Design Studio Air Folio

DESIGN STUDIO AIR 2 0 1 8, S E M E S T E R 2 , I S A B E L L E J O O S T E L AU R E N H O # 8 3 4 7 3 1

TABLE O F CO NTENTS 0 4 I nt r o du c ti o n Pa r t A : Co n ce p t u a lis ati o n 09

A .1

D e si g n Fu t u r i n g

15

A.2

D e si n g Co m p u t ati o n

20

A.3

Co m p osi ti o n / G e n e r ati o n

26

A.4

Co n clu si o n

27

A.5

L e a r n i n g O u tco m e s

Pa r t B: Cr i te r i a D e si g n 31

B .1

R e s e a rch Fi e l d

32

B.2

C as e St u d y 1. 0

42

B.3

C as e St u d y 2 . 0

50

B.4

Te ch n i q u e: D eve l o p m e nt

60

B.5

Te ch n i q u e Pr o to t y p e s

76

B.6

Te ch n i q u e Pr o p o s a l

82

B .7

L e a r n i n g O bj e c ti ve s & O u tco m e s

Pa r t C : D e t a i l e d D e si g n 85

C .1

D e si g n Co n ce p t

10 6

C.2

Te c to n i c El e m e nt s & Pr o to t y p e s

116

C.3

Fi n a l D e t a i l M o d e l

13 4

C.4

L e a r n i n g O bj e c ti ve s a n d O u tco m e s

138

A l g o r i th m i c Ske tch b o o k

14 6 R e f e r e n ce s

2

CONTENTS

w h i ch as I g r ew o l d e r b l os s o m e d i nto a p as si o n tow a r d s a rch i te c t u r e a n d t h e b u i l t e nv i r o n m e nt .

The one thing I f ind most fascinating a b o u t a rch i te c t u r e is h ow d i f f e r e nt s p at i a l q u a li ti e s c a n evo ke su ch a s t r o n g e m o t i ve r e sp o ns e a m o n gs t s o ci e t y s h a p i n g o u r e x p e r i e n ce s w i th i n a g i ve n s p a ce. Co nti nu i n g , I b e li eve th e u s e o f d i g i t a l d e si g n c a n h e l p e n h a n ce t h is p o te nt i a l , par ticularly through its seemingly e f f i ci e nt g e n e r ati ve c a p a b i li ti e s .

LAU REN HO B A C H E LO R O F E N V I R O N M E N TS ARCHITECTURE MAJOR THE UNIVERSITY OF MELBOURNE

M y n a m e is L au r e n H o a n d I a m c u r r e nt l y i n my t h i r d ye a r at t h e Un i ve r si t y o f M e lb o u r n e s t u d y i n g a B a ch e l o r o f Env iro nm e nt s maj o r in g i n A rc h i te c t u r e. Eve r si n ce I w as yo u n g I h ave a l w ay s h a d a l ove f o r d e si g n a n d a ll t h i n gs c r e ati ve,

4 INTRODUCTION

M y e x p e r i e n ce w i th th e d i g i t a l d e si g n s o f t w a r e p r o g r a m R h i n o is e x t r e m e l y li m i te d a n d I h ave n eve r u s e d th e G r as s h o p p e r p lu g i n b e f o r e. A s a r e su l t , I a m a li t tl e n e r vo u s f o r t h is su bj e c t , h oweve r at th e s a m e ti m e I a m e xci te d to l e a r n a n d d eve l o p my k n ow l e d g e to h o lis ti c a ll y i m p r ove my b r e a d th o f s k i lls p a r ti c u l a r l y i n th is a r e a o f d i g i t a l d e si g n as I b e li eve i n o u r p r e s e nt s o ci e t y, i t is a n e s s e nti a l as p e c t i n th e d eve l o p m e nt a n d p r o g r e s si o n o f th e a rch i te c t u r a l f u t u r e.

INTRODUCTION 5

PART A: CONCEPTUALISATION

“How can a future ac tually be secured by design? ” - Tony Fr y

a1

DESIGN FUTURING

T h r o u g h th e evo lu ti o n o f o u r s o ci e t y, i t h as b e co m e a p p a r e nt th at as a r e su l t o f ch asi n g th e te ch n o l o g i c a l ‘d r e a ms ’ (D u n n e & R a by, 2013) o f th e p r ev i o u s 20 th ce nt u r y, we h ave s e l f- d e s t r u c te d o u r wo r l d to a l eve l th at is n o l o n g e r su s t a i n a b l e.

W i th m a ny s ti ll t r e ati n g o u r p l a n e t li ke i t h as ‘i n f i n i te r e s o u rce s ’ (Fr y, 20 0 8), i n o r d e r f o r o u r su r v i v a l as a hu m a n r a ce, i t is c r u ci a l th at we r e as s e s s a n d d e si g n f o r a m o r e su s t a i n a b l e f u t u r e aw ay f r o m th e d i r e c ti o n th at o u r p r e s e nt s o ci e t y is h e a d i n g tow a r d s . T h is h as b r o u g ht u p o n th e co n ce p t o f ‘d e si g n f u t u r i n g ’ th at e x p l o r e s th e is su e s o f h ow we c a n u s e d e si g n to a p p r o p r i ate l y s l ow th e d a m a g i n g p r o ce s s to o u r wo r l d .

figure 1

8 CONCEPTUALISATION

A s To ny Fr y e x p l a i n e d i n ‘ D e si g n Fu t u r i n g ’, th e p r o b l e ms f a ce d w i th th is co n ce p t a r e th at p e o p l e l a ck th e u n d e r s t a n d i n g th at eve n i f we ‘ f i x ’ a p r o b l e m o f o u r p l a n e t s su s t a i n a b i li t y, i t c a n n o t i m m e d i ate l y r e s o l ve ye a r s o f d e te r i o r ati o n . T h e r e is a ls o a n o ti o n o f d e n i a l , w i t h m a ny n e g l e c t i n g t h e n e a r i n g ‘ t i p p i n g p o i nt ’ (Fr y, 20 0 8) w h e r e o u r wo r l d w i ll b e g i n to f a i l u s a n d u l t i m ate l y s e l f- co m b u s t .

T his lack of k nowle dge amongs t so ciet y is par tially the problem, with the indus tr y dic t ating much of so ciet y ’s h i g h l y co nsu m e r is t b e h av i o u r. A s a r e su l t , we n e e d to prioritize ‘design intelligence’ leaving de cisions for th e d i r e c ti o n o f h ow to s h a p e o u r f u t u r e to th os e c r i ti c a ll y in f o r m e d co nsi d e r in g cu l t u r a l , p o li ti c a l a n d s o ci e t a l f a c to r s .

A s a m e a ns o f p r e p a r i n g o u r s e l ve s to b e co m e b e t te r e q u i p p e d i n u n d e r s t a n d i n g w h at o u r f u t u r e wo r l d r e q u i r e s to b e su s t a i n a b l e, a cco r d i n g to D u n n e a n d R a by we s h o u l d p r o ce e d w i th ‘s p e c u l ati ve d e si g n’.

T h is s e e k s to o p e n n ew p os si b i li ti e s a n d w ay s o f think in g , aimin g to a chi eve a b a lan ce b e t we e n re a li t y a n d th e i m p os si b l e, e n o u g h f o r s o ci e t y to a cce p t a ch a n g e b u t n o t as m u ch th at th e i d e as b e co m e to o o b s c u r e to u n d e r s t a n d .

W i th th e c a p a ci t y to co n ce p t u a li z e th e n c r i ti c a ll y r e f i n e su ch a v as t m u l ti t u d e o f d e si g n p ossi b i li ti e s , th e ab ili t y f o r d e si gn e r s to inf lu e n ce chan g e am o n gs t o u r s o ci e t y is a d m i r a b l e, as is a c r u ci a l f a c to r i n c r e at i n g a m o r e su s t a i n a b l e f u t u r e.

CONCEPTUALISATION 9

a1.1 walking city - ron herron, archigram “ D esi gn sp e culati o n c an a c t as a c at al y s t f o r co ll e c ti ve l y re d e f inin g o ur re lati o nship to reali t y.” – D unn e & R aby Conceptualized by one of Archigram’s founding members R o n H e r r o n , ‘ Wa lk i n g C i t y ’ w as a s p e c u l ati ve p r oj e c ti o n o f w h at th e f u t u r e m o d e r n is t wo r l d co u l d p o te nti a ll y b e co m e.

R e a li z i n g th at th e te ch n o l o g i c a l wo r l d w as evo l v i n g to o q u i ck l y f o r th e s t ati c s t r u c t u r e s o f th e ti m e, i ns p i r e d by th e ci t y as a m ov i n g m e g a - m a ch i n e, H e r r o n s o u g ht to e x p l o r e th e ci t y as a li v i n g o r g a n is m d e si g n i n g a f u t u r e t h at wo u l d i nvo l ve ‘ w a lk i n g m e t r o p o lis e s ’ t h at wo u l d n o t b e te th e r e d to a si n g l e l o c ati o n a n d i ns te a d h ave th e a b i li t y to ‘ w a lk ’ to th e d e si r e d l o c ati o n o f th e o cc u p i e r. A n i co n i c p r oj e c t t h at t h r o u g h i t s ‘ f i c t i o n a l n at u r e r e q u i r e s v i e we r s to su s p e n d th e i r d is b e li e f a n d a ll ow th e i r i m a g i n ati o ns to w a n d e r, to m o m e nt a r i l y f o r g e t h ow th i n gs a r e n ow, a n d wo n d e r a b o u t h ow th i n gs co u l d b e ’. (D u n n e & R a by, 2013)

figure 2

10 CONCEPTUALISATION

D e s p i te b e i n g w ay a d v a n ce d f o r i t s ti m e, th e p r o p os a l o f ‘ Wa lk i n g C i t y ’ c r i ti c a ll y ev a lu ate d a n d r e s p o n d e d to th e p r e s e nt s o ci e t a l is su e s f a ce d at th e ti m e e n co u r a g i n g i n d i v i du a ls to l o o k f o r w a r d a n d o p e n th e i r m i n d s to v as t l y d i f f e r e nt d e si g n s o l u t i o ns t h at e m b r a ce d m o r e su s t a i n a b l e m e a ns t h at wo u l d u l t i m ate l y su p p o r t t h e f u t u r e.

CONCEPTUALISATION 11

a1.2 Nakagin Capsule Tower - Kisho Kurokawa “ T his sp a ce (of cr i ti c al d esi gn) li es s o m ew h e re b e t we e n reali t y an d th e imp ossib l e to o p e r ate in i t e f f e c ti ve l y ” - D unn e an d R aby I nsp i r e d by t h e p r i n c i p l e s o f Pe te r Co o k o f A rc h i g r a m’s ‘ Plu g - I n C i t y ’, w h e r e i n d i v i du a l u n i t s wo u l d b e ‘p lu g g e d - i n’ a n d o u t w i t h t h e c a p a b i li t y to ch a n g e r e g u l a r l y, Ku r o k aw a s o u g ht to r e p li c ate t h is i n a li te r a l s e ns e a n d we nt o n to c r e ate o n e o f th e m o s t i co n i c m e t a b o lis t b u i l d i n gs i n a rc h i te c t u r e, th e N a g a k i n C a p su l e Towe r i n To k yo, J a p a n .

figure 3

figure 4

T h is w as t h e wo r l d ’s f i r s t c a p su l e towe r b u i l t f o r a c t u a l u s e, i t s p hy si c a l p r e s e n ce p r ov i d i n g a r a d i c a l i nsi g ht a n d ‘co u nte r p o i nt to t h e wo r l d a r o u n d u s a n d e n co u r a g i n g u s to s e e t h at eve r yd ay li f e co u l d b e d i f f e r e nt .’ (D u n n e & R a by, 2013) T h e towe r w as b as e d o n a f r a m e wo r k co nsis t i n g o f a co n c r e te co r e w h e r e i n d i v i du a l u n i t s wo u l d b e ‘p lu g g e d - i n’ a n d o u t by 4 h i g h - te nsi o n b o l t s (Sve i ve n , 2011).

D e s p i te f u n c t i o n a l by i t s m e a ns o f i nte nt i o n , t h e towe r f a i l e d to a ch i eve t h e f u n d a m e nt a l p r i n c i p l e s o f Co o k ’s ‘ Plu g - I n C i t y ’ du e t h e i n c a p a c i t y o f t h e te c h n o l o g i c a l c a p a b i li t i e s o f t h e t i m e, m e a n i n g u n i t s co u l d n o t ju s t si m p l y b e r e p l a ce d o r e xc h a n g e d w i t h e as e.

