2018 studio air journal

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ai r

j ournal

TszShan Yi ng ( Mi ffy) 790364 Semester1 ,201 8 Tutor:ChelleYang tutori alno. :4

Content personal background

Part A: Conceptualization A.1 Design Futuring A.2 Design computation A.3 Composition/ Generation A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - algorithmic sketchbook

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Part B Criteria Design B.1 Research Field B.2 Case Study 1.0 2.1 Iteration Part 1

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2.2 Iteration Part 2

B.3 Case Study 2.0 B.4 Technique: Development B.5 technique: Prototyping B.6 design Proposal B.7 Learning Outcome

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Part C Detailed Design c.1 design concept

C.2 tectonic elements and prototypes C.3 Final design model C.4 Learning objectives and outcomes

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Reference list

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personal background I am Miffy, currently a last year architectural student in the University of Melbourne. I was born and grown up in Hong Kong and study abroad in Melbourne since 2014. I was doing Bachelor of Nursing in Monash University before. However due to several reasons, I decided to change to another field after a year and transfer to Melbourne Uni. I never expected that I would have this major change since I came from a science background. Realizing nursing or other related medical major would no longer fit me, I began to think about my interests and motivations and how might they relate to possible careers. I do enjoy photography and like capturing the surrounding nature and decorative elements of architecture, and I believe architecture can express its own unique character and style through photographs. This is how I get fascinated with architecture.

Throughout the past years majoring in architecture, I have learnt the importance and relationship of form and space. By understanding when all the architectural forms, textures, materials, modulation of light and shade, colour combine each other, this articulates a sense of composition and construction in spaces, both internally and externally. Therefore, to me, architecture is all about spatial organization and arrangement.

For my previous architectural design studio, I have used software programs, such as AutoCAD, Photoshop and Sketch Up to interpret my 2D and 3D modelling presentations. I was introduced and self-learned a bit Rhinos 3D and its plugin Grasshopper before, and completely new to parametric design.

I still have much to learn. I believe Studio Air would provide an invaluable experience and opportunity for me to expand my skills and explore more with architectural and technological design methods.

A.

Conceptualization

A.1 Design futuring

1.

Living in high dynamic and always-changing cities where we live in, disequilibrium between supply and demand is always a critical concern. Facing the rise of human population, it does the impact on the local and global environment. People have become overly dependent on multiple natural resources for their livelihoods, such as natural gas and trees that the planet provides.

This leads to biodiversity loss, resource shortage and increased environmental pressures [1].

However, the challenge of respecting the biosphere’s ecological limits remains underrated. They are failed to acknowledge and consider the biophysical limits and recognize the need of promoting conservation until the increasing concentration of greenhouse gases within atmosphere, which then causes the current global warming and climate change.

Facing with this situation and challenge, what can architects and designers do to help shifting towards a more sustainable future without damaging our natural environment?

At the age of modernization, humans’ selfish and indulgence are no longer sustainable. Therefore, in order to help alleviate major sustainability challenges, there is a lot we have to consider in architecture. ‘We are not at a point when it can no longer be assumed that we, en masse, have a future.’

We have to secure our future by ‘design futuring’ as long as to avoid speeding up the defuturing condition of unsustainability and redirect humans towards a more sustainable mode of future.

To slow down the rate of defuturing, not only design process and techniques should be changed, all we need is to change our ethical values, beliefs, attitudes and behavior on designing. Also, stop damaging the natural environment and considering the impacts on our planet. Certainly, we should appreciate what we have, provided by the nature [2].

Entering into the digital age, computational design is our only method to change from the disaster of unsustainability. Design computation as the exploration of algorithm, working directly with nature for architectural composite fiber structures. It offers new perspective for future designing practices and focuses on all the possible futures for humans. Through architecture, integrating advanced computation technology allows more possibilities and opportunities on the design process, yet optimizing all the performance and functions of the systems.

Source from: [1]. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) [2]. Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013)

A.1 Design Futuring

Case Study 1 Los Angeles Rams Stadium HKS Architects Inglewood, CA Date completed: 2019-2020 Los Angeles Rams Stadium designed by HKS Architects is planned for an NFL football stadium and future home to the Los Angeles Rams.

The double-curved roofing system of the structure is comprised of approximately 35000 uniquely articulated and perforated triangular panels, which covers about 275000 ft2 surface area.

The flat panel sheets are made from titanium anodized aluminum, and specifically cut by the 3-axis CNC-coined die-punch machine. Using aluminum as the main material, it can provide high durability and flexibility to the structure. Incorporating with Ethylene Tetra Fluoro Ethylene (ETFE) skin as the membrane of the architecture, it allows high corrosion resistance and strength over a wide temperature range. Further, since ETFE skin diffuses and transmits up to 95% natural sunlight into the interior, it demonstrates a better replacement for glazing and forms the impression of being outside.

Facing prolonged production time and various operational issues, such as labour documentation and CAD data reformation during the design workflows, Zahner’s proprietary ZEPPS fabrication process is one of the innovative computational method introduced and applied inside the panels.

To do this, numerous holes are drilled on the panels with designated size and distance (Fig. 2). The sizes of holes are matched to the global grayscale image.

Figure 2. Perforation grid on layout of triangular panel

ZEPPS helps organizing and creating neat lines between each perforation. Also, it increases the efficiencies of design developments, improves the accuracies and performance of the design-to-construction workflow over software and visual programming approaches, that have never been seen before. With such power and speed, it further enhances the pattern of the exterior skin façade.

For each structural element (e.g. connection nodes), their geometry is more complex than the external skin layer (Fig. 3). They are calculated accurately with branching elements and connected with the adjacent fixation juncture of panel to the intersecting sub-frame. Each panel is separated with perforation grid while coordinating with the position of the fasteners.

Therefore, repeated units of triangles create spaces that are flexible in shape with optimal volumes.

Through this parametric design, it demonstrates a major shift from conventional 2D drawings to visual programming. Although the structure looks a bit complex and simple at the same time, a variety of multidisciplinary approach and knowledge is required to address the emerging issues during building design and fabrication process. I believe this stadium can expand more future opportunities and possibilities as well as breaking away the boundaries from the norm.

Figure 3. Connection nodes to each juncture on panel

Source from: Achim Menges, Bob Sheil, Ruairi Glynn and Marilenna Skavara, Fabricate (Ontario: Riverside Architectural Press, 2017)

Figure 1. Los Angeles Rams Stadium

A.1 Design Futuring

Case Study 2 Philips Pavilion Le Corbusier and Iannis Xenakis Brussels Date completed: 1956 In 1956, the Philips Pavilion was originally constructed for the 1958 Expo World’s Fair in Brussels. It was designed by well-known Swiss-French architect, Le Corbusier working with engineer and experimental composer, Iannis Xenakis.

Since the Expo was authorized by the Philips Electronics Company, they decided to display the advanced electronic technology to people who participated the Expo. The meaning behind this project is to put architecture together with musical composition of the electronic poem; in which to promote art, culture and music within the space, materiality and structure of pavilion [1].

According to the innovation building approaches

by Le Corbusier and Iannis Xenakis, the surfaces and geometric system of this pavilion is adapted from a technique that has never used before. It is inspired by the composition of polyvalent music, Metastaseis. Underlying their mathematical methods, the pavilion is basically constructed in a group of nine hyperbolic paraboloids connected with a series of cables, the contours in dynamical angle were made in prestressed concrete and composed asymmetrically to form deformed and curved surfaces [2]. Through various experiments in projects and theoretical considerations, the surfaces were transformed into hyperbolic paraboloids as they were shortened and truncated at the ground. The qualities of strength and stability in paraboloids were carefully and and precisely calculated by structural tests.

In providing a full potential of design flexibility in creating shapes and proposition, prestressed concrete is more superior in this than reinforced concrete. In fact, prestressed concrete were fixed with a series of steel wires over both ends of shell surfaces.

Hence, utilizing prestressed concrete may help distributing the loads of shell to edge members and reduce the tensile stresses in concrete while producing appropriate compressive strength. Meanwhile, it enabled high quality in creating hypar shell surfaces from precast concrete slabs. The shells can group together in order to serve both as roof and wall.

Thus, it is evident through the architecture that it was highly dependent on the material performance of prestressed concrete [3].

This technological design of hyperbolic paraboloids did a great deal to make the project succeed.

The practical application of chosen material (i.e. prestressed concrete) and the comparison between reinforced and prestressed concrete are the one that I previously did not identify and consider. Through precedents such as this, I believe it would offer more wider and interesting possibilities to the future innovation of architecture, both in designing and construction senses.

Figure 5 &6 .Conceptual drawings of Philips Pavilion Source from: [1] Oscar Lopez, ‘ AD Classics: Expo ’58 + Philips Pavilion / Le Corbusier and Iannis Xenakis’, ArchDaily (revised August 2011) < https://www. archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis/> [2]Domnux, ‘Varese Xenakis/Le Corbusier -Poeme electronique (1958) < https://discorgy.wordpress.com/2008/08/04/varese-xenakis-le-corbusierpoeme-electronique-1958/> [3] H.C. Duyster, ‘Construction of the Pavilion in Prestressed Concrete’, Philips Technical Review, 1, 20 (1958/59)

Figure 4. Philips Pavilion

A.2 Design Computation

2.

Communication simply defines as the exchange flow of information and ideas sharing within various parties. It is basically essential and fundamental in the design process [1] .

In the past, the only designing strategy of communication in architecture industry was manual/hand-drawn technical drawings and scaled models, which limits the productivity and comprehensiveness of information [2].

Over the past fifty years, Computer-Aided Design (CAD) drawing have emerged and introduced in the process, yet transformed the traditional drawing techniques into a more communicative and productive representation. Later, the presence of Non-Uniform Rational B-Splines (NURBS) for example Rhinos and its integrated parametric plugin Grasshopper and other algorithmic systems become a convenient tool to assist human designers from smaller part of design process, like in drawing lines and other geometrical entities to larger part, data analysis and information storage[3].

In addition, it offers the potential for designers and architects to explore and develop the design making of complex geometry and structure. Indeed, digital in architecture has started to establish symbiotic relationships between the formulations of design processes and developing technologies [4]. This increases the design thinkers and architectsâ&#x20AC;&#x2122; workflow efficiency and creative freedom, which result in producing more desirable outcomes. Making things from impossible to possible, which also influences the roles of designers.

