Chen lin 691908

CREATION BY ALEX DIACONU: TONADO

J O U R N A L

STUDIO AIR2016, SEMESTER 1, FINNIAN WARNOCK

CHEN LIN 691908

As an architect you design for

the present with an awareness of the past for a future which

is essentially unknown.

----NORMAN FOSTER1(TED TALK, 2008)----

As an architect you design for

the present with an awareness of the past for a future which

is essentially unknown.

CONCEPTUALISATION 3

B.5. TECHNIQUE: PROTOTYPES 42

B.6.

TECHNIQUE: PROPOSAL 47

B.7.

LEARNING OBJECTIVES AND OUTCOMES 51

C. 1.

DESIGN CONCEPT 53

INTERIM PRESENTATION FEEDBACK 54

2. CONCEPT FINALIZATION-------BIOMMICRY 58

3. FORM REGENERATION 63

4. SUCESSFUL ITERATIONS 76

5.FINAL GEOMETRY 80

6. DIAGRAMS 82

7. PATTERNING- --THROUGH MATERIAL EXPRESSION 84

8. ENVIRONMENTAL FACTORS--INFLUENCING 86

9. CONTEXT DEPENDANT 88

10. PATERN GENERATION 90

C.2

TECTONIC ELEMENTS &PROTOTYPES 94

1. JOINTS CONNECTED TO CEILING 96

2. JOINTS TO TIE THE CANES 97

3. CONNECTION BETWEEN CANES AND RIBS 100

4. PRIMARY STRUCTURAL RIBS TO SUPPORT THE INSTALLATION 102

C.3

FINAL DETAIL MODEL 104

2. DIGITAL FABRICATION 111

C.7

LEARNING OBJECTIVES AND OUTCOMES 112

Table of Contents

INTRODUCTION 4

A.1. DESIGNNING FUTURE 8

THE PLUG-IN CITY, PETER COOK,ARCHIGRAM,PROPOSED IN 1964 8

NAKAGIN CAPSULE TOWER, TOKYO, JAPAN, KISHO KUROKAWA, 1970-1972 9

7 APPARATUSES , BI[R]O-BO[O]T, THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE, 11

A.2

DESIGN COMPUTATION

THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE 12

GOLDEN MOON 14

A. 3.

COMPOSITION/GENERATION 16

ICD / ITKE UNIVERSITY OF STUTTGART, 2011 17

HEYDAR ALIYEV CENTER ZAHA HADID ARCHITECTS 18

A.4.

CONCLUSION 20

A.5.

LEARNING OUTCOMES 21

B.1.

RESEARCH FIELD

CASE STUDY 1. BIOTHING PAVILION 23

B.2.

CASE STUDY 2.0 31

B.4.

TECHNIQUE DEVELOPMENT 35

DESIGN POTENTIALS 40

4 CONCEPTUALISATION

I am Chen Lin from China, shanghai, currently studying third year of architecture major at University of Melbourne. To become an architect is my dream since Year 10 in High school, because of its charm as a combination of Science, Maths and Arts. I love travelling and photography since I could use my foot to measure the world, use my eye to feel the culture and design of buildings that sit in different context. I would impressed by the ancestors wisdom in the ingenious constructions, such like timber tenon in the temples and sublime domes in churches. I would also lost myself in the beauty of the geometry and light in the modern architectures. While the time moves on, digital technology has been applied in designing since late 20th century. Nowadays, digital software becomes the trend for assisting the designing and fabrication process, which highly provides efficiency, and more opportunity for the final projects.

In 2015 semester 1, I had the opportunity to start touching Rhino in Digital Design and Fabrication class. We had generated a head wear for defining personal space by analogy the idea of section from an egg cutter. During the designing process, the use of command such like contour, boolean helped us to form the shape and rationalized the ratio of each section cuts and we have used laser cutter to produce our product. In my opinion, through the employment of digital software and technology, we could test materials and perfect the outlook of our project. There more possibilities can be formulate in computation compare to a 2D base paper drawing. In the computation process, testing The experience I have on 3D Digital software is limited to Rhino only, and this semester is the first time that I learn grasshopper. Our future will be born in this virtual world.

INTR

OD

UC

TIO

N

CONCEPTUALISATION 5

Digitalisation and physical model help us to develop our idea step by step. Process of digital making shows more conceptual design such like the shape volume, frames, which help us fabricate much more precise and complex

Project. Our design idea was encourage more freely and conveniently since the digital technology eliminates the gap between virtual model and physical outcome. Complex

geometric shapes can be easily formulated by digital technologies. This conclusion had been deeply experienced when we optimize the flow of the curvature for our project. And with the three dimensional software such like Rhino, our design thinking and mind are energized and opened to a larger boundary.

FIG. 2,3. FINAL MODEL FOR PERSONAL SPACE PROJECT IN DDF FIGURE 4. PROCESS OF RE-FIGURE THE SHAPE FOR INTERNAL SPACE

FIG1. FINAL MODEL FOR PERSONAL SPACE PROJECT IN DDF

6 CONCEPTUALISATION

A

CONCEPTUALISATION 7

ACONCEPTUALIZATIONN

8 CONCEPTUALISATION

In the 1960s, after twenty years recover from WWII, the whole world developed, it was an era of bumping technology. It was an age that everything was possible. Archigram was born in this background with its neofuturistic, anti-heroic and pro-consumerist style, drawing inspiration from technology in order to create a new reality that was solely expressed through hypothetical projects. 2

The plug-in city by Peter Hook, would be the most provocative example. It contains modular residential units that plug in to the central machine. The traditional impression of architecture was broken. In the plug in city, every cell of residential, official, commercial space becomes a single unit with high mobility by giant cranes.

