zhang_jingyi_784195_Studio Air_complete journal

D I G I T A L

J i n g y i

2 0 1 7 , T S U E T M O E R S : T E D R a 2 v . i d

Z h a n g W e g m a n

A L C H E M Y

S T U D I O A I R

A.0. About Me A.1. Design Futuring

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1.1 Case study 1

1.2 Case study 2

A.2. Design Computation

2.1 Case study 1

2.2 Case study 2

A.3. Composition/ Generation

Conceptualisation

3.1 Case study 1

3.2 Case study 2

A.4. Conclusion A.5. Learning outcomes

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A. 0

About Me

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y name is Jingyi Zhang. I’m from Shaanxi, China. Currently I’m studying in Melbourne university and majoring in architecture. This is my third year first semester. I have a broad interest, which stretches from botany and chemistry to drawing and pop music. I didn’t have a strong will to study architecture when I was in high school. It is the love of drawing and model making drew me into this field.

In the past two years of study, I’ve constantly asked myself the reason why I decide to choose this major even though it is more challenging for me compared with either construction or botany. I convinced myself with a few reasons: Firstly, I really can feel and enjoy the joy of design and creation. The satisfaction is so powerful and overwhelming. Secondly, I believe in the power of architecture in shaping and representing culture and its capacity to carry national identity. As an individual, I love my hometown and am very proud of its unique and beautiful culture. This feeling reaches its peak when I’m studying here in Melbourne. When I introduce my hometown to others, its traditional architecture is the first thing that jumps into my mind. I wish somewhere in the future, I can be in a group whose creations become representative to a city and become something the locals are very proud of.

Jingyi Zhang 张景怡 Earth Project

Super Studio: Sky Graveyard// DDF

I had a background of using rhino, autocad and Photoshop.

I’ve done a basic course of grasshooper in Lynda website in the winter holiday and had a little taste of parametric design. It is just so much fun to play with it. Instead of designing the outcome, the process is being designed.

It generates so many possibilities, which really broaden people’s mindset. I do believe in its power of creating something brand new and mind blowing.

As I mentioned before, I’m interested in botany as well. It helps me to appreciate the beauty of nature and understand ecology. I do hope in this semester, I can use my botanic background to create something that benefits nature.

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A. 1 Design Futuring

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t is evident that we are in a process of defuturing.

Human beings are consuming natural resources in an exceptional speed since the industrial revolution. It leads to an increasing shortage of resources. When it comes to the distribution of that limited resources, conflicts come to the surface inevitably1. Apart from that, the fragmented society and profit-oriented design also lead to the disappointment of the current and worry for the future. 2 Against this backdrop, it is a good time to examine ourselves and start to challenge what is taken for granted now. It is the time for new ideas and alternative visions. We are not aiming for providing some good solutions straight away. What we wish to do is to light up people’s enthusiasm in dreaming and provide catalyst for changes.

One possible way to explore alternative visions is to positively use the negativity3 . As Dunne and Raby argued, “in design, darkness creates a frisson that excites and challenges. It is more about the positive use of negativity, not negativity for its own sake but to draw attention to a scary possibility in the form of a cautionary tale.”4. It is odd that darkness always exists but always be ignored in the design industry. Without darkness, the whiteness just cannot stand out. They are two sides of one coin. The parallel world of the white--the dark is still such a new world full of potentials. I’m sure there will be something gold there worth exploring.

“In design, darkness creates a frisson that excites and challenges. It is more about the positive use of negativity, not negativity for its own sake but to draw attention to a scary possibility in the form of a cautionary tale.”

----Anthony Dunne & Fiona Raby

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg),pp.6-13 2-4 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45

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1.1 Case Study 1

Hypnosis room, New Territories, Paris, 2005

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his project is designed to create a space for people to feel themselves, talk to themselves and explore their inner consciousness.

It pursues a walking sleep metal stage, when people are feeling “indefinite, uncertain and problematic” 1. Along with these unstable and unpleasant emotion, a “fake“ freedom is developed. It helps people to escape from the real world into another dimension, where they can develop their own understanding of modern society and their own desires for future.

CLOCKWISE:

FIG.1.ENTRANCE GATE INTO THE HYPNOSIS ROOM

FIG.2. HYPNOSIS ROOM SIDE VIEW

FIG.3. INTERIOR OF HYPNOSIS ROOM DEMONSTRATE HOW PEOPLE MIGHT USE THIS SPACE

Despite its fictional geometry, the hypno-chamber is physically tangible and of proper functions: “an indoor chamber, an immersion zone, where an hypnosis session has been registered” 2.

I argues this project is particularly important for design futuring.

Because it gives room for self determination. It embraces the unpleasant emotions and opens up new way of viewing the world.

It is good for the metal heath of citizens and also demonstrates new approach for designers: instead of always aiming for the happiness, examining the grey or even dark side of humanity might also generate thought provoking outcomes.

1-2 New Territories, Hypnoses room, retracted from http://www.new-territories.com/hypnosisroom. htm

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1.2 Case Study 2

FIG.5. DECIBOTS ASSEMBLY

Decibot [self-assembly]

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o keep up with the rate of the development in computational design, people have started to do some evolutionary pioneering work to increase our capacity for assembly and construction.

Skylar Tibbits found inspiration from the natural assembly process of protein and DNA. The idea he and his group came up with is “directly embedding assembly information into raw materials, then watching as the materials assemble themselves.” 1 The decibots are one of their creation based on this principle. They are large scale reconfigurable chains, which are able to fold into 1D, 2D or 3D objects 2.

This technology is evolutionary because it is able to liberate people from the hard, time-consuming and even dangerous construction process. In country,like Australia, where labour cost is very high, these robots might provides an alternative for construction industry. Additionally, it reduces the pollution and wastage during construction process. This is very important in reducing our damage to nature and slowing down the resource consumption rate.

FIG.6. DECIBOTS

It is also able to solve some urgent problems. For example, it might be used as the programmable joints between beams and columns,which can be activated by the shaking of ground 3 , to cope with earthquake. Or it can be used as “quickly deployable disaster-relief structures dropped from helicopters that utilise wind resistance and gravity to unfold“4.

Where this technology eventually go is really hard to predict. Even though it seems still very fantasy-like now, I do think it has a future of its own and might leads to another revolution in human history.

1-4 Tibbits, S. (2012), Design to Self-Assembly, Architectural Design, 82:69-73. doi: 10.1002/ad.1381

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FIG.4. DECIBOTS

FIG.7. DECIBOTS LINEAR

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A.2 Design Computation

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he benefits of using computers in the architectural design are best represented in its ability to build a digital continuum of form generation, performative simulation and materiality modelling, which spans all the way from early stage of design to fabrication.

Before coming into the detailed explanation of the digital continuum, it is necessary to evaluate the current computer-human relationship. We are gradually shifted from computerisation (use computer to virtualise form) to computation (use computer to generate form) now. Digital design is no longer very much defined by its very eye-catching free-form geometry1. Instead, a parametric algorithmic logic becomes its signature. We are aiming to define a process not an outcome now. As quoted from Wood, “designers should become the facilitators of flow, rather than the originators of maintainable things such as discrete products or images” 2.

Because we are now looking at a flow. The outcomes are of less concerned. It can be modified thousands of times easily by adjusting the parameters. We now are able to pay attention to the controlling factors. That’s where the consideration of building performance and materiality comes in. It is very obvious that these two factors are very important in transfer the virtual models into the reality. Because these things tend to be variable and complex, for a very long time, digital design assumes the model are sitting in an ideal vacuum in order simplify the situation. This makes the later fabrication and construction very difficult. The ability to experiment the

building performance under real condition in computer, for example wind force, material properties and so on, and then constantly optimise itself, are of great potential to eliminate the possibility of failure in real construction. To some extent, as Oxman 3 argues, we are potentially able to create a second nature in computer.

As there are always two sides of the coins, we cannot say digital design at this stage can 100% leads to good outcomes.

Firstly, I still very much doubt our ability to simulate nature 100% accurately in computer. Because on the one end, we are just one species created not long ago. But on other end, earth has endured thousands of years evolution. No matter how great our civilisation has achieved so far, we are still limited by our situation. I’m not suggesting that what we’ve done so far are worthless. What I want to say is that no matter how far we go, we still need to have great respect to nature. Secondly, digital design only has a few decades’ development. It is far too early to evaluate its impact on human civilisations yet.

“In synthesizing material culture and technologies within the expanding relationship between the computer and architecture, this phenomenon defines a digital continuum from design to production, from form generation to fabrication design.”

----Rivka Oxman & Robert Oxman

Coming back to the discussion about digital continuum, digital design also opens up the opportunity of digital fabrication. It has the great potential to rebuild the intimate connection between design and construction. It helps to translate the design intent more accurately into the products. For example, accuracy of a laser cut product is generally speaking higher than a hand cut product. In addition, digital fabrication, such as 3d printing helps us make models which are difficult to hand craft. Down to everyday life, it also reduces a lot of intense hard work. Apart from these, it also transform the design-production process from a linear sequence to a more interconnected network.

Construction is no longer just the final stage. It is able to affect

design decisions as well. However, these things are operated on a high cost compared with traditional construction methods.

And they are more or less limited to small scale model making instead of large scale building construction.

In conclusion, using computers in architectural design benefits us a lot in terms of its integration of whole design and fabrication chain and its ability to deal with complex real world situations such as contextual forces and material attributes.

But it is also important to keep in mind that it might bring something unexpected.

1.3. Oxman, R., Oxman, R. ed.(2014), Introduction, Theories of the Digital in Architecture. (London; New York: Routledge), pp.1-10 2. Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower).

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2.1 Case Study 1

ICD/ITKE Research Pavilion 2010

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CD/ITKE research pavilion 2010 demonstrates new possibilities for computational design. It embedded material behaviour under contextual forces into computational design process. This is really beneficial in a few senses.

FIG.8. INTERIOR OF ICD/ITKE RESEARCH PAVILION 2010 (left) FIG.9.EXTERIOR OF ICD/ITKE RESEARCH PAVILION 2010 (top right)

First of all, it opens up new pathway to generate forms. Instead of having a certain form in mind and try to use computer to achieve it. The form is generated through the optimisation of its structural performance.

Secondly, it makes the use of very unconventional material possible. In this project, very thin timer strips are used. This would be very much impossible without the aid of computer to simulating its structural performance. This has profound impacts because of its efficiency in using material, especially in a situation when resources are very limited.

Thirdly, it helps to transform the virtual to reality more safely and accurately. Because it considers the pressure and constrains in the material and also the uncertain external forces the pavilion might suffer during computational design. Before it is erected on site, its performance has been tested many times through computers. Hence, it is less likely to have the situation when the pavilion falls to express the form we expected. As the following test after its erection shows, it has the exact measurement with the computer model1.

FIG.11. PHYSICAL TESTS IN SEARCHING THE OPTIMISTIC FORM (middle right) FIG.1O. RESIDUAL STRESS IN A FINITE ELEMENT BASED SIMULATION (bottom right)

Lastly, it significantly simplified and speeded the fabrication and construction process. Even though there are 500 unique pieces, the data can be directly sent to a six-axis robot. And it is able to fabricate all that accurately. In addition, it is easy to construct as well. Because no scaffolding or other equipment is required. Once you connect them into the right joints, it will come to shape automatically2.

1-6 Fleischmann,M., Knippers,J., Lienhard,J., Menges A. & Schleicher S. (2012), ‘Material Behaviour: Embedding physical properties in computational design processes’, Architectural Design, 82: 4451. doi: 10.1002/ad.1378

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2.2 Case Study 2

Computer gives flexibly in design and construction through integration.

Fulton Center, New York, 2014 Arup

Space-frame roof, Airport Terminal, North America, 2014 Arup

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his project demonstrates the benefits of computer aided design, through the thoughtful use of Building Information Modelling tools.

Its successful delivery owns in part of BIM’s ability of integrating and analysing large amount of building information data. The changes in design due to client requirement or site situation were uploaded to the model and BIM can automatically calculate its impact on other contract packages, such as fire alarm systems or building structural systems 1. This integrated information model helps to inform people about the problems might generated by changes in certain elements before they become very serious and cannot be fixed. High-resolution laser scanning was used to document the building interior at several important construction milestones 2. It then generated points clouds, which was eventually converted into BIM to track the construction progress and access the final product quality3 .

