/ITKE RESEARCH PAVILION 2010 and Vaulted Willow | Permanent Public Art Pavilion 2010, the influences of computation has brought to design process had been elaborated in more depth. Furthermore, critical valuation of computation design is also included in these two case studies. Last but not least, the use of computation generation in architectural design process is the main theme of A3 composition/generation. Various generation methods by biological, geometrical and crowd simulation are demonstrated through the case study of ICD/ITKE RESEARCH PAVILION 2014/5 and Galaxy SOHO, Beijing project.

CONCEPTUALISATION

A.5. Learning Outcome

Thanks to this conceptualisation part, my understanding of computation design had been deepened. At the beginning of the semester, I did not realize that there is a difference between computerisation and computation. I thought both of them are just digital design. At this stage, not only did I realize that computerisation is just using the computer as a digital representation tool for better communication while computation actually involves and contributes to the whole design process, especially in generation process. Indeed, at this stage, computation design has been progressed a lot through these decades. It no longer just stands for creating new patterns or geometry shapes that would surprise people. What’s more, computation now has been dogged in specialized multidiscipline collaborations that enable materiality, structure, biological system study and robotic fabrication all become exploring areas that facilitate and open up brand new opportunities that would extend our design boundaries16. What’s more exciting, the developments of compaction simulation allow complex situations not only technical material, structural performances, but also in terms of social functional performances and communication feedback could be able to model digitally and drastically help in architectural decision making. Indeed, with the help of scripting computation tool, in our case grasshopper, much more complex and ambitious design could be achieved. If I have known how to use grasshopper’ contouring and orientation last semester for my DDF project, it could make me so much easier to make changes to my digital model and fabricate, instead of unrolling more than handers pieces by myself. For our garment project, we should take full advantages of computation’s superior patterning/form founding performance, but we should also be careful not to let computation take charge our design. Besides, considering and exploring materials and getting inspirations from natural may be a good way to start our design process. 16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

CONCEPTUALISATION 25

A.6. Appendix - Algorithmic Sketchs

01.

CONCEPTUALISATION

02.

CONCEPTUALISATION 27

03.

CONCEPTUALISATION

CONCEPTUALISATION 29

04.

CONCEPTUALISATION

CONCEPTUALISATION 31

05.

CONCEPTUALISATION

06.

CONCEPTUALISATION 33

REFERENCE Achim Menges, ‘Computational Material Culture’, Architectural Design, 86 (2016), 76-83. Cristiano Ceccato, ‘Material Articulation: Computing and Constructing Continuous Differentiation’, Architectural Design, 82 (2012), 96-103. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–162. Dunne, Anthony ICD & ITKE, ‘Icd/Itke Research Pavilion 2014-15’, University of Stuttgart, (2015) <http://icd.uni-stuttgart. de/?p=12965> [Accessed 10 August 2016]. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 MARC FORNES & THEVERYMANY™, ‘2013 | Vaulted Willow’2010) <https://theverymany.com/publicart/11-edmonton/> [Accessed 10 August 2016]. Mark Fornes, ‘The Art of the Prototypical’, Architectural Design, 86 (2016), 60-67. Minimaforms, 2016].

‘Emotive

City’2015)

<http://minimaforms.com/emotive-city/>

[Accessed

August

Moritz Doerstelmann, Jan Knippers, Valentin Koslowski, Achim Menges, Marshall Prado, Gundula Schieber, and Lauren Vasey, ‘Icd/Itke Research Pavilion 2014–15: Fibre Placement on a Pneumatic Body Based on a Water Spider Web’, Architectural Design, 85 (2015), 60-65. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Patrik Schumacher, ‘Advancing Social Functionality Via Agent-Based Parametric Semiology’, Architectural Design, 86 (2016), 108-13. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Theodore Spyropoulos, ‘Behavioural Complexity: Ecologies’, Architectural Design, 86 (2016), 36-43.

Constructing

Frameworks

for

Human-Machine

Wayne Brown, Introduction to Algorithmic Thinking Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower)

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CONCEPTUALISATION 35

CRITERIA DESIGN

PART B. CRITERIA DESIGN B.1. Research Field B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Technique Development B.5. Prototypes Development B.6. Design Proposal B.7. Learning Outcome A.8. Appendix - Algorithmic Sketchs

