Echoing Fabrication
Tokyo Advanced Design Studies Department of Architecture The University of Tokyo
2020 Advanced Design Studies Master's Thesis
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Ke Zhou Echoing Fabrication: To fabricate for people, or, fabricate with people?
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A Participatory Design System that Negotiates Design and Fabrication through Music Guidance
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Master's Thesis
Echoing Fabrication
Ke Zhou
Echoing Fabrication A Participatory Design System that Negotiates Design and Fabrication through Music Guidance T   ADS
Supervising Professor: Yusuke Obuchi Assistant Professors: Kotaro Imai Yoshiyuki Kawazoe Assistant Advisors: Yusuke Komata Shuta Takagi
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2020 Advanced Design Studies Master's Thesis Research Title: Echoing Fabrication Research Subtitle: A Participatory Design System that Negotiates Design and Fabrication through Music Guidance Editors: Ke Zhou Book Design: Ke Zhou Printed in Tokyo, Japan Advanced Design Studies Typeface: F Grotesk by Radim Peško © 2020 Obuchi Lab, T
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Department of Architecture Graduate School of Engineering The University of Tokyo Eng. Bldg. 1, Room 415 7
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Bunkyō
1 Hongō ku
Tokyo 〒 113 Japan
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www.t-ads.org
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Echoing Fabrication
Table of Contents
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p.7
Abstract
p.9
1 Introduction
p.11
1.1 Why Participating?
1.2 What is EchoFab?
2 Background
2.1 The Obsession of Digital Tool
2.2 The Desire to Participating
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Acknowledgements
p.17
2.3 The Inclusiveness of Music 3 The Framework of EchoFab
3.1 Concept
3.2 Workflow
3.3 Guidelines
4 Participating: Towards Playful Fabrication
4.1 Generative Mapping
4.2 Human Intuition as Design Parameters
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p.45
4.3 Fabrication as A Collaborative Force 5 Echoing: Music as Guidance
5.1 Capturing the Shape of Music
5.2 Echoing as Personalization
p.61
5.3 Echoing as Systems of Uncerntainty 6 Conclusion
p.79
References
p.85
Image Credits
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Acknowledgements
I would like to kindly thank my supervisor Yusuke Obuchi for his continuous support. I am very fortunate and grateful to have companied by all the fellows in Obuchi Lab, The University of Tokyo. And without their great help, I cannot finish this thesis. I would also like to thank many friends who helped me pull through many stressful and sleepless nights. Thank you to my parents for the full encouragement to complete this thesis. T   ADS 7
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Echoing Fabrication
Abstract
Contemporary digital technology is evolving from an approach that reduces human factors as uncontrollable elements. However, I argue that playful, participatory, and speculative work is not the enemy of computational design but
the feedback mechanism to develop a new digital fabrication
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potential of humans' sensibility and physical participation in
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its vigorous and powerful impetus. This thesis examines the
system that synthesizes the design and fabrication process. Echoing Fabrication(EchoFab) is conceptualized as a participatory fabrication system to promote a collaborative and enjoyable fabrication workflow that engages the public. In this system, music was developed as a communicating tool for its high accessibility, and individual perception and intervention is regarded as influential factors of the design outcome. EchoFab aims at enabling people without expertise in construction to contribute to the work of collaborative making and simultaneously notice individual otherness. A comprehensive workflow and guidelines are proposed into the framework of design. To prove the feasibility of this design system, typical practices that accord with the concept of EchoFab were examined and several examples that utilize this design system are explored to demonstrate that fabrication can engage more people with the help of digital tools. By taking advantage of participatory efforts, the proposed design system will adapt various human interventions guided by melodies and rhythms to explore a range of geometrical potentials and design possibilities. Advanced digital tools have empowered humans and release them from tedious constructing tasks, yet human-centered fabrication should not be limited to fabricate for people, but fabricate with people. 9
1. Introduction
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1. Introduction
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1. Introduction
Why Participating?
1.1
Contemporary computational design systems are developing with increasingly high complexity, the relationship between designers and design tools is constantly changing. In the beginning, the computer system only needed to complete certain specific parts in the design process but today's technology of information processing and machine development can gradually satisfy the overall workflow from sketch to delivery to construction. Such a shift in the way of working not only facilitates handling complicated information but also gradually excludes human intuition and thinking behavior out of the fabrication process. This leads us to rethink, in what kind of creative process that human’s participation is indispensable? At the same time, “human-centered design” revolves around publicity and creates designs and products suitable for the mass, but rarely incorporates people's inspiring and instinct behavior into digital design. Traditional digital construction, including architectural and community designs, are completed and standardized by manuals that are written by the professionals, and builders can only complete the entire making process step by step according to the manuals. However, with the vigorous development of digital fabrication, is it possible for us to integrate more laymanship into the design and construction process through social interactions? “Practicing architecture today requires an equal emphasis on both product and process, where architectural inquiries need to answer not only what, but, importantly, how. process is the new product.(Randy Deutsch, 2017) 12
open attitude to participants, and strengthen mutual learning by sharing information and experience with more so as to promote a sense of community. This sense of participation
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Participatory design provides insights that we should adopt an
mediates the oppression caused by elicits and expertise and allows people without professional training to participate in collective construction activities. Therefore, this thesis argues that as designers, we should break away from the overly rational digital framework and re-examine what is meaningful for the people, and explore the power of the public, a more democratic way to think about the innovative process. In the past decade, digital fabrication gradually misappropriated the relevant concepts and practical methods of HCI(Human-Computer Interaction) and endowed people with the power of making. However, the human-computer interaction in the fabrication process highlights the feedback of computer
contact and playing with natural materials and tools. There-
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vations, rarely responding to people's natural desire for direct
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technology to the user's psychological and behavioral moti-
fore, this paper believes that even now that digital technology has been highly developed, people still have the potential to create a new design concept through face-to-face communication and experimentation with material construction tools. Engage people with a wide range of materials, allowing for opportunities to reflect on the interplay of low-tech material practices and high-tech mechanical processes(Laura Devendorf & Kimiko Ryokai, 2015). This research considers allowing designers to find new forms of design and manufacturing platforms and create more diverse design possibilities. Human activities that are considered error-prone and inaccurate can also be used to effectively and creatively complete a construction project under the guidance of digital technology. Why Music? Based on the above hypothesis, in order to create a more versatile construction process to accommodate the participation of people, we need a highly adaptable tool. Music is a vigorous social glue to bond people. For those who come from different cultural backgrounds with language barriers will not be able to communicate very smoothly. However, music has 13
the capacity to engage with more people since everyone can
1. Introduction
appreciate melodies or rhythms in their own ways. Music is one of the best ways to express yourself. It is a natural behavior and an effective way of communication that can make up for the lack of language and visual cues. Design and construction are a process of communication, and communication needs to rely on the transmission and interpretation of information. Excessive prosperity in visual information squeezes the development of other human senses. However, the information that people obtain from the external environment is not only visual information. Everyone is capable of understanding music; Music can not only express our emotions but also make our bodies sway involuntarily with music. Moreover, music and architecture have long been tied together due to the fact that they are both founded in propositions and forms. Music has the potential to translate into 3d forms. “Where music has a materiality in instrumentation and sound, this architecture attempts an analogue in light and space.(Holl, Steven. 2017)� Therefore due to two aspects, music can serve as an inclusive tool into the participatory fabrication process.
What is EchoFab?
1.2
What EchoFab provides is a design platform of participatory construction, which aims to use the guidance and feedback mechanism of digital technology to translate people's irrational and intuitive thinking and behavior into architectural language and concrete into the final construction result. In 14
this design system, human hands and intuition are the main
computer is only a kind of guidance, and people can reinterpret computer information because of their own particularities.
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manufacturing tools, not mechanized manufacturing. The
The realization of EchoFab generally requires six main steps: generation, simulation, guidance, fabrication, feedback, and assembly. Among them, the guidance and feedback system plays a vital role in the entire design process. Computers can handle thousands of complex information, but the guidance information given to people should be simple and direct. And digital guidance can help us To convey complex ideas in plain language. The builder uses a faster response than consciousness to obtain information and participate in construction activities so that they can fabricate complex shapes based on simple rules. In this process, because of the differences brought about by the intuition and basic abilities of different people, the design is often accompanied by some inaccurate
through the design of the initial structure and materials in the
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these possible uncertainties, and improves the adaptability
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and unexpected factors. However, EchoFab takes into account
design system, can tolerate these errors, and uses these inaccuracies as the active factors of the design. And specifically, this thesis proposed that using the individual perception of musical pieces as the guidance to design and fabricate various different geometries through a collaborative fabrication process can promote exploration into materials and forms. EchoFab is also a human-machine hybrid system. The feature is that EchoFab reconfigures the role of humans in human-computer interaction by empowering people with more autonomy and controllability. In this way, we can better understand individuals’ design behaviors and map those behaviors to the computer’s interpretation. It questions the current digital construction technology that is overly rational and pursues a high degree of automation and believes that faceto-face communication between people and direct contact between people and materials should not be excluded from the digital construction process. This design method is not driven by rational computer optimization or aesthetics, but rather supports the marriage of the digital and physical, a bridge between social and technical. Human engagement is empowerment. Human-centered design should not be limited to fabricate for people, but fabricate with people. 15
2. Background
Structure of the thesis This thesis mainly studies and proposes a new design system, including an introduction and detailed discussion of the main four chapters. The first chapter introduction provides readers with a threshold for entry, and starts the whole thesis by explaining my research motivation. The second chapter focuses on digital fabrication in the current research and practice environment. By introducing some major background studies and practical cases, I explained how the proposed design system is rooted in the current environment. This context mainly includes three points: the obsession with digital tools; the desire to participate; the inclusiveness of music. In Chapter Three, I elaborated on the logical framework of the entire EchoFab and proposed three basic concepts of EchoFab: Interpretation, response, and resonance. On this basis, and inspired by interactive fabrication,the main workflow of participatory fabrication was proposed. What makes this workflow unique is that it takes people's perceptual and intuitive behavior as influencing factors of the output of a building, and encourages public participation in construction activities. In order to better verify the argument, Chapter Four examines and analyzes and reviews current practical cases in detail. These cases are more or less in line with the basic idea of​​ EchoFab. In these cases, the participation of ordinary people is often the dominant factor in design, rather than being guided by professional designers or precise machine manufacturing. Chapter Five set out to provide education examples using music as a participatory means and prove the feasibility of EchoFab. This participation brings two main characteristics to digital fabrication: personalization and uncertainty both of which I argue are crucial features for contemporary design scopes. The uncertainty caused by this kind of participation can promote differences in understanding and communication between people. At the same time, it has the potential to become a source of design innovation.
