Air folio PART A and PART B by Samantha Bonwick-Fyfe

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

PART B : CRITERIA DESIGN

P.g. Research Field : Biomimicry

CONCEPTUALISATION

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 BECOME THE FACILITATORS 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 tendency 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 modular components, a new technology that utilizes artificial 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 behavior includes adjusting the skin to increase and decrease their permeability 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 experiment aimed to simplify the way in which humans inhabit buildings in the future sustain ably. A design in which has the ability to transform how we build walls and windows, and challenge our current HVAC systems with more natural, energy and economically efficient design.4

This design is a premium example 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 environment - increasing awareness of external environmental behaviors in which is often left out of current design due to cost effectiveness

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 analyzing 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 instructions 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 precisely 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 precise 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 challenges 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 intelligence to “grow” itself rather than the intelligence 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 financial 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 humanitarian aid shelter tents which can be material, labour and cost intensive.

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).

Lavani, ‘The fields sculpture park’

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 intelligence, it is a great start to design futuring and challenging current construction methods to become more sustainable by optimising materials.

FIGURE 6 GROWING STRUCTURE PROGRESS FROM FIGURE 5

CONCEPTUALISATION 11

A1.2 DESIGN COMPUTATION

CONCEPTUALISATION

CONCEPTUALISATION 13

CASE STUDY 03 ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart IDK -ITKE research pavilion is a fabricated structure which illustrates how design computation enabled designers to utilise data from other disciplines and materials to create structures that overcome design constraints, and ultimately accelerate the design process. This particular project was made using a series of modular fibre composite shells that were inspired by a beetle structure for their material efficiency. 131 The design team worked closely along side biologists to examine the lightweight beetle structure as beetles abdominan and wing shell components as they are highly material efficient with the aim of fabricating a pavilion with the same program as beetles fibre composite shells. Designers did this by anaylsing behavioral patterns of the beetles to develop an algorithm or set of rules in which could be implemented into a fabricated constructed artificial structure using 3D parametric modeling computation. Realizing from this initial 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 computation methods, a series of design rules and principles were formed for this project and the design team was then able to create a double layered structure 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

Peters, p.g.10-13

FIGURE 8: BIRDS EYE VIEW OF STRUCTURE

CONCEPTUALISATION

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

CONCEPTUALISATION

FIGURE 13

CONCEPTUALISATION 17

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

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 .

CONCEPTUALISATION 19

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

CONCEPTUALISATION

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

CONCEPTUALISATION

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 sustainable 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.

CONCEPTUALISATION

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.

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

This is the last printable page in your book and will print

29 Rory Stott. “Toyo Ito’s Taichung Metropolitan Opera House Photographed by Lucas K Doolan” 30 Sep 2016. ArchDaily. Accessed 16 Mar 2018. on the left side. <https://www.archdaily.com/796428/toyo-itos-taichung-

CONCEPTUALISATION

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

PART B

CONCEPTUALISATION

CONCEPTUALISATION 31

B1 RESEARCH FIELD BIOMIMICRY

The efficiency and convenience of the development of fossil fuels during the “industrial revolution” has according to Palwyn “undermined resourcefulness” and in turn somewhat postponed architects from progressing in design30. However, since “sustain ability” has become more of a priority not only for designers but private corporations and government bodies - a new technology has evolved in which explores and researches the way in which natural organisms form and their composition against natural selection - proving to be a potential path for designers to progress from current construction limitations31. Biomimicry.

Ever since architects and builders have been in practice, they have been turning to nature as a reference for inspiration. From Ancient roman columns forms reflecting bundles of reeds and decorative accents with literal mimicking of flowers and plants, to more modern forms of architecture referencing nature for form and decoration - architects have been mimicking nature for centuries. However, in order to progress from these decorative forms and fully utilize the “answers” that are hidden in natures organism compositions we need to understand and utilise biomimicry. As Micheal Pawlyn states32 that the intension of biomimicry is to progress from such times of simply copying natural forms into decorative features but instead to learn from the principles that lie behind the surface aesthetics of nature but rather use their materiality and structural composition as a platform to solve current design problems. The main benefit of biomimicry is its ability to utilize data from organisms that have been faced against natural selection for thousands of years and therefore have the most efficient structural and material systems of which can handle a range of environmental conditions to inform architects design and hence utilise thousands of years of internal research in material and structural compositions that have adapted to best suit a range of environments and use this as a precedence for design33. Ultimately to construct new structural forms with materials that reflect the principles of such organisms biological make up. As a result to produce designs and buildings that radically increase resource efficiency and ultimately solve current design problems.

30 Micheal Pawlyn, Biomimicry in Architecture (RIBA Publishing, 2016), p.g. 1-2 31 Pawlyn, Biomimicry in Architecture p.2 32 Micheal Pawlyn, Biomimicry in Architecture p.g. 1 33 Micheal Pawlyn, Biomimicry in Architecture, p.g. 4

CONCEPTUALISATION

"TRANSLATING ADAPTATIONS IN BIOLOGY INTO SOLUTIONS FOR ARCHITECTURE" MICHEAL PAWLYN

Micheal Pawlyn, Biomimicry in Architecture (RIBA Publishing, 2016)

CONCEPTUALISATION 33

B2 CASE STUDY 01 THE EDEN PROJECT BY GRIMSHAW ARCHITECTS Cornwall, United Kingdom

A prime example of biomimcry is ‘The Eden Project’ Designed by Grimshaw Architects. The Eden project is the worlds largest green house consisting of several domes linked together. The form of the dome structures was inspired by the form and nature of foam bubbles as bubbles can grip to any surface that they land on - in which was needed for this project as the architects did not know the ground level when designing the building34. When deciding on the most efficient way to fabricate these structures biomimcry was the key. The architects looked was with hexagons and pentagons as such structures in nature i.e. beehives “Each dome has what’s known as a hex-tri-hex space frame with two layers”.35 The each biome (spherical roofing member) is made from Ethylene Tetrafluoroethylene (ETFE)36, to replace glass and plastic in the construction as it provides the same transparency needed however it is much stronger and lighter in weight than glass. This means that the materiality inspired by natures structure “dragonfly wings’ to reduce costs in materiality and increase efficiency of the building.37 Without the use of biomimcry this project would be been extremely costly, heavy and unlikely to be able to deal with the difficult conditions of the site.

