Studio Air Part A, Tirteen Zheng Wu

STUDIO AIR 2018, SEMESTER 2, TUTOR : ISABELLE STDENT : TIRTEEN ZHENG WU 846736

TEMPORARY COVER WILL BE REPLACED BY STUDIO AIR PROJECT

Table of Contents

0.0 BIOGRAPHY

PART A . CONCEPTUALISATION

1.0 DESIGN FUTURING

1.1 PRECEDENT 01 - ANIMALESQUE

1.2 PRECEDENT 02 - ANTARCTIC PORT

2.0 DESIGN COMPUTATION

2.1 PRECEDENT 03 - XSTRATA

2.2 PRECEDENT 04 - ELBPHILHA

3.0 COMPOSITION & GE

3.1 PRECEDENT 05 - TH

3.2 PRECEDENT 06 - TO

4.0 CONCLUSIO

5.0 LEA

ARMONIE HAMBURG

ENERATION

HE MORNING INE

ORRE SIQUEIROS

ON

ARNING OUTCOME

6.0 APPENDIX // ALGORITHMIC SKETCHES

7.0 REFERENCE

0.0 BIOGRAPHY

My name is Zheng Wu. My friends call me Tirteen.

I enjoy cycling, kayaking, gardening, and cooking.

My passion for architecture originated from my interest in floating architecture and city on the sea when I was studying in Temasek Junior College in Singapore.

Before I started architectural studies in the University of Melbourne, I went back home in China to design and build large planting boxes for my rooftop glass house, so that the growing plants would remind my parents of me whenever they miss me overseas. During my learning journey in the University of Melbourne, I opened my world to digital fabrication (especially 3D printing), architectural theories (especially Rem Koolhaas’s), and virtual reality (especially Tilt Brush). I believe the process of architectural design needs to constantly adhere to a concept which may change at different stages by critically absorbing appropriate ideas and giving up weak and overly conservative ones. I often find inspirations from natural environments, and I believe learning everything but architecture would activate a design approach which would bring architectural design to a new level.

4

CONCEPTUALISATION

01

02

03

04

01

02

03

04

VALLEY ACACIA

VOYAGER @ STUDLEY PARK

BREATHING ‘SILVER’

VIRTUAL VANDALISM

Pleasure Garden in Melbourne

Boathouse

Second Skin addressing personal space

A New Social Space in Virtual Reality

Studio Beta&Earth 2018

Studio Water 2017

Digital Design and Fabrication 2017

AAVS Melbourne 2018

CONCEPTUALISATION 5

CONCEPTU

LISATION

A1.0 DESIGN FUTURING NOW AND THEN

NEW DESIGN INTELLIGENCE

CRIT

Thinking of climate change, rising sea levels, destruction on the Nature, the future will become dystopian.

Although we humankind are aware of the consequence of capitalist expansionism is deemed to be destructive and undesirable, we are still unable to find an alternative that can effectively substitute capitalism to save us from the Nature’s punishment.

In the age of mixed realities, the conventional architects’

We u under future and s proba forese future desig merel by no param

pen is augmented by the New Paper [FIG.1] which empowers design to develop in new directions. However, design ethics is massively underdeveloped and even in its crudest forms remains marginal within design education2.

‘

Irrespective of how you currently think and feel about design, you need to measure your own understanding against what follows and the fact of design’s continually growing importance as a decisive factor in our future having a future.

Nature alone cannot sustain us: we are too many, we have done too much ecological damage, and we have become too dependent upon the artificial worlds that we have designed, fab­r icated and occupied. 3

We need to be aware of what is at the cost of whatever we

design, as whenever we create something we also destroy something else. Even renewable resources are unable to completely rectify the destruction caused by economic expansionism and human activities. Even though sustainable design solutions were to effect, the existing problems are still going to be around for a long time1.

The past that pushes us through a series of upcoming challenges is what we cannot escape from, while now we aim to stretch our vulnerable hope to powerful dreams by critical and speculative design methods. However, are we reaching a point where we seems to start to embrace the unavoidable destruction, or a stage where the fate seems to become optional and manageable? We no longer believe design maybe has the answer. Instead, we affirm there must be an answer in design.