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2. Background
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2. Background
The Obsession of Digital Tool
2.1
Evolving from traditional craft to digital fabrication, machines plays an indispensable role in speeding up the construction process and reaching high accuracy. The long quest for computing machines throughout the ages was driven not only Fig 2-1 Concrete Choreography by
by the need to speed up computation, but also to eliminate
ETH Zurich
human errors, which were common when easily bored or distracted humans performed many repetitive calculations(Peter J. Denning & Matti Tedre).Researchers and practitioners are keen on developing colorful algorithm tools to reach novel geometries and material. This results in a geometry overload and additionally, designers start getting overwhelmed with the abundant digital tools to work with. Computational tools are useful to reach novel design forms to explore unknown aesthetics(Fig.2-1). The rapid development of open source code has enabled digital design to provide a brand new open-source platform, providing opportunities to explore design experiments for different design problems. With the help of computers, there are a lot of new possibilities
Fig 2-2. BUGA Fibre Pavilion 2019 by ICD, University of Stuttgart
to deepen the designer's plan, which in turn promotes the extensive exploration and development of digital design as a tool. Increasingly complex and sophisticated algorithms have helped me find amazing design aesthetics and expressions
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that I didn’t have before. Digital materiality evolves through
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the interplay between digital and material processes in design and construction(Fabio Gramazo & Kohler). Fologram is an AR tool to engage people into the fabrication process(Fig.2-3). Formative Manufacturing, together with additive manufacturing and subtractive manufacturing, is one of the most common manufacturing methods. While formative manufacturing methods have long been used in craft and industrial production, few have been utilized in digital fabrication. Formative fabrication, which rather than adding or subtracting, is a fabrication process of deforming or reshaping the existing material to the desired shape. Formative fabrication has been explored in the field of robotic arm which proposed a variable fabric formwork incorporating the use of a 6-axis robotic arm(Yang, Xuyou & Loh). Nevertheless, computational-aided design should not be limited to thinking about the art of constructing algorithms
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and eliminating human intuition. During the recent decade, human-machine collaboration platform aiming at mediating
Fig 2-3. HENN Pop-up Factory
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interactive fabrication has been brought up to the table as a technology and human imagination.
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2. Background
The Desire to Participating
2.2
Traditional design processes usually regard the designer as the controller of the game, leading to a result that users have no word to say about the products. Yet recently the participatory design process engages more people in the fabrication as well as the design process. We are entering an age which provides more opportunities for us to show and enhance our personality. the organization of the design process should facilitate user participation throughout the process emphaFig. 2-4 Partitional Plus
sizing both mutual learning and co-construction of the new solution in its real context (Bratteteig et al, 2012)(Fig.2-7). Participatory creation or design achieves common communication and learning by accommodating more people and sharing a design platform(Fig.2-4). This kind of communication can help designers and users explore their inner thoughts and help us to understand problems from different angles. “The digital era we are now embarking upon is less about the shock of the new, and more about the non-hierarchical organization.(Viola Ago, 2018)”(Fig.2-5) “The paradigm understands a feedback loop between tectonics and culture, emphasizing the role of access allowing for a diversity of voices to participate in the definition of value systems… …is more about a social coupling, a collective consensus of which arrangements resonate more closely with their social occupation.”(Jose Scancheze, 2018) Beauty evaluation tends to be an abstract task throughout history. But I want to argue that beauty should not be excluded from the individual experiences. Beauty is a convergence of form, social culture, and individual sensations. It is time for
Fig. 2-5 Fig. 2-6 Organic Growth Pavilion
us to revision beauty in a community sense. In these cases, not only mapping individual differences, but also translating people’s various engagement into tangible forms.
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Intuitive Fabrication
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So far, a wide range of digital fabrication research has been limited to automation and high-tech tool-making. It is common sense that machines and computers perform perfectly as they are told to. Human work is generally considered to be inaccurate and faultful compared to machines. However, what are the potential roles of human perception, intuition for making, modeling and fabricating? While the digital and logical part plays an essential role in digital fabrication, the irrational and illogical human ability can function as a powerful factor during the constructing and designing process(Fig.2-8). “Actions can be either prototyping actions that have a direct effect on the physical prototype or gestures that have a more speculative, exploratory character and explore the prototyping effects that they would produce if they were applied to the physical prototype(Active Prototyping)”
Fig 2-7. Participatory design, by Bratteteig et al, 2012
A process of human interaction has been conducted by Dina in making products which fosters a new ability to make things T
through the body’s direct, intuitive and iterative engagement
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with materials, tools, machines and objects(El-Zanfaly, Dina, 2015). Designs of flexible mold system which aims to engage in human versatile capabilities in computer aided intuitive forming are closely related to our project(Asut, S. & Eigenraam, P. 2018.). A research to uncover the complex relationship between computer and unpredictable human behavior was investigated through a process of granular jamming(Kyriaki Goti et al. 2019). Fig. 2-8 Interactive Fabrication, Karl
Although the rise of interactive fabrication has empowered
D.D. Willis et al.
human interventions into design procedures, this kind of human intervention mainly focuses on individual experience with the interface without directly touching the physical material. Machines excel at computing data and carrying out repetitive tasks whereas humans have a gift for abstracting thinking and noticing patterns. There are still certain creative processes that require direct human engagement and exploration. “I believe that sensory pleasure should take precedence over intellectual pleasure in art and architecture(Rudofsky 1964).” It is time for us to revision design in a community sense. Human-centered fabrication should not only set out to design and build for people but rather build with people. The important basis for this participation comes from intuitive, simple, and low-tech operating rules in the construction process. 21
2. Background
The Inclusiveness of Music
2.3 Fig. 2-9 Stretto House, Dallas, Texas, 1989, Steven Holl
(Jill Suttie, 2016) “Whether at concerts, social events, or awe conferences, music can help us connect, cooperate, and care for each other. This suggests that, if we want to have a more harmonious society, we would do well to continue to include music in our lives.” When we want people of different cultural backgrounds to connect with each other, music is a very good inclusive tool. Fig. 2-10 Soundscaping: Pavilion 21 MINI Opera Space by Wolf D. Prix/ W. Dreibholz & Partner ZT GmbH
However, following exactly what the music tells us is not what we intend to do. It is easy to argue different genres of music will generate different architectural products. But we search the potential of human’s reactions with music. Surely to a larger background is the music with our culture and our sense. Within this large scope, we should look into a smaller scope of how people interact with music. Music has the ability to reach many. With a rich history of music visualization in the architecture sphere(Fig.2-10), it is by now a truism to state that architecture is frozen music. It is evident that music, such a multi-dimensional tool has the potential to guide excellent spatial and form design. Where music has a materiality in instrumentation and sound,
Fig 2-11. Visualizing music by Tony Bergstrom, Karrie Karahalios, and John C. Hart
this architecture attempts an analogue in light and space.( Steven Holl. 2017) Music and architecture are both founded in proportions and forms. Origin, history, and meanings of the notions of space and space-related terms in music includes high, low, broad, narrow, projection, inversion, distance, step, skip, symmetry, golden ratio, etc.Visualizing music is not new(Fig.2-11). We can draw from the abundant precedents that music can provide us insight in geometry design and connecting people together.
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3. The Framework of EchoFab
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3. The Framework of EchoFab
Concept
3.1
3.1.1
The word “Echoing” encapsulates the concept and meaning of this design system. This is a design system that coordinates perception and action. Interpretation Whatever digital instruction is given, the users will be able to capture the information in their own way. This is what interpretation is about. Given musical guidance as an example, a person will try to capture the sound when they hear a certain melody or rhythm. For those who have prior knowledge in music have a large chance to reflect a more accurate structure of the song. Yet a total tone-deaf presumably cannot even get a clue what he is listening to. Since people vary in the sense of sound (or specifically, music), users will finally generate different versions of the music in their minds even though they were hearing exactly the same song in the first place. The concept “Interpretation” indicates that humans interpret the same input information in various ways. Response “Response” allows users to directly play and manipulate the material with the help of digital guidance. At this point, users will fabricate a unit as they were told to. Yet they only respond according to how they interpret the information. Imagine every
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time you try to learn a new musical instrument or a new sport,
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- Digital instruction - Human ability - Human-conputer interaction - “How we sense”
- Material manipulation - Unit generation - Human intervention as design parameters - “How we react”
Guide Feedback
Response
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Resonance
- Collaborative assembly - Generative process - Developing a social value through practice - Democratic form - “How we communicate”
Fig 3-1. The conceptual framework of EchoFab (Echoing Fabrication)
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3. The Framework of EchoFab
is it highly likely that our bodies simply move so dumb to keep a pace with we are trying to. You might want to kick the ball really quickly and accurately when starting playing soccer, however, it usually ends up with a clumsy leg movement. This is common for all of us and it is also the reason why we have to learn something. Learning is a process for us to get familiar with a certain area.What we will respond might not be one-hundred percent accurate or even what we initially intend to do. Since we cannot assure everyone is an expert, there is a high possibility that a discordance of input information occurs. That’s when human response mistakenly. The system will adapt to such human error and in turn make this human intervention as a driving force of the design. We are human, so we make mistakes. Because we are human, we override mistakes. To help the user make a better decision, here the digital guidance is introduced as a vehicle to guide them reach the goal. But still, human cannot perform as perfectly as machines. Here I argue that for humans, we don’t need to work like a robot. It is this sort of inaccurate and intuitive job that makes humans special and thus generate variance of design. Resonance “Interpretation” and “Response” are processes that users echo themselves on an individual scale. Through a collaborative assembly process, a group of people’s ideas will collide and be mapped into the final design. This is when we move to the third stage of “Resonance”. It suggests that participatory fabrication can be a vital tool for people to communicate, and recognize differences and commonness. Individual interpretation will be embodied and accumulated into the final collaborative objects. 3.1.2 It is by now a truism to state that we need to propose a humancentered design. This statement is also applicable in digital fabrication, human-centered fabrication is required. But what kind of method is to truly represent human remains to be discussed. Shaping body: One of the most traditional and historical ways
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to make human tangible is to depict the silhouette of people.
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This can be seen in many portraits and figure statues which simply capture the form of the human bodies. Performing body: Another way is performing body. Every beginner in architecture school or furniture design will learn about human scale. For example, what is the suitable width for people to walk through a corridor, and what is the suitable height for tables and chairs. This anthropometry in Architecture is the fundamental lesson for every designer for it represents humans not by directly illustrating human figures but by forming the experiences of people’s daily life. When designing a house for a pet dog, we don't need to refer to the scale of humans. A professional designer can accurately judge whether the design of a building conforms to the human scale or not. The consideration of scale reflects humans in an implicit way. Thinking body: Apparently how humans think spiritually and mentally is an essential part. Many abstract arts
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such as paintings and sculptures aim to express people's
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consciousness and thinking through elusive geometries, yet this general depiction of human thinking as a certain geometric shape is always controversial. EchoFab argues that the human intuitive ability should not be neglected. The human sense and instinct movement can be a trigger of design and shows high power in smoothing communications. Participatory fabrication Sanders and Stappers provided insights that the scope of design strategies can be measured by how we treat users together with how we treat design as research. Interactive fabrication allows users to obtain relevant information and guidance through an interface with interactive functions, to cooperate with machines. There are two main ways of interactive fabrication: the first is that people can capture the
Fig. 3-2 The Design Landscape by Sanders and Stappers
machine's information through the interface and guide the machine to the next step. In this process, people did not directly participate in the experimentation, play, and exploration of construction materials. The second way is that the interface is not only acting on the machine and human, but also on building materials. This approach mainly takes into account the human sense of participation. Compared with simply letting people manipulate the interface of a computer, being 29
able to cooperate with the interface to play with materials,
3. The Framework of EchoFab
human Craft
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physically fabricate
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human human human human human human ......