Kuro k awa design e d this building considering s o cie t al f a c to r s a i m i n g to a ll ev i ate issu e s su c h as t h e l a ck o f housing in the big cities and long daily travel commutes i nto t h e c i t y f o r wo r ke r s . H oweve r, i n a s o c i e t y th at f o ll ow s t h e p r i n c i p l e s o f t h e J a p a n e s e I s e Sh r i n e, Ku r o k aw a m iss e d t h is c r u c i a l c u l t u r a l co nve nti o n t h at e m b r a ce s t h e co ns t a nt l y evo l v i n g , s e l f- c r a f te d co ns t r u c t i o n o f r e si d e n ce s w i t h e a ch f a m i l y s e e k i n g t h e i r u n i q u e ‘ t i ny u to p i a’ (D u n n e & R a by, 2013). T h is l a c k o f f l e x i b i li t y o f t h e m o du l e e li m i n ate d t h e a b i li t y to co nt i nu e t h is t r a d i t i o n , p o te nt i a ll y a n o t h e r r e as o n f o r i t s f a i lu r e.

12 CONCEPTUALISATION

figure 5

figure 6

CONCEPTUALISATION 13

Computeriz ation vs. Computation...

a2

DESIGN COMPUTATION

A s o u r s o ci e t y evo l ve s i nto o n e th at is i n c r e asi n g l y d e f i n e d by te ch n o l o g y, we l o o k to h ow th is is s p e ci f i c a ll y s h a p i n g o u r m e th o d s o f d e si g n .

We c a n d e f i n e th e s e d i r e c ti o ns u n d e r t wo s t r e a ms r e f e r r e d to as Co m p u te r i z ati o n a n d Co m p u t ati o n .

Co m p u te r i z at i o n r e f e r s to t h e a c t o f e nte r i n g , p r o ce ssi n g o r s to r i n g i n f o r m at i o n w i t h i n a co m p u te r s y s te m . Co m p u t ati o n o n th e o th e r h a n d a i ms to ‘e x te n d th e hu m a n i nte ll e c t ’ ( Ya z a r, 2012) a n d r e f e r s to th e p r o ce du r e o f f o ll ow i n g a li n e o f r e as o n i n g b as e d o n a l g o r i t h m i c l o g i c .

I n i ti a ll y co m p u te r i z ati o n e n a b l e d u s to d i g i t a li z e p r e - co n ce p t u a li z e d i d e as a n d m a ke s e ns e o f th e i r co m p l e x g e o m e t r i e s . A s te ch n o l o g y p r o g r e s s e d , th e n o ti o n o f Co m p u t ati o n a l d e si g n w as i nt r o du ce d t h at s aw a s h i f t tow a r d s t h e g r ow i n g i nte r r e l at i o n b e t we e n th e d e si g n p r o ce s s a n d f i n a l o u tco m e. T h e a b i li t y f o r co m p u te r s to wo r k q u i ck l y w i th a ‘h i g h l eve l o f g e n e r ati ve v a r i a b i li t y ’ e n a b l e d th is m u ch

m o r e e f f i ci e nt m e a ns o f g e n e r ati n g a m u l ti t u d e o f d e si g n .

Fu r t h e r m o r e, t h r o u g h d e f i n i n g a s e t o f p a r a m e te r s to wo r k w i th i n , i n c r e as e d th e c a p a ci t y to m e d i ate a n d r e f i n e th e e n d l e s s d e si g n p o ssi b i l i ti e s th e n m o r e s e l e c ti ve l y s t u d y e a ch s e r i e s a n d i n d i v i d u a l v a r i ati o n within.

D e s p i te a co m p u te r ’s ‘su p e r b a n a l y ti c e n g i n e s ’ ( Ye hu d a , 20 0 4), th ey a r e co m p l e te l y i n c a p a b l e o f a ny c r e ati ve i nt u i ti o n as we ll as th e i n a b i li t y to a ch i eve a n a l g o r i th m i c p at te r n th at s c r i p t s ‘co m p l e te r a n d o m n e s s ’ (Eli as , 2018) m i m i ck i n g th e n at u r a l co n d i ti o ns o f o u r wo r l d . A s a r e su l t co n ce r ns h ave b e e n r a is e d th at th is p r o g r e s si o n o f co m p u t ati o n d e si g n h as co m e at th e e x p e ns e o f l osi n g a s e ns e o f o r i g i n a l ‘r aw ’ c r e at i v i t y. I wo u l d h oweve r a r g u e t h at th r o u g h co m p u t ati o n m e th o d s , is a g r e at m e a ns o f d e si g n s t i p u l at i o n f o r f u r t h e r i n g o u r p r e s e nt d e si g n c a p a ci t y a n d i d e o l o g i c a l v isi o ns .

figure 7

14 CONCEPTUALISATION

CONCEPTUALISATION 15

a2.1 Elytra Filament PAvilion - achim menges

figure 8

“ T h e El y tr a Filam e nt Pav ili o n is th e o u tco m e of f o ur year s of res earch o n th e inte gr ati o n of archi te c ture, e n gin e e r in g an d b i o mim e ti c p r in cip l es . It e x p l o res h ow b i o l o gi c al f ib re s y s te ms c an b e tr ans f e r re d to archi te c ture.”

- M e n g es & K nip p e r s T h e co n ce p t f o r th is p av i l i o n f o ll ow s t h e ‘s h i f t to m ate r ia l d e si g n’ th at h as ‘re d e f in e d a rchi te c t u r e as a m ate r i a l p r a c tis e ’ (O x m a n , 2014) f o c u si n g o n th e p o te nti a l o f m ate r i a ls co m b i n e d w i t h t h e integration of technological capabilities, this new p a r a d i g m is r e f e r r e d to as ‘d i g i t a l m ate r i a li t y ’.

T h e El y t r a Fi l a m e nt Pav i li o n h as a d o p te d co m p u t at i o n m e t h o d s to d is cove r t h e p o te nt i a l o f t h e ‘ f i b r e - r e i n f o rce d p l as t i c ’ m ate r i a l .

Ad d i t i o n a ll y t h r o u g h i t s co ns t r u c t i o n , t h e u s e o f ro b otic te chn o l o g y has b e e n a d o pte d to imp rove a ccu r a c y o f e xe cu ti o n m inim isin g ro o m f o r e r ro r, as we ll as r e d u ce o th e r w is e i nte nsi ve l a b o u r, f o r e s e e i n g a f u t u r e w i th a n e w m e a ns o f d e si g n p r o d u c ti o n i n th e a b s e n ce o f p hy si c a l l a b o u r.

H i d d e n w i th i n th e d e si g n a r e a s e r i e s o f f i b r e o p ti c s e ns o r s e m b e d d e d i nto t h e c a n o py. T h e s e s e ns o r s p r ov i d e v a l u a b l e d at a r e co r d i n g h ow th e s p a ce is b e i n g u s e d , th e r e f o r e a ll ow i n g t h e d e si g n to s p e ci f i c a ll y r e s p o n d to t h e si t u at i o n a l co n d i t i o ns f o r o p t i m a l m a x i m is at i o n .

At th e f o r e f r o nt o f a n e w te ch n o l o g i c a l p at hw ay i n d e si g n , M e n g e s a n d h is te a m h ave e m b r a ce d this direc tion of computation, designing a projec t th at w i th o u t th e c a p a ci t y o f a d v a n ce m e nt i n te ch n o l o g y wo u l d n o t b e o th e r w is e p o ssi b l e.

16 CONCEPTUALISATION

figure 10

figure 9

figure 11

CONCEPTUALISATION 17

figure 12

a2.2 SITUATION ROOM - MARC FORNES / THEVERYMANY “ Fo r mati o n p re ce d es f o r m , an d d esi gn b e co m es th e think in g of archi te c tur al g e n e r ati o n thro u gh th e l o gi c of th e al g o r i thm .” – O x man

figure 14

D e si g n e d to a p p e a r i n th e s to r e f r o nt o f A r t a n d A rch i te c t u r e i n N e w Yo r k , T h e Si t u ati o n R o o m by Fo r n e s m a x i m i z e d t h e u s e o f co m p u t at i o n a l m e t h o d s . D eve l o p i n g a n a l g o r i t h m i c d i f f e r e nt i a l g r ow t h p at te r n , 1, 673 u n i q u e p a r t s we r e co m b i n e d c r e ati n g a n ‘a g g r e g ate o f t we nt y s p h e r e s o f i n c r e m e nt a l d i a m e te r s to c r e ate a n e nve l o p e o f e x p e r i e nti a l te nsi o n .’ (A rch d a i l y, 2014) T h r o u g h th e u s e o f a n a l g o r i th m a ll ow s th e c a p a ci t y f o r a ‘m u l ti p li ci t y o f variab le ins t ances’ (O xman, 2014) de f ine d within p aram etric d e si g n . D e s p i te i t s ‘u l t r a th i n s h e ll s t r u c t u r e ’ (A rch d a i l y, 2014) e a ch co m p o n e nt g a i ns i t s r i g i d i t y th r o u g h th e d o u b l e c u r v at u r e su r f a ce s . W i t h a n a p p e a r a n ce o f a co m p l e x i nte r n a l m o r p h o l o g y, th e a b i li t y to c r e ate a l g o r i th m i c p at te r ns a ll ow s to m a ke l o g i c a l s e ns e o f th e s e a p p a r e ntl y co m p l e x f o r ms .

I n a d d i ti o n , u si n g 3D s o f t w a r e as a m e a ns o f d i g i t a l d e si g n e x p l o r ati o n a ll owe d th e d e si g n te a m to g a i n a p hy si c a l u n d e r s t a n d i n g o f th e d e si g ns s p ati a l q u a li ti e s b e f o r e co ns t r u c t i o n .

figure 13

18 CONCEPTUALISATION

figure 15

T h is d e si g n wo u l d i f n o t i m p os si b l e, b e e x t r e m e l y d i f f i c u l t to d e si g n w i th o u t th e a i d o f co m p u t ati o n d e si g n a n d th e a b i li t y o f co m p u te r i z ati o n du e to th e a cc u r a c y r e q u i r e d f o r e a ch s e g m e nt to co n n e c t to o n e a n o th e r i n o r d e r to c r e ate th e ove r a ll e nve l o p e, l e av i n g n o r o o m f o r hu m a n e r r o r.

CONCEPTUALISATION 19

a3

figure 16

COMPOSITION / GENERATION

T h e p r i n ci p l e s o f co m p o si t i o n a l d e si g n a r e d i c t ate d t h r o u g h a v isu a l s e ns e i n r e l ati o n to c r e ati n g a co h e si ve ass o r t m e nt o f co m p o n e nt s . Co m p o si t i o n a l c h o i ce s c a n a llu d e su b tl e u n d e r l y i n g co n n o t at i o ns , ye t is o f te n h i g h su bj e c t i ve as i n ev i t a b l y t h e u l ti m ate d e cisi o n co n cl u d e s w i t h i t s b asis o f f v isu a l a e s t h e t i c s . Co m p o si t i o n is o f te n e x p l o r e d th r o u g h a s e r i e s o f s ke tc h e s u n d e r t a k i n g a ‘ t r i a l a n d e r r o r ’ m e t h o d to c r e ate a f i n a l d e si g n o u tco m e.

W i th th e evo l u ti o n o f te c h n o l o g i c a l d eve l o p m e nt i n o u r s o c i e t y we h ave s e e n a s h i f t tow a r d s a n e w te ch n i q u e i n t h e d eve l o p m e nt o f d e si g n k n ow as g e n e r at i ve d e si g n .

T h is o p ti m i z e s th e u s e o f co m p u t at i o n to f u r t h e r t h e n o t i o n o f co m p o si t i o n . W i th th e c a p a b i l i t y f o r co m p u te r s to q u i c k l y g e n e r ate a m u l t i t u d e o f d e si g n s o lu ti o ns , we a r e n o t o n l y a b l e to e f f i c i e nt l y r e f i n e t h r o u g h nu m e r o u s d e si g n p o ssi b i li t i e s , b u t a ls o a b l e to e f f e c ti ve l y a l te r co m p o n e nt s u n d e r a s e r i e s o f p a r a m e te r s . T h is e nt a i ls u s w i th a cl e a r e r d i r e c ti o n i n m ov i n g f o r w a r d as we ll as a ll ow s u s m o r e co nt r o l ove r d e si g n o u tco m e s .

D e s p i te i t s v as t g e n e r at i ve c a p a c i t y, t h is n e w d e si g n te c h n i q u e h as b e e n m e t w i th c r i ti ci z e d by c y n i c s w h o a r g u e t h e m e t h o d e li m i n ate s hu m a n is t i c i n f lu e n ce; d e si g n i ns te a d b e i n g d r i ve n by te c h n o l o g i c a ll y g e n e r ate d d at a .

A culture towards maximising the potential of greater generative design?

20 CONCEPTUALISATION

CONCEPTUALISATION 21

figure 17

figure 19

a3.1 Bionic Partition-

figure 20

THE LIVING T h e B i o n i c Pa r ti ti o n w as i n i n n ov ati ve d e si g n p r oj e c t d eve l o p e d to r e du ce th e we i g ht o f p r ev i o u s l y h e av y m e t a l p a r ti ti o ns o n a e r o p l a n e s b e t we e n th e g a ll e r y a n d s e ati n g a r e as to s ave o n f u e l co nsu m p ti o n a n d si m u l t a n e o u s l y r e du ce c a r b o n p o llu ti o n .

