Christian_Joshua_733315_PartA by Joshua Christian

AIR Algorithmic Journal

Joshua Christian 733315 Studio 14

Architecture is the will of the age conceived in spatial terms - Ludwig Mies Van Der Rohe 2

Content Introduction Part A: Conceptualization 0.1 Design Futuring 0.1.1 Mesiniaga (IBM) Tower 0.1.2 Cardboard Cathedral 0.2 Design Computation 0.2.1 Serpentine Sackler Gallery 0.2.2 ICD/ITKE 2014-2015 Pavilion 0.3 Composition and Generation 0.3.1 MOCAPE 0.3.2 Elbphilharmonie 0.4 Conclusion 0.5 Learning Outcomes 0.6 Appendix - Algorithm Sketches

Introduction

My name is Joshua Christian, I was born on 30th March 1997, and I am from Jakarta, Indonesia. I am a student in University of Melbourne, third year, first semester in the Bachelor of Environments, majoring in Architecture. I have learned about design since July 2014. I was taught about the process and history of design, how it can be applied to other stream of design such as fashion design, movies, and furniture. Throughout my learning progress, I have learned that design is what I like, it is a iterating process that is similar with writing an essay but with forms and aesthetics. I have learned digitalized design since semester 2 of 2015, in the Visualizing Environments subject. I learned Photoshop, Indesign, Autocad, Rhino, Sketchup, and currently still learning these softwares and a new one lately, Revit. Iâ&#x20AC;&#x2122;ve seen a lot of architects use these kind of tools to create architecture. I believe these tools are great in designing buildings, to visualize the building easily. Comparing the life of architects before CAD, I am lucky enough to be born in the digital era where 3D modelling exists. It really helps me to be more accurate in capturing the condition of the built structure especially with BIM. These softwares help architects to create building, but it is difficult to create a more ambitious building such as neo-futurism movement, like Zaha Hadidâ&#x20AC;&#x2122;s building. Computational design takes an important place here. I have never touched computational design before, but I have learned a bit about its language, which is python coding that I learned about 2 years ago. I believe computational design has a large prospect for future architecture. It really helps and aids architect to visualize a complex, repetitive patterns in designing a building. The clear example is ITKE reasearch pavilion that takes a research in parametric design, and 2015 NGV summer architecture by JW Architects. I am hoping that through this subject, I could be one of the architect that looks to the future of design in the manner of computational, because I believe, this can be an integration between Engineering and Architecture.

Visualizing Environments

Studio Water, Interior Shot Studio Earth: Hero Shot

Studio Water, Hero Shot 5

Conceptualization 6

0.1 Design Futuring 8

In recent years, design is concerning the sustainability of our environment. Tony Fry addresses this concern clearly through his book: Design Futuring: Sustainability, Ethics and Politics. We see that environmental concern has to be raised by every single person on the earth. Fry clearly argues that today’s society often disregard sustainability, in which may cause a natural cataclysm that leads to extinction, should we not concern with our environments[1]. Sustainable architecture has been a focus in contemporary practice, however, it is not complete yet. Fry aimed to achieve a mental revolution to change how we practice our architecture today, a redirection for the better future. This perhaps may be achieved by the use of design that is addressed by Anthony Dunne and Fionna Raby, in their book: Speculative Everything [2]. The book invites us to think “what if?” of the future, instead of shaping our future. It provides a insight of posisibilities of the future.

Critical Design that is addressed by Dunne and Raby provides an insight on how design provides a reflection. It may be a controversy to some, but it opens possibility to have a different reality. The question of “what if” is expressed clearly through this critique. It is a rather an intriguing and interesting thesis to vew design from other point of view. Since Dunne and Raby opens up another possible use of a design, critical design could be used to criticize the current architectural practice. Such use can reflect, re-contemplate, and re-configure any practices in any time. It provides an insight, a possibility, of the future. However, it is quite clear that today’s architectural focus is on sustainability, like Fry mentioned, to prolonged the upcoming cataclysm. We can envision now on one possible future that we are moving towards to. In a latter time, perhaps the idea that is focused today would be seen as obsolete and there would be another re-configuration of the future architectural practice. This, is also a possible future.

