Chiu Winnie 698653 Journal

STUDIO

AIR CAITLYN PARRY / SEMESTER 1, 2016 / WINNIE CHIU

TABLE OF CONTENTS INTRODUCTION

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PART A. CONCEPTUALISATION A.1.

DESIGN FUTURING

A.2.

DESIGN COMPUTATION

A.3.

COMPOSITION/GENERATION

Digital Origami Hercules Monument Visitor Centre competition entry

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A.4.

CONCLUSION

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A.5.

LEARNING OUTCOME

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A.6.

ALGORITHMIC SKETCHES

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Faz Pavilion King Abdullah Petroleum Studies and Research MSc2 studio at Hyperbody ICD/ITKE Research Pavilion

REFERENCES

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CONCEPTUALISATION

About me Winnie Chiu , 20

Majouring in Architecture - The University of Melbourne

I’ve been studying in The University of Melbourne for the last two years

on a slow, painful yet awarding journey towards become an architect. This is currently my third year and as the finishing line becomes closer and closer I am being faced with more and more challenges. Having participated in two studio class beforehand i have been exposed to beautiful and stunning works from my peers, impressive ideas and amazing models. As I begin to become more and more aware of how as technology around up has develops , i have noticed opportunities to learn forms of expression that are able to closely and accurately represent reality and how designed. When comparing work with my peers I have notices my old fashioned ways of hand drawings and sketches are becoming something of the past and even though I am slow on the computer design bandwagon and only beginning to learn rhino, grasshopper, revit, auto cad and adobe programs i know it will be a rewarding process and I will be able to more clearly express my designs to others.

Throughout my studies I have been exposed to Rhino 3D and Revit and found that like anything else you learn takes time, experimentation, days of frustration and sleepless nights but slowly and surely I hope to master at least these two programs. I see Rhino as an asset by placing the design on a site, with people, trees, animals begins allows the image to have a story and a life. A place of interaction and exchange allowing clients to create emotions connected to a design. Another factor of Rhino 3D I am very intrigued about is 3D printing and how they can be coupled together to allow a idea to become a tangible object. I first started learning Autocad as it was the most popular program for designing floor plans but as I recently started playing with Revit I found it a much more easier program to use and since then it has claimed my loyalty.

I am very interested to see what Studio Air has to offer, indeed, it will be challenging but the skills i gain with be both the trouble!

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PART A CONCEPTUALISATION

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CONCEPTUALISATION

A.1 DESIGN FUTURING “Now we are numbered in billions, have extractive and material processing technologies of absolutely enourmous capacity coupled with an ecomoy of an insatiable appetite, we are now comfronting our nemesis - a defurting condition of unsustainability.” Design futuring in Fry’s Book outlines the needs for design futuring in our current world, to slow the rate of defuturing and redirect ourselves to a more sustainable, healthier future. [1]

1. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTISE’. 2009 ([N.P.]: BERG, 2009).

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FAZ PAVILION Achim Menges, Steffen Reichert and Scheffler+Partner

Inspired by natures ability to respond to the

climate Steffen Reichert, Achim Menges and Florian Krampe research towards climateresponsive material that function in the absence of any required external energy or electrical or mechanical control [2] . The study attempts to understand materials and this new concept of ‘smart’ materials that has the ability to respond to its dynamic environment. The term ‘smart’ refers to materials that can be altered in order to accommodate various levels of stress, relative humidity and temperature [4].

The FAZ pavilion based on conifer cones react to ambient humidity. The use of both fabrication parameters and material qualities allow for a direct response to humidity where it swells when exposed to a specific moisture level and contracts when moisture level falls [5] . This allows the materials to be adjusted via five parameters: fibre directionality, geometry

of elements, lengths- width-thickness ratio and humid control. Moreover, this allows for not only sustainability but also the creation of a flexible material that is able to adapt under different environment. These parameters are adjusted via computation, tested and manipulated to best suit the environmental conditions. The availability for facades structures to have materials that are able to directly interact with the environment rather than a series of components that are requires to assess the space and send commands to counteract the environment is much more efficient and sustainable. This allows for a more direct intercommunication of the structure and environment.