34 Heather, “Biomimicry and the Eden project”, Eco Brooklyn (July, 2012), http://ecobrooklyn.com/biomimicry-eden-project/ (accessed 20th March, 2018) 35 Grimshaw Global, , “The Eden Project: The Biomes, Cornwall, UK” ( 2018 Grimshaw), https://grimshaw.global/projects/theeden-project-the-biomes/(accessed 27 March, 2018) 36 Heather, “Biomimicry and the Eden project” 37 Heather, “Biomimicry and the Eden project”

FIGURE 23: EDEN PROJECT ETFE 34

CONCEPTUALISATION

FIGURE 24: THE EDEN PROJECT

FIGURE 25: THE EDEN PROJECT PROGRAMING BEHIND FORM

CONCEPTUALISATION 35

B2 CASE STUDY 02 THE MORNING LINE BY ARANDA/ LASCH Seville, Spain, Istanbul,Turkey, Vienna, Austria, Karlsruhe, Germany

The morning line is a structure or “anti pavilion” 38 in which is a collaboration between with the artist Matthew Ritchie and Daniel Bosia of Arup’s advanced geometry unit with architects. Challenging architectural and structural convention the structure is aimed to reflect a “ruin from the future” to debunk the relationships between art, architecture, music, maths, cosmology and science forming a complex geometry of collated modular pieces 39. Aranada / Lasch are renowned for their knowledge of crystallography and have thus used organic crystal growth forms / patterns as a precedence for the modular compositions form and overall final form of the structure 40. Looking at the systems that crystals undergo to inform the form - rather than just pure aesthetics. The architects began with a simple tetrahedron shape and utilized this singular modular form to create iterations by changing input variables like scale and modifying the size/ orientation of such elements. Finally placing the curved lines onto the edges of each surface to give the structure a more complex aesthetic in which meets the brief - appearing like a complex ruin from the future. 41

FIGURE 27: SKETCH OF HOW AGGREGATIONS OCCUR WHEN FORM FINDING

This is a prime example of biomimcry as Arandra/ Lasch architect teams have utlised the natural programs behind the formations of crystal compositions to inform their aggregation for their final realized form ultimately creating an efficient design. FIGURE 28: SKETCH OF HOW AGGREGATIONS OCCUR WHEN FORM FINDING

38 Aranda Lasch, ‘ The Morning Line’, Aranda Lasch Work (2008), http://arandalasch. com/works/the-morning-line/ ( Accessed 3rd April, 2018) 39 Aranda Lasch, ‘ The Morning Line’. 40 Aranda Lasch, ‘ The Morning Line’. 41 Design Bloom, ‘The morning line with Mathew Richie and Aranda/Lasch and Arup’ (2009) https://www.designboom.com/art/the-morning-line-by-matthew-ritchie-witharanda-lasch-and-arup/(Accessed 3rd April, 2018)

FIGURE 29: SKETCH OF HOW AGGREGATIONS OCCUR WHEN FORM FINDING SELECTION CRITERIA STRUCTURE

Could this iteration become a structure that is lightweight

RELEVANCY

How does it relate to biomimicry and its symbolism

FLEXIBILITY

Is the iteration able to be made into a potential home for bats? Is there room for further iterations that would enhance its potential

FABRICATION FIGURE 26: DESIGN BLOOM IMAGE© GERMÁN LEAL COURTESY THYSSEN-BORNEMISZA ART CONTEMPORARY

The structure would be possible to fabricate at a scale of 1-1 and have cost constraints.

SURFACE AREA

There is a large surface area on the structure - this will assist with bats ability to live hanging from the structure for the following parts of B and C.

CONCEPTUALISATION

FIGURE 30: THE MORNING LINE

FIGURE 31: DESIGN BLOOM IMAGE© GERMÁN LEAL COURTESY THYSSEN-BORNEMISZA ART CONTEMPORARY CONCEPTUALISATION 37

B2 ITERATIONS THE MORNING LINE BY ARANDA/ LASCH Seville, Spain, Istanbul,Turkey, Vienna, Austria, Karlsruhe, Germany

SPECIES

NUMBER OF SEGMENTS

SCALE FACTOR

Variable: number slider ( number of sides)

Variable: number slider

ITERATION

N: 0.34

N: 3

N: 0.45

N: 4

N: 0.55

N: 0.75

N:5

CONCEPTUALISATION

COMPLEXITY IN TETRAHEDRON

Aggregations Variations in number of units aggregated and direction of these units growth

CONCEPTUALISATION 39

B2 MOST SUCCESSFUL ITERATIONS THE MORNING LINE BY ARANDA/ LASCH Seville, Spain, Istanbul,Turkey, Vienna, Austria, Karlsruhe, Germany

Fabrication

Flexibility

Surface area

Structure:

Relevancy

This iteration explored the initial input geometry through scale and fractalisation. I chose this as one of my successful iterations as it creates a structure that can easily be made lightweight due to its hollow nature additionally I appreciate the repetition of the overall form and how one simple element can be repeated to create a more complex form. This form relates well to biomimicry as it shows repetition and growth in the structure by changing the scale and fractalisation elements.

CONCEPTUALISATION

This iteration explored changing the scale factor of the tetrahedron to create abnormalities in the triangulation of the structure. I chose this as a successful iteration as it really has evolved from its original form and is almost unrecognizable. Additionally the weightlessness of the structure is desirable in accord with the selection criteria. However, there is little surface area in the structure due to the small scale of the inputs therefore to use this in the final proposal I would need to consider adding web like structures that can suspend between each element to provide a surface for bats to hang from.

