Air journal part a by Jiayi Chen

Contents Introduction Aâ&#x20AC;&#x192; Readings & Precedents A.1â&#x20AC;&#x192; Design Futuring A.2 Computing Design A.3 Computation Works A.4 Conclution A.5 Learing Outcome A.6 Appendix - Algorithm Sketches

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My name is Jiayi Chen, a year 3 undergraduate student majoring in architecture in University of Melbourne, under the Bachelor of Environments. At first, I chose to study architecture simply because of the potential of the real estate market in China. Not until I saw the Japanese Architecture in purism did I started to think about what I can actually express or create by designing. I am impressed by purism and the application of timber structure in Japanese architecture. However, more recently, I started to learn parametric software and I found this tool was amazing. I think in my furture study, I will spend more time on parametric design than before. In Studio Air, I have got a chance to design something with Grasshopper in Rhinoceros, which allows me to explore the possibilities in parametric design.

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Digital Design of Fabrication

Studio Earth

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A.1 Design Futuring

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t is obvious that the environment is getting worse due to different issues caused by human. The overgrowth of population and the rapid development of industry have resulted in environmental problems like pollution, climate change, greenhouse effect and the shortage of resource. In Design Futuring, Fry indicated that the damaging environment could be secured by design, which included two steps: slowing the rate of defuturing and redirecting the design to sustainable mode. [1] Slowing the rate of defuturing Design democracy, deregulated pluralization of design activity, allows people to be the designer and to make their own product superficially. This kind of ‘design’ make designing process less valuable and lack of styles. On the contrast, democratic design, designing and producing according to the actual need of people, creates things that are for everybody or the majority at least.

According to Fry, design democracy is defuturing since customers take part in some of the design processes. Customers tend to follow the trend or follow what others think is good. Therefore, designing might become lack of style and creativity. Besides, people, as ‘designers’, might create so many products that the amount will go beyond their needs. Because of this, design democracy is accelerating unsustainability to a certain extent. In democratic designing, the products are designed and produced according to the taste and need to the majority. This helps to save resources to a certain extent. However, is democratic design also defuturing or, is it slowing down the progress of creating as well? When people start to follow one trend and style, it is hard to make them accept new staffs in a short time since it might takes a long period for people to change their mind and awareness about what is fancy or trendy. This might drag the design progress a bit. One exception maybe that new designs are brought out by relied company, such as Ikea. With the brand effect, people might accept new design concept quickly.

Redirecting design Redirecting design means to rethink about what design can do, find out the error or improper process in the existing design system. Then it is to refine the system and reorient it to a new way, which is more appropriate. Design Intelligence In order to redirect design well with more democracy, design intelligence is applied and it is able to provision the performance of the design in either sustainability or unsustainability. This technique encourages designer to design in action during paperwork or digital process. [1]

As for redirecting design and rethinking about what design can do, maybe the inter-communication among multidiscipline will help the process towards sustainability. The mode with only designing and building may not be enough for the final goal. While reorienting design, it would be better if we can convey the idea of sustainability more widely with the support of concise data (from design intelligence) and public media. By doing so, the concept of sustainable design will root in people’s mind. Even though, there is one more problem, which is the cost. In this case, the supporting of the governors is extremely importance. By whatever means, lowering the price or reducing the tax, there is always a way to promote the environmental-saving concepts.

1. FRY TONY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG,2008), PP. 1-16

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ith the use of parametric design, more and more architects try to impress the city with their amazing forms or structures as an icon. However, Oppenheim Architecture + Design tried to redirect the awareness of impressive design Chad Oppenheim considers that not only the form but also the health and ecology behind the building are also important and he conveys this idea via the COR Tower [1]. Located at Miami, the COR Tower utilizes wind turbines to use the strong wind in this coastal city and generate power for itself. Other than using wind turbines, Oppenheim also utilizes photovoltaic panels and solar hot water generation to reduce energy cost. [1]

A.1.1 Precedent 1 COR Tower, Miami, United States, 2010 by Oppenheim Architecture + Design

The next thing Oppenheim wants to redirect is the concept of green building. He indicates that green building is not only about energy, but also about the feeling in the space and the health of people as well as the Earth [2]. The roof terrace is designed with lots of plants to create a comfortable environment for people. In terms of material, renewable material (bamboo) is used for the flooring, which was environment-friendly and encourage sustainability. The interaction between human and the building is important to how people view the concept behind the design (this will be further discussed in the case study oh RMIT Design Hub).

