STUDIO AIR SEMESTER 1 2017 TUTOR: ISABELLE JOOSTE SAMANTHA BONWICK-FYFE
TABLE OF CONTENTS PART A : CONCEPTUALISATION P.g. 4-5 Introduction
P.g. 6-7
1.0 Design futuring
P.g. 7-8
1.1 Case study 01
P.g. 9-10
1.2 case study 02
P.g. 11-12
2.0 Design Computation
P.g. 13-14
2.1 Case Study 03
P.g. 15-16
2.2 Case Study 04
P.g. 17-18
3.0 Composition/Generation
P.g. 19-20
3.1 Case Study 05
P.g. 21-22
3.2 Case Study 06
P.g. 23-24
4.0 Conclusion
P.g. 25-26
5.0 Learning Outcomes
P.g. 27-28
6.0 Algorithmic Sketches
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INTRODUCTION
I am Sam Bonwick-Fyfe, currently undertaking my first semester of my third year at Melbourne university doing a Environments bachelor with a major in architecture. The two things I enjoy most is traveling and design. I love the feeling that traveling gives to you when you are amerced in a new country and a new culture. I especially enjoy the experience of being able to meet others, learn about new perspectives on life first hand, but above all experience the relationship between design and the environment and how it differs to me in my home, Australia. It was traveling in which had given me the pursuit to study architecture as I wanted to share my positive experiences with the environment through design and gaining influence from the places I had visited. I also find it interesting to see the various array of connections that different cultures have between their environment and design. Additionally I also have a strong interest in health and global human development. I feel that there is a strong correlation between architecture/ ones environment and their mental, social and physical health and wellbeing status. Thus, I intend on furthering my study in architecture with the notion of the natural environment and its health benefits throughout my design. Architecture was the career for me in which I can pursue my talent and love for design as well as my interest in individual and global health.
Since undertaking Visual communication and design in VCE units 1-4 I have become familiar with adobe computer programs. Additionally throughout my prior years of study at Melbourne university within my architecture major I have been able to enhance those skills whilst simultaneously being introduced to more architecture specific programs such as 3D modelling software Rhino and 2D software, AutoCAD. However, whilst my current skill level in such programs would be considered as basic, I am eager to learn and improve on my computer aided design skills and confidence to assist me with my future career. Ultimately to be equip with a variety of enriched skills to uncover alternative design process methods.
CONCEPTUALISATION 5
DESIGNERS SHOULD BE OME THE FAILITATORS OF FLOW RATHER THAN THE ORIGINATORS OF MAINTAINABLE “THINGS” SUCH AS DISCRETE PRODUCTS OR IMAGES” - JOHN WOOD WOOD, JOHN(2007). DESIGN FOR MICRO-UTOPIAS:MAKING THE UNTHINKABLE POSSIBLE (ALDERSHOT: GOWER)
IMAGE SOURCE : HTTP://WWW.NEW-TERRITORIES. COM/HYPNOSISROOM.HTM
A1 DESIGN FUTURING
Currently we are in the age of defuturing1 - the planet is being pushed to its limits with our growing economy of which consistently takes from the earth with little replenishment, under the assumption that these resources are everlasting. One of the
In order to solve such problems humans and most importantly
negative designer influences on defuturing and contributing
designers need to change their practices to promoting sustain –
to an un-sustainable world, is our intrinsic tendancy to arrive at
ability for the world. The need for design futuring appears from
immediate solutions for problems in which we may not specifically
this problem as it aims to present designs with an emphasis on
have the answer to2. Alike Tony Fry’s statement in his piece ‘Design
better grasping ethical implications of design for the future.
Futuring sustainability, ethics and new practice’, “wherever we bring something into being we also destroy something”.