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2. ACHIM MENGES, STEFFEN REICHERT “MATERIAL CAPABILITIES: EMBEDDED RESPONSIVENESS”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 52-59.

3. MICHAEL HENSEL, DEFNE SUNGUROGLU, ACHIM MENGES “MATERIAL PERFORMANCE”. ARCHITECTURE DESIGN JOURNAL, VOLUME 78, ISSUE 2 (2008),35-41.

4. ACHIM MENGES, STEFFEN REICHERT “PERFORMATIVE WOOD”. ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 5 (2015),66-73.

5. ACHIM MENGES, SCHEFFLER + PARTNER, FAZ PAVILION FRANKFURT (2010) <HTTP://WWW.ACHIMMENGES.NET/?P=4967> [ACCESSED 17 MARCH 2016].

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"CLIMATE CHANGE IS NO LONGER SOME FAR-OFF PROBLEM; IT IS HAPPENING HERE, IT IS HAPPENING NOW." [7]

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King Abdullah Petroleum Studies and Research Centre Zahdid Architects “In the last 650,000 years there have been seven cycles of glacial advance and retreat, with the abrupt end of the last ice age about 7,000 years ago marking the beginning of the modern climate era — and of human civilization. “ - Holly Shaftel

For the past centuries human impact has had

a negative impact on the planet, contributing to sea level and global temperature rise, extreme events. Our innovations in technology has allowed us to harvest natural resouces for our on benefits and as a result has lead to pollution, habitat lost and extinction of species. Designers and architects need to be aware that they are fundamental in building a better, cleaner future where beauty and art are not at the cost of the planet. There are two precedents would like to examine regarding design future, innovative, sustainable ways of building and design that also aims to inspire users. Firstly, King Abdullah Petroleum Studies and Research Centre then VanDusen Botanical Garden Visitor Centre.

The King Abdullah Petroleum Studies and Research Centre by Zahdid Architects is a sustainable and innotive building located in Riyadh, Saudi Arabia. Zahdid Architects undertakes a holistic approach combining engineering and architecture together allowing their designs to work directly in response to the environment [6]. From the beginning there was an understanding that sustainability was not purely dependant on the integrated technology of the design but the structure and facade was also an essential component. The facade of the building understands a hard, structurally strong shell working in conjuction with a flexible, hexagonal, cellular structure of

crystalline form which is able to not only protect the soft interior but also works in response to the environmental conditions and functional requirements. It’s shell filters light into space and works alongside buffer zones that allow the hot exterior to be cooled and filtered into the interior spaces[6].

The design is based upon a series of atrium and courtyard structures. It’s form sculpted to shelter the interior space from southern and western sun whilst allowing the the northern wind to enter whilst many courtyards are oriented to capture cool dessert wind during the night and release it in the day. This holistic consideration of form allows the space to remain useable for longer periods of the day and produces more comfortable working conditions.

By offering a healthy, friendly, flexible environment it facilitates users to interact, exchange research. By also providing quiet, outdoor spaces and prayer rooms allows users to step out of their busy day and take a moment to contemplate, reflect and relax [6].

The complex is an intricate network of routes and halls through the building, library, theatres, courtyrads and by making these rooms flexible allows for more diverse use that is able to cater for a range of audiences.n of difference spaces (Irina Vinnitskaya, 2012).

We mustn’t neglect to realise the importance of architecture and it’s ability inspire and encourage people to create and explore.

6. DAEWHA KANG, ‘TO A CURATOR OF BEAUTIFUL AND HEALTHY LIVES’, ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 4 (2015), 123-125.

7. JAN F, PRESIDENT OBAMA: “CLIMATE CHANGE IS NO LONGER SOME FAR-OFF PROBLEM. IT IS HAPPENING HERE. IT IS HAPPENING NOW.” (2015) <HTTP://MOTLEYMOOSE. CONCEPTUALISATION 11

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A.2 DESIGN COMPUTATION We are moving towards a digital era where development of technology and fabrication techniques has allowed architects to design and construct more intricate designs with more freedom and ease. Not only has computation and softwares allow for the improvement of the the process of design but robotics are becoming an essential tool allowing complex design to not become constrained by construction [8].