Therefore, communication in architecture is important to the all participants including builders, engineers and their clients in the digital design process [5] . It will ultimately support our future by expanding access to information, engaging more candidates in problem solving and finding more possibilities as well as developing more creative and innovative potential throughout the computational design process.

Source from: [1]. Yehuda E. Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer â&#x20AC;&#x201C; Aided Design (Cambridge, MA: MIT Press, 2004), p.3.

[2]. Kaley, p.7.

[3]. Rivka Oxman and Robert Oxman, ed., Theories of the Digital in Architecture (London; New York: Routledge, 2014), p.3.

[4]. Oxman and Oxman, p.1.

[5]. Kaley, p.9.

A.2 Design Computation

Case Study 1 ICD/ ITKE 2013-2014 Research Pavilion KelerstraBe 11, University of Stuttgart, Germany Date completed: 2014 The research pavilion is erected by the students and researching team of the Institute for Computational Design (ICD) and the Institute of Building Structure and Structural Design at the University of Stuttgart. It basically explored the advances of computational design process and showcased a novel type of building construction approach inspired by the elytra of flying beetle.

Elytra are the protective forewings in beetles[1].

Since the beetle elytra is known as one of the most protective and lightweight shells in the nature, the researchers decided to investigate and translate the structural and functional principles of biomimicry into the prototyping design of pavilion. [2] On the other hand, it demonstrates on how to create this composite structure in public areas around the university building.

The main structure comprises of a double layered fiber structure interconnecting to the trabeculae, which are the column-like doubly curved supporting elements abd the mechanical properties are of the natural fibre composite. [3] There are six individual layers of glass and carbon fibers in total.

The coreless fibers are driven by fiber winding robots in order to fabricate the geometries of each individual building components based on structural principles abstracted from the elytra.

Figure 2. Fibre shell layout of beetle elytra

The layout of fibers is being stretched linearly between two custom-made steel frames. All the mutual reciprocities between material behaviour, biological principles, structural capacities and fabrication logics are consequently turned into the major part of computational design and implement.

The properties of this fiber composite structure is made of lightweight natural material, therefore it only requires minimum formwork on site while maintaining large degree of geometric freedom to the pavilion. Since coreless winding method is a specific material efficient computational process, I convinced that this resulted fiber structure would produce less waste or even eliminate all the cut-off pieces from traditional complex formworks. Not only this, the overall integration of natural fibers expands the future possibilities for structural morphologies through multi-stage fabrication process and provides a new perspective of social and environmental sustainability structure involving within community-led open spaces of a city.

Figure 3. Robotic coreless winding process

Figure 4. Carbon and glass fiber layout for one component

Source from: [1] Trent Fredrickson, ‘ Interview with ICD/ITKE team on fibre-woven research pavilion 2013-2014’, Designboom (revised 18 August 2014) < https://www.designboom.com/architecture/icd-itke-research-pavilion-2013-14interview-08-18-2014/ > [accessed 10 March 2018] [2] ArchDaily, ‘ICD- ITKE Research Pavilion 2013/2014 / ICD-ITKE University of Stuttgart’, ArchDaily (revised 8 July 2014) < https://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-ofstuttgart> [accessed 10 March 2018] [3] Ajla Aksamija, Integrating Innovation in Architecture: Design, Methods and Technology for Progressive Practice and Research (AU: John Wiley and Sons Ltd, 2016), p.62-67, <https://books.google.com.au/ books?id=jb-dDQAAQBAJ&pg=PA6&lpg=PA6&dq=ICD/+ITKE+2013-2014+Research+Pavilion&source=bl&ots=JxjgDnViX2&sig=lJXpBEhdGf6L6mhs7cH53Fz1D7M&hl=zh-TW&sa=X&ved=0ahUKEwikwO3A8fZAhUMgLwKHaYkDPo4FBDoAQg1MAI#v=onepage&q=ICD%2F%20ITKE%202013-2014%20Research%20Pavilion&f=false >, [accessed 10 March 2018] Image Source: https://divisare.com/projects/320589-achim-menges-roland-halbe-icd-itke-research-pavillon-2013-14

Figure 1. ICD/ ITKE 2013-2014 Research Pavilion

A.2 Design Computation

Case Study 2 Mesh Mould Metal ETH Zurich Date completed: 2015-2018 Mesh Mould is a research project by the Gramazio Kohler researching group at ETH Zurich provides us with a new expression of holistic novel building technological approach. Considering the issue of using expensive, non-recycled and one-of-a-kind formwork when building structures, researchers used the latest digital design technologies to develop a unification of reinforcement and formwork into a robotically fabricated concrete construction system.

In the other words, an extrusion of polymer-based material is generated for the creation of concrete wall or structure (Fig.5) [1] .

As we all know compared to other building materials, concrete provides an extraordinary range of advantages to architects in terms of structural performance, durability and price. More than that, concrete can be easily worked or moulded into different shapes regardless of its geometric complexity [2]. It has thus made great strides in sustainability and aesthetic versatility.

Therefore, this gives a key challenge to the traditional formwork systems handling with concrete and also focuses on how to make material efficient and eliminate the waste produced by formwork.

Mesh Mould is only the first phrase begins in 2012 and after almost 1-2 years, it enters into its second phrase, Mesh Mould Metal. Mesh Mould is continually carried out by a 3D printing system, but using a 3mm steel wire to fabricate instead of weak polymer, bending and welding automatically itself into a fully load-bearing and continuous mesh structure (Fig 6). Concrete is then poured into the mesh structure and this can be simply replaced as formwork or structural reinforcement within the construction industries (Fig 7) [3].

With the power of computational modeling and robotic technologies, it is now possible to build complex and expressive concrete structures within an even-changing building environment. The mobile robots allows more freedom and flexibility to efficiently transfer and build up porous 3D mesh structure directly on the construction site. In addition, it optimizes dexterity and precision of concrete flow without inducing congestions or voids around the building structure[4]. Furthermore, design computation could contribute and facilitate a more sustainable construction due to the saving of material, as well as an aiding tool in facilitating artistry. All these could be achieved through the multidisciplinary approaches over the rapid development of algorithmic platform created by design computation.

Figure 5. Fiber formwork of first Figure 6. Digitally-controlled extrusion process phrase of Mesh Mould with robots

Figure 7. Poured concrete wall with wire mesh

Reference: [1] Gramazio Kohler Research, ‘Mesh Mould Metal, ETH Zurich, 2015-2018’, Gramazio Kohler Research (revised 2016) <http://gramaziokohler.arch.ethz.ch/web/e/forschung/316.html > [accessed 10 March 2018] https://divisare.com/projects/320589-achim-menges-roland-halbe-icd-itke-research-pavillon-2013-14 [2] NCCR Digital Fabrication (DFAB), ‘Mesh Mould: Robotically fabricated metal meshes’, Robohub (revised November 2016) <http://robohub.org/mesh-mould-robotically-fabricated-metal-meshes/> [accessed 10 March 2018] [3] Tess, ‘ Mesh Mould: 3D printing complex metal mesh structures for construction sites’, 3Ders.org (revised July 2016) <https://www.3ders.org/articles/20160729-mesh-mould-3d-printing-complex-metal-mesh-structuresfor-construction-sites.html >[accessed 10 March 2018] [4] Norman Hack, Willi Viktor Lauer, Fabio Gramazio and Matthias Kohler, ‘Mesh-Mould: Differentiation for Enhanced Performance’, in Proceedings of the 19th International Conference of the Association of Computer Aided Architectural Design Research in Asia CAADRIA (Zurich, Switzerland, 2014), pp.1-10 <https://www.researchgate.net/publication/281966796_Mesh-Mould_Differentiation_for_Enhanced_Performance > [accessed 10 March 2018] Image Source: https://www.3ders.org/articles/20160729-mesh-mould-3d-printing-complex-metal-mesh-structures-for-construction-sites.html http://www.creativeapplications.net/robotics/mesh-mould-spatial-robotics-and-designing-for-material-interdependencies/

Figure 8. Mesh Mould Metal by ETH Zurich

A.3 Compositon/ generation

3.

The definiton of computation is always confused with, computerization. Computation is the procedure of calculating, mainly by mathematical or logical methods. The emergence of computation extends human intellect and abilities through the design approaches, in order to deal with complex and difficult situations. While computerization stands for the act of entering, processing or storing data information into computers or computer systems.[1] The wide-use of computers across architecture industry enable designers to interact between elements which form a specific environment and process datasets of information through algorithms. Also, computation offers a framework for changing our ways of thinking and creating new design strategies from inspiration, which can therefore build relationships between elements and produce geometric complexities in order, form and structure [2].

With great precision and accuracy and easy to use, computers have made our life easier. It allows variable possibilities for 3D modelling, digital prefabrication and even complex structural construction and optimize the performance of building systems by receiving analysis and feedbacks.

Algorithm is basically a list of precise steps with simple operations applied mechanically and systematically to a set of tokens[3]. It is an effective procedure that always commands a computer what to do in order to follow the instructions.

Grasshopper is one of the examples of algorithmic plugin softwares, having a variety of parameters that allows the flexibility to input multiple components and defines the features of the resulting objects [4].

Today, architecture tends to shift from traditional drawing to the algorithmic method of capturing and communicating designs. As long as architects possess sufficient knowledge of algorithmic concepts, computation can become a true method of design for architecture [5].

Source from: [1] Moheb Sabry Aziz and Amr Y. El sheriff, ‘Biomimicry as an approach for bio-inspired structure with the aid of computation’, Alexandria Engineering Journal, 55 (1) (2016) 707-714, (p. 710).

[2] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2) (2013) 8-15, (p. 10).

[3] Robert A. Wilson and Frank C. Keil, Definition of ‘Algorithm’, The MIT Encyclopaedia of the Cognitive Sciences (London: MIT Press, 1999), p. 11.

[4] Peters, p.10.

[5] Peters, p.15.

A.3 composition/ generation

Case Study 1 Esker House/ Esker Haus Architect: Plasma Studio San Candido, Italy Year completed: 2006 Esker House is designed by Plasma Studio architects in 2006. Inspired by the connection of the history of architecture, it is the first project which a self-contained wooden rooftop residence unit parasites on top of its host, an existing 1960s building.

Attaching a newly second apartment to an original family house, the structural system is connected like a pocket between the interior and new roof [1] .