The city itself is no longer buildings but a constantly evolving mega-structure. The whole structure would evolving towards the best outcome that serve the inhabitants according to peoples actual needs. Although, this imagery was not built, the idea behind had inspired many architectures and design. Such like the Metabolism movement in Japan.

The Nakagin tower by Kisho Kurokawa is one of the most important icon of Metabolism movement. It is the first interchangeable capsule building in the world. The capsules were prefabricated with unite utilities, and is attached independently and cantilevered from the shaft. The flexibility provide organic change of the building, and the plug in methods allows more durable life of the building which create more sustainable living style. 3 The building is still using nowadays, but none of the single cell were moved and replaced as it originally designed. It was caused by many external influence such like the lack of economic support to run such avant project.

However, the courage and creativity that jump out of the box is the part that we need to appreciated in these works. As designer, we are fighting at front military against defuturing development. The responsibility of designing is not limit to atheistic appearance or functions, it is more of a living style that could slow down the rate of defuturing and redirect people to sustainable habitation. New time is coming, new design intelligence is waiting us to explore, and computation is the tool.

A.1. DESIGNNING FUTURETHE PLUG-IN CITY, PETER COOK,ARCHIGRAM,PROPOSED IN 1964

NAKAGIN CAPSULE TOWER, TOKYO, JAPAN, KISHO KUROKAWA, 1970-1972

FIG.1,2. HTTP://ARCHITECTURALMOLESKINE.BLOGSPOT.COM.AU/2011/10/METABOLIST-MOVEMENT.HTML

CONCEPTUALISATION 9

FIG.1. VIRTUAL MODEL:

AD CLASSICS: THE PLUG-IN CITY PETER COOK, ARCHIGRAM PROPOSED IN 1964



FIG.2 : ROOM WHICH WAS PREFABRICATED WITH UTILITIES

FIG.1.1 HTTP://3.BP.BLOGSPOT.COM/-NVO9WDSDZ7G/UEZZD6G3I7I/AAAAAAAAAVA/JWGWEMT2OFC/S1600/8-PLUG-IN+CITY+DRAWING+BY+ARCHIGRAM+1964.JPGFIG.1,2. HTTP://ARCHITECTURALMOLESKINE.BLOGSPOT.COM.AU/2011/10/METABOLIST-MOVEMENT.HTML

FIG.1: CLOSER LOOK OF EACH CELL ON THE SHAFT

FIG.1.1 THE PLUG-IN CITY

10 CONCEPTUALISATION

Design into future is not necessary being crucial to solving the existing problem, but guiding people towards more sustainable life. The sustainability can be interpreted as renewable resources, durable infrastructures, more efficiency consumptions and so on. In the French architect, Francois Roches strange expectation of future attracts me very much. The imagination of his work broaden my mind of how ecology can collaborated with algorithmic thinking in architectural design. He detects the resilience in the building and design the building with its intellengence. In the example of the image at right, the building reacts to the rhythm of the seasons. In winter, it looks like solid cut-out of ice and snow. The transparent cube likes the cavities that could be found in glaciers. In the summer, the rainwater collected by a pool would be used to refrigerate and making snow. 4 The building will response to the transformation of water in different condition. This rules can be seen as simple principle for this house, but requires further technology development to realized. But I

think there is no impossible unless we have never try to imagine it.

APPARATUSES, BI[R]O-BO[O]TTHE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE

CONCEPTUALISATION 11

FIG.1. VIRTUAL MODEL:

FIG.1. HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/BIOREBOOT-THE-ARCHITECTURE-OF-RSIEN/

7 APPARATUSES , BI[R]O-BO[O]T, THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE, INTERNATIONAL PAVILION VENICE BIENNALE


7 APPARATUSES , BI[R]O-BO[O]T, THE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE, INTERNATIONAL PAVILION VENICE BIENNALE

HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/BIOREBOOT-THE-ARCHITECTURE-OF-RSIEN/ HTTP://WWW.NEW-TERRITORIES.COM/BIENNAL%20OF%20VENICE%2008.HTM

Computation design has brought more opportunity to redefine designing thinking and practice. It encourages us to dream and step out of trivialization and tradition. The digital computation generates what beyond our imagination. With the logic of algorithmic thinking, the capabilities of modellers based on Non-Uniform Rational B-Splines(NURBS) such as rhino, grasshopper visualized the morphogenesis transformation under certain factors/situation. Such as the biometric design which is currently becoming the mainstream for the Architecture design. Among these, I want to use the example of Franois Roches projects, Bioroboot as precedent to discuss the new possibility that computation could produce for architectural design. The algorithmic rules in his ecological design is to set the project within a certain science fiction scenario and operate with sensor system that collects psychological data from the environment and people to construct new type of biomorphic architecture in an anthropomorphic way in order to response to the site and users with immediatey. This new type of formulation of an architecture form would be

way under humans ability to calculate without the digital simulation.

Responding to the site is always the esstential part in an architectural design, with this biomorphic logrithmic, the architecture will be no longer a static, but a changing formation like how we are inhabited with the city context nowadays, in the future, the ambiguity of the impact that effect each other between human and cities would be logrithmicazed, and be controlled towards more sustianble future

living style.

A.2 DESIGN COMPUTATIONTHE ARCHITECTURE OF R&SIE(N), FRANCOIS ROCHE

'Machines are always pretending to do more than what they were programmed to do.