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Fig. 3-3 A comparative analysis of participatory fabrication
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and made people more enjoyable in making. No matter which way it is, personal experience plays an essential role in the making process, yet normal interactive
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it has returned to the most original manufacturing method
fabrication fails to take a larger range of participants into consideration. Participatory work shifts from linear process to more collaborative and iterative patterns of communication. Rather than focusing on each person's work, participatory fabrication emphasizes a way of multi-person cooperation, putting the commonality and difference of the crowd in the same position. This kind of participatory system not only provides the interaction between the user and the interface, but also provides the interaction between the user and the user, so as to expect more ideas, ideas and needs to collide.
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Workflow
3.2
The digital workflow is not merely about exchanging the information between human and machine but about what makes the production effective between different stages of design. Therefore, good communication matters. There is a prevalent metaphor about the design process which regards it as a black box. As it is widely suggested that design is about decision-making. A flourishing design practice is as much about collaboration, communication, and organization as it is about design. “Practicing architecture today requires an equal emphasis on both product and process.(Randy Deutsch, 2017, Workflows in Global Practice)�. No matter how technology evolves, we still cannot make the public understand the over-abstract design process. The black box is an enigma. But EchoFab aims at making the process understood rather than making the end product determined.The overall workflow of EchoFab consists of the following aspects: Phase 1: Generation The first step of design usually consists of a series of preliminary research processes such as basic geometry study, module generation, material experiment, morphologic parameter setting through which the design idea is gradually developed and integrated with the initial stage. “every participant showed is the exploration phase, which includes the retrieval of prior knowledge from memory and searching 32
for associations between the design problem and retrieved
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Designer
Customized scenarios Conceptualizing design Contextualization Material adaptation
Generation
Simulation
Digital instruction Human-computer interacetion
Geometry processing Optimization Identify the digital tools Qualify the initial design hypothesis
Participants
Guidance
Unit-based making Physical refinement
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Calculate deviation Structural analysis Correction process
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Generative accumulation Assembly sequence
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knowledge (Eun Jin Kim & Kwan Myung Kim) ” Some projects will translate the design site elements into a design language,
Fig. 3-4 ↓ The overall workflow of EchoFab
or utilize physical environment elements to contextualize the design outcome. Compared with the previous digital fabrication, one of the key elements in the generation phase of EchoFab is human factors as design input. Yet it is too broad to define which specific human intuition should be using. Generally the human's five sensory systems, behavioral systems are included. Designers need to have their own unique focus. In this thesis, sound and music will be specifically discussed to explain how to use human intuition of capturing sound information and perception of music as the beginning of design. 33
3. The Framework of EchoFab
Fig. 3-5 ↓ STIK visual guidane
Phase 2: Simulation Most of the computational design in architecture has an intimate tie to optimization. The optimization process consists of simulation, combination, mutation, and selection process. To achieve the most desired result, we need a computer to perform high-level calculations, advancing progressively towards results closer and closer to the final goal. Algorithmic optimization plays an important role in simulating the current state and providing abundant choices for us. However, designers must subsequently apply their own criteria and preferences in order to choose the right options. This is “a period when the form of a concept is tested and confirmed in terms of its morphological, functional, and aesthetical value (Eun Jin Kim & Kwan Myung Kim) ”. Computational designers need to identify the specific digital tools that will be used and qualify the initial prototypes that phase 1 (Generation) provided. To achieve the desired result, a computer is needed for highlevel calculations and simulations. During this phase, the digital tool should be specifically defined in order to qualify the initial design hypothesis and advance the idea progressively towards the goal. Phase 3: Guidance
Fig. 3-6 ↓ PAFF: audio guidance
Guiding the users to reach the final as much as possible by using digital technologies is the main function of this phase. Common digital guidance relates to human sense includes visual guidance(fig.3-5), audio guidance(fig.3-6), visualaudio guidance (fig.3-8) and haptic guidance(fig.3-7). The guidance phase is a critical part to integrate design and fabrication modeling for it significantly affects the information flow throughout the fabrication process. The personal data gathering from people involved is the driving force for the next step. The key to this step is goal setting, which aims to guide people's behavior by setting a clear or relatively vague goal in order to finish fabricating. The roles of goals and feedback change everything. With a concrete goal, high fidelity is reached. If there is no clear goal, design outcomes
Fig. 3-7 ↓ Lantern: Haptic guidance
will be more unexpected. Phase 4: Fabrication
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Unlike 3D printers, laser cutters, robotic arm and any other fabrication machines, at this stage, users are encouraged to play with the material physically and manipulate the form out of their own abilities. This is the phase where the expected visual model is translated into reality. It is important to note that the process should encompass a large group of participants instead of an individual. Humans and machines can complement each other resulting in increased productivity. To do this, humans should work like humans, less like robots.
Fig. 3-8 3D Branches Dome: Visual-audio guidance
Phase 5: Feedback To share constructive information or patterns from data and ensure the desired result, a feedback system should be developed to capture maker’s input and give evaluations. This feedback system significantly affects the whole process and final result. Without external suggestions, participants T
cannot get a clue what they are doing as well whether their
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approach is correct. The feedback system tests whether the current state is desirable or acceptable. Three types of feedback system is discussed here: [A] Represented feedback: The results provided by the user are reported to the computer. And the computer will translate their results in the same means as the guidance back to the user. If a user was guided by a certain pitch of sound, their results will be recorded and represented as sound again. Users can judge whether their results are correct by judging whether the sound returned by the system is consistent with the sound they heard before. This feedback mechanism does not directly tell users whether they are correct, but reflects their decisions in the same sensory way and helps with leveraging their judgments. [B] Correction Feedback: Just as a scoring system gives marks, computers offer evaluation. Correction feedback measures the deviation between the actual results and the goal. In this way, users can directly recognize whether their answers are the right ones. As for which feedback method to choose, it will depend on
Fig. 3-9
the goal setting in each design.
Fig.3-10 Proprioception Lantern.
In Proprioception Lantern(Fig 3-9), during the unit generation
Argenzio, Yiyuan Qian & Author, Obuchi
process, in order to keep the relative position of the arms of
Lab, T-ADS, UTokyo
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each participant consistent during the process of splicing
Project by Alex Orsholits, Campbell
3. The Framework of EchoFab
balloons, the vibration of the four motors on the arms is used to provide feedback. When a participant's arm position is in the correct position, the motor attached to the arm will stop vibrating. On the contrary, if their arm position is wrong, the motor will give active feedback to the participants through continuous vibration, therefore they need to adjust their arm position. [C] Suggestion Feedback: This kind of method is not to give an evaluation of users’ operation, but to give the instructions for the next step through calculation. A new goal will subsequently be generated according to previous steps. Another educational case, Clay Cup Tower(Fig.3-11), provides an example. This project uses clay cups as basic units, and the goal is to form a tower-like installation by splicing similar clay cups one by one. The trick is that because the tower is composed of arcs with different radians, and each cup is in the shape of a truncated cone, the sizes of the circles on the upper and lower sides are different, so that two objects in the shape of the cup can be stacked at different angles. By using this slight inclination, the desired arc shape can be gradually formed. In order to guide the user to build an ideal cup unit, whenever the user completes the previous cup unit, the system will scan the current status and give instructions for the next step. The goal keeps changing during the process. As to which feedback method to use depends on the initial goal setting. This goal setting will determine whether users are required to perform a process of physical refinement. Fig. 3-11 ↓ Project by Hao Li & Yucheng Zeng, Obuchi Lab, T-ADS, UTokyo
Usually in order to avoid that final result being too unexpected, it is necessary to adjust some small steps in the construction process, or add some detailed refinements to the fabricated body.
Fig. 3-12 ↓ Project by Hao Li & Yucheng Zeng, Obuchi Lab, T-ADS, UTokyo 36
Echoing Fabrication
guidance
Player
Goal
[0]
evaluation fabricate
guidance
Player
Actual result
Goal evaluation
[A]
Deviation T
fabricate
Deviation
ADS
Actual result
feedback
guidance
Player
Goal evaluation
[B] fabricate
Deviation
Actual result
feedback
guidance
Player
[C]
Goal evaluation
fabricate
Deviation
adjustment
Updated goal
Actual result feedback
Fig. 3-13 Types of Feedback system
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3. The Framework of EchoFab
Phase 6: Assembly A feasible plan is needed for sequencing the assembly process. To organize an assembly plan, ordinarily, structural analysis, 3D spatial navigation, digital-guided positioning is required. In the final assembly process of Proprioception Lantern(Fig), because of the different combinations of balloon units that were produced in the previous step, the final lantern shape Fig. 3-14 Proprioception Lantern. Project by Alex Orsholits, Campbell
needs to be pieced together in an orderly manner. Whenever
Argenzio, Yiyuan Qian & Author, Obuchi
the previous user puts together a unit, the computer will guide
Lab, T-ADS, UTokyo
them to choose which combination of units to continue and adjust the next layer of assembly. Clay Rings (Fig 3-15) provides another example. The goal of this installation is to create a water feature. These clay rings are packed in a certain way that water from the top will flow around as many
Fig. 3-15 Proprioception Lantern.
rings as possible and finally converge to the required number
Project by Alex Orsholits, Campbell
of outlets at the bottom.
Argenzio, Yiyuan Qian & Author, Obuchi Lab, T-ADS, UTokyo
With the help of digital simulation, the computer determines the packing pattern of rings which will accordingly guide the maker to assemble different clay rings one by one.