Ultimately, contributing to a culture of design that is more useful
For example the cost of inserting a green wall onto a building to
to the current construction paradigm, focusing specifically on the
attempt to make the building more sustainable can in turn have
ways in which concerns for ethics and sustainability can change
unintended negative consequences as the greenery is something
the practice of Design for the twenty-first century. Creating a
brought and running/ emission costs often out way the good; as
design theory that is not only focused on social, economical,
designers attempt to address sustainability issues with immediate
cultural or political position 4 , but rather focused on ecology;
solutions that rather can cause more harm than good. These
the designs environmental and ethical implications as a priority
“band aid” solutions to sustainable design have been popular in
to slow defuturing and become a more sustainable world.
the past years, However there is a need to further answer/ solve these wicked problems that the future poses through improved design processes and practice. Additionally there is a need to be adaptive to the ever changing environment rather than merely placing a green wall on the side of a building through design. 3
1 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.1 2 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.5 3 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp.3
CASE STUDY 01 BREATHING SKINS SHOWROOM Mandelbachtal, Germany Engineer: Dipl.-Ing. Tobias Becker, Design team: Breathing Skins The showroom is composed of modulelar components, a new technology that utilises articficial muscles to reflect pores in organisms skin in which behaves in a similar way to control its internal environment in response to external condition. That is, inflating and deflating the artificial muscle components to change the internal environment relative to its external environmental conditions. Such behaviour includes adjusting the skin to increase and decrease their perimabilty to monitor air flow, sunlight and heat. 1
FIGURE 1: INTERNAL BREATHING SKIN SHOW ROOM SPACE: :
The breathing skins showroom is inspired by organism’s ability to maintain a relatively stable internal environment when exchanging with a range of different external environments. This project was an exteriment aimed to simplify the way in which humans inhabit buildings in the future sustainably. A design in which has the ability to transform how we build walls and windows, and challange our current HVAC systems with more natural, energy and economically efficient design.4
This design is a premium exmaple of design futuring as the entire conception of the work is contributing to a culture of design that is more useful to the current construction paradigm, focusing specifically on the ways in which concerns for ethics and sustainability can change the practice of Design for the twenty-first century. The main aim of this project was to utilise technology and design to create rooms in which are sustainable and have self dependant heating, cooling and ventilation systems to maintain a stable internal environment. It not only reduces economic and environmental costs, this design connects the internal and external environment together in a visually powerful way. Making its users more aware of the design as the main aim it not only reduces the amount of energy needed to run rooms in buildings, in an act towards achieving sustain-ability, however it also connects the design of the building to its external envionrment - increasing awareness of external environmental behaviours in which is often left out of current design due to cost effectiveness.6
4 Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) 5 Dipl.-Ing. Tobias Becker, ‘Breathing skins inspiration’ 6 Fry, Design Futuring p.g.1-3
FIGURE 2: INTERAL WALLS RESPONDING TO EXTERNAL ENVIRONMENTAL CONDITIONS ON THE LEFT COOLING AND ON THE RIGHT ALLOWING HEAT TO COME IN TO CREATE THE OPTIMUM INTERNAL ENVIRONMENT 8
CONCEPTUALISATION
FIGURE 3: RELAXED MODULES IN THE WALLS TO CREATE THE OPTIMAL INTERNAL ENVIRONEMNT BASED ON EXTERAL STIMULI
FIGURE 4 : EXPANDED MODULES IN THE WALLS TO CREATE THE OPTIMAL INTERNAL ENVIRONEMNT BASED ON EXTERAL STIMULI
CONCEPTUALISATION 9
CASE STUDY 02 X-POD 138 pavilion structure, Courtesy Haresh Lalvani.