D e si g n e d i n co ll a b o r ati o n w i th A i r b u s , Au to d e s k a n d AP Wo r k s , th e p a r ti ti o n b e c a m e th e wo r l d ’s l a r g e s t m e t a l 3D - p r i nte d a e r o p l a n e co m p o n e nt . (A rch i ti z e r, 2018) Co m b i n i n g th e co n ce p t o f g e n e r ati ve d e si g n w i th 3D p r i nti n g a n d a d v a n ce d m ate r i a ls , th e f i n a l d e si g n f o r th e B i o n i c p a r ti ti o n w as b o th s t r o n g e r a n d 50 % li g hte r t h a n i t s o r i g i n a l co u nte r p a r t . figure 18

T h e a l g o r i th m th at p r ov i d e d th e b asis f o r th e d e si g n evolved through a biological inf luence with a method of ‘bio computation’ develop ed sp e cif ically for the design o f th e p a r ti ti o n . T h e d e si g n f o c u s e d o n f u n c ti o n a li t y ove r v isu a l a e s th e ti c s a n d th r o u g h g e n e r ati ve d e si g n , a v as t multitu d e of d esign p ossib ilities were g e n er ate d th e n s e l e c ti ve l y r e f i n e d b as e d o n g i ve n p a r a m e te r s to r e du ce th e a m o u nt o f f u e l r e q u i r e d o n a e r o p l a n e s a n d u l ti m ate l y r e du ci n g th e p l a n e s c a r b o n f o o t p r i nt .

22 CONCEPTUALISATION

CONCEPTUALISATION 23

a3.2 Digital Grotesque II Michael Hansmeyer and Benjamin Dillenburger A co m p l e x p a r a d ox , D i g i t a l G r o te s q u e I I evo l ve d ques tioning the f ine dis tinc tion b et we en comp osition a n d g e n e r at i o n . W i t h i nte nt i o ns to m i m i c n at u r a l co n d i t i o ns o f a g r o t to ye t b e i n g li m i te d by d i g i t a l d e si g n s o f t w a r e t h at l a c k s t h e a b i li t y to c r e ate co m p l e te l y r a n d o m a l g o r i t h m i c p at te r ns , t h e d e si g n s t r i ke s a ‘d e li c ate b a l a n ce ’ b e t we e n ‘ t h e m a n - m a d e v s . th e n at u r a l ’ a n d ‘c h a o s v s . o r d e r ’ e a ch s e c t i o n c r e at i n g a n e w e l e m e nt o f su r p r is e.

Co m p o s e d f r o m 1. 35 b i lli o n su r f a ce s by a sp e ci a l a l g o r i t h m , t h e ‘g r o t to ’ e x p l o r e d a n e w f o r m o f a rch i te c t u r a l s t r u c t u r e t h a n 3D p r i nt i n g co u l d f o r e s e e. 3D p r i nt i n g h as p r ev i o u s l y p r ove n t h e a b i li t y to p r i nt f as te r a n d c h e a p e r h o u s e s t h a n t h e c u r r e nt co nve nt i o n m e t h o d s h oweve r ; ‘d i g i t a l g r o te s q u e ’ h as n ow a ls o a i m e d to p r ove i t s c a p a c i t y to a c h i eve a f i n is h o f i nt r i c ate d e t a i ls (A n d r iu s , 2017 ). W i t h t h e d i g i t a l f i l e si z e su r p assi n g 150 G B o f d at a , D i g i t a l G r o te s q u e I I w as p r i nte d i n b l o c ke d s e c t i o ns o u t o f 7 to ns o f s a n d , a n d t h e n co ns t r u c te d by h a n d .

D i g i t a l G r o te s q u e c a n b e d e s c r i b e d as p r oj e c t w i th p u r e i nte nt i o ns to c r e ate a v isu a ll y a e s t h e t i c co m p o si t i o n h oweve r ; i t wo u l d b e n o t h i n g to w h at i t p r e s e nt l y a p p e a r s w i t h o u t t h e p owe r f r o m t h e g e n e r at i ve co m p u t i n g s o f t w a r e u s e d to d e f i n e t h e a l g o r i t h m i c p at te r ns w i t h i n t h is p a r a m e t r i c d e si g n .

24 CONCEPTUALISATION

figure 22

figure 21

figure 23

CONCEPTUALISATION 25

a4 conclusion “A s o ur s o ci e t y r ap i dl y in creas es at an e x p o n e ntial r ate, o ur p lan e t is la ck in g th e m eans of sus t ainab ili t y f o r f u ture sur v i v al . O ur o p ti o n is to ke e p li v in g o ur unsus t ainab l e li f es t y l e th e w ay we have until we s e l f- d es tr u c t o ur p lan e t , o r to b e co m e co mf o r t ab l e w i th n ew ‘sp e culati ve ’ think in g p ro p os als of ‘d esi gn f u tur in g ’ as we l o o k to sl ow th e dama gin g p ro cess we have o ur s e l ves create d .

H oweve r, as a result of o ur evo l v in g te chn o l o gi c al wo r l d , th e ar isin g of co mp u t ati o nal m e th o ds has resulte d in o ur ab ili t y to sp e culate d esi gn p ossib ili ti es in a hi ghl y g e n e r ati ve mann e r. T his gi ves us th e ab ili t y to m o re easil y f in d o p timal d esi gn s o lu ti o ns that ma x imis e p e r f o r mati ve re quire m e nt s .

M ov in g f o r w ard , my inte n d e d d esi gn ap p ro a ch is cur re ntl y to e x p l o re mate r ial p e r f o r man ce. I am intr i gu e d by th e e n dl ess v ar i e t y of w ay s that di f f e re nt mate r ials c an b e co mb in e d w i th di gi t al d esi gn te chn o l o g y to create o p timal d esi gn s o lu ti o ns . I s tro n gl y b e li eve in th e m e th o d of h ow ea ch s y s te m c an b e co njun c ti ve l y inte gr ate d r i ght f ro m th e b e ginnin g of th e d esi gn p ro cess gui din g th e dire c ti o n of th e d esi gn an d ultimate l y creatin g m o re cr i ti c all y ev aluate d o u tco m es . I b e li eve this re lati ve l y n ew co n ce p t of an inte gr ate d d esi gn ap p ro a ch c an p rov i d e a b rea d th of inf ini te o p p o r tuni ti es in d esi gn , p ar ti cular l y thro u gh th e m eans of co mp u t ati o n m e th o ds .”

a5 learning outcomes “ Fro m my res earch to date, I b e li eve th e greates t k n ow l e d g e I have gain e d is of th e c ap ab ili ti es an d b e n e f i t s of co mp u t ati o nal d esign . B e f o re co mm e n cin g D esi gn Stu di o Air, I ha d abs o lu te l y n o k n ow l e d g e o r e x p e r i e n ce w i th this p ar am e tr i c p ro gr ammin g , al g o r i thms o r s cr ip tin g an d hav in g n eve r b e e n s o m e o n e w h o w as natur all y g o o d w i th numb e r s , I w as co mp l e te l y daunte d by th e co din g asp e c t of w hat p ote ntiall y lay ah ea d .

N ow 3 we e k s late r, alth o u gh my k n ow l e d g e of th e p ro gr am af te r l ear nin g ab o u t all i t s c ap a ci t y is s till v ir tuall y n o n - e x is te nt , I b e li eve I have mana g e d to gr asp a b asi c un d e r s t an din g of h ow th e p ro gr am c an o p e r ate w hi ch as a result has p u t my p e r sp e c ti ve o n all th e co din g invo l ve d in gr assh o p p e r sli ghtl y l ess dauntin g .

D u e to th e b rea d th of v ar iant s to co ntro l, I am s till a li t tl e ove r w h e lm e d by all of G r assh o p p e r ’s f un c ti o ns h oweve r d esp i te s till n ot k n ow in g ve r y mu ch , I d o b e li eve that th e p ro gr am isn’ t as co mp li c ate d as i t l o o k s an d s o un ds an d I have ac tually realised that through algorithmic data def ined w i thin a s e t of p ar am e te r s , co ul d p ote ntiall y b e a simp l e r w as of alte r in g to a chi eve a sp e ci f i c d esign .

O n e las t thin g that I l ear nt thro u gh o u t this res earch p e r i o d that I will keep in the back of my mind throughout this design s tu di o an d thro u gh o u t th e res t of my d esi gn c are e r, is to prioritize p er formative f unc tionalit y over visual aes thetic s.

Alth o u gh this s e e ms o bv i o us , this is s o m e thin g that I am of te n guilt y of p r i o r i ti z in g th e lat te r an d un d e r t ak in g this res earch , i t has a gain re i te r ate d i t s imp o r t an ce.”

26 CONCEPTUALISATION

CONCEPTUALISATION 27

PART B: CRITERIA DESIGN

b1

MATERIAL PERFORMANCE

As we enter the 21st centur y, the prominence of pursuing unconventional methods in design has only increased.

The shif t away from traditional means has opened a breath of oppor tunit y and experimentation par ticularly in hand with the development of technological algorithmic design. What was previously unat tainable, now with the evolution of technology we are able to create many complex geometries that follow a systematic algorithm def ined by a logical sequence.

figure 1

30

CRITERIA DESIGN

figure 2

stretching proper ties of fabric combined with carefully placed dowels to def ine a par ticular form.

By re - evaluating a given material, and seeking to discover unconventional methods of its t ypical usage; opens us to a whole new realm of design potential seeking to greater solutions to design issues that we face in the modern day.

To explore these new developments a push towards experimentation with materials has gained traction pushing unconventional means to create peformative ef fec ts. This was explored in Andrew Kudless’ P Wall which explored a casting technique know as ‘reverse -hanging’. This explored the

CRITERIA DESIGN

31

figure 3

b2 CASE STUDY 1.0 Voussoir Cloud - Iwamoto scott Architecture Voussoir Cloud by Iwamoto Scot t Archite c ture e x p l o r e s s t r u c t u r a l c a p a ci t y w i t h t h e p e f o r m at i ve n at u r e o f m ate r i a ls co m b i n i n g th e t wo i n a ch a ll e n g e m a n n e r q u e s t i o n i n g th e i r t y p i c a ll y a cce p te d co nve nt i o n a l u s e.

A n a l g o r i t h m i c s c r i p t h as b e e n d eve l o p e d to d e f i n e a s e l f- s t a n d i n g v au l t li ke s t r u c t u r e th at wo u l d b e m a d e f r o m a t h i n li g ht- we i g ht wo o d l a m i n ate.

figure 5

D r aw i n g i n f l u e n ce f r o m a rc h i te c t u r a l g r e at s su ch as Fr e i O t to a n d A nto n i G au d i , t h e d esi gn co mp r is es o f v ault s ea ch g e n e r ate d by a D e launy tess e llati o n . E a ch ‘p e t al ’ is d e f in e d d i f f e r e ntl y by a s e t o f r u l e s sp e c i f i c a ll y su i te d to th e i n d i v i d u a l p e t a l e a c h b e h av i n g i n d i f f e r i n g m a n n e r s c r u ci a l to t h e s t r u c t u r a l c a p a ci t y o f th e d e si g n . E a c h p e t a l is p r e cis e l y d e f i n e d by e n d p o i nt s a n d a s e t o f t a n g e nt s w i th i n th e a l g o r i th m to e nsu r e e a c h e d g e a cc u r ate l y a l i g ns w i th i t s n e i g h b o u r s to c r e ate a p e r f e c t c u r v at u r e f o r m . figure 4