A

’

‘new design intelligence’ is needed ‘as a path-finding means to sustain action countering the unsustainable while also creating for more viable futures’4. Sustainability not only should be addressed in the process of design, but also be established in the construction and operation of design. Hence, the future architectural design should become more construction-aware, performance-aware, and a naturally living being.

Professionals with developed design intelligence would have the ability to read the qualities of the form and content of the designed environment5. Design intelligence would become a necessary life skill for sustainable survival.

Critica

consu indus can h action as co quest provo offerin on pe critica everyd

FIG.1 THE NEW PAPER, AAVS MELBOURNE 2018

TICAL DESIGN

use envisioned futures as tools to deepen our rstanding of the present and to evaluate the kind of e people need, and, undesirable ones. So we explore speculate more design alternatives to increase the ability of more desirable futures, and equivalently, ee and limit facts that may lead to undesirable es. Pluralism of ideology and values is needed in n to dream or envision the future again, instead of ly hope 6. Functional achievements must be fulfilled ovel design approaches such as computation & metric modelling7.

al design help us become more discerning umers, and encourage people to demand more from stry and society as critical consumers, as design help raise awareness of the consequences of our ns as citizen-consumers 8. Design as critique serves onnection between presence and future by ‘posing tions, encouraging thoughts, expose assumptions, oking action, sparking debate, raising awareness, ng new perspectives, and inspiring’ 9. By acting eoples’ imagination rather than the material world, al design aims to challenge how people think about day life and to see everyday life could be different.

A1.1 PRECEDENT 01

- ANIMALESQUE, AAVS BERLIN

From anthropocentric perspective to human-animal co-perspective, students studied animal behaviour as an input for design, built 1:1 scale installations for animal occupation, allowing for human-animal interaction. They designed and constructed “The Insectarium”, and actively participated in Berlin’s political, ecological, and planning scene through talks and interactive sessions. The immersive multisensory experience has enhanced the practical applications of helping wildlife flourish in cities. Over the course, Beeswax was researched and experimented as a smart material.

FIG.2 BEE HIVE BUILDING IN PROGRESS

This project is thought-provoking in terms of guiding the Design Studio Air project to research on the Client, Echidna. To design a more sustainable future space and establish ecological equilibrium or balance, we need to understand the Client animal’s survival needs (including foods, movement range, temperature, sleep pattern), needs to thrive (reproduction and childraising), and luxury (comfort, security, convenience, and happiness/mental health), and address these hierarchy of needs in the spatial design. Meanwhile, we also need to consider corrosion & decay of the habitat by regarding the architectural design as a living been with the capacity of growth and aging. Moreover, just because the biological and ecological reality is so complex, we should enhance the design experience whenever there are symbiosis relationships between the Client animal and other species.

FIG.5 BEE HIVE BUILDING AS FINAL 10

CONCEPTUALISATION

By interacting with, and learning from real animals, we are able to gain more thorough understanding of the ecological environments, no matter in urban settings or wild environments. It is believed that animals’ design and construction methods are valuable for research on, as algorithmic design tools are naturally or genetically integrated into their survival skills and growth patterns. Just like bees are intrinsic hive constructors. This project is interesting in terms of how animal world can teach construction-aware design that is performed by groups of individuals but genetically shared by all. The future sustainable design would require critical design thinking taking place in teamwork as the future space would be designed not only for human survival, but also taking account of the existence of other fauna, flora and micro species. Of course, ecology will be the focus of the future.

FIG.3 ANIMALESQUE AAVS BERLIN FIG.4 ANIMALESQUE UTOPIA & CITY

CONCEPTUALISATION 11

FIG.6 SHIP DEPARTURE

A1.2 PRECEDENT 02 This project, designed by architecture student Sergiu Radu Pop, studies Antarctic icebergs to design a sprawling multi-functional hub for research, transport and accommodation that takes a similar form of iceberg.

The project hypothesizes a point of arrival for the world’s final frontier of tourism and research development. The port design replicate the jagged asymmetrical edges of ice formations along the coast of the southern ocean, to address the necessity of hugging in arriving ships and sending off departing ships. Moreover, the envelope is designed so fluid and smooth, adapting the massive structure into the extremely windy and cold Antarctica.