However, one crucial point that is made by Dunne and Raby is that Design Critique. Design are often thought as a process of problem solving, however, Dunne and Raby enlighten us with a new perspective of design, as a dream, as a tool to foresee the possible future, and as a communication that leads to critique.

[1] Tony Fry, ‘Introduction’, in Design Futuring: Sustainability, Ethics and New Practice (Berg: Oxford, 2008), pp. 1-16. [2] Anthony Dunne, and Fiona Raby, ‘Introduction; Critical Design’, in Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2016), pp. 1-9, 33-45.

0.1.1 Mesiniaga Tower Location: Selangor, Malaysia Date finished: 1992 Architect: T. R. Hamzah, Ken Yeang

Mesiniaga Tower, or IBM Tower, was the first modern bioclimatic architecture, created by Kenyang. It has the passive design features in both internal and external part of the building. These feature create a low-energy building, which is suitable for Kuala Lumpur’s tropical climate. The tower includes a spiral garden-teraces, or what Yeang called “Vertical Landscaping”, that spirals 3 stories upward, to reduce heat gain of the building. The tower also includes PV panels as an energy resource to reduce the electricity usage from the grid. [1] This bioclimatic tower also includes passive strategies such as natural ventilation and air circulation, hsadings, glazing, and aluminun louvers to prevent heat gain, thus reducing the use of air conditioning. This tower influenced other architects in Southeast Asia in adopting the bioclimatic principles, since this region has a tropical humid climate. [2]

this was seen as a breakthrough, and a radical innovation, since this is a pioneer, to the world of architecture. This building perhaps brought consciousness on the importance of sustainability. It perhaps made the architects then reflected on their practices. This building, could be said, marked the origin of current eco-tower possibilities. Furthermore, perhaps at that time, this was seen as a possibility of a future architectural practice, a focus on sustainability, that is currently being implemented. Perhaps, now this building is not so regarded as a “future”, but looking at the context and the time it was being built, this tower perhaps was seen as a futuristic design, without taking into account the possibility of computational design at that time.

In my own perspective, this building is unique. Compare to other contemporary building, perhaps this building is disregard. However, this tower is the pioneer of many eco-towers, which could be debated that without this tower, there would not be any eco-tower currently. At that time, perhaps

[1] T. R. Hamzah, and Ken Yeang, ‘Menara Mesiniaga Features Bioclimatics’2010) <http://www.solaripedia.com/13/302/ Menara+Mesiniaga+Features+Bioclimatics+%28Malaysia%29.html >. [2] David Douglass-Jaimes, ‘Ad Classics: Menara Mesiniaga / T.R. Hamzah & Yeang Sdn. Bhd.’, Archdaily, (2015) <http:// www.archdaily.com/774098/ad-classics-menara-mesiniaga-t-r-hamzah-and-yeang-sdn-bhd >.

Mesiniaga (IBM) Tower, Photograph by Aga Khan Developing Network (circa 1993-1995)

Axonometric Diagaram

Concept Sketches 11

0.1.2 Cardboard Cathedral Location: Christchurch, New Zealand Date finished: 2013 Architect: Shigeru Ban

The Cardboard Cathedral, is an A-formed church that is made from 98 equally sized cardboard tubes and 8 steel shipping containers, made by Shigeru Ban. It is said to be one of the safest, earthquake-proof buildings in Christchurch, New Zaland. The idea of a building, created from a recycled cardboard has been the distinction of Shigeru Ban [1]. This building is also seen as an innovative and environmentally conscious for its use of recycled peper tubes as a building material. Ban said that this building was to be practical, economical [2]. This building, could be said, represents one way to sustain the environment. Personally, the idea of recycling materials for architecture is quite rare currently. This innovation may perhaps influenced future architects to follow Ban’s steps in using recycled materials, since current architectural practices focuses on low energy usage materials, but not recycled materials.