8. PETER BUSBY, MAX RICHTER AND MICHAEL DRIEDGER, ‘TOWARDS A NEW RELATIONSHIP WITH NATURE’, ARCHITECTURE DESIGN JOURNAL, VOLUME 81, ISSUE 8 (2011), 96-98.

“INDUSTRIAL ROBOTS ARE DISTINGUISHED

BY THEIR VERSATILITY. LIKE COMPUTERS, THEY ARE SUITABLE FOR A WIDE VARIETY OF TASKS BECAUSE THEY ARE ‘GENERIC’ AND THEREFORE NOT TAILORED TO ANY PARTICULAR APPLICATION.” [12]

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MSC2 STUDIO Studio at Hyperbody TU Delft, Netherlands. Jelle Feringa (2012).

Computer aided design has advanced over the

recently years into mode of design that is able to be produced faster and more affordable. Digital modelling has overtaken more traditional ways of design allowing for three dimensional analysis that can be easily edited to create numerous iterations and ways to explore the design and its capabilities [10].

The level of detail on digital programs are magnified allowing for immense control and accuracy on even the smallest detail.

The MSc2 Studio created a prototype whereby computation was used to generate a form that was designed and constructed across three weeks. The fabrication of the design was constructed the use of a hot wire cutting allowing the formation of 53 unique components with ease and precision. This use of robotics in accordance to computation allows a project that was constructed not only with impressive speed but allowed for sheer precision in each and every components. Moreover, architecture requires a high level of precision of materials and construction

that only allow for a difference of millimetres or centimetres thus allowing automated robots to become a largely, reliable tool which is able to not only enhance that quality of components but construct it with little to no errors [11].

By having tools that allow one person to control the whole design process from design, to fabrication, to assembly enables the designers to fully interact with the design. Computation and robotics allow for ease and accuracy in the production and fabrication of design. Furthermore, this shift from manual to digital has allows architects to experiment more freely with forms creating more detailed, complex designs in a matter of minutes.

9. JELLE FERINGA, MSC2 STUDIO AT HYPERBODY TU DELFT, NETHERLANDS (2016) <HTTP://WWW.BLOCK.ARCH.ETHZ.CH/BRG/TEACHING/MSC2-STUDIO-AT-HYPERBODY-TU-DELFT> [ACCESSED ].

10. MICHAEL BUDIG, JASON LIM AND RAFFAEL PETROVIC. “INTERGRATING ROBOTIC FABRICATION IN THE DESIGN PROCESS”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 23-43.

11. FABIO GRAMAZIO, MATHIAS KOHLER, JAN WOLLIMANN. “AUTHORING ROBOTIC PROCESSES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 14-21.11. FABIO GRAMAZIO, 12. MATTHIAS HOKLER, JAN WILLMANN. ‘MADE BY ROBOTS: CHALLENGING ARCHITECTURE AT A LARGER SCALE’.ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (2014), 15-20.

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ICD/ITKE RESEARCH PAVILION The Institute for Computer-Based Design and the Institute for Structural Engineering and Structural Design, University of Stuttgart. 2011.

The ICD/ITKE Research Pavilion, 2011 is a project collaborated between the Institute for Computational Design and Institute of Building Structures and Structural Design. Bionics becomes the theme where inspiration was nature and its natural structure. In particular they were interesting the the morphological principles of the plate skeleton of echinoids because of it’s adaptive qualities where computer generative design enable the construction of this pavilion[13].

The teams of endeavouring to discover a material that would enable lightweight and flexible structure. Thus, through experimentation the materials of plywood sheets with a thickness of just 6.5 millimetre was selected [14]. This , along with it’s geometry allowed the thin, elastic and flexible members to be obtain the intended quality using a simple repetition of a singular, basic material. Computation took on a critical component of this design where the design was analysed via form finding, digital stimulations, computer numeric machine control. This integration of computation into the design also allowed for robotic fabrication allowing the ease

of accuracy and cohesion . The members of the pavilion was laser cut into 850 different geometries and over 100,000 finger joints allowing the ease of fabrication [15].