Fabrication

Flexibility

Surface area

Structure:

Relevancy

This iteration explored the variable of number of sides of the tetrahedron to 5 from its origin of 3. Whilst this appears much simpler than the previous successful iterations it has a large surface area and would be efficient to fabricate with a method such as CNC milling. This iteration being hollow also has the potential to be a lightweight structure which is also desirable for our brief.

This iteration explored aggregation of the input geometries. This is probably my most successful iteration as it truly reflects the program of biomimcryâ&#x20AC;&#x2122;s growth. This iteration could be easily made into a lightweight structure and easy to fabricate using CNC milling or Laser cutting individual elements to be fixed with joining elements. There is also a large surface area with variations in directions of these surfaces. This iteration shows complexity from the simple input geometries by variations in the axis of aggregation. It also has potential for further exploration through greater aggregation.

CONCEPTUALISATION 41

B3 CASE STUDY 2.0 VOUSSOIR CLOUD , LA BY IwamotoScott

The Voussoir Cloud is a site specific installation designed by IwamotoScott for the Instittue of Southern California gallery, LA. 42 This explores the “paradigm of pure compression coupled with an ultra- light material sytem” - Compression is achieved through each element of the vault relying on each other and the walls for support. 43 The structure allows an experience to be encountered by its audience from both bellow the gallery of vaulted columns and from above with the walls of the gallery enclosing the structure alike a canopy. Inspired by the work of Antonio Gaudi’s hanging chain models computation was used to create and determine the vault shapes that stand in compression. 44 Ultimately to attempt to redefine architectural norms in regards to structure and create a installation that is a light porus surface made from timber in compression. In doing this, each vault is made of Delaunat tesselation that capitalizes the greater density of elements at smaller points as they group at column bases - as it the structure forms into the cloud like shape it becomes more porus.

FIGURE 33: VOUSSOIR CLOUD

Each 3 dimensional element that this installation is composed of is made from folding wood laminate. This curving create surface tension causing the elements to hold their shape. 45 There are 4 different cell types within the structure with variations in the number of edges, 0 - 4 edges in which allows each cell to have slightly different purposes to create the harmonious overall form. 46

42 Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018)

https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) 43 Iwamotoscott, “Voussoir Cloud” 44 Iwamotoscott, “Voussoir Cloud” 45 Iwamotoscott, “Voussoir Cloud”

FIGURE 34: VOUSSOIR CLOUD

FIGURE 32: VOUSSOIR CLOUD

CONCEPTUALISATION

FIGURE 35: ELEMENTS OF INSTALLATION

FIGURE 36: EXPERIENCE OF VOUSSOIR CLOUD

CONCEPTUALISATION 43

B3 REVERSE ENGINEERING VOUSSOIR CLOUD BY IwamotoScott

STEP 1

STEP 2

CONCEPTUALISATION

STEP 3

STEP 4

STEP 5

CONCEPTUALISATION 45

B3 REVERSE ENGINEERING STEPS

GRAFT TREE IS USED HERE BECAUSE I WANTED TO LO BETWEEN THE BASE OF THE COLUMN AND THE PERI RATHER THAN JUST CREATING A SURFACE BETWEEN NOI CELLS THIS MAKES THE PARIMETER OF THE STRUCTURE

STEP 1 CREATING PERIMETER FOR FORM USING THE POLYLINE TO CREATE A RECTANGULAR SHAPE AND ADDING 5 POINTS TO THE SHAPE

GRAFT TREE

TRIM VORONOI CELLS TO

FIT THE REGTANGULAR SPAPES BOUNDARY

GRA

RECTANGLUAR SHAPE SCALE AROUND POINTS

MOVE - MOVES THE

TO CONTROL TO SIZE OF THE COLUMNS/ FOOT OF THE STRUCTURE

VORONOI

GEOMETRY DOWNWAR

5 POINTS NUMBER SLIDER

Z PLANE

TO CHANGE SCALE OF FOOT OF THE STRUCTURE

NUMBER SLIDER (NEGAVTIVE NUMBER TO MOVE DOWNWARD)

SPRINGS FROM LINE

MESH EDGES TO BE MADE INTO SPRINGS FOR STIMULATION

LINE

KANGAROO PHYSIC

MESH

POINT

UNARY FORCE DECOMPOSE MESH

APPLIES FORCE TO EVERY VERTICY IN THE MESH WITHIN THE POINTS THE COINSIDE WITH THE END POINTS OF A SPRING

BOOLEAN TOGGLE

PRODUCES ANOMALIES IN THE CREASES OCCURING AND THE HEIGHT OF THE CURVATURES

Z UNIIT DIRECTION OF THE FORCE

FORCE OBJECTS

PHYSICS OB

OFT IMETER N THE VORO-

FORM TO CREATE MESH FOR SPRINGS FOR NEXT STEP

LOFT

MESH CREATES GRID OF 4 SIDED INDIVIDUAL FACES

EXPLODE

AFT TREE

EXPLODE INTO INDIVIDUAL EDGE FACES FROM JOINED FACES

JOIN MESHES TO GENERATE A SINGLE MESH

E SCALE

RDS

JOINMESH

WELD MESH VERTICIES THIS IS THE MESH PUT INTO KANAGAROO

DECOMPOSE MESH VERTICIES FIND MESH VERTICIES OF PERIMETER CURVES AND SCALED CELLS (FEET OF COLUMNS)

SIMULATION

BJECTS CONCEPTUALISATION 47

B3 REVERSE ENGINEERING COMPARISON VOUSSOIR CLOUD BY IwamotoScott

CONCEPTUALISATION

FIGURE 36: EXPERIENCE OF VOUSSOIR CLOUD

My reverse engineered Voussoir Cloud does show many similarities between its form and the real life installation by IwamotoScott . The smooth curves in the arches are reflected in both structures especially before they dive into the convex columns. This was quite pleasing to see. Additionally the columns take a similar form from the use of a voronoi grasshopper compontent making linear edges to each column as reflected of the initial shape. Whilst there are similarities there are also a few differences between my structure and the intallation. I found it diffivult in my definition to make the columns exceed a great depth down the z axis alike the installation. Additionally my design does not have the individual elements designed parametrically to fit the form and join to create the similar form, mine only has a solid mesh. It would be interesting to develop this further or even merely use the notion of Iwamotoscottâ&#x20AC;&#x2122;s individual elements to compose the overall structure. Maybe through aggregation? This is something I will seek to explore in my group proposal as I believe it could benefit my client.