This helps to accurately document the construction details and of great importance in monitoring the construction process in case of anything going wrong.

iven that BIM has brought the industry great advantages, its benefits are hard to realised sometimes, because its generally not integrated with design and analysis software. How to create a flexible workflow which allows data accurately transfer from one software to another is of great importance now to deal with projects involving multiple disciplines and contractors.

This project developed by Arup recently gives us an possible answer. An open-source relational database management system MySQL was established1. It takes input from a wide range of programs such as geometry modelling software, rhino and grasshopper, and structural analysis tools 2. And just by twisting the SQL commands a bit, people can extract the desired information into the desired software 3 .

FIG.12. THE INTERIOR RENDERING OF A SCAN TAKEN BETWEEN THE INSTALLATION OF THE NET AND SUBSEQUENT INSTILLATION OF 952 OPTICAL ALUMINIUM PANELS

It performs as a data collector and translator. With its aid, people from different disciplines can still work with the software that best suited to them. This helps to improve their efficiency and productivity.

In summary, BIM gives the designers and project managers a lot of flexibility during the construction phase. When any changes have to be made during construction, they can always go back to the model and examine the possible consequences.

1-3. Goldup,K., Kostura, Z., Tavolaro,T. &Wolfe, S., (2017), Advancing Engineering with Building Information Modelling, Architectural Design, 87:3 , doi: 10.1002/ad.2182

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FIG.13. MULTIDISCIPLINARY BIM MODEL OF FULTON CENTER (STRUCTURAL, MECHANICAL, ELECTRICAL & PLUMBING)

1-3. Goldup,K., Kostura, Z., Tavolaro,T. &Wolfe, S., (2017), Advancing Engineering with Building Information Modelling, Architectural Design, 87:3 , doi: 10.1002/ad.2182

FIG.14. ARUP’S WORKFLOW DIAGRAM

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“There is the danger that if the celebration of skills is allowed to obscure and divert from the real design objectives, then scripting degenerates to become an isolated craft rather than developing into an integrated art form.”

A.3 Composition/Generation

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ith the development of parametric modelling tools, which defines form through algorithm, a sequence “finite rules or operations that are unambiguous and simple to follow” 1, a new design methodology is emerging.

Instead of composing form intuitively, this new methodology gives people an opportunity to generate forms through computer.

Rules are set up in accordance to various design factors, such as design brief, site condition or materiality. And then by adjusting parameters, we can get lots of outcomes. Architects then become a selector, who use their knowledge to select the best suited solutions.

This generative process has quite a lot of benefits. Firstly, it simplified the design in a sense that it is instrumental. I’m not neglecting the design effort in defining the algorithm. What I’m trying to say is it gives logic into the early form finding process, which provides a principle that one can always refer to. Personally I believe this makes the early formative process less intangible .

Secondly, it booms designers’ creativity. It is always too easy to get stuck when we are working within our own mindset. That is partially the reason why we are encouraged to communicate our ideas to others and seek feedbacks. Generative process provides us an alternative pathway to think out of the box. It is very easy to generate thousands of forms using parametric design. More forms mean more possibilities. Then architects become selectors and secondary manufacturers, who process the raw forms into architecturally articulated configuration.

One example is the lecturer’s project in which he looked into the branching system of a tree. By adjusting the parameters, he ended up creating many skeleton-like forms, which were then developed into pavilion-like structures along highways for relaxation and recreation purposes. At the time when the project just started, no one knows where it would lead him. The form and the function emerged as the process proceeded. Its ability to push our own mindset to extreme is good in terms

of innovation.

Generative approach is also good in a sense that it is able to take input in relation to performance issues and constructability issues for simulation and then provide feedbacks to optimise design. Even though we also consider the building and site relationship a lot in daily practice. We generally work in a generic and over-simplified way. And it is hard to deal with many different factors at the same time. With the help of some simulation software, we can have more accurate data about building performance in certain condition. This helps to design a building, which responses to its context better.

In an age of interconnection and communication, complexity is what we have to deal with. Parametric design is just suitable for that need. And Schumacher even goes further and argues that “Parametricism is architecture’s answer to contemporary, computationally empowered civilisation” 2.

However, it is always too dangerous to overstate the importance and benefits of one thing. There is nothing that is 100% good.

The danger might occur through the overuse of technologies.

It is possible that once people get too excited about the scripts and algorithm they developed, they become so into the technology and unconsciously proceed to treat building as a way of showing off their advanced skills, but forget the design objectives and meanings, which is overall the heart of architecture 3 .

Secondly, it might lead to less concern about functionality.

Naturally people will be attracted to things that are novel.

This generative method empowers people to achieve that, which is great. But if the architecture gets to a stage when there is nothing more than just fancy shape, will that be a humiliation of humanity?

1. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 2. Schumacher, P. (2016), Parametricism 2.0: Gearing Up to Impact the Global Built Environment, Architectural Design, 86:8-17 ,2, doi: 10.1002/ad.2018 3. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 18

----Hugh Whitehead

One interesting counterpoint in against this overuse of parametric design is brought up by Mark Foster Gage 1. He argues that parametric design is just a tool not a style. The parametric logic is nothing new in built industry. And it is not always associated with digital technologies. It exists in Temple of Hera at Olympia (590BC), where the building measurement is based on the width of columns 2. It is also typical in traditional Chinese timber structure buildings. The proportion of each part of the building is measured according to “Cai”, which is the thickness of the standard timber used in that building3 . Changing the standard timber thickness will result in scaling of the whole building4. So parametric design is just a thinking method which highlights relationship. It is facilitated in the current age by computer techniques. There

are some stylistic preference for this topologically generated geometry —smooth, continuous and complex 5. But this is not the style for parametric design. This category is a signature for zaha hadid for example. But it is the architect’s style/ preference but not the tool’s. To summarise, Schumacher’s parametricism cannot be treated as an emerging style as he claimed.

The revolution in design industry also pushes construction industry as well. As Block argues, “parametricism needs real structural and engineering innovations to differentiate itself from purely image-driven architecture and to realise the full potential of complex curved geometry.”6

1-2, 5..Gage,M.,F.,(2016), A Hospice for Parametricism, Architectural Design, 86:128-133, 2, DOI: 10.1002/ad.2034 3-4. Liang, Sicheng (2011), A history of Chinese Architecture, (SDX Joint Publishing Company: Beijing), pp.2-6 6. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 19

FIG.15. SPATIAL TURBULENCE FIELD DIAGRAM (above)

FIG.19. THE LAYOUT

3.1 Case Study 1 Mathematics: the Winton Gallery, Science Museum , London, 2014-2016, by Zaha Hadid Architects

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his project is a very good example demonstrating the generative form finding process using parametric modelling techniques. It is rare in the sense that the form generating algorithm is based on the mathematical equations defining spatial turbulence field around a flying aircraft 1. It is not so common to have a built project, with clear functions, whose defining algorithm is non-performance and materiality oriented.

world it created: both complex and both interconnected.

This is not to say that it pays no attention to performance and fabrication. Instead, what I want to emphasis is that it is a beautiful parametric design with careful considerations to the design brief: to celebrate the huge impact mathematics had on human civilisation 2. The story, that this piece of design wish to share with the audience, gives this fancy form spirit.

To a smaller scale, the algorithm helps to generate numerous interesting forms for the central pod. It pushes designer’s imagination to the extreme. Instead of spending lots of time trying to explore anything new within your own mindset and constantly feel stuck, this method booms designers’ creativity.

What we need to do instead is evaluation and selection, which will be more efficient in the sense that more time is used to analyse rather than coming up with proposals.

Coming back to the form generation process, algorithm is designed to create a vector field in response to the airflow mathematical rules. Not only the curvy central pod is derived from this vector field, so is the exhibition layout and the floor decoration pattern 3 . And parametric technique gives design so much flexibility. By adjusting the parameters, thousands of form can be generated. But all the forms will still be under the control of the vector field. This process really highlights the interweaving relationship between the components. It almost creates an analogy between the real world and the small gallery

The benefits of this holistic approach can be very specific to this project. From a design perspective, it helps to convince the public about the design brief. From a performance aspect, this might be able to facilitate smooth circulation because of its accurate study of airflow science. This can be seen from the simulation analysis in peoples’ path and view.

FIG.16.17.18. THE MORPH OF THE PARAMETRICALLY DEFINED FORM (bottom) FIG.20, VIEW TOWARDS THE CENTRAL POD AND THE AIRCRAFT

In summary, this is a good example where parametric modelling are used as design tools to achieve meaningful outcomes.

1-3.Zaha Hadid Architects, Mathematics: gallery science museum, retracted from http://www.zaha-hadid.com/architecture/mathematics-gallery-science-museum/ 20

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3.2 Case Study 2

Molteni Arc Table, Milan 2010 by Foster+Partners

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his is a good example of generative form finding process.

Instead of directly manipulating the form, the design team generated the form by manipulating a series of forces and constraints acting on the input tensile structure 1.

The form is regarded as ‘found’ after the simulation ends, in another word, the tensile structure reaches its equilibrium state 2.

This allows designers to come up with a design, which is more structurally sound and ergonomically correct.

Not only the performance aspect was considered and well solved, so was the fabrication aspect. It is challenging to introduce material complexity, such as its thickness and edge profiling into the simulation. However, the design team managed to incorporate the two dimensional structurally simulated configuration into three dimensional form eventually. The digital model was sent to the fabricator directly and used in milling a 1:1 wooden prototype for final steel mould 3 .

It is worth mentioning that this generative process took structural performance and fabrication constraints as two major controlling factors in form finding. Instead of “post-rationalising” a carefully digitally composed geometry, designers integrate performance requirement and construction techniques to the centre of the design process4. This integration really helps to improve product quality.

I can see the opportunity to transform this furniture design into a larger scale building design.

However, I suspect that there is one potential factor that might compromise the design outcome. It is that the simulation doesn’t consider the properties of concrete much. After all, the table will be constructed by fibre-filled concrete. Concrete tends to crack trough out the time, which might potentially cause a safety issues.

Without a solid knowledge on concrete, I’m not able to judge the design. But by bringing up this thought, I wish to communicate that the computer simulation is not always 100% realistic and reliable. It is always good to be open-mind and be prepared to meet unexpected problems in the realisation of a digital design.

FIG.21. THE MOLTENI ARC TABLE (BOTTOM LEFT) FIG.22. FORCE ANALYSIS FIG.23. INITIAL INPUT FOR FORM FINDING THE TABLE’S GEOMETRY USING SMG’ CUSTOM SOFTWARE

The geometry is armed with its downstream logic, and finds an efficient path to manage geometrical relationships upstream. By doing so, the validation of the design occurs at simulation rather than by post-rationalising.

----Jethro Hon

1-4.Hon, J. (2013), Mathematical Ensemble Molteni Arc Table, Architectural Design, 83:32-33 (2), doi: 10.1002/ad.1549

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A.4 Conclusion Part A directs me to look at revolutionary design solutions which is of great potential to direct design futuring. I’ve learnt about critical design, which aims to challenge what is taken as granted and dark design, which uses negativity of humanity to discover the positive application. I believe this will be my design approach in the following weeks as it directs me to look at the dusty corner which has been ignored generally. And I believe it might be able to evoke some brand new ideas. As the yin yang theory suggests, there is no black if there is no white. And there is no white if there is no black. Everything is both white and dark. It depends on how we view it and it is our choice to drown into the darkness or discover the whiteness.

In terms of techniques, I’ve learnt the benefits of computer aided design especially the parametric modelling method.

They adopt a holistic approach which integrates form finding together with performance analysis as well as materiality analysis. This might be very helpful in make my future

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A.5 Learning Outcome design more practicable and helps my design intent being better translated into real prototypes.

Furthermore in the third part, I’m exposed to a new way of design thinking: generate form instead of compose form. This also opens up many opportunities and just makes the design process instrumental and tangible at the beginning.

In conclusion, I will use parametric modelling techniques to define a process which is associated with my personal darkness. And through the process, I will evaluate and select the ones that of potential to further develop in response to the brief.

I’ve learnt that computation design is able to help me analyse building performance in response to its site. I find this can be very helpful for some of my previous design studios. Because light and shadow is an important concept for my design. Before learning grasshopper, I generally approach this design concept based on a very basic and simplified understanding of sun path diagram. I found this is not enough to fully translate my design ideas into real composition. And it happened often in the past that only until I decided to finish up the design process and started to properly render my models, did I finally realise that the current composition doesn’t response to the daylight as I expect it to be. For example, the openings are way too small to introduce enough sunlight into one end of the corridor. And quite often because of this issue, I ended up failing to achieve my design intent. Because parametric modelling tools are able to simulate the sun path and at the same time also give designers freedom in updating the models without losing the connection to the simulation process. I am able to have a real time update on the building’s performance once I mortify any

shapes. This potentially can increase my working efficiency and accuracy in translating from ideas into reality.

