Wu_Di_860315_FinalSubmission by Di Wu

S T U D I O

A I R G E N E T I C S

2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315 10

S T U D I O

A I R PART A

2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315

TABLE OF CONTENT INTRODUCTION PART A CONCEPTUALIZATION A.1.

DESIGN FUTURING

A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOME A.6. ALGORITHMIC SKETCHES BIBLIOGRAPHY

INTRODUCTION

Di Wu MAJOR: ARCHITECTURE My name is Di Wu. I am currently a 3rd year student in the Bachelor of Environments. I come from China and have been in Melbourne for 3 years. I enjoy the slow-paced lifestyle and intense academic journey in Melbourne. I am good at sketching, painting an model-making. I have learned these skills no less than 10 years. Though I am not familiar with graphic design, I am able to imagine and deal with spatial relationships and configurations. So what architecture attracts me is exploring space, form an function. In my previous semesters, design studios I have done make me strongly believe that a good architecture should be supported by a strong concept and the most suitable representation. Digital Design and Fabrication was my first time to touch digital methodology in design and I was impressed by the power of computational softwares which could compute every details I want to express. Thus, I am looking forward to explore the field of computational design through the study in Studio Air.

CONCEPTUALIZATION .1. DESIGN FUTURING .2. DESIGN COMPUTATION .3. COMPOSITION/GENERATION .4. CONCLUSION .5. LEARNING OUTCOMES .6. APPENDIX - ALGORITHMIC SKETCHES

.1 DESIGN FUTURING With the development of technology and society, human is anthropocentrically grabbing resources for the sake of economy with an insatiable appetite. We have to confront the consequences of we unwittingly have created - a defuturing condition of unsustainability which means human are accelerating our future including not only resources but also the time for human existence. Fry pointed out that design should no longer be focused on its currently economically and culturally position and a level of superficial and short-term satisfaction (Design democracy) [1]. Instead, designers should change thinking, recognize and rethink current situation and redirect human towards more sustainable modes of planetary habitation by design.[2] On the other hand, what Fry hoped us to rethink is recognize design systematically. Design is definitely aimed to solve problems. However, problem itself is not equivalent to malfunction. On the contrary, it is likely to be the consequence of how a system works, which means that these problems, challenges and changes are unfixable today. Even certain designs either do not patch the system or make the problem worse as human

bring something into being meanwhile something is destoryed. Thus, Design futuring is to explore and experiment new possibilities of relationships among human, nature and creation in a broader scope of system from multiple dimensions more about future in order to redirect the value and ideology of design. Under Fry's stimulation of Design Futuring aimed at rethinking and redirecting design, Dunne and Raby developed a more specfic way of thinking to imagine what future may look like and to use speculative design to criticize "narrow assumptions and preconceptions" so as to stimulate discussion and debate. [3] "What we are interested in [...] is the idea of possible futures and using them as tools to better understand the present and to discuss the kind of future people want, and, of course, ones people do not want. [...] futures are not a destination or something to be strived for but a medium to aid imaginative thought-to speculate with." [4]

[1]. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16 (p.6) [2]. Fry, (p.6) [3]. Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45 (p.34) [4]. Dunne and Raby, (p.2)

.1 DESIGN FUTURING BLUR BUILDING DILLER SCOFIDIO + IRENFR Swiss Expo 2002, Yverdon-les-Bains, Switzerland Briefly, Blur building is a temporary project designed by Diller Scofidio for Swiss EXPO in 2002. It can be viewed as an experimental example of speculative design. It is an open platform above a lake and visitors have access to the platform via ramps. The whole building got rid of the basic elements of conventional architecture, wall and roof, replaced by a fog. The entire structure is lightweight tensegrity. This pavilion imagined a new relationships between human, architecture and nature and speculate a blur being transcending the physical being / entities. Breaking through the conventional materiality, the designers used water as the primary material to redefine space and the boundaries of architecture by creating a fog mass. The mist is soft and can be sensed. This characteristic blurs the boundary between the interior and exterior, artificial environment and natural environment. This flexible boundary as sensor, like human skin, reacts in response to the natural environment. [5] With the help of technology, an homogeneous blurring artificial environment was created which created a space extending to infinity and leading to the void. The homogeneity, white and mist make people disappear on the platform. [6] This effect is the result of nature and technology. A smart weather system shots and controls the water pumped from lake and filtered through heaps of high-pressure nozzles according to the surrounding temperature, humidity, wind speed and directions at different zones. "BLUR is a spectacle with nothing to see. Within BLUR, vision is put out-of-focus so that our dependence on

vision can become the focus of the pavilion." [7] From speculative design point of view, blur building was depicted as a mediation and possibility between physical world and the invisible space of data linked by electronic technologies. [8] Light, air, water and sound are extracted from nature as data input. People can be imagined as data input. These data inputs are integrated in the building. Also, the soft skin of the building integrates into the nature. Everything (architecture, technologies, human and nature) is dematerialised.[9] The beings fall into between the void and entity, material and immaterial. Meanwhile, people in this space will "regain the feeling of really being alive". [10] Sometimes only lost something can people realize the importance of that thing. Blur building is an experiment in de-emphasis on an environmental scale. Movement within is unregulated. People have to depend upon their vision. Visitors are asked to wear "Braincoats" that reflect the interaction and relationships between visitors by lighting up in different colours. The colours representing different extents of attraction and repulsion is based on the questionnaires before visitors enter the building. This experiment explored the relationships between people, how the technology influence architecture and people, which might be a possible mode in the future

"The body extended through electronic technology opened our eyes to the forgotten existence of buildings and cities which are merged with nature and not completely closed off." [11]

Fig. 1. Blur building structures

[5]. Itō, Toyoo. Toyo Ito : Blurring Architecture (Milano : Charta ; Suermondt (D) : Ludwig Museum Aachen, 1999), p.58 [6]. Toyoo, (p.59) [7]. Cary Wolfe, Lose the Building: Systems Theory, Architecture, and Diller+Scofidio’s Blur, 16 vol (Johns Hopkins University Press, 2006) [8]. Maria Paneta, ‘Data mediation and visualisation’, in Bartlett School of Architecture, UCL <http://www.interactivearchitecture.org/is-softness-visible.html> [Accessed on 27 July 2018] [9]. Paneta [10]. Toyoo, (p.59) [11]. Toyoo, (p.58)

Fig. 2. Experience in the mist

Fig. 3. Braincoat system

Fig.4. Blur building by DILLER SCOFIDIOI + IRENFR

.1 DESIGN FUTURING INSTANT CITY, ARCHIGRAM Under the stimulation of the appearance and invention of technology, a group of futurist, anti-heroic and proconsumerist, Archigram, got inspiration from technology and intended to create a better future. The impact of technology on orthodox Modernism even contemporary ideology and value prompted them to question he Vitruvian notion that buildings need to be static entities[12] and wondered whether technology could bring a new reality and future "because of the inability of art and architecture to keep pace with the products, lifestyles, and machinery that were already part of daily life."[13] It is critical design that provide possibilities that highlight weakness within existing systems. [14] As other imaginations in the series of movable projects, Instant City inherited the principle of "plug-in". "Instant City, an airship containing all the cultural and education resources of a metropolis which could land in remote areas giving inhabitants a taste of city life."[15] It expressed the desire for an architecture liberated from static entities and moving in time and in space. The balloons carried the components of the city to the

destination and floated above the land. The metropolis were brought to "all places willing to plug in to the network, but it also tackled the problems of population growth, land use, and traffic that were thought at the time to render great cities unsustainable".[16] Although the dream was incredible and it was less likely to realize the hypothetical projects due to unavailable technology, it stimulated critical thinking to the conventions. Actually, the generation of the conceptual project is not rootless. “Whenever we bring something into being we also destroy something.” [17] Technology as a stimulus, exerts a great impact on the value of the world and forces people to rethink and recognize our existing normality. “It encouraged us to think about what we really needed from architecture, and about whether the conventional approach was providing us with optimum solutions.” [18] As Dunne & Raby suggested that “Dreams are powerful [...] they can also inspire us to imagine that things could be radically different than they are today, and then believe we can progress toward that imaginary world.“ [19] In the meanwhile, It is radical design that extend design’s boundaries beyond the strictly commercial towards imagination and future. [20]

Fig. 5. Peter Cook”Dirigeable Instant City M3″, 1969-98 Collages © Collection Frac Centre / Philippe Magnon

[12]. Victoria and Albert Museum, ‘Archigram: The Walking City, Living Pod and the Instant City’ <http://www.vam.ac.uk/content/articles/a/archigram-walking-city-living-podinstant-city/> [Accessed on 27 July 2018] [13]. DARRAN ANDERSON, 'The Prophetic Side of Archigram' <https://www.citylab.com/design/2017/11/the-prophetic-side-of-archigram/545759/> [Accessed on 27 July 2018] [14]. Dunne and Raby, (p.35) [15]. Victoria and Albert Museum [16]. Simon Sadler, Archigram: Architecture Without Architecture (The MIT Press, 2005), p.20 [17]. Fry, (p.4) [18]. Victoria and Albert Museum [19]. Dunne and Raby, (p.1) [20]. Dunne and Raby, (p.6)

Fig. 6. Peter Cook (Archigram)”Instant City Visits Bournemouth”, 196823 × 34,5 cm © Collection Frac Centre / Philippe Magnon