1. INHABITAT, ‘NEW GREEN TOWER IN MIAMI – THE COR BUILDING’ (2006), <HTTP://INHABITAT.COM/NEW-GREEN-TOWER-IN-MIAMI-THE-COR-BUILDING/> 2. ARCHDAILY, ‘AD INTERVIEWS: CHAD OPPENHEIM/COR TOWER IN MIAMI’ (2010), <HTTP://WWW.ARCHDAILY.COM/87030/AD-INTERVIEWS-CHAD-OPPENHEIM/>

Top: COR [1] Bottom Left: Analysis [1] Bottom Right: Terrace [2] 1. MINNER KELLY ‘COR’ (2010), <HTTP://WWW.ARCHDAILY.COM/87063/COR-OPPENHEIM-ARCHITECTURE-DESIGN> 2. LEE EVELYN ‘THE COR TOWER’ (2006), <HTTP://INHABITAT.COM/NEW-GREEN-TOWER-IN-MIAMI-THE-COR-BUILDING/>

elebrating the sheer repetition with over 16,000 sandblasted glass discs [1], the RMIT Design Hub is criticized due to its façade. The discs on the façade are initially designed to be solar gaining and able to track the sun [2]. However, the technology was not advanced enough to fulfill this goal in 2012 [3]. Fortunately, the technology managed to catch up with the concept in 2016 and it has been decided to replace a certain numbers (limited by the structure) of the discs. However, the main problem about the Hub is not the function of the discs, but the falling problem of the discs. There have been some discs falling from the façade to the pedestrian walkway since the building was constructed, which has been controversial. Because of the risk of injury, pedestrians have been protected by scaffolding for several years.

A.1.2 Precedent 2 RMIT Design Hub Melbourne, Victoria, Australia, 2012 by Sean Godsell

There is no doubt that the concept of the Hub is to build a green design. However, the risk it brought to the public affects how people view this high costed design. Few people will accept one design that has a hidden danger. In the case of Design Hub, even though the glass discs are going to be replaced, it is still questionable whether the new solar gain discs will fall or not. Besides, without the scaffolding, is it safe to walk besides the building? Under this situation, people’s focus will be the safety problem rather than the sustainable design and the interaction between people and the building becomes unfriendly. People are not enjoying the built environmetns, rather, they trys to advoid it sometimes.

1. SMITH MICHAEL, ‘THE RED + BLACK REVIEW: RMIT DESIGN HUB’ (2013), <HTTPS://THEREDANDBLACKARCHITECT.WORDPRESS.COM/2013/02/28/THE-RED-BLACK-REVIEW-RMIT-DESIGN-HUB/> 2. LUCAS CLAY, ‘RMIT TURNS BUILDING’S BROKEN GLASS INTO RAY OF SUNSHINE’ (2016), <HTTP://WWW.THEAGE.COM.AU/ VICTORIA/RMIT-TURNS-BUILDING-FLAW-INTO-A-GREEN-ENERGY-POSITIVE-20160225-GN3QE7.HTML> 3. DAVIES ALAN, ‘CAN RMIT KEEP SPINNING THE DESIGN HUB STORY?’ (2016), <HTTPS://BLOGS.CRIKEY.COM.AU/THEURBANIST/2016/02/29/CAN-RMIT-KEEP-SPINNING-THE-DESIGN-HUB-STORY/>

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Top: Facade [1] Bottom Left: RMIT Design Hub [2] Bottom Right: Rotated discs [3]