CONCEPTUALISATION 49

B4.1 REVERSE ENGINEER ITERATIONS Scale factor variable iteration of size of the columns (points) of the structure

Scale factor : 0.15

Scale factor : 0.35

Scale factor : 0.6

Scale factor : 0.85

CONCEPTUALISATION

These abstract extruded forms were realized by changing the depth of the column in the z axis as well as changing the number slider variable on the unary force

CONCEPTUALISATION 51

B4.1 REVERSE ENGINEER ITERATIONS CONTINUED

These iterations explored the possibilities of defining new forms by removing the z axis in the definition. This allowed the species to become smoother and less rigid than the other speicies. Additionally it resulted in a high balloon type structure

Removing z factor a variable of the voron Scale factor: 0.85

Removing z factor and changing the number scale variable of the voronoi points. Scale factor: 0.75

Removing z factor and changing the number scale variable of the voronoi points. Scale factor: 0.65

CONCEPTUALISATION

Unsucessful form that was created from changing too many input scale factors that lost control over the form.

Removing z factor and changing the number scale variable of the voronoi points. Scale factor: 0.95

Removing z factor and changing the number scale variable of the voronoi points. Scale factor: 0.90 I began to loose some control over the itteration at this scale however i continued to show the process. At this point the iterations became less successful

and changing the number scale noi points.

CONCEPTUALISATION 53

B4.1 REVERSE ENGINEER ITERATIONS CONTINUED I changed the input geometry from my original reverse engineered structure from a 4 sided shape to a triangle to create forms that look completely different to its origin. This was very successful as I had total control of each iteration at all times.

The above two forms were found by changing two inputs: the scale of the voronoi points and by shortening the z axis to create a low profile structure. This created wide, web like openings in the structure

The above two iterations were found by manipulating the z axis of the points to draw each point towards the z axis. This created a form that was completely different to my original reverse engineered structure as it created linear cone like forms.

The above two iterations were similarly found by manipulating the z axis of the points to draw each point towards the z axis. However I changed the scale of the voronoi points making them a little larger to create larger â&#x20AC;&#x153;openingsâ&#x20AC;? into the structure that could potentially be used by the client at the right scale

CONCEPTUALISATION

The above iteration was found by widening the vorinoi points to create geometrical elements that the structure is composed of appear to be the same scale from the top and bottom view. I then extruded the edges of each voronoi (columns) to create a box type form from the right views. This varies from the previous iteration as the points do not get smaller as they grow in the z axis, they stay relatively similar to the top view edges.

CONCEPTUALISATION 55

B4.1 MOST SUCCESSFUL ITERATIONS

Fabrication

Flexibility

Surface area

Structure:

Relevancy

This was chosen as a successful iteration as the form has become almost unrecognizable from its origin in the reverse engineering process. By changing the input geometry from a 4 sided obscured rectangular shape to a 3 sided triangle. Additionally I increased the number of voronoi points adding complexity to the shape. The fabrication of this would be efficient and cost effective through CNC milling, additionally due to the shallow depth and porus components the structure would be lightweight. This was particularly chosen for its voronoi porosity creating members than span between each other and create a complex form with irregularities in scale. This would suit the clients need for hanging.

CONCEPTUALISATION

This iteration explored variations in scale of the depth of the columns of the structure. Due to the increased depth of each individual column going toward a point the form became very mountainous with sharp edges at each corner and point. I particularly chose this iteration as it not only looks completely different from its original geometry but it creates variations in surface area with each voronoi having a large surface area for clients to potentially hang off.

Fabrication Flexibility Surface area Structure: Relevancy

This iteration was chosen due to its large gaping voronoi points that removed the structure from being a columned cloud to a shallow, cavernous form. This was intriguing as it could be repeated to create a structure suitable for our client in later parts of B and C. Additionally through changing the scale of the voronoi inputs the structure the form became more organic - less confined to columns and more branch like which is ideal for our client.

Fabrication Flexibility Surface area Structure: Relevancy

This in contrast to the previous iteration , this explored inflating the original reverse engineered form to make it balloon like. This is a successful iteration as it encapsulates the ability for the structure to become more free from its confinements of the z axis and really rise up into a smooth, ballooned form. This has a large surface area and great potential to be explored further to fully fit our brief and clients needs.

CONCEPTUALISATION 57

B4.2 TECHNIQUE DEVELOPMENT PRECEDENT: THE MORNING LINE BY ARANDA/ LASCH Seville, Spain, Istanbul,Turkey, Vienna, Austria, Karlsruhe, Germany

After exploring a variety of iterations in both B2 and B3 case studies, our group decided to further explore the process of aggregation. This choice was made to not only produce intricate structures that would have been difficult to control without computational methods (grasshopper) but moreover to reflect the notion of biomimcry through recursive growth through aggregation. This means that we could begin with a single geometry and multiply it through the definition to add complexities to the structure as it appears to “grow”. From identifying aggregation as a means for exploring further possible iterations we are using this to generate ideas / designs that suit our client and brief for part C. Our brief is to create a structure for our client the ‘Grey headed Flying Fox’ to

When responding to this design need it is important for us to use this recursive aggregation to benefit our client and improve upon their existing structural habitat. Developing this will need to be at a scale of approximately 1:! therefore we need to focus in our definition of how joints will be made and how we will include this into our design. Using inspiration from the precedence in B2 Aranda Lasch aggregations from a simple input geometry we created our own input geometry to that we thought would benefit our client. When creating our original geometry we began with a simple element that reflected the “program” of a branch. That was that it is relatively linear with fork like structure emerging out of the top end of the geometry ( see figure “ “ ). Whilst this geometry may seem simple and basic to begin, the recursive aggregation will allow the structure as a whole to become incredibly complex in it’s overall form. Additionally we will use the definition to manipulate our structure to taking the shape that is most desirable for our clients - that would have been near impossible to stimulate without the aggregation definition.