Fig. 7. “Instant City in a Field Long Elevation 1/200°”, 1969, 56,5 × 220 cm © Collection Frac Centre / Philippe Magnon

.2 DESIGN COMPUTATION The evolution of the digital in architectures gradually creates a symbiotic design system by establishing the linkage between design thinking and making. Generally speaking, computational design creates a digital chain[x] linking theories, concepts and disciplinary knowledge with form generation, performance and material fabrication, which sets up an environment for the interaction between digital generation and performance simulation as well as for the communication among computer, architect and engineer. In the micro perspective, based on computer's superb analytical and arithmetical capability and topological rules among parameters,

parametric algorithmic design by which using computer to aid realizes the complexity of free-form geometries, limitless mediated variability and performance simulation. "Architectural design needs to incorporate complex organisational and functional requirements, and therefore constitutes a recurrent negotiation of analysing existing and requisite conditions as well as generating and evaluating possible responses. Additional knowledge gained through such iterative processes may require further analysis of the specific context or even the adjustment of previously defined design objectives" [1]

[1]. Bollinger, K, Grohmann, M, and Tessman, O., 'Form, Force, Performance: Multiâ&#x20AC;?Parametric Structural Design', in Architectural Design <https:// onlinelibrary.wiley.com/doi/10.1002/ad.637> [Accessed 7 August 2018], p.21

.2 DESIGN COMPUTATION ICD/ITKE Research Pavilion 2012 This project aims to make use of algorithmic methods to explore new composite construction paradigm in architecture by analysing the material and morphological principles of arthropods' exoskeletons. Step 1: Algorithmic thinking is a nice tool to capture and extract the underlying logic from complex sets of data. Step 2: Simplify and express the logic as parameters and the rule between them. Step 3: Scripting a computable algorithm unambiguously and precisely which computer can operate and generate possibilities. Step 4: The algorithm should be linked to robotic manufacturing. Robot can implement the iteration of the algorithm to realize high performance structure. The lobster's exoskeleton was analysed. The material anisotropy and morphological principles were abstracted. "The direct coupling of geometry and finite element simulations into computational models allowed the generation and comparative analysis of numerous

variations." [2] Meanwhile, based on the data from material testing, computer would cooperate with performance stimulation software to optimise the fibre orientation and arrangement through a gradient-based method and calculate the minimum use of material. According to previous data, the winding motion paths was parametric designed associated with digital mathematical geometry model. [3] In this case, computational design realized the integration of form generation, performance simulation and robotic manufacturing. As Oxman stated "it is in the computational modelling of natural principles of performative design of material systems that we can potentially create a second nature,... with respect to material ecology." [4] "Every specific natural event, to be scientifically satisfying, must ultimately be related to a general formulation." [5]

Fig. 1. Fibre orientation and arrangement based on biommetic principles

[2]. [3]. [4]. [5].

ICD, â&#x20AC;&#x2DC;ICD/ITK Research Pavilion 2012â&#x20AC;&#x2122;, Institute of Computational Design and Construction (ICD, 2012)<http://icd.uni-stuttgart.de/?p=8807> [Accessed 5 August 2018] ICD Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture [London; New York: Routledge, 2014], pp.1-10 (p.6) Bollinger, Grohmann, and Tessman. (p.21)

Fig. 2. ICD/ITKE Research Pavilion 2012 Integration of biomimicry, form generation, scripting, simulation and robotic fabrication

Fig. 3. ICD/ITKE Research Pavilion 2012

.2 DESIGN COMPUTATION Meiso no Mori Municipal Funeral Hall Kakamigahara-shi, Gifu, Japan 2015 Toyo Ito

Meiso no Mori Municipal Funeral Hall was built in a cemetery. Because of the cultural and natural contexts, an organic dynamic form was wanted to respond to the hills, water features and the surroundings. Parametric design with the aid of computer as a experiment and research by design is an ideal way of thinking and designing for this project. Computation transforms architectural design from searching for a reasonable and suitable solution to searching for an optimal solution, from finite outcomes to hundreds of possibilities based on computer's superhuman capability of information storage, problem analysis, solution calculation and generation and performance simulation and evaluation. The minimum units, parameters, linked by algorithms which establish correlations realize the precise control to goals and constraints. Meanwhile, computer has the capability to combine the form of trial-and error searches, constraintsatisfaction methods and rule-based design. [6] Meiso no Mori Municipal Funeral Hall is a good example as goal-directed parametric algorithmic design. The goals and constraints were set firstly, such as the fixed plan boundary of the roof surface, the fixed pillarshell joints and domains of the design variables and so forth. By modifying the parameters, differentiate forms satisfying the constraints were generated. And then the optimal solution or possibilities can be identified and selected. Thus, this case was not simply to pursue a complex free-from shell by using computer but to take advantage of computer's calculation to optimise the

solutions effectively and efficiently. To be more specific, computation links a three-dimensional modeller (represent the shape) to a FEM solver (to simulate the structural behaviour) for morphogenesis. The parameters, NURBS surface with control points was given to the modeller. A discrete finite element mesh with constraints and loads are the input of FEM solver and a real genetic code was given to the Genetic Algorithm. In Fig. 5, the system iterated the algorithms and generated dozens of forms, and then the system got rid of the inefficient structural parts and add new elements and continue the recursion in order to find the optimal result. [7] Hence, computation improves the search processes in solving problems of design process. Breath[x] means the parameters of variables to computer. Depth[x] means the variation of parameters. However, compared with conventional architectural design processes stated by Kalay [8], computational design provides infinite candidate solutions by input any data to parameters. And computer integrates the constraints-satisfaction methods into hundreds of candidates to find the Best. [9] In the digital chains, the digitalised data were used in the prefabrication of these curvilinear formworks without which it is hard to construct the complex concave and convex form[x]. In this respect, computational design is going to change material fabrication within the near future.

Fig. 4. Digital mesh of Meiso no Mori Municipal Funeral Hall

[6]. [7]. 58, [8]. [9].

Yehuda E. Kalay, Alberto Pugnale, 63) Yehuda E. Kalay, Yehuda E. Kalay,

Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) (p.17) 'Engineering Architecture: Advances of a technological parctice' <https://en.calameo.com/read/000202204155d7c8d7d38> [Accessed 7 August 2018], (p.53, (p.18) (p.)

Fig. 5. Form generation by changing parameters to achieve a optimal form

Fig. 6. Meiso no Mori Municipal Funeral Hall

.3 COMPOSITION/GENERATION Computation is progressively advancing within architecture. Computer application no longer wanders at the level of "Computerisation" [1], which means the role of computer has shifted from a tool of representation to a tool of generation. By writing and modifying of algorithms related to the placement and configuration of parameters and their relationships, computation can generate and explore complex order, form and

structure [2]. Meanwhile, the designers who own algorithmic thinking and understand the generating code are able to explore further options and generate unexpected results by the recursion and iteration of the algorithms. Hence the generative design is more flexible and suitable to solve complex and changeable problems, which allows the design environment accommodate changes by changing parameters within the framework of algorithms.

[1]. Brady Peters, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2 (2013), pp.8-15 (p.10) [2]. Brady Peters, (p.10-11)

.3 COMPOSITION/GENERATION Subdivided Pavilions 2005 This experimental project intends to generate heterogenous and complex outcomes through a simple process to which extent the output is easier to predict. It is based on a topological framework. A designer should "understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials". [3] To this project, it is much easier to adjust and refine subsequent parameters in order to generate more complex systems. In other words, "it provides a basic framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure." [4] The project follows a "bottom-up" approach. The algorithm was initially set up from a 2-dimensional subdivision process. Although it discusses the subdivision of certain geometry, it actually explores the intensional definition of a function, a computable function[5], which is the smallest and essential algorithm of the recursive generation process. As Oxman demonstrated

that "Parametric design as a facility for the control of topological relationships enables the creation and modulation of the differentiation of the elements of a design."[6] Hence, it is essential to understand the meaning of subdivision during a generative design process so as cultivate algorithmic thinking. There is no use of conditional or boolean logic, nor are random numbers used. The processes thus remain entirely deterministic. [7] By changing all sorts of weighting values and additional changeable parameters, subdivision systems generated hundreds of variations. This project formalizes modifications to these processes, the algorithms are applied to the generation of architectural pavilions. Each of the pavilions is based on two interlinked cubic frames. The generative process for each of that pavilions is identical, only its parameters specifically its division weights - are allowed to change. [8]

Fig. 1. Two-dimensional subdivision tests

[3]. Michael Hansmeyer, Subdivided Pavilions (Michael Hansmeyer Computational Architecture, 2005) <http://www.michael-hansmeyer.com/subdivided-pavilions> [Accessed on 6 August 2018] [4]. Brady Peters, (p.10) [5]. Robert A. and Frank C. Keil, eds, Definition of â&#x20AC;&#x2DC;Algorithmâ&#x20AC;&#x2122; in Wilson, The MIT Encyclopaedia of the Cognitive Sciences [London: MIT Press, 1999] pp.11,12 (p.11) [6]. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture [London; New York: Routledge, 2014], pp.1-10 (p.3) [7]. Michael Hansmeyer [8]. Michael Hansmeyer

Fig. 2, 3. Three-dimensional subdivision tests (left and right) Fig. 4. Pavilion 2 (Catmull-Clark subdivision) (Bottom) Fig. 5. Pavilion 6 (Hybrid subdivision) (Top)