Another thing that I might want to try on my previous works is the generative form finding method. Because I thought it might give me a bit more unexpected, unconventional but interesting forms. One of my previous work is inspired by the tree branching system. But because of the technology limitation, I interpreted the branching system in a very literal and superficial way. Now after this three week’s study, I might look into the tree branching science and develop an algorithm which can simulate the tree branch. And then apply this process on other basic forms in order to seek something new and useful.

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B.0. Fear

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B.1. Process B.2. Case Study 1.0 B.3. Case Study 2.0 B.4. Scripting the process B.5. Proposal 1

Criteria Design B.6. Proposal 2 B.7. Learning Outcomes

B.0. Fear of Death

Northing is sad until it’s over then everything is sad.

FEAR of DEATH

fear of death, fear of being alive when everyone I love die...

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his studio takes an unusual approach for design. Inspiration is sourced from our personal fear. And with the help of parametric tools, we expect to produce something beneficial to the public.

Some of my personal fear include DEATH, DECAY, AGE, BLIND; FEELING EMBARRASSED, DISAPPOINT OTHERS;CRY IN THE PUBLIC; LONELINESS and so on.

Based on that, I picked up DEATH as my major focus.

DEATH is a quite interesting topic to explore in this context due to its duality. On the one hand, it is the ultimate ending of life. It is heartbroken for many people. But on the other hand, it is very common and important in nature. It forms the matter recycling loop. It helps to recycle nutrients from dead body to new life. It is not something to be afraid of in this sense.

Given that death can be terrifying, everyone will eventually experience it one day. No matter how sad we are, we are not able to change this fact. Then, I asked myself, is there a way to overcome this fear? Or is that possible to make positive use of the fear? I hope at the end, my design can pose these questions to its audience as well. I don’t intend to convince anyone death is beautiful and it is nothing to be afraid of. Because even myself is not 100% believe in it. What I wish to convey is that fear is not a bad thing. If you are not able to overcome it, accept it and embrace it. At least fear makes one fast. The fear of death can be just the best reason to try hard to live well.

To find a specific process about death to inform my parametric design, I brainstormed the things that more or less related to it. (As the image at the left shows) At the end, I chose animal decomposition as my principle process to evaluate.

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B.1. Process

decaying...

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but not disappearing...

in fact, recycling...

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P

1 2

ROCESS DESCRIPTION:

acids and hydrogen sulphide and ammonia

ANIMAL DECOMPOSITION

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. DEATH: heart stop beating

. FRESH:

2.1 ALGOR MORTIS: Temperature drop/ rise to match ambient environment 2.2 RIGOR MORTIS: Muscular tissues become rigid and in capable of relaxing due to the permanent formation of actin-myosin cross bridges.

2.3 LIVOR MORTIS: Blood is no longer pumped into body. Gravity causes it drain to the dependent portions of the body. This creates an overall bluish-purple discolouration.

2.4 AUTOLYSIS: Cells start to lose their structure integrity due to the changing chemical conditions in the corpse. Cellular enzymes capable of initiating the breakdown of surrounding cells and tissues are released.

2.5 PUTREFACTION: The amount of oxygen is quickly depleted by cellular metabolism and aerobic microbes naturally presented in respiratory and gastrointestinal tracts. This creates an ideal environment for the proliferation of the anaerobic organisms. They multiply and consume the carbohydrates, lipids and proteins to produce a variety of substances including many

34

.

. BLOAT: The accumulation of gases due to the anaerobic metabolism increases the pressure within corpse. Eventually, gases are forced to escape from natural orifices. This starts to rupture the body.

Maggots make their way into the body and start to feed at this stage as well.

As the surface skin rupture more and more, more oxygen enter the body. And then more aerobic metabolism takes place, which will result in more gas accumulation and then more severe rupture. This is an reinforcing loop.

4

. ACTIVE DECAY: The corpse experiences greatest mass loss at this stage.

End of this stage is signified by the leave of the maggots.

5

DEATH

BODY RUPTURE MORE OXYGEN AEROBIC MICROBES INCREASE

ALGOR MORTIS

BLOAT

RIGOR MORTIS

LIVOR MORTIS

PUTREFACTION

AUTOLYSIS

ACTIVE DECAY

MAGGOTS COME IN

ADVANCED DECAY

DRY/REMAIN

. ADVANCED DECAY: Decomposition is largely inhibited during this stage due to the lose of readily available cadaveric material. The decomposition process causes the increase in soil carbon, nitrogen and nutrients in CDI surrounding. The adjacent vegetation starts to die because of the change in soil condition. . DRY/ REMAINS: Only skeleton, dry skin and cartilage are left.

6

35

B.2. Case Study 1.0 VoltaDom by Skylar Tibbits

V

oltaDom is created for MIT’s 150th anniversary celebration. It is designed by SJET,founded by Skylar Tibbits. Located in the hall way between two buildings, this piece of design takes inspiration from the vault elements in classical cathedrals. Instead of segmented the long barrel vault shape into flat panels. This design intensifies the depth of the doubly curved vault surface.

There are several reasons why I choose this project as precedents.

Firstly, these small vaults with oculi shape are read as the reminiscent of the great vaulted ceilings of classical cathedral. This reference can form a beautiful analogy with my process: death/decay. The classical vault loses its influence throughout the years. Just like a body is decaying.

But it is not the end. The idea of vault nutrients modern designers to develop contemporary interpretation of it.

Whereas, body decomposed and then nutrients the soil and other decomposers. This helps the growth of new life.

LEFT: FIG.24. THE IRREGULAR REMINISCENCE OF VAULTS COME TOGETHER FORMS A LONG BARREL VAULTED SPACE. TOP LEFT: FIG.25. THE ASSEMBLY METHOD TOP RIGHT: FIG.26. IT DISPLAYS HOW THE VAULTS SHAPE VIEWS. 36

And just in terms of form, the oculus in each cones can be a possible way to interpret two steps of my process: autolysis and putrefaction. What makes the form even more interesting is that the holes are not cut just for aesthetics. They are to shape views. The dynamics and irregularity of the shape bring interest and enrich people’s experience inside the space.

Lastly, these complex geometry can just be created by rolling flat piece of sheet and connect each cone together through steel strips. The simplicity in fabrication makes the project tangible.

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B.2.1. Break down the scripts

The script provided: CLOSEST POINT TEST to reduce the calculation amount for the split mesh process; use cross reference component

CREATE THE CONES use cone components directly

CUT HOLES ON THE CONE use isotrim components

TRANSFORM BERP INTO MESH

BRING VARIATIONS TO THE RADIUS OF CONES

SPLIT THE CONE MESH

SELECT THE MESH GROUP WITH THE LARGEST AREA

use the length of voronoi cell to define cone radius

Problem: The closest point test process is very confusing and it is very easy to get the data structure wrong. In response to that, I developed a new method to test closest point: POINTS

GRAFT

LINE

SMALLER THAN 2*RADIUS

AND

CULL PATTERN

LARGER THAN 0

RESULT WHICH IS READY FOR LATER MESH SPLIT

To explore more opportunities, another two methods of making “cones” are explored.

Method 1: Criteria for evaluation:

One is using loft. The good thing about this is that it booms the geometry variations of the ”cones“. Different shapes can be lofted together to form something unexpected. And one important thing is this method makes it is relatively easy to work on a curved surface. Because the bottom edge of the cones will intersect with each other. This is very important for the split mesh component to work well.

• relevance to my process:

By doing this exercise, I wish to explore a few techniques which can help me to build an architectural analogy with death. That’s why the potential to use the definition and form for my process is the most important thing I’m caring about.

POINTS

NORMAL PLANE

CIRCLES OR OTHER SHAPES

PROJECT ON BERP

MOVE

BOUNDING BOX

EVALUATE BOX provide center

SCALE

Method 2: The cone is made by pipe variable. And the radius of the pipe is modified by graph mapper. This pushes the definition further to the unexpected outcome.

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LOFT

•

potential function

•

constructability

I intend to use this as an exercise to practice my “alchemy“ skills. Because the iterations are produced with not much architectural thoughts. It posts challenges but also opportunities for post justification and polishment. So the most successful iterations should also be the ones with great potential to be developed into useful architectural space.

Even though constructability is not the main focus of this studio, I do include it as a criteria for this exercise.

This is because constructability is a major concern in the design of this precedent. And the whole reason why they go through such a long process from converting the cone berp into mesh, spliting the mesh, to selecting the one they want is to get constructable surfaces instead of just novel forms.

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B.2.2. Matrix

Species 1: basic transformation

height, radius, hole size, cone amount and seeds

RADIUS:0.69 HEIGHT: 0.7R HOLE:20% SEEDS: 3 POINTS: 10

R:0.69 H: 1.5R HOLE:40% S: 3 P: 20

R:0.69 H: 1.95R HOLE:20% S: 3 P: 10

R:0.2-0.8 H: 1.36R HOLE:30% S: 1 P: 35

R:0.69 H: 1.95R HOLE:70% S: 3 P: 10

R:0.2-0.8 H: 1.36R HOLE:30% S:4 P: 30

R:0.69 H: 1.95R HOLE:40% S: 9 P: 10

R:0.2-0.8 H: 1.36R HOLE:30% S: 6 P: 20

Species 2: points are mathematically defined cull pattern; graph mapper

CULL PATTERN: TTFF

CULL PATTERN: TFFF; REVERSE LIST; GRAPH MAPPER CHANGE

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CULL PATTERN: TTF

CULL PATTERN: TFFT; GRAPH MAPPER CHANGE

CULL PATTERN: TF

CULL PATTERN: TFT; GRAPH MAPPER CHANGE FROM BEZIER TO SINC

CULL PATTERN: TF ; REVERSE LIST

CULL PATTERN: FFT; GRAPH MAPPER CHANGE

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Species 3: other than cones sphere,cylinder and many other geometry are experimented in this species.

SPHERE; POINTS:14; HOLE: 20% TOP

SPHERE; POINTS:18, COLLECTED FROM A CURVED SURFACE; HOLE: 50% SIDE 10% BOTTOM; RADIUS IS RELATED TO Z COORDINATE OF THE POINTS

SPHERE; POINTS:14; HOLE: 30% TOP 30% BOTTOM

CIRCLE AND POLYGON LOFT; POINTS:100

CYLINDER; POINTS:24; HOLE: 10% SIDE

VORONOI CELL LOFT; POINTS:100

SPHERE; POINTS:18, COLLECTED FROM A CURVED SURFACE,; HOLE: 10% BOTTOM 20% TOP;RADIUS IS RELATED TO Z COORDINATE OF THE POINTS

VORONOI CELL LOFT; POINTS:100; WB

Species 4: on the curved surface

points are collected from curved surface and cones are oriented towards the direction of the normal vector at its point.

P:77; H:1.5; R:1.168; WB

REVERSE LIST FOR HEIGHT

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RADIUS IS POSITIVELY RELATED TO Z COORDINATES; WB

RANDOM NUMBERS FOR RADIUS

RADIUS AND HEIGHT ARE CONTROLLED BY POINT FIELDS

REVERSE LIST FOR RADIUS

POINT FIELD IS INSIDE THE MESH

POINT FIELD IS INSIDE THE MESH

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-

Species 5: pipe variable

The “cone” is made by pipe variable in this species. This method is experimented on several dramatically different surfaces.

SURFACE 1

SURFACE 2

SURFACE 3 THIS IS ACTUALLY BASED ON THE FLOWER GEOMETRY I CREATED FOR MY PROCESS.

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SURFACE 1

SURFACE 2

SURFACE 3 THIS IS ACTUALLY BASED ON THE FLOWER GEOMETRY I CREATED FOR MY PROCESS.

SURFACE 1

SURFACE 2

SURFACE 4 CUBE

SURFACE 2

SURFACE 3 THIS IS ACTUALLY BASED ON THE FLOWER GEOMETRY I CREATED FOR MY PROCESS.

SURFACE 4 CUBE

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B.2.3. Successful iterations

First successful iteration:

F

irstly, I believe this iteration can be one great way to express the process of rigor mortis. It is made based on the flower form I come up with for my process design.

The cone can be interpreted as “myosin bridge“, which is permanently formed a few hours after death. Because of that, muscles are not able to contract. Hence body become rigid. Apart from the physical analogy, this iteration forms emotional analogy with rigor mortis as well. It successfully transforms a soft, balanced and calm form into a dynamic and aggressive one.