CRITERIA DESIGN

B.1. Research Field

Strips and Folding Strips and Folding is one of the common design elements that applied in parametric design Strips usually used in not only highlighting designsâ&#x20AC;&#x2122; structure, but also it form the skin Strips usually use in architectures to form the structure and highlight the shape of the design. Strips as design components, it could be performed in various material systems: intersection, contouring, folding and so on. Furthermore, the material behaviour of the chosen strip material could have significant design impact during the generation process: according to the behaviour, such as flexibility and hardness, curvature bending degrees and circumnutating performance would result in various design outcomes. The IDK pavilion is a good example here to highlight such material impact on design outcome: by testing the bending performance of the thin plywood sheet, the design team end up taking advantage of this behaviour performance and generated the intersecting bending shape, forming as the skin and the structural component of the design at the same time. As a result, different shapes and structural performance could be achieved by material variations. I chose this digital design systems is mainly obsessed the aesthete of the coherent curve fluency and the elegance of the organic shape it utilize. Furthermore, I also think the outcome of it for the garment project could have a lot of potentials due to its well performance for free from organic shape design. Due to the site for the garment project would be human body, adjustable shape would work out for utilizing body figure. Folding is another design stream that works well with strips and surfaces: it could be using in flexible and rigid material systems. As a result, both of smooth curvature organic bending outcome could be achieve, but also systematic repeatable geometry pattern shapes could also accomplish in folding systems.

CRITERIA DESIGN

CRITERIA DESIGN IMAGE SOURCE: HTTPS://INSILICOBUILDING.WORDPRESS.COM/

B.1. Research Field 1.0 Project Name: Curved Folding Pavilion Architect: EEPFL (In Silico Building) This pavilion provides an abnormal combination of folding and curvature. Normally, due to the current domain 2D digital fabrication, rigid curve surface would normally regard as not developable surface and not able to be fabricated. However, with the technology improvidence of robotic fabrication, this pavilion succeeded in bending the metal? Penal into ? surface to achieve the waves ripples effect. With a rough uneven edge for joining each pieces together, this pavilion was able to form a self support structure curvature patterning. Succeed in accomplishing organic shape with rigid material, this pavilion shows the folding system is not limited in performance origami folding which only allow straight lines to be able to fabricate. Nevertheless, the most important logic behind folding system is to study the transforming relationship from 2D line works to 3D special performance. Material performance again plays a important role in such design generation as the material nature would have influence on how the folding would performance. CRITERIA DESIGN

CRITERIA DESIGN

B.1. Research Field 2.0 Project Name: The Archipelago Pavilion Architect: Chalmers Uni Tech Location: Copenhagen, Denmark This pavilion provides an abnormal combination of folding and curvature. Normally, due to the current domain 2D digital fabrication, rigid curve surface would normally regard as not developable surface and not able to be fabricated. However, with the technology improvidence of robotic fabrication, this pavilion succeeded in bending the metal? Penal into ? surface to achieve the waves ripples effect. With a rough uneven edge for joining each pieces together, this pavilion was able to form a self support structure curvature patterning. Succeed in accomplishing organic shape with rigid material, this pavilion shows the folding system is not limited in performance origami folding which only allow straight lines to be able to fabricate. Nevertheless, the most important logic behind folding system is to study the transforming relationship from 2D line works to 3D special performance. Material performance again plays a important role in such design generation as the material nature would have influence on how the folding would performance.

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B.2. Case Study 1.0 Project Name: Biothing Pavilion Architect: Curved Folding Pavilion Location: Silico Building Based on electromagnetic fields(EMF), the Biothing Pavilion was generated by vector line works to â&#x20AC;&#x2DC;self developâ&#x20AC;&#x2122; the marine organism shape from biomimicry algorithmic . Embed the site information into digital data, the project team developed special site analysis method to fulfill the data need for accomplish the algorithmic system and first generate the plan of the design. Then, with the use of mathematical expression sine function, the planar vector lines were elevated in profile and sections. In short, the key algorithmic logic behind this project is the use of electromagnetic fields, accomplishing with the mathematical expression, to stress the strips and folding system by using line works and illustrating in dynamic shape.

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B.2 Case Study 1.0

Spe

Species 1

-Changing Spin Force R/D; -Point Charge

-Chang Curve:

Species 2

Spe

Species 3

Spe

-Adjusting Graph Mapper

-Cull

-Adjusting Graph Mapper -Double Input

-Voro

Spe

-Chan Cos +

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ecies 4

ging Initial : Golden Ratio

ecies 5 Pattern

ecies 6

ornoi

ecies 7

nging Initial Curve: + Sine Equation

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B.2 Case Study 1.0

Species 8

Spe

Species 9

Spe

-Overlaping Curves x3

-Curv

Species 10

Spe

-Changing Initial Curve: Curve x2

-Line

-Curves x3 + Points

-Poin

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ecies 11

ecies 12

ve + Line

ecies 13

nts + Line + Curves

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B.2 Case Study 1.0 Iteration Analysis Selection Criteria -Variation: Aim at achieving very different/ unexpected outcomes from the original Biothing geometry input. The more difference, the more successful. -Complexity: Looking at how different combinations of changing initial geometry inputs and data variates would have influence on Field Line component performance and result in complex outcome as a whole that have hierarchy densities and heights of lines and achieve rich in special layering.