Fig. 3-16 ↓ Project by Pyaezone Aungsoe, Boon Hau Lim & Author, Obuchi Lab, T-ADS, UTokyo
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Echoing Fabrication
Guidelines
3.3
Principles
3.3.1
Easy and smooth communication The simple way of communication undoubtedly allows people to participate without barriers. According to Shannon's inforT
mation model, in order to exchange information and commu-
ADS
nicate, it is necessary to go through a process of encoding and decoding. If the process of encoding and decoding can be simplified, the smooth and effective communication can be ensured to a greater extent. EchoFab believes that music (sound) is a very simple way of communication. There may be language barriers for people from two different countries, but as long as they can hear sounds, they can communicate through music. This is a call for communications between the non-expertise. Simple and Intuitive action Intuitive actions suggest that using the minimum input information to control and generate the maximum intricate outcome. In order to promote a participatory experience, the method of construction needs to be simplified and easy to understand. Overly complex methods of use will increase the burden of learning and bring psychological anxiety. If people can use tools intuitively, or through simple operation prompts and feedback, people can clearly understand the content of
Fig. 3-17 ↑ What made me?
the structure, which can eliminate the sense of difference and allow people to use and participate equally. For example, in the example of What made me(Fig.3-17), participants see a specific vocabulary that leads to specific mental activity, and they represent this kind of direct and brain-free information directly through color. Imitation, Iteration, and Improvisation 39
are suggested in the process of making so that the maker will
3. The Framework of EchoFab
shape their intuitive experience with judgment and dexterity(Dina El-Zanfaly, 2015). Perceptible information as dynamic parameters Most of the critical methods of computational design are how to set the parameters in the design. The parameter itself keeps changing all the time. The way to control the parameter strongly affects the result of design. If we want to represent human, we need to incorporate human information and data into the design system as design parameters. Normally, people can understand information through multiple sense organs. The ability to effectively organize and summarize the information processed by people's senses has a huge impact on the design results. Integrating material properties Respecting the original characteristics of the material and maximizing the physical characteristics of the material has long been the essential topic of architectural design. Although architectural design and industrial design have taken a diversified path of development, many traditional materials have been used in diversified ways with the help of high technology. However, the ability to give full power to material properties can also be regarded as a design technique. Flexibility and equity of form There can be independent unit systems in the form to be built, but the relationship between each unit system is equal, and hierarchical relationships are rejected. In order to minimize the uncertainty of geometric shapes, equal clustering is often built. It can provide users with choices to a certain extent, but there should be a certain tolerance and flexibility Fig. 3-18 Tomas Saraceno
in the selected form. For example, Tomas Saraceno used a large number of filaments to create a spatial installation that gives people an immersive experience. These filaments, despite their outstanding geometric features, are all linear materials, which are highly compatible with each other and can withstand greater variability. Sky landscape designed by Louise Nevelson provides another example. These modules of different shapes seem to be patched together in a mess, but they can integrate all the pieces through a uniform black. It can be regarded as an accumulation of small, and these small fragments are different from each other but respond
40
to each other.
Echoing Fabrication
Redundancy and Error-Tolerance Building redundancy allows users to maintain a certain degree of geometric control in a state where they can be used as freely as possible. Thus a failed operation will not destroy the balance of the entire system. Error tolerance attempts to adjust the design and ensure the process is in control. Low manual force Construction is always regarded as a labor-intensive activity. Making builders use natural movements and postures to reduce the body load on the participants can ensure an effective progress. Due to physical limitations, people are unable to handle the overweight labor force. In this regard, using machines efficiently to help people solve some tedious tasks will be of great help. But it should be noted that EchoFab emphasizes the role of humans directly playing with materials so that to develop a game of low manual force is important.
T   ADS
Playfulness People will unconsciously seek interesting things in their daily lives, and making ordinary objects or things interesting will attract more attention. Yu-kai Chou believes that gamification design first respects and meets human psychological motivations and needs, and functional design simply optimizes functions to serve special behaviors. Human-centered design should focus on "gamification" (Yu-kai Chou). Playfulness is one of the core driving forces of EchoFab. Its ingenuity is that it sets a certain level of challenge for users during the construction process. It is like giving participants a puzzle to stimulate their curiosity to solve. Criteria
3.3.1
Machine automation and human engagement Machines are good at precise and repetitive motions and make far quicker responses than humans to react. This measurement should define that in the fabrication process, how much intelligence is embedded in the machine and how much autonomy it has will have to be taken according to the materials, site, structural, and geometric constraints. Traditionally, comprehensive design language excludes many laymen out of the design domain. This design system will unify and help them easily understand the design process thus to define 41
how much human engagement is needed.
3. The Framework of EchoFab
Controllability
Intuitiveness
Machine Automation
Human Engagement
Learnability
Fig. 3-19
Unpredictability
Intuitiveness and Learnability Transforming unconscious behavior into visible and tangible things is a way of utilizing human intuition. The act of participating should be a natural experience without thinking. For this reason, the rules of fabrication cannot be designed to be complicated, but more in line with people's direct thinking. Usually, in order to ensure the accuracy of the finished product, there are often complicated rules and step instructions on the construction site. Intuitive fabrication should treat each participant as a novice to alleviate the oppression of professional competence. Jakob Nielsen(2012) defined “learnability” as “How easy is it for users to accomplish basic tasks the first time they encounter the design.” To measure how the design system can incorporate more people, a measurement of how the design process is to what extent intuitive and to what extent in need of learning. Controllability and Unpredictability Controllability refers to the level of autonomy of material, the ability for geometry to transform and the affordance of material to hold its shape. The vast majority of discussions about digital culture are about collaboration. For example, when talking about how digital workflows can easily connect the various links of design, such as how large companies can efficiently collaborate in cooperation between fields through
42
software platforms. Yet, digital culture is also essentially
Echoing Fabrication
about controlling. Using the approach of design and fabrication strategy contributes to unforeseen and endless variations of design outcomes. This leads us to a question of how much controllability is needed. “Workmanship of risk (WoR) means that at any time, the workman is liable to ruin the job. It is in opposition to the workmanship of certainty (WoC), in which the quality of the result is predetermined and beyond the control of the operative found in its pure state in full automation.(Pye, David. 1968)” The unpredictability refers to to what extent the final outcome can be embodied. Designers need to make the decision about the levels of guidance really carefully to reach their intentions. Conclusion: Striving for negotiation
3.3.3
The key to EchoFab is to consider how the design is to be
they can use their unique abilities to work together on the
ADS
professional training into the construction activities, so that
T
constructed, to include more people who have not received
final result through cooperation, thereby creating a common memory and social value. General computational design always discourages people without relevant professional background because of its excessive professionalism. In order to make the design return to the needs of human participation, a more inclusive tool should be sought, a simpler and intuitive method of participation should be incorporated to accommodate more people. Music and any other soothing or active sounds can make up for the lack of non-graphic and non-verbal cues, and it is a kind of conscious communication, which can connect people and break the strangeness. EchoFab advocates an iterative and reciprocal design process in which each building unit is a separate element, but under certain constraints, participants can explore different forms according to their own ideas. Participation assumes the core function of this design system and determines the attributes and tone of the design. A fun design not only needs to have an attractive appearance, but the construction method behind it is also crucial. In the following chapters, I will discuss in detail some specific cases and how they use human factors as an important driving element in design.
43
4. Participating: Towards Playful Fabrication
44
Echoing Fabrication T   ADS
4. Participating: Towards Playful Fabrication Chapter Four examines and draws insights from the current design or digital fabrication practices that accord with the concept of EchoFab so as to provide a wide range of implementation basis for this design systeme.
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4. Participating: Towards Playful Fabrication
Generative Mapping
4.1
A large number of public installation projects marks individuals’ influence as a valuable social asset by virtue of allowing participatory creation. By considering everyone as an independent and distinctive individual, many artists have tried hard to build a collaborative art installation. The common characteristic of these practices is they more or less employ a generative process so that everyone’s intervention is mapped into the final product. On the one hand, people will join in and enjoy it as a community event. On the other hand, it is not only about playfulness but about noticing differences and embracing diversity. Fungus Series - Crowdsourced sticker installations Fungus is a series of artworks that explore participatory generative design. By manipulating the same simple geometry iteratively, the participants engage in the generative process. This work explored how self-organization can arise from the interaction between a number of people. Each person was handed out the same four stickers and assigned the same assembly rules. For example, if you get two circles and two bars, the unbreakable rule is that each time you connect a circle with a bar, you cannot connect two bars in a row. But the rule did not decide which direction the player should Fig 4-1. Fungus Series : Crowdsourced sticker installations
pose. Some prefer a larger angle, some might prefer a vertical relationship. Thus even though the fundamental rule is simple and decisive, we can still imagine various outcomes to appear. This is a process that happens naturally, without a force driving this collaborative behavior. The meaning of such a project is never due to the unique geometry or form,
46
but in the way that it is born and embodied.
Echoing Fabrication
Yayoi Kusama stickers An amazing art installation was produced by thousands of children initiated by the artist Yayoi Kusama. It was an attempt to create a participatory work that only children can do without the designer's excessive intervention. Thus the basic rule is rather simple. Children were given several colorful dot stickers with which they can put anywhere in the blank white
Fig. 4-2 ↑ Colorful stickers that cover the white room, Yayoi Kusama
room. The white room was gradually invaded by numerous dots. And two weeks later, the room was completely covered by colorful dot stickers. During the process, children place their own stickers at their will. This marks a generative participatory process of an artwork. It is not difficult to imagine the final outcome before children started to participate since there are a large number of precedents that engage the public to doodle together. The results might be something no more than covered by randomly T
distributed colors and dots. Yet even though one can get a
ADS
clue of what the result might be, by the time you’ve seen the stunning work, you still get moved for its labyrinth-like images and the condensation of thousands of children’s spontaneous ideas. Measuring the universe Consciousness is hard to capture. The above generative art works well demonstrate the collection of ideas can make a difference. Yet it is hard to notice the individual difference by only comparing the nuanced results produced by different people. Is there another way to give a more direct impression of diversity?
Fig 4-3. Measuring the universe
The interactive installation, Measuring the Universe, started the same process as Yayoi Kusama’s stickers’ room, but the later procedure is totally different. They both started with a blank white room, but instead of allowing the participants to interact at their will, Measuring the Universe made them measure their own status and mark it on the wall. A further rule comes in the process compared to Yayoi Kusama’s work. It is this new rule that makes the outcome more controllable and reflective. The final state still consists of sparsely distributed elements, but just like a graph of the normal distribution, most of the marks concentrated on a small range of height. Therefore we easily get the idea that the majority of people’s 47
height is around somewhere.
4. Participating: Towards Playful Fabrication
To understand such generative and participator projects, it is crucial to set up the rules that lie behind the generative process. Generally there is a rule of initialization and a rule for termination. Simple initialization rules are preferred in favor of high participation and effective involvement. Among the cases above, it is the participatory process which takes advantage of the public resources that augment the final geometric form, and therefore build up a context awareness and beget a common social value. Human involvements are measured and translated into tangible outcomes, leading to a democratized innovation.