1. ARCHDAILY ‘RMIT DESIGN HUB / SEAN GODSELL’ (2013), <HTTP://WWW.ARCHDAILY.COM/335620/RMIT-DESIGN-HUB-SEAN-GODSELL> 2. SEANGODSELL ‘RMIT DESIGN HUB’ (2012), <HTTP://WWW.SEANGODSELL.COM/RMIT-DESIGN-HUB> 3. THROUGHVINSLENS ‘RMIT DESIGN HUB’ (2017), <HTTP://WWW.THROUGHVINSLENS.COM/RMIT-DESIGN-HUB.HTML> CONCEPTUALISATION 15

A.2 Designing Computation

3. H

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omputing design has influenced architectural design in a great deal since the emerging of computing technology. According to Digital in Architecture, curvilinear surface or volume became an exploited determinant style of architecture design since the end of 20th century [1]. For the reason that computer is capable to calculate and generate outcome rapidly without mistakes, it makes the design process easier at a certain extent. As things become convenient and efficient, designers generally focus on the intricacy of design and celebrate this by non-standard form. Parametric designing helps to generate various differentiations for non-standard formation and it is able to exam, and evaluate the performance of the design using specific programs. In this case, computing design also allows expert from multidiscipline communicate and discuss according to digital model or data before the design is constructed [2]. With parametric designing, the way that designers generate forms also changes to scripting and writing algorithms.

Being a part of designing process, computing design has made a lot changes to the mode of designing and it will be more essential to designing within the backdrop of the Hi-Tech age. It is evident that computing design is redefining the designing practice [1]. Yet computing is not going to replace human since it is lack of creativity and intuition. Besides, it is hard to communicate from human to computers so that computers are not able to read human’s thoughts and ideas. However, it is still possible that computer someday will replace human in the process of design. Once the large amount of information, human experience, designing cases, strategies and rules are input to computers and they become capable to generate ideas as human does after analyzing the data. Building Management System can be one of the example. After collecting the enough data from the building, the BMS is able to control how the building behave [3], such as closing the shading for the windows or adjust the air-conditioning when it senses the interior temperature is too high for people. This happens, certainly, due to the programing that IT engineers have created. However, this kind of programing is also possible to be applied to AI or designing software. If this assumption come to someday, designers might lose their superiority and domination to computers.

1. YEHUDA E KALAY, ‘ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES AND METHODS OF COMPUTER-AIDED DESIGN’, (CAMBRIDGE, MA: MIT PRESS, 2004), PP. 1-25 2. RIVKA AND ROBERT OXMAN, ‘THEORIES FO THE DIGITAL IN ARCHITECTURE’ (LONDON; NEW YORK: ROUTLEDGE, 2014), PP. 1-13 ONEYWELL, ‘HVAC AND BUILDING MANAGEMENT SYSTEMS’, (2017), <HTTPS://BUILDINGSOLUTIONS.HONEYWELL.COM/EN-US/SOLUTIONS/HVACBUILDINGMANAGEMENT/PAGES/DEFAULT.ASPX>

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ermeable Fibrosity is an unbuilt project for Rio Domestic Ferry Terminal by Che-hung Chien. The overall form of this terminal is created with programming and nurbs modeling software. With the assistance of computing, Chien created such a fibrous, multicurvilinear form with high intricacy [1]. However, the form itself is still in specific order and is not hard to read and understand. Chien also trys to integrate sustainable design in this proposal as he puts greens in the gaps along the structure. What is impressive is that, this form of the design is engaged with the natural environment of Rio de Janeiro. Firstly, the curve shape of the terminal is, more or less, following the mountain shape of Rio de Janeiro. Secondly, the terminal itself is interacting with the high or low tide according to the time in a day, which made the architecture more interesting to experience.

A.2.1 Precedent 3 Permeable Fibrosity (Rio Domestic Ferry Teminal) by Che-Hung Chien

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While practicing parametric design, the conventional thought about environment should not be abandoned which pursuing amazing forms. Computing design has been exploited a lot by designers to achieve unique forms and sometimes they tend to pay less attention to the relationship among human, building and the surrounded environment. For example, the Dongdaemum Design Plaza in Seoul, South Korea was made in an iconic shape and this amazed the local people a lot at first. However, without sustainable design nor proper communication with local design community and culture, DDP has been left as a national icon. Without connection with local environment or culture, the building may be an icon at anywhere else in the world. Hence, parametric design also need to fit itself into the context of the site. Another problem about parametric designs and building is the maintenance cost. Due to the intricacy and the non-standard form of parametric design, the cost of maintenance can be extremely high and the process can be so complex that special skill labors are needed. Simplifying the structure while making it parametric is also important during the designing process.