The formation of its staircase and roof is basically a series of local prefabricated timber and steel frames, provide a protection to the composite walls and roof as well as offering a modernized design to the 60s shelter [2]. To shift towards a more sustainable architecture in contemporary expression, architects decided to work with local materials in relatively lower costs.

With the aid of computation and state-of-the-art technology, for example laser-cutting and information management, this new design process extends the boundary of design. The morphological logic becomes guidance to algorithmic investigations, the rules of orographic processes enables the form of architecture extending as the texture of natural landscape.

Figure 2. Rendering of structural system

Designers brought an idea of interconnection between architecture and its surrounding natural landscape.

The shell of structure separates between outside and inside, in which implies the primary area between the artificial and natural [3] .

During the construction of the house, the small T-sections span perpendicularly to the series of exterior steel belts and give physical strength to the additional timber sections, and thus complete the outer layer [4] . Such robotic fabrication system is one of the important tools that help producing all the fabrication information and analyzing the critical point of the model itself; so that all the different systems could run and work interdependently.

Since the steps of external staircase are replicated and united as a module to the roof, the roof is partially accessible through the floors. These folded frames allow a wider range of dynamic movement to certain angle and thus create both deformation and softening between the complex geometry of roof in order to form new volumes.

This project aims to explore a new and ever-transforming perspective and spatial constellations of zones from inside to outside, and above and below.

The resulted roof structure in Esker House gives a challenge to traditional pitched and overhanging roof, as the exterior continuous surfaces of roof structure evoke the “layered rock formations of alpine landscape”. Thus, its inlet and inclined surface demonstrates more potential of spatial arrangements internally and externally [5] .

Figure 3. Local prefabricated timber and steel roofing frame of Esker House

Source from: [1] Maria Elisabetta Bonafede, Plasma Works From Topological Geometries to Urban Landscape (North Carolina: Lulu Press, 2014) p.41.

[2]Divisare, ‘Plasma Studio Esker House’, Divisare (revised November 2016) <https://divisare.com/projects/330820-plasma-studio-esker-house > [ 15 March 2018] [3] Bonafede, p. 40.

[4] ArchDaily, ‘Esker house/ Plasma Studio’, ArchDaily (revised February 2009) <https://www.archdaily.com/11957/esker-house-plasma-studio> [15 March 2018] [5] Bonafede. p. 42.

All images from: http://www.plasmastudio.com/work/Esker_Haus.html

Figure 1. Esker House by Plasma Studio

A.3 composition/ generation

Case Study 2 The Broad Museum Diller Scofidio and Renfro Los Angeles, California Year Completed: 2015 With an initial design concept of structural loadbearing exoskeleton, Diller Scofidio and Renfro transformed it into an extraordinary architecture with decorative façade through robotic fabrication process.

This building demonstrates the potential of using 2500 Glass Fiber Reinforced Concrete (GFRC) panels as a structural façade and also an aesthetic element. To achieve the composition of this project, many factors in the design of components are needed to consider, such as overall scale of objects, thickness of casting or fabric density related to elasticity.

Before fabrication, a network of load path and stress point calculations for each structural members are carried out accurately by using Karamba in Rhinos’s Grasshopper. Computer algorithms and digital coding help optimizing the behavior, function and performance of whole aspects of structure including building façade and skin by analyzing each unique characteristics of casting element.

Also, a pair of six-axis industrial robots is utilized to create prototypical large-format façade elements. It allows the realization and precision of complex parametric geometry extracted from 3D model. Individual component will be determined and refined to meet the criteria of structure and performance, and thus generated the best outcome.

By involving robotically- controlled system in design process, it helps reducing the production costs and production time, enabling the radical manipulation of fabric formwork and providing the maximum freedom of flexibility in dimension. The contemporary design of architecture is experiencing a shift towards customized robotic work by substituting human labor activities.

Figure 5. Exterior view of the Broad Museum

Figure 6. Close-up version of GFRC facade

Source from: Culver, R., Koerner, J. and Sarafian, J. Fabric Forms: The Robotic Positioning of Fabric Formwork. Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016).

All images from: https://www.archdaily.com/772778/the-broad-diller-scofidio-plus-renfro

Figure 4. The Broad Museum

A.4 Conclusion

4.

Part A Conceptualization has provided as a strong foundation towards understanding the importance of computational design and how it facilitates and benefits the futuring of design and architecture.

Exploring through the study of architectural precedents, it introduces on how digital technology emerged and integrated into the contemporary architecture design process and concepts.

The revolution of digitalization has not only developed a transformation in the process of thinking and making architecture, but also led a major shift on visual communication and representation.

Digital methods offer a wide range of possibilities and opportunities to all design thinkers, engineers and architects, starting from conventional hand drawing on paper and models to 3D computer-aided modeling, parametric design as well as robotically controlled system. To create both virtual forms and physical structures, the aid of digitalization in architecture has affected the ways that contemporary professions in producing and visualizing nonstandard and complex building forms. In addition, advanced technology has brought new horizons to the designers, it enhances the communication of information across designing fields, allows greater access to more construction materials as well as optimizing the function and performance of structure.

Besides, to achieve sustainability, ongoing computation process in design redirects to a new perspective of values, beliefs and attitudes and explore more new possibilities for the future conditions.

I intended to produce architecture with the concept of biomimicry. Designers and architects take inspiration and imitate all the complex forms, techniques and functions of nature and organism. Natural structure including grid shells and skeleton can be applied as a source of inspiration for buildings, in which also help in solving human and environmental problems in a more sustainable way.

I believe the organic nature of this concept is important in certain extents.

Working with locally sourced materials, computation and digital design fabrication methods through biomimetic approach, this will offer new complex freeform geometry pattern to the building and how the systems work properly for dealing environmental issues.

A.5 Learning outcomes

5.

From a limited understanding the basics of programming, modeling and even other computational tools through software, such as Rhinos and Grasshopper, it is a bit difficult for beginners like me to understand the algorithmic thinking. However, I am sure that I will overcome all these challenges of using technology for design in the coming weeks of semester. Throughout these short three weeks, I have gained some logical knowledge for computational design.

After doing research on assigned precedents, readings and online resources, I can expand more on my further design thinking ideas and concepts. Also, giving me with infinite opportunities for a better understanding on the language of algorithms and theoretical concepts of complex geometries through Grasshopper.

A.6 appendix- algorithmic sketchbook Tower 1:

6.

Polygon component is created as the geometry of tower, the Radius (R), Segments (S) and Fillet Radius (Rf) of Polygon inputs are connected to three different Number Sliders. If changing the number of those three Polygon inputs, it means it is changing the polygon parameters. For example, if changing the number of segments to any number 3 or greater, 7 will become 7-sided polygon. Move component is to create a copy of geometry in order to connect with Unit Z Vector component along Z direction. Series component is to generate couple of polygons from the first polygon I have made, two Number Sliders are plugged in to both Step (N) and Count (C) of Series inputs. Step stands for the height of the tower and Count as the number of levels/floors of the tower. Once finished, the polygons are Lofted to create the tower skin and baked to Rhinos.

A.6 appendix- algorithmic sketchbook

Tower 2:

From a 7-sided Polygon, it is oriented in XY Plane. A Series of numbers is lofted along Z direction, including with the number of spacing units and floors of the tower. Once created, numbers of polygons will be rotated from 0 to 0.747. The angle rotation is controlled by Construct Domain component and connects to a Range of numbers that is evenly cut from 0 to 0.747. Each plane will then be rotated along the number given by AxB component, and scaled with non-uniform factor, Scale NU component from bottom to top floor; the X and Y axis of each plane will be scaled by a Series of negative number. Negative number represents the reducing factor that versus positive number to increase the polygonâ&#x20AC;&#x2122;s width. The rotated 7-sided polygon is Lofted and Baked to create the skin of tower and Cap is inserted to close the top surface of the tower.

Tower 3:

A Construct Point is created at starting point (0,0) and set X and Y-coordinates. Connect to a 7-sided Polygon in order to move the Construct Point to the centre of polygon. Move component constructs a copy of polygon and runs along Z axis (Unit Z vector). Rotate the tower with a set amount of degree allows the top polygon twisting around Z axis. Area component provides the area of geometry and centre point/ centroid, which is plugged to Scale component with factor of 1. 32. Loft the tower to build the tower skin. To make external columns in the exterior, Contour component allows cutting the slices across the tower vertically. The high the number is, fewer cuts there will be. Extrude the thickness of floor base along Z direction and create a Cap to fill the surface of polygon. Divide the top and bottom polygons into points and make a Line to join the points from the top polygon to those in the bottom polygon. Pipe the columns with Number Slider component by providing thickness to them and finally make little rounded caps to columns.

A.6 appendix- algorithmic sketchbook

Geometry 1:

Geometry 2:

Create a set of 5 Points in Rhinos. Select all of them and set as multiple points in Point component.

The Point as parameter contains the data of location of points. To construct an interpolated curve, connect the Point to the Vertices (V) of Interpolate Curve (Curve/Spline/Interpolate). Therefore, the resulted curve will pass through these control points, regardless of the Degree of curve. To get an extruded surface, Extrude component is plugged into the Curve (C) of Interpolate Curve outputs along Z direction (Unit Z Vector). Factor of Unit Z vector is the height of the surface. Join Contour with the extrusion of surface on a distance of 2 and connect List Item to organize in a data list where includes an Index number. To extract the curve and surface back to points, Divide curve and connect back to Point.

Create two sets of four Points, which are parallel to each other and Merge them into the component.

Two Nurbs Curves are constructed through the points. Loft and Extrude the curves in order to produce an extruded surface along the Z direction. Connect them to Contour compoent and List Item to organize a couple of list management operations. To convert the surface back to curve, we can Divide them into separate curves and later into Point.

A.6 appendix- algorithmic sketchbook

Gridshell:

Generate a number of paths by Series components in the X and Y direction, Construct Points connected repeatly to the Polyline component along X and Y direction and Graft the items of both X and Y inputs. To trim four edge beams or corners of the grid, so that it can better transfer forces to the ground. Draw a Polyline in Rhinos and reference with a Curve component in GH. Dispatch these points from Construct Point lists. Repeat the same procedure for the laths in orthogonal direction, and then Explode to get the polyline vertices. Use Bend component in Kangaroo to define the lath bending and apply Spring From Line component to transform the polyline segments into spring elements. Connect End Points component to both start and end points of polylines and Set Intersection to feed those points. To get the gridshell edge points, remember to Flatten the inputs. Scale the anchor points with factor between 0 and 1, as they push towards the centre of gridshell to post-form the laths. Unary Force component with Unit Z Vector defines as the vertical lifting force. All the forces including Bend, Spring From Line and Unary Force are plugged into Kangaroo Physics and flatten the inputs. A Timer with interval 20ms is attached to it in order to make the simulation continuously up-to-date.

b.