Pop combined research with experimental tourism to provide an unparalleled experience where the public can explore the landscape as scientists, contributing to the dialogue on Antarctic research.

12

CONCEPTUALISATION

- ANTARCTIC PORT, SERGIO RADU POP The structure has two separate programs: quiet pensive spaces for Antarctic research, and vast open public spaces for the expanding sector of environmental tourism. The building rests into the rugged coastline, providing ample opportunities for effective research, while simultaneously offering a natural connection to guests.

The ambitious program for the building includes temporary and permanent accommodation, public exhibition space [FIG.9&10], leisure and exercise spaces, conference halls, observation decks, docking stations for additional boats, and helicopter pads and runways.

It is co tourism before The mo voyage and sp helpful awaren status addres and po consum

ommonly noticed that scientific exploration and m expansion to the Antarctic is the trend of future the realisation of Mars Tourism and Space Travel. ost concerned is how would this unavoidable human e be developed in a sustainable fashion. Critical peculative design methods would not be more than l to handle this challenge to at least raise people’s ness of climate challenges and at most achieve the of sustainability. Such as design not only has to ss human necessities, tackle extreme environments otential disasters, but also minimise the resources med and damages caused by human activities.

FIG.7 ANTARCTIC PORT PLAN

FIG.8 ANTARCTIC PORT SECTION

FIG.9 ANTARCTIC PORT INTERIOR ATRIUM

FIG.10 ANTARCTIC PORT INTERIOR HOTEL RECEPTION CONCEPTUALISATION 13

A2.0 DESIGN COMPUTATION

The understanding and utilisation of digital technology has changed in recent years. Most basically, communication and visualisation from the designer to computer has been enhanced several times, so that design ideas are more conveniently expressed via computer to a greater audience.

However, only in recent years, the circular communication from the computer to the design were gradually developed and addressed in computational research. It is very important for designers to be informed of the feedbacks of their designs, including physics simulation, performance evaluation, and various kinds of engineering evaluation.

Hence, designers are more able to cooperate with a team of other professionals to collaboratively achieve design optimisation.

Another

key component of design process is problem analysis, which is made easier by parametric design tools such as Grasshopper. We believe the criteria for evaluation emerge from discourses like ideation, processes, and precedents. The outcomes of the evaluation are ‘communicated back to the previous steps for improvement or adjustment of the solution, or for changing the requirements. It is possible that a deficiency detected by the evaluation process can be fixed by changing the solution. Or, if the deficiency is not due to a shortcoming of the solution, but rather to incompatible goals or overly restrictive constraints, the goals and the constraints must be adjust­e d if a satisfactory solution is to be achieved’10.

More

recently, digital simulations of physical formfinding experiments, such as the hanging chain models or tensioned membranes originally used by architects and engineers like Antoni Gaudí, Frei Otto or Heinz Isler, have become commonly available.

14

CONCEPTUALISATION

The adaptation of the form and the distribution of material are integrated in living organisms in response to the forces acting upon them. It has been the convention to study and computationally simulate form and material separately, but any adaptation of the form results in the immediate redistribution of matter in space and vice versa11. For instance, the Finnish Oasis design [FIG.11] used parametric tools to simulate the physical structures of mushroom growth, which takes place simultaneously at different parts of each mushroom, so that this investigation of living organisms is further applied to architecture.

Digital design to manufacturing starts from digitising of the input parameters. This may include the physical scan of an existing building, the continuous scanning of the construction process on site, and could extend to measures of physical properties, such as moisture permeability, thermal flux or usage and behavioural data.

This data must be processed through algorithmic design tools and traditional design processes to deliver solutions that fulfil specified performance criteria, whether stylistic, programmatic, environmental or functional12.

Based on these digitised input parameters and studies material behaviours, we are therefore able to create digital structures that behave in the same way as physical ones, for instance, the Aeros - Syntax Error [FIG.12] used robotic agents to generate flight choreographed structures using quad-copters as both a design and fabrication tool, leading to a belief that autonomous, self-organised fabrication could be a possibility in the near future.