It is a combination of biology, mathematics and science needed to create such biomimicry design as Haresh Lalvani’s X-POD located in the Omi international arts center, NY. Biomimicry design translates to “buildings and structures that use geometry to assemble and repair themselves to grove and evolve on their own.”7 Such involves anaylsing organisms biology and genomic patterns/ instructions encoded in their DNA to uncover how organisms grow on their own. It was Haresh Lalani who uses this knowledge as inspiration to develop self forming/ shaping design projects that moves without computer aided processes under force. The inspiration for this project was the natural growth of trees against gravities downward force.1 Lavani’s aim of his project was to enable the material itself (steel sheet) to have genomic like intructions so that the form becomes intellegent and able to “mould” or “grow” without external pre-determined shaping by designers i.e. pouring concrete into moulds8. The X-POD project is created from a singular metal sheet that has been preciely laser cut to perforate the metal sheeting to enable them to shape into 3 dimensional shapes on their own with wind or pushing pressure from a load as the “applied force”. The precice laser cuts in the sheet respond to external stimuli and hence grow into an organic shape. Lalani hopes to soon have software imbedded into these steel sheets to enable organic anti-gravity growing but for now this process still is a great fast, material efficient pop up shelter9. 2
FIGURE 5: GROWING STRUCTURE FROM METAL SHEET
This project displays design futuring as it challanges traditional construction and design processing techniques to contribute to slowing of defuturing through sustainable practices. It does this by engaging with natural forces wind and a weighted load to build a 3 dimensional structure from a relatively low cost/ low environmental costing (minimal material needed).One day hoping to create technology to enabling material to have the intellegence to “grow” itself rather than the intellegence of the form being outside of the structure as most buildings are constructed at present. The development of this design practice and theory will not only reduce finanical and environmental costs to slow the process of defuturing; however if continued to be developed it has the potential to serve as a form of quick humanitarian aid. This design posses as a great alternative to current humaitarian aid shelter tents which can be material, labour and cost intensive.
7
Haresh Lalvani, ‘The Fields Sculpture Park at Omi International Arts Center’, Lavani Studio (2018), http://lalvanistudio.com/exhibitions/the-fields-scuplturepark-omi/ (accessed 7th March 2018).
8
Lavani, ‘The fields sculpture park’
9
Lavani, ‘The fields sculpture park’
10
CONCEPTUALISATION
These pop up structures can be transported easily as they are only one thin sheet of metal, fabricated fast and efficiently with the assistance of laser cutting machines and sent off to a crisis ready for use with little labour required. Whilst this design still may have a few years ahead of it to create the steel sheets with internal intellegence, it is a great start to design futuring and challanging current construction methods to become more sustainable by optimising materials.
FIGURE 6 GROWING STRUCTURE PROGRESS FROM FIGURE 5
CONCEPTUALISATION 11
A1.2 DESIGN COMPUTATION
We humans are intelligent enough to store information that will enable us to recall events and memories throughout our lifetime, however these memories are limited in our ability to recount everything we learn. One of the main benefits of computers is of their ability to store information without arithmetical mistakes and correlate facts that are beyond what could be possible in ourselves. It is this that enables design computation to flow more effortlessly, it challenges and enables us to rethink our limits of current design processes and practices through tracking information in our designs of changes, analyzing possibilities efficiently, alert designers of inconsistences and potential errors that could have otherwise been overlooked and caused excess construction and design costs once the project had commenced.10 1 In order to understand the current fucus on design computation processes it is important to compare it to computation. Computerisation has been used over the past few decades as a platform to make design processes more efficient - it allows designers ideas to be conveyed faster and with more accuracy in comparison to prior analog methods.112 However computation exceeds the possibilities of computerisation through its ability to create algorithms that take into account potential problem processes and constraints before they occur. Therefore generating design and forms of which have the ability to efficiently explore all solutions to the design problems of which humans are intrinsically incapable of perfecting. In doing this design computation then allows designers to explore new forms of which designers may not have been able to comprehend in thier minds and translate into form using mere computerisation methods.123 Computation rather, allows designers to process information that could not have been done manually.
10 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp1-3 11 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.4 12 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08
12
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CONCEPTUALISATION 13
CASE STUDY 03 ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart IDK -ITKE reasearch pavilion is a fabricated structure which illustrates how design compuation enabled designers to utilise data from other disciplines and materials to create structures that overcome design constraints, and ultimately accellerate the design process. This particular project was made using a series of modular fibre composite shells that were inspired by a bettle structure for their material efficiency. 131 The design team worked closely along side biologists to examine the lightweight bettle structure as bettles abdoninon and wing shell componants as they are highly cmaterial efficient with the aim of fabricating a pavilion with the same program as bettles fibre composite shells. Designers did this by anaylsing behavioural patterns of the bettles to develop an algorithm or set of rules in which could be implemented into a fabricated constructed articfical structure using 3D parametric modeling computation. Realising from this inital computation stage, that their lightweight structure relied on “geometric morphology of a double layered system and the mechanical properties of the natural fibre composite”. 142 Computation enabled designers to 3D model the precedent for this project to gain an understanding on how nature had formed such a structure in which humans find difficult to comprehend, giving the designers insight into the materiality that should be used and the most optimal form type/ modular components for this project. Using this data provided from 3 design compuation methods, a series of design rules and pricincples were formed for this project and the design team was then able to create a double layered strucutre made with fibre composite material, (carbon fibre reinforced polymers and glass) to give the structure optimum strength to weight ratio.