When designing our defintion and structure we aim to meet the following criteria:

LIVABILTY - Chosen site is appropriate for the client and is their prefered habitat location surrounded by water and fruitful trees for feeding. - Materials used reflects the nature of the material of the trees they live in (natural habitat) USEFULLNESS FOR CLIENT - Responds to the need of a new habitat that will not break due to heavy loads of bat families - Allows sunlight to enter into the structure for client to bask in the sun and be at a comfortable body temperature SUITABILITY IN COMPARISON TO CURRENT BAT BOX - Appropriate in form and sizing to fit even the largest of bat communities - Is an open structure that allows bats to hang with space and fly in from the top/ bottom

PROGRAM THAT REFLECTS THAT OF THE CLIENTS NATURAL HABITAT - Materiality - Structure/ form reflects the program behind a strong branch AGGREGATION - Creates complexity from simple geometry - Maximises habitable surface area

CONCEPTUALISATION

SYNTHETIC PHYSICS FOR A HIDEY HOLLOW

Simple input geometry

EXPLORATION THROUGH CASE STUDY B1 AND B2 WITH PARTICULAR INTEREST IN B1 ARANDRA LASCH AGGREGATION

PROBLEM IDENTIFICATION , CONSTRAINTS AND SELECTION CRITERIA

ARTIFICIAL BRANCHING STRUCTURE WHICH HAS THE ABILITY TO BE AGGREGATED TO DIFFERENT COMPLEX FORMS Aggregation to complex form

CONCEPTUALISATION 59

B4.2 TECHNIQUE DEVELOPMENT AGGREGATION DEVELOPMENT OF INPUT GEOMETRY

INPUT GEOMETRY

CONNECTIONS DESIGNED AND BUILT INTO INPUT GEOMETRY

Using inspiration from the precedence in B2 Aranda Lasch - aggregations from a simple input geometry that reflec and traditional structure of a branch in its simplest form. This simple geometry then becomes a complex structure aggregation. Allowing us to manipulate the number of input geometries and allowing the aggregation structure to in our definition.

CONCEPTUALISATION

cted the program through recursive o follow desired forms

FIRST AGGREGATION : 2 ELEMENTS

AGGREGATION 50 ELEMENTS

Aggregation not contained to a specific form - random aggregation. The next page will explore aggregations that have more control - we were able to define the shape of which each aggregation was confined to - as a result changing the structural form of the recursive aggregations.

CONCEPTUALISATION 61

B4.2 TECHNIQUE DEVELOPMENT AGGREGATION DEVELOPMENT OF INPUT GEOMETRY

CONCEPTUALISATION

TILE AGGREGATION TO FILL SHAPES BELLOW

DEFINITION AGGREGATING AWAY FROM EACH OTHER TO 3 POINTS

DEFINITION AGGREGATING INTO A RECTANGULAR VOLUME

DEFINITION AGGREGATING INTO A SPHERICAL VOLUME

DEFINITION AGGREGATING INTO A SEMI SPHERICAL SHAPE WITH A HOLLOW MIDDLE - A BOWL LIKE FORMATION CONCEPTUALISATION 63

B4.2 TECHNIQUE DEVELOPMENT DEVELOPMENT OF CHOSEN FIT TO SHAPE AGGREGATION

2 INPUT GEORMETRIES

BEGINNING OF AGGREGATION

CONCEPTUALISATION

END OF AGGREGATION

7448 2 INPUT GEORMETRIES

Initially our group was working towards creating a structure that was wave like to have a great surface area for the bats in which we explored in the rectangular form to grow our aggregation to. However, through iterations and marking it against our selection criteria, we realised that whilst the wave like surface did reflect and suit our brief there was a better way to optimize surface area and reduce the space needed on site between the trees through the chosen most successful iteration above - the bowl shape. This was chosen as most successful because it maximizes surface area for the bats to attach to without taking up too much space in the trees we can infact gain a greater surface area on the bowl structure through the depth in the 4 dimensional z axis than we could achieve on the x and y 3 dimensional rectangular aggregation fit. Therefore this is the best to suit our brief and client.

CONCEPTUALISATION 65

B5 PROTOTYPE

CHOSEN M

LASER CUT

Laser cut in make up th then manua and glue.

TECHTONIC SY

Notches in eac ture will provid position. Howe non toxic glue

Glue toxicity Joins with timbe adhesive that bo

It is non-toxic, n the bats if they c

CONCEPTUALISATION

Medium density fibre board is the most suitable material option for our proposal. It is most appropriate as it reflects the materiality of the trees that our client the flying foxes naturally inhabit. Additionally, due to the large scale of our project there will need to be many individual components and hence medium density fibre board is easy to laser cut - quickly and efficiently in large quantities. Cost is another consideration in choosing materiality and fabrication processes. Whilst we can CNC mill our components that make up the structure it is faster and much more cost effective to laser cut our material. MDF was also chosen as it is non- toxic to our client as it is a natural timber compressed into sheets. When fixing the individual components together our group must ensure that our clients are not put at harm with toxic chemicals.