Moreover, an emerging design method, called constraint

satisfaction, is massively helpful for designers. Instead of searching the solution space for the solution to a problem, we look for a solution to the problem .This can be accomplished by reducing the size of the solution space by adding con­s traints until all but a few or perhaps only one solution remains, making the selection of the satisfactory solution trivial13.

FIG.11 EXPLODED AXONOMETRY, THE FINNISH OASIS, AA INTER9

FIG.12 AEROS - SYNTAX ERROR, AADRL CONCEPTUALISATION 15

A2.1 PRECEDENT 03 - XSTRATA

Foam tectonics activates a through an automated robotic performative, lightweight and a takes materiality as its primary de automated digital fabrication, co possibilities that arise to chal and fabrication processes. This changing materials such as expa (PU foam) as it provides a fast-re strength- to-weight ratio, high re and is lightweight and relatively robot arms also aided the proces

FIG.13 COMPUTATIONAL PHYSICS SIMULATION

FIG.14 PHYSICAL PROTOTYPING

FIG.15 GROWTH, PARTIAL MODEL 16

CONCEPTUALISATION

In this research project, comput applied to visualise the phase the PU foam under stretching [F significantly in the process of pr as a digital fabrication method [F

Exactly after digital fabrication combined to form larger stru were hang on a frame [FIG.15], w behave as a free-standing struc physical prototypes prove ag tools, especially physics simul assist design precisely to achie outcomes.

- AADRL

prototypical urban site material system that is adaptable. The research esign driver to investigate onstruction and machinic llenge traditional design project dives into phaseanding polyurethane foam eaction time, considerable esolution surface details, cost effective. Industrial ss of digital fabrication.

FIG.16 SELF-STANDING PHYSICAL MODEL

tational tools are not only e-changing structures of FIG.13], but also assisted rogramming robotic arms FIG.17].

n, several prototypes are uctures, some of which while others were able to cture [FIG.16]. These final gain that computational lation tools, are able to eve optimal and desirable

FIG.17 ROBOTIC FABRICATION PROCESS

CONCEPTUALISATION 17

FIG.18 PARAMETRIC ACOUSTIC CEILING

FIG.19 EXTERIOR FACADE 18

CONCEPTUALISATION

A2.2 PRECEDENT 04

- ELBPHILHARMONIE HAMBURG, HERZOG & DE MEURON

In the heart of Hamburg, Germany sits one of the most structurally interesting concert halls in the world the Elbphilharmonie. Many consider it to be the most acoustically advanced space ever built. The newly opened hall’s grandest gem is its auditorium. It was designed parametrically with algorithms helping construct the incredible fiber panels along the auditorium’s walls.

Parametric design has been used in the design of plenty of objects. However, the Elbphilharmonie used algorithms to individually craft each of the 10,000 fiber panels. However, the cave-like exterior [FIGS 19&21] serves as a simple reminder of the Elbphilarmonie’s purpose.

FIG.20 CONCERT HALL

The main concert hall [FIGS 18&20] takes up the central part of the complex and determines the roof’s shape.

Its interior design, made possible by parametric tools, strictly follows acoustic and visibility criteria, wishing to bring musicians and audience closer to one another.

Expressive beauty and interplay of light and shadow are embraced in the acoustic ceilings that have evolved from the initial smooth surfaces to the current patterned and tessellated inner shell. However, one should also take notice of how expensive the material and labour this entire ceiling structure costs. It is noticed that the design team was unable to optimise acoustic and visual qualities with minimising the construction costs. We need to acknowledge that inadequate use of parametric tools may result in both good and bad outcomes. Hence, it is important for designers to be construction-aware during the algorithmic selection process of design so that the final design solution would become optimal in a holistic way.

FIG.21 FACADE DETAIL

CONCEPTUALISATION 19

A3.0 COMPOSITION & GENERATION

Pattern formations are frequently observed in natural systems ranging from ripples to animal markings, and from sand dunes to algae of microscopic marine organisms.