It' s their nature. Their behaviour induces in us phantasms, frustrations, and fears inspired

By their ability to break free and threaten us.'-----FrancOIS Roche 5


A VIEW OF THE DEMILITARIZED ZONE AND POSITION OF THE PROJECT

HTTP://WWW.NEW-TERRITORIES.COM/BIENNAL%20OF%20VENICE%2008.HTM

3D MODEL OF THE PROPOSED

A VIEW OF THE DEMILITARIZED ZONE AND POSITION OF THE PROJECT


With the engage of computation, traditions and craftsmanship can be combined more sufficiently with contemporary practice and culture. With the same material that used in traditional fabrication process, Computation allows the craft plays in larger scale with no difficulty. In this case, the light-weight steel geodesic dome forms firstly as primary structural, and it was based on a computer-generated grid wrapped around it. The secondary structure was materialized through bamboo which is Hong Kongs traditional scaffolding technique that used for building scaffoldings. In order to install and bend the bamboo sticks into a grid that wraps the steel dome with more accuracy instead of the traditional intuitive and imprecise craft skill, exact algorithm sphere penalization was calculated. An approach of purity and repetition around the equator and imperfection and approximation at

poles was produced.

A complex geometry and space were formulated by the simplest component, and can be efficiently achieved by digital forming and digital fabrication. The property of the materiality is tested with most potential by using performance simulation

software.

GOLDEN MOONLEAD, HONG KONG, 2012


FIG.1,2. HTTP://WWW.ARCHDAILY.COM/283965/GOLDEN-MOON-LEAD/

GOLDEN MOON, LEAD, HONG KONG, 2012

FIG.1. DIGITAL PREVIEW OF PARAMETRIC FORM


This precedent mainly demonstrated the transformation from the principle in the shape of sea urchins plate skeleton into architectural design that testing with spatial and structural material -system in 1:1 scale by coding with morphological algorithm.6 The simulation of building performance that incorporate with performance analysis test the material firstly to assist for choosing appropriate material acting as extension of the recognized bionic principles. In this case is, the limit of using the 6.5 mm thin plywood sheets. As this project was designed by large group of people, the algorithmic thinking process act like the medium for participants with different responsibilities communicate and work with continuity and connectivity, thus resulting in more efficient time allocation. Furthermore, the algorithmic design also encourage the application of the use of digital fabrication systems such as the seven-axis robot that used in this case which has high capability of producing geometrically components and Joints economically. 6 In addition, the digital generation of the form

COMPOSITION/GENERATIONA. 3.


ICD | ITKE RESEARCH PAVILION 2011 ICD / ITKE UNIVERSITY OF STUTTGART, 2011

can be interpreted from the data scheme which make it easier for people to repeatedly read the complex geometry in order to analyse and modify the critical elements. It is not as the folk concerns like that algorithmic theory would take over the design responsibility from the designers, the computational generation is still designed by people since the designer could understand the results of generating code, knowing how to modify to code to explore new options and speculating on further design potentials.

The only shortcoming for computational generation would be the degeneration of innovation. As the designer, it is better to understand and being able to design software for designing. We could inspired by script which is written by others, but we have stand on this giants shoulder to look further and explore more, that is the way to promote the digital thinking and the way to push the development of technology.

FIG.1. MORPHOLOGY TRANSFER TO FORMULATE THE GEOMETRY1

1 http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8d928ba0d4e8d000de0-icditke-research-pavilion-icd-itke-university-of-stuttgart-drawing-032. http://www.archdaily.com/200685/icditke-research-pavilion-icd-itke-university-of-stuttgart/5004e8cd28ba0d4e8d000ddc-icditke-research-pavilion-icd-itke-university-of-stuttgart-photo

FIG.2. FIANL PROJECT IN THE NIGHT 2


Computation augments designers ability to deal with complex geometries, which can be highly demonstrated in Zaha Hadid Architects work. In the case of Heydar Aliyev Center in Baku, Azerbaijan. The flow pattern of the building is simulated and calculated precisely that perfectly responds to the sites topography. A precisely designed terraced landscape establishes alternative routes between public plaza, building, and underground parking with avoid of additional exaction and landfill. 7 It is a good case that demonstrate the potential of parametric design to convert a disadvantage into one of the key designing ideas. The simulation in algorithmic thinking enhance the generation of these elegant curvature. Simultaneously, the form generation of the surface also create responsive contour interior space which reflects the auditorium layout.

Behind this homogenous skin which is multi-functioning, construction logic, technical systems are required and experts from multi- disciplinary were engaged. In order to achieve the large-scale column-free spaces for interior, innovative structural solutions such as boot columns and dovetail tapering of the cantilever beams has been used to achieve the inverse peel of the surface from the ground to the west of the building and support the building envelope to the east. The complexities of the structures highly enquire advanced computing for the continuous control and communication among the participants for this projects.

HEYDAR ALIYEV CENTERZAHA HADID ARCHITECTS, BAKU, 2013


HEYDAR ALIYEV CENTER , ZAHA HADID ARCHITECTS, BAKU, AZERBAIJAN , 2013

HTTP://WWW.ARCHDAILY.COM/448774/HEYDAR-ALIYEV-CENTER-ZAHA-HADID-ARCHITECTS

20 CONCEPTUALISATION FIG.1. HTTPS://GUWELLNESS.FILES.WORDPRESS.COM/2013/09/MAN-NETWORK-ROOM-BUSINESS-LAPTOP-YOGA-LOTUS-SITTING-SERENE-HEALTHY-STRES-CORPORATE-MEDITATION-WELLNESS-OFFICE-ONE-RELAX-ZEN-POSE-INTERNET-TECHNOLOGY-SERVER-SERVICE.JPG

FIG.1. RELAXING MEDITATION

CONCLUSION

Briefly summarise Part A. What is your intended design approach? How is it innovative? Why is it significant to design in this way? Who and how can benefit?

Through the conceptualization in part A, I was introduced and acknowledged about grasshopper and start to understand the algorithmic logic under the programme. It provides more possibility for the form generation with easier control and simple but strong fundamental logic. Although I just started to learn this computation technique, I was amazed by its flexibility and coding logic. Through the research of the precedents, I am kind of looking forward to design our project in a more bionic morphogenetic system which could response to the nature environment outside of the office (which is our site) or more relate to the human inhibitions and movement inside the building. I hope the final project that we construct would not only create the beauty of parametric form, but also can change the atmosphere in the site which could make users feel relax and

comfort.