.3 COMPOSITION/GENERATION Subdivided Pavilions

Kakamigahara-shi, Gifu, Japan 2015 Toyo Ito This project aims to redirect current economic resources of coastal use in Rome towards a positive transformation and mediate the coastal erosion caused by tourism. Also, systemic heterogeneity is established to provide the space and materials for the marine biodiversity and human-marine ecosystems. The project started from "a digital simulation of a synthetic local ecosystem, a process based on multiagent systems and continuous cellular automata"[9]. The algorithm is inspired by the reaction-diffusion simulation which is the basic and inherent algorithm of modelling and simulating the generation and configuration of reefs without any influence of fields. In order to develop a more coherent generative strategy, the algorithm which simulates a synthetic ecosystem and the influence of other external factors, such as underwater currents, were written and applied. For instance, CFD (Computational Fluid Dynamics) was used to simulate the impact of underwater currents. [10] Thus, as the data flow shown, the algorithm of the self-growth of reefs was embedded into the algorithms simulating the effects of fields to simulate the generative process of reefs in the underwater environment. "Computer simulations such as CFD have opened up new possibilities for design and research by introducing

environments in which we can manipulate and observe". [11] By modifying parameters in the reaction-diffusion algorithm, the pattern formation and direction of the reefs can be control during the morphogenetic process. The pattern and direction formation as output of the reaction-diffusion algorithm are used as input data of the algorithm of the simulated ecosystem. The recursive algorithm was applied as well to generate the form. By controlling the simulation parameters within the domain, a gradient of possibility based on project requirements can be created. Based on the essential algorithm, "[t]he algorithmic process is implemented in the architect’s design environment as a generative tool capable of deriving a large number of design iterations. Variation is driven by random* modifications to parameters that influence the branching angle and branch length."[12] (*not sure whether the parameters were modified randomly, but indeed variations were generated through computation following the algorithms.) the composite algorithm is able to resolve multiple parameters, and generated appropriate variants for differing structural, environmental and social conditions.

Fig. 6. Form generation [9]. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018] [10]. ArchiGlobe on Architizer [11]. Klaus Bollinger, Manfred Grohmann and Oliver Tessman, 'Form, Force, Performance: Multi‐Parametric Structural Design', in Architectural Design <https://onlinelibrary. wiley.com/doi/10.1002/ad.637> [Accessed 7 August 2018], (p.23) [12]. Sawako Kaijima Roland Bouffanais Karen Willcox Suresh Naidu, 'Computational Fluid Dynamics for Architectural Design', in Architectural Design <https://onlinelibrary. wiley.com/doi/10.1002/ad.1566> [Accessed 7 August 2018] (p. 122)

Fig. 7. The implementation of a differentiation process that progressively separates void (passage) areas from those occupied by the material

Fig. 8. Iteration of algorithms

Fig. 9. Reefs Rome, Italy by ArchiGlobe on Architizer

Data Flow Fig. 10. Data flow and simulation

23 1

24 1

.4 CONCLUSION Facing the change of an era, not only what is happening but also what will happen, we have to change our thinking and redirect design towards far more sustainable modes. Design with the capability to shape the world needs more pluralism, ideology and values to handle the defuturing. Even though the future might be turbulent, we are optimistic to design futuring through critical design and more new methodologies to optimise our solutions. In the meanwhile, computational technology among a variety changes which is a strong instrument to reshape the world cannot be ignored. The computer science has experienced a great evolution from a tool for representations to a medium that supports a continuous logic of design thinking and making. It helped people establish parametric algorithmic thinking. Computation gained the

ability to extract the rules and laws from nature to realize computational analysis, simulation and generation. Based on data and algorithms, computation creates a brand new digital continuum of theories, form generation, morphogenesis, performance simulation and fabrication. Although the benefits are obvious, it is worth pointing that computation makes complex systems more easy and efficient. However, the application of computational design may deprive our intuition and creativity as human. Thus, computer is bound to create values but might bring potential problems in the future. In short, designers should take responsibility to take advantage of computation critically to speculate a sustainable future. As Fry stated that is our, designers', ethics.

.5 LEARNING OUTCOME After attempting to understand so many theories and thinking and case studys, I recognized design. I misunderstood the meaning of Design Futuringand Design for future. I never thought about and imagined what the future of design looks like before and never consider the nemesis human will confront and how design can influence the future beyond 100 years even 200 years. But now, I am being encouraged to open my mind and observe this world speculatively and critically. I am trying to catch up those imaginary and imaginative thinking. With little background knowledge and experience about parametric and algorithmic design, I start to understand and establish the algorithmic thinking based on studying

several specific algorithms in computational design. I desire to explore the evolution of computer technology. I realize that computational design is a good tool to help architects deepen the conceptualization and self-generate complex forms through the iteration of algorithms. I imagine computation will connect design process and manufacture stronger in order to find more sustainable ways to create a better future. Air is one of my new starting point during the journey of design, I would like to use digital technologies and speculative thinking to imagine and create new modes and relationships between human, architecture and the natural environment.

.6 APPENDIX - SKETCHBOOK

Firstly, I created a surface which is similar to the animals' shapes and set the surface to a container. Secondly, surface as input is connected to Populate Geometry to generate points randomly on the surface Lastly, Use Octree to generate the blocks. By modifying permitted content per leaf to change the size and quantity of the small blocks.

S T U D I O

A I R PART B

2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315

TABLE OF CONTENT PART B

CRITERIA DESIGN

B.1.

RESEARCH FIELD - GENETICS

B.2.

CASE STUDY 1.0

B.2A.

L-SYSTEMS & LOOPS

B.2B.

ANALYSIS - BLOOM PROJECT

B.2C.

COMPONENT DESIGN &MANUAL RECURSION

B.3.

CASE STUDY 2.0

B.4&5 TECHNIQUE: DEVELOPMENT & PROTOTYPES B.6.

TECHNIQUE: PROPOSAL

B.7.

LEARNING OBJECTIVES & OUTCOMES

B.8.

APPENDIX - ALGORITHMIC SKETCHES

BIBLIOGRAPHY

CRITERIA DESIGN .1 RESEARCH FIELD - GENETICS .2 CASE STUDY 1.0 .2A L-SYSTEMS & LOOPS .2B ANALYSIS - BLOOM PROJECT .2C COMPONENT DESIGN &MANUAL RECURSION .3 CASE STUDY 2.0 .4 & 5 TECHNIQUE: DEVELOPMENT & PROTOTYPES .6 TECHNIQUE: PROPOSAL .7 LEARNING OBJECTIVES & OUTCOMES .8 APPENDIX - ALGORITHMIC SKETCHES

.1 rESEARCH FIELD - GENETICS Genetic Algorithms VS Recursive Aggregation Recursion, in mathematics and computer science, is a method of defining functions in which the function being defined is applied within its own definition. It describes a process of repeating objects in a self-similar way. [1] It emphasises the loop of data and top-to-bottom recalling basic rules or definition. The complex form and the process of growth can atomize into the basic definition. These definitions are called iteratively. While it is just a simple process of non-response self-assembly. It is more like an assembly shop where similar components are assembled according to the instruction. As for the fabrication of components and the outcome, recursion will not make any choice and decision. Hence, recursive aggregation is a bottom-totop generative method and a process of mass production without selection and response. In contrast with recursive aggregation, a genetic algorithm emphasises more about breeding, selection and response to environments. Ad Frazier summarised that genetic algorithms are highly parallel, evolutionary, and adaptive. [2] Parallel means "Generates a population of points at each iteration. The best point in the population approaches an optimal solution." [3]

Evolution results from the variations achieved through gene crossover and mutation which take place during the iterative exchange and change of information. [4] "It is not the strongest of the species that survives, nor the most intelligent , but the one most responsive to change." --- Charles Darwin Selection is an important criteria and method to stimulate the evolution of genes. It weeds out the genes that cannot adapt to the environments and optimises the genes so that new generations can inherit "beneficial and survival-enhancing traits" from those selected parameter values. [5] Thus, compared with simple recursive aggregation, genetic algorithms enrich and optimize the population and quality of design outcomes and gene pool. Also, genetic algorithms enhance the ability of responding to fitness functions [6], which is more organic. However, recursive aggregation plays an important role for the iterations during the breeding process of genetic algorithms.