Criteria Design

B. 1 Research Field Geometry Geometry is the fundamental science and mathematics that associated with size, shape and other relative forms and order. Architecture is the manipulation of space for people to use, while geometry in architecture can be defined as the study of the properties and relationships of magnitudes in space [1].

Therefore, the architectural space is basically based on the concept of geometric space. The relationship between geometry and architecture could be explained as: “ The first place anyone looks to find the geometry in architecture is in the shape of buildings, then perhaps the shape of the drawings of the buildings. These are the locations where geometry has been, on the whole, stolid and dormant. But geometry has been active in the space between and the space at either end.” [2] Indeed, geometry is not a new way of design. Over the past, the language of any styles in architecture is already visually described by geometry or shape.

Looking back to the history in architecture, ornamentation and the structural elements mainly possessed in simplicity of natural geometry. Ornament could be defined as the object that comes out from the material substrate, in which expresses with embedded forces through the processes of construction, assembly and growth[3]. In somehow, geometries in architecture also embedded with astronomical and religious information connecting in various cultures. For example the ornamentation on the capitals on columns and arches applied in the ancient temples was celebrated the adoration and richness of nature and technology during Gothic and Renaissance periods.

Yet, the geometry always determined the building’s proportion and its appearance within facade, such as the Greek’s golden ratio applied in the façade of Parthenon and Le Corbusier’s further Modulor proportion system of architecture based on principles of golden ratio and anthropometric of human figure .[4]

Fig 1. Zaha Hadid’s CardiffBay Opera demonstrates both geometry and space

Fig 2. Application of Geometry in ancient temple (the Pantheon in Rome)

- Thus in the architectural sense, geometry indeed plays an important role to architecture and necessary to produce affects and resonance[5]. It influences the visual and structural aspects in design to architects, while accommodating certain functions and offering visual stimulation at the same time. The use of ovals and complex geometric figures used in S. Carlo alle Quattro Fontane by Borromini (Fig 3) indicated a feeling of movement in spatial composition, which showed how geometry determined Italian Baroque architecture in the 17th Century.

Thankfully in the modern age, the evolution of computeraided design systems gave an introduction and contribution to a wide variety of construction operations. Parametric design is one of the systems, generating and controlling complex geometries based on a set of inter-related mathematical and geometrical parameters[6]. This offers new exploration and possibilities of modification and unimagined outcomes to architectural practitioners and designers.

Also in terms of digital fabrication, aspects of geometry and such design information can be easily and efficiently informed, translated and manufactured in factories.

- Nature is one of the major sources of geometry. The relationship between nature, geometry and architecture is very important. It demonstrates the process of a simple geometric pattern within an object to very complex structural forms for plants, animals and human beings. The role of geometry governs the statics of forms and proportions regarding to simple curves, angles and patterns. [7] Geometry in contemporary architecture shapes the visual movement.

Without the deployment of geometry, it is not possible to define forms and spaces through a sequence of planes. Therefore, through algorithmic modeling, Rhinos Grasshopper and Kangaroo, the exploration of minimal surface and relaxation in form can help producing complex geometry and patterns.

Examples such as LAVA’s Green Void and Form Found Design’s MARS Pavilion both tries to expand new directions and possibilities within contemporary architecture context while developing the limits of using fabric formed concrete in future formworks.

Fig 3. S. Carlo alle Quattro Fontane

Fig 4. Parametric Design with use of geometry

Source from: [1] Michael Rubin, ‘Architecture and Geometry’, Structural Topology (revised in 1979) < http://www.iri.upc.edu/people/ros/StructuralTopology/ST1/st1-05-a2-ocr.pdf> [19 April 2018] [2] Robin Evans, The Projective Cast: Architecture and its Three Geometries (UK: MIT Press, 2000), p.31.

[3] Farshid Moussavi, Michael Kubo, The Function of Ornament (Barcelona: Actar, 2006), p.8.

[4] Loai M. Dabbour, ‘Geometric proportions: The underlying structure of design process for Islamic geometric patterns’, Frontiers of Architectural Research, 1, 4 (2012), 380-391.

[5] Moussavi, Kubo, p.8-9.

[6] Brady Peters, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2 (2013), 56-61, ( p.61).

[7] Archinomy, ‘Geometry, Nature & Architecture’, Archinomy < http://www.archinomy.com/case-studies/1938/geometry-nature-architecture> [19 April 2018]

B.2 Case study 1.0 Green Void LAVA Sydney, Australia Date Completed: 2008 Green Void by LAVA was a project that fascinated me the most in terms of geometry. It integrated the traditional forms in structure with modern design innovations. Green Void is inspired by the shapes of plants and nature. [1] With the aid of digital modeling tools, a 3-Dimensional sculpture stretches freely between wall, ceiling and floor attaching by suspended steel cables and encloses inner spaces of the existing building.

In this case, the lightweight material of sculpture is cut and fabricated by computer- numerical controlled machine (CNC) based on minimal surface relaxation. It is basically operated through the computers by giving control and command to cutting machines, in which produces customtailed items that are identical to the prototypes. [2] Compared to conventional machine tools, it only requires lower operation and labour cost without any material loss, and able to bent into different shapes and patterns with accurate angles.

Fig 1. Plan of Green Void

Dynamic relaxation of minimal surface is considered as a computational simulation method that creates geometries of various sizes and degrees of complexity.

To achieve this, Grasshopper 3D and Kangaroo 3D are utilized as a digital form-generation mechanism in order to control the parameters for the overall height and flexibility of geometry.

On the other hand, according to sustainability of the venue, LAVA explores new choice of material, which provides lightweight and fully reusable. Structurally, they used the two-way stretch fabric consists of Lycra fibers with extraordinary elasticity, in which affects the shape of design. The concept of design follows the natural force of gravity, contours and surface tension.

By achieving optimal manufacturing efficiency relating to construction weight, fabrication and installation time and materials, the solid thus appears naturally soft and flexible. [3] The overall design of architectural sculpture demonstrates the technique of creating more with less and creates a unique visual experience for the visitors.

Fig 2. Section of Green Void

Fig 3. Fabrication of Green Void

Source from: [1] Rose Etherington, ‘ Green Void by LAVA’, dezeen (revised December 2008) < https://www.dezeen.com/2008/12/16/green-void-by-lava/> [19 April 2018] [2] Ethel Baraona Pohl, ‘Green Void/ LAVA’, ArchDaily (revised December 2008) < https://www.archdaily.com/10233/green-void-lava> [19 April 2018] [3] Arch2O.com, ‘The Green Void LAVA’, Arch2O.com < https://www.arch2o.com/the-green-void-lava/> [19 April 2018] Figures from: https://www.l-a-v-a.net/projects/green-void/

Fig 4. LAVA’s Green Void

iteration & Grasshopper Definition

Species 1 & 2: value of V direction in UV Mesh (Numerical and Radical) Specie 3: value of U direction in UV Mesh Specie 4: Second item (i.e. B) of multiplication in Length of Line Specie 5: Number of sides of polygon

iterations

iterations

Four successful outcomes Since our assigned groupwork is to build a Y-shape structural element, I am aiming to explore a Y-shaped component with three end points, including two on top and one in bottom.

Several branches extrude and spread out from the centre.

This shows the continuity of overall form and circulation flow.

This one is interesting as more end points are added to the original shape. This forms an organic form with different geometries, demonstrating limitness of parametric design. By adjusting the position of end points, it looks like connection nodes and coral under the sea.

It is created by changing the value of V direction in UV Mesh surface. The iteraction can be divided the surface UV domain in order to equal the spans of parameters, it helps connecting into a grid.

Variation of materials can be used in this iteration, including flexible fabric and plaster. But it may require extra clamps to help supporting and holding the branches in place.

The polygons of different branches are transformed from circles to 6-sided polygon, also known as hexagon.

The generation of shapes or sides of polygon are quite limited. A sequence from 3-sided (i.e.triangle) to sides approximates a circle.

B.3 Case study 2.0 MARS PAvilion Form Found Design Palm Springs, USA Date Completed: 2017 The project has employed the use of industrial robots in working with concrete and fabric together to build and generate impossible complex geometries. Compared to other conventional formwork, this has pushed the boundaries and provided new explorations in their design and fabrication process.

By integrating with industrial robots, fabric formed concrete offers significant advantages for designers, architects and engineers, including reductions in the usage of materials and labour costs, ease of construction and aesthetic appeal.

The design of MARS Pavilion mainly focuses on the Y-shaped “wishbone” geometry as its starting component. It is composed of around 70 unique concrete wishbones that build the catenary structure.The Grasshopper 3D plugin is used to communicate and connect to two industrial robotic arms. They are manipulated to send coordinates to position two ends of Lycra fabric sleeves, in which concrete is poured into it. The Rhino Viewport allows maximum degree of freedom of movement in casting.

Fig 1. Assembly diagram of connection of each wishbones

Each flexible fabric sleeve is uniquely sewn to the required widths and sizes. The fabric is securely fastened to stretch to an optimal position based on the geometry of the wishbone. This tensile action of fabric hereby reduces the risk of sagging while concrete is being poured.

Digital design methods aid the entire construction method from digital fabrication to digital construction. Not only tools for simulation or modelling, they also act as a form-generation mechanism. To form a hexagonal grid, the set of perimeters are “anchored” in place to avoid displacement. Upward-acting uniform force acts as springs is used in Grasshopper3D and Kangaroo3D to lift structure upward. Factors of parameters for height and flexibility of cables may affect the whole result. The geometry is baked in the Rhinos viewport after parametrizing the compressive structure.

Hence, this project inspires me on how robotic fabric formwork can be carried out while further development of both system and materials can be explored and adopted to various building applications, for example facades, furniture and other structural elements [1].