Despite the mesmerising range and diversity of such structures, many have similar features. They are typically formed through simple, local interactions between many units of a system – a form of physical computation that gives rise to self-organisation and emergent structures and behaviours. Understanding how spontaneous interdependent pattern formation takes place is therefore an endeavour that brings together many different fields of science, from zoology to fracture mechanics, and from chemical kinetics to sociology. However, there is – despite aspirations to the contrary – no universal theory of pattern formation in nature. Nonetheless, it has proved possible to identify many common principles, such as the universality of certain basic forms (hexagons, stripes, hierarchical branches, fractal shapes, spirals)14. These common principles are fundamentally helpful in programming parametric tools that are able to help designers generate several possible solutions of spatial composition to each problem.

By investigation into several precedents that utilise parametric tools to optimise design, there are three major ways of doing so: • Depth first. In this method a promising candidate solution is explored to its logical conclusion (either it meets the goals, or it fails) before another candidate solution is examined (as you are reading from left to right of each row in [FIG.22]).

• Breadth first. In this method several alternative ways to develop a can­d idate solution are explored before any one of them is taken to its log­i cal conclusion (as you are reading downwards on the left in [FIG.22]).

• Best first. In this method all currently available candidate solutions are evaluated, and the one which appears most promising is chosen for further development15 (as the ones enclosed by blue squares in [FIG.22] are chosen as optimal ones).

As such, genetic algorithms, which mimicks the process of natural selection (survival of the fittest), are operated in parametric tools for designers to identify the optimum solution(s).

FIG.22 GENETIC ALGORITHMIC MATRIX, MYREC 20

CONCEPTUALISATION

CO, AADRL

FIG.23 SQUID-LIKE CANOPY PROPOSAL, CATWALK DESIGN

FIG.24 POETIC KINETICS, INSTALLATION @ FEDERATION SQUARE CONCEPTUALISATION 21

A3.1 PRECEDENT 05

- THE MORNING LINE, ARANDA\LASCH

‘Not light, but darkness visible. This project

proposes a ruin from the future, a new type of structure whose function can only be inferred not just by using it but by reading it. Combining science, art, architecture, music and film an architectural language that directly expresses its content through its structure. An antipavilion, not an enclosure, but an opening of space, a conversion of place into language.

’

-- Mathew Ritchie

FIG.25 THE MORNING LINE INTERNAL EXPERIENCE 22

CONCEPTUALISATION

The Morning Line Installation is built from an idealised ‘universal bit’ that can be reconfigured into diverse architectural forms, using fractal cycles to construct a structural system based on the Truncated tetrahedron (Tetrablock). The Morning Line consists of a three dimensional spatial network with a hierarchical crystalline organization of Tetrablocks [FIG.26], which act as rigid self-contained units of a rigid structural framework. From the fractal nature of the Tetrablock geometry derives a rational hierarchical structure of four generation blocks, which can be assembled on site following very simple sequencing rules. When all the Tetrablocks are connected, the structure becomes fully braced, showcasing slender surface patterns made from high strength aluminium plates.

FIG.2

26 PARAMETRIC COMPOSITIONAL DEVELOPMENT

FIG.27 NON-LINEAR BUCKLING ANALYSIS

A non-linear buckling analysis [FIG.27] using computational tools was operated to optimise its geometric configuration and thickness, strengthening the main load paths and critical connections. Hence, the analysis as a feedback enabled designers to ensure stiffness and structural behaviour of all the modular plates are exactly correct.

Moreover, since the whole installation would require mobility, the choice of aluminium is needed to reduce weigh, and facilitate packaging, transport and quicker assembly, without compromising structural strength and waterproof quality.

The process of algorithmic generation is not only based on the principle of selection of the optimal ones, but also construction-aware. The pattern [FIG.28] on each Tetrablock needs to satisfy aesthetic, structural, and constructibility criteria, so that the fabrication of these patterned panels would conveniently utilise laser cutting technologies on aluminium plates, as well as achieve the intended spatial effects of light and shadow and an atmosphere of dark ruins.