Human intuition as Design Parameters
4.2 Admittedly, intuition is not welcome in machine thinking. “The long quest for computing machines throughout the ages was driven not only by the need to speed up computation, but also to eliminate human errors, which were common when easily bored or distracted humans performed many repetitive calculations.(Peter J. Denning & Matti Tedre)� However, in recent design studies, researchers and designers have seen the drawbacks brought about by purely digital technology and mechanized operation. A large number of dazzling geometric patterns produced by diverse similar algorithms brings an aesthetic fatigue. And because most users are not algorithm engineers, they cannot empathize with the computer's algorithms, and these artworks do not make sense to them. This phenomenon evokes us to rethink what kind of work can touch people. Designing is nothing but a complex and dynamic creative process, rather than a mechanized and repetitive calculation process. Although people's subconscious thinking ac48
tivities are still unable to be captured accurately, new paths
Set up parameters
Echoing Fabrication
Human intervention as parameters
Morphologic parameters
material
Digital-physical interaction
Structure simulation
Performance simulation
Measuring and fabricating human sense
Structure optimization
Performance optimization
T 
Digital Formalization
 ADS
Digital Fabrication
are already opening for intuitive design. Perhaps unless machines have completely simulated the way people think
Fig 4-4 The workflow of human interventions as design paramters
and behave, the main driving force of design should still return to the human itself. This session introduces projects that use personal variables as the driving force of design, and analyzes how to integrate human factors in the process of design and fabrication in order to explore more design possibilities. Normally, to flexibly accommodate the differences between individuals, these design processes usually have to take the redundancy of information and the appropriate error tolerance into account. Human intention as design input In opposition to most of the computational design in which morphologic parameters are carefully investigated and chosen for the purpose of structural or performance optimization, some designers seek to apply human intuition projects, physical material directly or indirectly communi-
49
as design input to activate innovative processes. In these
4. Participating: Towards Playful Fabrication
cates to the maker through the material performance and properties. The final form ultimately emerges from the collaboration between human movements, machine operation, and material properties. In most of the architectural discourse, the physical model is highly important to speculate design ideas and operate abstract concepts. Through a physical model, designers can grasp more detailed information and make an association with their thoughts. However, digital models have their own constraints. Some insist that only through the process of truly experiencing the material and how the material behaves can it contribute to better design development. There are many works that aim to integrate the digital domain and physical object into a reconciled way. Many human-machine collaboration platforms explore better workflow between human and machine depending on how the users experience and conquer the machine's sensitivity.
Fig 4-5 Jamming Formations
Jamming formations This design and fabrication process is mainly divided into two parts: physical system and digital system. A highly flexible yet controllable material system is developed in order to support formative fabrication. Using membrane filled with aggregates to form the pliable components. This material system enjoys high autonomy so that makers can easily and quickly transform its shape. Another important factor of this material system is the capability to hold its shape. It is not liquid-like which will self-transform according to its surroundings. Yet it is not concrete-like that nobody else can afford to bend it physically. Because of this material design, it is possible to assure the smooth progress of intuitive manipulation. The digital
Fig 4-6 Making Guestrues
system focuses on the establishment of a database, the unit fabricated is classified and recorded in the electronic system according to different forms. This provides a powerful database as a reference, and the data in the database can be directly used as the basic unit in future construction and design. Making gesture
50
The author proposed a digital fabrication workflow that
Echoing Fabrication
enables a designer to physically manipulate the material without a predetermined digital model to simulate. Making gestures uses random motion generated by people to fabricate free-form objects.Compared with a CNC machine which directly imports the model data file, the feature of this project is that the information received by the machine responsible for construction does not come from a completed designed file, but from the interaction between human and the machine. The user faces an initial styrofoam block and improvises according to his own imagination. By capturing human gestures, the computer translates the gestures into language that the machine can understand. The aim is to alleviate the extreme differences between human and machine, and to embed creative hands-on processes into the design system. This is a kind of human performing rather than human portraying. However, in this project, people did not directly touch the
T
materials with their hands, but were provided with haptic
ADS
feedback. The final model was fabricated by machine. Although people are not directly involved in the process of interacting with materials, the creative effect exerted by human interaction cannot be ignored just as the author claims that “the human as a gesture, the machine as a mediated tool”. RoMA RoMA provides another example of interactive fabrication. It uses augmented reality technology to provide users with
Fig 4-7. RoMA
an immersive experience creative space, and then the virtual model is constructed by the robotic 3d printer. The ability to provide real-time on-site feedback is a major feature of RoMA. The interactive interface in the past required the user and the machine to take turns alternately. RoMA does not require the user and the machine to be separated, allowing interaction and fabrication to be performed at the same time. The user wears a VR headset on his head and holds a VR controller with input tip in his hand. Similarly, this approach pays more attention to the interaction between humans and machines, without direct contact with materials. But it still allows people to have a high degree of freedom in geometric design.They feel free to choose the order and form 51
so that personalized design can be highly accommodated.
4. Participating: Towards Playful Fabrication
Ada, 2019 In addition to allowing design intent and manual operation capabilities to participate in the construction process, human intuitive emotions also have extraordinary potential to integrate into the design. Ada uses the latest artificial intelligence technology to design a device that can interact with the user's emotions in real time. Its appearance is a lightweight knitted Fig. 4-8 ↑ Ada
pavilion structure that resembles a dome. The hardware and algorithms embedded in Ada can capture data related to human emotions such as the user's current facial expressions, voice intonation, and so on. These data are processed and will be reflected to the space materials and light colors through digital technology. The dynamic is more eye-catching than the static, it increases visual attention, while also gives the user a direct feedback. Ada is shaped like a dome, when the user stepped into it, the surroundings together with the fantastic structures on the top can create an immersive experience. “While artificial intelligence powers the project through the precise narrowing and statistical averaging of data collected from individual and collective facial patterns and voice tones, the architecture of Ada augments emotion through
Fig. 4-9 ↑ Sentiment Cocoon
aesthetic experience, thereby opening the range of possible human emotional engagement.”(JENNY E. SABIN, & etc.) In the example of Ada, although the final result has already been designed, because of its interactivity and variability which are directly affected by the user, the final result is always maintained in a dynamic state. In other words, its architectural structural framework has been stabilized, but other materials such as LEDs can still be constantly changing. A similar example is shown by Sentiment Cocoon. Compared with the idea of generative mapping mentioned above, users cannot directly participate in the “design from scratch, creating from less to more" process, yet they can directly affect the final design results through their emotions. Intuition, improvisation begets creativity Human beings are inclined to be distracted by irrelevant
52
things, they cannot complete a task steadily and regularly.
of developing details, humans are prone to make mistakes. For example, when we are planning land use on a computer, it is easy to miss part of the area, leading to wrong
Echoing Fabrication
When developing a design process, especially in the phase
calculation; when we build a wooden structure according to the completed drawings, it is likely that we get the truss in the wrong place. Even if we can successfully finish all the structural components as shown in the technical drawings, it is also possible that a nail is missing later, which makes the entire structure unstable. For a long time, designers are trying their best to make the detailed drawings as easy as possible to read, they even marked a lot of tips to alert the constructor that certain kinds of errors should be avoided. Therefore, in digital design and fabrication, the problems caused by human instability are urgent to be solved. Nevertheless, allowing people to directly play with the ma-
enacted directly by people, thus promoting the aspects of
 ADS
facturing. By limiting the control of machines, the object is
T 
terial does not mean going back to traditional craft manu-
intuitive design. The material communicates to the maker through the material performance and properties. The maker easily feels how much the material can bend, twist, and fold. The form ultimately emerges from the collaboration between human movements and material properties. Even though the maker has an original attempt to manipulate the material into a certain shape, after literally playing with it, it is highly possible that the outcome does not match the intention. Unlike the traditional trend of making products efficiently and precisely, this process is more intuitive. Humans easily get bored with repetitive works. But if we can split up the tedious work into more people, we can engage in common efforts.
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4. Participating: Towards Playful Fabrication
Fabrication as A Collaborative Force
4.3
This session discusses the notion of on-site engagement to physically translate human interventions into architectural representation. The final outcome is usually an accumulation of dozens of slightly various modules that are generated by human intervention. Mass-customization is doomed to serve all the people. The personalization is due to serve the individual. We shall create a system to serve a certain group of people. Introducing the play of pleasure. Playfulness and pleasure perhaps is the most instinctual sense to games. We all have the experience of playing games during our childhood. The essence of a game is the player trying to win. We do as much as we can to approach the goal as near as possible. TOCA TOCA makes use of human arm movement as an incentive. It is a pavilion-scale actual project, a group of towers formed by different curved lines. These lines were generated from the Fig. 4-10 TOCA
trajectory of the participant's arm. The trajectory of these movements depends on two points: one is the length of the person's own arm, and the other is their intention to wave their arms. The first impact factor is inherently unchangeable. The second impact factor shows stronger uncertainty. The starting point and the end point of the motion track have been specified immediately, and the route through which it passes varies from person to person. This kind of uncertainty is what
54
surprises people in this design process. Subsequently these
Echoing Fabrication
arm motion trajectories that humans created are stored in the computer as a database, and the computer will analyze the geometric characteristics of each different arc and configure these arcs on the target tower. To better reflect these trajectories, TOCA has also developed a new type of material and matching tools. STIK STIK has shown that intuitive and inaccurate human behavior can be accommodated and translated into an architectural scale product. For the builders, this is like a color tracking game. They can easily participate without carefully reading
Fig 4-11. STIK
the construction manual. The hardware of fabrication consists of a hand-held stick dispenser, a depth camera and projector. A customized tool was developed to respond to the mechanical and geometric properties. In order to clarify the current states, using different colors to show its current T 
states. For example, projecting red color indicates that the
 ADS
components are too many whereas green color means that still not enoughBy using a depth camera to capture the current state, calculating the deviation between current shape and target shape, and proposing the next step of dropping, builders simply need to use the custom tool to target the color.
PAFF PAFF is a collaborative fabricating project that utilizes a proposed bBazooka projectile auditory guidance system. The maker targets position with a coconut fibre ball according to 3d sound sources. Each coconut fibre ball marked as a point, accumulated and eventually formed a large roof that consists of several voronoi shapes. The playfulness was nourished by a seemingly audio spatial navigation game. The results
Fig 4-12. PAFF
also reflect that people who have more experience in FPS(First-person shooter) games score the best generally. One of the key features of this project is to use structural analysis to accommodate the expected errors. This inspires us to think that designing the unexpected is also part of design.
Bloom - A Crowd-Sourced Garden
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BLOOM is designed as a city toy. It is composed of numerous
4. Participating: Towards Playful Fabrication
fragmentary parts with the same color, shape and structure. The rules of the game are very simple. The players need to simply to connect these bits and pieces together at will. These sequences can be reconfigured into a new structure Fig. 4-13 Bloom - A CrowdSourced Garden
by continuously deforming, twisting, and duplicating the same initial structural element. The reason why this game can accommodate the intervention of most people lies in its structural features that can be assembled, disassembled, and reused. The flexibility of this building unit plays an important role in encouraging people's gaming experience for it encompasses human improvisations.Through Bloom, we can see that architectural creation also has the potential to become a social game.