32

CRITERIA DESIGN

figure 6

CRITERIA DESIGN

33

b2 Species One

Case Study 1.0

MATRIX B a s e Po l y g o n S i z e = 0 . 26

B a s e Po l y g o n S i z e = 0 . 3 03

B a s e Po l y g o n S i z e = 0 . 3 03

B a s e Po l y g o n S i z e = 0 . 4

B a s e Po l y g o n S i z e = 0 . 7 35

B a s e Po l y g o n S i z e = 0 . 3 03

B a s e H e i g h t = - 5 .9 5

B a s e H e i g h t = -3 . 67

B a s e H e i g h t = -3 . 67

Base Height = - 6

Base Height = - 0.85

B a s e H e i g h t = -3 . 67

Unar y Force = 0

Unar y Force = 48.5

U n a r y F o r c e = 10 0

Unar y Force = 0

Unar y Force = 0

U n a r y F o r c e = 70

B a s e Po l y g o n S i z e = 0 . 7 35

B a s e Po l y g o n S i z e = 0 . 7 35

B a s e Po l y g o n S i z e = 0 . 7 35

B a s e Po l y g o n S i z e = 0 . 4

B a s e Po l y g o n S i z e = 0 . 4

B a s e Po l y g o n S i z e = 0 . 4

Base Height = - 0.85

Base Height = - 0.85

Base Height = - 0.85

Base Height = - 6

Base Height = - 6

Base Height = - 6

Unar y Force = 20

Unar y Force = 50

Unar y Force = 6. 3

Unar y Force = 50

U n a r y F o r c e = 10 0

Unar y Force = 50

B a s e Po l y g o n S i z e = 0 . 4

B a s e Po l y g o n S i z e = 0 . 4

St i f f n e s s = 10

St i f f n e s s = 10

St i f f n e s s = 10

U n a r y F o r c e = 10

Unar y Force = 50

Unar y Force = 50

U n a r y F o r c e = 10 0

Unar y Force = 85. 2

Unar y Force = 85. 2

We av e r b i r d St e l l a t e = 8 . 6

We av e r b i r d St e l l a t e = Y

We av e r b i r d St e l l a t e = Y

We av e r b i r d St e l l a t e = Y

We av e r b i r d St e l l a t e = Y

We av e r b i r d

St i f f n e s s = 10

St i f f n e s s = 10

St i f f n e s s = 10

U n a r y F o r c e = 10

Unar y Force = 40

Unar y Force = 30

U n a r y F o r c e = 10

U n a r y F o r c e = 10

U n a r y F o r c e = 16

We av e r b i r d M e s hT h i c k e n =7

We av e r b i r d M e s hT h i c k e n =7

We av e r b i r d M e s hT h i c k e n =3

We av e r b i r d

We av e r b i r d M e s hT h i c k e n =10

We av e r b i r d

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

B a s e Po l y g o n S i z e = 0 . 3 03

B a s e Po l y g o n S i z e = 0 . 3 03

B a s e Po l y g o n S i z e = 0 . 3 03

B a s e Po l y g o n S i z e = 0 .15

Unar y Force = 5

U n a r y F o r c e = 10

B a s e H e i g h t = - 5 .9 5

Base Height = - 4.0

Base Height = - 4.0

B a s e H e i g h t = -3 . 67

We av e r b i r d P i c Fr a m e = 17

We av e r b i r d M e s hT h i c k e n =1

U n a r y F o r c e = 42 9

U n a r y F o r c e = 51

U n a r y F o r c e = -10 0

U n a r y F o r c e = 19

We av e r b i r d St e l l a t e = 1

We av e r b i r d P i c Fr a m e = Y

S p e c i e s Tw o

Species Three

S p e c i e s Fo u r

S p e c i e s Fo u r

I nv e r s e = Y 34

CRITERIA DESIGN

CRITERIA DESIGN

35

POINTS

VORONI

SCALE

REGION INTERSECTION

b2

MOVE

GRAFT

SCRIPT BREAKDOWN

CURVES

LOFT

DEMESH

EXPLODE

WELD VERTICES

MESH SURFACE

MESH JOIN

CURVE CLOSEST POINT

CULL

MESH

MESH EDGES

SPRINGS FROM LINE

DEMESH

KANGAROO PHYSICS

MESH

ITERATION EXTENTIONS

CRITERIA DESIGN

WEAVERBIRD MESH THICKEN

UNARY FORCE

36

WEAVERBIRD PICTURE FRAME

WEAVERBIRD STELLATE

WEAVERBIRD MESH THICKEN

CRITERIA DESIGN

37

1

CR E AT I V I T Y

H ow c r e at i ve is t h e f i n a l a l g o r i t h m i c o u tco m e i n te r ms o f a e s t h e t i c ev a lu at i o n . H as t h e s c r i p t b e e n a d a p te d a n d p e r s o n a ll y evo l ve d o r is i t a b asi c co m p o n e nt i n p u t i nto t h e s c r i p t . A ls o co nsi d e r t h e f i n a l v isu a l a e s t h e t i c v a lu e o f t h e d e si g n .

3

CO NS T R U C T I B I LI T Y

Co nsi d e r i n g t h e b r i e f as a f i n a l f a b r i c ate d o u tco m e, is t h e d e si g n o f a co ns t r u c t i b l e n at u r e?

I s i t s t r u c t u r a ll y su p p o r te d? W h at f a b r i c at i o n m e t h o d s co u l d b e u s e d to a ll ow t h e su cce ss o f t h e d e si g n . W i ll i t n e e d a d d i t i o n a l e l e m e nt s f o r co ns t r u c t i b i li t y?

2

ALG O R I T H M I C CO N T R O L

W h at is th e l eve l o f co nt r o l ove r th e i n p u t co m p o n e nt s i nto th e g r as s h o p p e r s c r i p t . I s th e s c r i p t e asi l y co nt r o ll a b l e a n d c a n b e e asi l y m o d i f i e d to c r e ate a d a p t ati o ns s p e ci f i c to a p a r ti c u l a r o u tco m e. I s th e o u tco m e co nt r o ll e d to p r o du ce a d e si r e d e f f e c t o r d o e s i t p r o du ce d a r a n d o m is e d e f f e c t th at l a ck s co nt r o l th r o u g h scripting.

4

CO M PLE XI T Y

W h at is th e ove r a ll co m p l e x i t y o f th e s c r i p t? I s th e s c r i p t s y s te m ati c a ll y b u i l t th at as a r e su l t h as th e a b i li t y to b e e asi l y b u i l t o r e x te n d e d u p o n t h r o u g h f u r t h e r r e f i n e m e nt?

b2 SELECTION CRITERIA 38

CRITERIA DESIGN

CRITERIA DESIGN

39

b2 SELECTED ITERATIONS

40

SPECI E S O N E - I T ER AT I O N 6

SPECI E S FO U R - I T ER AT I O N 4

SPECI E S T H R EE - I T ER AT I O N 5

SPECI E S T WO - I T ER AT I O N 1

CR E AT I V I T Y O O O

CR E AT I V I T Y O O O O

CR E AT I V I T Y O O

CR E AT I V I T Y O O O

ALG O R I T H M I C CO N T R O L O O

ALG O R I T H M I C CO N T R O L O O

ALG O R I T H M I C CO N T R O L O

ALG O R I T H M I C CO N T R O L O O

CO N S T R U C T I B I L I T Y O O

CO N S T R U C T I B I L I T Y O

CO N S T R U C T I B I LI T Y O O O

CO N S T R U C T I B I LI T Y O O

CO M PLE XI T Y O

CO M PL E XI T Y O O

CO M PLE XI T Y O O O O

CO M PLE XI T Y O O

CRITERIA DESIGN

CRITERIA DESIGN

41

b3 CASE STUDY 2.0 Kinetic Wall - Barkow and Leibinger T h e K i n e ti c Wa ll by B a r kow L e i b i n g e r e x p l o r e s a f l e x i b l e eve r ch a n g i n g su r f a ce b as e d o n t h e p r i n ci p l e s o f m i n i m a l su r f a ce s . A n e l as t i c ate d l aye r e d su r f a ce d e si g n e d to r e s e m b l e t h e p r o p e r ti e s o f m o i r e, h as b e e n s t r e tc h e d ove r m o to r i z e d n o d e s th at p e r i o d i c a ll y e x te n d a n d r e t r a c t c r e ati n g a s o f t f o r m at i o n o f ‘p e a k s ’ a n d ‘ v a ll ey s ’.

T h e d e si g n e x p l o r e s a n e w t y p e o f d y n a m ism w i th i n a g i ve n s p a ce th at e n c a p su l ate s a s e ns e o f r hy th m i c p at te r n i n a n o t h e r w is e s t at i c sp a ce.

42

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figure 7

figure 8

CRITERIA DESIGN

43

b3 REVERSE ENGINEER SEQUENCE

S T EP O N E Rectangle lengths.

c r e ate d

from

X

ad

Y

S T EP T WO

S T EP T H R EE

S T EP FO U R

S T EP FI V E

M e s h su r f a ce c r e ate d f r o m r e c t a n g l e b o u n d a r y.

Su r f a ce e v a l u a te d a n d d e - m e s h e d i nto p o i nt r e f e r e n ce s .

Co r n e r s o f b o u n d a r y a n c h o r e d .

I n p u t i nto K a n g a r o o Phy s i c s s o l ve r to de ter min e n ew minimal sur f ace m esh .

Ref ined reference points specif ies and d i s t r i b u te d i nto l o c a t i o n s r e f l e c t i ve o f t h o s e i n t h e K i n e t i c Wa l l .

44

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45

RECTANGLE

POINTS

MESH SURFACE

BOUNDARY

EVALUATE SURFACE

EDGE LENGTHS

CLOSEST POINT

MESH CORNERS

ANCHOR

DEMESH

ANCHOR

SOLVER

BANG!

MESH

GENE POOL

b3 SCRIPT BREAKDOWN 46

CRITERIA DESIGN

CRITERIA DESIGN

47

b3 FINAL COMPARISSON

figure 9

48

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figure 10

CRITERIA DESIGN

49

b4

Species One

Case Study 2.0

MATRIX Z H e i g h t (a l t e r n a t i n g) = 0 , 5 Anchor = 0

Z H e i g h t (a l t e r n a t i n g) = 0 , 2

Z H e i g h t (a l t e r n a t i n g) = 0 , 15

Z H e i g h t (a l t e r n a t i n g) =

Z H e i g h t (a l t e r n a t i n g) = 5 , 15

Z H e i g h t (a l t e r n a t i n g) =10 , 2 0

Anchor = 0

Anchor = 0

0, 30

Anchor = 0

Anchor = 0

Anchor = 0

S p e c i e s Tw o

Z H e i g h t (a l t e r n a t i n g) = 0 , 5

Z H e i g h t (a l t e r n a t i n g) = 0 , 2

Z H e i g h t (a l t e r n a t i n g) = 0 ,10

Z H e i g h t (a l t e r n a t i n g) = 0 , 3 0

Z H e i g h t (v a r i e d )

Z H e i g h t (a l t e r n a t i n g) =10 , 2 0

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d P i c Fr a m e = Y

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

Z H e i g h t (a l t e r n a t i n g) = 0 ,15

Z Height = 0

Z H e i g h t (v a r i e d )

Z H e i g h t (v a r i e d )

Z H e i g h t (v a r i e d )

Z H e i g h t (v a r i e d )

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

Z Height = 0

Z H e i g h t (v a r i e d )

Z H e i g h t (v a r i e d )

Z H e i g h t (v a r i e d )

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

We av e r b i r d

Edge Lengths: 0

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

M e s hT h i c k e n = Y

We av e r b i r d St e l l a t e = Y

E d g e L e n g t h s : 0 .9

Edge Lengths: 0

Species Three

S p e c i e s Fo u r

50

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CRITERIA DESIGN

51

b6 client research sOUTHERN LINED EARLESS DRAGON T h e S o u th e r n L i n e d E a r l e s s D r a g o n a r e cl as si f i e d u n d e r t h e r e p ti l e f a m i l y. T h e i r e a r s a r e cove r e d by th e i r s k i n , t h e r e by c a n n o t b e s e e n h e n ce a r e n a m e d ‘e a r l e ss d r a g o ns ’.

T h ey a r e t y p i c a ll y a r o u n d 150 m m i n to t a l l e n g th , w i t h i t s sn o u t l e n g t h b e i n g a r o u n d 55m m . T h e w i d ths o f t h e i r n e ck i n r e l at i o n to t h e i r h e a d is o n e th e ch a r a c te r is t i c s w h i c h s e t s t h e m a p a r t f r o m o th e r e a r l e ss d r a g o ns . T h ey h ave sm a ll l i g ht g r ey s c a l e s w i th a b r ow n m o t tl i n g p at te r n i n th e i r u p p e r b o d y a n d th e i r s c a l e s d o e s n o t ove r l a p o n e a c h o th e r.

155cm

S o u th e r n L i n e d E a r l e ss D r a g o ns a r e cl as si f i e d as ov i p a r o u s , a s t h ey l ay e g gs i n s h a ll ow n e s t o r b u r r ow s a r o u n d 10 -13c m d e e p a n d te n d s to b a ck f i ll th e b u r r ow w i t h s o i l a n d l i t te r. T h is is d o n e u su a ll y b e t we e n sp r i n g a n d su m m e r. Ty p i c a ll y, th ey l ay a r o u n d 3 - 6 e g gs a n d t h e n e w b o r n u su a ll y h atc h i n l ate su m m e r a n d au t u m n . T h ey a ls o u s e th e i r b u r r ow s as a m ati n g g r o u n d .

figure 11

SI T E LO C AT I O N

K E Y LI FE S T Y LE CO N SI D ER AT I O N S - R e l i e s o n b u r r ow s a s r e f u g e d u r i n g w i nte r to h i b e r n a te

SI T E CO N T E X T

- Su n b a s k s d u r i n g t h e d ay o n r o c k s

N o t o n l y a r e b u r r ow s u s e d f o r m ati n g a n d h atch i n g si te s , b u t th ey a r e a ls o u s e d to p r ov i d e r e f u g e f r o m p r e d ato r s a n d v a r y i n g c l i m at i c co n d i ti o ns d u r i n g w i nte r. H e n ce, t h e i r b u r r ow s a r e h e av i l y r e l i e d o n d u r i n g w i nte r. T h ey a r e m os t a c t i ve d u r i n g w a r m d ay s a n d t y p i c a ll y s p e n d s t h e i r d ay b as k i n g u n d e r th e su n , w h i ls t l y i n g o n r o c k s .