It also acts as a reminder and critique to current architectural practice, in which aims for complexity and extravagant, instead of simplicity and humility. This building may not last long, since it is a temporary building, but hopefully, this innovative idea of recycling would be implemented in the future. Other than sustainability issues, the use of recycled materials as a building materials reduce the cost and time of the construction, therefore, more efficient. Should this idea is taken into account in the future, there is a possibility that architectural practice will be based on this idea. Its economical and efficient value perhaps can improve the society in a whole, providing structures for the homeless, quick assembly and disassembly, making it portable. Although it may not be real, it is still, another possibility.

This building perhaps opens up another possibility of the future, where there would be a revolution of architectural practice that take the path of recycling. This future, is possible and also plausible, to have a sustainable environment.

[1] Karissa Rosenfield, ‘Newly Released Photos of Shigeru Ban’s Cardboard Cathedral in New Zealand’, Archdaily, (2013) <http://www.archdaily.com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand >. [2] Andrews Barrie, ‘Shigeru Ban and the Cardboard Cathedral’, ArchitectureAU, (2013) <http://architectureau.com/ articles/christchurch-transitional-cardboard-cathedral-1/ >.

Courtesy of Christchurch City Libraryâ&#x20AC;&#x2122;s Flickr

Exploded drawings

0.2 Design Computation 14

Technology has developed significantly, and it sure has affected the practice of Architecture today. This effect has impacted this practice that it might have what Oxman [1] called the Vitruvian Effect. It has evolved significantly into the practice that it change the whole process from conceptualizing to fabrication in architecture. Perhaps, we are now in a progress to utilize the technology as a tools to process and fabricate the design concept. Different than the traditional architectural practice, we now cultivate the ideas digitally, using algorithm and parametric approach. This is called computational design. Not to be confused with computerizaion, computation is not a toll as a means to digitalized the pre-made concept by the architect, but the conceptualisation takes place in digitally. The process, nevertheless, require a skill to utilize the computation. Algorithmic thinking is vitally needed in using the parametric design. Kalay [2] also discusses the importance of skills in using this tool to communicate. Designers are also aided by this tool to sketch, find forms, optimize, solve problems, and evaluate the design digitally. However, these interaction and communication cannot be achieved if we do not understand the language of the tools. Human-computer relationship is crucial in computation design. The computers are only translating and developing the language inserted by the users.

Personally, computational design is a new process of design to me. It is striving away from traditional process, and many designers are currently shifting their practice from conventional manner into computational process. I believe that design computation is a new way of architecture. It is more efficient, since the process can be done digitally. It can achieve the level of accuracy and complexity that is above the traditional level. It is now in practice worldwide, by the late Zaha Hadid, Patrik Schumaker, Herzog and Demeuron, Norman Foster, and many more. In Stuttgart, Germany, each year the University of Stuttgart creates a pavilion that is made computationally using robotics and parametric design. The ICD/ITKE pavilions are great examples of parametric design and the possibilities of computation design. Moreover, this shift, perhaps opens a new possibility of a futre, that Dunne and Raby [3] have argued. The use of computation design now is perhaps seen as a stepping stone in moving towards a futuristic architecture.

[1] Rivka Oxman, and Robert Oxman, ‘Introduction’, in Theories of the Digital in Architecture, ed. by Rivka Oxman and Robert Oxman (London; New York: Routledge, 2014), pp. 1-10. [2] Yehuda E. Kalay, ‘Introduction’, in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge; MA: MIT Press, 2004), pp. 5-25.

0.2.1 Serpentine Sackler Gallery Location: London, UK Date finished: 2013 Architect: Zaha Hadid

Originally a gunpowder storage for English military camp back in the 19th century, Zaha Hadid successfully synthesized the existing building into a new, striking neo-futuristic form. This contrast, a synthesize of contrast creates a feeling that there’s a seperation of function between the classical structure and Hadid’s extension, but both serve the same funciton. The fluid structure also creates a sculpted space and ligthing, giving an airy and light interior [1]. The structure is clearly made by computation. The fluidity, complexity of forms are difficult to be constructed and drawn if not mathematically computed. For me, this is one of possibility of design computation. There would be a lot more, perhaps, infinite of possibilities and potential on how computation can do to the design.

be realized and constructed. The performance is also calculated through a series of algorithm. Although the construction is not being done using computer aid such as robotics, or any other unconventional machineries, it could be said that it quickens the process of the construction, since the whole form is prefabricated, the structure is constructed, and joined on the site. The sketches and diagrams below shows the elements of computation that later be synthesized into one form.