A.4.

CONCEPTUALISATION 21FIG.1. HTTPS://GUWELLNESS.FILES.WORDPRESS.COM/2013/09/MAN-NETWORK-ROOM-BUSINESS-LAPTOP-YOGA-LOTUS-SITTING-SERENE-HEALTHY-STRES-CORPORATE-MEDITATION-WELLNESS-OFFICE-ONE-RELAX-ZEN-POSE-INTERNET-TECHNOLOGY-SERVER-SERVICE.JPG

FIG.2 DDFS FINAL PROJECT WITH AN PARAMETRIC INTERNAL SPACE IN THE SHAPE OF HUMAN PROFILE

LEARNING OUTCOMES

In a short paragraph, outline your experience learning about the theory and practice of architectural computing. How has your understanding developed from the beginning of the semester? How could you have used your new knowledge to improve a past design?

Firstly, I could identify the difference between computerization and computation now. Computer is like our pens, computerization is to physically digitalize the existed idea and form in computer, which I always do in the last two years in designing class. The designing products were still in the boundary of our imagination. However, in the computation methodology, we gives our ideas in the way of mathematics thinking, We are still taking charge of designing ideas but the flexibility and opportunity that computer programmes have would provide far beyond our expectation. If I have chance to change my previous design of personal space, I would conclude an equation or simple rules for NURS software such as Grasshopper to modulate and development to get both more

dynamic form and more interesting visualization of the interaction between people.

A.5.

22 CRITERIA DESIGN

RESEARCH FIELD

I CHOOSE STRIP AND FOLDING BASED ON THE REASON OF ITS POTENTIAL EXPLORATION ON ORGANIC FORM GENERATION. THERE IS MORE FREEDOM IN STRIPS AND FOLDING THAN IN OTHER RESEARCH FIELD THAT WE ARE FAMILIAR WITH. IN ADDITION, COMPARE TO BIOMMICRY, STRIPS AND FOLDING IS AN EASIER APPROACH FOR ME TO PLAY WITH GRASSHOPPER WITH MORE CLEAR LOGIC AND POWER OF CONTROL. FROM PART A CONCEPTUALIZATION, I WAS INTERESTED IN THE FLOW AND CHANGE THAT RELATES TO THE HUMAN INHIBITIONS AND MOVEMENT INSIDE THE BUILDING, THEREFORE, I THINK IT MORE ACHIEVABLE IN VISUALIZING THIS ABSTRACT

THING BY STRIPS AND FOLDING.

B.1.

CO-DE-IT AND UNIBOLOGNA - LOOP_3

CRITERIA DESIGN 23

CASE STUDY1.0

THIS BIOTHING PAVILION IS BASED ON THE DEFINITION OF FIELD GENERATION AND USING THE GRAPH MAPPER TO CONTROL THE POINT SYSTEMATICALLY. EACH POINT CHARGES ON EVERY LINES INTERACTING EACH OTHER TO FORMULATE A SPREADING FAN-SHAPE LINES. AND THE GRAPH MAPPER GIVES THE ACTIVITY AND VOLUME TO

THE FAN-SHAPE.

B.2.

BIOTHING PAVILION

BASE ON DIVIDED POINTS ON A TRIMED SPHERE

BASE ON DIVIDED POINTS ON A TORUS

GRAPH MAPPER= PARABOLA

A/B DECREASE

GRAPH MAPPER= PARABOLAGRAPH MAPPER=BEZIER,

BASE ON DIVIDED POINTS ON TWO OBLIQUE OVALS

ADD IN SPIN FORCE AND ATTRACTORS GRAPH MAPPER=BEZIER CHANGE THE MANIPULATION OF GRAPH MAPPER

EVERY PT CONNECTS TO BOTH POINT CHARGE AND SPIN FORCE

MOVE PTS IN 3D SPACE ADD IN LINE AS A VECTOR FORCE DIRECTING THE FLOW OF LINES

24 CRITERIA DESIGN

BASE ON DIVIDED POINTS ON A TORUS

GRAPH MAPPER= PARABOLA

A/B DECREASE

ADD IN LINE AS A VECTOR FORCE DIRECTING THE FLOW OF LINES

BASE ON DIVIDED POINTS ON A SPHERE BUILD CIRCLES AROUND THE DIVIDED POINT ON FIELD LINES

GRAPH MAPPER=CONIC

A/B DECREASE

GRAPH MAPPER=BEZIER,

A/B DECREASE

GRAPH MAPPER=SINC,

A/B DECREASE

BASE ON DIVIDED POINTS ON THREE PARALLEL CURVES

MOVE UP THE POINTS CARRY POINT CHARGES

USE TWO ATTRACTOR POINTS TO MODIFI THE HEIGHT AND RADIUS OF

THE CIRCLE ON THE FIELD LINESINCREASE THE NUMBER OF

CIRCLE ON EACH LINE

MODIFIE THE LOCATION OF PTS AND EXTRUDE

ADD NO. OF PTS GRAPH MAPPER

CRITERIA DESIGN 25

LINE UP VERTICALLY THE PTS

BOTH CONNECT TO SPIN FORCE AND PT CHARGE

INCRESE LENGTH OF LINE

(EXTRUDED, INTERSECTING STIPS)

DIVIDE MORE PT ON CIRCLES

TWO SETS OF POINTS

DECREASE R OF SPIN FORCEDECREASE: R OF CIRCLES

S&R OF SPIN FORCE

INCREASE: S OF MERGE FIELD LINE

26 CRITERIA DESIGN

TWO SETS OF POINTS

DECREASE R OF SPIN FORCE

IN THE RENDERED VERSION, WE CAN EASILY OBSERBE THE CONCAVE CURVATURE ON THE TUBE, AND EACH TUBE IS PUSHED BY THE INVISIABLE SPIN FORCE FACTOR, GENERATING MORE ORGANIC FLOWING FORM. AND THIS SPECIES IS VERY SUCESSFUL WHICH DELIVER OUR CONCEPT OF FLOWING VERY WELL. HOWEVER, WE ARE STILL MANULLY PUTTING IN ATTRACTOR POINTS, BETTER CONTROL OF THE FORM GENERATION IN A SYSTEMATICAL ALGORITHM NEED TO BE FUTHER DEVELOPED.