Secondly, it opens up more possibilities for my process design. Because itself can be used for other steps in the process such as autolysis and body rupture. This will be very different from what I produced so far purely based on the flower form.

Thirdly, it is of potential to be developed into useful architectural space. For example, if rotate it 90 degrees along x axis, it can be used as a special device for exhibition. The treasure will be placed in the middle void. People can only view it through the small aperture of the cones. The idea of deliberately preventing people to see the whole treasure can be very good at triggering people’s curiosity and interest to the treasure.

Lastly, all the surface of this iteration are constructable by using similar technique with the precedent.

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Second successful iteration:

T

here are three reasons why I pick this iteration as one of the most successful ones.

Firstly, I believe it can be a good option as base geometry for my process design. Because it forms a loop, which can symbolise the loop of death and rebirth. I always have the intention to show a gradual transition from fresh body to skeleton by using a single object in a single point of time. This iteration is just the perfect candidate to achieve this idea.

Secondly, this iteration is open to many architectural use. It can be a corridor or linear exhibition space. This reminds me of the cloister in the monastery. The aperture on the top provides perfect top light.

It can be a walkway, where people can step upon as well. Also, these little hills can be a good playground for kids.

Lastly, the split mesh process works really well in this iteration. Apart from the cones away from the loop, the cut edge are smooth and neat. This makes the surface constructable by rolling a flat piece of plastic which has good tensile strength.

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Third successful iteration:

T

he main reason I believe this is a successful iteration is that it successfully create a hierarchy of privacy. As people wandering around the cube, the interior space will sometimes be hidden and sometimes be shown.

It plays with density of the modules: some area are not covered by cones and then people can see through the gap. Some area have cones densely covered. Then it gives a good level of privacy to the interior.

It also plays with the shape of the module itself. The long skinny protrusion prevents people to see anything from the side. Only if they are standing at the front of the protrusions, the interior space will be revealed through the small holes at the end of each protrusions.

In terms of constructability, this iteration is not considered to be very good. Because the cones near the edge of the cube are not very well solved.

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Fourth successful iteration:

G

iven that this iteration doesn’t look as novel as the others, I do like it for a few reasons.

Firstly, it has a close relationship with my process. Not until I’m preparing this journal, did I realise that the plan of this iteration looks so similar with the geometry I used for my process poster. To me it symbolises the decaying of the “flower of life“. It shows a moment of time in the decomposition process.

Secondly, this iteration has already shown clear clues for architectural use. Among the many possibilities, I like the idea that this potentially can be a maze or an escape playing room. Some failure in mesh split can be seen here. But I view it not as a failure. They can be developed into windows or doors.

Thirdly, this iteration can be easily constructed by concrete.

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B.3. Case Study 2.0 reverse engineering Double Agent White by Marc Fornes

D

ouble Agent White is one prototype of a series of experimentations using double agent system. This means the structural skin is developed and optimised by two systems simultaneously. One is a macro set definition,which is in charge of generating overall organic geometry and subdividing them into small pieces which are able to be fabricated by flat aluminium sheets. The other is used to craft aperture on the surface.

There are a few challenges that I met during the reverse engineering process.

H

ow to generate such an organic geometry is the first question that I asked myself. Clearly, it is not just about boolean a few spheres together. Instead, I tried to use metaball, which is really good at giving me this smoothly joined spherical skin. But I had trouble to convert the isocurve created by metaball into surfaces or meshes. I went to the grasshopper forum for solutions. There I found a VB script which takes points as input and produce the metaball mesh directly. This is exactly what I want.

S

econdly, I couldn’t figure out how they segmented the geometry into developable strips.

My solutions for this so far is to take advantages of the characteristics of mesh. Make sure every mesh face is triangular. And then use the triangles as basic developable “strips�. These triangles can be grouped together to form a larger unit. But clearly, this grouping over-simplified the mesh surface. It is very likely to cause difficulty in fabrication because each strip will be under great tension.

T

hirdly, how to craft these random holes is another difficult question. How to achieve this level of randomness without damaging any strip edges makes the question even harder.

To solve this problem, I attempted to craft the holes first and then try to find a way to segment it into strips later.

But this process failed because of the difficulty in doing the second step.

This image shows my attempt to use image sampling to get random holes on the surface of a sphere.

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B.3.1. Definition Explanation

STEP 1:

STEP 2:

Points to control the center of the metaballs Generate the mesh skin using VB script downloaded from grasshopper forum.

STEP 3:

STEP 4:

STEP 5:

STEP 6:

Triangulate each mesh surface to make sure each face is flat.

In this step, perpendicular lines are drawn from the centre of each mesh face to its three boundary lines. The shortest perpendicular lines are selected to define the hole radius.

Because the holes cannot cross the triangle boundary. Their radii must be controlled smaller than the distance of the shortest perpendicular line in each triangle.

Circles are drawn on the mesh surface. The radii are also associated with the circle centre location.

The triangle boundary are lofted with the circles.

B.2.4. Reflection

I

started analyse this project with the intention to integrate it to my process design.

I feel that I could potentially learn a few techniques to express the autolysis process. Because visually, the dissolving skin is a very good representation for that. The holes are of “random” shapes and size. The method of achieving this level of randomness is something that I wish to learn and use in my own process exploration.

However, limited by time and techniques, I didn’t really find a good method to bing randomness to the pattern. I actually avoid this problem by crafting pretty regular holes on the surface through two ways: one is using weaverbird, the other is to create plane on the mesh surface and then draw circles on the plane. My biggest obstacle is that I don’t know how to use larger strips to represent the mesh without compromising the complexity of the geometry. Because this will definitely result in the bending and twisting of the flat material. I’m guessing there will be some force simulation tests happening to make sure the material is able to stay in position. If this problem can be overcomed, then there will be a larger area that I can work on to create variations in pattern.

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STEP 4 alternative:

STEP 5 alternative:

Another method is used to craft holes on mesh surface. Weaverbird is really good in creating pattern on mesh surface quickly. But the drawback is that the hole pattern are identical.

The holes are modified into more smooth geometry.

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B.4. Scripting the Process Family 1: Leptospermum

Genus 1:

This is the primitive genus.

The base geometry was modified using various methods.

1.1.1 balanced 6 spheres

This species emerges at very early stage of the evolution. It is inspired by the “flower of life” sacred geometry. But the balanced symmetrical composition is too still and even boring.

1.1.2 radius affected by point fields

1.1.3 radius affected by point

1.1.4 radius affected by point

1.1.5 metaballs and loft

1.1.6 under pressing force

1.2.2 myosin bridge

1.2.4 myosin bridge random

1.2.5 myosin bridge centralised

1.2.6 myosin bridge extended

1.2.7 exoskeleton

This species survive in the evolution for a few reasons. Its asymmetrical composition brings dynamics and variations. In addition, the surfaces are all connected, which means it is easy to deal with in the following steps.

Point chargers are placed into different locations. The result shows more variations in sphere radius.

But because the spheres are not all connected. This will result uneven distribution of points in the next step.

So this species isn’t very ideal.

This species shows more variations in sphere radius. It is very good at expressing the dynamics and tension between each sphere. Even though it is still, I’m able to feel a sense of movement from it. So this species can be a good option to try in the fine tuning process.

This species is my attempt to use metaball to create something more fluid and smoothly connected. But I have trouble in lofting the metaball contours together into a solid properly.

This species is made by applying pressing force to 1.1.2.

Unfortunately, the results of using pressing force are mostly out of control. Only this one maintains its shape in an ordered manner.

1.1.7 under string force

This species is produced by applying string force to 1.1.2. It does create some unexpected forms which have pointed edge. However the limitation is that this species is made by mesh, which cannot very easily be fitted into my definition.

1.1.8 under string force

A few control points are deleted to produce this species. It further modifies the form Even though this form isn’t what I ideally want, it is still good to see how far the definition can lead me to.

Genus 2:

This genus is produced with the intention to express the rigor mortis process.

1.2.1 imprisoning

I quite like this species because it is excellent in expressing the idea of confinement.

This species is the most competitive one for a few reasons. Firstly, it forms perfect analogy with rigor mortis process. Secondly, it has a more or less balanced proportion, which makes it a very good base structure for further addition of forms.

This species breaks the order of 1.2.2 into a more random and complex composition. It is good at expressing the anxious, distorted and emotional feeling one may experience if death happens to people they love.

This species has a centralised bridge arrangement.

By extend the lines beyond the boundary of the spherical skin, this species gives me a more aggressive impression.

The central ring in 1.2.2 is moved to the outside of the spherical skin. The species starts with the horrifying idea of confinement, but ends with a beautiful flower-like shape.

1.2.8 alien 1

This species is actually inspired by my case 1 study. It exaggerates the myosin bridge to a cone-like form. It is excellent in radically changing the form into somewhere I never imagined before.

1.2.9 alien 2

Different from 1.2.8, this species modifies the radius of the cone to give it an overall more chunky impression.

Genus 3:

This genus is produced with the intention to express the livor mortis process.

1.3.1 dancing balls

I quite like this species because the flying spheres indicate a sense of elegant movement. The main reason it is not adapted later on is because the flying spheres don’t have a strong connection to the rest.

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1.3.2 dancing balls 2

Another mathematically defined curved is used to map the location of the spheres.

1.3.3 stroke

I like the fluidly of the red stroke.

1.3.4 blood drops

This is a more vivid expression of the process: blood is falling under gravity.

1.3.5 blood drops 2

The point charger location is changed. And more “blood vessels” are added.

1.3.6 blood drops 3

This species has so far the most elegant (pleasant) form.

1.3.7 blood drops 4

This species interpreted the process using spheres. It does look more pleasing than 1.3.6.

1.3.8 alien

This species is derived from 1.2.9.

With the addition of blood spheres, it creates a creep but beautiful atmosphere.

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Genus 4:

This genus is produced with the intention to show the gradual decaying of the “flower of life“.Two methods are used to express this process.

1.4.1 The gradual subdivision and reduction of voronoi cells.

1.4.2 Surfaces are gradually punched by holes.

Genus 5:

This genus is considered to be the most recently emerged in this family. It takes the advantages from its ancestors and combines them into various compositions.

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1.5.1 This is produced with the most classic components developed in the

1.5.2 I quite like this species for a few reasons: Firstly, the flower form is softened

1.5.3 The strength of this species is its manipulation of the volume porosity.

1.5.4 As usual, the last species always provides an uncommon solutions. Here the

previous genus. It has a balanced composition. The products of livor and

and partially hidden here. It leaves more space void and open. This is particularly

I can start to imagine when people are wandering from one volume to another, the

decomposition process is applied on the product of rigor mortis. And holes are cut

rigor mortis can be used for structural supports. The decaying spheres

good in creating a hierarchy in space. A gradual rising of privacy is achieved when

exterior scene sometimes shows and sometimes disappear. The solid remnants of the

in the mesh surfaces in various ways to indicate a progress from slightly decay to

indicate a sense of gradual transformation. What is good about this is

people make their way to the heart of the space. Secondly, by rotating it upside down,

spheres are made by semi-transparent plastic. This intends to create an enclosed space

advanced decay. The combination gives me a splendid impression. It almost shouts

it uses a gentle and elegant language to express a dark and terrifying

I can already see a possible usage of this form. For these two reasons, I will choose this

in contrast with the porous volume in other places but at the same time doesn’t makes

out to the public that death can be such a glorious thing that we all can appreciate

process.

as one of my proposals.

people feel too constrained.

instead of rejecting.

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Family 2: tea tree in twilight

In this family, I dealt mainly with the body rupture process.

Genus 1:

Here only the solid remnants are exploded away. The porous mesh and bones are remained in place. The expectation of this process is to get unexpected combinations of solid and void, hence provides various possibilities for spatial arrangement and usage.

2.1.1

The location of the floating berps is ideal. The big chunk in the middle almost like crashed into the form. This gives the form motion. The contrast between the solid and the void is very clear in the center as well. I’m expecting to get very contrasting experience when people manage to get inside the central solid. And also , the berps are not floating too far away from the main structure. This potentially can make the fabrication process easier.

2.1.6

Here the product of livor mortis is added. But overall it gets too busy and messy because multiple very much unrelated languages are grafted together.

2.1.2

Other location is experimented.

2.1.7

Another product of livor mortis is added. The two systems doesn’t fit in very well. But I can see the potential to combine these two by using the blood streams as structural support.