The prevailing of computation enables the analysis of the relationship between performance, materials and form prior construction. By being able to explore the interaction of structural forces, environmental affects and materials allows for not only more precision of the final product and stability but also allows designers to push the thresholds of materials and discover it’s performance capabilities to create a structure that effectively utilise materials.

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13. ACHIM MENGES AND TOBIAS SCHWINN. “MANUFACTURING RECIPROCITIES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 119-125” 14. ACHIM MENGES. “MATERIAL COMPUTATION: HIGHER INTEGRATION MORPHOGENETIC DESIGN”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 14-21.

15. ACHIM MENGES, ICD/ITKE RESEARCH PAVILION 2011 (2011) <HTTP://ICD.UNI-STUTTGART.DE/?P=6553> [ACCESSED 17 MARCH 2016].

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A.3 COMPUTATION/ GENERATION The shift from composition to generation allows for architecture to be based towards performance - Structural , constructional, economic, environmental parameters rather than aesthetics.

It aim is to produce a type of design that is enhances the efficiency of produces designs with similar patterns [16].

16. PETER BOOTH, STEPHEN LOO, BEYOND EQUILBRIUM: SUSTAINABLE DIGITAL DESIGN (2010) <HTTP://EPRINTS.UTASEDUAU/16384/1/52_BEYOND_EQUILIBRIUM_FINAL_PUBLISHED.PDF> [ACCESSED 17 MARCH 2016].

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DIGITAL ORIGAMI Chris Bosse

TThis transition into digital technology has allowed

for a system that integrates human intelligence and creativity. The designers involvement into the design with parametric control, associated geometry, generative iterations, algorithmic expression and component based modelling [17]. This process enables a bottom up approach. Design is created and contained by sets of parameters that govern the interaction of components and inform the final design and as a result can produce interesting forms.

govern the metamorphose from a part of distinct, organic forms. This approach to design is oriented towards allowing digital technology and mathematics to form designs. This is a type of pattern-making, bottom-up, formation design that characterises parametric design.

Chris Bosse along with students from The University of Technology of Sydney constructed an installation with a series of digital modelling: parametric modelling, digital fabrication and material science [17] . Influenced by coral reef and the interaction of each small, intelligent, component has was symbolic of architecture towards it’s landscape. It was construction with 1500 recycled cardboard forming geometric molecules all interconnected and static to its environment [17]. Parametric design is often, like coral the product of small components, repeated to form a coherent final outcome. Through these small units they were able to create a set of rules that would

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17. PETER BOOTH, STEPHEN LOO, BEYOND EQUILBRIUM: SUSTAINABLE DIGITAL DESIGN (2010) <HTTP://EPRINTS.UTAS. EDUAU/16384/1/52_BEYOND_EQUILIBRIUM_FINAL_PUBLISHED.PDF> [ACCESSED 17 MARCH 2016].

18. HANK JARZ, ‘DIGITAL ORIGAMI ‘(2010) <HTTP://WWW.ARCHDAILY.COM/93913/DIGITAL-ORIGAMI-LAVA> [ACCESSED 17 MARCH 2016].

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HERCULES MONUMENT VISITOR CENTER Competition entry by Scheffler + Partner Architects and Achim Menges

The Hercules Monument Visitor Centre was located in Bergpark Wilhelmshöhe, Germany. It would sit 515 meters high between a water cascade, the Kassel Wilhelmshöhe Palaceand a monument of Hercules

by Fracesco Guerniero.

The design intent to to intensify the the interaction of the interior landscape with the nature surroundings in Habichtswald to the Baroque park and monument by undulating the landscape. The method formed by Scheffler + Partner Architects and Achim Menges was to provide the site with an interior environment that is consisted of micro-milieus. To achieve this, a series of generative techniques were used which constructed a parametrically defined and restrained triangulate system with four scales of articulation [19]. This restraints took into account manufacturing and construction limitations that effected the triangular body,folded glass and steel plates. This parametric commands was able to ensure the viability of the design in terms of the restraints and allow for a design that emerged from its very constraints.