T h e s e e a r l e ss d r a g o ns f e e d o n a nt s , b e e tl e s a n d s p i d e r s .

- Ac t i ve d u r i n g w a r m d ay s (g a i ns e n e r g y f r o m su n)

Rock y areas

- Fe m a l e s l ay 3 - 7 e g g s i n b u r r ow s M i n i m a l t r e e cove r - E at s a nt s b e e t l e s a n d s p i d e r s

D e n s e n a t i ve g r a s s l a n d

M AI N C AUSE O F EN DAN G ER M EN T

M u c h o f th e i r h a b i t at h as b e e n d is t u r b e d , h e n ce e x p l a i ns t h e i r h i g h l y e n d a n g e r e d s t at u s . T h ey a r e u su a ll y f o u n d i n n ati ve g r ass l a n d h a b i t at s co nsis ti n g o f t a ll g r as s e s , l e a f l i t te r, l ow s h r u b s i n t h e o p e n co u nt r y.

- En d a n g e r e d d u e to d e s t r u c t i o n o f n a t i ve g r a s s l a n d .

Wa l l a by / Sp e a r G r a s s

Sparse areas within dense grassland

52

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53

b4

Species One

Case Study 2.1

MATRIX CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

W E AV E R B I R D C A R PE T

W E AV E R B I R D C A R PE T

W E AV E R B I R D

W E AV E R B I R D

( D I S TA N C E ) = 14

( D I S TA N C E ) = 12

T H I CK E N = 14

10 0

S p e c i e s Tw o

Species Three

T H I CK E N

=

W E AV E R B I R D

WINDOW=

W E AV E R B I R D

80

80

WINDOW=

W E AV E R B I R D FR A M E = 10 0

S p e c i e s Fo u r

54

CRITERIA DESIGN

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

CO N T R O L P O I N T

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

VA R I AT I O N S

CRITERIA DESIGN

55

1

AD H ER EN CE TO T H E B R I EF

H ow we ll d o es th e d esign in co r p o r ate th e li f es t y l e re quire m e nt s of o ur cli e nt? D o es th e d esign a d dress an d res o l ve th e issu es of e n dan g e r m e nt?

3

CO NS T R U C T I B I LI T Y

Co nsi d e r in g th e b r i e f as a f inal f ab r ic ate d o u tco m e, is th e d esign of a co ns tr u c tib l e nature? Is it s tr u c tur all y sup p o r te d? W hat f ab r ic ati o n m e th o ds co ul d b e us e d to all ow th e su ccess of th e d esign . W ill it n e e d a d diti o nal e l e m e nt s f o r co ns tr u c tib ilit y?

2

ALG O R I T H M I C CO N T R O L

W hat is th e l eve l of co ntro l ove r th e inp u t co mp o n e nt s into th e gr assh o p p e r s cr ipt .

Is th e s cr ipt easil y co ntro llab l e an d c an b e easil y m o di f i e d to create a dapt ati o ns sp e ci f ic to a p ar ticular o u tco m e. Is th e o u tco m e co ntro ll e d to p ro du ce a d esire d e f f e c t o r d o es it p ro du ce d a r an d o mis e d e f f e c t that lack s co ntro l thro u gh s cr iptin g .

4

CR E AT I V I T Y

H ow creati ve is th e f inal al g o r ithmic o u tco m e in te r ms of a es th e tic ev aluati o n .

H as th e s cr ipt b e e n a dapte d an d p e r s o nall y evo l ve d o r is it a b asic co mp o n e nt inp u t into th e s cr ipt . Als o co nsi d e r th e f inal v isual a es th e tic v alu e of th e d esign .

b4 SELECTION CRITERIA 56

CRITERIA DESIGN

CRITERIA DESIGN

57

b4 SELECTED ITERATIONS + SPECULATION

58

SPECI E S O N E - I T ER AT I O N 2

SPECI E S O N E - I T ER AT I O N 5

SPECI E S FO U R - I T ER AT I O N 3

SPECI E S FO U R - I T ER AT I O N 4

AD H ER EN CE TO B R I EF O O O

AD H ER EN CE TO B R I EF O O O O

AD H ER EN CE TO B R I EF O O O

AD H ER EN CE TO B R I EF O O O O

ALG O R I T H M I C CO N T R O L O O

ALG O R I T H M I C CO N T R O L O O

ALG O R I T H M I C CO N T R O L O O

ALG O R I T H M I C CO N T R O L O O

CO N S T R U C T I B I L I T Y O O O

CO N S T R U C T I B I L I T Y O O O

CO N S T R U C T I B I LI T Y O O

CO N S T R U C T I B I LI T Y O O O

CR E AT I V I T Y O O

CR E AT I V I T Y O O

CR E AT I V I T Y O O

CR E AT I V I T Y O O O

Foc us o n s a pti a l d i s tr i b u ti o n c re at i n g va r i o u s l i fe s t y l e s p e ci f i e s ha b i t at zo n e s.

Fo c us o n a m o re o p en sp at ial co ndi t io n t hat ai m s to c reate co nt inui t y into hab i t at co ntex t.

Focu s on replication of s u bt le va r iation in grou nd level to e n h a n ce client a c tiv it y.

For m a l fo cu s o n cave r n o u s b u r rowl i ke i nte r i o r s p ati a l co n d i ti o n .

Ex p lo rat io n o f b o t h ab ove and b elow sp at i al usage.

Focu s on explporation of both above and below s patial u s ag e bu t s till ens u r ing caver neou s bu r row-like inter ior.

CRITERIA DESIGN

Open for m prompts feeding acces s.

Exploration of boht a bove a n d be low s patial u s ag e.

CRITERIA DESIGN

59

b5 TECHNIQUE : PROTOTYPES 60

CRITERIA DESIGN

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61

b5 TECHNIQUE : PROTOTYPES

I N I T IA L FA B R I C AT I O N PR OTOT Y PI N G .

E x p l o r at i o n t h e u s a g e o f p l a s te r to r e s e m b l e t h e p r o p e r t i e s o f a r o c k . T h i s w a s d e e m e d to b e m o s t a p p r o p r i ate t h r o u g h e x p l o r at i o n f r o m o u r r e s e a rc h w h e r e o u r c l i e nt , t h e S o u t h e r n L i n e d E a r l e s s D r a g o n a l o n g w i t h o t h e r co l d b l o o d e d a n i m a ls h a d p r e f e r e nt i a l te n d e n c i e s to b a t h o n r o c k s d u r i n g t h e d ay w h e n t h e su n w a s o u t d u e to t h e t h e r m a l m a s s e f f e c t w a r mt h g e n e r ate d f r o m t h e h e a te d r o c k .

T h r o u g h o u r p r o to t y p i n g we a i m e d to r e p l i c a te t h e s e p r o p e r t i e s to i n co r p o r ate t h e m i nto t h e h a b i t at f o r o u r c l i e nt . T h i s i nvo l ve d co m b i n i n g p l a s te r w i t h v a r i o u s o r g a n i c m at te r to e v a l u a te t h e e f f e c t s o f co l o u r at i o n , te x t u r e a n d v i su a l a e s t h e t i c s . T h e te x t u r a l co ns i s te n c y w a s a ke y f a c to r to b e i n co r p o r ate d a s t h i s co u l d p o te nt i a l l y co m p r o m i s e t h e s t r u c t u r a l i nte g r i t y o f t h e d e s i g n .

The far r i g ht p r o to t y p e s explored d i f f e r e nt r at i o s of w ate r to p l as te r.

T h e to p l e f t p r o to t y p e e x p l o r e d t h e a d d i t i o n o f f i n e s o i l si f te d i nto t h e p l as te r m i x t u r e m a i n l y f o r e x p l o r at i o n o f co l o u r v a r i at i o n .

The b o t to m left p r o to t y p e explored co a r s e r m at te r a d d e d to t h e m i x t u r e.

62

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63

b5 TECHNIQUE : PROTOTYPES

SAND

WOODCHIPS

PEBBLES

GR ASS

T E X T U R A L M AT ER IA L E X PLO R AT I O N E x p l o r at i o n o f t h e e f f e c t s o f a d d e d m a te r i a ls i nto p l a s te r. S o u r ce d f r o m s i m i l a r e nv i r o n m e nt a l l a n d s c a p e co n d i t i o n s to t h e M e r r i Cr e e k h a b i t a t o f o u r c l i e nt , t h e i nte g r a t i o n o f t h e s e m a te r i a ls a i m e d to c r e ate a s e n s e o f f a m i l i a r i t y a n d co m f o r t f o r o u r c l i e nt i n t h e l e s s n a t u r a l d i g i t a l l y f a b r i c a te d p l a ce o f h a b i t at t h a t w e a r e d e s i g n i n g .

A s we e vo l ve d o u r d e s i g n w e c a m e to co n c l u s i o n s t h a t t h i s a r t i f i c i a l i n co r p o r a t i o n w a s n o t a n o p t i m a l s o l u t i o n a s i t s a c r i f i ce d t h e t h e r m a l m a s s i n g proper ties of a natural rock.

SOIL

CRUSHED LEAVES

We d i d h owe ve r co nt i n u e to u s e a s m a l l a m o u nt f o r a e t h e t i c te x t u r a l p u r p o s e s to c r e a te a s m o o t h i nte g r at i o n i nto t h e s i te s n a t u r a l l a n d s c a p e .

64

CRITERIA DESIGN

CRITERIA DESIGN

65

b5 TECHNIQUE : PROTOTYPES

M O U LD FO R M C A S T I N G Exploration casting from a mould. Originally our aim w a s to u s e a CN C m i l l to c r e a te t h e b a s e m o u l d h ow e ve r i t w a s n ’ t a b l e to b e f a b r i c a te d f a s t e n o u g h . I n s te a d w e c r e a te d a m o u l d t h a t w o u l d s i m i l a r l y r e f l e c t a co nto u r e d su r f a ce h o p e f u l l y r e su l t i n g i n a s i m i l a r e f f e c t . We m a n u a l l y p o u r e d o u r p l a s te r m i x ove r t h e m o u l d t h a t w a s cove r e d i n c l o t h to avo i d s t i c k i n g a n d s o t h a t t h e l aye r s o f t a p e a n d i m p e r f e c t i o n s f r o m t h e b a s e w e r e n o t i m p r i nte d a n d c a s t i nto o u r p r o to t y p e .

I n t h i s s e r i e s o f t r i a ls w e e x p l o r e d u s i n g d i f f e r e nt co n s i s te n c i e s o f p l a s te r to c r e a te a m o r e o r l e s s ‘s t i c k y ’ p l a s te r t h a t a s a r e su l t w e co u l d co nt r o l t h e t h i c k n e s s to b e cast in various areas.

66

CRITERIA DESIGN

CRITERIA DESIGN

67

b5 TECHNIQUE : PROTOTYPES

R E V ER SE - HAN G I N G C A S T M E T H O D T h i s te c h n i q u e i nvo l ve d t h e m e t h o d o f r e ve r s e h a n g i n g c a s t i n g . T h i s f o c u s e d o n t h e p e r f o r m at i ve e f f e c t s o f t h e m ate r i a ls b o t h t h e p l a s te r a n d c l o t h . We e x p l o r e d w i t h v a r i o u s b a s e m a te r i a l s to co m p a r e t h e i r d i f f e r i n g c a s t e f f e c t s . Pi c t u r e d to t h e r i g ht a r e p r o to t y p e t r i a ls c a s t w i t h fabric and paper card.

Fr o m o u r e x p e r i m e nt a t i o n o u r f i n d i n g s co n c l u d e d t h at t h e f l e x i b i l i t y o f t h e f a b r i c c r e ate d m o r e vo l u m i n o u s o u tco m e s h ow e ve r co m p r o m i s e d o n co nt r o l l a b i l i t y o f f o r m d u e to t h e f l e x i b l e n at u r e o f t h e f a b r i c . T h e p a p e r c a r d i n co nt r a s t h e l d a m u c h m o r e s t r u c t u r a l l y r i g i d f o r m t r u e to i t s i nte n d e d f o r m , h owe ve r w h e n t r y i n g to r e m ove t h e c a s t b e c a m e co m p l e te l y e m b e d d e d w i t h i n t h e a c t u a l p r o to t y p e .

T h r o u g h t h is m e t h o d we e n co u nte r e d a nu m b e r o f f a b r i c at i o n issu e s . T h is i n c lu d e d t r y i n g to e x a c tl y r e p li c ate p r e c is e f o r m a n d a sp e ci f i e d th i ck n e s s d eve l o p e d i n g r ass h o p p e r.

68

CRITERIA DESIGN

CRITERIA DESIGN

69

b6 DESIGN PROPOSAL

70

CRITERIA DESIGN

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STEP ONE

STEP T WO

STEP THREE

STEP FOUR

STEP FIVE

STEP SIX

Plaster of Paris used for casting base.