Moreover, I think that the whole process is also computated and calculated algorithmically. The membranic form should be optimized, to make sure that the folding and fluidity of the forms can

[1] Zaha Hadid, ‘The Serpentine Sackler Gallery / Zaha Hadid Architects’, ArchDaily, (2013) <http://www.archdaily. com/433507/the-serpentine-sackler-gallery-zaha-hadid-architects>.

0.2.2 ICD/ITKE Pavilion 2015 Location: Stuttgart, Germany Date finished: 2015 Architect: University of Stuttgart

“The ICD/ITKE Research Pavilion 2014-15 demonstrates the architectural potential of a novel building method inspired by the underwater nest construction of the water spider.” (ICD of University of Stuttgart (2015)). THe research pavilion shows the potential and possibility of architectural computation. In the period of 2014-2015, the institution was doing a research on the biological construction process for fiber-reinforced structure. In architectural practice, this process is seen as vital since architecturla prcatices need formwork to construct the building, however, this computated process does not require any formwork [1]. The material that is used are ETFE and carbon fibre, which is a more of an unconventional material in constructing a building. Moreover, the use of robotics in constructing the building is considered to be a new process in construction that requires a little resource and time [2].

It could be seen that the process that was done focused on computation and robotics fabrication. Although the base idea of the building is a water spider net, it is seen clearly that the process from form-finding, generation, and experimentation was done in the manner of computation and algorithm that is translated through the use of robotics as the main constructor. It is clearly seen that in design computation, computer serves the primary factor in designing. Different than computerization, where the whole process is translated into digitally, design computation is the problem solving of the design ideas are translated using a series of codes and algorithms. This pavilion responds to Kalay’s argument, in which the process of design, from conceptualisation to fabrication, can be done using computational algorithm [3].

Nevertheless, I believe that this is also an exemplar of computated design and fabrication.

[1] ICD Institute of University of Stuttgart, ‘Icd/Itke Research Pavilion 2014-2015’2015) <http://icd.uni-stuttgart.de/?p=12965>. [2] Hallie Busta, ‘Icd/Itke Research Pavilion’, Architect, (2015) <http://www.architectmagazine.com/project-gallery/icditke-2014-2015-research-pavilion_o>. [3] Yehuda E. Kalay, ‘Introduction’, in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge; MA: MIT Press, 2004), pp. 5-25.

0.3 Composition/Generation 20

Architectural practice, is perhaps, changing. Other than focusing on sustainability and performance efficiency, like Fry and Kalay have argued previously, the whole design process is perhaps changing. Conventionally, architects find forms through compositioning the space. Renaissance and Baroque architecture focused on symmetry, Frank Llouyd Wright in the modern era focuses on the hierarchy of spatial composition. Current architects also practices on compositioning as well. However, design computation opened another possibility of finding a form. The form-finding process is simulated and digitally created through a form generation, or what is now called generative design. Form-finding in generative design is based on the computation parameter that contains algorithm. As described by Wilson and Kiel [1], algorithm is a language of systematic process that is understood by a computer in order to operate the input. Therefore, it could be said that algorithm is parametrically set, under a certain ‘rule’.

also appoint external expertise to generate forms. The ability of an algorithm in creating several forms through a generative design, shifts the idea of design, from creating a form, into choosing a form. The form generated by the computer is also optimised to create a structurally sound architecture. Through a series of another algorithm, the computer also generate optimized forms, structurally. These forms, that are generated are possibilities of what the architecture may be. The idea of generating forms are unconventional. We are currently shifting our design generative thinking from our mind into the computer. It is practical, and yet I fear that this shift may lose the purity of architects in terms of creativity. Since Peters mentioned that architects can become an engineer architect hybrid, I fear that architect will fell asleep, while engineers are working indefinitely, just like Corbusier did in the early of modernism when engineers were overtaking architecture.