2.1.3

Other location is experimented. Here instead of pushing all the berps to the exterior, they are pulled to the center.

The densely packed center forms sharp contrast with the more open space at the perimeter. I can see the potential to transform the central space into a exhibition space, which invites people to view the world at the heart of death.

2.1.8

Another product of livor mortis is added to 2.1.3. It looks a bit too much to me.

2.1.4

Shift lists is used to bring variations in. And the floating berps are segmented into smaller pieces. With the increasing number of berps, the idea of decaying is emphasized.

2.1.9

This is actually a good combination of the two systems.

Compositionally it looks great. But the challenge will be about how to evaluate it through architectural eyes. So far apart from a floating sculpture, I haven’t come up with a proper function for it.

2.1.5

Shift lists is used to bring variations in. And the floating berps are segmented into smaller pieces. This composition looks very beautiful as an image. But I doubt its constructability.

2.1.10

This is another successful combination. Firstly, the composition looks very appealing. And I like the messy center which can symbolise the distorted mind of the one who live, while the perimeter floating berps symbolizes the dead is gradually decaying and leaving.

4 species are chosen to be further developed to the second proposal.

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Genus 2:

Here only the location of the mesh groups are changed. A few products of the livor and rigor mortis process is added with the intention to generate more variations and possibilities.

2.2.1

I like the location of the meshes. But it might because the mesh groups are too large, the result looks not balanced.

2.2.2

I like the location of the meshes. By releasing the mesh out of the skeleton, the texture of the mesh are expressed more clearly. This helps to communicate the idea of decaying, encourage unusual perspectives to view the world and also services as an ornamentation which is visually appealing and at the same time closely associated with the design intent and function.

2.2.3

This species is very different from the others because it adapts another rigor mortis bone system. It looks messy but this randomness has its purpose. It symbolizes the uneasy feeling of losing someone we love. However, it falls the alchemy process as the finial product doesn’t communicate a positive idea and at least doesn’t look appealing and pleasing.

2.2.4

This species demonstrates the possibilities to combine the product of livor mortis to this system,

2.2.5

This species demonstrates the possibilities to combine the product of livor mortis to this system,

Genus 3:

The mesh is exploded here and moved to random directions.

2.3.1

Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.

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2.3.2

Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.

2.3.3

Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.

2.3.4

Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.

2.3.5

Visually this is great in representing the process of gradually disappearing. But hard to be realized in reality.

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Family 3: Serpentine

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Family 4: Magic Cube

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B.5. Proposal 1: 3m * 3m*3m FINE TUNING

1.5.2.1 The modification of “flesh” remnants number, size and

Design Intent:

I

1.5.2 WHERE I START

have the intention to transform this species 1.5.2 to a bench in the park.

While its main function is a bench which is designed big enough for one person to sit inside and lean against, it is open for other uses. For example, itself can be an interactive small pavilion to decorate the neighbourhood. I’m imaging its unusual form could also trigger people’s curiosity to come close and have a look. Little kids will be able to get inside the space defined by the bones at the perimeter and play with the suspended red plastic balls.

I’m imaging the mesh surface can be a ornamentation and at the same time, it can shape views and cast shadows with unusual patterns.

And I hope this design can create a gradual increase in the level of privacy when people are approaching it and eventually try its bench. This is for the sake of two reasons: Firstly, I think it is really necessary to have a little space of our own in the public space where we can retreat. Secondly, I believe this forms a beautiful analogy with death, as eventually death is a lonely journey. It means the separation with the one you love.

But it doesn’t end up in the sad end. By inviting people to the heart of death, it also encourage them to view the world as an outsider. I have the imagination in head that when people are sitting inside this form, viewing their family or friends playing nearby, it is so easy to fresh up and appreciate how lucky and happy their life are again.

1.5.2.1.1

1.5.2.1.2

1.5.2.1.3

1.5.2.1.4

Selection Criteria:

T

o achieve the design intent, a few criteria are set up to value and select the fine tuning iterations : 1. Needs to provide surface big enough and moderately comfortable for one person to sit upon and lean against.

2. Needs to show a hierarchy in spatial experience. The exoskeleton creates a more porous volume which is open to the public. While the space inside the flower is screened off by the balls to create a sense of privacy in the crowd.

3. Needs to shape people’s view and arise their curiosity to explore.

4. Needs to be shows dynamics and the process of decaying.

1.5.2.1.5 66

1.5.2.1.6

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1.5.2.3.1

1.5.2.2.1

1.5.2.2.2

1.5.2.3.2

1.5.2.2.3

1.5.2.3.3

1.5.2.2.4

1.5.2.2.5

1.5.2.2 The modification of radius, number and shape of the livor mortis product.

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1.5.2.3.4

1.5.2.1 The modification of “myosin bridge” ‘s umber, size and location 69

B.5. Proposal 1:

Cross section looking down

Cross section looking up

The bench is designed to be just big enough for one person to sit on and have some “me“ time.

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The spheres serve as a screen to distort outsiders’ view towards the person sitting inside the space.

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View from the inside to the outside

The space defined by the “skeleton“ is accessible for kids.

The holes are designed to be a symbol of decaying. But it can also be some weird apertures on the surface, which are able to rise people’s curiosity to look through.

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“Shelter”

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B.6. Proposal 2: 6m *6m* 6m

Strength learnt from the iterations: 2.1.1 t’s very important to have a few floating solid crashing into the structure to express the sense of dynamics and possibly create an effect of sublime.

I have the intention to use the central solid space as a place for self-reflection.

Entering that space, people will be physically separated from the world. Their vision towards the outside will be blurred. And they are invisible from the outside as well. To me this condition potentially can form an analogy to death. (This idea is illustrated in the sketch below.)

I

Design intent: I intend to design a public rock climbing entertainment space both for adults and kids.

Because the dynamic forms fit really well in the concept of playfulness, challenge and surprise.

Selection Criteria: There are a few criteria need to be considered in the fine tuning process: 1. Size wise: Because this proposal is supposed to be 6m* 6m * 6m, which is substantially larger than the iterations that I made before. Special consideration need to be paid to the size in order to make the function really work.

2.1.1

2. The location of the floating solids need to be carefully considered.

3. How the livor mortis product fit into the system need to be addressed.

2.1.7 he livor mortis products provide a possible solution for the fixing of floating elements. And they help to express the concept of death a little clearer.

I have the idea in mind that these “vessels“ potentially can be used as slides for the brave to give it a try. But this is not very possible in the scale I’m working on right now though. And they are too steep for sliders as well.

T

2.1.3 his one emphasizes the benefits of having a few exploded solids clustered in the center. Different from 2.1.1, it breaks the large central solid into segments, which can encourage view from different perspectives.

T

2.1.10 his is a different solution for the location of floating solids.

Compositionally it looks very appealing. I hope I can manage to combine this with the other iterations

T

2.1.7

2.1.3

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2.1.10

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B.6. Proposal 2: Fine Tuning

1. Modifying the location of the exploded solids (livor moris product is omitted here for visual clarity)

1.1

1.5

2.1

1.2

1.6

2.2

1.3

1.7

1.4

1.8

2.4

1.9

1.10

2.3

2.5

2. Modifying the number and porosity of the “blood vessels�.

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B.6. Proposal 2:

top view

cross section looking down

cross section looking up

The floating solids are made by some reflective semi-transparent plastics. It doesn’t allow people from outside view what is happening inside. But it permits blurry visual access to the exterior for people inside. These are designed to be a meditation space for people to experience “death“ through isolation and start to re-evaluate their life.

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“What is this? How could I get up there?“

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A place for rock climbing and meditation

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This render shows the materiality of the floating solids very clearly. And it gives a clue about how people are able to move through the space.

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B.7: Learning Outcomes

T

hese few weeks are intense but interesting and fruitful for me.

Firstly, I feel comfortable to use grasshopper as a digital design tool now. And I’m able to create very different iterations to enrich my own design resource library. What isn’t really good is that I didn’t push myself further in the reverse engineering exercise.

At that time, partially due to time limit, I pretty much work within the knowledge that I already know.

Secondly, more importantly, I get a clearer idea about how this design process works now. With a process related to personal fear as a guide, we build algorithm to see what surprise it can bring to us. But we don’t stop there. The next step is to filter the results with a careful consideration of their potential function and relationship to their audience. The second part is equally important with the experimentation process. What I’m satisfied is that I did manage to critically evaluate the results and select the ones with the highest potential to be further developed. But at the end I didn’t manage to provide a proposal which gives a convincing spatial solutions to the design intent I wish to achieve.

Thirdly, I learnt to work in an organised way. Initially, I didn’t have a really good working habit. My grasshopper canvas used to be really messy with lines crossing each other and even myself found it is really hard to understand what I was trying to do. And I didn’t record the parameter change for each iteration initially. And the baked geometry are placed randomly in rhino with no label or clear sequence. This made the matrix making process really hard for me. I have to go back and spend time to delete useless things, organise the left into different layers and set proper camera to make sure the screenshots are taken at the same angle. This gives me a really good lesson on how to work efficiently.

more related to my concept and I can see it opens up a lot more opportunities for different spatial experiences. However, It’s a pity that I didn’t spend enough time on discovering its spatial qualities and how people engage with it. Because of that, my idea of using this space as a rock climbing and self-refection space isn’t very convincing at the moment. For example, questions like is this floating solids big enough for people to get into, how do people get into the floating solids and what is the interior quality of that space are what I didn’t answer yet. I believe it is not an oversimplification to have functions like these. But I do agree that it is very necessary to have a detailed study of the spatial qualities to justify that. And it is very likely that after the spatial analysis, there will be a few more possible functions emerge.

In the fine tuning process, I started to adjust the algorithm to achieve the form that I wish to have. This is a very different experience from the early exploration process. Back at that time, I was leaded by the algorithm. While at this stage, I start to take control again. I believe this is a good start but the fine tuning process needs to be done more carefully with more detailed consideration to people’s experience within it.

And so far even though I always refer to my death process as my guide to build the algorithm, I just noticed that I’ve moved slightly away from the fear unconsciously. Because overall I’m still afraid of death. How could someone who is still afraid of something convince her audience that the thing is just not scary at all? Personally, I think it is more worthwhile to create a space which encourage people to accept and embrace the fear, and possibly use it as the motivation to live well.

So I guess in the following week, what I will do is to focus on proposal 2 and start to explore how people use this space and start to consider how can I articulate the forms to communicate my understanding of death with them.

More specifically to my proposals, I feel the second proposal is

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C

detailed design

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C.1.Design Concept C.2. 3D Prototype - large objects C.3. 3D Prototype - small objects C.4. Learning Objectives and Outcomes

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C.1. Design Concept

Feedback from Interim Presentation

R

ight now it looks more like an object rather than architecture which provides habitable and usable space. The function is rather vague. It opens up many opportunities for developing interesting spatial qualities. However, these spatial qualities haven’t be explored yet.

This should be one of the focus for the coming weeks.

Additionally, there is a need to enrich the conceptual narrative. Because the intention for this design is not only to use fear to generate interesting forms. More importantly, it needs to have certain educational functions. It needs to express the author’s understanding towards fear and provide ways for healing. Once these problems are solved, the project will have the spirit of its own and become meaningful.

In the next stage, it is also important to consider fabrication. This studio uses 3D printing as the major method for fabrication. This eliminates lots of troubles in terms of testing material and joints. But it doesn’t mean this method doesn’t require any modification to the model. Right now, the project is very much restrained in the two dimensional world. There is a need to rationalise the form for smooth transition from virtual to reality.

I

Response

n part B, I didn’t spend much time in resolving the design with an architectural mind in head. This has to do with the methodology I used. Instead of looking into the result, I was more concerned with the algorithm and the main goal for designing the algorithm is to form an analogy to decomposition process rather than achieving certain form or fulfill any function needs. Working completely following the generative approach shows its drawbacks. It opens up more opportunities for design.

But it also poses difficult problems for designers to rationalise the form. The architectural thoughts set up new agenda. To fit the form seamlessly, there is a need to come back to grasshopper to manipulate and even modify the algorithm and then test the results.

I’m not saying that this method is not good. Because It is common to go back and forth in the design process. However, I argues It is better to follow the middle path. Having the generative mind on at the beginning but don’t wait to the last minute to reintroduce compositional mind back. It’s better to switch between these two moods in a shorter and more frequent time intervals. This may helps to reduce the gap between the form and the function, and reduce the chance of having a great idea and a complex form but fail to transform it from art to architecture.

This informs me to lean more to composition at this part. Instead of working through algorithm, I work directly on the model now. It helps me to have a quick feedback on whether compositionally this works or not.