Reflections on Participation Playfulness To convey the feeling of "playfulness", we must grasp the common characteristics or preferences of the crowd, and at the same time provide more chances for participating. Presumably everyone has experience playing games.Fabricating collaboratively not only introduces playfulness but also improves democratized innovation. Playfulness and pleasure is the most instinctual sense to these fabrication games. Players are willing to devote their time and energy into games even though they know that they will not receive substantial rewards. The spirit of playing games is never to increase productivity or efficiency but to attract more people, get people deeply moved, and motivate them to venture and explore further. Through participatory fabrication, the participants join in as a community event as well as satisfying their curiosity. There are several steps to build such a playfulness: Human engagement as incentive The starting point of the design is instinct, which is to interest more people and create an association. Similarly, the starting point should have a certain degree of inclusiveness to resonate with the crowd. This intuition is often simple and straightforward, and can quickly attract the attention of par56
ticipants. Human engagement is based on real information
it is also a kind of integration of group information. For example, everyone has the experience of listening to identify the location, and our ears can naturally determine
Echoing Fabrication
and consists of multi-dimensional user data. In other words,
the source of a sound. PAFF takes advantage of this common instinct, thus obtaining a participatory design and construction process. If the target population of this design is both deafs and people with normal auditional ability, obviously this design pattern will no longer be established for the reason that people who cannot hear cannot understand the audio guidance. One may argue that the goal of the design is to incorporate people's capabilities of audio navigation into the design therefore it is necessary to include a larger range of data. However, this point of view ignores commonality as a prerequisite for design. It is precisely because people have such commonality that this starting point is reasonable. If the starting point of this workflow neglects the commonality at
Regardless of the equity of accessibility, participants inherent-
 ADS
this target group to have a psychological resonance.
T 
the beginning, the final design results are more difficult for
ly refine the given information, trace in their own memories, and then give their own interpretation and judgment. For example, in Bloom, everyone can freely reassemble different joints. Participants will soon have the relevant memories in their minds, and accordingly decide whether they want to connect the components into a ring or a spiral. Response People’s commonness and differences are recognized and merged together in the following two aspects. First, it is very important to control the shape deformation in the design process. If there are no certain restrictions on users, an overload of geometric shapes will eventually be formed. The result of participatory integration of elements of different styles is to a certain extent a hodgepodge and lacking recognition. For example, in Computational Clay, because we stipulate that participants can only push the four corners of each unit, and cannot change the overall shape. This restriction on fabrication rules can smoothly ensure that the final result will not exceed expectations too much. Compared with Bloom, participants have greater freedom in the manipulation of elements. They are permitted to touch any locations of components, so the final result is more free and random than Computational 57
Clay. In ParticipationPlus, there is a higher level of restriction
4. Participating: Towards Playful Fabrication
on the assembly method of each element. It must be built horizontally and vertically like a brick wall, and the final effect tends to be more rational. Second, participants need to have a certain degree of control when building a unit or a module. Participants can control this object arbitrarily according to their own understanding. If the object is out of control, the participant will be anxious and panic so that they cannot continue. Within a comfortable range of their abilities, they can realize the differences between each other therefore make sure the process continues steadily and successfully. Resonance After the mutual efforts of a group of people, we will finally get a common result. Such a result will have a certain degree of recognition and a certain emotional attachment to the builder. They celebrate their efforts while watching this work that they have contributed to. This kind of work is more engaging than traditional public works of art, and it is a new social experience. What people need to solve is a series of simple and intuitive problems which are not aiming at acquiring the correct answer. But through participatory design and fabrication, people with different backgrounds and knowledge have different dimensions of perception and thinking and jointly explore an answer. This is a collective behavior that combines imagination, exploration, entertainment, and construction, creating a new link between people in such collective behavior. Therefore, this paper advocates that if we can capture human behavior and perception through digital construction activities, let community residents directly participate in the architectural environment where they live, so as to improve people's experience of daily life and enhance the playfulness and happiness of daily life. Collaborativity In the architectural examples discussed in this chapter, cooperation in the construction process is an important feature. And this kind of cooperation refers to the fact that the participants should act as a team rather than just conduct a certain step in a certain process like a small screw on the production line. It is impossible for only one or two people to complete construction. However, in the past, each builder was doing the same thing repeatedly in order to make the
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final result match the original preset as much as possible.
own characteristics and reflects their own capabilities on the final results through their actions. For example, in PAFF, the builders project the balls of coconut fiber to the specified
Echoing Fabrication
The cooperation discussed here emphasizes the participants'
position according to the position of the sound source. Although each participant did the same thing repeatedly, he also incorporated his accurate or inaccurate judgment of the sound source into the final result. Computational Clay also uses a similar technique. Because of the plasticity of the material, it can reflect the aspect of human participation, which arouse participants’ curiosity to find out how powerful their palms are. To sum up, the collaboration in EchoFab involves two meanings: The first aspect is that participants have different levels of capabilities, and digital construction can integrate and mediate the differences. Under the guidance of digital technology, participants combined action and awareness
previous design pattern was to find a solution that reduced
 ADS
a by-product of the integration of these capabilities. The
T 
into one. The second is that architectural form was born as
the design cost as much as possible while providing an excellent user experience. This design system abandons this mode of rationally seeking solutions, and focuses more on the expression of human intuition, and at the same time seeks to a juxtaposition of material, context, human engagement, and cyber-physical systems.
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5. Echoing: Music as Guidance
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5. Echoing: Music as Guidance
Capturing the Shape of Music
5.1
Rhythms and melodies are not only existing in music. There are also rhythms in the natural world, such as the cicadas in summer, and the frequency of human heartbeats. Rhythm has been applied to many fields, such as music, film and television, graphic design, sculpture and so on. Architecture is a science about turning abstraction into the configuration therefore many architects in search of the relationship between architecture and music strive to capture the shape of music and translate music structure into architectural languages. Yet these researches are limited in rational structural analysis, fail to think from human's musical instincts and intuitive learning skills. EchoFab emphasizes that music is an energetic vehicle to communicate so as to contribute to architectural form generating. We have a neural basis for generating and perceiving rhythms. Through training and learning, the ability to control rhythm Fig. 5-1 ↓ Deemo
will be strengthened(Sandra Da Costa, et al. 2013). Rhythm games There are already a lot of rhythm games on the market, and Deemo is only one of them. This is a game that combines visual guidance and auditory guidance at the same time. The first task of the players is to accurately grasp the rhythm of the original music according to the visual guidance of the rhythm shown accurately. Each player will eventually get a score to evaluate his musical rhythm ability. The reason why
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this type of game can attract the public is not only the attrac-
Echoing Fabrication
tion of the music itself, but also the inner desire of players to do their best to get close to the full score. Because of this evaluation system, players can know that their musical sense
Fig. 5-2 Fig. 5-3 Communication Landscape, HENN + Technische Universität Darmstadt, Digital Design Unit
is not perfect, and there is still much room for improvement. Communication Landscapes (Fig.5-2) and Jermy J. Ham(Fig.5-4) also provide examples that through music and sound improvisation can create a novel geometry. Moreover, if further visual preview is provided to help the player manipulate the T ADS
shape, the process will be controlled less intuitively. In this system, it is important to inform the player that there is no right or perfect way to improvise. Players change the geometry
Fig. 5-4 ↓ Music improvisations
as long as they feel comfortable and natural.
by Jermy J. Ham
Conclusion This session discusses how to use the structural characteristics of music (specifically, pitches and rhythm) to guide the fabrication. As mentioned earlier, sound has its unique physical characteristics, and music has its more specific structural system. It is exactly because of the spatiality and structure of music that attracts people to follow. In previous design studies, how to optimize the visualization of music to make the resulting geometric form or tangible body more abundant and meaningful is often the focus. But this thesis focuses on the process of humans trying to capture the shape of music, as well as how to transform human auditory analysis, perception ability, creative actions into tangible forms so as to provide possibilities for buildings, installations, furniture and other by-products design.
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5. Echoing: Music as Guidance
Echoing as Personalization
5.2
Customized Fabrication Since the industrial revolution, mass customization has been the mainstream of manufacturing. Products that can be used by all people not only facilitate the lives of residents, but also greatly improve efficiency of production, thereby promoting economic and social development. However, with the development of mass customization so far, we can see that the worldwide products have built up limited styles which can be found almost everywhere. If the products are destined to be similar and generic, how can they reflect personal characteristics, and how can one distinguish what is unique? At the same time, people are seeking for a new style of regionality and uniqueness of the local culture. Looking back to digital design, should designers also fully consider the characteristics of users themselves? Thus, personalization in digital fabrication is needed to reject the trend that every design progressively shares the same value. This session discusses how to achieve the above-mentioned "personalization in digital fabrication" through music guidance. As mentioned in the example of Communication Landscape, by allowing the public to directly participate in the manufacturing process, rather than producing in the factory's unified line of production, a personalized style can be created. Everyone's different voices are tangible and reflected on the final styro brick. This simple approach aims at seeking diversified results. There will be unexpected surprises when incorporating human factors such as people's perception and behavior into the design.The strategy is generic, the 64
application is specific.
Echoing Fabrication
I argue that only when the products are embedded with their own characteristics to a certain degree, and at the same time share a certain degree of commonality, can the design be expressive and meaningful. Therefore, this design system emphasizes the personalization of design. Designers and planners will fully investigate local context before conceptualizing a community design. Such characteristics can be folk cultural, natural landscapes, historical buildings, environmental elements, etc. No matter what kind of unique elements in the context, it has become a consensus among designers and planners to protect and exert these regional characteristics as much as possible. Case study I: Musical lines The diagram(Fig) shows that EchoFab enables a customized process of digital fabrication. The key here is the digital
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formwork helps users to achieve their goals instead of letting
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designers decide what users need. Compared with the standardization boosted by traditional mass-customization, this workflow allows users to personalize their own settings and support non-standardization. In the past, designing the same product for mass repetitive production often required physical formwork. As a formwork, a physical object is necessary such as a jig for producing paper lanterns, or an industrialized production line that produces a piece of furniture. This formwork can be seen as an irreversible process. In the digital age, the formwork is no longer an item but information. As opposed to the previous physical formwork that can not be deformed and only be used for one type of product, digital formwork
Fig. 5-5 The workflow of Personalization
is more flexible and adaptive. Just as you can change your favorite mobile wallpaper at will, digital formwork provides
Player
preferable song
sheet music
physical manipulation
assembly sequence
physical output
personalized algorithm
digital translation
music visualization (goal setting)
digital translation
audio guidance
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Personalization
geometry processing
5. Echoing: Music as Guidance
a system that allows users to make personalized choices among a wide range of objects. Preference settings Setting 1: Select your soundtrack To personalize your own design solution, select your favorite songs. It is universally acknowledged that music is significantly related to the human mental state. EchoFab design system allows players to fabricate their liked songs into their liked shape. As shown in (Fig.5-8), random rhythms were chosen and translated into curves geometries. Setting 2: Select your geometry parameters Geometry features and music input is easily modified by preference setting. By setting up different geometric parameters in grasshopper, computers will generate various forms for us to choose. Setting 3: Select the scales Product scale: in the case that you want to design a small industrial product, such as a pen holder, a book- stand. Furniture scale: When the scale increases, a furniture-scale product such as a small chair can be chosen. Pavilion scale: A larger scale is the architectural scale. If a user requires an art installation in a community, the design can be simply enlarged for construction. Though these design outcomes seem more installation-like than architecture-like, they present the potential for further speculation of developing more possibilities of playful and personalized design and fabrication solutions. A widely popular design object generally integrates the commonality of people, and sometimes individuality is selectively omitted. Hence the product is an integrated variety. EchoFab suggests another way of thinking, attempting to incorporate more about the user's feelings and needs. In the example above, just as normal music visualization, users can choose their final works according to their own preferences. During the design process, participants and products communicate face-to-face. The preferable options will be visualized in real time and users feel free to choose them. For designers, the problem that needs to be solved is no longer to collect users’ data, analyze demandings, investigate usage patterns, and infer possible user preferences. The users themselves are the source of creative inspiration,
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and the designer does not need to repeatedly respond to the
Echoing Fabrication
user's ever-changing user needs. The challenge designers face is more of a communication strategy between participants and products and the use of communication tools.