TOP PTS ---PC, SP

MIDDLE PTS----ONLY SP WORK AS ATTRACTORS TO TWIST OTHER TUBES

CRITERIA DESIGN 27

28 CRITERIA DESIGN

ALTHOUGH THIS ITERATION IS ONLY IN 2D, BUT THE COMBINATION USE OF BOTH ATTRACTORS AND FIELD FORCES CREATES A VERY ATTRACTIVE FAN SPREADING SHAPE LIKE OPEN WINGS WITH CENTRAL SPIRAL SPACE. IT CAN REPRESENT THE COLLISION OF FLOW AND MOVEMENT.

THE THREE CONTROL POINTS IN THIS DEFINITION ARE BOTH CONNECTED TO POINT CHARGES AND SPIN FORCE, WHEN WE MOVE THE POINT TO CREATE SPACE DIFFERENCE, THEY FORCE ON EACH OTHERS , RESULTING A DANGLING, WATER- DROP VOLUME WHICH LOOKS VERY ORGANIC. HOWEVER IT IS NOT EASY TO BUILD UP THIS GEOMETRY WITH TIMBER VENEER. THE COMPLEXITY NEED TO BE REDUCED.

SIMILAR TO ABOVE, WITH DIFFERENCE POINTS LOCATION AND SHOWS APPARENTLY THE IMPLICATION OF GRAPH MAPPER. THIS ITERATION PROVIDE AN IMPRESSION OF PLANTS SUCH LIKE AIR PLANTS THAT CAN BE HANGING ANYWHERE AND GROWING BY MERELY ABSORBING THE MOISTURE IN THE AIR.

CRITERIA DESIGN 29

The benefit of using field as the core algorithm is because it contain internal algorithm already in the component such like point charge and spin force, which can visualize the interaction among people automatically, and the merged field lines can be loft as strips easily for fabrication in veneer. However, the concern will be more accurate control of the location of each points for attractors and chargers. The gaps between strips emerges shadowing effect, could projecting on any surface

FLOWING

SHADOW

Flow+CHANGE

GROWTH

SERENITY

COLLISION

such like floor. The smooth, rippling, weaving-like texture that the shadow creating could bring atmosphere such as serenity to the meeting room. The long hanging iterations in the matrix can be rotated horizontally to create kind of weaving ceiling.

+

+

=

30 CRITERIA DESIGN

ICD/ITKE Research Pavilion 2010

CRITERIA DESIGN 31

CASE STUDY 2.0B.3.

ICD/ITKE Research Pavilion 2010 is a bending-active parametric design sits in the Stuttgart University. This research pavilion has investigated the new possibility of structural and architectural form through computation and numeric simulation both of the structural frames and the materials performance based on the elastic properties of timber. Ingenious joints (fig1,2) are designed to convert the flexural stress into stiffness for the thin strips. For example, the elastically force stored in each bent region is subsequently connected to the neighbouring strip which contain tension region, increase the structural capacity of the system.

Unlike the normal digital design processes which always separate design form and external force as two entities, this pavilion shows a successful approach to processing computational form generation with physical behaviour and material characteristics at the same time. The digital form generation is entirely based on the elastic bending behaviour of plywood strips. They use a large number of physical experiments on deflection limits to defined parametric value for digitalizing model, also carefully calculate and morphological differentiate the locations of every joint to construct more stable structure as well as achieve lightweight system.

METHOD 1

METHOD 2

32 CRITERIA DESIGN

DRAW THREE CIRCLE AS THE BASE FRAME OF

THE OVER GEOMETRY

EXLORE THE CIRCLE, CONNECT THEM SYSTEMATICALLY IN

ORDER TO MAKE ARCS

DRAW THREE CIRCLE AS THE BASE FRAME OF

THE OVER GEOMETRY

EXLORE THE CIRCLE, CONNECT THEM SYSTEMATICALLY IN

ORDER TO MAKE ARCS

EVALUATE CURVES

GRAPH MAPPER

DIVIDE CURVES INTO 7 PTs,

APPLY GRAPH MAPPER TYPE OF SIN SUMMATION TO GET

THE DEFLECTIVE LINES

USE PLANES TO TEST IF ALL THE STRIP ARE PLANNAR

FOR FUTURE FABRICATION

CRITERIA DESIGN 33

DIVIDE CURVES INTO 7 PTs,

APPLY GRAPH MAPPER TYPE OF SIN SUMMATION TO GET

THE DEFLECTIVE LINES

USE PLANES TO TEST IF ALL THE STRIP ARE PLANNAR

FOR FUTURE FABRICATION

EVALUATE CURVES AS TWO SETS FOR BETTER CONTROL

OF FORM GENERATION

LOFT THE SURFACE BY ROTATEING THE

ORIGINAL 2O CURVES.

ROTATE THE LOFT SURFACE OF PERVIOUS STRIPS.