To make the space more usable and inhabitable, I decide to knock the model down to horizontal plane. Then it will be easier for people to interact with the installation.

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Major changes to PartB proposal 2 in consideration of fabrication:

T

his studio chooses 3D print as fabrication method with the vision that large-scale 3D print building will be tangible and even economical to build in the future.

A few modifications to the design were done in order to make it 3d printable.

The skeleton structure is too dense here. This needs to be simplied.And the skeleton is too thin now. It also needs to be thickened to at least 2mm in diameter.

They are not closed polysurface yet, which means I need to cap them in order to 3d print.

The skeleton system overlaps with the capsules. This makes the 3d printing process very difficult. The interaction between the skeleton and caspsules nees to be minised for easy fabrication.

The holes on the capsules varies in diameters. Some of them are way under 2mm. And in fact these hollow members are hard to print because of the difficulty in removing supporting materials inside. To minimise the discrepancies between computer renderings and physical model, the number of these members will be reduced.

A few capsules are floating in the air. This is not realistic. They need to be moved to intersect with the columns.

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How to heal the fear? What function?

-----A journey of self-educating

W

ith the help of grasshopper, I developed my own formal vocabulary. In part C, this vocabulary is articulated to tie back to the narrative of healing the fear. It is important to assign a function to the form now. The function should be specific to the concept and form.

While resolving these problems, I found the collective discussion in studio is very beneficial. It transforms my understanding of death completely.

After

Before NARRATIVE

I

used to have a strong belief that the fear of tragic loss is not able to be overcame. As I said in Part B, “I don’t intend to convince anyone death is beautiful and it is nothing to be afraid of. Because even myself is not 100% believe in it.”

Instead, I propose to face the fear and make positive use of it. I wish to use my design to tell people that fear is not a bad thing. It is common.

Feeling afraid doesn’t mean you are coward and vulnerable. Instead, it can be a sign indicating you are about to become faster and stronger. It is in fact the catalyst for maturity. It can be the exact reason for people to live in the current and enjoy every moment of their life.

RESPONSE

I

n response to this narrative, I experimented a few materials, such as rough concrete, brick wall with graffiti and stone, to create a setting which reminds people the presence of death immediately. I expect and welcome the fact that different people will response to the settings differently: Some may appreciate the sublimity. But others may feel upset. Standing at the heart of death reminds them how beautiful and pleasing their life are outside this space. And the contrast between the form and the beautiful landscape also helps to trigger the re-appreciation to their own life. But in terms of function, it wasn’t developed further than a place for meditation.

In transition

NARRATIVE & RESPONSE

A

RESPONSE 2

I

n order to give the design power in healing, I’m thinking of using bright colours and strong sunlight to create a peaceful, lovely, playful and even sacred cemetery which helps these who lost their families step out of the shadow quickly. And I also intend to invite the community to use this space as a gathering place as well. By introduce cemetery to our daily life, the acceptance to death can be increased and the sense of loss can be softened as the physical distance between the dead and the live are shortened. Also a gathering place full of happy face and laughers also breaks the suffocating silence typical in conventional graveyard.

The turning point came during one discussion in the studio. Johnson broughtuptheideaofUSINGASHTOPLANTTREES.Initially,Ifoundthis idea was very confronting. It was creep, scary and even disrespectful.

However, a quick research of this topic swept away all the doubts. In fact, it is the opposite of horror. It brings peace to people. The death of one life nourishes another life to thrive. This exactly follows the decomposition process. Death is not the end. I finally remembered. It is a stage of the recycling system of our biosphere. Decaying is not the equivalent to disappearing. It is a process of relocating and redistributing!

CRITIC 1. The function is vague.

2. Why rough concrete and old brick wall with graffiti are the best material in expressing death?

Truly a ruin can be linked to death. But death has more faces than that. I only addressed the negativity of the issue. And because of that the proposal isn’t successful in healing the fear. As the design only functions to trigger the association to death. It doesn’t change people’s attitude towards it.

3. It is more effective to use function such as cemetery to firmly bond the concept of death to the form.

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ll these struggles are caused by my negative understanding of death. I was so used to think death is sad. And I didn’t give it a single chance to debate for itself.

In transition CRITIC 2

H

owever, still, I believe that fear and pain is unavoidable.

Also this function brings up lots of troubles: is this a good graveyard? Are people willing to bury their loved ones in a noisy plaza and having the ash urn suspended way up in the sky? It is rather a small graveyard and it might quickly reach its maximum capacity for containing ash. These problems provides the function from working well.

This finally shines light into my fear. It ties very well into the concept of healing the fear of death. As the reason that I’m afraid of death is that I thought death is the ultimate end and I hate to say goodbye.

But this idea vividly convinces people that death is not the end. It is really not the end. I’m not saying the spirit of someone will survive and go to either heaven or hell. I’m talking about physical tangible life in the world we are living in. Since death becomes a semicolon rather than a full stop, it all of a sudden becomes not so sad and heavy. Life continue on in another forms. Death is in fact a gate leading to the metamorphosis of life.

Additionally, this cemetery/garden idea also leads people who are alive to love every plant, every creature around them. As, very likely, these creatures inherit bits and pieces from our loved ones. Then every creature shares emotions, every life is cherished. Isn’t this a much better way of healing?

The idea of using death as the nutrient for life and use life as the monument for death is just so powerful.

Death is not scary anymore. Because it becomes nothing more than a word. We gives it new meaning. The meaning is life. Life shows its ultimate triumph over death.

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Site analysis

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C.2. 3D Prototype - large installation Translate virtual into reality: Unavoidable discrepancies

VS

I

n order to make the model printable. I did sacrifice a few details.

Firstly, the porous capsules are replaced by solid ones. Because it is very unlikely to print these capsules as hollow elements. The hole diameter somethimes are smaller than 2mm and it is hard to contrl. The supporting material filled inside the capsules are very unlikely to be removed perfectly.

Secondly, a few capsules are meant to be open to the exterior and accessible for people. However, this is not expressed in the physical model. There are two reasons for this discrepancy: firstly, I omited this detail in order to decrease the risk of failing in fabrication. Secondly, opening up some of the spaces is actually an idea which hadn’t been resolved very well when I sent the file for fabrication.

Lastly, the colour and materiality are hard to be expressed through plastic 3d printing. To compensate, I paid more attention to computer renderings in order to communicate the concept clearer.

VS

H

owever, I don’t think this is a bad thing because there is no point to have both the renderings and model communicating the same messages.

I appreciate the fact that 3D print model strips away all the additives and expresses the form so frankly and accurately. It creates a different atmosphere which is calm and even cruel. It vividly expresses many original features of the form: non-human scale and many sharp corners. Don’t forget this form was actually created with a close reference to the corpus decomposition process. I would like to refer the physical model as a representation of the negative understanding of death. This forms a beautiful contrast with the renderings which were produced following the cemetery/ garden narrative. It is full of life. It is colorful.

The sharp corners are softened by the colour and vegetations. They are now described as dynamic and playful rather than spiky and cruel. This is the new understanding of death I wish to convey to my audience.

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Virtual

Virtual

Reality

Reality

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A

.These elements are suspected in the air and supported by 3 very slinder columns. Its supporting materials will be resting, not on ground, but on the surfaces of other elements. This may reasult in rough surface finish. And very likely, it cannot be printed successfully because of lack in sufficient support. This part will later on be glued to the columns using plastic glue.

Fabrication sequence:

I

n order to fasten the fabrication process and also reduce the difficulty in removing supporting materials, I devided my model into 4 parts. They can be printed at the same time. This method is very suitable for my model becasue there are a lot of discrete elements.

It is also neccessary because there are many floating capsules which require a large amount of supporting materials. These materials are not all standing on the base. Some of them are resting on the surface of other members. This increases the chance for rough finish, and even damage to the fragile elements. However, having them printed separately, these problems are avoided.

A D

Attempt 1: Everything except the skeleton structure are printed together. This is estimated to take 18hours to print.

B

Attempt 2: The 5mm base is removed here.

This saves me 6 hours suprisely. However the part in circle has too many supporting materials. It might be very difficult to get rid of.

D

C

.Other small fragments

C

Part C: The skeleton structure was estimated to take 6 hours and 19mins to print.

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Part B: estimated to take 6hours and 50 mins to print

Part C: Before the removal of supporting material.

I’ve used tweezer and small scissor to help me get rid of them. Two bones were broken during the process. They were joined back using plastic glues.

.The skeleton structure is actually not very suitable for 3D printing. It requires many supporting materials, which booms the plastic 3d printing time.

At the same time, it is very thin and fragile. This makes it also not suitable for powder 3D print. For these two reasons, I decided to still use plastic but print it separately.

Part C: After the removal of supporting material.

B

Red: The tip of the column is chopped in order to accomodate Part A. Orange: The column is enlongated.

But becasue it is elevated too high and only have a 2mm diameter, the tip wasn’t very well printed.

Pink: More supporting materials are added, This sucessfully avoid the defect found in test print.

Part B: test print. not sufficient support.

Part B: final print. no noticable defects.

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A journey to

afterlife......

Cemetery / Garden

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Map

Leaving

Coming

Stop 15 Stop 1

Stop 3

Stop 2 Stop 4 Stop 14 Stop 11 Stop 12

Stop 5

Stop 9 Stop 10 (interior)

Stop 8 (exterior) Stop 13

Stop 6 Stop 7

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N

Plan 1:100 99

overview

N

Plan 1:100 100

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overview

South Elevation 1:100 102

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Overview

West Elevation 1:100 104

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Overview

Section 1:100 106

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Stop 1

Stop 2 Meow~

“What ?”

!

Cheese

“Look at the girl in red dress, she is so pretty.”

“What is that guy in blue suit looking at?”

Look at the kitten! It’s sooooo cute!

“Wait, how did he get up there?

I wanna try as well!”

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“What a beautiful place!”

My Dad doesn’t know how to smile ^^ 109

Stop 3 “A GRAVE ?!”

“Okay , this is weird. It seems no one notices the graves. Or maybe they are okay with having graves close to daily life? What is even unusual is that even myself doesn’t feel any uncomfortable with the graves.”

“But actually, why care ? This is such a lovely space. It is perfect for weekend hangout. Isn’t this enough?”

Such a lovely place! Hahaha, look at the little guy. He is pretending to be a doctor.

Wait a second. What? What is written on the wall?

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Cemetery/Garden Type 1: Inside each voronoi cell is the mixture of soil and ash from a ash donor.

It is used to grow vegetations. The way it works is similar to how a vertical garden works.

Stop 4 111

Stop 5

“I like the colour!”

“Grave again. Is that only for ash or even welcome corpse?”

“What is the guy doing inside the capsules?”

Come and have a look during your morning jogging.

Woah-ohoh-oh, It’s always a good time...we don’t even have to try, it’s always a good time.

Stop 6 & 7 “The light!

So charming!

I wonder what’s in the glass boxes.”

Cemetery/Garden Type 2: This type allows people to step inside the space.

Ash is stored in the glass boxes, which are attached to the wall.

Ash will be gradually fed into the soil layer on the external side of the wall to increase 112

“Oh, got it! These boxes contain human ash. And I’m assuming the ash will be used somehow. Because I can see many of the boxes are not full. Wow, creep but fascinating. What are they doing with the ash?”

“Hah, I think I got it. Remember the flowers outside? I think these ash are somehow transported to the exterior and serve as nutrient for new life! Brilliant!”

Instead of sorrow, I feel peaceful.

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Stop 7 “It is clearer now. The ash inside are used to grow these beautiful plants on the facade.”

I’m happy for mum really.

She is resting peacefully in such a beautiful place. She liked garderning so much when she was alive. Death doesn’t change anything suprisingly. She is stilling caring the plants. In fact, I’d like to believe that she is part of the lovely nature now.

Yeah. Her favourite plant is evergreen azalea. Look, there is a cluster of them on the roof. What a sweet coincidence.

She never leaves us.

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“HEY, my friend! cheer up!

Look at the flowers, the birds, the children. death is not real.

Life is real!

Look, smell, listen.

This beautiful place is nourished by your loved ones.”

“ They merge into nature now. and they will be always with you!”

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Stop 8

Here is a door!

How could I get up there?

Grandma, I’m sure you will be happy with our choice. You will be turned in flowers sooner or later. You will be able to smile at me again.

We will never be apart.

Look at the lovely plants.

That’s a gardenia augusta.

Em, the little Dianella is always lovely.