[1]. WeWantToLearn.net, Recursive Growth through Aggregation <https://wewanttolearn.wordpress.com/2014/11/13/recursive-growth-throughaggregation/> [Accessed on 10 September 2018] [2]. John Frazier, Evolutionary Architecture (London: Architectural Association, 1995), p. 58. [3]. The MathWorks, What Is the Genetic Algorithm? <https://www.mathworks.com/help/gads/what-is-the-genetic-algorithm.html> [Accessed on 10 September 2018] [4]. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 23. [5]. Kolarevic, Architecture in the Digital Age, p. 24. [6]. Philippe Marin, Jean-Claude Bignon, and HervĂŠ Lequay, "A Genetic Algorithm for use in Creative Design Processes". HAL, (2008). <https://halshs. archives-ouvertes.fr/halshs-00348546>. p. 2 [Accessed on 10 September 2018]

.1 Research field - genetics Recursive Aggregation - Primitives Aranda\Lasch, IPC, Thyssen-Bornemisza Art Contemporary, The Design School at ASU "Primitives" is a series of recursive aggregation designed by Aranda\Lasch, IPC, Thyssen-Bornemisza Art Contemporary, The Design School at ASU, and many artists and designers. Primitives consist of dispersed furniture elements that appear like rock piles, each one unique but formed from the same universal building block [7], which is the basic component of the aggregations. Basically, Primitives, the product of recursion, gives the impression of "[l]ike microcosms in the distance, the clusters are imagined as islands falling apart and building back up, organizing and eroding at once." [8] The designers also intended to express the logic and modularity of recursive aggregation and how the universe assembles itself through the growth of a single crystal. The process of the aggregation is simple recursion. The initial component is a octahedral unit. By analysing the characteristics of the basic unit (such as 8 faces and their unique features: 2 equilateral triangles and 6 isosceles

triangles), three different rules of fractal growth were set. Serpinski growth tends to develop more branches and take over more space, which contributes to the form generation. Subdivision fracts the component. All of these rules are processes of repeating objects in a self-similar way (move, orient, scale, atomize). By calling these rules over and over again and setting the times of iteration, the components were assembled and grow into an aggregation. The outcomes cannot be predicted, could be a mass, linear, sprial, irregular, or regular... Although the outcomes will experience artificial selection for particular functions, the algorithm was applied sequentially not in parallel. The generation cannot respond to the environments and also lacks interactions. It grows programmatically to self-assemble. However, the bottom-top design method creates more unexpected and unpredicted results. Hence, the benefit of recursion is rapid reproduction.

Fig. 1. Primitives recursive aggregation

[7]. Aranda\Lasch, Primitives, Design Miami <http://arandalasch.com/works/modern-primitives-in-miami/> [Accessed on 12 September 2018] [8]. Aranda\Lasch, Primitives, Venice Biennale <http://arandalasch.com/works/modern-primitives-venice/> [Accessed on 12 September 2018]

Fig. 2. The component and rulesets of Primitives

Fig. 3. The outcome of Primitives

.1 Research field - genetics Genetic Architecture - Rlues of Six Aranda\Lasch, and Matthew L. Scullin Rules of Six is a project commissioned by the Design and Elastic Mind exhibition at the Museum of Modern Art in New York curated by Paola Antonelli. [9] They intended to explore the self-assembly of components and apply bottom up rules of formation. The most important aspect is that the designers tried to grow an aggregation form through simple interactions between components or molecules. [10]

simulate the process of metabolism.

The growth and evolution of the hexagons follow the rules of recursive aggregation. The initial component generates a new generation and pass the genes to the next generation. Something new is that components are able to interact with their neighbourhoods. According to the conditional rules set in prior, once the new generation meet the conditional rules, some previous generations may decline. a custom piece of software was written in the Processing programming environment that simulates formation over time in the same way molecules assemble themselves. [11] Through this kind of mechanism, genetic algorithms realise genetic optimization, evolution and

Thus, from this project, it is obvious that genetic algorithms' capability to create massive elements by crossover genetic rules. Then each generation will experience the environments' selection. The survival kept the optimized parameter value and accumulated these genes through a variety of recursion in order to obtain a pattern that have the best performance.

The algorithm of this project met the criteria for success of genetic architecture: the genetic information, the rules of hexagon, was recurred and passed accurately. [12] In the simulation of selective environments, different generations compete. The variation and mutation were selected by the rulesets.

Through this project, we can the possibility of genetic algorithms that generate the populations of outcomes and the variations of possibilities. And it is much more organic than the simple recursive aggregation.

[9]. Aranda\Lasch, Rules of Six <http://arandalasch.com/works/rules-of-six/> [Accessed on 13 September 2018] [10]. Aranda\Lasch, Rules of Six. [11]. Aranda\Lasch, Rules of Six. [12]. Frazier, Evolutionary Architecture. p. 99.

Fig. 4. The growth and interactions of Rules of Six

Fig. 5. Rules of Six was apllied in three-dimensional wall relief

.2 Case Study 1.0 .2A .2B .2C

L-SYSTEMS & LOOPS ANALYSIS - BLOOM PROJECT COMPONENT DESIGN &MANUAL RECURSION

.2a case study 1.0 L-SYSTEMS AND LOOPS Aristid Lindenmayer L-system is the abbreviation of Lindenmayer systems, which is a mathematical theory of plant development. The core of L-system is parallel string rewriting system. Aristid Lindenmayer, a biologist, introduced this new type of rewriting system in 1968. [1]

Pre-L-system Before L-system, the definition of rewriting system had beed studied. "Rewriting is a technique for defining complex objects by successively replacing parts of a simple initial object using a set of rewriting rules." [2] The essential difference between Chomsky grammars and L-systems lies in the method of applying productions. In Chomsky grammars productions are applied sequentially, whereas in L-systems they are applied in parallel and simultaneously replace all letters in a given word. This difference reflects the biological motivation of L-systems. The core is parallel, which means variable divisions may generate at the same time. [3] In order to model higher plants, Frijters and Lindenmayer, and Hogeweg and Hesper added the geometric aspects, such as the lengths of line segments and the angle values in a post-processing phase. [4]

Based on a recursive, rule-based branching system, L-system use string rewriting rules to successively replace previous generation with new generations. “A string rewriting system consists of an initial string, called the seed or Axiom, and a set of rules for specifying how the symbols in a string are rewritten as (replaced by) strings.” [5]

Simple L-system “Axiom: A rules: Rule #1: A = AB Rule #2: B = BA n=0: A n=1: AB (A becomes AB according to Rule #1) n=2: ABBA (A becomes AB according to Rule #1, while B becomes BA according to Rule #2. In result we get ABBA) n=3: ABBABAAB n=4: ABBABAABBAABABBA … “ [6] The L-System starts with the axiom ‘A’ and iteratively use the rules to replace previous strings. On each iteration a new string/word is derived. [7]

Theory

[1]. Unknown, “Chapter 1 Graphical modeling using L-systems” <http://algorithmicbotany.org/papers/abop/abop-ch1.pdf> [Accessed on 6 September 2018]. (p. 2) [2]. Unknown, “Chapter 1 Graphical modeling using L-systems”. (p. 1). [3]. Frazier, Evolutionary Architecture. p. 58. [4]. Unknown, “Chapter 1 Graphical modeling using L-systems”. (p. 6). [5]. Morphocode, GETTING STARTED WITH RABBIT: Intro to L-systems <https://morphocode.com/intro-to-l-systems/> [Accessed on 6 September 2018] [6]. Morphocode. [7]. Morphocode.

Fig. 1. Plant growth modelling using Processing and Lindenmayer Systems.

.2A L-SYSTEMS & LOOPS Spin Needles I cultivated a species with needle-shaped wings and in the spiral layout. Test more iterations to find out which genes control the needle-shaped characteristic. Keep this data structure or modify slightly. And change other genes to generate a family.

Iteration = 8 Axiom = BED A= B = CAB C = BAC D = CAE E = BDC

Iteration = 8 Axiom = BED A=B B = CAB C = BAC D = CAE E = BDC

Iteration = 9 Axiom = BED A=B B=C C = BAC D = CDE E = BDC

Iteration = 8 Axiom = BED A = CB B = BC C = ABC D = DE E = BDC

Iteration = 8 Axiom = BDC A = CB B = BC C = BAC D = DE E = BDC

Iteration = 7 Axiom = BED A = CAB B = BAC C = CAE D = BDC E=A

c d

b A

Iteration = 8 Axiom = BED A = BC B=C C = BAC D = CDE E = BDC

Iteration = 8 Axiom = BDC A = CB B = BC C = BAC D = DC E=

Iteration = 7 Axiom = BDE A = CAB B = BAC C = CE D = BDC E = BC

Iteration = 6 Axiom = ABCD A = CAB B = BAC C = CAE D = BDC E = BCD

.2A L-SYSTEMS & LOOPS Bloom & Petal Through lots of iterations, I found repeating certain branch will form beautiful curvature. The branch will roll up. Add other branches which are close to this type of branch will form nice petals

Iteration = 10 Axiom = ADE A = CA B = CD C = CD D=D E=A

Iteration = 8 Axiom = ADE A = CA B = CD C = CB D = CD E=A

Iteration = 9 Axiom = CDE A = CA B = CD C = CB D=D E=A

Iteration = 10 Axiom = ADE A = CA B = CD C = CD D = CD E=A

Iteration = 10 Axiom = CDE A = CAD B = CD C = CD D = CD E=A

Iteration = 10 Axiom = BE A = CA B = BC C = CD D = DC E=A

Iteration = 10 Axiom = ADE A=C B=B C = CBD D=C E = CDA

Iteration = 16 Axiom = AD A = CAD B = CD C = CD D=D E=A

Iteration = 10 Axiom = AE A = BAC B = BD C = BD D=B E=B

Iteration = 12 Axiom = BCDE A = ACD B = CD C = CD D=C E=A

.2A L-SYSTEMS & LOOPS Fan-cy Branch E is in the opposite direction. I took advantage of E to create divergence from early generation.