Top: Exterior [1] Bottom: Interior [1] 1. CHIEN CHE-HUNG, ‘PERMEABLE FIBROSITY (2016)’, <HTTP://CARGOCOLLECTIVE.COM/CHE_HUNG_CHIEN/PERMEABLE-FIBROSITY-2016>

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C A.2.2 Precedent 4 Elbphiharmonie Concert Hall, Humburg, Germany, 2017 by Herzog & de Meuron

omputing design is also utilized in analyzing the structure of the building, solar gain for shading control and human experience, such as sound. With computing analysis, designing can be very accurate.

As a concert hall, the sound performance with in the Elbphiharmonie concert hall is very essential. In order to bring sound together effectively satisfying every performer and audience, more than 10,000 algorithm-designed acoustic panels are used to achieve the goal. There are over 100 controls for the panels in the algorithm process. The distance and the relative position between every panel and the audience defines the depth, size and angle of each acoustic panel. All factors are input to the computing system and it is the program that generate all of the panels. With computing analysis, human experience within the architecture can be predicted, analyzed and refined, which will push the experience to a higher class [1]. Computing technique is useful in solving problem with complex data for designer. With this digital medium, designers and fabricators are capable to communicate more easily during the fabricating process since the data and information of the design are stored in the software, where information can be read more straightforward than drawings on paper.

1. HARTEN ARTHUR, ‘PACHYDERM ACOUSTICAL SIMULATION: TOWARDS OPEN-SOURCE SOUND ANALYSIS’, (ARCHITECTURAL DESIGN, 83, 2, 2013), PP. 138-139 2. D’ESTRIES MICHAEL, ‘HOW A COMPUTER ALGORITHM GAVE HAMBURG’S NEW CONCERT HALL ITS INCREDIBLE SOUND’, (2017), <HTTPS://WWW.MNN.COM/LIFESTYLE/ARTS-CULTURE/BLOGS/HOW-COMPUTER-ALGORITHM-GAVE-HAMBURGS-NEW-CONCERT-HALL-ITS-SOUND> 20

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Top: Elbphiharmonie Concert Hall [1] Bottom Left: Wall Panel [1] Bottom Right: Concert Hall [1] CONCEPTUALISATION 21

A.3 Computing Works

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The process of generating through algorithm or computing requires the understanding of the inner logic about how things work. Instead of using computing only as a tool, understanding the principle of it will provide more possibilities and alterities to the design. Since the generation of a design is controlled by parameters and based on the relationship between parameters and information, making appropriate changes to these two parts will allow more exploration of new ideas. Besides, the diversity and flexibility of computing stimulate compositions with different logics. For example, computation is capable to generate a tree by mimicking the growing process of the tree with parametric definition, or by visualizing it in software according to how it is like visually. Apart from this, computing is also able to create abstract forms by scripting or writing parametric definitions. In this case, computing become a design-forming tool rather than just a tool to present the existing ideas that are already in designers’ mind.

lgorithm is a language that contains rules and operations that computers or relative software can read. Algorithm, as a helpful tool or means to achieve complex geometries and analysis, is telling the computer what to do [1]. This medium has redefined architectural practices a lot in terms of dealing with complex information, visualizing information through models and providing broader exploration of ideas and inspirations.

In the architectural discourse, computing is a potential medium for designers to make complex ideas come true in a much easier way. It acts also as an assistant to analysis the performance of the design, allowing designers to refine the design to a desired stage. With computing technology and its giant possibility, people’s value about design may change repeatedly in following decades after seeing various amazing architectural forms or structures.