Fig. 5-6
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Fig. 5-7
Fig. 5-8
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5. Echoing: Music as Guidance
Echoing as Systems of Uncertainty
5.3
Following the strategy of previously explained collaborative design and fabrication process, this chapter presents examples of using the discrete unit-based design and assembly sequence. As discussed in session 3.2 above, what kind of guidance is selected will directly affect the design results. 5.3.1. Case study II: Rope Weaving Catenary weaving is an experiment utilizing musical pitches as primary guidance to generate various catenary weaving patterns. An 8x8 grid of points is created to measure the pitches. The x-axis is marked as sound positions and the y-axis is marked as the height or lowness of pitches. Each given soundtrack has a fixed pitches pattern which will be used as a basis and processed into catenary geometries. Design Setup 1. In a two-dimensional plane(Fig.5-9), the x-axis represents the sound position, and the y-axis represents the pitch of the sound. It is preferable to keep the rhythm the same. In this way, each designated piece of music will have a corresponding pitch pattern. 2. Select a primary form as the basic unit. Here I chose two basic forms: one is to connect two points directly into a straight line, and the other is to connect two points with a catenary shape. As shown in the figure below, every time a segment of audio is specified, the computer will automat68
ically visualize the tonal characteristics and produce two
Echoing Fabrication
corresponding geometric patterns. Procedures(Fig.5-10): Step 1: Players listen to the guided soundtrack once. In the computer display, the board shows correct pitches in the correct positions. This is a warm-up step that gives the player a clue about rules and general information about the game. Step 2: Players listen to a short piece of soundtrack consisting of only the 8 pitches. Step 3: Players navigate the pitches they just heard by weaving the rope onto the board. Step 4: The computer captures the points that the player marked, and plays the sound according to the pitches they selected. Players listen again and compare what they have just played with the original pieces, and validate the current state if it is identical to the original one. If they think
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Fig. 5-9
pitch C5
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position Fig. 5-10
Select a piece of melody
Playing sample of guidance
Audio play guidance
Catenary algorithm
Player: Navigates the points
Send data to Grasshopper
Grasshopper: Shape Generation
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5. Echoing: Music as Guidance
soundtrack A
soundtrack B
soundtrack C
soundtrack D
catenary A
catenary B
catenary C
catenary D
Fig. 5-11
(a) pitch pattern
(b) catenary patterns
(c) users' answers
(d) catenary generated by users
Fig. 5-12
they made a mistake somewhere, allow them to refine the piece for once. Software Pipeline First, processing is used to capture the pitch of the audio, and transmit the data to Grasshopper through the connection of gHowl, and use Grasshopper to generate geometric figures. The challenge for the users is that they have to listen carefully to the sound(fig.5-12a) and navigate the points on the board according to the pitches displayed(fig.5-12c). In the end, all those geometries generated by different players are combined together into one board(fig.5-12d). In this way, each player’s information is mapped and embodied in the final product. This is a fabrication game where design and testing coexist, enhancing people's sense of participation. Those catenary shapes were born as a by-product of this game. The deviation between players’ perception and 70
the correction is manifested by noticing the discrepancy of
Echoing Fabrication
Fig. 5-13
gHowl (plugin) Transmit data between Processing and Grasshopper
Processing
Grasshopper
Rhino
Audio signal processing
Geometry processing
Geometry Output
scanning and calculating deviations (if necessary)
Steam VR
Vive Track (plugin)
Tracking data
Capturing data to Grasshopper
each catenary curve. The figure 5-12 shows the results of each participant guided by the same audio. If the difficulty of this "game" is increased, the volume of each sound is also used as a variable, and the sound variable of the entire system is T
increased to two. Given the geometric parameters of the
ADS
catenary, give each tone a different amplitude, that is, the volume, and let the participants determine the depth of the catenary sag according to the volume they hear. The figure below shows the results after adding variables. Correction Feedback: The feedback system significantly affects the results. Through a correction feedback system, the final results are more close to the original goal. The feedback can be regarded as a learning process. Players learn new skills while they play. The computer tells them whether you are right or wrong, making you learn your limitations and making efforts to adjust their answer better. Feedback is synthesized to refine the design object. The reciprocal process of the player being instructed and being given feedback is an iterative process. Thus the close Fig. 5-14
design parameter
unit generation
geometry analysis
Human’s ability of detecting pitches
output
sag of catenary catenary shape
sorting data
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x : sound position y : pitches
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x : sound position
5. Echoing: Music as Guidance
feedback loop between the players and the computers can be regarded as the schematic design during the normal architectural design process.Those who listened to rhythmic music finished the tasks more efficiently than those who listened to the other types of sound, suggesting that rhythm in music promotes behaviors that are linked to social cohesion. Accumulation: In the end, all those geometries generated by different players are combined together into one board. In this way, each player’s information is mapped and embodied in the final product.When we combine all the creative results of ten people, we can quantify the tone perception ability of these participants to a certain extent. Among these ten people, you can see that the answers given in the fifth tone and the seventh tone are quite different. This is a game where design and testing coexist, enhancing people's sense of participation, and these catenary shapes were born as a by-product of this game. The deviation between players’ perception and the correction is manifested by noticing the discrepancy of each catenary curve. 5.3.2. Case study III: Clamping clay Clamping clay utilized simple rhythm guidance to fabricate a clay module into complex shape. Every module is created with a square block of clay that is wrapped with pliable mesh formwork. Makes need to grab a certain length of sides and pinch it according to sound instruction. The longer the sound sustains, the longer distance should they pinch. Material research and fabrication tool To achieve fabrication with minimum data transfer and skill levels, this project decided to investigate methods which are fundamental ways of applying forces, bending, twisting, pushing, pulling, folding and pinching. These forces, when applied in a 1-dimensional way, are very intuitive for most people. For example, instruction to bend, twist, fold or pinch in one direction is relatively easy to follow. However, higher level instructions such as bend 60 degrees, twist 180 degrees or fold 30 degrees in the south direction becomes extremely complex. For instance, a complex bending instruction would include, initial holding position, folding line, fold direction and folding degree just to
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achieve one fold as illustrated in Fig. In contrast, pinching needs fewer instructions for a given output, initial folding position as seen in Fig5-15. The resultant shape will mainly depend on where the initial folding position lies. Moreover, the result of pinching is quite similar to that of folding despite its need of less data instruction.Therefore, we chose pinching as our main method of force for this research as it could be achieved with minimum instruction. Design goal and fabrication method For an ideal target design for this research, we design a prototype with a total of 9 clay blocks where the water path starting and diversifying from the first block will finally converge into one path at the last block. Each clay block has 16 possible points where water can drop into the next block. For individual blocks, the minimum number of water paths is 1 and the maximum is 4. These water dropping points could be any number between 1 to 16.. The target
T 
water path design concept can be seen in fig5-16.
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Since the method includes manipulating existing material to form into a complex shape, materials that can be moulded easily with hands without breaking have to be used. Clay was selected as our main material as it could be pinched, moulded and deformed relatively easily using hands. We start with planar clay plates, which are pinched when it is still wet and the resulting complex 3d clay blocks retain the 3d position after being air-dried for around one hour. This research on foldability of clay by pinching to produce complex 3-dimensional forms is investigated by designing a water pavilion which is made up of a number of 3-dimen-
Fig. 5-15
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5. Echoing: Music as Guidance Fig.5-16
sional clay blocks. Since the pinching of clay produces valleys and troughs on the 3d clay blocks, these valleys and troughs are used as water flowing paths. The minimum height point or points on individual 3d clay blocks will let water drip down. By hanging individual 3d clay blocks in layers, a waterfall clay pavilion is formed. Guidance For the actual fabricating process, we regard the fabricator as an unskilled person and our aim is for any unskilled person to be able to fabricate using the method investigated in this paper. To fabricate a clay block, the fabricator must receive two instructions(Fig.5-17). The first instruction is whether the pinch is on which edge or which corner. The first instruction is given verbally by saying whether it is edge or corner. The second instruction is where should the fabricator place his hand as the starting position for pinching. The second instruction is given through sound pitch. The higher the sound pitch, the farther the fabricator should put his hand as the starting position for pinching. However, as the sense of sound pitch perception is different for each individual, the resulting clay block could be different from the targeted 3d clay block design. Fabrication The fabrication process includes 2 main steps of each clay block. Before fabrication, the clay plate is sandwiched by two metal meshes (formwork). The first step is sending sound pitch instructions to the fabricator for pinching hand movement. Secondly, the resultant height is scanned using
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an AR marker. The algorithm calculates the deviation in
Echoing Fabrication
Fig. 5-17
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Fig. 5-18
height and then calculates the deviation percentage that needs to be used for subsequent turns. After that, it gives out instructions for the next pinching step on the next edge or corner of the same clay block. After the whole block is fabricated, the water path of that block is checked by comparing it with the intended design output. If the water path is the same or does not deviate the intended path, the next clay block is fabricated Kinds of Uncertainty Uncertainty comes from human perception and judgement Fabricated pieces are no longer the original piece. It is a twisted version. The deviation between digital models and physical pieces is what I called creativity. The fabricated pieces are tractable, they were born by the digital model. 75
But they grow up in an unexpected environment, leading to
5. Echoing: Music as Guidance
an undesired outcome. But it is this unexpected part that we are looking for. Uncertainty comes from geometric and material behavior Another uncertainty comes from the catenary shape. During the experiment, the curvature and sage of catenary shape are not geometrically defined. The geometry is set up only with a catenary requirement. This criterion is not rigorous thus contributing to more flexible geometrical scenarios. on the contrary, if there is no such catenary limitation, but will only connect two points with straight lines, the result is even more predictable as little geometric preference will be added onto the accumulated outcome. Uncertainty comes from improvisation It has been more difficult to conduct as there was no predefined outcome. You have no idea what people will react to. The uncertainty is the highest among the three experiments. It is generally considered that improvisation is highly spontaneous and creative. Because our final goal is to visualize the music piece, without a visualized guidance, players feel at a loss in looking for the shape. There is no reference for them to confirm the visual pattern. At last, what they can do is to guess the answer randomly. Comparing improvisation, guidance with certain concrete goals is easier to predict due to its dominance and integrity. Even though the instability of human sense cannot be neglected, the whole process with a clear goal is under control. Yet this system is replicable, the design outcome is hard to perfectly reproduce. The adaptive system accommodates multiple aspects. It is not like a computer program, the output is highly dependent on the input. Here, since the design input is in a sense unpredictable, the output accordingly cannot reappear identically. The previous design guidelines sought a series of abstract visual principles as a starting point, or integrated the characteristics of historical and cultural fields, yet did not start from the sense of public participation. Participation not only enlightens the entire process of design and construction, but also mediates between a wider society. The
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uncertainty and intricate results seem incomprehensible,
ideas are clear. It should be emphasized that “It must be a kind of beauty designers can actively choose and rework, and empirically, towards greater sustainability
Echoing Fabrication
but if we focus on the process rather than the result, the
and social engagement in their output(Izaskun Chinchilla & Emilio Luque)”.