CONCEPTUALISATION 67

B5 TECHNIQUE PROTOTYPES

Section of initial proposed design made into prototype

CONCEPTUALISATION

CONCEPTUALISATION 69

B5 TECHNIQUE PROTOTYPE

niversal

ely on

CONCEPTUALISATION

TEST AND DOCUMENT YOUR MODELSâ&#x20AC;&#x2122; PERFORMANCE UNDER DESIGNED CONDITIONS (E.G. STRETCHING, BENDING, SAGGING, DISSOLVING, GROWING, CHANGES IN LIGHTING, SHIFTING PERSPECTIVE, TEXTURE, MATERIALITY, LIGHT, ATMOSPHERE, DISTORTION, OVERLAY ETC)

Materials that do not cause harm to the client. Non toxic, no parabans have been used in the fabrication or any materials that are used in the structure. Material reflect that of the clients natural habitat through the use of timber. Is able to carry loads - however the load bearing capacity may need to be further examined as the structure is relatively flexible when load is put onto it. Thicker material / stronger wood may need to be used The structure and materials allow light to flow through elements. Appropriate size for bat communities as there is more than enough space for one bat per element of the structure. Scale can be varied in the structure through changing input geometry and changing the number of elements in the aggregation. The structure provides a large surface area for bats to hang from.

The individual elements do reflect the program of that of timber trees the bats naturally inhabit however load bearing capacity should be further looked into as current prototype structure can be flimsy at times The chosen â&#x20AC;&#x2DC;bowl shapeâ&#x20AC;? maximizes the surface area of the structure without taking up extra space in the x or y axis. This is optimal for the structure to adapt to the natural environment and not encroaches on the walkway trial bellow Complexities are made from the simple input geometry, however the input could be further explored to add complexity in the initial input structure to benefit the clients further.

Whilst this inital

CONCEPTUALISATION 71

B6 PROPOSAL B6: INITIAL PROPOSAL SYNTHETIC PHYSICS

FOR A HIDEY HOLLOW

BAT NEST

RECURSIVE AGGREGATION FOR A HABITABLE STRUCTURE 72

CONCEPTUALISATION

CONCEPTUALISATION 73

B6: INITIAL PROPOSAL

Research and Considerations Site and Client research/ Occupation diagrams CURENT BAT BOX UNSUITABILITY Site walkway/ bike path

Traditional Bat Box

Surrounding Buildings Vegetation

This site was chosen at is is in close proximity Enter from bottom of box 250mm tall x 150 wide to the (Merri Creek) river in which bats like to roost nearxas 100 deep boxes it usually provides surrounding areas that are Generic/ Typical bat box Fixed to middle of tree withAdditionally steel rich in-bolts food sources. this site and screws: Not Suitable for our client as the like todue bask in to the sun top of the trees was chosen it’sat the dense vegetation. away from shade This is the client’s ideal habitat as vegetation as water sources provide great food sources in close proximity to their new homes as bats ideally prefer to feed close to CURRENT HABITAT PROBLEMS where they roost.

300m

Merri Creek River

CAMPS = 500 PLUS INDIVIDUALS

Vegetation and Paths

Site Vegetation

Surrounding Houses

CLIMATE 26

24 21

14 8

M J

Main occupation months at chosen site due to warm weather. The bats migrate north in the cooler months for warmth.

DESIGN NEED

CAMPS = 500 PLUS INDIVIDUALS

CAMPSthese = 500 PLUS Camps can be of up to 500 individuals however INDIVIDUALS groups can span accross many trees in the same area. This will need to be considered when designinig the structure its load bearing capacity.

Additionally as bats like to bask in the sun to assist with regulating their body temperature it is important that we place the structures at the same height at the highest branches of the trees on site so that sun exposure is maximised during the day whilst they are sleeping.

CONCEPTUALISATION

1KG

CAMPS = 500 PLUS INDIVIDUALS

POSITION: - High up near height of top branches for maximum sunglight - Priliminary fixing suggestions for the new design: Suspended from tree? Suspending from nearby load bearing columns Fixed to top branches on tree FORM: - Open large space to fit families of flying foxes comfortably - Not an enclosed space - open for bats to easily access - Space for bats to hang at varying levels so that bats are able to change position based on external temperature - Be able to carry loads of 30+kg per family expected to utilise the design Allow for noise to be spread evenly through the â&#x20AC;&#x153;structureâ&#x20AC;? so that calls i.e. breeding calls are heard

CONCEPTUALISATION 75

B6: INITIAL PROPOSAL SYNTHETIC PHYSICS FOR A HIDEY HOLLOW

CONCEPTUALISATION

The above structure was chosen as the initial proposal for our design solution to create a habitat alternative for Grey Heading Flying foxes as they are continuously losing their habitat through damage caused to trees from their own roosting. We have chosen this in line with our criteria as it was the best fit. This was the best iteration in comparison to the other aggregation forms as it required less of an area to span between trees than the other more surface like forms, to moreover take up less area but have a larger surface area for the bats to roost on through its lift in the z axis creating a bowl shape - of which was one of our main criterion . This formation was chosen as it can be easily made larger and smaller depending on the scale of the tree and the scale of the bat families that roost in the same tree. Additionally we chose this form as it allows us to further develop our input geometry. We have established complexity in overall structure from a basic input geometry however, the next step from here could be to attempt to create complexities in the input geometry adding further aspects to the design in which could benefit our client. For example holes could be added to the structure to allow easy access from any angle, or to allow greater sunlight penetration for cooler weather. These can all be done by changes to our definition in which we wish to explore further in part C. A potential drawback of the final structure could be its flexibility due to the materiality and 6mm thickness of the MDF board.. This could be seen as an advantage as bats will fly and anchor onto the structure at a great force so flex could be helpful - however we have to realize if this will be too much flex and potentially cause damage to the overall structure. This can be explored further in Part C. The structure could be applied to the site as depicted in the following renders. We anticipate the structure to appear floating high up in the tree tops to sit at the level that bats would usually roost at - high enough to gain exposure to the sun. This is important for bats to regulate their body temperature and could also act as an incentive for the bats to migrate to the new structure if they provide more sunlight than their natural / traditional habitat.