The algorithmic process is what create the design. Therefore, instead of composing the form, designers now can generate forms through algorithmic process that is done in the computer. Peters [2] mentioned several architectural practice that uses this technique, including Norman and Foster, Herzog and Demeuron, Grimshaw Architects, UNStudio, etcetera. These firms have their internal experts of computation designers, however firms may

[1] ‘Definition of ‘Algorithm’’, in The MIT Encyclopedia of the Cognitive Sciences, ed. by Robert A. Wilson and Frank C. Keil (London: MIT Press, 1999), pp. 11, 12. [2] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15.

0.3.1 MOCAPE Location: Shenzhen, China Date finished: 2016 Architect: Coop Himmelb(l)au

The Museum of Contemporary Art & Planning Exhibition (MOCAPE), is a cultural meeting point in the urbanized Shenzhen. The building serves as a large open space interior, ranging from the plaza, multifunction hall, auditoriums, and libraries. MOCAPE’s monolithic form complies with its surrounding urban areas. The large forms and futuristic urban style unify its style with the other urbanized buildings. The building also has a high sustainability performance. MOCAPE aims to reduce the overall need of external energy sources. it has a pollution free systems, and facilities with the use of renewable energy sources through solar and geothermal energy. The glass roof of the plaza provides natural light to the interior, reducing the needs of artificial lights [1].

the steel cloud form at the center, but its space its composed well to have a spatial hierarchy, and separation between one space with another that has a different function. As the lecture has mentioned, that the practice is now shifting from composing into generating, this building is a good example in between those shift. Furthermore, the idea of sustainability is also implemented here. Knowing that China is tackling on their pollution issues, this building is a step closer in achieving a sustainable environments. The MOCAPE can also be a good example of the shift of focus in architectural practice, like Fry [2] has mentioned previously.

I think MOCAPE is one of a good example that balances both composition and generation. The structure is obviously parametrically designed and optimized, using a series of algorithm, as well as

[1] Architizer, ‘Museum of Contemporary Art & Planning Exhibition (Mocape)’, Architizer, (2016) <http://architizer.com/ projects/museum-of-contemporary-art-planning-exhibition/>. [2] Tony Fry, ‘Introduction’, in Design Futuring: Sustainability, Ethics and New Practice (Berg: Oxford, 2008), pp. 1-16.

Courtesey of Duccio Malagamba

Courtesey of Markus Pillhofer

Courtesey of Duccio Malagamba

0.3.2 Elbphilharmonie Concert Hall Location: Hamburg, Germany Date finished: 2017 Architect: Herzog & DeMeuron

The most interesting part of the concert hall lies in the interior. The walls are made of 10000 panels that consist of parametrically designed cells, performs as an acoustic agent to disperse the noise. Herzog and DeMeuron, with a help of acousting engineer, Yasuhisa Toyota created a single cell for the surface of the wall in the concert hall, and iterate it throughout the panels using algorithm [1]. Each panel then is fabricated using a CNC Router, which shows the computation process of creating the details from scratch. The result is a stunning coral-like form that performs one of the “perfect” acoustic in the world [2]. Brady Peters’ reading [3] also mentioned Herzog and DeMeuron as the architects that also use algorithm in designing their buidling. What I found the most spectacular is this, because the architects used algorithm to find forms for the functionality, instead of for the overal forms of the building. This shows the potential of computation design that Kalay [4] has mentioned. The panels

are algorithmically fabricated, showing that the construction process of these panels are quicker than the conventional craftmanship. This concert hall shows the potential of computational design. It also opens a possibility of what would be the use of computation design in the future. Herzog and DeMeuron, being one of the architects that embrace computation design, could be one of the role model for future designing, that we are moving towards to. Perhaps, this could also be an opening to a path where algorithm is not just finding forms and structure, but also detail performances as this concert hall has shown.

[1] Liz Stinson, ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie’, Wired, (2017) <https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie>. [2] Eddie Fu, ‘The World’s First “Acoustically Perfect” Concert Hall Opens in Germany’2017) <http://consequenceofsound. net/2017/01/the-worlds-first-acoustically-perfect-concert-hall-opens-in-germany/>. [3] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), 08-15. [4] Yehuda E. Kalay, ‘Introduction’, in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge; MA: MIT Press, 2004), pp. 5-25.