Iteration = 4 Axiom = ABCDE A = BCD B = BCD C = BCD D = BCD E = BCD

Iteration = 9 Axiom = ADE A = CD B = CD C = CD D = CD E = CD

Iteration = 6 Axiom = ADE A = BC B = BC C = CD D = BC E = CB

Iteration = 9 Axiom = ADE A = CB B = CB C = CB D = CB E = CB

Iteration = 6 Axiom = ADE A = BCE B = BCE C = CD D = BC E = CB

Iteration = 8 Axiom = CDE A=D B = CB C = CB D = CD E=D

Iteration = 9 Axiom = ABE A = BC B = CD C = CD D = BC E = BC

Iteration = 8 Axiom = ADE A = CB B = CB C = CB D = CD E = CE

Iteration = 8 Axiom = ABE A = ABC B = CD C = CD D = BC E = CB

Iteration = 9 Axiom = ADE A=B B = CB C = CB D = CD E=D

.2A L-SYSTEMS & LOOPS Blast Branch E is in the opposite direction. I took advantage of E to create some disorders. Like forming a turbullence at the center. Then the turbulence disperses in all directions.

Iteration = 4 Axiom = ABCDE A = BCE B = BCE C = BCE D = BCE E = BCE

Iteration = 7 Axiom = AD A = CD B = CDE C = CDE D = CDE E = CDE

Iteration = 10 Axiom = BCD A = CA B=D C = DE D = BC E=A

Iteration = 9 Axiom = BCD A = CA B = CD C = DE D = BC E = AC

Iteration = 7 Axiom = CD A = CA B=D C = DE D = BC E=A

Iteration = 7 Axiom = AE A = CA B=D C = DE D = BC E =A

Iteration = 8 Axiom = ADE A = CAD B = CD C = CD D = BE E=C

Iteration = 7 Axiom = ACDE A = CBE B = CDE C = CDE D = BEC E=C

Iteration = 10 Axiom = ADE A = CE B = CD C = CD D = BE E=C

Iteration = 8 Axiom = ACE A = CB B = CD C = CD D = BCE E = AC

.2A L-SYSTEMS & LOOPS Claw

Iteration = 7 Axiom = ABE A = CE B = CB C = BCE D = BCE E = CB

Iteration = 7 Axiom = ABD A = CE B = CB C = BCE D = BCE E = CB

Iteration = 7 Axiom = BCD A = CE B = CB C = BCE D = BCE E = CB

Iteration = 7 Axiom = ABD A = ACE B = CB C = BCE D = BCE E = CB

Iteration = 7 Axiom = ABD A = ACE B = CB C = BDE D = BDE E = CB

Iteration = 7 Axiom = ABD A = CE B = CB C = CDE D = CDE E = CB

Iteration = 7 Axiom = ACDE A = CE B = CB C = BCE D = BCE E = CB

Iteration = 7 Axiom = ABD A = CE B = CB C = BCE D = BCE E = CBD

Iteration = 7 Axiom = ABD A = CE B = BCE C = BCE D = BCD E = BCD

Iteration = 5 Axiom = ABC A = CDE B = ACD C = ABD D = ACE E = BCD

.2b - Bloom Project Bloom is an example that combined genetics and recursive aggregation to generate a form. By the cells carefully designed by designers, the public is guided and inspired to set their own favourite rules to assemble

pieces of "Bloom" for entertainment. Meanwhile, the public unwittingly create an aggregtion by the artificial selection to the mutation of the morphogenesis of the genetics.

.2b ANALYSIS - bloom PROJECT RECURSIVE AGGREGATION / GENETIC ARCHITECTURE Alisa Andrasek / Jose Sanchez Overview:

goal and purpose (environmental response). [6]

Bloom was designed to celebrate the 2012 London Olympic Games. It was commissioned by the City of London and designed by Alisa Andrasek / Jose Sanchez. [1] The gene is designed by the designers and the growth and the variations are implemented by the public. Unpredictable forms are designed, altered and dismantled by the crowd. [2]

The growth is a recursive aggregation operated by the public. During the process, different users' creativity of using the genes/intrinsic rules set their rules and their preference as a kind of artificial selection that determines the final expressions. For instance, the designers intended to create a bench for a functional and aesthetic purpose, Unlike the assembly of other "blooming" order, the designers only use parametric linear arrays arranged the modular elements. [7] Besides, people are able to plug one slot into any slot of three slots to form different angles and sequences, l such as spirals, linear order and so on. Those pre-set modes store the beneficial and survival genes (parametric values) to teach people to create ideal forms quickly.

The relationships with genetics and recursive aggregation: Its design of the cellular pieces is the process of encoding the genes and setting internal rules which determine the environmental response (i.e. set the rules how people could assemble these pieces). [3] On the one hand, the variations are mainly determined by the gene crossover and mutation. [4] In this project, based on the principles of connections of vectors, "Bloom" piece was designed three possible connection points in an asymmetric plate, which allows the generation of a variety of spiral connections. [5] Also, some pre-seeded behaviours were encoded in the cells in order to teach /guide different participators how to reach a specific

Fig

Thus, during the process of designing a component, the parameters of primary sockets and secondary sockets have some connections with the expression of outcomes. However, what is interesting is that the recursive aggregation is more controlled by the users, which increases the possibilities of mutations. New emergence may generate.

Fig

Fig. 1. The aggregation of Bloom project

[1]. PLETHORA PROJECT, Winner WONDER SERIES Competition 2012 <https://www.plethora-project.com/bloom/> [Accessed on 29 August 2018] [2]. PLETHORA PROJECT. [3]. Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p. 24. [4]. Kolarevic, Architecture in the Digital Age, p.23. [5]. The Bartlett School of Architecture UCL, Bloom by Alisa Andrasek and JosĂŠ Sanchez <https://issuu.com/bartlettarchucl/docs/andrasek_01_bloom_s05_update> [Accessed on 30 August 2018], p. 21. [6]. John Frazier, Evolutionary Architecture (London: Architectural Association, 1995), p. 75. [7]. The Bartlett School of Architecture UCL.

Fig

g. 2. Bloom aggregation

g. 3. A component of Bloom

g. 4. Bloom Aggregation

.2c Component Design & Manual Recursion

.2c component design & aggregation Designing nodes and skeletons will affect the trends of aggregations. The 2nd step is to fill muscle and skin.

Forky

Reef

Dart

Bony

Rigid

Wing 29

.2c component design & aggregation Bony

Bony is more like a skeleton. An assasssin tore his disguise and dove for his taget. Have crept for a long time, he should show off his crazy to his enemies.

RULESET AXIOM = C A = BC B = AC C = ABC

If A intersects any component, keep A If B intersects any component except A, keep new B If C intersects any component, delete C

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

Manual aggregation

Top view

Right view

.2c component design & aggregation Reef

Reef is the home of marine creatures. The vault and dome formed by the components and the golden sunshine penetrating the water build a warm atmosphere. The reef embraces these lovely creatures.

RULESET AXIOM = C A = CD B = AC C = BCD D = BD

If B intersects with any component, delete B If C intersecss with any component, keep C If D intersects with any component, keep D

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

Manual aggregation

Top view

Right view

.2c component design & aggregation Wing

Don't be close to me! This is my cave! my territory! But those are not spikes. They are wings, the wings of dreams. The dreams are disillusioned. The feather became spiny. They are protecting a broken heart.

RULESET AXIOM = AB

If A intersect any component, keep A If B intersect any component except A, keep B

A = BD B = CD C = ABC D = BC

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

Manual aggregation

Top view

Right view

.2c component design & aggregation Rigid

Soldiers! Soldiers! Line up in defence formation! Our Lances, our swords, our daggers should be towards our enemies! Order and justice will defeat our enemies!

RULESET AXIOM = AB A = BCD B = BC C = AB D = AC

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

Top view

Right view

.3 CASE STUDY 2.0

.3 Case Study 2.0 AGGY-ATTACK COMPONENT AGGREGATIOIN Keys 1. Refer to the initial branch and the the relationships between parent and child branches as an instruction (ruleset) to grow next generations. The rule of the growth of each generation sould be go back to the initial genetic rule setting.

2. Recursion/ A loop as an engine/ operator to reference and manipulate the genes/ rules to grow the aggregation persistently.

Gene Coding 01

> Input L-shaped polylins for standardise the lengths and the directions of components in the initial parent component's coordinate. Blue one reperesents parent branch.

Set init set on establis

> 3. Set conditional rules, including internal conditional rules and external conditional rules to eliminate malformation and response to the environments:

2) External conditional rules: Environments have strong influence on the aggregation forms such that something obstructs the growth of aggregation. Thus, we can cultivate ideal aggregation forms by setting conditional rules to force the growth towards what we expected.

Set st generat the end The rul rules s

1) Internal conditional rules: genetically control the aggregation forms which is aimed to avoid the errors and "malformation" though the recursion is correctly run. e.g. the intersection and collision between to components.

Read the data of previous genration curves, current iteration, and select growth branches based on length heuristic. Grow next generation.

> Refer to initial plane and input geometry orient them, and use Mesh Mesh Intersection to test whether new generation intersect previous generation Cull index and Stream Filter get rid of the collison data.

Anslyse the sur compone letters to the

tial parent branch and the branches the parent in grasshopper in order to sh dummy branches.

> Redraw the second segment to create a heuristic handle as a guide handle. Establish a plane which is perpendicular to the first segment at the end of first segment. The next generation can be oriented relative to parent plane.

L-shaped polylines are exploded to two segments. The longer segment (1st) is used to control length standardisation. The shorter one (2nd) as a reference is used to create a coordinate of child branches.

tarting and Axiom. Each generation will te a new plane/new coordinate system at d of dummy branches for next generatiion. le of reference will go back to the genetic set at Step 4.

Orient the parent component based on the orientations of child branches in parent coordinate/ axis-systems. Modify dummy branches to control dummy components. The dummy components should intersect with parent component.