CONCEPTUALISATION 77

EACH STRUCTURE WILL BE SUSPENDED FROM THE TOPS

CONCEPTUALISATION

OF THE NATIVE TREES IN OUR CHOSEN SITE.

CONCEPTUALISATION 79

SUSPENDED STRUCTURES CAN BE MADE AT A RANGE

AND THESE CAN BE REPEATED IN TREES OF CLOSE PR

CONCEPTUALISATION

E OF SCALES FOR DIFFERENT SIZED CLIENT FAMILIES

ROXIMITY TO ONE ANOTHER

CONCEPTUALISATION 81

EACH STRUCTURE WILL BE SUSPENDED FROM THE TOPS OF THE NATIVE TREES IN OUR IMPORTANCE WILL BE PLACED ON THE HEIGHT OF THE STRUCTURES - THEY SHOULD B AT THE TALLEST BRANCH HEIGHTS OF TREES FOR OPTIMUM SUN EXPOSURE

CONCEPTUALISATION

R CHOSEN SITE. BE SUSPENDED

CONCEPTUALISATION 83

B7 LEARNING OBJECTIVES AND OUTCOMES OBJECTIVE 1:

“INTERROGAT[ING] A BRIEF” BY CONSIDERING THE PROCESS OF BRIEF FORMATION IN THE AGE OF OPTIONEERING ENABLED BY DIGITAL TECHNOLOGIES; Our brief initially seemed to lack relevance at the beginning of the journal. However, once arriving at part B and in our group work when we began to respond to the brief it showed how vital it was to our whole design process. Our group realised that none of our case study B1 or B2 iterations were really all the suitable for our clients needs, so rather we came up with a new definition inspired by our shared B1 precedent Aranda Lasch, Morning Line project. Through challenging the form of this project in reverse engineering we discovered a way to aggregate different input geometries in which we found of most interest. This allowed us to create a form that reflects our brief and clients original habitat and aggregate it for fabrication. Additionally the computation allowed us to realize limitations / considerations in our brief that we may have previously overlooked i.e. the size of our client and allow us to easily change our input geometry size and scale without the need to completely refigure our whole definition in which was helpful for time management and workability of the project.

OBJECTIVE 2:

DEVELOPING “AN ABILITY TO GENERATE A VARIETY OF DESIGN POSSIBILITIES FOR A GIVEN SITUATION” BY INTRODUCING VISUAL PROGRAMMING, ALGORITHMIC DESIGN AND PARAMETRIC MODELLING WITH THEIR INTRINSIC CAPACITIES FOR EXTENSIVE DESIGN-SPACE EXPLORATION;

As said in explaining the first objective. Computation of iterations was extremely helpful for realizing new forms that would have been otherwise extremely time consuming and near impossible to do without the aid of grasshopper. After our initial design to fit a rectangular form ( on page 65) we realized that this may not be best to suit our client due to the scale of each individual input and the large space needed to span between trees for this structure. We needed an alternative that would provide a similar large surface area however with less volume and take up less space. Computation allowed us to manipulate our definition and change the form of which our aggregation fit. This allowed us to stay in control of the aggregation so that it could be fabricated in real life (not random aggregations). Additionally, this was extremely helpful for time management and workability of the project.

CONCEPTUALISATION

OBJECTIVE 3:

DEVELOPING “SKILLS IN VARIOUS THREE- DIMENSIONAL MEDIA” AND SPECIFICALLY IN COMPUTATIONAL GEOMETRY, PARAMETRIC MODELLING, ANALYTIC DIAGRAMMING AND DIGITAL FABRICATION;

This project has allowed me to develop my skills in computational geometry especially using the programs of Rhino and Grasshopper of which I had little skills in prior to the semester. Additionally these skills have provided me with an understanding into the benefits and advantages of parametric modeling of which I was somewhat reluctant to believe at the beginning of the semester. Analytic diagraming has been developed in my presentation of this Studio Journal utilizing Photoshop, InDesign and Illustrator as well as for pin up presentation diagrams. Finally, I had never used any form of digital fabrication prior to this studio, hence I have gained a lot of insight into digital fabrication methods, in particular laser cutting and possible materials that can be used for fabrication.

OBJECTIVE 4:

DEVELOPING “AN UNDERSTANDING OF RELATIONSHIPS BETWEEN ARCHITECTURE AND AIR” THROUGH INTERROGATION OF DESIGN PROPOSAL AS PHYSICAL MODELS IN ATMOSPHERE

Due to the nature of computational design it is easy to forget that we actually had a specific site for our design and the structure would need to be suitable for our chosen site. Something that assisted me with this issue was by having a site visit and site analysis that informed not only our brief but also our selection criteria under the heading “livability” which reminded our group that each structure as we were designing needed to suit our clients lifestyle and be located high up in trees and near food sources i.e. large sturdy trees and water sources.

OBJECTIVE 5:

DEVELOPING “THE ABILITY TO MAKE A CASE FOR PROPOSALS” BY DEVELOPING CRITICAL THINKING AND ENCOURAGING CONSTRUCTION OF RIGOROUS AND PERSUASIVE ARGUMENTS INFORMED BY THE CONTEMPORARY ARCHITECTURAL DISCOURSE.

This project in particular preparation and design work for the inital design proposal has enabled me to utilise critical thinking when approaching design. Pushing designs through itterations to establish their full design potential and possibilities to best suit our brief. This project has also provided me with the skills and knowledge to construct persuasive arguments on how parametric architecture and computational methods of design truly allow designers to exceed the current limits of design and push their ideas further than what may have been possible before.

OBJECTIVE 6:

DEVELOP CAPABILITIES FOR CONCEPTUAL, TECHNICAL AND DESIGN ANALYSES OF CONTEMPORARY ARCHITECTURAL PROJECTS;

I found the case studies incredibly useful tools for learning and being able to identify and anaylse innovative ways of designing to solve problems and create forms that are difficult if not impossible to create using traditional analog design methods. Our group was particularly interested in the work of Aranda Lasch as it uses a simple input geometry to create a complex form of aggregations.