Soil form nearby creek / Yarra River collec ted to add to plaster mix ture.

Fine soil sif ted into plaster mix ture for a more natural colouration.

Fine bark chips sif ted into plaster mix ture for a more natural tex tural ef fec t.

Water added to plaster to bind mix ture at 1:2 ratio for optimal strength.

Water and plaster mix ture stirred to combine.

STEP SE VEN

STEP EIGHT

STEP NINE

STEP TEN

STEP ELE VEN

STEP T WELVE

Once prop erly mixed, the chemical reac tion immediately initiates the dr ying process and work abilit y time is limited to approx . 20 minutes.

Work ing quick ly plaster is p oured over mould.

Once p oured, plaster is spread manually to create variation in thick ness according to sp ecif ication of the design.

Sur face spread as smoothly as p ossible to resemble the app earance of a rock . Slight imp er fec tions can later be sanded with sandpap er to create smooth f inish.

Edges deliberately over- p oured to ensure ma ximum cast sur face is cast. E xcess p oured plaster can later be carefully cracked of f and sandpap ered down to replicate the sp ecif ications of the digitally generated design.

Cast protot yp es lef t to dr y for 24 hours to ensure it has fully dried and has obtained ma ximum strength before removed and p eeled away from cast base.

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PL A S T ER CO M P OSI T I O N E XPER I M EN TAT I O N

T E X T U R ED CLOT H FAB R I C

P O LYS T Y R EN E FOA M CN C M I LLED C A S T

E x p e r i m e nte d w i t h v a r i o u s l e ve ls o f s o i l to c r e a te a n at u r a l p i g m e nt co l o u r at i o n i n t h e p l a s te r c a s t . I n co n c l u s i o n , to o m u c h a d d i t i o n a l s o i l c r e ate d a b r i t t l e p l a s te r w h e n d r i e d w h i c h wo u l d co m p r o m i s e t h e s t r u c t u r a l i nte g r i t y o f t h e m a te r i a l . I n co nt r a s t t h e a b s e n ce o f a ny o r g a n i c m a t te r c r e ate a n a r t i f i c i a l a p p e a r i n g m ate r i a l t h at wo u l d i n h i b i t t h e s e a m l e s s i nte g r at i o n i nto t h e natural landscape.

Us e d to c r e ate t h e te x t u r a l su r f a ce co n d i t i o n c a s t i nto t h e m o u l d .

M i l l e d a t a n ove r l a p p i n g to l e r a n ce o f 0 .15.

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T h e f l e x i b i l i t y o f t h e m ate r i a l a ls o a l l ow e d t h e e a s y r e m ov a l to r e ve a l j u s t t h e c a s t p r o to t y p e .

T h i s m o u l d d i d n o t r e q u i r e m u c h p r e c i s i o n a s a l l i t w a s u s e d f o r w a s a b a s e m o u l d w i t h t h e te x t u r a l co m p o n e nt co m i n g f r o m t h e l a i d f a b r i c .

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b6 DESIGN PROPOSAL

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b7 LEARNING OBJECTIVES AND OUTCOMES “ Pr i o r to un d e r t ak in g this subj e c t I ha d li t tl e to n o k n ow l e d g e ab o u t any thin g re late d to di gi t al al g o r i thmi c d esi gn . O ve r th e p as t f ew we e k s I have e n dure d a r ath e r s te e p l ear nin g cur ve tr y in g to un d e r s t an d h ow sp e ci f i c all y G r assh o p p e r an d th e v as t co ll e c ti o n of p lu g - ins wo r k .

W i th o u t any clu e of h ow to g o ab o u t creatin g a s cr ip t , I ini tiall y b e gan f o ll ow in g E x lab an d Yo u tub e v i d e os that ha d s te p - by - s te p gui d es to f o ll ow. Fro m th es e b as e g e o m e tr i es , I th e n tr i e d a d din g my ow n p lu g - ins to create n ew g e o m e tr i c f o r ms . I f o un d this a l ot hard e r than e x p e c te d as m e re l y a d din g co mp o n e nt s to s cr ip t s (af te r res earchin g th e ir e f f e c t eve n i f th ey we re inp u t co r re c tl y) wo ul d of te n c aus e an e r ro r o r my co mp u te r to f re e ze th e n cr ash c ausin g r hin o an d gr assh o p p e r to cl os e. A s a result , th e o u tco m es of my al g o r i thmi c e x p l o r ati o ns we re of te n similar l y co ns tr ain e d as I have b e e n unab l e to s cr ip t v as tl y di f f e re nt v ar iati o ns .

Ini tiall y w h e n gi ve n o ur b r i e f I w as a li t tl e co nf us e d an d f o un d i t hard to re late to th e t ask of creatin g a h o us e f o r a li z ard . H oweve r, as I res earch e d an d e x p l o re d m o re into th e b r i e f, th e abs e n ce of humanis ti c inp u t has all owe d f o r th e d esi gn p ote ntial to b e m o re creati ve l y abs tr a c t w i th much less cons tr aint s . S ay ing this , despite conceptualising many p otential ideas , my te chno lo gic al c ap acit y to ac tually create th es e w i th gr assh o p p e r has limi te d th e creati ve e x te nt of o ur d esi gn .”

Lo o k in g f o r w ard as we e nte r Par t 3, I h o p e to d eve l o p w ay s in w hi ch th e inte r i o r sp atial co n di ti o ns of o ur cur re nt d esi gn c an b e imp rove d . I als o h o p e to e x p l o re th e p ote ntial of inte gr atin g o ur d esi gn s o that i t co nsis t s of a sin gular co h esi ve uni t r ath e r than t wo sin gular p lates that res t o n to p of o n e an oth e r.”

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t

PART C: DETAILED DESIGN

C1 INTERIM PRESENTATION FEEDBACK T h e m i d s e m e s te r r ev i e w p r ove d to b e a c r u c i a l p o i nt i n o u r d e si g n p r o ce s s f o r u s to ass e ss o u r d e si g n b as e d o n o u r h o lis t i c co n ce p t . D u e to o u r l a ck o f s k i lls i n g r ass h o p p e r i t b e c a m e a p p a r e nt t h at du r i n g th e d e si g n p r o ce s s we h a d b e co m e to o f o c u s e d o n t r y i n g to a c h i eve o u tco m e s b as e d o n d i g i t a l a b i li t y a n d as a r e su l t c au si n g o u r d e si g n to s t r ay f r o m th e i n i ti a l i nte nt b as e d o n t h e co r e r e q u i r e m e nt s o f o u r cli e nt . B e l ow is a su m m a r y o f key p o i nt s f r o m o u r m i d s e m e s te r r ev i e w.

1.

G r ass h o p p e r Pa r a m e t r i c ism

Pr ov i d e d as f e e d b a c k f r o m o u r i nte r i m p r e s e nt at i o n , i t w as n o te d th at o u r c u r r e nt d e si g n d o e s n o t r e a ll y r e l y o n g r ass h o p p e r a n d th at i t co u l d b e c r e ate d ju s t t h e s a m e i n r h i n o. We w i ll a ls o e x p l o r e th e n e ce s si t y o f s t r u c t u r a l co nsi d e r at i o ns t h at w i ll u l t i m ate l y d e f i n e p a r t o f th e r e s o lu te form.

2 .

Fo r m a l Un i t y

To f u r t h e r t h is d e si g n we w i ll l o o k to c r e ate a g r e ate r s e ns e o f u n i t y.

Cu r r e nt l y t h e t wo p i e ce s t h at t h e d e si g n co nsis t s a p p e a r to l a ck co h e si o n a n d b e d isj o i nte d f r o m o n e a n o t h e r a lm o s t to t h e f a c t th at th ey a r e s e p a r ate p i e ce s a n d o n e h as ju s t b e e n d r o p p e d o n to p o f t h e o t h e r. We a i m to e x p l o r e a n e w d i r e c t i o n t h at w i ll co m p r is e o f a si n g u l a r co m p o n e nt i n a n at te m p t to c r e ate a m o r e co h e si ve u n i t .

3.

Co nte x t u a l I nte g r at i o n

B as e d o n f e e d b a c k f r o m t h e m i d s e m e s te r i nte r i m p r e s e nt ati o n , we w i ll a i m to c r e ate a g r e ate r s y m b i o t i c r e l at i o n to t h e co nte x t u a l l a n d s c a p e. D e s p i te o u r at te m p t s to i nte g r ate t h e f o r m i nto o u r c u r r e nt h a b i t at , we f e l t th is co u l d b e p u s h e d to a g r e ate r p o te nt i a l a n d a i m to e x p l o r e th is as we wo r k tow a r d s o u r f i n a l d e si g n p r o p o si t i o n .

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C1 MANNHEIM MULTIHALLE figure 2

- FREI OTTO T h e M a n n h e i m M u l t i h a ll e by Fr e i O t to is a n i nsp i r i n g a rch i te c t u r a l s t r u c t u r e w i t h i t s m u l t i - c u r ve d p a r a b o l o i d s t r u c t u r e m a d e f r o m wo o d e n s l at s .

O r i g i n a ll y e x p l o r i n g t h e i d e a o f te nt- li ke s t r u c t u r e s , th e d e c isi o n w as u l t i m ate l y m a d e to e x p l o r e a g r i d c u r v at u r e. Fr e e f o r m i n g i n a p p e a r a n ce t h e s t r u c t u r e is i n f a c t a c a r e f u ll y s t r u c t u r e d co m b i n at i o n o f m e r g i n g d o m e s f r o m v au l te d e x t r u si o ns t h at cove r s t h r e e s e p a r ate a r e as .

A s we f u r t h e r o u r d e si g n , we a i m to i n co r p o r ate th e s t r u c t u r a l p r i n c i p l e s i n O t to ’s v au l te d s y s te m to i n f lu e n ce o u r d e si g n a n d to c r e ate d e f i n i t i o n b e t we e n v a r i o u s sp at i a li t y.

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figure 1

figure 3

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c1 DESIGN CONCEPT To o p t i m is e t h e c u r r e nt h a b i t at o f o u r cli e nt to b e s t su i t i t s li f e s t y l e.

To p r ov i d e a s h e l te r f r o m p r e d ato r s . . .

A p a r t i a ll y e n c l o s e d s h e l te r p r o te c t s f r o m p r e d ato r s th at f l y a b ove. O p e n v au l te d e nt r a n ce s h oweve r d o n o t r e s t r i c t i ns e c t s a n d s m a ll c r i t te r s th at m a ke u p a l a r g e p a r t o f o u r c li e nt s d i e t .

To p r ov i d e a s a f e b u r r ow. . .

D a r k , e n c l o s e d m o r e p r i v ate a r e as . W i th s m a ll ‘n o o k s ’ th at a r e su r r o u n d e d by sp e a r g r ass w h i c h o u r c li e nt ch os e s to b u r r ow a m o u n gs t .

A p l a ce to e n e r g is e. . .

A s a n e c to t h e r m i c c r e at u r e o u r cli e nt s g a i ns th e i r e n e r g y f r o m th e su n s o m a x i m i n g t h e h e at t h ey r e ci eve is c r u ti a l . R o ck s a r e o p ti m is e d to m a x i m is e s o l a r h e at g a i n t h r o u g h c r e ati n g th i cke r to l e r e n ce s o n to p o f v au l t s th at b o th h e at u p a n d p r ov i d e a sm o o th su r f a ce f o r o u r cli e nt to l ay i n th e su n a n d a q u i r e t h e e n e r g y t h ey r e q u i r e f o r th e d ay.

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c1

c1

DESIGN CONCEPT

DESIGN CONCEPT

CURVES

POLYLINE

OUTLINE

BOUNDARY

CURVES

MESH POINTS

CONTAINMENT

CULL

EQUALS

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NAKED VERTICES

MESH EDGES

SPRINGS FROM LINE

POINTS

FIXING POINTS

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MESH

UNIT Z

GRAVITY

UNARY FORCE

KANGAROO PHYSICS

MESH

WEAVERBIRD MESH THICKEN

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c1 DESIGN CONCEPT GR ASSHOPPER REFINEMENT

Widely open internal condition lacks various zones for differnt activity.

Form consists of half vaults around form edge and do not provid internal spatial seperation.

Too many vault extrusions reuslt in a very low ceiling height to accomodate for each base.

As a results too large a contrast Between open internal condition and ‘burrow’ zone.

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Lack of spatial continuity within Habitat.

Aiming for spatial seperation Between zones without creating an explicit division.

Angle of entrance opening tilted Upwards becoming contradictory to providing shelter and protection from predators.

Single vault did not create an Adequate division between internal spatial zones.

Ver tically stretched vaults to create a more substantial volumous internal condition.

Lack of vault extrusion resulted in low vaults and ceiling.

Lack of seperation between open Shelter and enclosed burrows.

Disruption of smooth vaulted form by harsh jaggard edges.