DUPLICATE THE PERVIOUS 20 CURVES, AND ROTATE

AROUND CENTRAL POINT, CHANGE THE MOVEMENT OF

CURVE BY GRAPH MAPPER

METHOD 1

METHOD 2

EVALUATE CURVES

GRAPH MAPPER

EVALUATE CURVES

BASE CIRCLES

PT

PT

PT

EVALUATE CURVES

BASE CIRCLES

PT

PT

PT

EVALUATE CURVES

BASE CIRCLES

PT

PT

PT

EVALUATE CURVES

BASE CIRCLES

PT

PT

PT

34 CRITERIA DESIGN

AFTER CONNECTING THE EXPLORED POINTS ON THREE CIRCLES BY THREE POINT ARCS, THEN CONVERT THOSE INTO CURVES IN ORDER TO BE EVALUATED THE CERTAIN DEFLECTION POINT ON A-TYPES-CURVES AND B-TYPE-CURVES, EMERGING TWO LISTS OF POINTS. THEN, USE POLYLINE TO CONNECT THEM IN ORDER TO CREATE THE STAGGERED ARRANGEMENT.

AFTER THAT, DUPLICATE ALL THE LINES, AND ROTATE THE NEW COPY TO MAKE IT SLOT WITH THE ORIGINAL ONES. THEN LOFT EVERY SEGEMENT OF LINES SEPERATELY, WHICH MEANS 5*2 TIMES LOFTING TO CREATE STRIPS.

GRAPH MAPPER IS AN EASIER AND MORE CONVENIENT WAY TO EMERGE THE STAGGERED STRIPS, HOWEVER, IF WE CANT UNDERSTAND THE EQUATION THAT USE IN THE GRAPH MAPPER, WE WILL LOSE THE CONTROL OF THE FINAL SHAPE FORMULATION. SAME PROCESS FOR THE FIRST HALF DEFINITION AS THE PERVIOUS ONE, UNTIL DIVIDING POINTS ON ARCS. WE THEN USE MAPPER TYPE SUCH LIKE PURLIN AND SINC SUMMATION TO GET WEAVE INFLUENCE ON EVERY POINTS THAT CONTROL BY THE MAPPER. THEN DUPLICATE THE NEW LINES CREATED BY

THE MAPPER, ROTATE THEM IN ORDER TO BE LOFT TO CREATE STRIPS. THEN WE DUPLICATE THE WHOLE DEFINITION, AND ROTATE IT TO GET SLOTTING PAIRS OF STRIPS. THE MULTIPLICATION FACTOR CAN GUIDE THE POINTS MOVE IN EITHER POSITIVE OR NEGATIVE DIRECTIONS TO CREATE MIRRORED ITERATIONS, AND GRAPH MAPPER TYPE CAN BE DIFFERENT FOR THE EVERY FIRST STRIPS AND EVERY SECOND STRIPS TO CREATED CONCAVE FLUSHING.

CRITERIA DESIGN 35

TECHNIQUE:DEVELOPMENT

BASE ON THE DEFINITION OF RESEARCH PAVILION 2010, WE STARTED TO LOOK AT VARIOUS GEOMETRY VOLUME THAT COULD CREATE BY STRIPS WITH A CIRCULAR

FRAME BASE.

B.4.

PHOTO BY TARA DONOVAN

36 CRITERIA DESIGN

SP1. RELATED ITEM, CULL PATTERN

SP2. CHANGE THE POSITION OF BASIC CIRCLES

SP3. MANIPULATE THE SHAPE OF THE CIRCLES

SP4. GENERATING ENCLOSURE VOLUME BY FIELD WITH POS AND NEG CHARGES

CRITERIA DESIGN 37

SP2. CHANGE THE POSITION OF BASIC CIRCLES

SP4. GENERATING ENCLOSURE VOLUME BY FIELD WITH POS AND NEG CHARGES

38 CRITERIA DESIGN

SP5. COMPOSITION OF DIFFERENT GRAPH MAPPERS INFLUENCE IN X DIRECTION

SP6. CHANGE THE BASIC THREE FRAMES, COMBINE WITH SPECIES ABOVE

SP5. COMPOSITION OF DIFFERENT GRAPH MAPPERS INFLUENCE IN Y DIRECTION

SP5. ADDITION OF INFLUENCE UNDER SPIN FORCE

CRITERIA DESIGN 39

SP5. COMPOSITION OF DIFFERENT GRAPH MAPPERS INFLUENCE IN X DIRECTION

SP6. CHANGE THE BASIC THREE FRAMES, COMBINE WITH SPECIES ABOVE

SP5. COMPOSITION OF DIFFERENT GRAPH MAPPERS INFLUENCE IN Y DIRECTION

SP5. ADDITION OF INFLUENCE UNDER SPIN FORCE

WE WANT OUR INSTALLATION HAVE IRREGULAR CHANGES ON IT LINEAR STATUS. THE EASIEST WAY TO ACHIEVE BOTH GOAL OF BUILDABILITY AND SEEK FOR ORGANIC FLOW IS USING SOLID FORM AS THE FRAME BASE TO

CREATE IRREGULAR CURVATURE, EMERGE FLOW BY TWISTING STRIPS.

DESIGN POTENTIALS

In order to combine the idea of biomimicry and give the installation an idea of growth, I was inspired by this simple iteration which show that the twisting of strips could not only be achieved by simple twist the circles at two ends, but can be play with stretch out circles into different directions(like cross). This shape could only be achieved with at

least 3 circular frames, with a fixed middle frame. Since each circular shape is not on a flat axis, the angle contains in one unit can be utilized and modified when we duplicating, rotating and scaling, this angle would defeminize the final growing structure of the whole ceiling. However, the repetition of one unit would be too rigid and lack of organic aesthetics.

40 CRITERIA DESIGN

Images at left is another trail of potential development from one of the shell-shape iterations. The flowering shape is achieved by enlarge and rotating the original iteration. Although this is not contributing to any form of flow, it tested the idea of form generation with progressive increase of scales.

In this iteration, we use boundary surface instead of loft to extrude surface with the use of related item. In our next step, we can cull certain pattern by applying this methods. In addition, instead of create two set of lines by duplicating and rotation in aim to loft strips, we may also try using related items.