Furthermore this design is further moulded in relation to loads, orientation, spaces, circulatory and volumetric requirements. Computation here displays its versatility in controlling parameters that

is able to be edited to include which enables this feedback, adjustment and optimisation. This allows for a greater degree of coherency allowing for a design rich, complex, unpredictable, undetermined that pushes the boundaries of design exploration to a new level [19].

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19. MICHAEL HENSEL AND ACHIM MENGES ‘MATERIAL AND DIGITAL DESIGN SYNTHESIS’. ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (200D), 88-95.

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A.4 CONCLUSION Part A is the introduction towards computation and the new digital

era of design. Alongside computation is the formation of responsive materials and machinery that aid in the generalisation and fabrication of members and also the construction of structures. The techniques available in the softwares enable ease of manipulation, repetition and experimentation allowing for more diverse intricate designs that otherwise without computation would be difficult to achieve.

In regards to my intended design approach I want to experiment on grasshopper and play with the numerous shapes and forms to create a structure that is able to emulate nature and allows a space for animals to inhabit throughout the year. I find by using this tool I will be able to be more creative and produce more iterations in order to find the ideal form. This will hopefully benefit the nature and the animals which are unable to survive through the hot seasons of Australia.

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A.5 LEARNING OUTCOMES My experience so far in this subject has been highly beneficial

considering my initial, limited knowledge on both Rhinoceros 3D and Grasshopper. This subject I have gained the understanding of basic algorithmic commands and how to generate basic forms, structures and pattern-making. Initially designing by hand I have learnt the enormous benefits towards computation: the ability to design intricate, detailed designs, the ability to make iterations easily, the ability to edit designs and most importantly the relationship computation has to robotic fabrication. The ease of fabricating design with the ease of a few buttons and commands and the sheer comfort of the accuracy of precision of what would be formed. I find this form of designing is prevailing to become more and more common in the design practise and will become essential in my future designs.

In terms of theory I have learnt to look beyond aesthetics for future design projects and consider the idea of a bottom-up design where materiality and structure form the design. To design things with an open mind and let forms and patterns determine the final outcome. I find computation would be helpful for my past design due to the ease of iteration would be a great tool for idea generation allowing me to explore more over a shorter period of time.

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A.6 APPENDIX - ALGORITHMIC SKETCHES

DELAUNEY EDGES This iteration of delauney edges was was a play of form and the extraction and extention of the components.Almost like rocks in nature that are shifted. This form, referenced to nature acts as a cross-section of a cave creating a habitat for animals in period of rough weather.

This form were produced with only a few commands and I was also able to make many iterations of the form, playing on the size and density of the rocks. It was a quick way to work these rock like structure. I also think a design like this could modelled easily through 3D printing.

MESH Using the mesh tool I was able to produce a wall with intricate folds fromed by a series of cylinder. This was an abstract representation of wall that was suitable to protect and shade users and land animals whilst also providing the same protection for birds and animals that habitat in the upper regions of the trees.

I find that this list of commands allowsfor the creation of intricate and interesting patterns on surfaces This type of algorithm may be divided and laid out for laser cutting.

MESH These meshâ&#x20AC;&#x2122;s play on textures and surfaces of round objects. I found both of these interesting in the in the ability to carve out holes and allow for a protective internal space.

The texture are also emmulating leafs would be able to camouflage into the natural landscape.

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PART B : CRITERIA DESIGN

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B.1 RESEARCH FIELDS

1. TONY FRY, DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTISE’. 2009 ([N.P.]: BERG, 2009).

PRECEDENT 200 North Columbus Drive, Chicago, IL 60601, USA / Studio Gang Architects / 2009

The

design was inspired by striated limestone outcropping in the Great lakes. The result was a building characterised by a rippling facade of many curves and bends. It a 82 storey tower with 82 unique floor perimeters. This organic facade pattern flowing towards and away from the structure is unique to each component and thus requires pre fabrication to allow precision in every element. Construction of the form would require large machineries to lift it into place and a equally large scaffolding system. The undulating forms maximise specific views whilst are

absence at areas where that are not required. These extrusion points act as balconies but also as eaves to provide better views and solar shading.