-Potential/ Flexibility: This criteria focus on speculating the further development potential/ flexibility that by following the same species parametric logic to achieve the unique outcome. Besides, high degree of integration with other parametric logics would also be considered.

Iteration 01.

This iteration was a result of a combination script of cull pattern, voronoi and field line. Itâ&#x20AC;&#x2122;s a single dome arch line work, which look like a fire work. By using cull pattern, it enable the points to gather at the central area, which enable the outcome to achieve mainly two type of density line works and defined the space into two area. Furthermore, it has a huge potential to be further develop as cull pattern itself could generate numerous results of points location and thus would lead this combination script into various unquiet outcome. flexibility that by following the same species parametric logic to achieve the unique outcome. Besides, high degree of integration with other parametric logics would also be considered.

Iteration 03.

I like this iteration the most as it has an ancient monad creatures look. It was created by 2 closed curves . At first, I though complex outcome may came from complex curve input, like 3 or 4 overlapping curves. However, this iteration proves that it is not necessary like that. Besides, when blowing up the line works by grapper mapper, it already looks like an intricate pavillion as the line works are in various heigh level.

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Iteration 02. This iteration was a result of the experiment of using line instead of curve as the initial input to generate the field lines. It suprises me as the line work pattern came out really different from the original one. I like the way it sort of mapping the tensor vectors of cobination fo the feld lines. By following a fluent movement path, the overlap pattern gives it a complex outcome.

Iteration 04. By adding the N of Field Line to 499, I got this romantic line work shape which look like the Milky Way. Besides, this iteration has a heigh felxibility as it was generated from 3 overlapping curves, which means it is very easy to manipulate the outcome.

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B3. The Reverse Engineering Project Project Name: Loop 3 Architect: CO-de-iT and UniBologna

This project was form by two structure comp which enabled the membrance to seal on it to skeleton has various orientations towards diff requirement for intersecting in 90 degrees du break this limitation and succeed in using stri within the whole design expressed through th

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Image Source: http://www.arch2o.com/loop_3-co-de-it/

onents: the membrane surface skin and the curvature intersecting strips to form the skeleton. The skeleton acts as the structure frame of the design, o construct the surface. The most worth notable point of this project is the orientation of the skeleton. Forming by various scaled loops, each loop of the ferent directions while at the same time it could still be intersecting and preformed as a contouring system. Generally, contouring system has specific ue to 2D digital fabrication techniques. As a result, most of the contouring designs are generated by parallel panels or strips. However, the loop 3 project ips with various orientation for contouring through a sophisticated intersecting system. Whatâ&#x20AC;&#x2122;s more, the interrelate relationships between each part he parametric computation design process is another notable figure of this design.

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B3. Reverse Engineering Process Stage 1 Initial Circle

Stage 2 Moving Vector

Stage 3 Scale

Stage 4 Move

Stage 5 Adjusting Curve Shapes

Elevations

Stage 5 Adjusting Curve Shapes (experiments)

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Stage 6 Adjusting Curve shapes

Stage 7 Loft

Stage 8 Intersecting Planes

Expose Isometric

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B4. Technique Development Species A

-Changing Initial Curve

Species D

- Replacing other case studyâ&#x20AC;&#x2122;s scripts to achieve similar curve intersecting effect/ open up new opportunities 56

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Species B

-Changing data input of components Scale & Move

Species C

-Experiment various types of Graph Mapper to adjust curvitury shape

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B4. Technique Development Species A

-Changing Initial Curve

Species B

-Changing data input of components Scale & Move

Species A.1

-Changing Initial Geometry Input: from circle to polygon

Species A.2 -Changing Pi input

Species A.3

-Changing Expression Y input

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-Using Graph Mapper instead of Number Slider to b data input of components Scale & Move in consequ

Species C

-Experiment various types of Graph Mapper to adjust curvitury shape

Species C.1

-Using samr graph type: Sine Summation

be able to change uence at once

Species C..2

-Using other graph types

Species B

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B4. Technique Development

Species D

- Replacing other case studyâ&#x20AC;&#x2122;s scripts to achieve similar curve intersecting effect/ open up new opportunities

D.1 Gridshell project D.2 Mario Bellini- The Sphere project D.3 Biothing Pavillion project D.4 Herzog de Meuron- de Young Museum project D.5 Spanish Pavillion + AA Drifwood Pavillion project

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B4. Technique Development 1. Species B

Species C.1

Species C.2

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B4. Technique Development -Species D

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B5. Prototypes Development

Prototype 01

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Issuus

Details Joint Details

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B5. Prototypes Development

Prototype 02

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Testing

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Prototype 03

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B8. Appendix - Algorithmic Sketches

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