Fig 2. Robotic fabric formwork

Source from: [1] Joseph Sarafian, Ronald Culver, Trevor S. Lewis, Robotic Formwork in the MARS Pavilion Towards The Creation Of Programmable Matter, (Online: USA, 2017), pp. 522-533, https:// www.formfounddesign.com/palm-springs-pavilion, [accessed 19 April 2018] Figures from: https://www.formfounddesign.com/palm-springs-pavilion http://www.architectmagazine.com/project-gallery/mars-pavilion

Fig 3. MARS Pavilion

Reverse engineering

The main focus of this part is to recreate the same geometry of the original precedent project, MARS Pavilion. MARS Pavilion is used as reference precedent for us to work on. It aims to generate the form of Y shape with various sizes, directions and distribution. This is a challenge for me to create a grid array of Y shape pattern by using the panelling tools in Rhinos 3D. Firstly, a dome shape pavilion is created. Secondly, various sizes and thickness of Y-shapes were reliant on the input geometry.

iterations of Y shape

Specie 1: Node size and radius (thickness) of tubes

Node size: 15 Radius: 5

Node size: 18 Radius: 7

Node size: 29 Radius: 11

Node size: 39 Radius: 19

Specie 2: Node size, radius of tubes(thickness) and goal length of line

Node size: 16 Radius: 5 Goal Length: 2.119

Node size: 42 Radius: 8 Goal Length: -1.561

Node size: 28 Radius: 9 Goal Length: 1.892

Node size: 29 Radius: 17 Goal Length: 6.215

iterations of Y shape Specie 3: Different geometry

Node size: 11 Radius: 7 Knuckle: 17 Goal Length: 2.919

Node size: 13 Radius: 12 Knuckle: 37 Goal Length: 6.669

Number of sides: 4 Node size: 3 Radius: 7 Knuckle: 57 Goal Length: 6.336

Number of sides: 4 Node size: 6 Radius: 3 Knuckle: 57 Goal Length: -3.223

Grasshopper definition: Line

Curve

Explode

Remove Duplicate Lines

Thickness Node Size Knuckle Spacing Open

Basic geometry

Weaverbirdâ&#x20AC;&#x2122;s Mesh Edge

Sides Exoskeleton

Naked Vertices

Length (Line) Length Strength

Merge Bouncy Solver

Points Strength

Toggle (Reset)G

eometry

Anchor Points Show

Factor

Unit Z vector

Move

Mesh relaxation of Y shape

This is the mesh relaxation of a Y-shaped component, demonstrating on how base shape could be transformed and manipulated to produce new forms by using parameters of Grasshopper3D and Kangaroo3D. Further detailed of design guidance and function of this type of remarkable structure might need to provide for the future architectural components, such as building facades. With parametric and algorithmic design methods and the trend of robotic fabrication, this might provide new abilities for architects to investigate in the future techniques.

B.4 Technique: development Capabilities and Constraints: With evolving complex geometry in computational design and digital fabrication methods, a number of mould designs have been performed by using flexible textile formwork. Fabric formwork can be considered as the latest building technology that involves the application of structural membranes as the main facing material for concrete moulds.

However, the materials used in fabric formwork must be highly flexible in order to deflect under the pressure of concrete.

Also, it is largely dependent on the natural gravitational force and elasticity of fabric. On the other words, if the material of fabric is fully elastic, it will then give way to the concrete, which wonâ&#x20AC;&#x2122;t create shapes with a rigid mould.

Digital tools such as Grasshopper and Kangaroo can be used to shape the desired elements and to make precise calculations on both stresses, load and force distribution in fabric and minimum pretensioning of formwork. The pretensioning action makes a reduction of deformation when casting concrete. The ways of cutting fabric patterns (i.e. by cutting or welding) are also the basis for the assembly of formwork preparation.

After examining the previous case studies and precedents, MARS pavilion, this enables us to adopt and apply their design techniques and strategies into our prototypes while improving our design skills at the same time.

Fabric formwork can create new possibilties for creating a variety of shapes (ie. Y shape) and structural elements, such as columns and beams as well as architecture in the future.

B.6 technique: prototypes

What is robotic Fabric Formwork?

In the past century, casting with concrete is one of the methods that widely used in construction of architecture.

The traditional rigid formwork has clearly revealed distinct disadvantages for casting complex forms and geometries from concrete: they are both labour and material intensive, unsustainable and inefficient for producing variable and organic geometries in building facades. [1] Today with the evolution and development of technology, parametric design is increasing the need for variation.

The innovation of robotically controlled, flexible fabric formwork is introduced as a means of accurate, replicable and efficient production, which removes the limitations of conventional formwork and gradually replaces and satisfies the need for variation in realization of parametric design.

To fabricate a 3D geometrically complex concrete prototypes with remarkable variable and texture, recent design project, the Fabric Form project with its associated designers Ron Culver and Joseph Sarfian, give a new way to explore and establish an interesting concrete casting technique in Lycra fabric sleeves stretched by pair of six-axis robotic arms. [2] By involving robots, plywood and other material framework are no longer needed to hold the mould in place, destroyed and removed as waste after the concrete has cured. Also, it allows for organic variation of geometries, texture and natural unpredictability.

Fig 1 and 2. Fabric-cast concrete method with industrial robots Source from: [1] Joseph Sarafian, Ronald Culver, â&#x20AC;&#x2DC;Fabric-formed Robotic Facades: The robotic positioning of fabric formworkâ&#x20AC;&#x2122;, 2016 World Congress (Revised 2016) < http://www-bcf.usc.edu/~dnoble/2.pdf> [19 April 2018] [2] Dagmar Reinhardt, Rob Saunders, Jane Burry, Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016), p.114-120.

Figures from: https://static.wixstatic.com/media/dda0f4_c75384fae68242eba76699315eee7d35.jpg/v1/fill/w_1178,h_762,al_c,q_90,usm_0.66_1.00_0.01/dda0f4_c75384fae68242eba76699315eee7d35.jpg http://www.architectmagazine.com/project-gallery/mars-pavilion

Fig 3. Finished prototypes of Y-shaped components

Preliminary sketches

Preliminary sketches are drawn for creating our robotic fabric formwork, Top diagram indicates how cement will be poured and filled into the Y shaped fabric sleeves. The load path is drawn by demonstrating there is additional gravitational force and pressure applied to the fabric formwork during casting.

Top and bottom connections are mainly composed of: PVC pipe and hose clamps to affix robotic arms and top of the grid system.

Fig. from Yu Chia Lim

Slump test (Concrete vs cement)

Two sets of formwork with different materials, one with concrete and the other with cement, are applied to determine the workability and consistency of these materials in both slump and performance test experiments.

They are made of four pieces of 30mm thick timber, which screwed tightly in order to hold concrete into shape. The base plate should be clean and smooth.

To produce a high quality of concrete and cement mix, the amount of cement/concrete and proportion of mixing water should be precisely calculated. The strength and durability of concrete or cement is determined by the amount of water. Generally, using less water generates higher quality mix due to hydration. If too much water, the mix will not be cohesive, which may lead to material separation. Therefore for each mix design, the result of slump value obtained from slump test is recorded for further investigation and improvement.

After curing for one day, the right one in lighter colour was cement finish.

It possesses more advantages over concrete finish (left). Firstly, it enables rapid hardening, only mere one to two days to dry and complete during the curing process. Thus, it gains strength and durability faster than concrete finish, quick installations can be obtained. Concrete finish is prone to drying shrinkage cracking because it requires curing at least three to seven days to increase its strength, which we do not have enough time. Secondly, cement is easier to mix and blend than concrete. Since concrete is a mixture of paste, aggregates, such as sand and gravel stones and other ingredients, when particles bind together, the concrete mix becomes stiffer and harder to manipulate. In other words, the thicker the mixture is, the stronger the concrete.

Lastly, cement provides a smoother, cleaner and tidier surface finish than concrete, which is ideal for us. Therefore, we decided to choose cement as our material for prototypes.

Sample 1: Concrete (Left)

Sample 2: Cement (Right)

fabric selection ** Scale 1 (Least) to 5 (Most)

Four different materials of fabric samples are used to test different possibilities. The materials include one-way, two-way and four way stretch fabric, which are mainly comprised of nylon and polyester Lycra spandex content. For the two-way stretch fabric, it could only stretch from side to side; but four-way stretch one could stretch both horizontally and vertically.

A data table is created to compare all the variables of stretchability or flexibility, durability and permeability across these types of fabric on a rating scale of 1 -5 with 5 being the most. Concrete mixture is applied to all fabric molds for further investigations.

1.

Stretchability: we believe the most stretchability fabric is the two-way stretch mesh Lycra, which could able to stretch freely without breaking the fibers and back to the original length. It always reverts to its original form after stretching. However due to its stretchy characteristics, it could not hold the concrete in shape during casting. Therefore, when all concrete we poured in is sink to the bottom part it turned out as a ball shape as all concrete we poured in is sink to the bottom part. However, fabric with 30% Lycra and 70% polyester is non-stretchable, which provides the best performance. It helps maintain shape and support to concrete mixture.

2.

Durability: Fabric (30% Lycra and 70% polyester) is the most durable. Since Lycra indicates an exceptional elasticity, offering a stronger and durable fiber to the fabric itself.

3.

Permeability: two-way stretch mesh Lycra is the most permeability. Permeability in textile is known as air, water and water vapour allow penetrating and passing through it.. Since Lycra has the highest durability, which means it is water-resistant and no water would be absorbed. Therefore, excess water from the concrete mix is bleed through the molding fabric. In opposite, fabric (30% Lycra and 70% polyester) could be considered as the impermeable material. As polyester helps preventing moisture loss from the concrete mix and protecting against moisture transmission, which benefits the whole curing process. Lycra permits moisture to draw off through its fabric while maintaining the cement. Therefore, fewer air pockets would be entrapped into the cement.

01 Prototype

Fabric Form project as our reference formwork, we built a 550mm (L) x 550mm(W) x 550mm (H) wooden frame to hold the textile mould in tension. We decided to rotate the Y-shape into inverted “Y” with three controlled end points. A grid system of 10mm spacing allows for the variation of Y-shape iterations and also gives support to the top fabric limb while the other identical ones are held by movable timber arms. Top fabric limb is served as the axial centre of cement filling point A pair of timber sliders is connected to the frame, so that it could easily move along the vertical direction, also known as Z-axis. Fastening screws are inserted so as to adjust and control the tightness of sliders. For those ‘robotic’ arms, they are two pieces of timber gripped together and fixed by screws and buts manually. Connection between arms and sliders allows the alteration of movement in X and Y- direction.