This is iteration based on the merge of different field. In order to generate a closed volume with

field lines, I used two sets of field in opposition direction, each of them shape a half sphere. All the parameters for these two sets field are the same in order to let their field lines meet at the same points to emerge a sphere as entirety. The twisted angle of the strips in this field is what I am looking for, they are flat facing outwards and start pitch more as they bend more, this characteristic is very similar as how the veneer acts in the real world.

FIG.1 FIG.2

CRITERIA DESIGN 41

42 CRITERIA DESIGN

TECHNIQUE:PROTOTYPES

WE ARE INTERESTED IN INVITING THE MATERIALITY OF ELASTICITY OF TIMBER VENEER ITSELF TO EMERGE FORM GENERATION, THEREFORE, THE FINAL OUTCOME WOULD NOT BE TOTALLY MAN-MADE AND RIGID FLOWS WHICH MAY LOSE SOME

ACTIVITY AND FREEDOM.

B.5.

SLOTS IN RESEARCH PAVILION 2010

CRITERIA DESIGN 43

NATURAL CURVATURE GIVEN BY VENEERS DEFLECTION.

44 CRITERIA DESIGN

CRITERIA DESIGN 45

First idea is to explore the possibility of self-structural support for fabrication and the form generation.

We have laser cut diagonal strips lines on a small size, single layer veneer which contained only one direction grain. In this prototype, we want to test the capability of natural veneer to formulate a volume by only strips cuts on one flat sheet. It successfully provided nice deformation and differentiation in bending extent, and indicates that the width and length of every strips will result in different bending extent. The bend along the grain direction has strong stiffness, however the direction across is fragile for strips to be rolled and bent. If we can solve the problem of cracking in this prototype, then we could continue this idea to consider to make slots on the edge of each sheet as joints.

For further development of material choice for better performance, we have discovered laminated veneer would be better choice with high flexibility. The image shows above is PLI-Flex veneer which is made up of 2-ply or wood on wood veneer. It is a quality veneer face laminated to a cross grain veneer backer. The perpendicular grain between the two layer adds stability and flexibility to the veneer sheet. This material would be more preferable for our project if we keep going on this doubly curve design.

46 CRITERIA DESIGN

BASE ON THE LOGIC OF DEFINITION WE HAVE DEVELOPED, WE ARE GOING TO DISTURB THE GRID POINTS ON THE LINE, AND CONSTRUCT DIFFERENT INDIVIDUAL FRAMES WHICH ARE PERPENDICULAR TO THE PLANE OF GRID. THEN THE STRIPS WILL BE USED TO CONNECT POINTS ON EACH FRAME TO EMERGE FLOWS (AS SHOW IN PAGE 36). THEREFORE, THE MOST ACHIEVABLE TYPE JOINTS WE CONSIDERED IS THE EXTRUSION VERSION OF THE CIRCULAR FRAME BEING USED IN GRASSHOPPER. IN THIS CONSTRUCTION METHODS, STRIPS WOULD BE INDIVIDUALLY INSERT INTO THE MATCHED SLOT ON THE FRAME.

CRITERIA DESIGN 47

TECHNIQUE:PROPOSAL

STRIP AND FOLDING IS USED AS THE MEDIUM TO VISUALIZED THE FLOW OF THOUGHTS IN THE MEETING ROOM, SINCE THIS SITE HAS STRONG FUNCTIONALITY FOR DISCUSSION, BRAINSTORMING, PRESENTATION AND COMMUNICATION. THE NATURALLY FORMED DOME-SHAPE VOLUME THAT GENERATED BY THE BEND OF STRIPS EMPHASIZED THE ORGANISM IDEA IN THIS PROJECT. THE GAPS BETWEEN STRIPS COULD PROVIDE BEAUTIFUL LIGHTING EFFECT FOR NOT ONLY THE OFFICE BUT ALSO PROJECTION OUTSIDE THE ROOM BOUNDARY THROUGH THE TRANSPARENT PANORAMIC GLASS WALL. THE PROJECTION OF SHADOW OUTSIDE THE ROOM BREAKS UP THE PHYSICAL SPACE ISOLATION OF THE ROOM, BRINGING AMBIGUOUS RELATIONSHIP OF THE SPACE, AS WELL AS CONTRIBUTING TO THE TRANSPARENCY AND OPENNESS THAT CREATED BY THE CHOSEN MATERIAL: GLASS, FOR THE WALL.

B.6.

48 CRITERIA DESIGN

CRITERIA DESIGN 49

The organic flowing texture on the ceiling can response to the collision of different ideas from different people. In addition, the curve growing branches (grid line in GH) matches with the meandering thoughts and ideas in

The installation will cover the whole ceiling. In order to avoid shadow on the table and TV, also reduce the impact while peoples writing. We consider to install two types of lighting. In the central part of the ceiling, the light will inset along the groove of ceiling installation to avoid creating shading effect. The other type of lighting will be located above the installation, and their location should be above the middle line of walkway surround the table and chairs.

For the presentation model, we choose to use circular frame as the support and joints for the structure. And speculating on the organic flow generation on the base algorithm of grid spreading.

After the presentation, we want to modify the shape of flows in our design, in order to make more smooth flush of overall shape and give more sense of intergrity, I change to the idea of grid pinch instead of grid spreading, which reflect more vividly of collision of different thoughts. (AS DIAGRAMS SHOWN IN PAGE 47)

GRID SPREADING GRID PINCH

50 CRITERIA DESIGN

CRITERIA DESIGN 51

AND OUTCOMES

In the field research of strips and folding, I was inspired by the various and rich application of parametric design in architecture, the most avant-garde design is always tested and experimented as a form in pavilion. At the early age, digitalization in designing was only a tool to visualize the exist image in designers mind, but now, more and more projects rely on parametric form generation to enrich architectural aesthetics and atmosphere. Indeed, computerization becomes more and more reliable on simulating the physical factors that are influential to architectural performance, such like the application of force simulation in ICD/ITKE Research Pavilion 2010, use the materiality of plywood to self-support and self-formulate the structure and the shape. The new plug in that we learned in recent week is this type of tool to visualized the physical law in virtual software. And it is very worth for further exploration for the final design.