FIGURE 7: INTERNAL VIEW OF THE STRUCTURE
These principles found through computational methods were then transferred into the fabricated pavilion. Design Computation enabled this structure to exist through robotic fabrication that considered materiality and potential program constaints to reduce the formwork needed to a minimum which would have been seemingly difficult, if not impossible to program using basic computerisation.153
13 Institute for computational design and construction, ‘ICD/ITKE Research Pavilion 2013-14’ Institute for computational design and construction(2017) http://icd.uni-stuttgart.de/?p=11187 (accessed 4th march 2018) 14
Institute for computational design and construction
15
Peters, p.g.10-13
FIGURE 8: BIRDS EYE VIEW OF STRUCTURE
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FIGURE 9 FINITE ELEMENT ANALYSIS OF GLOBAL FORCE FLOWS AND THEIR TRANSFER INTO STRUCTURAL CARBON FIBER REINFORCEMENTS
CONCEPTUALISATION 15
CASE STUDY 04 Louisiana State Museum and Sports Hall of Fame / Trahan Architects
Architects in the contemporary setting have more control over the design of the building in comparision to history of artchitecture where the craftsman and the structual/ construction processes defined form16. In which has unfortunealtey allowed design to exlude the external surroundings of buildings as architecture and construction became two separate, segregated programs.172 It is due to this that contemporary design is often far too removed from materiality and material processes. It is design futuring and computation in which is now allowing architects to find a medium between the new and old construction methods through creating multiple prototypes and creating the best solutions to design constraints while similtaneously reducing the amount of constraints through digiital parametric modeling in which enables designers to connect the environment and design easily in a prototype digital environment. 183 A prime example of this is in the Louisiana State Museum and Sports Hall of Fame by Trahan Architects. 16 17
Fry, ‘Design Futuring’ Fry, ‘Design Futuring’
18 Oxman, ‘Theories in design architecture’ 19 Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’, Trahan Architects, (2017) http://trahanarchitects.com/work/louisianastate-museum/ (accessed 1st March 2018) 20 Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’
FIGURE 10: PRECAST INTERNAL PANELS
The Museum and sports hall was made using BIM technology in the programming environments grasshopper, Karamba and Geometry Gym194. The benefits for this project of using such programs was that it enabled designers to efficiently create forms of which may have been too difficult and time consuming to imagine using anolog processes - whilst simitaneously collecting data from each program and seemlessly transferring it to other areas of the design. Ultimately creating perfect cuts of all 1150 stone panels that had specific engineered support structural steel system to go with it that had been tested through BIM technology reducing the risk of error when fabrication began. 205 Something that would have been near impossible for designers to do using just their mere creativity without 3D modeling software. Computation in this architectural project gave designers of the Louisiana State Museum and Sports Hall of Fame the tools to expand on their design ability through creating algorithms which have the ability to efficiently explore all solutions to the design problems of which humans are intrinsically incapable of perfecting. Resulting in the project not being limited by construction processes alike architects before their time.
FIGURE 11: COMPUTATION MODEL
FIGURE 12: STRUCTURAL COMPONENT PARAMETRIC MODEL
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FIGURE 13
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A1.3 COMPOSITION/GENERATION
Technology has greatly enhanced the way in which we design. It has unmistakenly boosted efficiency, espeicially when considering the movement from analog drawing methods to Computer aided design drawing i.e. Autocad. However as technology advances there is a new trend in the shift from composition to generation in architecture in which is slowly changign the way that architects practice.