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6. Conclusion
Conclusions
6.0
Contributions This research raises questions about today's digital design and fabrication: now that machines and algorithm technologies are evolving increasingly, machines can not only help us quickly process virtual 3D models but also build physical structures automatically. So, is it still necessary for designers and builders to really touch the materials with their hands and explore the design process? In the general digital design process, designers will also consider the impact of their digital tools while looking for design inspiration and developing design concepts. The thesis claims that digital tools should not weaken people's instincts, but enhance people's self-consciousness. The following two gaps in the current digital design process were justified in this thesis: The first is that highly technical digital tools help people solve many complex and tedious tasks, but also gradually weaken people's ability to design, produce and create, and gradually excluded people’s exploration of the naturalness of materials from the process of design 80
and creation. The second is that there is a certain deviation
and the concretely presented results after the fabrication. In order to explore the solutions to the above two contradictions, this thesis proposes a new digital design system, namely
Echoing Fabrication
between the virtual 3d model in the current design process
EchoFab. EchoFab is conceptualized as the combination and interflow between 3 main aspects: interpretation, response, and resonance. Based on these three main sub-concepts, EchoFab also includes a concrete and implementable digital design workflow, which consists of six major steps: generation, simulation, guidance, fabrication, feedback, and assembly. Each step complements and influences each other. Among them, guidance and feedback are the most influencing part to the construction results. These behaviors of participation, communication, and collective construction will form a unique and personalized style, which has often been neglected in digital design but is the core element of participatory design and fabrication.  ADS
for people to communicate during the fabrication process.
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Moreover, music is demonstrated here as an inclusive tool Compared with traditional construction workers and designers who are in need of systematic training to understand architectural drawings and then communicate through professional drawings, design and construction should be a process of how to effectively communicate and acquire new information. Therefore EchoFab suggests that using music as an inclusive vehicle to engage more people into the fabrication process. Through a comparative analysis of the effect of the workflows of digital fabrication and interactive fabrication, EchoFab highlights the autonomy and communication of humans in the entire process. In order to verify and analyze the workflow of EchoFab, some specific practical cases are discussed. These digital design projects range from human gestures, subconscious behaviors, emotions, etc., and use computer-aided technology to achieve their design goals. At the same time, several teaching cases and experimental projects were explored as a practical basis to verify the operability of EchoFab. The uncertainty of imitation, improvisation, speculation, and exploration is and should be fundamental and has a profound impact on the architecture and any other creative process. What EchoFab provides is not a direct answer to the design
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and fabrication, but a recipe that guides designers to think
6. Conclusion
more about human engagement into the digital workflow. It is not a design framework for the final product, but focuses on an enjoyable, constantly changing, and exploratory process. Implications of the design system It should be emphasized that EchoFab cannot fully account for all processes related to computational design and digital fabrication for its own limitations for implications. This design system is based on the logical framework of participatory design and encourages a collective participation and creation process. Therefore, it is more suitable for activities that require public participation to construct collective memory. For example, in order to create a common emotional attachment and community identity in community design, such participatory construction activities can deepen the interaction and communication between residents and create links between people. In addition, some structures with special public demands, such as temporary celebrations and commemorative constructions, can also be effectively realized through EchoFab. Modern lives have gradually alienated interpersonal relationships between communities. EchoFab regards construction as a social place, a platform that can provide a group of people to interact together, and then concretely present this interactive behavior. Limitations and Future Works The research lacks a wide range of user study and community practice. Since the purpose of EchoFab is to attract more people, it is necessary to investigate what certain kinds of behaviors and abilities are playful enough to engage people. In the future, the design system should be further strengthened by implementing into real design practices. A further toolkit for participatory design should be explored. The guidance and feedback system that proposed here are rather prototypes for implementations. To better utilize digital technologies to offer clearer and attractive guidance, digital tools that can capture human sensory data will be of great help. Moreover, with respect to feedback systems, the actual results and effects of different feedback should be validated through empirical research.
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Fig.2-1 Concrete Choreography. Image © Axel Crettenand: https://www. archdaily.com/940530/an-overview-of-digital-fabrication-in-architecture Fig.2-2 BUGA Fibre Pavilion 2019: https://www.icd.uni-stuttgart.de/ projects/buga-fiber-pavilion/ Fig.2-3 HENN Pop-up Factory: https://vimeo.com/287214471 Fig.2-4 Partitional Plus: https://unswcode.org/projects/participationplus/ Fig.2-5/2-6 Chinchilla, I. and Luque, E. 2019. Which Beauty Will Guide Us? Seeking a Reflective, Sustainable, Socially Engaged Visual Culture. Archit. Design, 89: 46-51. doi:10.1002/ad.2478 Fig.2-7 Participatory design: Brandt, Eva , Thomas Binder and Elizabeth B.-N. Sanders , "Tools and techniques" Fig. 2-8 Interactive Fabrication, Karl D.D. Willis et al. Fig. 2-9 Stretto House, Dallas, Texas, 1989, Steven Holl Fig. 2-10 Soundscaping: Pavilion 21 MINI Opera Space: http://www. coop-himmelblau.at/architecture/projects/pavilion-21-mini-opera-space/ Fig 2-11 Visualizing music by Tony Bergstrom, Karrie Karahalios, and John C. Hart Fig 3-1. The conceptual framework of EchoFab (Echoing Fabrication) Fig. 3-2 The Design Landscape, Elizabeth B.-N. Sanders & Pieter Jan Stappers. 2008. Fig. 3-3/3-4 Author Fig. 3-5/4-11 STIK: Yoshida, H., Igarashi, T., Obuchi, Y., Takami, Y., Sato, J., Araki, M., Miki, M., Nagata, K., Sakai, K., & Igarashi, S. (2015). Architecture-scale human-assisted additive manufacturing. ACM Trans. Graph., 34, 88:1-88:8. Fig. 3-6/4-12 PAFF: Furuichi, S., Nozawa, S., Asahara, M., Murugeswaran, P., Shi, Y., Wu, Z., Obuchi, Y., & Sato, J. (2018). Using non-linear logic for construction of self-stabilizing hammock structure. AAG. Fig. 3-7/3-9/3-10 Author Fig. 3-8 3D Branches Dome: Maria Larsson, Hironori Yoshida, and Takeo Igarashi. 2019 Fig. 3-11/3-12 Project by Hao Li & Yucheng Zeng, Obuchi Lab, T-ADS, UTokyo Fig. 3-13 Author Fig.3-17 WHAT MADE ME: https://www.behance.net/gallery/4419469/ WHAT-MADE-ME-Interactive-Public-Installation Fig.3-18 TOMAS SARACENO: http://www.tanyabonakdargallery.com/ exhibitions/tomas-saraceno_2/8 （ETH）https://www.archdaily.com/940530/an-overview-of-digital-fabrication-in-architecture Fig.3-19/4-4 Author Fig. 4-1 Fungus:https://studiomoniker.com/projects/fungus Fig. 4-2 Yayoi Kusama:https://www.thisiscolossal.com/2012/01/yayoi-kusama-obiliteration-room/ Fig. 4-3 Measuring the universe:https://mymodernmet.com/roman-ondak-measuring-the-universe/ Fig.4-5 Jamming formations: Kyriaki Goti, Shir Katz, Ehsan Baharlou, Lauren Vasey, & Achim Menges.2019 Fig.4-6 Making Gestures: Pinochet Puentes, Diego Ignacio. 2015. Making gestures: design and fabrication through real time human computer interaction. http://hdl.handle.net/1721.1/99252 Fig.4-7 RoMA: Huaishu Peng, Jimmy Briggs, Cheng-Yao Wang, Kevin Guo, Joseph Kider, Stefanie Mueller, Patrick Baudisch, and François Guimbretière. (2018) Fig.4-8 Ada:Jenny E. Sabin, John Hilla, Dillon Pranger, Clayton Binkley, Jeremy Bilotti. Embedded Architecture Ada, Driven By Humans, Powered By Ai. Fabricate 2020, UCL Press
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Fig.4-9 Sentiment cocoon: Moritz Behrens, Konstantinos Mavromichalis, and Ava Fatah gen. Schieck. 2018. The Sentiment Cocoon: A Case Study of Media Architectural Interfaces. In Proceedings of the 4th Media Architecture Biennale Conference (MAB18). Association for Computing Machinery, New York, NY, USA, 95–105. DOI:https://doi. org/10.1145/3284389.3284392 Fig.4-10 TOCA: López, D., Charbel, H., Obuchi, Y., Sato, J., Igarashi, T., Takami, Y., & Kiuchi, T. (2016). Human Touch in Digital Fabrication. Fig.4-13 Bloom: https://www.archdaily.com/269012/bloom-a-crowdsourced-garden-alisa-andrasek-and-jose-sanchez/ Fig. 5-1 Deemo: https://www.bemanistyle.com/review-deemo-the-lastrecital-ps-vita/ Fig.5-2/5-3 Communication Landscapes – Seoul Biennale of Architecture and Urbanism 2017: https://ddu-research.com/communication-landscapes/ Fig.5-4 Jeremy J. Ham. 2018. Exploring the Intersection of Music and Architecture Through Spatial Improvisation, Learning, Adapting and Prototyping – Proceedings of the 23rd CAADRIA Conference – Volume 1, Tsinghua University, Beijing, China, 17-19 May 2018, pp. 121-130 Fig.5-5/6/7/8/9/10/11/12/13/14 Author Fig.5-15/16/17/18 Clay Project by Project by Pyaezone Aungsoe, Boon Hau Lim & Author, Obuchi Lab, UTokyo
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