Two pieces of fabric is attached and sewed together except for three end points. By affixing both arms to two Y-shaped fabric limbs, PVC opening caps and hose clamps are secured to both ends, which then stretch to the maximum position with tensile strength.

Once three fabric limbs are being affixed, fresh cement is then poured from the top filling point. A force of gravity is acted to pull the cement down to both ends of the shape until the whole Y-shape element is fully filled.

We understand the air bubbles would occupy almost 5-8% volume of freshly placed cement. Hence during pouring, we tried to stretch and “vibrate” it with bare hands at the same time, so as to get rid of air bubbles inside and reduce/avoid cracking.

One problem we found in our first prototype during the casting process is the hardening problem. Since cement is a quick hardening agent, hardening occurs in several minutes. After pouring all the mixture into the fabric, we found that we have insufficient materials and cement inside is starting to harden. It indicates some joints are cracked due to this reason.

02 Prototype After curing for a night, the cement becomes dried and hardened. A solid cement Y shape component is then produced. Due to economic and environmental considerations, we planned to cut away the stitches and peel off the fabric only, so that we could able to reuse the fabric for creating new prototypes in the future. This is the first successful prototype we have, with a smooth and clean surface finish. The reflections make the surface become more organic.

03 Prototype

After gaining experience from the previous prototypes, our second prototype is even more successful than before. For the second prototype, the procedure is still the same.

The position of top fabric limb remains changed except for changing a different direction and position of the timber arms and fabric limbs.

One of the limbs is lifted higher in position by a clamp-holding support. The result of second prototype is satisfied in producing two end points of Y facing inwards.

Limitation and improvement Limitation: - Since our component is a fixed Y shape with three separate branches, concrete could only be poured in inverted due to location of grid and arms under the gravitational force.

- To consider the strength and workability of concrete as proposed material, it might not be workable enough to flow smoothly by filling up the fabric as there is not enough pressure to stretch to its limits. Normally, vacuum pumps are aided to push down concrete with adequate pressure. But we could only pour concrete into fabric manually. Some air bubbles may exist and present. Manual vibration is the only method we could use to get rid of air bubbles.

- To consider the limitation of materiality in fabric: since different flexibilities of fabric produce different results. With a stretchier fabric,the risk of sagging increases; with a stiffer fabric, it could hold its shape but with less flexibility in terms of shape adjustment.

Improvement: - Try to expand the design possibilities by developing more variations of the branches (more than four) instead of fixing Y shape - More organic curves can be casted into the Y -shaped component in order to negate the application of connection joint, which might weaken the structure itself.

- The design incorporates with more lightweight additive materials.such as a mix of styrofoam balls as aggregate instead of the normal gravel stones that is used in regular concrete.

EPScrete (Expanded Polystyrene Concrete), also known as lightweight concrete, could be experimented and applied in our further casting method.

B.6 Design Proposal

Under the comphrensive process of investigation and analysis of climate (sunlight, wind path), vegetations as well as vehicle and pedestrian circulations within the site context, i.e. New Student Precinct at Melbourne University, we take into consideration of our proposed site. We decided to choose a site where near to Sydney Myer Asia Centre and Frank Tate building.

Scale 1: 200 @A3

Aim of design proposal: Our aim is to improve studentsâ&#x20AC;&#x2122; experience and interactions through natural, cultural and social engagement. In addition, trees can be found on the existing site. Since our Y-shaped components express like the branches of nearby trees, it could be a new approach for us to study the angles of tree branches in order to create more iteractions of the Y- shape form.

For natural engagement, our site will be integrated into the existing environment by adding fast-growing natural green vine to the walls and roof, to provide shading and privacy space to visitors and students.

Also for social engagement, the bike shelter can potentially become a meeting point at university. The Y shape branches could expand out as seating areas and bag hooks for students to chill and relax after class. Free phone charging and drinking water fountains can also be provided.

Rendered by Daniel Hy

B.7 Learning outcome and objectives Throughout the learning process of Part B, I seek out new knowledge and begin to develop new skills in exploring computational techniques and algorithmic thinking. To further generate design ideas and concepts, this helps me to enlarge my way of thinking and understanding the role and function of geometry applied in both ancient temples and parametric design modelling. The case studies offer me a new good start in working with different parameters and components, so as to produce new results and iteractions. Yet, this is a new attempt for me to have better ability in form finding by using Grasshopper 3D and Kangaroo 3D. Through research in our chosen precedent, MARS Pavilion, I have perceived the intention of robotic fabric formwork,in which the latest concrete casting technique not only provides significant benefits in material use and visual asethetics for building facades, but also offers great opportunities for architects to shift towards a more sustainable construction. Under investigation in the iterations of case study, I started to control and manipulate different commands to achieve the successful outcomes.

Moreover in the fabrication of our three prototypes, this allows me to gain experience not only designing in computational methods, but also working in physical reality environment together as a whole. All involving tests of materials i.e. cement and fabrics and the related experiments have highlighted how these could affect the overall performance and results of formwork. This has stimulated my own thinking method and pushed the boundaries of what is possbile in the design proposal.

Furthermore approaching to the end of Part B, we as a group of four have to start thinking the connection joints of Y shape components and continue working on the next stage Part C.

Reference list Etherington, Rose, ‘ Green Void by LAVA’, dezeen (revised December 2008) < https://www.dezeen.com/2008/12/16/green-void-by-lava/> [19 April 2018] Baraona Pohl, Ethel, ‘Green Void/ LAVA’, ArchDaily (revised December 2008) < https://www.archdaily.com/10233/green-void-lava> [19 April 2018] Figures from https://www.l-a-v-a.net/projects/green-void/ Arch2O.com, ‘The Green Void LAVA’, Arch2O.com < https://www. arch2o.com/the-green-void-lava/> [19 April 2018] Sarafian, Joseph, Culver, Ronald, Lewis, Trevor S., Robotic Formwork in the MARS Pavilion Towards The Creation Of Programmable Matter, (Online: USA, 2017) <https://www.formfounddesign. com/palm-springs-pavilion> [accessed 19 April 2018] Sarafian, Joseph, Culver, Ronald, ‘Fabric-formed Robotic Facades: The robotic positioning of fabric formwork’, 2016 World Congress (Revised 2016) < http://www-bcf.usc.edu/~dnoble/2.pdf> [19 April 2018] Reinhardt, Dagmar, Saunders, Rob, Burry, Jane, Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016).

Rubin, Michael, ‘Architecture and Geometry’, Structural Topology (revised in 1979) < http://www.iri.upc.edu/people/ros/StructuralTopology/ST1/st1-05-a2Evans, Robin, The Projective Cast: Architecture and its Three Geometries (UK: MIT Press, 2000).

Moussavi, Farshid, Kubo, Michael, The Function of Ornament (Barcelona: Actar, 2006).

Dabbour, Loai M., ‘Geometric proportions: The underlying structure of design process for Islamic geometric patterns’, Frontiers of Architectural Research, 1, 4 (2012), 380-391.

Peters, Brady, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2 (2013), 56-61.

Archinomy, ‘Geometry, Nature & Architecture’, Archinomy < http:// www.archinomy.com/case-studies/1938/geometry-nature-architecture> [19 April 2018]

C.

Detailed design

C.1 design concept Idea development Prior to the experience of using digital tools (i.e. Grasshopper3D and Kangaroo 3D), I have explored the field of geometry. MARS Pavilion is our first precedent that our group mainly focused on, which is a dome composited by numbers of unique Y-shaped concrete wishbones. With a successful amalgamation of precision of robotic arms and flexibility of fabric formwork, the geometry of individual wishbone can achieve the shape that commensurate to what is demonstrated in the digital Rhino environment. However, due to its limitation of structural form, the Y-shaped modules are restricted to certain dome geometry because they have to attach together with a uniform steel connector.

By using this pavilion as a starting point, we decided to break away from the traditional dome-shaped design and push our model into a more interesting context. Another precedent, titled Fatty Shell by Kyle Sturgeon, Chris Holzwart and Kelly Raczkowski will be discussed and analyzed in the following part in order to find out more possibilities in creating a series of multipoint modules.

The comments and feedbacks we received from interim presentation are very significant for us to improve our design process of the prototypes. We have designed a hexagonal grid shell covering with vines, integrating the bike shelter into the existing natural landscape. After further development and investigation, we planned to change the generation of form into a simple tree-like sculpture with numerous Y-branches that blends into the existing vegetation. To create more exciting and stimulating design, multiple variations of the arrangements and iterations are carried out in digital design process before physical prototyping. My feedback also suggested that we further explore the materials of prototypes. As I have mentioned at the end of Part B, we would add Styrofoam balls as aggregates into the cement mixture in order to produce lightweight material. We would also achieve this through testing, analyzing, prototyping and refining to the best design concept and proposal.

Precedent study fatty Shell (v.01): Flexible formwork Kyle Sturgeon, Chris Holzwart and Kelly Raczkowski University of Michigan, United States Date Completed: 2010 The project of Fatty Shell is a construction approach, which experimented new building methods of elastic formwork casting generated from minimal surface of algorithmic scripts. The custom scripts is based on L-systems, form a series of interconnected primitive and organic geometries, in which applying advanced fabrication techniques and taking benefits of construction opportunities to create concrete bearing walls, lampposts and overpasses within the urban infill site areas.

Through digital stimulation of the casting, it allows to calculate precise amount of compression and/or tension stresses and steel cable reinforcement running through the structure. The resulted surface mesh is minimalized into continuous weblike volumes. [1] Prior to pouring concrete, the team has modeled the space of instillation.

A cable mechanism is used to support the two sheets of stitched rubber membranes at vector locations and stretched tightly onto curved edge frames in order to provide proper tensioning. Plywood disks are designed to control the thickness of formwork and lower thermal mass of the wall. [2]

Fig 1. Algorithmic scripting fatty shell

Basically, they are using the same simple casting method with fabric formwork construction. However one of the casting steps differs from the other precedents (e.g. MARS pavilion) is that fresh concrete is poured in ‘lifts’. In other words, it is inevitable that each lift should slide past the previous one until it results in apparent ‘fattiness’ at each joint.