Computation is the notion of architects “creating new opportunities in design processes, fabrication and construction”21via computational parametric modeling that provides architects with the tools to problem solve in ways that are near to impossible to do using computerisation or prior analog design processes. The generation of computation provides designers with a range of data in the form of algorithms (precise rules)22 that can be stored and used to inform new construction techniques, inform materiality and most importantly inform new, unique forms and structures with complexity that would have otherwise been a design and construction nightmare using mere computerisation technology. Computation excells beyond the intellect of the designer and can solve complex problems with algorithms, whilst also being flexible to change.
21 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10 22 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp.11 23
18
Peters, ‘Computation Works: pp. 11
CONCEPTUALISATION
However today, as Brady Peters argues, computation is a component of many within architecture firms and teams integrated through consultations or specified team members with experience in the area. 23 Unfortunately, this means that it is not yet a widely used as a method of designing. In the future to better design in terms of efficiency, stimulations between architecture and the environment, innovative design ability and design futuring, computation is the current most promising way forward. Ultimately computation enables designers to design the most optimal structures that encompass a wholeistic approach to design taking into account both internal and external considerations with the aid data in algorithms .
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CASE STUDY 05 UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio
Computation was key in this design as it allowed stimulations of materiality and form to enable designers to gage the most suitable parameter for the final design prior to fabrication24. However, Heatherwick is known for his design process of making models by hand and hand drawing in which is available for public viewing on his website (see figure 15), he used both methods. 1 Utilising more analog processes during the idea development stage and switched to computation in order to gain an insight into how the structure could come to life using precise algorithms. Additionally computation was used for structural purposes as well within this design, parametric modeling enabled Heatherwick designers to form precise dimensions of the extruded kenetic exterioir composed 60,000 acrylic rods, each 7.5 metres long25. Computation design is highly regarded by many such as Bradly Peters for its ability to stimulate a design in which enables designers to test various alterations in parameters from algorithms to find the best solution to the design problem. These variations and testing allow for efficiency to be tested prior to build so that alterations can be made before construction has begun- reducing costs and time when compared to previous design methods. 263 Resulting in strucutural optimisation and if performed correctly, performance optimisation. Therefore enabling designers to virtually (in the technological sense of the word) discover how the building may be experienced before it has even been built. This is one of the best advantages in my opinion of generation in design. Such enables designers to experience what would have been impossible before construction using analog methods of design. Due to this, efficiency is a result in every sense of the word.
24 Thomas Heatherwick, Thomas Heatherwick: Making, n.p. (The Monacelli press, NY, 2012)
25 Heatherwick Studio, ‘2010 UK Pavillion - Shanghai, China’, Heatherwick Studio (revised 2017) http://www.heatherwick.com/projects/ buildings/uk-pavilion/ (05 March 2018) 26 Peters., ‘Computation Works p.g. 10
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FIGURE 14: INTERNAL
FIGURE 15
FIGURE 16: EXTERNAL VIEW OF THE PAVILION
FIGURE 17: COMPUTER GENERATED FABRICATION OF ACRYLIC RODS
CONCEPTUALISATION 21
CASE STUDY 06
FIGURE 18: INTERNAL VIEW
TAICHUNG METROPOLITAN OPERA HOUSE BY TOYO ITO
Architectural designs in the past have often been seen as responding to cultural, economic and political needs without much thought on the external environment on which is it built upon, separating the two into different areas of focus. However, this design in traditional Japanese form has been inspired by nature - in particular Ito drew his inspiration for this project from the flow on water and its influence of the form of caves. In light of this the structure has an open circulation flow that engages with its surroundings from view points (windows and openings) and its trajectory undulates to create fluidic spaces.27 Such complexities in this design would have been near impossible to create using mere computerisation, rather such form finding processes were found using 3 dimensional modelling software that utilised the cave precedent as a guidance for the algorithmic template. Providing the designers with the ability to experiment with parametric stimulations of variations of the building to choose the most optimal form for the site, resulting in the most optimal structural ability and least material needed. This design is mainly generative with parametric modelling made from complex algorithms used to create parametric stimulations in which enabled designers to explore all possible permutations to acquire the best solution to the design problem. Permitting the designer to have a life like virtual experience within and around the structure to ensure the building does not just look optimal from drawings but by proving before fabrication that the design is functional and to the standard of the architect and the client.