1. WILSON, ROBERT A. AND FRANK C. KEIL, EDS, ‘DEFINITION OF ALGORISM’, (THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES, LONDON: MIT PRESS, 1999), PP. 11-12 2. MENGES ACHIM, ‘MATERIAL RESOURCEFULNESS: ACTIVATING MATERIAL INFORMATION IN COMPUTATIONAL DESIGN’, (ARCHITECTURAL DESIGN, 82, 2, 2012), PP. 34-43

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he Spanish pavilion is a complex curved geometry framed by a steel framework and covered by a wicker façade. The structure of the pavilion isgenerated by NURB software and the size and geometry of every wicker panel on the façade is created and adjusted with Grasshopper and FEM (finite element method) [1]. These methods allowes optimized solution of form for the design according to computational analysis, which satisfies the structural and aesthetical need of the architecture. Computing architectural design allows designers to generate design in a more convenient way. However, there is still gap between computing design and actual construction. The initial idea for the façade is that the building should be covered by several large-span wicker panels that simply attached to the steel structure, which are replaced by hundreds of small wicker panels that weaving with the one next to them. This giant change is due to the property of the wickers. For fabricator, it is hard to produced such a large-span wicker. Instead, the designers change the façade in to hundreds of wicked panels and this brought a better outcome. Since the structural frame is in curvy shape, the orientation of the small wickers that installed onto the structure are following the curvature of the steel structure, allowing optimally exploits the structural characteristics into the architectural form.

A.3.1 Precedent 5 The Spanish Pavilion at Shanghai Expo, 2010 by Miralles Tagliabue (EMBT)

In this case, it is not hard to see the disadvantage of computing design is lack prediction in the practice of material. Although designers can define a material and analysis its performance via algorithms in designing software, it is still hard to predict the fabrication process. When design is becoming more and more complicated, whether the fabricating technique and material property can catch up with the cutting-edge design ideas remains unknown. The good news is that it has been an undergoing task to create such an assisting material base (plugin) for more accurate material analysis [2]. This kind of material system will be more useful if it keeps updating itself with current progress of technology and information in terms of materiality.

1. CALZON JULIO.M AND JIMENEZ CARLOS.C, ‘WEAVING ARCHITECTURE: STRUCTURING THE SPANISH PAVILION, EXPO 2010, SHANGHAI’, (ARCHITECTURAL DESIGN, 80, 4, 2010), PP. 52-59

Top: The Spanish Pavilion (render) [1] Bottom: The Spanish Pavilion [2] 1. E-ARCHITECT ‘SHANGHAI EXPO PAVILION – SPANISH DESIGN’, (2008), <HTTPS://WWW.E-ARCHITECT.CO.UK/SHANGHAI/SHANGHAI-EXPO-2010> 2. ARCHDAILY ‘SPANISH PAVILION’, (2015), <HTTP://WWW.ARCHDAILY.COM/776892/INTERVIEW-WITH-BENEDETTA-TAGLIABUE-LOOKING-AT-BUILDINGS-AS-IF-THEY-WERE-DECOMPOSING-AND-BECOMING-NEW-SKETCHES>

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FIG.1: (EXPLAIN HERE & REFERENCE AT THE END OF YOUR DOCUMENT)

he system of the White Noise Pavilion is made up of arches that consist of multiple layers of rods. The inclination between neighboring elements determines the number of connections between them. In terms of formation, the irregular layout of aluminum rod is totaling generated by algorithm in Grasshopper [1]. What makes the pavilion structure more interesting is that the structural performance is analyzed by Karamba, a plugin of Grasshopper for analyzing structural performance under external load, and the structural is optimized for the material efficiency. The optimized form make the cost of the construction lower with as less amount of aluminum as possible in use. In this case, computing is not only used to generate forms, but also to refine the form with its performance.

A.3.2 Precedent 6 White Noise Pavilion, Salzburg, Austria, 2013 by SOMA

Questions about whether designers will be replaced by computation has been asked often since computing technique was integrated with designing. However, the fact is that designing and the way people read design are both subjective. The thought in people’s mind and their value towards aesthetics and creativity never stop changing. Whereas computation, a tool created by human, is finite eventually even though giant data bases is input to computing software, unlike the infinite thoughts from human being. Therefore, it is hard for computing design to surpass human design. Currently, computing design is exploited just because of the trend and the fame it brings to the designers. However, trend is decided by human, not computer or its algorithm. Hence, design is hardly possible to be replaced by computers.

