Part A_TszShanYing 790364

PartA. Conceptuali zati on

Ts zS han Yi ng ( Mi f f y) 790364 S tudi o Ai r Tutor: Chelle( Xuyou)Yang tutori alno: 4

Content personal background

001

Part A: Conceptualization

A.1 Design Futuring

003

A.2 Design computation

006

A.3 Composition/ Generation

009

A.4 Conclusion

012

A.5 Learning Outcomes

013

A.6 Appendix - algorithmic sketchbook

014

Reference

015

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

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

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

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

A.

Conceptualization

A.1 Design futuring

1.

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

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

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

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

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

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

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

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

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

A.1 Design Futuring

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

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

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

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

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

Figure 2. Perforation grid on layout of triangular panel

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

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

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

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

Figure 3. Connection nodes to each juncture on panel

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

Figure 1. Los Angeles Rams Stadium

A.1 Design Futuring

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

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

According to the innovation building approaches

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

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

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

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

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

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

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

Figure 4. Philips Pavilion

A.2 Design Computation

2.

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

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

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

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

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

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

[2]. Kaley, p.7.

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

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

[5]. Kaley, p.9.

A.2 Design Computation

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

Elytra are the protective forewings in beetles[1].

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

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

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

Figure 2. Fibre shell layout of beetle elytra

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

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

Figure 3. Robotic coreless winding process

Figure 4. Carbon and glass fiber layout for one component

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

Figure 1. ICD/ ITKE 2013-2014 Research Pavilion

A.2 Design Computation

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

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

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

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

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

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

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

Figure 7. Poured concrete wall with wire mesh

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

Figure 8. Mesh Mould Metal by ETH Zurich

A.3 Compositon/ generation

3.

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

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

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

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

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

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

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

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

[4] Peters, p.10.

[5] Peters, p.15.

A.3 composition/ generation

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

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

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

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

Figure 2. Rendering of structural system

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

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

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

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

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

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

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

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

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

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

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

Figure 1. Esker House by Plasma Studio

A.3 composition/ generation

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

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

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

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

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

Figure 5. Exterior view of the Broad Museum

Figure 6. Close-up version of GFRC facade

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

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

Figure 4. The Broad Museum

A.4 Conclusion

4.

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

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

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

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

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

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

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

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

A.5 Learning outcomes

5.

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

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

A.6 appendix- algorithmic sketchbook Tower 1:

6.

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

A.6 appendix- algorithmic sketchbook

Tower 2:

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

Tower 3:

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

A.6 appendix- algorithmic sketchbook

Geometry 1:

Geometry 2:

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

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

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

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

A.6 appendix- algorithmic sketchbook

Gridshell:

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

Reference List

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

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

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

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

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

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

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