27 Toyo Ito : Forces of Nature, edited by Jessie Turnbull, Princeton Architectural Press, 2012. ProQuest Ebook Central, https://ebookcentral. proquest.com/lib/unimelb/detail.action?docID=3387585. 28 Peters., ‘Computation Works p.g. 10
29 Rory Stott. “Toyo Ito’s Taichung Metropolitan Opera House Photographed by Lucas K Doolan” 30 Sep 2016. ArchDaily. Accessed 16 Mar 2018. <https://www.archdaily.com/796428/toyo-itos-taichung-
FIGURE 20
22
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FIGURE 19
FIGURE 21
CONCEPTUALISATION 23
A1.4 CONCLUSION
Part A explores the progress in architecture and design through New technological developments. It encompasses the need of design Futuring in order to re-direct design towards benefiting more than just aesthetics and function But rather toward a holistic, inclusive approach toward design that recognises the cost of which it may have on the future of the planet. Recognising that resources are limited and designing to accommodate this in a sustain- able manner. In exploring this I selected two precedence in which I believe truly showcase the essence of design futuring as both have a strong focus on creating designs that challenge traditional design/ construction methods and materials with ethics in mind. Part A also explores the progress in digital design shifting from more analogue methods of design such as drawing/computerisation to parametric design and the benefits that come with this. Whilst computerisation has been incredibly useful in terms of efficiency when drawing designs, the future lies in computation and its ability to redefine how architects currently practice. A revolutionary notion that challenges traditional construction and design methods by creating algorithms that can exceed the intelligence of humans creative ability, revolutionising the way in which designers can approach design problems. Giving designers new insight into the best possible ways to design, that prevents human error from occurring before fabrication.
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FIGURE 22: INTERNAL SPACE OF THE UK Pavilion for Shanghai World Expo 2010 / Heatherwick Studio
CONCEPTUALISATION 25
A1.5 LEARNING OUTCOMES
Reflecting upon my past two studios I wish that I had the knowledge that I have gained from the first 3 weeks of this class. In my last two studios I did not use any algorithms when designing my structures in which looking back now could have enabled me to create variations in my designs to have better suited my brief. The part I find most interesting in part A is the ability that computation has to exceed designers intelligence and enable them to become the authors of more complex geometries and organic forms, that this new method of designing can actually enable designers to unleash new creativity. I also have enjoyed understanding and learning more about design futuring and its importance in design that is so often neglected due to cost restraints and lack of clients interest. I now see that a greater importance needs to be placed on ethical design in architecture that should be integrated into the holistic design process rather than an afterthought. Whilst, honestly it can be intimidating to learn new technologies; the knowledge I have gained from part A has inspired me to not fear the new design method, moreover embrace the opportunity to use parametric modelling programs such as grasshopper and kangaroo to better my designs and efficiency.
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CONCEPTUALISATION
A1.6 ALGORITHMIC SKETCHES SURFACE ALGORITHMS
TRIGANGULATION
In this alogorithmic sketch I intended to explore the possibilities of triagnulation of a curved surface by experimenting with non symetrical extruding shapes. Thus creating a unique form that displays different heights and variations in component sizes
I chose to experiement further with this design to create an algorithm that seems more unpredictable due to the sparatic placement of it components CONTOUR
CURVE
CONCEPTUALISATION 27
REFERENCES 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.1 2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.5 3. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp.3 4. Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) 5.Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp.1-3
.
7 Haresh Lalvani, ‘The Fields Sculpture Park at Omi International Arts Center’, Lavani Studio (2018), http://lalvanistudio.com/exhibitions/the-fields-scuplture-park-omi/ (accessed 7th March 2018).