Mike Bayly (a botanist)

Hang on, someone is inside the capsule up there. Oh, wait. There are words on the glass wall!

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“Ash donators: Alvar aalto 1898-1976...Sicheng Liang 1904-1972......”

“What does it mean? Ash donator?

Donate the ash for what? I wish I could get up there and have a close look.”

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Stop 9

Don’t be sad, my friend.

I’m still with you.

I might be a tree, a flower, a cluster of grass or a little succulent plant.

I’m happy that my life is prolonged by LIFE in another form.

Hope you are happy too.

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Thank you, mom. You have brightened my day. I broke up with my boyfriend yesterday. I was so sad but had no one to talk to. Thank you, mom. Thanks for always being with me. Even though you have taken another form now, to me, you are always the same. You are always there when I’m happy and sad. You are always there listening to my stories. Thank you. I feel blessed.

Stop 10 (Interior) 122

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Stop 11

This is unbelievable.

I can’t imagine death could be so beautiful like this! Instead of emphasizing the darkness of ending, it celebrates the continuity of life ! It is so innocent. It is so colourful. It is so energetic.

C e m e t e r y /G a r d e n Type

3:

This

type

provides very small independent

ash

&

soil mix containers. It is designed to contain ash,

collected

from

ash

donor.

single

It is best suited for those

who

wish

to

have specific linkage between the dead and the plants nourished by them.

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Stop 12 & 13

Cemetery/ Garden Type

4:

This type stores the ash of many people big It

in

“In memory of the pioneers who believe in no death but life.�

one

container. values

the

collective force.

And

because

it stores more ash, it is able to more

provide nutrient

to plants. This makes

the

growth

of

advanced

trees

possible.

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Stop 14

Death Festival

We use human ash to grow plants ...

Rest in peace.

[Journalist] Wow, this is awesome...

Yeah, much better than that small cafe. Nice view, fresh air,beautiful plants...

Nice place for lunch break.

Hu~ Didn’t notice this little garden before. Lovely.

Stop 15

Why can’t funerals be celebrated as festivals?

Why can’t we invite the whole community to witness the epic moment of life “metamorphosis”?

Why can’t we have an heroic narrative for death?

With these thoughts in mind, I designed the 5th type of garden/cemetery system: a few porous capsules, for ash dispersing. They are elevated high up in the air. This activity might be unpleasing in normal conditions. But here I propose we can do it in a comfortable and poetic way. It is a sacred activity conducted once a year. The ash donated by the community will be dyed into different colors and then move into these capsules. As wind blows, these

Hope you enjoy the tour! Don’t forget to smile to death.

Bye~

beautiful powder will be dancing in the sky. Ash will be dispersed into air, soil, absorbed by plants and animals.

Finally, people will fully embrace nature in such a splendid way.

We are born from nature. We will come back to nature again.

Even though I finally have to say goodbye,I no longer feel sad. I’m just the one single face in the life chain.

However, as long as there is life presence, there is a part of me that is still alive.

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C.2. 3D Prototype - large installation Translate virtual into reality: Unavoidable discrepancies

This rough surface finish is resulted from having too dense supporting materials.

Some of them are firmly attached to the base and not able to be removed.

However, as the image suggests, the supporting material are way too much. It makes the removal work extremly difficult to do. It reminds me to be more sensitive to the scale. Even though everything is in the right dimension, I didn’t have a very clear knowledge about how exact this model will be.

If I could be aware of the size, the unneccessary worry of supporting materials will be avoided.

Attempt 1: It is estimated to take 2 hours and 30 mins to print. I’ve increased the supporting material density to 20% and adjusted the supporting angle as well. Because I don’t want any suspended members fail.

Attempt 2: It is estimated to take 2 hours to print.

Less supporting materials are used. Even though the model still isn’t very neat, it is much better than the first attempt now.

The holes on some capsules are omitted for easy fabrication.

And the materiality and colour are hard to express through 3D print models as well.

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This is the second model I made. Compared with the first one, it has a cleaner surface finish.

Fabrication trouble shooting 133

A journey to the HEART OF LIFE graveyard / garden / a place to take a nap/ a place for meditation

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Overview

Plan 1:50 East elevation 1:50

N

136

N North elevation 1:50

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This is such a sweet shelter.

Hidden at the most remote corner, it gives me such a luxury chance to listen to my heartbeat, listen to the heartbeat of nature.

Just lying down here, not doing anything, already makes me feel emotional. I feel ashamed to complain so often about tiny things everyday. I just realised how lucky I’m to live in such a beautiful planet. I feel small here. But I feel I’m so well protected and cared here.

Hu~ I’m still alive, haha. The day after submission, is the day of not doing anything. What a nice place! The birds, flowers, river, trees, wind and warm sunlight ... so perfect... so good to spend a afternoon here taking a nap.

This is the definition of healing! So comfortable to be here.

Chenyu stayed up last night to finish his essay.

After submission, he is finally able to have a look at the new installation at his doorstep. He was lured by the singing birds and colourful flowers.

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This small installation also has the ASH DISPERSING function. It will be used as a more private and smallscale ash dispersing place during Death Festival.

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A place for meditation

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Die in the arms of nature.

Turns into nature when died and then warm everyone who are alive.

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C.4. learning Objectives and Outcomes Feedback from final presentation: The presentation could be better if I could organise the narrative from the perspective of a visitor rather than a designer. Stories are always easier to engage with than descriptions. Because we are talking about fear and healing here, easy engagement helps the audience to experience the emotion better.

Additionally, even though I produced many renderings, a lot of them actually communicate the same meanings. It would be better to reduce the quantity of the work. Instead, focus on a few of the most presentive ones and increase the quality to the next level.

This studio provides me a brand new way of design. It is new in two ways.

Firstly, instead of composing the form, we use a generative design method with the aid of grasshopper. It makes me feel less stressful at the early stage of design. Because it booms my creativity. I don’t need to worry about problems, such as don’t know where to start, getting stuck with ideas, not able to think outside the box…

Instead of coming up with the form, I enjoy the process of design the algorithm and let it surprise me with unexpected results. However, especially during part C, I realised that algorithm can’t help me doing everything. To fit the wild form generated by grasshopper into my narrative, I switched back to compositional design. I argue that given computational design opens up many opportunities for designers, it also poses challenges. It booms our creativity but also increase the challenge of rationalising and fabrication. And it is always good to switch back and forth between computation and computerisation in order to have an exciting form, a compelling narrative and also a practical function all together.

Secondly, it is new because it gives me such a unique source of inspiration. Instead of randomly source inspiration from grasshopper practice, David asked us to look at our inner fear. This gives me a new insight to architecture: it doesn’t have to be sober and objective all the time. It can be so well connected to myself. Because this concept is intimately associated with my personality and life experience, I

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feel always very energetic about my project. I’m proud of it. Because it records the thoughts of me when I was 20 years old. I might laugh at it when I’m in my 30s and think the ideas were so childish or unrealistic, but I will still love it. Because it is so real and precious, as it is the reflection of a part of me in my early years.

These ideas are so beautiful and poetic by themselves. However, I used to think they are by no means close to architectural design.

Sometimes, they come in, in the form of post-justification.

This time it becomes the core of the project. Everything is closely associated to it.

There is a gap between the psychological feeling towards one thing and a piece of architecture with proper function and good spatial qualities. This is the major reason that prevents many people to dig deeper on these ideas. To build a bridge across it, we solidify the idea with a process. For examples, I was afraid of death. This leads me to study the human body decomposition process. The intangible emotions all of a sudden are transformed into detailed motions.

With the help of grasshopper, these actions are not too hard to model.

This is the principle design logic behind the algorithm: an analogy with the decomposition process.

Then it is a matter of critical analysis and selection. This is the time to start to consider the architectural qualities. As I mentioned before, it might be a gap among the form, narrative and function.

So it is always a matter of coming back and forth between refining the algorithm and testing the results. Also, it won’t hurt to directly modify the model at some stages. Because it is able to give me an immediate response to the modifications.

In the process of seeking way to heal the fear, I didn’t get to the ideal position directly. Initially, I actually believe it is not even possible to heal the fear of death. Because I was so convinced by the sad face in front of gravestones. However, I was gradually pushed to think about the opposite side—the brighter side of the issue. This is more than just a process of enriching my design. It is also a process of healing my own fear. I’m so happy I reached the final peaceful land that the

uneasy feeling about death start to cease. I fully understand that it is always easy to talk about one thing but to practice it can be very difficult. I can’t foresee whether I’ll feel less sad or not when the day of farewell comes. But I can tell what I’m feeling right now. I feel better now. This is enough.

Lastly, I did learn many techniques during the semester. I’m happy that I ended up producing a set of models and documentations to support my design. But it is far from complete. Even though fabrication is not the major concern for this studio, I do wish to explore the fabrication a bit more in the future. As it involves a new set of skills which are something I’m not so good at.

147

Appendix 1-Algorithmic Sketches WEEK 01 - LETTING GO OF THE COMPOSITION AIM: To feel and embody the polarity of composition/process.

STEP 1: COMPOSE: Using the loft component, design a vase.

A series of curves are defined through grasshopper. These curves are used either as the horizontal or vertical cross section lines and lofted to form a vase.

STEP 2: REFLECT: Spend 5 minutes reflecting on a past grievance I was struggling to bring more variations into my definition of the curves. Only adjusting the number sliders doesn’t gives me very unexpected outcomes. I guess this is quite common for beginners.

STEP 3: PROCESS: Intuitively manipulate the vase (without care or judgement) Just feel your emotions and allow the manipulation of the inputs to occur. At any stage if intuition says ‘bake’ then you may bake.

STEP 4: HARVEST: What have you got? Was anything interesting produced? Is any of the form of use?

148

149

WEEK 02 - FEAR AND PROCESS TASK 1: CREAT A DIFINITION THAT CONVERTS DIFFERENT GEOMETRY. 1.1 POINTS-CURVES-SURFACE- BERP-CURVES-POINTS-COLOURED DISPLAY 1.2 POINTS-CURVES-SURFACE-CURVES-POINTS COLOURED DISPLAY

150

151

WEEK 02 - FEAR AND PROCESS

PROCESS 1: THE LIFECYCLE OF MAGGOTS

TASK 2: STEP1: DESICOVER MY FEAR: 1.1 DEATH/DECOMPOSITION/DECAY 1.2 AGE 1.3 BLIND 1.4 PUT ON WEIGHT 1.5 ABOUT EMOTIONS:

FEEL EMBARRASSED

MAKE OTHERS DISAPPOINTED ABOUT ME

MAKE OTHERS UNHAPPY JUDGEMENT

OTHERS DON’T LIKE ME 1.6 SEE MY PARENTS CRY 1.7 CRY IN THE PUBLIC 1.8 LOSE FRIENDS 1.9 LONELY 1.10 ISOLATION 1.11 CANNOT FIND A JOB 1.12 FAILTURE 1.13 BEING COWARD:

SPEAK TO PEOPLE WHO ARE VERY DIFFERENT FROM ME 1.14 GHOST 1.15 DARK

MATE

IN RESPONCE TO THE TUTORIAL SYNOPOSIS: PEOPLE’S ATTITUDE TOWARDS DEATH ARE CONTRADICTORY. GENERALLY SPEAKING, IN THE COMMON CULTURE, DEATH IS ASSOCIATED WITH DARK. PEOPLE ARE AFRAID OF IT. WE HATE TO SEE THE ONE WE LOVED DIE. IT CAN BE THE SADDEST EXPERIENCE ONE CAN POSSIBLY HAVE. BUT THERE IS WHITE IN IT. IN FACT, WE CAN INTERPRATE IT IN A COMPLETELY DIFFERENT WAY. IT IS WHITE. IT IS AN INREPLACEABLE STEP IN THE NATURAL SUBSTANCE CYCLE. WE RETURN NUTRIENTS BACK TO NATURE. AND THE NUTRIENTS WILL BE DISTRIBUTED TO NEW LIFE.

STEP2: FIND ASSOCIATED PROCESSES: 2.1 DEATH-- DECAY/BIOTIC DECOMPOSITION:

2.1.1. THE LIFECYCLE OF MAGGOTS

2.1.2. ANIMAL DECOMPOSITION

SO BY USING THIS TOPIC AS DESIGN INSPIRATION, I MAY BE ABLE TO HELP PEOPLE TO READ DEATH IN A PLEASANT WAY.