Courtesey of Iwan Baan

Image on the right shows the acoustic panels that is parametrically design to perormed an acoustic performance of the concert hall

Courtesey of Peuckert 25

0.4 Conclusion To conclude, the future in design is at our hand. From the examples that have been addressed, it is clear that we are currently shifting our architectural practice. We are now focusing on our environmental concern in the modern era, started from Ken Yeangâ&#x20AC;&#x2122;s, to the computational design to suffice the environmental performance like MOCAPE, we can now envision the future design practice, in which we are shifting to the concern the sustainability of the future. This path is already clear for us where we might go. The current practice also focuses on the efficiency of manpower, by using computation design, there would be a lot of possibilities achieved by architect/engineer hybrids and architectural firms Computation design is perhaps one possibility of the future. It strives architects to evolve in their current way of thinking, through learning the language of design computation, which is the algorithm. This specific skill, is perhaps useful in the current time where technology is evolving quickly for our future. The language aids architects and future designers to quickly generate form through a series of algorithm and provides the best possible outcome from the generated forms. Other than forms, the computation design architectural practice may provide an algorithm to aid the performance of the building, such as Herzog and DeMeuronâ&#x20AC;&#x2122;s Elbphilharmonie concert hall. These possibilities are what is already seen. I believe there would be so much potential for the design computation than just what we have cultivated now.

0.5 Learning Outcomes The readings and lecture give me an insight of what is computation and algorithmic design. They also give me an insight on how are the architects moving in relation to time and the evolving technological tools that aids the design making process. As a future architect, now i can envision on what will be my field, what will be the challenge and practices on designing architecture, and sustainable performance that is to be the focus of the practice. I believe that this is a future of architecture. However, learning that forms are now generated, there would be a paradigm that architects are â&#x20AC;&#x153;a group of people that choose formsâ&#x20AC;? instead of generating forms form their creative thinking. As such paradigm may exist, I fear that architects would lose their intimacy with the architecture. In other words, architecture could lose its soul, the implicit value that is poured by the architects into their buildings. I fear that through this paradigm, without any dialectical practice and balance between generative computation design and architectural practice, engineers will rise, while architects asleep. As such, architecture would be just series of parametrical forms, without any implicit value poured by the architects. To conclude, the knowledge that I have received now may prepare me for the future practice that I will face. From the objection I have made, I know that I need to be in the balance between the future and traditional practice of architecture. Perhaps, the prominent role model in such path would be Le Corbusier, who successfully integrated art and engineering in the midst of the debate between architecture and engineering.

0.6 Algorithmic Sketches 28

The Caterpillar The first algorithmic sketch that I’d like to show is the combination of making a squarical arc through the use of polyline, exruded to make a cuvilinear pipe form, and the practice of using orient component to design the pointy structure. The algorithm is quite simple, it’s an application of synthesizing the commands that have been learned through the videos. Of all forms, I chose this definition because it also practices my design idea and thinking, how my idea is transformed through a series of algorithm that I made. The idea of this form is taken from the Gypsy Moth Caterpillar (Lymantria dispar dispar). The caterpillar is famous for its poisonous defensive body mechanism. The caterpillar’s hairs contain histamine, which can cause a rash to human skin [1]. I took the idea of being defensive as the spiky edge of my sketch, creating a somewhat painful expression for the architecture. Furthermore, I practiced my algorithmic definition by following the form of the caterpillar. The curvilinear grid frame gives the rigidity and movement of the whole form. The definition is simple, it’s only a series of curves and arcs, lofted and then connected by polylines, instead of interpolation.

[1] UPI, ‘Gypsy Moth Larva Can Cause a Rash’, The New York Times 1982.

Lymantria dispar dispar

Bird Nest The design is a simple definition of circles and arcs. It is inspired by Herzog & Demeuronâ&#x20AC;&#x2122;s Bird Nest olympic Stadium, Beijing, China. The form is quite straightforward, a deformed donut that, created through a series of retangular pipe surrounding the structure. The definition includes 3 different closed curves, a 3 point Arc component, point interpolation and matrix flip, and rectangular piping loft. It is an easy and quick sketches. Compare to other trials, playing with curvilinear structures are easier and faster. The sketch is providing an insight and practice on the current idea of lightweight, how curvilinear structure can create lightweight architecture.