8. Haresh Lalvani, ‘The Fields Sculpture Park at Omi International Arts Center’, Lavani Studio (2018), http://lalvanistudio.com/exhibitions/the-fields-scuplture-park-omi/ (accessed 7th March 2018).
9. Haresh Lalvani, ‘The Fields Sculpture Park at Omi International Arts Center’, Lavani Studio (2018), http://lalvanistudio.com/exhibitions/the-fields-scuplture-park-omi/ (accessed 7th March 2018).
10. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp1-3 11. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.4 12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08 12. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08
13. Institute for computational design and construction, ‘ICD/ITKE Research Pavilion 2013-14’ Institute for computational design and construction(2017) http://icd.uni-stuttgart.de/?p=11187 (accessed 4th march 2018) 14. Institute for computational design and construction, ‘ICD/ITKE Research Pavilion 2013-14’ Institute for computational design and construction(2017)
http://icd.uni-stuttgart.de/?p=11187 (accessed 4th march 2018)
15. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 12-13
16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 11 17. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 14 18 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp.4-6 19 Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’, Trahan Architects, (2017) http://trahanarchitects.com/work/louisiana-statemuseum/ (accessed 1st March 2018) 20 Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’, Trahan Architects, (2017) http://trahanarchitects.com/work/louisiana-statemuseum/ (accessed 1st March 2018) 21. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10
22. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp.11 23. Peters, ‘Computation Works: pp. 11 24. Thomas Heatherwick, Thomas Heatherwick: Making, n.p. (The Monacelli press, NY, 2012) 25. Heatherwick Studio, ‘2010 UK Pavillion - Shanghai, China’, Heatherwick Studio (revised 2017) http://www.heatherwick.com/projects/buildings/ukpavilion/ (05 March 2018) 26. Peters., ‘Computation Works p.g. 10 27 Toyo Ito : Forces of Nature, edited by Jessie Turnbull, Princeton Architectural Press, 2012. ProQuest Ebook Central, https://ebookcentral.proquest. com/lib/unimelb/detail.action?docID=3387585. 28 Peters., ‘Computation Works p.g. 10 29 Rory Stott. “Toyo Ito’s Taichung Metropolitan Opera House Photographed by Lucas K Doolan” 30 Sep 2016. ArchDaily. Accessed 16 Mar 2018. <https://www.archdaily.com/796428/toyo-itos-taichung-
IMAGE REFERENCES: FIG 1: Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) FIG 2: Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) FIG 3: Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) FIG 4: Dipl.-Ing. Tobias Becker, ‘Breathing skins technology’, Breathing Skins, (Germany, 2016) https://www.breathingskins.com (accessed 13th march, 2018) FIG 5:Haresh Lalvani, ‘The Fields Sculpture Park at Omi International Arts Center’, Lavani Studio (2018), http:// lalvanistudio.com/exhibitions/the-fields-scuplture-park-omi/ (accessed 7th March 2018). FIG 6:Haresh Lalvani, ‘The Fields Sculpture Park at Omi International Arts Center’, Lavani Studio (2018), http:// lalvanistudio.com/exhibitions/the-fields-scuplture-park-omi/ (accessed 7th March 2018). FIG 7: Institute for computational design and construction, ‘ICD/ITKE Research Pavilion 2013-14’ Institute for computational design and