1. PREISINGER CLEMENS, ‘LINKING STRUCTURE AND PARAMETRIC GEOMETRY’, (ARCHITECTURAL DESIGN, 83, 2, 2013), PP. 110-113

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Top: Aluminum rod [1] Bottom: White Noise Pavilion [1]

In the case of White Noise where the external force is analyzed by computer and the form was optimized with that analysis in a greatest extent, a different question can be discussed: whether structural engineers will be replaced by computers. The structural behavior can be predicted by Karamba plugin and more and more plugin and software will be created to satisfy the need of optimization in architectural design or civil design. Analysis comes up automatically under relatively easy operation in the software so that designers can finish the analysis themselves instead of integrating with structural engineers. This kind of mono-disciplinary mode save time and provide efficiency. However, it go against the call for interdisciplinary communication. If the work engineers do can get done by computers, attendance to this study field will probably be less attached and relative employees will be less needed.

1. ARCHELLO â&#x20AC;&#x2DC;MOBILE ART PAVILION WHITE NOISEâ&#x20AC;&#x2122;, (2015), <HTTP://WWW.ARCHELLO.COM/EN/PROJECT/MOBILE-ART-PAVILLON-WHITE-NOISE>

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A.4 Conclusion

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Computing design Computing design has influenced architectural design in terms of formation, designing optimization, performance analysis and multi-field communication. With computing design, designers are now able to generate impressive form through algorithm, from dramatic curvy form to biomimicry. We can now extract the idea from the infinite nature and apply the logic to our design. With several case studies in three different themes related to computing (parametric) design, I explore a lot from the emerging of computing design to its application in contemporary architectural design.

Design Futuring Designing is meant to make humanâ&#x20AC;&#x2122;s life better though, with development that carries negative environmental impacts, the environment we designed has been damaged to various extent. What we need to do is to save the environment by designing sustainably. In architectural field, rethinking about what design can change and improve to the environment is very essential in this age. Sustainability has rooted in most designersâ&#x20AC;&#x2122; mind, but not in the minds of those who are not expert to this term, especially developers and consumers who may care their money a lot more than the environment. To change to current situation, not only designers, but also the governments thee education should be engaged to fulfill the final goal. Besides, we need to be careful of the process of advocating through design. Once sustainable design with severe negative impact or safety risk is constructed and reported by the public or media, peopleâ&#x20AC;&#x2122;s value towards sustainability will more or less changed and an negative impression was left to people.

Besides, more accurate analysis of building performance is provided by various cutting-edge technology and software. With these analysis, designers can optimize the design according to their need to improve the building performance to the highest level. Furthermore, with digital model, the communication between designers and constructors become easier and more efficient.

Computation works and generation Different from the traditional designing method that basically starts with sketches on paper or sketch modeling on computer (computerization), computation design is to start with writhing scripts or algorithm in programming software and the design is totally defined by the written definition. By building up digital architectural model with algorithm in parametric software, architects can create various form in a very short time by changing the parameters that defines the architectural form. The computing technology can also help with performance analysis and optimization. What we need to pay attention is the challenge that computation brings to the society, especially the problem of employments. The relationship between human and computation needs to be considered and we need to balance the advantage and disadvantages that computation brings.

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A.5 Learning Outcome

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Through first 3 weeksâ&#x20AC;&#x2122; study in Studio Air, my opinion towards computing design and parametric design has changed a bit. I realized that computing is not just a tool for architects to create crazy impressive form. I think the most intelligent way to utilize computing design is to generate creative form with optimization based on relative building performance analysis and design in a way that can help to shape better environment. Apart from this, I also get started to play with parametric software such as Grasshopper, which is very interesting and I think there will be lots of potential and challenges while exploring Grasshopper.