STEP3: DEFINE THE PROCESSES STEP BY STEP AND TRY TO USE GRASSHOPPER TO GENERATE FORMS BASED ON THESE PROCESSES

DEATH

LAY EGGES

FLY

ALGOR MORTIS

RIGOR MORTIS

LIVOR MORTIS

HATCH

GROW

STOP MOVING

PUPATE

METAMORPHOSIS

EMERGE

FLY

MATE

DECOMPOSE /FEED PROCESS 2: ANIMAL DECOMOSITION 1. DEATH: HEART STOP BEATING 2. FRESH: 2.1 ALGOR MORTIS: TEMPERATURE DROP/ RISE TO MATCH AMBIENT ENVIRONMENT

[LINEAR PROCESS] [ FOR HUMAN: (36.9DEGREES – RECTAL T)/1.2

2.2 RIGOR MORTIS: MUSCULAR TISSUES BECOME RIGID AND IN CAPABLE OF RELAXING

[UNABLE TO BREAK THE ACTIN-MYOSIN CROSS BRIDGES]

[RESPIRATION CEASE—OXYGEN DEPLETED—AT P IS PRODUCED THROUGH ANAEROBIC GLYCOLYSIS—AT P IS USED TO BREAK THE ACTINMYOSIN CROSS BRIDGES IN ORDER TO MAKE THE MUSCLES RELAX--- GLYCOGEN DEPLETED----AT P DEPLETED--- UNABLE TO BREAK THE BRIDGES--- BODY BECOME RIGID]

[CACLIUMN IS RELEASED INTO CYTOSOL AFTER DEATH WHICH ACTIVATE THE FORMATION OF THE BRIDGE]

2.3 LIVOR MORTIS: BLOOD IS NO LONGER PUMPED INTO BODY (HAPPENS RIGHT AFTER DEATH, BUT THE STAGE OF LIVER MORTIS ARRIVES LATER), GRAVITY CAUSES IT DRAIN TO THE DEPENDENT PORTIONS OF THE BODY----CREATE AN OVERALL BLUISH-PURPLE DISCOLOURATION.

2.4 AUTOLYSIS: NO OXYGEN SUPPLY AND REMOVAL OF CARBON DIOXIDE FROM THE TISSUES---- PH DECREASES AND MANY OTHER CHEMICAL CHANGES--CELLS TO LOSE THEIR STRUCTURE INTEGRITY--- RELEASE THE CELLULAR ENZYMES CAPABLE OF INITIATING THE BREAKDOWN OF SURROUNDING CELLS AND TISSUES.

2.5 PUTREFACTION: THE MICROBIAL PROLIFERATION WHIN BODY

THE AMOUNT OF OXYGEN IS QUICKLY DEPLETED BY CELLULAR METABOLISM AND AEROBIC MICROBES NATURALLY PRESENTED IN RESPIRATORY AND GASTROINTESTINAL TRACTS----CREATE INDEAL ENVIRONMENT FOR THE PROLIFERATION OF THE ANAEROBIC ORGANISMS, THEY MULTIPLY AND CONSUME THE CARBOHYDRATES, LIPIDS AND PROTEINS TO PRODUCE A VARIETY OF SUBSTANCES INCLUDING MANY ACIDS AND HYDROGEN SULPHIDE AND AMMONIA

3. BLOAT:

BODY RUPTURE

BLOAT

PUTREFACTION

AUTOLYSIS

THE ANAEROBIC METABOLISM TAKES PLACE --THE ACCUMULATION OF GASES—DISTENTION OF THE ABDOMEN---GIVE A CADAVER ITS OVERALL BLOATED APPEARANCE--- CAUSE NATURAL LIQUID AND LIQUEFYING TISSUES TO BECOME FROTHY--- PRESSURES INCREASES, GASES ARE FORCED TO ESCAPE FROM NATURAL ORIFICES/ ALSO MAKES THE BODY RUPTURE MAGGOTS MAKE THEIR WAY INTO THE BODY AND START TO FEED AS WELL. ONCE THE SURFACE SKIN RUPTURE MORE, MORE OXYGEN ENTER THE BODY AND MORE THE ANAEROBIC METABOLISM TAKES PLACE…. MORE SURFACE AREA FOR FLY TO LAY EGGES …..THIS IS AN REINFORCING LOOP

4. ACTIVE DECAY: GREATEST MASS LOSS

MORE OXYGEN

PROCESS 2: ANIMAL DECOMPOSITION

152

AEROBIC MICROBES INCREASE IN NUMBER

ACTIVE DECAY

ADVANCED DECAY

FEEDING OF MAGGOTS AND THE PURGING OF DECOMPOSITION FLUIDS INTO THE SURROUNDING ENVIRONMENT. [THE FLUIDS ACCUMULATE AROUND THE BODY AND CREATE A CADAVER DECOMPOSITION ISLAND CDI]

END OF THIS STAGE IS SIGNIFIED BY THE LEAVE OF THE MAGGOTS TO PUPATE

5. ADVANCED DECAY: DECOMPOSITION IS LARGELY INHIBITED DURING THIS

MAGGOTS COME IN

DRY/REMAIN

STAGE DUE TO THE LOSE OF READILY AVAILABLE CADAVERIC MATERIAL. LEADS TO THE DEATH OF THE ADJACENT VEGETATION; AN INCREASE IN SOIL CARBON, NITROGEN AND NUTRIENTS IN CDI SURROUNDING ;CHANGE IN PH.

6. DRY/ REMAINS: SKELETON AND DRY SKIN AND CARTILAGE

153

INTERPRETATION THROUGH GRASSHOPPER: PROCESS 2: ANIMAL DECOMPOSITION

DEATH

ALGOR MORTIS

BODY RUPTURE

MORE OXYGEN AEROBIC MICROBES INCREASE IN NUMBER

BLOAT

RIGOR MORTIS

LIVOR MORTIS

PUTREFACTION

AUTOLYSIS

ACTIVE DECAY

MAGGOTS COME IN

ADVANCED DECAY

DRY/REMAIN

CURRENTLY ONLY THREE STEPS (COLOURED IN DARK GREEN) ARE USED IN GRASSHOPPER THEY ARE INTERPRETATED AS :

1.BRIDGE/LINE

2.FALL ON GRAVITY

3.DISSOLVE

2.

1.

3.

2.

154

155

3.

1.

2.

2.

156

157

WEEK 03 USE GRASSHOPPER TO INTERPRATE THE PROCESS I STARTED WITH A LINEAR PROCESS. BUT I FOUND IT IS A BIT LIMITED. EVERYTHING IS WELL ORDERED BUT LESS INTERESTING. I WISH TO BRING A BIT OF CHAOS AND SURPRISE INTO THE PROCESS. THAT’S WHY I DECIDE TO MESS UP THE SEQUENCE A BIT AND I FIND THE RESULTS OF “BODY

AUTOLYSIS: FURTHER REDUCE THE AMOUNT OF BERPS

THREE WAYS OF GENERATING BASE GEOMETRY

AUTOLYSIS: TRANSFORM SOME OF THE BERPS INTO SMALL SPHERES

BODY RUPTURE: USE SMALL SPHERES AS MEDIA

DISPACH: SHOW DIFFERENT STAGES OF PUTREFACTION

PUTREFACTION: BITE BY BACTERIA

RIGOR MORTIS & LIVOR MORTIS BODY RUPTURE: USE BERPS AS MEDIA

BODY RUPTURE: USE SURFACES AS MEDIA

BODY RUPTURE: USE LINES AS MEDIA

158

159

THREE WAYS OF GENERATING BASE GEOMETRY

RIGOR MORTIS & LIVOR MORTIS

160

161

AUTOLYSIS:

162

163

BODY RUPTURE: USE LINES AS MEDIA

BODY RUPTURE: USE SURFACES

BODY RUPTURE: USE SMALL BODY RUPTURE: USE BERPS AS MEDIA

164

165

167 166

FORM FINDING: TRANSFORMATION AND COPMBINATION OF VARIOUS ELEMENTS

PUTREFACTION: BITE BY BACTERIA

168

169

170

171

Appendix 2-Algorithmic Sketches 172

173

PROCESS

TRANSFORMATION ALGORITHM

DEAD BODY

GENERATION

NEEDS TO BE SOFT, HYDRATED, DYNAMIC

GENERATE--DIVIDE-DISPATCH

RIGOR MORTIS

DRAW LINES RIGID

LIVOR MORTIS * TWO TEST RENDERS ARE DONE TO FIND A GOOD MATERIAL FOR THE FLOATING SOLIDS

AUTOLYSIS

EVALUATE BOXDECONSTRUCT BERP-LINE-PIPE

PROJECT/

CLOTTING

SCALE ACCORDING TO Z VALUES

WHAT IF TREAT IT AS SURFACE AND DREW HOLES IN THE SURFACE

174

POPULATE 3D/ POPULATE GEOMETRY/ CONSTRUCT POINTS FROM MATHEMATICAL EXPRESSIONS

DROP

DECOMPOSE (DIVIDE LARGE INTO SMALL)

RESULTS

1.RANDOM NUMBERLIST ITEMDECONSTRUCT BERP-CROSS REFERENCELINE-MUTILINE INTERSECTIONSET DIFFERENCESPHERE 2. RANDOM NUMBER-CULL PATTERN

NOT VERY EXCITING INTERPRETATION IT MIGHT BE GOOD IF I CAN CAPTURE THAT MOTION

REDUCE THE NUMBER OF BALLS MAYBE NOT BALLS WHAT IF I CAN USE OTHER GEOMETRY

175

PROCESS

BODY RUPTURE

TRANSFORMATION

EXPLODE POINTS/LINES/ FACES/BERPS

ALGORITHM

RESULTS

for points:CORSS REFERENCEMOVE(vector gets from the curve tangent vector) for lines:EVALUATE LINE(to get tangent vector)- CURVE LENGTH- MUTIPLY-MOVE for berps: EVALUATE BOX-LINECURVE LENGTH- MUTIPLY-MOVE for faces: DECONSTUCT BERPS-LINECURVE LENGTH- MUTIPLY-MOVE

PUTREFACTION

176

BITE

DECONSTRUCT BERPS,DISPATCH,DIVIDE SURFACE, SPHERE, TRIM SOLIDS

177

Appendix 3-Bibliography Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg),pp.6-13 Fleischmann,M., Knippers,J., Lienhard,J., Menges A. & Schleicher S. (2012), ‘Material Behaviour: Embedding physical properties in computational design processes’, Architectural Design, 82: 44-51. doi: 10.1002/ad.1378 Gage,M.,F.,(2016), A Hospice for Parametricism, Architectural Design, 86:128-133, 2, DOI: 10.1002/ad.2034 Goldup,K., Kostura, Z., Tavolaro,T. &Wolfe, S. (2017), Advancing Engineering with Building Information Modelling, Architectural Design, 87:3 , doi: 10.1002/ad.2182 Hon, J. (2013), Mathematical Ensemble Molteni Arc Table, Architectural Design, 83:32-33 (2), doi: 10.1002/ad.1549 Liang, Sicheng (2011), A history of Chinese Architecture, (SDX Joint Publishing Company: Beijing), pp.2-6 New Territories, Hypnoses room, retracted from http://www.new-territories.com/hypnosisroom.htm Oxman, R., Oxman, R. ed.(2014), Introduction, Theories of the Digital in Architecture. (London; New York: Routledge), pp.1-10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Schumacher, P. (2016), Parametricism 2.0: Gearing Up to Impact the Global Built Environment, Architectural Design, 86:8-17 ,2, doi: 10.1002/ad.2018 Tibbits, S. (2012), Design to Self-Assembly, Architectural Design, 82:69-73. doi: 10.1002/ad.1381 Wood, John (2007). Design for Micro-Utopias: Making the Unthinkable Possible (Aldershot: Gower).

Zaha Hadid Architects, Mathematics: gallery science musuem, retracted from http://www.zaha-hadid.com/architecture/mathematics-gallery-science-museum/

Appendix 4-Image reference list 1-4. http://www.new-territories.com/hypnosisroom.htm 5-7. http://www.selfassemblylab.net/MacrobotDecibot.php 8-11. http://icd.uni-stuttgart.de/?p=4458

12-14. Goldup,K., Kostura, Z., Tavolaro,T. &Wolfe, S. (2017), Advancing Engineering with Building Information Modelling, Architectural Design, 87:3 , doi: 10.1002/ad.2182 15-20 https://www.youtube.com/watch?v=ojpgXhLh5_E 21-22. Hon, J. (2013), Mathematical Ensemble Molteni Arc Table, Architectural Design, 83:32-33 (2), doi: 10.1002/ad.1549 178