Lack of variaiton between Internal spaces.

Evenly heighted vaults that become the ceiing do not provide desired spatial variation in seperate zones.

However skews sunbaking zone to an overly steep angle for out client to comfor tably climb then lay.

Too flat a form moving away from ‘rock’ into a more flat surface not Integrating itself into context.

As a result predators may step on it.

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c1 DESIGN CONCEPT

C a r e f u ll y p l a ce d v au l t s d i v i d e t wo i nte r n a l z o n e s ye t s t i ll e nsu r e u n i t r e m a i ns as a si n g u l a r co h e si ve d e si g n .

Sp at i a l co nt i n u i t y a ch i eve d w i th o u t th e u s e o f a n e x p li c i t d i v i d i n g p a r t i t i o n .

Va r i at i o n i n v au l t e x t r u si o n to c r e ate s e p e r ate i nte r n a l z o n e s . O n e m o r e p r i v ate a n d e n c l o s e d f o r b u r r ow i n g a n d th e o th e r a n o p e n s h e l ate r t h at p r o te c t s o u r c li e nt p a r t i c u l a r l y f r o m p r e d ato r s f l y i n g a b ove.

Sm o o t h c u r v at u r e m i m i c s th e f o r m o f o th e r r o c k s w h i c h o u r c li e nt c u r r e nt l y b u r r ow s i n .

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c1 DESIGN CONCEPT

I N T ER NAL M OV EM EN T

I nte r n a ll y, o u r d e si g n f o c u s e s o n c r e ati n g s e p a r ati o n b e t we e n th e ‘b u r r ow ’ a n d ‘s h e l te r ’ z o n e s ye t , s ti ll p r o m p t s f lu i d m ove m e nt th r o u g h th e sp a ce.

SU N - BAT H I N G AR E A

To a cce ss t h is ‘r o o f to p ’ a r e a f o r o u r cl i e nt to b ath e i n th e su n , we sp e c i f i c a ll y t a i l o r e d o u r d e si g n to i n co r p o r ate t wo p at hs w h i ch i nvo l ve c u r v at u r e o f a l owe r g r a d i e nt f o r o u r c l i e nt to e asi l y g a i n a cce s s to.

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c1

c1

DESIGN CONCEPT

DESIGN CONCEPT

PREDATORIAL VIE W

ES C A P E PAT H

T h e m a i n p r e d ato r s to o u r cli e nt a r e av i a n c r e at u r e s a n d t h is d i a g r a m a n a l y s e s o u r co nsi d e r at i o n tow a r d s p r o te c t i n g o u r cl i e nt s f r o m th e s e p r e d ato r s . D u e to t h e e x p a nsi ve si g ht a b i li t y o f o u r c li e nt ’s p r i m a r y p r e d ato r s , o u r d e si g n h as b e e n c a r e f u ll y co nsi d e r e d to p r ov i d e p r o te c t i o n f o r o u r c li e nt s i n t h e i r s h e l te r e d h a b i t at . T h is i n cl u d e s th e s p e ci f i c a ll y d e si g n e d c u r v at u r e t h at is a n g l e d to r e s t r i c t t h e p r e d ato r s v i e w i nto th e s h e l te r e d h a b i t at ke e p i n g o u r c li e nt o u t o f si g ht .

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B as e d o n th e li f e s t y l e o f o u r cli e nt s as e c to th e r m i c c r e at u r e s , i t w as e s s e nti a l to d e si g n a n a r e a w h e r e th ey co u l d li e i n th e su n to g a i n e n e r g y. O u r d e si g n co nsi d e r e d th is by c r e ati n g th is b ath i n g a r e a o n th e to p e x te r i o r su r f a ce o f o u r u n i t . T h is h oweve r p o te nti a ll y e x p os e d o u r cli e nt s to p r e d ato r s . A s a r e su l t , we co nsi d e r e d a n e s c a p e r o u te i n th e c as e o f a n at t a ck to e nsu r e o u r cl i e nt co u l d s a f e l y r e t r e at to th e s h e l te r e d s e c to r o f th e u n i t .

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c1 DESIGN CONCEPT

SPIDERS

CRICKETS

BEETLES

GRASSHOPPERS

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DIE TARY CONSIDER ATIONS

O u r cli e nt s d i e t m a i n l y co nsis t s o f sp i d e r s , c r i cke t s , b e e tl e s a n d g r as s h o p p e r s . We h ave co nsi d e r e d th e i r d i e t a r y n e e d s i n th e at te m p t to o p t i m is e t h e i r li f e s t y l e w h e r e p o te nt i a ll y t h e i r f o o d w i ll b e d e li ve r e d r i g ht i n th e i r n e w h a b i t at .

To a cco m m o d ate th is , we h ave d e si g n e d w i d e we l co m i n g o p e n i n gs t h at co n n e c t t h e i nte r n a l sp a ce to t h e su r r o u n d i n g co nte x t u a l l a n d s c a p e a n d a i m to avo i d r e s t r i c ti n g c r i t te r s th at o u r cli e nt f e e d s o n f r o m e nte r i n g th e i r n e w h a b i t at .

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c1 DESIGN CONCEPT VEGETATION & STRUCTURAL SECUREMENT

figure 4 tussock grass

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figure 5 spear grass

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figure 6 wa l l a by g r a s s

O u r cli e nt s c u r r e ntl y li ve a m o n gs t a r e as o f n ati ve g r as s d o m i n ate d by Wa ll a by g r ass , Tu ss o c k g r as s a n d Sp e a r- g r as s . Tr e e a n d s h r u b cove r is s p a r s e o r a b s e nt a n d th e i r p r e f e r r e d s h e l te r i n clu d e s i n b u r r ow s o r u n d e r r o c k s . O u r cli e nt is n o t s p e ci f i c a ll y e n d a n g e r e d h oweve r i t s n ati ve g r as s l a n d h a b i t at is du e to e x te nsi ve l y d e s t r u c ti ve u r b a n e x p a nsi o n . A s a r e su l t o u r d e si g n i nte g r ate s n ati ve g r as s e s to c r e ate a n o p ti m a l h a b i t at f o r o u r cli e nt .

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C2 TECTONIC ELEMENTS & PROTOTYPES MATERIAL EXPLOR ATION - CL AY

Our intention was to clay for our f inal model and pour a slip clay mix ture into our CNC milled mold however, af ter undergoing research and consultation with Nor thcote Pot ter y, it was unfor tunately determined that being constrained to a 2 week time frame, was an inadequate amount of time to allow clay to fully dr y then to f ire in a k iln.

Ultimately this was a loss to our projec t as f ired clay would have provided a much stronger unit bet ter fabricated to resist harsh outdoor conditions. We still however explored with clay as a material to explore its potential.

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STEP ONE

STEP T WO

White dr y coloured clay used and molded over 3D printed model.

Model covered in gladwrap for ease of removal.

Clay molded over 3D printed form.

Form thick ness variation created by hand creating deep er / thinner tolerances in various areas as according to diagramatic def inition.

STEP THREE

STEP FOUR

Tex tured canvas material is gently imprinted into clay to achieve rusticated naturalit y to resemble a rock .

Clay is lef t to dr y for 12 days in mold then removed.

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STEP ONE

STEP T WO

STEP THREE

Plaster of Paris used for casting base.

Water added to dr y plaster mix ture at a 1:2 (water :plaster) ratio for ma ximal strength.

Mix ture stirred to combine until a pastey wet consistenc y.

STEP FOUR

STEP FIVE

STEP SIX

Initial method of fabricating form was to p our plaster mix ture onto a primar y cast then to squish bet ween t wo 3D printed plates.

Unfor tunately we realised the molds did not align.

Instead we used one of the templates and hand molded the form around the 3D printed model.

Mold covered with fabric for ease of removal and to also create a more rusticated tex ture into the unit.

Mold lef t to dr y in form -work (3D printed model) then ex trac ted and fabric carefully also removed.

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C2 TECTONIC ELEMENTS & PROTOTYPES

POUR MOLD CASTING Pr e v i o u s l y h a n d - m o l d i n g c l ay a n d p l a s te r to d e f i n e o u r f o r m , we f o u n d t h i s te c h n i q u e to b e q u i te i n a cc u r ate a n d d i f f i c u l t to a cc u r a te l y r e p r e s e nt t h e f o r m t h at we h a d p r e c i s e l y d e f i n e d i n g r a s s h o p p e r.

To ove rco m e t h i s , w e d e c i d e d to u s e t h e CN C r o u te r to c r e ate a c a s t i n g f o r mw o r k t h a t w e co u l d p o u r a n d f i l l . T h i s w o u l d r e su l t i n a m u c h m o r e a cc u r a te r e p r e s e nt a t i o n o f o u r f o r m d e f i n e d i n g r a s s h o p p e r.

Wo r k i n g w i t h i n t h e c a p a b i l i t i e s o f a CN C m i l l , we c r e ate d t w o co m p o n e nt s w h i c h w o u l d f i t to g e t h e r to c r e a te t h e f o r mw o r k f o r o u r d e s i g n .

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C2 TECTONIC ELEMENTS & PROTOTYPES POUR CASTING PROCESS

STEP ONE

STEP T WO

STEP THREE

STEP FOUR

STEP FIVE

STEP SIX

Plaster of Paris used for casting base. Water added to dr y plaster mix ture at a 1:2 (water :plaster) ratio for ma ximal strength.

H Grade Polyst yrene was slightly shaved down so that t wo formwork comp onent s f it p er fec tly together.

Polyst yrene formwork was covered in vaseline to allow for eas y removal of cast once dr y.

Originally we intended to bind t wo formwork pieces together however the correc t ratio plaster mix ture was a lit tle too thick to p our so instead we p oured the mix ture into a singular side of the formwork .

Once f illed we got the other piece of formwork and pressed it into place.

Formwork tightly closed to achieve exac t grasshopp er def ined form with excess plaster mix ture squeezed out the edges.

STEP SE VEN

STEP EIGHT

STEP NINE

STEP TEN

STEP ELE VEN

STEP T WELVE

As acetone dissolved the p olyst yrene a stick y residue was lef t.

Once bulk of formwork had dissolved, excess p olyst yrene manually removed from plaster cast.

L ast residue of p olyst yrene removed by hand from plaster cast.

Cast is gently washed in soapy water to remove greas y vaseline residue used to cast mold.

Acetone used p olyst yrene to formwork .

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Acetone p oured over dissolve formwork .

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C2 TECTONIC ELEMENTS & PROTOTYPES FINAL PROTOT YPE MODEL ASSEMBL AGE PROCESS

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STEP T WO

STEP THREE

STEP FOUR

STEP FIVE

STEP SIX

Foam and p olyst yrene of fcut s used to f ill base of planter to reduce weight load.

Rock s collec ted and used to help represent and indicate the integration of our design into a surrounding natural contex t.

Plants sourced to resemble ‘dr y native grasses’ the we aim to integrate into our design.

Af ter the bulk of the planter being f illed with foam, a top layer of soil was coated to resemble the natural op en ground of our intended site contex t.

Planter sparely f illed with rock and plant s creating contex t for our mold.

Cast unit placed into planter and as p er intended, vault s were planted with native grasses to integrate our design into the natural contex t.

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c4 LEARNING OBJECTIVES AND OUTCOMES D esp i te thro u gh o u t th e co ur s e of this subj e c t b e co min g qui te f r us tr ate d w i th th e te chn o l o g y, Lo o k in g b a ck ove r my l ear nin g p ar ti cular l y invo l v in g di gi t al f ab r i c ati o n I c an ap p re ciate th e n ew dim e nsi o n of d esign that di gi t al f ab r i c ati o n has ma d e p ossib l e. Prev i o us to this te chn o l o gi c al a d v an ce m e nt , a larg e p ro p o r ti o n of co n ce p tual d esi gn think in g w as n ot p ossib l e h oweve r th es e o u tco m es have n ow b e co m e p ossib l e.