FIG.28 ALGORITHMIC PATTERN GENERATION CONCEPTUALISATION 23

A3.2 PRECEDENT 06

- TORRE SIQUEIROS, REISER UME

The design proposal for the revitalization of the Polyforum Siqueiros addresses the pressing need to honor the important cultural co of David Alfaro Siqueiros’s masterwork by placing it on a new plaza dedicated solely to the people. The tower splits at its base monumental gateway linking the cultural zone around the Polyforum to the restaurants and cafes which serve as a threshold be plaza and the retail zone below. Distinguished by its lattice-like façade and sculptural form, the tower’s concrete shell acts both as a and the primary structure of the building. This free standing envelope, a meter beyond a continuous interior window wall, creates un and a distinctive architectural experience on every floor, providing the tenants with iconic architecture within and beyond. The con of Torre Siqueiros provides an efficient structural exoskeleton that frees the core from the burden of lateral forces and creates highl column-free open spaces in the building’s interior. Consequently, the future tenants are free to arrange the flexible, open floor space to their individual needs.

FIG.29 TORRE SIQUEIROS AT NIGHT 24

CONCEPTUALISATION

EMOTO

ontribution e to form a etween the sunscreen nique views ncrete shell y efficient, e according

The design intent is to create a simple and efficient structure that will perform well in a seismic event.

To achieve this, the design utilised a modern approach to earthquake effects called ‘Performance Based Seismic Design’, which all took place in computational tools. This approach evaluates the structure under seismic simulation, and identifies the parts most at risk of structural failure, colour-coded in red [FIG.30].

Moreover, performance based design gives the client the opportunity to balance the cost of construction with the level of security provided by the building.

FIG.30 SEISMIC PERFORMANCE EVALUATION

FIG.31 TORRE SIQUEIROS INTERIOR CONCEPTUALISATION

25

A4.0 CONCLUSION

The future needs to be designed critically to introduce greater portions of sustainability to the ever-chaotic world. We need to constantly restore the ecological environments whenever our activities interfere and impact them.

More attention needs to be paid at how far we are travelling to, not only to ensure our necessities of survival are addressed, but also to integrate innovative sustainable design into the tools we use to leap into future.

Hence, it is essential to develop every designer’s intelligence of reading spatial qualities and evaluation of effects, with the aid of computational tools.

Research in computational design is meaningful to serve as a guide for the Studio Air project. Definitely, parametric tools are essential to develop the design in both breadth and depth, mimicking the natural selection process, to identify the optimal solution.

Moreover, it is important to be fabrication-aware in the design selection process and foresee how materials would behave during the life of the built, as we eventually need to construct the design in the material world.

26

CONCEPTUALISATION

A5.0 LEARNING OUTCOME

Through the three week research, I have gained better understanding of computational design. To solve certain problems purposely, algorithmic design is generated in both breadth and depth to explore possible design options. Based on the communication loop between the computer and designer, by reading the spatial qualities and construct-ability of each iteration, the optimal design(s) is/are chosen for further development and material prototyping. This would require us designers to develop better design intelligence and construction-awareness.

It is also surprising to learn parametric tools and apply the outcomes to architectural design. It is undeniable that the use of parametric tools in digital design is so efficient to generate and visualise design options for optimisation, however, it should be noticed that the really optimal design solution also require designers’ design intelligence and critical thinking to complete the selection step. Hence, more practice of parametric sketches and deeper analysis of design outcomes would be necessary to achieve the most desirable goal.

CONCEPTUALISATION 27

A6.0 APPENDIX // ALGORITHMIC SKETCHES

Initial Surface

28

CONCEPTUALISATION

Most Constructable

CONCEPTUALISATION 29

A6.0 APPENDIX // ALGORITHMIC SKETCHES

30

CONCEPTUALISATION

CONCEPTUALISATION 31

A7.0 REFERENCE LIST OF FIGURES: FIG.1 THE NEW PAPER, AAVS MELBOURNE 2018 < https://msd.unimelb.edu.au/events/aa-visiting-school-new-paper > [accessed 9 August 2018] FIG.2 BEE HIVE BUILDING IN PROGRESS < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018] FIG.3 ANIMALESQUE AAVS BERLIN < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018] FIG.4 ANIMALESQUE UTOPIA & CITY < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018] FIG.5 BEE HIVE BUILDING AS FINAL < http://animalesque.aaschool.ac.uk/berlin-pollination-city/ > [accessed 9 August 2018]

FIG.6 SHIP DEPARTURE < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_medium=gallery > [acc