Reference the component as a brep. Modify the axes of the component.

10A

e the relationship between aggregation and rrounding environments. Exhaust - place ent mesh based on the plane and make correspond to final branches according index.

Use obstacle clasher, Mesh Mesh Intersection identify the intersections of components, and remove all null and invalid value form data tree. And culled and filtered data tree was output to realize the decline of branches when they touch obstacles.

Continue the recursion !

.4 & 5 TECHNIQUE: DEVELOPMENT & Prototypes

.4 & 5 TECHNIQUE DEVELOPMENT

COMPONENT 1

CNC Milling: make the mould with smooth surface and without sockets.

Undoubtedly, use 3D printing to make the whole component as prototype is much easier. But the sharp edges (like the curved edge) may be blurred and dull. Also, it is not economic for mass production.

CNC Milling: drill a hole for material injection. The hole in this direction is aimed to make liquid material distribute in the mould uniformly. Also, the handle can be removed easily. The surface can be sanded. It won't affect the appearance. Pink represent sockets. 3D printing: print the sockets and insert them into the mould. They should be stuck with the mould to avoid the movement of sockets when plastic material is injected and ensure they can be taken down easily when open the mould.

COMPONENT 2

The hole for injection CNC Milling: make the mould with smooth surface and without sockets. The directions and depth of sockets make sockets overlay. For precision, six-axis robotic arm is controlled by algorithm and used to drill the sockets.

3D printing is still the easiest and quickest way to digital fabricate the prototypes, because of many curved surfaces. For mass production, using moulds is more economic and using robotic arm is more accurate to drill complicated sockets.

COMPONENT 1 RULESET #1

C B A D

I am a rhino. Thick skin wraps around my body. Notice! the tiny hooks and spikes on my skin are my invisible weapon. Caution!. You cannot defeat me!. I will always stand and form a dome to protect my children underneath me!

RULESET AXIOM = BD A = BC B = AB C = BCD D = BC

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

COMPONENT 1 RULESET #2

C B A D

Come on! Come into my hug quickly. "I" have the most soft skin. You will be intoxicated with my sweet smell. Give me your hand and touch my tentacles. "I" promise you will forget everything... ha...ha... ha............

RULESET AXIOM = D A = BCD B = BC C = BC D = CD

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

COMPONENT 2 RULESET #1

A B

That is my treasures. Hahaha. "I" hide my claws under the thick fur. No one could notic the danger beneath the fluffy and lovely fur. "I" will grasp everything I desire.

RULESET AXIOM = ABCD A = AB B = CD C = AB D = BC

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

COMPONENT 2 RULESET #2

A B

Si--si----si-si-! "I" am hungry. I haven't eaten for a long time. Si--si--- Snake is hungry. Snake feel annoyed. Look at my serpentine body. Si-si-- I'm ready!

RULESET AXIOM = BCD A = BD B = ACD C = CD D=B

3RD GENERATION 2ND GENERATION 1ST GENERATION AXIOM

.6 Technique: Proposal The site that was chosen for aggy attack in MSD (Melbourne School of Design) is the hanging studio in the atrium. The atrium is filled with natural lighting and it is a large open space for students to study and discuss. The open and broad horizon in the atrium is beneficial for students to think, relax and imagine. That is why I saw the hanging studio every time, I always have a passion to climb the hanging studio. Extremely impulsive! Imagine I myself was a spider climbing on the facade of the hanging studio and saw the world from a different perspective. On the other hand, a rapidly increasing number of students in MSD have

made the atrium crowded. It became really hard to find a seat. Hence, I think of add vertical equipment instead of adding more horizontal levels, terrains or floors. Students can have fun vertically and the spatial development could be vertical. The form of the aggy-attack aggregation could be crazy and aggressive, like the alien invades the atrium and try to attack hanging studio. The exotic invaders occupy ferociously. They attack and occupy the studio. Because I used the component and aggregation of Part B2. For further inprovement, secondary elemnets will be added and Local differentiation will be applied at the next stage.

.6 TECHNIQUE PROPOSAL INVADE HANGING STUDIO

.1 Research field - genetics Recursive Aggregation DILLER SCOFIDIO + IRENFR Swiss Expo 2002, Yverdon-les-Bains, Switzerland

We are from... We don from. What we only k conquer. We assimilate our members. That is o are bony phagotroph... atrium of MSD, we expa aggressive.

No survival! Only bony must be conquered. Th "architectural student" aggressive we are. We i holes in the floating stu on the facade. We can s fear of the floating st in the studios.

We creep on the facade. of MSD. We hear the reve They are nearly crazy climbing recklessly and the hanging studio.

Carnival! Bonys! This is glance through the glass those hide in the studio us soon...

n't know where we are know is - invasion and any live creatures into our way of growth. We Engulfed beings in the anded and became more

ys! The floating studio he more beings called are devoured, the more insert our bony into the udio. The bony wave rush smell the shrinkage and tudio and the creatures

. We are the dominators elry of our new members. and insane. They are occupy everywhere on

s our world! Scornfully s of the hanging studio, os, Hahaha, you will join

.7 Learning Objectives & Outcomes I gradually understand the distinction between recursive aggregation and genetic architecture. The research let me see the power of recursion in terms of the generation of complex aggregation forms and reproduction. And the research about genetic algorithms reveals the strong connection to biology. The bottom-up design method shows me a new world in which I became confident and curious to learn the mechanism about how the genes/basic components and inner rules affect the morphogenesis, try to understand the variations caused by gene crossover and mutation. Through genetic algorithms, heaps of iterations enrich the gene pool and optimize the genes collaborating with selection in the environments. Based on the theory and research about L-systems and the practice, the intensive exercise and various iterations pushed my understanding further about how the inner and rules of genes are passed and optimized the performances. I played with rulesets and found some rules which may affect the aggregation forms. After the analysis of Bloom project, I accumulated some experience and get some inspiration from Bloom. And try to apply

what I got to component design, such as the node design may have an influence on the tendency of the final aggregations. Meanwhile, I preliminarily understood how natural selection and artificial selection work. Selection plays an important role in the evolution of aggregation. Although the outcomes of recursive aggregation and genetic algorithms are massive, complicated and unpredictable, they should become a necessary trend to find more possibilities and solution and they are more adaptive methods to adapt to this changeable world in the future. Techniques: I attempted to deconstruct the grasshopper algorithms of aggy-attack aggregation definition and summarized the result of deconstruction in part B3. By watching online tutorial video, I mastered the grasshopper algorithms for local differentation provided by my tutor. What's more, I combined two algorithms and introduce some new algorithms to design secondary components. I have learned and tried several types of visual communication to present my proposals, such as V-ray render, diagrams.

.8 Appendix - Algorithmic Sketches

S T U D I O

A I R PART C

2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315 10

TABLE OF CONTENT INTRODUCTION PART C DETAILED DESIGN C.1.

DESIGN CONCEPT

C.2.

TECTONIC ELEMENTS & PROTOTYPES

C.3.

FINAL DETAIL MODEL

C.4. LEARNING OBJECTIVES AND OUTCOMES BIBLIOGRAPHY

DETAILED DESIGN .1. DESIGN CONCEPT .2. TECTONIC ELEMENTS & PROTOTYPES .3. FINAL DETAIL MODEL .4. LEARNING OBJECTIVES AND OUTCOMES

.1 DESIGN CONCEPT After observing the space in Melbourne School of Design, the space and its usage of Atrium can be discussed and explored further. The atrium is a large indoor public space, which allows natural lighting to enter the interior space and creates open lighting-filled atmospheric effect. Students will not feel the sense of squeezing. Unlike some study space in other old building in the University of Melbourne, space is narrow for a single person to study and isolates student away from disturbing environments. In the atrium, people are free to chat and discuss. However, the design sacrifice a large amount of

space (fewer floor areas.) Vertically, there is no floor slab from the first floor to the fourth floor. The vertical space is waiting for being used and explored. Hence, the design concept of this project is to explore and exploit vertical space through the application of aggy-attack techniques - recursion aggregation- so that people could take advantage of and enjoy the vertical space in the atrium of Melbourne School of Design. Meanwhile, the aggregation should not have a negative influence on the original intention of the atrium.

.1 DESIGN CONCEPT Design Techniques and Process Flow Chart of Entire Design Process

Site Condition

Component Design & Gene Encoding

Reacti

Ruleset & R

ion

Reaction & Aggregation

Recursion

.1 DESIGN CONCEPT Site Condition and Analysis Space and People Site Condition and Analysis: there is a huge flat space at the bottom of the atrium in which people move and have activities densely and intensively. To be more specific, small areas of this flat space are occupied by the fixed table for students (the linear tables under hanging studio, in front of the print room and parallel to the staircase). The rest of the space is more flexible, which can be used for exhibitions, gathering, events and so on. The range of activity is

Section of MSD

flat and at a low level. Facing an increasing number of people (students, visitors...), the contrast between the upper space and bottom space becomes more and more apparent. From the photos of the site, it is evident that the fixed tables have been entirely occupied. The rest space has been used for exhibition. The upper space looks empty. This situation stimulated the design concept: leading people to "climb" vertically to explore and "attack" top space.