The design logic and casting techniques used in this precedent can be also a reference for us. For structure, it examines the structure of Fatty Shell is comprised of numerous irregular Y-shape with voids. Instead of following the fixed Y shape form, we could widely adjust the parameters into specific curves digitally and sew the fabric around the additional rigid restraints (e.g. steel strips or plywood edging pieces) manually on sewing machine. For connection between wishbones, we decided to encompass with female and male connection joints, rather than using 3D printed nodal matrix connectors. It is easy to assemble and have the potential to cantilever loading during assembly.

In combination with these innovative design approaches of precedents, this allows us to acquire knowledge of past precedents, refine their design concepts and develop our own unique structural design all the way to detailed design and construction.

Fig 2. Formwork attached securely with tensioned steel cables and plywood ribs and disks

Fig 3. Details of concrete prototype

Source from: [1] Catherine Warmann, ‘FattyShell (v.01) by Kyle Sturgeon, Chris Holzwart and Kelly Raczkowski’, Dezeen (revised May 2010) < https://www.dezeen.com/2010/05/19/fattyshell-v-01-by-kyle-a-sturgeon-chris-holzwart-and-kelly-raczkowski/ > [ 4 June 2018] [2] Kyle Sturgeon, Chris Holzwart and Kelly Raczkowski, ‘Fatty Shell: Flexible Formwork’, Fabrication Robotics Network < http://cargocollective.com/fabroboticsnet/Fatty-Shell-Flexible-Formwork> [ 4 June 2018] All images from: http://k-sturgeon.com/portfolio/fatty-shell-2

Fig 4. Fatty shell

Site analysis New Student Precinct - The University of Melbourne

Proposed site

Site analysis

The New Student Precinct is currently under construction and transforming the University of Melbourne campus into a vibrant and thriving area. It is situated at four main locations: Monash Road to the North, Grattan Street to the South, Swanston Street to the East and the Melbourne School of Engineering to the West.

More contemporary study spaces, informal spaces (for example 24/7 co-working spaces) and open social spaces would offer for students to access and wayfinding. Also, it encourages students and staff interaction and innovation within this well-planned campus landscape.

To further develop, this proposed site is well connected to major tram stop, vehicle roads and pedestrian pathways. The circulation route is unobstructed; students, staff and visitors could easily access and park their bikes into the shelter. To simplify further, they could move or walk through the site to other buildings after parking.

Through observation and study, dense vegetation is recorded. They are mainly positioned around the proposed site. Moreover, based on the flow and patterns of existing trees, it is desirable to place our Y-shaped bike shelter because the trees help blocking sunlight and providing adequate shading to the users.

Form finding Process

Generally form finding in architecture, designers look at processes in nature to find out a more correct way, in which to organize the shapes or forms of building projects. It is mostly relevant to the discovering ways of optimum form and dynamic adaptability.

By directing our design concept down to the nail, we are inspired by the shape of the natural trees. Nature is one of our inspirational sources. We are fascinated towards the organic form of a tree structure and its branches. We have attempted to mimic and focus more on its complex structural and aesthetic features by using digitally advanced computational process and mathematical algorithms.

In the 21st century, the development of innovative computational tools allows modern architects and engineers to connect the fractal-like branching appearance and concept of trees with architecture. Form-finding algorithmic techniques such as Iterated Function System (IFS) and Lindenmayer System (also known as L-system) are commonly used to produce fractal branching structures and optimize forms for dynamic plant growth, which are similar to natural trees. The details of L-system offer the realistic visualization and development process of plants in computer-aided tools, in which motivate architects to connect their design ideas with the nature (including the trees) more methodically with a better knowledge and understanding of the structures of nature.

Exploration of Plant growth

In our case, we extracted part of numerous tree branches from a tree structure. To create a tree-like pattern, we have used a Rhinos3D plugin called Rabbit, which is cooperated with L-system and Grasshopper 3D. L-system can also be defined as a parallel string rewriting system, including a seed (initial string) and a set of production rules, which use to rewrite strings through a few generations. The first generation begins to draw/create a structure at a starting point, then two lines will be drawn at varied range of branching angles and lengths, one at positive vector angle and the other at negative. The length of line is reduced in proportion in each generation. For each subsequent generation, a similar structure will be drawn at another new starting point, which defined in the previous generation.

Generation I

angle (in degrees)

Generation II

15

Genera

20

ation III

25

30

35

40

Number of generation

3

Number of generation

10

4

16

6

8

Seed: A Production Rules: A= AB B= BA n = 0 : A (axiom) n = 1 : AB (A is rewritten according to the rule A=AB) n = 2 : ABBA (A -> AB, B-> BA); result is AB BA n = 3 : ABBABAAB (A -> AB, B-> BA; B -> BA, A ->AB); result is AB BA BA AB n = 4 : ABBABAABBAABABBA (etc)

20

Algorithmic scripting

Ste F

(seed)

F=F [+F] [-F]

L SYSTEM

Angle

(production rules)

number of generation

XZ P

After baking the generation in rhinos,

Line Line Line Number of Sides Start Radius of Line End Radius of Line Node Depth Boolean Toggle

EXOWIREFRAME

WEAVERBIRDâ&#x20AC;&#x2122;S MESH EDGE

NAKE

ep Length

TURTLE

e for rotation

PLANE

LENGTH (LINE) MERGE

ED VERTICES

Boolean Toggle Point Strength

ANCHOR

BOUNCY SOLVER

Form Generation

Three simple individual lines are produced to form a Y-shaped geometry. To provide thickness to the lines, the Exoskeleton Wireframe component is essential in this step for generating the skin of structure. The final step is to relax the mesh by providing the structure a smooth surface. To achieve the desired final design, Kangarooâ&#x20AC;&#x2122;s Bouncy Solver component should incorporate Weaverbirdâ&#x20AC;&#x2122;s Mesh Edges component together with the parameters configuration. After we all satisfied with the result, we can bake the final mesh and continue to work for the next fabrication process.

Arrangement of trees iterations Since we have now generated three different iterations of tree generations, the idea of arranging the â&#x20AC;&#x153;treesâ&#x20AC;? is further discussed. We intend to design a specific path for planting the seeds of nodes along it, which is adjacent to the existing trees. Our bike shelter responds to the social fabric of the area. The tectonics of shelter help it function as a connection with the nature, just like it is growing from the surrounding natural environment. Blending into the vegetation in order to not tarnish the pristine nature and create an unusual experience to the visitors.

seeds of nodes

C.2 Tectonic Elements and Prototypes material and fabrication

Upon resolving our conceptual design in digital tools Rhinos and Grasshoppers, we continue to develop the design in terms of its constructability. The joint acts as a vital role in our tectonic systems. It is the interface between two structural elements, where the forces, such as compression, tension and shear forces would act on it.

Additionally if without it, the elements cannot connect and hold together in order to build a larger structure.

A specific joint would be necessary for specific performances in the whole structure. We would ensure the joints could offer a sufficient condition for strength, rigidity and stiffness to the structure.

On the other hand, we would refine our prototypes with using other materials, as the previous ones we did were heavy in weight. The cost and time of fabrication is feasible and behaved as we expected, so the process of casting and fabrication remains unchanged. We would attempt to assemble the prototypes for complete synchronization.

Material and fabrication Key considerations in fabrication process include size, shape, composition, connection and materials.

As I have mentioned before in Part B, small styrofoam balls/ beads would be added as aggregate directly to cement mixture in order to produce a lightweight material. We are aiming to compare the weight of that to the previous prototypes.

Due to limited by the availability of materials, new types of fabric and cement are used to test whether the outcome is under our expectation.

cement and fabric testing

Connection testing

For the previous prototypes, we only have a simple thought on how the Y-shaped elements would be connected, but not yet experimented. Therefore the prototypes after Part B were connected with a 5cm (L) x 5cm (W) x 10cm (H) timber connection block. The coupling system is used in it, allowing a friction-based connection in between, so that it does not require any additional bolts and fasteners. The connector is installed on top of the filling point after cement pouring into the fabric sleeves.

However, suggestion was given to us that timber connector should be replaced with reinforced steel connector. Although timber is durable and light in weight during construction, it is naturally hygroscopic. As our shelter is placed in outdoor environment, it may expose to rain during winter period. Moisture moves into and out of timber repeatedly and irregularly, which may degrade the characteristics of timber and cause various deformations, for example swelling, shrinking, raised grain, cupping and cracking. Biological attack by the growth of mould, algae and fungi is also one of the major causes that occurs inside the timber connector.

After producing one successful prototype, we decided to attach it by casting another new piece on top of the existing one on site.

The cement we previously used for prototyping is Type GB Builders Cement. It provides a smooth and flat surface. Since there was none left in the Fablab, we decided to change another cement type, which is normal white cement. Unfortunately after curing a night, the visual color is totally different than the previous ones. The colour is much darker with a rougher texture. Also, with no experience of using this type of cement and how many foamballs should be added into the mixture, the prototype is more likely to crack into pieces. The surface is uneven with rough parts.

The experiment is completely failed.

At the time, we quickly purchased back Type GB Builders Cement and continue prototyping. Additional care must be taken to avoid cracking again. The self-consolidating cement mixture and foamballs are mixed uniformly, so that it is able to flow into the molds. After gaining experience, the prototype became normal as usual, consisting with smooth and even surface and lighter in weight. To compare the difference, the prototypes after Part B are 1-2kg lighter than the previous ones.

We chose a similar composition of fabric material for the other prototype, with 90% polyester and 10% Lycra context. Compared to previous fabric, it seems like this fabric material is somehow more water resistant and the coating inside does not help absorbing moisture. Although the colour of prototypes is a bit darker than previous ones, all of us are satisfied with the finishing quality in these two prototypes.

1:2 Prototype

Connector

Inside: Raw cement and foamballs

C.3 Final Detailed model Upon resolving algorithmic problems, a final form prototype was completed and showed its tectonic that related to the design strategy.

We did not have enough time to build a site model of the design, but our physical prototypes are good enough to demonstrate and present how they relate and fit in terms of the site context.

Fabrication process

Preparation work

Casting

Assembling process

Striping off fabric

Final prototypes

site plan

plan

section

User experience

User experience

User experience

C.4 Learning objectives & outcomes

Throughout the semester, I have gained valuable experience and knowledge on learning grasshopper3D and other digital methods. Previously, I normally develop my design idea and concept by drawing on an empty paper without any aids of computational methods. But after the studio, parametric design tool allows me to break boundaries of my original design practice and heighten my perspective of computation design. By allowing multiple iterations on the design, this also provides further possibilities and opportunities for me to simulate design process more efficiently and effectively.