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ALGORITHMIC SKETCHBOOK 138

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REFERENCES PART A FI G U R E 1

ht t p s: // w w w. m o d l a r. co m /p h o to s /618/ h eyd a r- a li yev - ce nte r- e x te r i o r/

FI G U R E 22

ht t p: // w w w. m i ch a e l - h a nsm eye r. co m /d i g i t a l - g r o te s q u e - I I

FI GU R E 2 ht t p: // w a l k i n g th e ci t y u p o l is . b l o gsp o t . co m / 2011/03/g u e s t- p o s t- a rc h i g r a ms - w a lk i n g - ci t y. ht m l

FI G U R E 2 3 ht t p s: // w w w. d e m i lke d . co m / 3d - p r i nte d - g r o t to - d i g i t a l - g r o te s q u e - d i ll e n b u r g e r- h a ns m eye r/

FI G U R E 3

ht t p: //a rch eye s . co m /n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a /

REFERENCES PART B

FI G U R E 4

ht t p: //a rch eye s . co m /n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a /

FI G U R E 1

ht t p s: // w w w. m at s y s . d e si g n /

FI G U R E 5

ht t p s: // w w w. a rch d a i l y. co m /110745/a d - cl assi c s - n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a

FI G U R E 2

ht t p s: // w w w. m at s y s . d e si g n /

FI G U R E 6

ht t p: //a rch eye s . co m /n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a /

FI G U R E 3

ht t p s: // i w a m o to s co t t . co m /p r oj e c t s / vo u ss o i r- cl o u d

FI G U R E 7

ht t p s: // w w w. a z u r e m a g a z i n e. co m /a r t i cl e / b u ck m i ns te r- f u ll e r- m o nt r e a l - b i o sp h e r e /

FI G U R E 4

ht t p s: // i w a m o to s co t t . co m /p r oj e c t s / vo u ss o i r- cl o u d

FI G U R E 5

ht t p s: // w w w. d e z e e n . co m / 20 0 8/0 8/0 8/ vo u ss o i r- cl o u d - by - i w a m o to s co t t /

FI G U R E 6

ht t p s: // w w w. d e z e e n . co m / 20 0 8/0 8/0 8/ vo u ss o i r- cl o u d - by - i w a m o to s co t t /

FI G U R E 8 ht t p s: // w w w. d e t a i l - o n li n e. co m /a r t i cl e / h o n o u r a b l e - m e nt i o n - d e t a i l - s t r u c t u r e -2016 - e l y t r a - f i l a m e nt- p av i li o n - l o n d o n - u n i te d - k i n g d o m - a ch i m - m / FI G U R E 9

ht t p s: //d i v is a r e. co m /p r oj e c t s / 319 0 0 9 - a ch i m - m e n g e s - n a a r o - e l y t r a - f i l a m e nt- p av i li o n

FI G U R E 10

ht t p s: //d i v is a r e. co m /p r oj e c t s / 319 0 0 9 - a ch i m - m e n g e s - n a a r o - e l y t r a - f i l a m e nt- p av i li o n

FI G U R E 7 ht t p s: // w w w. d e z e e n . co m / 2014/0 6/18/ k i n e t i c- w a ll - b a r kow - l e i b i n g e r- e l e m e nt s - ve n i ce - b i e n n a l e -2014/

FI G U R E 11 ht t p s: // w w w. d e t a i l - o n li n e. co m /a r t i cl e / h o n o u r a b l e - m e nt i o n - d e t a i l - s t r u c t u r e -2016 - e l y t r a - f i l a m e nt- p av i li o n - l o n d o n - u n i te d - k i n g d o m - a ch i m - m /

FI G U R E 8 ht t p s: // w w w. d e z e e n . co m / 2014/0 6/18/ k i n e t i c- w a ll - b a r kow - l e i b i n g e r- e l e m e nt s - ve n i ce - b i e n n a l e -2014/

FI G U R E 12

ht t p s: // t h eve r y m a ny. co m /14 - s to r e f r o nt

FI G U R E 9 ht t p s: // w w w. d e z e e n . co m / 2014/0 6/18/ k i n e t i c- w a ll - b a r kow - l e i b i n g e r- e l e m e nt s - ve n i ce - b i e n n a l e -2014/

FI G U R E 13

ht t p s: //a rch i n e c t . co m / t h eve r y m a ny/p r oj e c t /si t u at i o n - r o o m

FI G U R E 14

ht t p s: // t h eve r y m a ny. co m /14 - s to r e f r o nt

FI G U R E 15

ht t p s: // t h eve r y m a ny. co m /14 - s to r e f r o nt

FI G U R E 16 ht t p s: // w w w. a rch d a i l y. co m . b r/ b r/01-72856/ b l o o m - a lis a - a n d r as e k- j o s e - s a n ch e z /50 4 0 f d1b FI G U R E 17

ht t p s: // w w w. a rch i te c t m a g a z i n e. co m /p r oj e c t- g a ll e r y/ b i o n i c- p a r t i t i o n _ o

FI G U R E 18

ht t p s: //s t a r t s - p r i z e. a e c . at /e n / b i o n i c- p a r t i t i o n /

FI G U R E 19

ht t p s: //s t a r t s - p r i z e. a e c . at /e n / b i o n i c- p a r t i t i o n /

FI G U R E 20

ht t p s: // w w w. a rch i te c t m a g a z i n e. co m /p r oj e c t- g a ll e r y/ b i o n i c- p a r t i t i o n _ o

FI G U R E 21 ht t p s: // w w w. d e m i lke d . co m / 3d - p r i nte d - g r o t to - d i g i t a l - g r o te s q u e - d i ll e n b u r g e r- h a ns m eye r/

146 references

FI G U R E 10 ht t p s: // w w w. d e z e e n . co m / 2014/0 6/18/ k i n e t i c- w a ll - b a r kow - l e i b i n g e r- e l e m e nt s - ve n i ce - b i e n n a l e -2014/ FI G U R E 11 ht t p s: // w w w.g o o g l e. co m . au /u r l?s a = i & rc t= j & q = & e src= s & s o u rce = i m a g e s & cd = & ve d =2 a h U K Ew j j9 t-Sv r r d A hVQ U N 4 K H U Fq

REFERENCES PART C FI G U R E 1 ht t p s: // w w w. a rch i l ove r s . co m /p r oj e c t s /151389/r o o f- f o r- t h e - m u l t i h a ll e - i n - m a n n h e i m . ht m l FI G U R E 2

ht t p s: //d i v is a r e. co m /p r oj e c t s / 3393 41- f r e i - o t to - m a rco - ve d a n a - m a n n h e i m - m u l t i h a ll e

FI G U R E 3

ht t p s: //d i v is a r e. co m /p r oj e c t s / 3393 41- f r e i - o t to - m a rco - ve d a n a - m a n n h e i m - m u l t i h a ll e

FI G U R E 4 ht t p: // w w w. e nv i r o n m e ntg u i d e. o r g . n z / issu e s / b i o d i ve r si t y/n e w -z e a l a n d s - b i o d i ve r si t y/ g r ass l a n d s /

references 147

part c references continued...

ht t p s: // w w w. a rch d a i l y. co m /110745/a d - cl assi c s - n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a ht t p s: // w w w. d e si g n co d i n g . n e t /co m p u te r i z at i o n - a n d - co m p u t at i o n /

FI G U R E 5 FI G U R E 6

ht t p s: // w w w. a g r i c .w a .g ov. au /r a n g e l a n d s / b l a ck- sp e a r g r ass ht t p s: // w w w. n at i ve s e e d s . co m . au / w a ll a by - g r ass - v a r i e t i e s / ? v = 6 cc 9 8 b a20 45f

references continued...

Ko l a r ev i c , B r a n ko a n d Kev i n R . K l i n g e r, e d s (20 0 8). M a nu f a c t u r i n g M ate r i a l E f f e c t s: R e t h i n k i n g D e si g n a n d M a k i n g i n A rc h i te c t u r e (N e w Yo r k ; Lo n d o n: R o u t l e d g e), p p. 6 –24

ht t p s : // w w w. a r c h d a i l y. co m /557215/m a r c- f o r n e s - a n d - t h e ve r y m a ny - _ - s to r e f r o nt- w i t h - i m m e r s i ve - u l t r a t h i n - s h e ll - s t r u c t u r e ht t p s: // w w w. d e z e e n . co m / 2016/05/18/r o b o t i c a ll y - f a b r i c ate d - c a r b o n - f i b r e - p av i li o n - o p e ns - v a - m u s e u m l o n d o n - u n i ve r si t y - o f- s t u t tg a r t- a ch i m - m e n g e s / h t t p s : // w w w. d e t a i l - o n l i n e . c o m /a r t i c l e / h o n o u r a b l e - m e n t i o n - d e t a i l - s t r u c t u r e -2 016 - e l y t r a - f i l a m e n tp av i li o n - l o n d o n - u n i te d - k i n g d o m - a ch i m - m / ht t p s: // t h eve r y m a ny. co m /14 - s to r e f r o nt

Fr y, To ny (20 0 8). D e si g n Fu t u r i n g: Su s t a i n a b i li t y, E t h i c s a n d N e w Pr a c t i ce (O x f o r d: B e r g), p p. 1–16 ht t p s: //p a r a ll a x . a m i nu s3. co m / i m a g e / 20 07- 0 6 - 02 . ht m l D u n n e, A nt h o ny & R a by, Fi o n a (2013) Sp e c u l at i ve Eve r y t h i n g: D e si g n Fi c t i o n , a n d S o c i a l D r e a m i n g (M I T Pr e ss) p p. 1- 9, 33 - 45

ht t p s: // w w w. p i nte r e s t . co m . au /p i n /613615517951827410/ ?l p = t r u e ht t p s: // w w w. au to d e s k r e s e a rch . co m /p r oj e c t s / b i o n i c- p a r t i t i o n - p r oj e c t ht t p: // t h e li v i n g n e w yo r k . co m

O x m a n , R i v k a a n d R o b e r t O x m a n , e d s (2014). T h e o r i e s o f t h e D i g i t a l i n A rc h i te c t u r e (Lo n d o n; N e w Yo r k : R o u t l e d g e), p p. 1–10 K a l ay, Ye hu d a E . (20 0 4). A rch i te c t u r e ’s N e w M e d i a: Pr i n c i p l e s , T h e o r i e s , a n d M e t h o d s o f Co m p u te rA i d e d D e si g n (C a m b r i d g e, M A : M I T Pr e s s), p p. 5 -2 5

ht t p s: // w w w. a rch i te c t m a g a z i n e. co m /p r oj e c t- g a ll e r y/ b i o n i c- p a r t i t i o n _ o ht t p s: //s t a r t s - p r i z e. a e c . at /e n / b i o n i c- p a r t i t i o n / ht t p s: //a rch i t i z e r. co m /p r oj e c t s / b i o n i c- p a r t i t i o n /

ht t p: // w w w. m i ch a e l - h a nsm eye r. co m /d i g i t a l - g r o te s q u e - I I ht t p s: //a rch i n e c t . co m / t h eve r y m a ny/p r oj e c t /si t u at i o n - r o o m ht t p s: //o n e. a rch .t a m u . e d u /n e w s / 2017/9/13/p r o f- ch a p te r- av a nt- g a r d e - a rch i g r a m / ht t p: //a rch eye s . co m /n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a /

h t t p s : // w w w. a r c h d a i l y. c o m . b r/ b r/ 01-7 2 8 5 6 / b l o o m - a l i s a - a n d r a s e k - j o s e - s a n c h e z / 5 0 4 0 f d1b 2 8 b a 0 d 7e c b 0 0 0103 _ b l o o m - a lis a - a n d r as e k- j o s e - s a n ch e z _ i m g _ 6185p/

ht t p s: // w w w. a rch d a i l y. co m /110745/a d - cl assi c s - n a k a g i n - c a p su l e - towe r- k is h o - k u r o k aw a

M oy s h i e Eli as , 2018 : A rch i te c t u r a l D e si g n St u d i o A i r L e c u t r e S e r i e s

ht t p s: // w w w. d e m i lke d . co m / 3d - p r i nte d - g r o t to - d i g i t a l - g r o te s q u e - d i ll e n b u r g e r- h a nsm eye r/

ht t p s: // w w w. a rch i l ove r s . co m /p r oj e c t s /151389/r o o f- f o r- t h e - m u l t i h a ll e - i n - m a n n h e i m . ht m l

ht t p s: // w w w. co d awo r x . co m /p r oj e c t /si t u at i o n - r o o m - s to r e f r o nt- f o r- a r t- a n d - a rch i te c t u r e

ht t p s: //d i v is a r e. co m /p r oj e c t s / 3393 41- f r e i - o t to - m a rco - ve d a n a - m a n n h e i m - m u l t i h a ll e

h ht t p s: //d i v is a r e. co m /p r oj e c t s / 319 0 0 9 - a ch i m - m e n g e s - n a a r o - e l y t r a - f i l a m e nt- p av i li o n h t t p s : // w w w. a r c h d a i l y. c o m . b r/ b r/ 01-7 2 8 5 6 / b l o o m - a l i s a - a n d r a s e k - j o s e - s a n c h e z / 5 0 4 0 f d1b 2 8 b a 0 d 7e c b 0 0 0103 _ b l o o m - a lis a - a n d r as e k- j o s e - s a n ch e z _ i m g _ 6185p/ ht t p s: // w w w. at l as o b s c u r a . co m /p l a ce s /n a k a g i n - c a p su l e - towe r ht t p s: // w w w. a z u r e m a g a z i n e. co m /a r t i cl e / b u ck m i ns te r- f u ll e r- m o nt r e a l - b i o sp h e r e / ht t p s: // w w w. m o d l a r. co m /p h o to s /618/ h eyd a r- a li yev - ce nte r- e x te r i o r/ ht t p: // w a lk i n g t h e ci t y u p o lis . b l o gsp o t . co m / 2011/03/g u e s t- p o s t- a rch i g r a ms - w a lk i n g - ci t y. ht m l

148 references

references 149