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1. ArchDaily, ‘AD Interviews: Chad Oppenheim/COR Tower in Miami’ (2010), <http://www.archdaily.com/87030/ad-interviews-chad-oppenheim/> 2. ArchDaily ‘RMIT Design Hub / Sean Godsell’ (2013), <http://www.archdaily.com/335620/rmit-design-hub-sean-godsell> 3. ArchDaily ‘Spanish Pavilion’, (2015), <http://www.archdaily.com/776892/interview-with-benedetta-tagliabue-looking-at-buildings-as-if-they-w 4. Archello ‘Mobile Art Pavilion White Noise’, (2015), <http://www.archello.com/en/project/mobile-art-pavillon-white-noise> 5. Calzon Julio.M and Jimenez Carlos.C, ‘Weaving Architecture: Structuring the Spanish Pavilion, Expo 2010, Shanghai’, (Architectural Design, 80, 4 6. Chien Che-Hung, ‘Permeable Fibrosity (2016)’, <http://cargocollective.com/che_hung_chien/Permeable-Fibrosity-2016> 7. Davies Alan, ‘Can RMIT keep spinning the Design Hub story?’ (2016), <https://blogs.crikey.com.au/theurbanist/2016/02/29/can-rmit-keep-spinn 8. D’estries Michael, ‘How a computer algorithm gave Hamburg’s new concert hall its incredible sound’, (2017), <https://www.mnn.com/lifestyle/ 9. E-architect ‘Shanghai Expo Pavilion – Spanish Design’, (2008), <https://www.e-architect.co.uk/shanghai/shanghai-expo-2010> 10. Fry Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg,2008), pp. 1-16 11. Harten Arthur, ‘Pachyderm Acoustical Simulation: Towards Open-Source Sound Analysis’, (Architectural Design, 83, 2, 2013), pp. 138-139 12. Honeywell, ‘HVAC and Building Management Systems’, (2017), <https://buildingsolutions.honeywell.com/en-US/solutions/hvacbuildingmana 13. Inhabitat, ‘New Green Tower In Miami – The COR Building’ (2006), <http://inhabitat.com/new-green-tower-in-miami-the-cor-building/> 14. Lee Evelyn ‘the COR Tower’ (2006), <http://inhabitat.com/new-green-tower-in-miami-the-cor-building/> 15. Lucas Clay, ‘RMIT turns building’s broken glass into ray of sunshine’ (2016), <http://www.theage.com.au/victoria/rmit-turns-building-flaw-into 16. Menges Achim, ‘Material Resourcefulness: Activating Material Information in Computational Design’, (Architectural Design, 82, 2, 2012), pp. 34 17. Minner Kelly ‘COR’ (2010), <http://www.archdaily.com/87063/cor-oppenheim-architecture-design> 18. Rivka and Robert Oxman, ‘Theories fo the Digital in Architecture’ (London; New York: Routledge, 2014), pp. 1-13 19. Preisinger Clemens, ‘Linking Structure and Parametric Geometry’, (Architectural Design, 83, 2, 2013), pp. 110-113 20. Seangodsell ‘RMIT Design Hub’ (2012), <http://www.seangodsell.com/rmit-design-hub> 21. Smith Michael, ‘The Red + Black Review: RMIT Design Hub’ (2013), <https://theredandblackarchitect.wordpress.com/2013/02/28/the-red-black 22. Throughvinslens ‘RMIT Design Hub’ (2017), <http://www.throughvinslens.com/rmit-design-hub.html> 23. Wilson, Robert A. and Frank C. Keil, eds, ‘Definition of Algorism’, (The MIT Encyclopedia of the Cognitive Sciences, London: MIT Press, 1999), pp 24. Yehuda E Kalay, ‘Architecture’s New Media: Principles, Theories and Methods of Computer-Aided Design’, (Cambridge, MA: MIT Press, 2004), p

A.6 Appendix - Algorithm Sketches

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were-decomposing-and-becoming-new-sketches>

4, 2010), pp. 52-59

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agement/Pages/default.aspx>

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k-review-rmit-design-hub/>

p. 11-12 pp. 1-25

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[surface divide domain line pipe]

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[populate points voronoi 3D random cull coloring according locations]

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[one triangle morph to target surface]

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[surface, point surface cp evaluate rotate 3d vector align plane]

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