Part A is an individual work that introduced various precedent projects to me, in which allowed me a better understanding on how the innovation of computation affects and engages with contemporary design and architectural practices.

In part B and C, I was assigned to a group of four by tutor and worked together as a team. Given with the theme of robotic fabric formwork, we started exploring on using grasshopper3D and kangaroo3D to generate numerous random iterations.

There are eight objectives within this studio approach: 1. Interrogating a brief Upon extra case study research on precedents and site analysis, the project enables us to reveal the requirements in order to optimize solutions and strategies through the use of digital technologies.

2. To generate a variety of design possibilities for a given situation Before taking this subject, I have known a little of Rhinos and Grasshopper before. I keep on trying various plug-ins and components to maximize my designing creativity and imagination throughout the experiments, I found parametric tools are very useful and beneficial to all architectural and other designers when developing and producing form-finding designs.

3. To develop skills in various three dimensional media The completion of journals (from part A to C) and algorithmic sketchbook help me creating a better 3D graphic presentation by using Rhinos3D and Grasshopper 3D modeling tools. Not only this, V-Ray rendering software is also being explored and it offered professional hyper-realistic virtual performances to us.

4. To develop an understanding relationships between architecture and air With the aid of advanced computational technologies, a virtual world can be easily sketched and developed. To demonstrate an interrelated connection between our site and structural form, it is significant to collect adequate information based on the site analysis before installing into real life. Careful considerations such as the connection joints are required to take into account because it could affect further developments of design process. From casting to prototyping, we are able to experience a real, working system rather than working in virtual environments. Various types of materials and experiments were carried out to reduce the risk that the design may not perform as intended. Problem-solving skills are yet enhanced to solve difficulties during the design process.

5, 6. To develop ability to make a case for proposal with conceptual, technical and design analysis of contemporary architectural projects Moreover, further research and studies on precedents become a support for us to develop more critical thinking skills. Rather than direct copying from these precedents, we analyze and consider their design compositions and constraints as well as taking that into account for our finalized design approach. It is crucial to the success of project by adapting and making changes in order to improve our structural integrity.

7. 8. To develop understandings of computational geometry, data structures and types of programming Regarding to the role of architecture and computation design process, I strongly appreciated the architectural professions and designers across the field. Learning every component in the algorithmic script is very difficult for me and other groupmates to manipulate. Similar to learn a new foreign language, it might take long time and effort for me to understand its pronunciation, vocabulary and phrases. Over a period of time, practicing more while potential will then be increased and it is no longer a hard thing to me. Therefore, I am now able to generate more algorithmic scripts to create a more complex design and transform geometry into a more rational form for fabrications.

Reference list Part A Aksamija, Ajla, Integrating Innovation in Architecture: Design, Methods and Technology for Progressive Practice and Research (AU: John Wiley and Sons Ltd, 2016), p.62-67, <https://books.google.com.au/ books?id=jb-dDQAAQBAJ&pg=PA6&lpg=PA6&dq=ICD/+ITKE+20132014+Research+Pavilion&source=bl&ots=JxjgDnViX2&sig=lJXpBEhd Gf6L6mhs7cH53Fz1D7M&hl=zh-TW&sa=X&ved=0ahUKEwikwO3A8fZAhUMgLwKHaYkDPo4FBDoAQg1MAI#v=onepage&q=ICD%2F%20ITKE%20 2013-2014%20Research%20Pavilion&f=false >, [accessed 10 March 2018] ArchDaily, ‘Esker house/ Plasma Studio’, ArchDaily (revised February 2009) <https:// www.archdaily.com/11957/esker-house-plasma-studio> [15 March 2018] ArchDaily, ‘ICD- ITKE Research Pavilion 2013/2014 / ICD-ITKE University of Stuttgart’, ArchDaily (revised 8 July 2014) < https://www.archdaily.com/522408/ icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 March 2018] Aziz, Moheb Sabry and Amr Y. El sheriff, ‘Biomimicry as an approach for bio-inspired structure with the aid of computation’, Alexandria Engineering Journal, 55 (1) (2016) Bonafede, Maria Elisabetta, Plasma Works From Topological Geometries to Urban Landscape (North Carolina: Lulu Press, 2014), p.707-714.

Divisare, ‘Plasma Studio Esker House’, Divisare (revised November 2016) <https:// divisare.com/projects/330820-plasma-studio-esker-house > [ 15 March 2018] Domnux, ‘Varese Xenakis/Le Corbusier -Poeme electronique (1958) < https:// discorgy.wordpress.com/2008/08/04/varese-xenakis-le-corbusier-poeme-electronique1958/> Dunne, Anthony and Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) Duyster, H.C., ‘Construction of the Pavilion in Prestressed Concrete’, Philips Technical Review, 1, 20 (1958/59) Fredrickson, Trent, ‘ Interview with ICD/ITKE team on fibre-woven research pavilion 2013-2014’, Designboom (revised 18 August 2014) < https://www.designboom. com/architecture/icd-itke-research-pavilion-2013-14-interview-08-18-2014/ > [accessed 10 March 2018] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) Gramazio Kohler Research, ‘Mesh Mould Metal, ETH Zurich, 2015-2018’, Gramazio Kohler Research (revised 2016) <http://gramaziokohler.arch.ethz.ch/ web/e/forschung/316.html > [accessed 10 March 2018]

Hack, Norman, Willi Viktor Lauer, Fabio Gramazio and Matthias Kohler, ‘MeshMould: Differentiation for Enhanced Performance’, in Proceedings of the 19th International Conference of the Association of Computer Aided Architectural Design Research in Asia CAADRIA (Zurich, Switzerland, 2014), pp.1-10 <https://www. researchgate.net/publication/281966796_Mesh-Mould_Differentiation_for_Enhanced_ Performance > [accessed 10 March 2018] https://divisare.com/projects/320589-achim-menges-roland-halbe-icd-itke-researchpavillon-2013-14 Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer – Aided Design (Cambridge, MA: MIT Press, 2004).

Koerner, Culver, R., J. and Sarafian, J. Fabric Forms: The Robotic Positioning of Fabric Formwork. Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016).

Lopez, Oscar, ‘ AD Classics: Expo ’58 + Philips Pavilion / Le Corbusier and Iannis Xenakis’, ArchDaily (revised August 2011) < https://www.archdaily.com/157658/ ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis/> Menges, Achim, Bob Sheil, Ruairi Glynn and Marilenna Skavara, Fabricate (Ontario: Riverside Architectural Press, 2017) NCCR Digital Fabrication (DFAB), ‘Mesh Mould: Robotically fabricated metal meshes’, Robohub (revised November 2016) <http://robohub.org/mesh-mould-roboticallyfabricated-metal-meshes/> [accessed 10 March 2018] Oxman, Rivka and Robert Oxman, ed., Theories of the Digital in Architecture (London; New York: Routledge, 2014).

Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2) (2013) 8-15.

Tess, ‘ Mesh Mould: 3D printing complex metal mesh structures for construction sites’, 3Ders.org (revised July 2016) <https://www.3ders.org/articles/20160729mesh-mould-3d-printing-complex-metal-mesh-structures-for-construction-sites. html >[accessed 10 March 2018] Wilson, Robert A. and Frank C. Keil, Definition of ‘Algorithm’, The MIT Encyclopaedia of the Cognitive Sciences (London: MIT Press, 1999) p.11-12.

Part B: Etherington, Rose, ‘ Green Void by LAVA’, dezeen (revised December 2008) < https:// www.dezeen.com/2008/12/16/green-void-by-lava/> [19 April 2018] Baraona Pohl, Ethel, ‘Green Void/ LAVA’, ArchDaily (revised December 2008) < https://www.archdaily.com/10233/green-void-lava> [19 April 2018] Figures from https://www.l-a-v-a.net/projects/green-void/ Arch2O.com, ‘The Green Void LAVA’, Arch2O.com < https://www.arch2o.com/thegreen-void-lava/> [19 April 2018] Sarafian, Joseph, Culver, Ronald, Lewis, Trevor S., Robotic Formwork in the MARS Pavilion Towards The Creation Of Programmable Matter, (Online: USA, 2017) <https://www.formfounddesign.com/palm-springs-pavilion> [accessed 19 April 2018] Sarafian, Joseph, Culver, Ronald, ‘Fabric-formed Robotic Facades: The robotic positioning of fabric formwork’, 2016 World Congress (Revised 2016) < http://www-bcf. usc.edu/~dnoble/2.pdf> [19 April 2018] Reinhardt, Dagmar, Saunders, Rob, Burry, Jane, Robotic Fabrication in Architecture, Art and Design (Switzerland, Spring International Publishing, 2016).

Rubin, Michael, ‘Architecture and Geometry’, Structural Topology (revised in 1979) < http://www.iri.upc.edu/people/ros/StructuralTopology/ST1/st1-05-a2Evans, Robin, The Projective Cast: Architecture and its Three Geometries (UK: MIT Press, 2000).

Moussavi, Farshid, Kubo, Michael, The Function of Ornament (Barcelona: Actar, 2006).

Dabbour, Loai M., ‘Geometric proportions: The underlying structure of design process for Islamic geometric patterns’, Frontiers of Architectural Research, 1, 4 (2012), 380391.

Peters, Brady, ‘Realising the Architectural Intent: Computation at Herzog & De Meuron’, Architectural Design, 83, 2 (2013), 56-61.

Archinomy, ‘Geometry, Nature & Architecture’, Archinomy < http://www.archinomy. com/case-studies/1938/geometry-nature-architecture> [19 April 2018]

Part C: Warmann, Catherine, ‘FattyShell (v.01) by Kyle Sturgeon, Chris Holzwart and Kelly Raczkowski’, Dezeen (revised May 2010) < https://www.dezeen.com/2010/05/19/fattyshell-v-01-by-kyle-a-sturgeon-chris-holzwart-and-kelly-raczkowski/ > [ 4 June 2018] Sturgeon, Kyle, Chris Holzwart and Kelly Raczkowski, ‘Fatty Shell: Flexible Formwork’, Fabrication Robotics Network < http://cargocollective.com/fabroboticsnet/FattyShell-Flexible-Formwork> [ 4 June 2018]