Bird Nest by Herzog and Demeuron

Bowl/Anemone The design has a similar principle with mathematical form finding in construction practice. The original form was 2 circles that have divided points, connected to one another and then twisted using a shift list command. The form is straightforward, and provide an exploration on how a straight line can creates a curvilinear form of the bowl. The anemone has more complex definition, it includes planar re-orientation to make it directs to the center. Then the component Arc SED is added to the algorithm, in order to make a curvilinear form that looks like it blooms out. Lastly, a rectangular pipe is added through lofting to make the form rigid. This exploration gives me an insight on how to create a lightweight architecture later on, using series of lines to create a structurally sound form, or perhaps, a reciprocal structure

0.7 Bibliography 36

“Definition of ‘Algorithm’.” In. 1999. The MIT Encyclopedia of the Cognitive Sciences, edited by Robert A. Wilson and Frank C. Keil, 11, 12. London: MIT Press. Architizer. 2016. ‘Museum of Contemporary Art & Planning Exhibition (MOCAPE)’, Architizer. http://architizer. com/projects/museum-of-contemporary-art-planning-exhibition/. Barrie, Andrews. 2013. ‘Shigeru Ban and the Cardboard Cathedral’, ArchitectureAU. http://architectureau.com/ articles/christchurch-transitional-cardboard-cathedral-1/ Busta, Hallie. 2015. ‘ICD/ITKE Research Pavilion’, Architect. http://www.architectmagazine.com/project-gallery/ icd-itke-2014-2015-research-pavilion_o. Douglass-Jaimes, David. 2015. ‘AD Classics: Menara Mesiniaga / T.R. Hamzah & Yeang Sdn. Bhd.’, Archdaily. http://www.archdaily.com/774098/ad-classics-menara-mesiniaga-t-r-hamzah-and-yeang-sdn-bhd Dunne, Anthony, and Fiona Raby. 2016. ‘Introduction; Critical Design.’ in, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press). Fry, Tony. 2008. ‘Introduction.’ in, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg). Fu, Eddie. 2017. ‘The world’s first “acoustically perfect” concert hall opens in Germany’. http://consequenceofsound.net/2017/01/the-worlds-first-acoustically-perfect-concert-hall-opens-in-germany/. Hadid, Zaha. 2013. ‘The Serpentine Sackler Gallery / Zaha Hadid Architects’, ArchDaily. http://www.archdaily. com/433507/the-serpentine-sackler-gallery-zaha-hadid-architects. Hamzah, T. R., and Ken Yeang. 2010. ‘Menara Mesiniaga Features Bioclimatics’. http://www.solaripedia. com/13/302/Menara+Mesiniaga+Features+Bioclimatics+%28Malaysia%29.html Kalay, Yehuda E. 2004. ‘Introduction.’ in, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (MIT Press: Cambridge; MA). Oxman, Rivka, and Robert Oxman. 2014. ‘Introduction.’ in Rivka Oxman and Robert Oxman (eds.), Theories of the Digital in Architecture (Routledge: London; New York). Peters, Brady. 2013. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83: 08-15. Rosenfield, Karissa. 2013. ‘Newly Released Photos of Shigeru Ban’s Cardboard Cathedral in New Zealand’, Archdaily. http://www.archdaily.com/413224/shigeru-ban-completes-cardboard-cathedral-in-new-zealand Stinson, Liz. 2017. ‘What Happens When Algorithms Design a Concert Hall? The Stunning Elbphilharmonie’, Wired. https://www.wired.com/2017/01/happens-algorithms-design-concert-hall-stunning-elbphilharmonie. Stuttgart, ICD Institute of University of. 2015. ‘ICD/ITKE Research Pavilion 2014-2015’. http://icd.uni-stuttgart. de/?p=12965. UPI. 1982. ‘GYPSY MOTH LARVA CAN CAUSE A RASH’, The New York Times.