FIG.7 ANTARCTIC PORT PLAN < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_medium=gallery FIG.8 ANTARCTIC PORT SECTION < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_medium=gal FIG.9 ANTARCTIC PORT INTERIOR ATRIUM < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-research?ad_me FIG.10 ANTARCTIC PORT INTERIOR HOTEL RECEPTION < https://www.archdaily.com/551269/zaha-hadid-s-student-envisions-an-antarctic-port-for-tourism-and-rese FIG.11 EXPLODED AXONOMETRY, THE FINNISH OASIS, AA INTER9 < http://pr2014.aaschool.ac.uk/INTER-09/Zsuzsa-Peter > [accessed 9 August 2018] FIG.12 AEROS - SYNTAX ERROR, AADRL < http://drl.aaschool.ac.uk/portfolio/syntax-error-2/ > [accessed 9 August 2018] FIG.13 COMPUTATIONAL PHYSICS SIMULATION < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.14 PHYSICAL PROTOTYPING < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.15 GROWTH, PARTIAL MODEL < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.16 SELF-STANDING PHYSICAL MODEL < http://drl.aaschool.ac.uk/portfolio/nwmy/ > [accessed 9 August 2018] FIG.17 ROBOTIC FABRICATION PROCESS < http://pr2014.aaschool.ac.uk/DRL/NWMY > [accessed 9 August 2018] FIG.18 PARAMETRIC ACOUSTIC CEILING < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.19 EXTERIOR FACADE < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.20 CONCERT HALL < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.21 FACADE DETAIL < https://interestingengineering.com/when-math-meets-music-algorithm-creates-concert-hall > [accessed 9 August 2018] FIG.22 GENETIC ALGORITHMIC MATRIX, MYRECO, AADRL < http://drl.aaschool.ac.uk/portfolio/myrmeco/ > [accessed 9 August 2018] FIG.23 SQUID-LIKE CANOPY PROPOSAL, CATWALK DESIGN < http://www.ayarchitecture.com/filter/retail/architeuthis > [accessed 9 August 2018]

FIG.24 POETIC KINETICS, INSTALLATION @ FEDERATION SQUARE < https://www.facebook.com/pg/PoeticKineticsArt/photos/?ref=page_internal > [accessed 9 Augu FIG.25 THE MORNING LINE INTERNAL EXPERIENCE < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.26 PARAMETRIC COMPOSITIONAL DEVELOPMENT < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.27 NON-LINEAR BUCKLING ANALYSIS < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.28 ALGORITHMIC PATTERN GENERATION < https://www.spans-associates.com/the-morning-line-arup-agu/ > [accessed 9 August 2018] FIG.29 TORRE SIQUEIROS AT NIGHT < http://www.reiser-umemoto.com/torre-siqueiros.html > [accessed 9 August 2018] FIG.30 SEISMIC PERFORMANCE EVALUATION < http://www.reiser-umemoto.com/torre-siqueiros.html > [accessed 9 August 2018] FIG.31 TORRE SIQUEIROS INTERIOR < http://www.reiser-umemoto.com/torre-siqueiros.html > [accessed 9 August 2018] TEXT REFERENCE: 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 4–6 2. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3 3. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3 4. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7 5. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 13 6. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 9 7. Schumacher, Patrik (2011). The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley), pp. 16 8. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 37 9. Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 43 10. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 11 - 12 11. Kotnik, Toni & Weinstock, Michael (2012). Material, Form and Force. Architectural Design, Vol. 82, Issue 2. pp. 105 - 111

12. Soar, Rupert &Andreen, Devis (2012). The Role of Additive Manufacturing and Physiomimetic Computational Design for Digital Construction. Architectural Design, 13. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 20 14. Ball, Philip (2012). Pattern Formation in Nature: Physical Constraints and Self‐Organising Characteristics,.Architectural Design, Vol. 82, Issue 2. pp. 22 -27 15. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 19 32

CONCEPTUALISATION

cessed 9 August 2018]

y > [accessed 9 August 2018] lery > [accessed 9 August 2018] dium=gallery > [accessed 9 August 2018] arch?ad_medium=gallery > [accessed 9 August 2018]

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