construction(2017) http://icd.uni-stuttgart.de/?p=11187 (accessed 4th march 2018) FIG 8: Institute for computational design and construction, ‘ICD/ITKE Research Pavilion 2013-14’ Institute for computational design and construction(2017) http://icd.uni-stuttgart.de/?p=11187 (accessed 4th march 2018) FIG 9: Institute for computational design and construction, ‘ICD/ITKE Research Pavilion 2013-14’ Institute for computational design and construction(2017) http://icd.uni-stuttgart.de/?p=11187 (accessed 4th march 2018) FIG 10: Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’, Trahan Architects, (2017) http:// trahanarchitects.com/work/louisiana-state-museum/ (accessed 1st March 2018)FIG 11: FIG 12: Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’, Trahan Architects, (2017) http:// trahanarchitects.com/work/louisiana-state-museum/ (accessed 1st March 2018) FIG 13: Trahan Architects, ‘Louisiana State Museum and Sports Hall of Fame’, Trahan Architects, (2017) http:// trahanarchitects.com/work/louisiana-state-museum/ (accessed 1st March 2018) FIG 14:Heatherwick Studio, ‘2010 UK Pavillion - Shanghai, China’, Heatherwick Studio (revised 2017) http:// www.heatherwick.com/projects/buildings/uk-pavilion/ (05 March 2018) FIG 15:Heatherwick Studio, ‘2010 UK Pavillion - Shanghai, China’, Heatherwick Studio (revised 2017) http:// www.heatherwick.com/projects/buildings/uk-pavilion/ (05 March 2018) FIG 16:Heatherwick Studio, ‘2010 UK Pavillion - Shanghai, China’, Heatherwick Studio (revised 2017) http:// www.heatherwick.com/projects/buildings/uk-pavilion/ (05 March 2018) FIG 17:Heatherwick Studio, ‘2010 UK Pavillion - Shanghai, China’, Heatherwick Studio (revised 2017) http:// www.heatherwick.com/projects/buildings/uk-pavilion/ (05 March 2018) FIG1 8: RORY STOTT. “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE PHOTOGRAPHED BY LUCAS K DOOLAN” 30 SEP 2016. ARCHDAILY. ACCESSED 16 MAR 2018. <HTTPS://WWW.ARCHDAILY.COM/796428/TOYO-ITOS-TAICHUNG-METROPOLITAN-OPERA-HOUSE-PHOTOGRAPHED-BY-LUCAS-K-DOOLAN/> ISSN 0719-8884 FIG 19: RORY STOTT. “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE PHOTOGRAPHED BY LUCAS K DOOLAN” 30 SEP 2016. ARCHDAILY. ACCESSED 16 MAR 2018. <HTTPS://WWW.ARCHDAILY.COM/796428/TOYO-ITOS-TAICHUNG-METROPOLITAN-OPERA-HOUSE-PHOTOGRAPHED-BY-LUCAS-K-DOOLAN/> ISSN 0719-8884 FIG 20: RORY STOTT. “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE PHOTOGRAPHED BY LUCAS K DOOLAN” 30 SEP 2016. ARCHDAILY. ACCESSED 16 MAR 2018. <HTTPS://WWW.ARCHDAILY.COM/796428/TOYO-ITOS-TAICHUNG-METROPOLITAN-OPERA-HOUSE-PHOTOGRAPHED-BY-LUCAS-K-DOOLAN/> ISSN 0719-8884 FIG 21: RORY STOTT. “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE PHOTOGRAPHED BY LUCAS K DOOLAN” 30 SEP 2016. ARCHDAILY. ACCESSED 16 MAR 2018. <HTTPS://WWW.ARCHDAILY.COM/796428/TOYO-ITOS-TAICHUNG-METROPOLITAN-OPERA-HOUSE-PHOTOGRAPHED-BY-LUCAS-K-DOOLAN/> ISSN 0719-8884 FIG 22: RORY STOTT. “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE PHOTOGRAPHED BY LUCAS K DOOLAN” 30 SEP 2016. ARCHDAILY. ACCESSED 16 MAR 2018. <HTTPS://WWW.ARCHDAILY.COM/796428/TOYO-ITOS-TAICHUNG-METROPOLITAN-OPERA-HOUSE-PHOTOGRAPHED-BY-LUCAS-K-DOOLAN/> ISSN 0719-8884 FIG23: RORY STOTT. “TOYO ITO’S TAICHUNG METROPOLITAN OPERA HOUSE PHOTOGRAPHED BY LUCAS K DOOLAN” 30 SEP 2016. ARCHDAILY. ACCESSED 16 MAR 2018. <HTTPS://WWW.ARCHDAILY.COM/796428/TOYO-ITOS-TAICHUNG-METROPOLITAN-OPERA-HOUSE-PHOTOGRAPHED-BY-LUCAS-K-DOOLAN/> ISSN 0719-8884
CONCEPTUALISATION 29