The Atrium: exhibition and people

The hanging studio and the crowded space under it

Crowded space in atrium

.1 DESIGN CONCEPT "Attack" Upper Space The Space will be "Attacked" The original intention does not allow the development of too many horizontal elements or branches. Because horizontal components or structures, like the canopy, stop natural lighting coming through the upper space. However, the lack of large horizontal members and connections probably result in the instability of the structures. Hence, the vertical development of the basic components will attach to the hanging studio. Depending on the hanging studio as a support, an aggregation will be grown along the surface of the hanging studio and create small capsule-shaped space for people to sit or rest. Vertical growth projects the minimum area in the plan, which will not cover the atrium and not create large areas of shade. The aggregation will become a layer of skin of the hanging studio but have some intentional

Hanging studio in the atrium

cavities for people. By controlling the obstacles that on the way of the growth of the aggregation, the capsule-shaped cavities will be created. Hence, the aggy-attack techniques based on simple L-systems algorithm will be applied and focus on the vertical growth of the components. Considering the relationships between vertical structural and horizontal floor slab, different rulesets will be explored to create a natural communication between the vertical aggregation and the floor. The component should give people a sense of "climbing" to reveal that the aggregration is climbing the hanging studio. And the effects should direct people's views, and movements go upwards and notice that the vertical space has been exploited to invoke their emotions towards the use of vertical space.

Red: the crowded space which is being used. Yellow: waste space. Green: the space will be explored and exploited

The upper space in the atrium and the space will be explored

.1 DESIGN CONCEPT Component Design/Selection & Gene Encoding

Final component based on the design of skin and bone. Simplify the skin (minimize the area of skin) to emphasise the trend of the skeleton. 10

Bone:

based

on the design of nodes, various skeletons of the components were designed.

The skeleton I want to explore more. This skeleton looks like a bone and like claws, which can highly express my concept after recursive aggregation.

Skin :

skin was

attached to skeleton to finish the first step of component deisgn.

Final outline of skin and bone of the component. Simplify the skin (minimize the area of skin) to emphasise the trend of the skeleton. 11

.1 DESIGN CONCEPT Component Design/Selection & Gene Encoding Joint Design - Ball Joint & Plug Standardisation

Final outline of skin and bone of the component.

Abstract and extract nodes

Node differentiation and socket design

Fit the des sockets back the skin and b

signed k into bone

Standardisation Standardised plug

Double-slot node

Single-slot node 1

Single-slot node 2

Performance of Ball Joint

Ball joint is flexible and has a broad range of rotation, which is an advantage to change the form of the aggregation. If anyone wants to change the form, they can twist the components rather than deconstruct the whole aggregation

.1 DESIGN CONCEPT Component Design/Selection & Gene Encoding Component & Instruction of Assemblage

.1 DESIGN CONCEPT Ruleset, Recursion & Reaction Ruleset & Recursion

A RULESET 1

RULESET 2

AXIOM = AB

AXIOM = AD

A = AB B = BC C = ABD D = BC

A = CD B = BC C = ABD D = BC

d 3RD GENERATION 2ND GENERATION 1ST GENERATION

RULESET 1

AXIOM 1 AXIOM 2 1ST GENERATION 2ND GENERATION 3RD GENERATION

RULESET 2

The Entire Recursive Aggregation

.1 DESIGN CONCEPT Ruleset, Recursion & Reaction Ruleset, Recursion & Local Differentiation

Connection of secondary components to the primary .

All secondary components and local differentiation

.1 DESIGN CONCEPT Ruleset, Recursion & Reaction Ruleset & Recursion

A RULESET 1

RULESET 2

AXIOM = AB

AXIOM = AD

A = AB B = BC C = ABD D = BC

A = CD B = BC C = ABD D = BC

d 3RD GENERATION 2ND GENERATION 1ST GENERATION

RULESET 1

AXIOM 1 AXIOM 2 1ST GENERATION 2ND GENERATION 3RD GENERATION

RULESET 2

Secondary component local differentiation

Primary aggregation ruleset 1

Primary aggregation ruleset 2

.1 DESIGN CONCEPT Ruleset, Recursion & Reaction Reaction The growth of the aggregation was controlled by the arrangement of the obstacles. The spheres were used to form capsule-shaped space for people to use by stoping the grwoth of the components. The branches can bypass the spheres (embrace and wrap around the

spheres). The cubes were aimed to completely stop the development of the branches of the aggregations. Also, they collaborated with those spheres to form some gaps where the components can pass and create more random forms.

How

Vie

Ove

The obstacles used to influence the growth of the aggregation. 22

w the obstacles (cubes and spheres) affect the aggregation

View from bottom to top

ew at eye level

Upward view under the hanging studio

erlook 1

Overlook 2

Scene from the interior of the hanging studio

.1 DESIGN CONCEPT

Plan 32

.1 DESIGN CONCEPT

West Elevation 34

.1 DESIGN CONCEPT

South Elevation 36

.2 TECTONIC ELEMENTS & PROTOTYPES

.2 TECTONIC ELEMENTS & PROTOTYPES CNC Milling (Digital Design & Attempt) CNC milling could be an ideal instrument to make the moulds and could with most curved surfaces. Original intention was: 1. Pre-fabricate lots of small spheric plugs through 3D printing.

5. Demould and obtain the component. Spheric plugs stay in the component. 6. Assemblage through screws.

2. CNC milling the negative moulds and THE SOCKETS FOR BUILT-IN PLUGS. 3. Embed the spheric plugs into the sockets reserved for the plugs. 4. Put two separate moulds together and inject melted liquid metal or resin.

Two separate moulds with built-in plugs. 40

After consulting the staff in FabLab, Melbourne School of Design, this plan was denied. Because one of five sockets is not perpendicular to the plane the mechaine can mill. CNC drill can not fabricate that socket in an angle.

Components with built-in plugs

Trouble created by this socket 41

.2 TECTONIC ELEMENTS & PROTOTYPES Laser Cutting

Glue increased the depth and the shape of the original component The result is not accurate and not delicate. The only way to make it look more beautiful, the surface and terrains should be sanded, but it will take too much. The method is not efficient and effective. The smoothness of one side of the component is unqualified.

Laser cutting: easier design and fabrication quick and economic.

.2 TECTONIC ELEMENTS & PROTOTYPES 3D Printing

One side is very rough.

This surface is relatively smooth.

The surfaces are not smooth enough. Sanding will destory the component, espacially some parts which are not thick enough.

The performance of the ball joint is satisfying. One component can be pluged into the sockets of another. The joint can rotate smoothly.

.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING + SILICONE & RESION CASTING MODEL > MOULD > MODEL

... New Application of Screw: Screw was designed for pre-fabrication. And all kinds of secondary component which can fit in the screw can be designed and screwed up to increase the variety of component.

.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING + SILICONE & RESION CASTING MODEL > MOULD > MODEL

Two separate moulds

Two-piece moulds

Two pieces of one component

Two separate moulds were made from two pieces of the component. Put two pieces of the component in two separate formwork and then cast silicone. The problem is that it is difficult to clip two mould together accurately.

Two-piece moulds are from an integrated component. The teeth and sockets in the moulds can ensure the accuracy of next process.

.2 TECTONIC ELEMENTS & PROTOTYPES 3D PRINTING + SILICONE & RESION CASTING Two-piece moulding

Set up foam formworks. The bottom is clay. Press 3D printed model into the clay. Make sockets so that two pieces of moulds can fit.

Cast silicone. Silicone will harden in 20 min.

Use clay to make cone-shaped solid as inject holes and exhaust vent. Paint vaseline above the top of the silicone mould in order to prevent two pieces of moulds stick together.

Cast liquid silicon again.

Flip everything.

Get rid of all clay. Clean the surface of the component.

Remove all formworks and components. The process of two-piece moulding succeeded.

Bind two pieced of moulds to prevent liquid resin leaking and then cast resin from the inject holes.

.3 FINAL DETAIL MODEL

The material will be black chrome chameleon. The reasons why this material was selected are:

1. The whole aggregation will be attached to the vertical facade of hanging studio. Meanwhile, the entire structure should be strong to bear human's loads. Metal is a good choice which has a high strengthto-weight ratio which can have a better structural performance than plastic, timber and so forth. 2. Metal has a good performance on durability. The ball

joint will be abrased when rotated and twisted. Metal could tolerate wear. However, lubricating oil and some rubber elements should be designed further to reduce abrasion. 3. Chameleon means this type of chrome could obtain different colours of reflecting lights. As the images show, the reflected lights are purple and blue. Some parts reveal indigo. The various colours create a mysterious effect. 4. The design of screws is intended to reduce the difficulty of fabrication and assembly. The plugs will be pre-fabricated and build-in the sockets. The primary part can be easily screwed, assembled and deconstructed.

.3 FINAL DETAIL MODEL

Final prototype of the resin component

Stages of fabractions: demoulding (middle one), sanding (front one) and finishing (back one)

> The process of screwing

Axioms

Right view of the axioms

> 57

.3 FINAL DETAIL MODEL Same Ruleset

Different forms can be obtained from a same ruleset and the flexibility of the ball joints

The original form of Ruleset #1

The same Ruleset #1: Form #2

Secondary components glue and wire. The co reinforced concrete w of both materials. Hot an aesthetic effect. W imitate the tentacles.