OBJECTIVE 7:

DEVELOP FOUNDATIONAL UNDERSTANDINGS OF COMPUTATIONAL GEOMETRY, DATA STRUCTURES AND TYPES OF PROGRAMMING;

I have found part B incredibly helpful with my understqanding of using computational programs such as grasshopper. Whilst I was able to create simple definitions in Part A week 1-3 of this semester I have found that reverse engineering projects done by Aranda Lasch and IwamotoScott (Part B2-B4) made me

feel more confiendent in using the software to create itterations and using grasshopper definitions and recreate real life projects. Additionally this knowledge provided our group with the ability for us to create our own definition utilising inputs from other project works such as the same aggregation technique as Aranda Lasch.

OBJECTIVE 8:

BEGIN DEVELOPING A PERSONALISED REPERTOIRE OF COMPUTATIONAL TECHNIQUES SUBSTANTIATED BY THE UNDERSTANDING OF THEIR ADVANTAGES, DISADVANTAGES AND AREAS OF APPLICATION.

The prototype model our group created really allowed us to see the full advantages of using computation for easy fabrication. Our simple input geometries whilst it can be argued they could be put together without grasshopper defitions - the form would be near impossible to create as the aggrigations would be random without computational methods. Our defintion allowed us to fit our aggregation to the desired form to suit our client hence assisting dramatically with fabrication and constructing the prototpye of our model as the aggregation connections were not random, but rather follow a specific form to create the “nest”, bowl type overall structure.

CONCEPTUALISATION 85

B8 ALGORITHMIC SKETCHES

EXPLORATION OF TETRAHEDRON WHEN MANIPULATING INPUT SCALE FACTORS AND AGGREGATION

CONCEPTUALISATION

EXPLORATION OF VORONOI SURFACES AND CREATING ORGANIC CURVES IN STRUCTURES WITH KANGAROO TO WATCH STRUCTURE “GROW”

CONCEPTUALISATION 87

B8 ALGORITHMIC SKETCHES

EXPLORATION OF CREATING CURVES IN SURFACES TO MIMIC WOOD AND HOW WATER MAY FLOW THROUGH THE TIMBER LEAVING A PATH

CONCEPTUALISATION

RECURSIVE AGGREGATION TO CREATE COMPLEX FORMS AND GEOMETRIES FROM SIMPLE INPUTS

CONCEPTUALISATION 89

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

on the left side.

CONCEPTUALISATION

30 Micheal Pawlyn, Biomimicry in Architecture (RIBA Publishing, 2016), p.g. 1-10 31 Pawlyn, Biomimicry in Architecture p.2 32 Micheal Pawlyn, Biomimicry in Architecture p.g. 1 33 Micheal Pawlyn, Biomimicry in Architecture, p.g. 4 34 Heather, “Biomimicry and the Eden project”, Eco Brooklyn (July, 2012), http://ecobrooklyn.com/biomimicry-eden-project/(accessed 20th March, 2018) 35 Grimshaw Global, , “The Eden Project: The Biomes, Cornwall, UK” ( 2018 Grimshaw), https://grimshaw.global/projects/the-eden-project-the-biomes/(accessed 27 March, 2018) 36 Heather, “Biomimicry and the Eden project” 37 Heather, “Biomimicry and the Eden project” 38 Aranda Lasch, ‘ The Morning Line’, Aranda Lasch Work (2008), http://arandalasch.com/works/the-morning-line/ ( Accessed 3rd April, 2018) 39 Aranda Lasch, ‘ The Morning Line’. 40 Aranda Lasch, ‘ The Morning Line’. 41 Design Bloom, ‘The morning line with Mathew Richie and Aranda/Lasch and Arup’ (2009) https://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-andarup/(Accessed 3rd April, 2018) 42 Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018) https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) 43 Iwamotoscott, “Voussoir Cloud” 44 Iwamotoscott, “Voussoir Cloud” 45 Iwamotoscott, “Voussoir Cloud”

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 FIG 23: Grimshaw Global, , “The Eden Project: The Biomes, Cornwall, UK” ( 2018 Grimshaw), https://grimshaw.global/projects/the-eden-project-the-biomes/(accessed 27 March, 2018) FIG 24: Grimshaw Global, , “The Eden Project: The Biomes, Cornwall, UK” ( 2018 Grimshaw), https://grimshaw.global/projects/the-eden-project-the-biomes/(accessed 27 March, 2018) FIG 25: Grimshaw Global, , “The Eden Project: The Biomes, Cornwall, UK” ( 2018 Grimshaw), https://grimshaw.global/projects/the-eden-project-the-biomes/(accessed 27 March, 2018) FIG 26: Design Bloom, ‘The morning line with Mathew Richie and Aranda/Lasch and Arup’ (2009) https://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-andarup/(Accessed 3rd April, 2018) FIG 27-29: Design Bloom, ‘The morning line with Mathew Richie and Aranda/Lasch and Arup’ (2009) https://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-laschand-arup/(Accessed 3rd April, 2018) FIG 30: Aranda Lasch, ‘ The Morning Line’, Aranda Lasch Work (2008), http://arandalasch.com/works/the-morning-line/ ( Accessed 3rd April, 2018) FIG 31: Aranda Lasch, ‘ The Morning Line’, Aranda Lasch Work (2008), http://arandalasch.com/works/the-morning-line/ ( Accessed 3rd April, 2018) FIG 32: Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018) https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) FIG 33: Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018) https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) FIG 34: Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018) https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) FIG 35: Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018) https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) FIG 36: Iwamotoscott, “Voussoir Cloud”, Iwamotoscott, ( San Francisco, 2018) https://iwamotoscott.com/projects/voussoir-cloud ( 15 April, 2018) CONCEPTUALISATION 91