AQUA TOWER / STUDIO GANG ARCHITECTS (2009) <HTTP://WWW.ARCHDAILY.COM/42694/AQUA-TOWER-STUDIO-GANG-ARCHITECTS/ > [ACCESSED 2 APRIL 2016]

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AQUA TOWER 200 North Columbus Drive, Chicago, IL 60601, USA / Studio Gang Architects / 2009

The

design was inspired by striated limestone outcropping in the Great lakes. The result was a building characterised by a rippling facade of many curves and bends. It a 82 storey tower with 82 unique floor perimeters. This organic facade pattern flowing towards and away from the structure is unique to each component and thus requires pre fabrication to allow precision in every element. Construction of the form would require large machineries to lift it into place and a equally large scaffolding system. The undulating forms maximise specific views whilst are

absence at areas where that are not required. These extrusion points act as balconies but also as eaves to provide better views and solar shading.

AQUA TOWER / STUDIO GANG ARCHITECTS (2009) <HTTP://WWW.ARCHDAILY.COM/42694/AQUA-TOWER-STUDIO-GANG-ARCHITECTS/ > [ACCESSED 2 APRIL 2016]

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B.2 CASE STUDY 1.0

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SPANISH TOWER Ceramica Cumella Facade covering, Spanish Expo-Pavilion, Aichí, Japan

AQUA TOWER / STUDIO GANG ARCHITECTS (2009) <HTTP://WWW.ARCHDAILY.COM/42694/AQUA-TOWER-STUDIO-GANG-ARCHITECTS/ > [ACCESSED 2 APRIL 2016]

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B.3 CASE STUDY 2.0

AQUA TOWER - REVERSE ENGINEERING

This section is my attempt to reverse engineer the

Aqua Tower by Studio Gang Architects. The design intent is to create a series of horizontal undulating line works onto a flat surface to resemble the rippled facades. To produce this I considering three methods in which I could create similar to it. This first exploration utilises image sampling to relay the contours onto the form. By restricting the form and line work with parameters I was able to test out different images and create different patterns.

Although I found this method the easiest in being able to multiple test patterns I found that it was also very restricting because I was unable to edit the patterns. Moreover, I found that I was able to plug in any image circles, black and white patterns, ocean ripples, rock formations and it would forms very similar patterns.

My second exploration I wanted to have more control on the form and thus decided to explore with

projecting contours. This allowed me to create my own undulating mesh form which would become the outlines to my facade. I preferred this method because I was able to create surfaces that folding into the building that was a better representation.

Although in saying the designer may not of have to create a duplicate of the design and thus could of used the first method which allowed a greater level of exploration.

I think this method was successful in producing similar ripple effect as the Aqua tower. My iterations contain the curvatures of the line work and also the voids for areas that do not require balcony.

In accessing my designs I have selected five criteriaâ&#x20AC;&#x2122;s to document and compare the iterations: Regularity, Curvature, fluidity, complexity

DESIGN PROCESS

HEXGON GRID

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PATTERN

LINES

POINTS

CURVES

FIRST EXPLORATION - IMAGE SAMPLING

DESCRIPTION

The image input into this design was a ruffled fabric.

Due to its intricate folds and complex contrast created a highly jagged busy form. There was no fluidity in the form and was quite chaotic in the extrusions.

SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY

• ••••• ••••• ••••• •••

CONCEPTUALISATION 43

DESCRIPTION

Attempting to minimise the density of the curvatures I reselected my image trying to find one with less folds and less contrasts. As a result I the forms that were produces had a more gentle flow and curvature.