Secondary components 58 9

The same Ruleset #1: Form #3

The same Ruleset #1: Form #4

s are made of hot melt omposite material works like which shares the advantages melt glue as the coating has Wire as bone can be bent to

Bending secondary component 59 10

.3 FINAL DETAIL MODEL Play with Different Rulesets

Different rulesets can also create numerous forms

Ruleset #1

Ruleset #2

Ruleset #3

Ruleset #4

.3 FINAL DETAIL MODEL

.1 DESIGN FUTURING

.4 LEARNING OBJECTIVES & OUTCOMES After the job of Part C, I owned a deeper understanding of the Aggy-attack techniques whose core is the recursive aggregation, and find more possibilities of the application of recursive algorithms. Based on the selected site contexts, the recursive aggregation techniques were applied to the selected site. The process from site analysis to design concept reveals the definition of Genetics: the logic from gene encoding, rulesets, to natural selection and artificial selection which should respond to the site conditions. The exploration during the stage of fabrication allows me to understand the

properties of various materials and to master some techniques about prototype-making. That also taught me how to connect digital design to digital fabrication and then realise the construction and assemblage. The project improved my ability to design tectonic elements systematically through computational methods. I become more interested in and confident to design everything through computational methods in the future. And the computational methods cultivated my algorithmic thinking which will help me to simplify problems, analyse and solve them efficiently and effectively.

B I B L I O G R A P H Y Part A 1. Alberto Pugnale, 'Engineering Architecture: Advances of a technological parctice' <https://en.calameo. com/read/000202204155d7c8d7d38> [Accessed 7 August 2018] 2. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018] 3. Bollinger, K, Grohmann, M, and Tessman, O., 'Form, Force, Performance: Multi‐Parametric Structural Design', in Architectural Design <https://onlinelibrary.wiley.com/doi/10.1002/ad.637> [Accessed 7 August 2018] 4. Cary Wolfe, Lose the Building: Systems Theory, Architecture, and Diller+Scofidio’s Blur, 16 vol (Johns Hopkins University Press, 2006) 5. DARRAN ANDERSON, 'The Prophetic Side of Archigram' <https://www.citylab.com/design/2017/11/theprophetic-side-of-archigram/545759/> [Accessed on 27 July 2018] 6. DETAIL, Municipal Funeral Hall in Kakamigahara [DETAIL, 2008] <https://www.detail-online.com/article/ municipal-funeral-hall-in-kakamigahara-14735/> [Accessed 5 August 2018] 7. DILLER SCOFIDIOI + IRENFR, BLUR BUILDING SWISS EXPO 2002 <https://dsrny.com/project/blur-building> [Accessed on 27 July 2018] 8. Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) 9. Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) 10. Hansmeyer, Michael, Subdivided Pavilions (Michael Hansmeyer Computational Architecture, 2005) <http:// www.michael-hansmeyer.com/subdivided-pavilions> [Accessed on 6 August 2018] 11. ICD, ‘ICD/ITK Research Pavilion 2012’, Institute of Computational Design and Construction (ICD, 2010) <http://icd.uni-stuttgart.de/?p=8807> [Accessed 7 August 2018] 12. Itō, Toyoo. Toyo Ito : Blurring Architecture (Milano : Charta ; Suermondt (D) : Ludwig Museum Aachen, 1999) 13. Kaijima, Sawako., Bouffanais, Roland., Willcox, Karen and Naidu, Suresh., 'Computational Fluid Dynamics for Architectural Design', in Architectural Design <https://onlinelibrary.wiley.com/doi/10.1002/ad.1566> [Accessed 7 August 2018] 14. Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) 15. Victoria and Albert Museum, ‘Archigram: The Walking City, Living Pod and the Instant City’ <http://www. vam.ac.uk/content/articles/a/archigram-walking-city-living-pod-instant-city/> [Accessed on 27 July 2018] 16. Maria Paneta, ‘Data mediation and visualisation’, in Bartlett School of Architecture, UCL <http://www. interactivearchitecture.org/is-softness-visible.html> [Accessed on 27 July 2018] 17. Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2014) 18. Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013) 19. Sadler, Simon, Archigram: Architecture Without Architecture (The MIT Press, 2005) 20. Wilson, Robert A. and Frank C. Keil, eds, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999)

LIST

IMAGE

A.1.

Cover page. The Red List, 'Diller Scofidio + Renfro: Blur Building' <https://theredlist.com/wiki-2-19-879-606-228825-view-diller-scofidio-renfro-profile-diller-scofidiorenfro-blur-building.html>

Fig. 1 - 4. The Red List, 'Diller Scofidio + Renfro: Blur Building' <https://theredlist.com/wiki-2-19-879-606-228825-view-diller-scofidio-renfro-profile-diller-scofidiorenfro-blur-building.html> Fig. 5 -7. BMIAA, '“Gordon Matta-Clark. Anarchitect” at Jeu de Paume' <http://www.bmiaa.com/category/events/>

A.2.

Cover page. ICD, 'ICD/ITK Research Pavilion 2012' <http://icd.uni-stuttgart.de/?p=8807> Fig. 1 -3. ICD, 'ICD/ITK Research Pavilion 2012' <http://icd.uni-stuttgart.de/?p=8807> Fig. 6. ARCHESSENCE, 'Laurie Baker: Architect and Humanitarian' <https://thearchessence.wordpress.com/> Fig. 4 -5. Alberto Pugnale, 'COMPUTATIONAL MORPHOGENESIS OF FREE-FORM SHELL STRUCTURES' <http://www.albertopugnale.com/portfolio/computational-morphogenesis-of-free-form-structures/>

A.3.

Cover page. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018] Fig. 1 -5. Michael Hansmeyer, 'Subdivided Pavilions’ <http://www.michael-hansmeyer.com/subdivided-pavilions> [Accessed 6 August 2018] Fig. 6 -10. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018]

B I B L I O G R A P H Y Part B 1. Aranda\Lasch, Primitives, Design Miami <http://arandalasch.com/works/modern-primitives-in-miami/> [Accessed on 12 September 2018] 2. Aranda\Lasch, Primitives, Venice Biennale <http://arandalasch.com/works/modern-primitives-venice/> [Accessed on 12 September 2018] 3. Aranda\Lasch, Rules of Six <http://arandalasch.com/works/rules-of-six/> [Accessed on 13 September 2018] 4. Frazier, John, Evolutionary Architecture (London: Architectural Association, 1995) 5. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3-62. 6. Marin, Philippe., Bignon, Jean-Claude., and Lequay, Hervé. "A Genetic Algorithm for use in Creative Design Processes". HAL, (2008). <https://halshs.archives-ouvertes.fr/halshs-00348546> [Accessed on 10 September 2018] 7 Morphocode, GETTING STARTED WITH RABBIT: Intro to L-systems <https://morphocode.com/intro-to-lsystems/> [Accessed on 6 September 2018] 8. PLETHORA PROJECT, Winner WONDER SERIES Competition 2012 <https://www.plethora-project.com/bloom/> [Accessed on 29 August 2018] 9. The Bartlett School of Architecture UCL, Bloom by Alisa Andrasek and José Sanchez <https://issuu.com/ bartlettarchucl/docs/andrasek_01_bloom_s05_update> [Accessed on 30 August 2018] 10. The MathWorks, What Is the Genetic Algorithm? <https://www.mathworks.com/help/gads/what-is-thegenetic-algorithm.html> [Accessed on 10 September 2018] 11. Unknown, “Chapter 1 Graphical modeling using L-systems” <http://algorithmicbotany.org/papers/abop/ abop-ch1.pdf> [Accessed on 6 September 2018] 12. WeWantToLearn.net, Recursive Growth through Aggregation <https://wewanttolearn.wordpress. com/2014/11/13/recursive-growth-through-aggregation/> [Accessed on 10 September 2018]

LIST

IMAGE

B.1.

Cover page. Marin, Philippe., Bignon, Jean-Claude., and Lequay, Hervé. "A Genetic Algorithm for use in Creative Design Processes". HAL, (2008). <https://halshs.archives-ouvertes.fr/halshs-00348546> [Accessed on 10 September 2018] Fig. 1 - 3. Aranda\Lasch, “Primitives, Venice Biennale” <http://arandalasch.com/works/modern-primitivesvenice/> [Accessed on 12 September 2018] Fig. 4-5. Aranda\Lasch, Rules of Six <http://arandalasch.com/works/rules-of-six/> [Accessed on 13 September 2018]

B.2A.

Fig. 1. Jones, Daniel John, "Plant growth modelling using Processing and Lindenmayer Systems." <http:// www.erase.net/projects/l-systems/> [Accessed on 6 September 2018]

B.3.

Cover page. PLETHORA PROJECT, “Winner WONDER SERIES Competition 2012” <https://www.plethora-project.com/bloom/> [Accessed on 29 August 2018] Fig. 1, 2, 4. PLETHORA PROJECT, “Winner WONDER SERIES Competition 2012” <https://www.plethora-project. com/bloom/> [Accessed on 29 August 2018] Fig. 3. The Bartlett School of Architecture UCL, Bloom by Alisa Andrasek and José Sanchez <https://issuu. com/bartlettarchucl/docs/andrasek_01_bloom_s05_update> [Accessed on 30 August 2018]

C.1.

ArchDaily, Melbourne School of Design University of Melbourne / NADAAA + John Wardle Architects <https://www.archdaily.com/622708/melbourne-school-of-design-university-of-melbourne-john-wardle-architects-nadaaa> [Accessed on 30 October 2018]

C.2.

The University of Melbourne, Architecture <http://unimelb.libguides.com/c.php?g=402876&p=3335808> [Accessed on 30 October 2018]

S T U D I O

A I R 2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315