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SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY ORGANICNESS

•••• ••••• •• • ••••

DESCRIPTION

Even though in the previous iteration i achieved a smoother effect I found it too regular and heavy towards the top. This iteration I input clouds and it gave a more linear indentation.

SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY ORGANICNESS

••••• ••••• ••• ••••• •••

CONCEPTUALISATION 45

DESCRIPTION

I began testing with a more intricate image that allowed complexity without sacrificing the fluidity. This image compared to the first image is much more coherent.

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SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY ORGANICNESS

•••• ••• ••••• ••••• •••

DESCRIPTION

I wanted to explore more images and see if whether I could find one that most closely resembled the voids of the design and wanted to test out waves. This iterations was the least complex out of all of them and the extrusions were the most organised.

SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY ORGANICNESS

•••• •••• ••• • •••

CONCEPTUALISATION 47

DESCRIPTION

This is the most basic of them all, with very little extreme curves or severe instrusions into the voids.

This is the least complex and most flat and smooth.

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SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY ORGANICNESS

••••• ••••• • • ••

SECOND EXPLORATION - CONTOURS

DESCRIPTION

Projecting contours allowed me to manipulate the structure.

Thus, this image was more free in it’s movement. The structure flows more and the voids are more shocking.

SELECTION CRITERIA FLUIDITY SMOOTHNESS DENSITY COMPLEXITY ORGANICNESS

•••• •••• ••••• ••••• •••

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REFERENCES ACHIM MENGES. “MATERIAL COMPUTATION: HIGHER INTEGRATION MORPHOGENETIC DESIGN”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 14-21.

ACHIM MENGES, ICD/ITKE RESEARCH PAVILION 2011 (2011) <HTTP://ICD. UNI-STUTTGART.DE/?P=6553> [ACCESSED 17 MARCH 2016].

ACHIM MENGES, SCHEFFLER + PARTNER, FAZ PAVILION FRANKFURT (2010) <HTTP:// WWW.ACHIMMENGES.NET/?P=4967> [ACCESSED 17 MARCH 2016].

ACHIM MENGES, STEFFEN REICHERT “MATERIAL CAPABILITIES: EMBEDDED RESPONSIVENESS”.

ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 52-59.

ACHIM MENGES, STEFFEN REICHERT “PERFORMATIVE WOOD”. ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 5 (2015),66-73.

ACHIM MENGES, TOBIAS SCHWINN. “MANUFACTURING RECIPROCITIES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 82, ISSUE 2 (2012), 119-125” DAEWHA KANG, ‘TO A CURATOR OF BEAUTIFUL AND HEALTHY LIVES’, ARCHITECTURE DESIGN JOURNAL, VOLUME 85, ISSUE 4 (2015), 123-125.

FABIO GRAMAZIO, MATHIAS KOHLER, JAN WOLLIMANN. “AUTHORING ROBOTIC PROCESSES”. ARCHITECTURE DESIGN JOURNAL, VOLUME 84, ISSUE 3 (2014), 14-21.

FABIO GRAMAZIO, MATTHIAS HOKLER, JAN WILLMANN. ‘MADE BY ROBOTS: CHALLENGING ARCHITECTURE AT A LARGER SCALE’.ARCHITECTURE DESIGN JOURNAL, VOLUME 76, ISSUE 2 (2014), 15-20.

HANK JARZ, ‘DIGITAL ORIGAMI ‘(2010) <HTTP://WWW.ARCHDAILY.COM/93913/ DIGITAL-ORIGAMI-LAVA> [ACCESSED 17 MARCH 2016].

JAN F, PRESIDENT OBAMA: “CLIMATE CHANGE IS NO LONGER SOME FAR-OFF PROBLEM. IT IS HAPPENING HERE. IT IS HAPPENING NOW.” (2015) <HTTP://MOTLEYMOOSE. NET/2015/09/01/1656/PRESIDENT-OBAMA-CLIMATE-CHANGE-IS-NO-LONGER-SOME-FAR-OFFPROBLEM-IT-IS-HAPPENING-HERE-IT-IS-HAPPENING-NOW/> [ACCESSED 17 MARCH 2016].

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