During this critical design process in the recent weeks, I have improved my grasshopper skills, but still feel helpless when I struggled with transforming the real world logic into the algorithmic thinking in grasshopper. I started to familiar with data structure, and can correctly fix the unmatched data structure when we apply one algorithms logic to another. The overall progress for our proposal generation started from focusing in one chosen field with specified criteria for the site at first, and learning and develop technique from the exist work to visualize our idea, and modify the idea with computerization process, in this case is the algorithm definition in grasshopper. It is an ambiguous process, that makes me feel sometimes I am using GH as only a tool to visualize my idea, but sometimes it take the role in reverse as a guide or engine to push the development and modification of the design.

B.7.

LEARNING OBJECTIVES

52 CRITERIA DESIGN

In this section, we have experienced what we have read from the part As readings about Computerization and algorithm, including its impacts on traditional design efficiency, order and logic. The use of grasshopper active the potential of form generation, however, I also strongly felt that it would consumed and obliterate my afflatus and enthusiasm at that particular moment when I was still lack of full understand and fluent handling of that software. Furthermore, some ideas which are easy to hand crafted cannot be transformed direction within the same logic, we need to convert them all into mathematical logic and find out the relation and calculation with points, lines, and surface, and it can be very hard for some case. Nevertheless, on the other hand, some beautiful creations could not be fabricated in physical world as well.

For next few weeks, I will look more detail through materials, and modify the definition to provide better atheistic look and control of the lighting effects for the design with keeping study and learning in grasshopper tutorials.

PROJECT PROPOSAL 53

DESIGN CONCEPT

STRIP AND FOLDING IS USED AS THE MEDIUM TO VISUALIZED THE FLOW OF THOUGHTS IN THE MEETING ROOM, SINCE THIS SITE HAS STRONG FUNCTIONALITY FOR DISCUSSION, BRAINSTORMING, PRESENTATION AND COMMUNICATION. THE NATURALLY FORMED DOME-SHAPE VOLUME THAT GENERATED BY THE BEND OF STRIPS EMPHASIZED THE ORGANISM IDEA IN THIS PROJECT. THE GAPS BETWEEN STRIPS COULD PROVIDE BEAUTIFUL LIGHTING EFFECT FOR NOT ONLY THE OFFICE BUT ALSO PROJECTION OUTSIDE THE ROOM BOUNDARY THROUGH THE TRANSPARENT PANORAMIC GLASS WALL. THE PROJECTION OF SHADOW OUTSIDE THE ROOM BREAKS UP THE PHYSICAL SPACE ISOLATION OF THE ROOM, BRINGING AMBIGUOUS RELATIONSHIP OF THE SPACE, AS WELL AS CONTRIBUTING TO THE TRANSPARENCY AND OPENNESS THAT CREATED BY THE CHOSEN MATERIAL: GLASS, FOR THE WALL.

C. 1.

54 PROJECT PROPOSAL

The main fundamental issue around the project was the ques-tion that how this project is relat-ed to the concept of biommicry.

In one hand our design intention was to create a geometry/form inspired by nature, for instance, the vessels of a leaf. In the other hand, the main idea of bio-mimic design is the imitation of the mod-els, system and elements of nature for the purpose of solving complex human problems, not just a design that looks like an element in na-ture. This was a fundamental issue that need to be addressed in new part of the design phase.

[BIOMMICRY ]Issue associated with the concept of Biommicry

The final geometry we had for in-terim was criticized about its sim-plicity of geometry and rigidity.

As the main concept of our pro-posal is aiming to visualize the in-visible flow and changes which are very unpredictable, our ge-ometry should modified to a clos-er approach of a more organic and free form with more com-plexity.

[STRIPS AND FOLDING ]Issue associated with the concept and form

PROJECT PROPOSAL 55

In new part of the design phase. Despite voronoi creates a com-plex and volumetric form which is desirable and it gives the place a sense of singularity but it does not reflect the main concept.

In addition, although voronoi is a very volumetric form but its mass is not an appropriate form for a ceiling installation that can be fitted into a 24 square metres meeting room unless it would be a combination of voronoi surface and volume. (credit to Eddie)

[VORONOI]Issue associated with the form

Regardless of any other issue, one of the selection criteria was build-ability of the form in a limited time and budget as this project was a real project for Hachem office. (credit to Eddie)

The construction method that we implied which break through the ribs by indiviual strips is a very time -consuming way to assambly the installation and it lacks sense of aesthetics because of the explo-ration of the structure ribs.

[FABRICATION ]Issue associated with the concept of Biommicry

I N T E R I M P R E S E N T A T I O N feedback

C.1.1

56 PROJECT PROPOSAL

To solve the issue,the team de-cided to focus more on one of stu-dents geometry and pick-up the positive aspects of other projects.

Despite the chosen geometry need to be developed more, but it op-timizes the design of the concept around the flow of idea in a meeting room located in architecture firm.

Also by focusing on between spaces that exist, we could cre-ate better experimental flow for our site occupants. This will help us tie our design ideas together to support the overarching de-sign concept, which ultimately leads to more functional, beau-tiful and meaningful poetics.

[BIOMMICRY ]Idea of flow in nature

The curvature of the whole flow will be future determined after the exploration of specific biom-micry algorithm script.

The definition is going to further developed towards the goal of creating more coterminous tubes that could better represent the sense of layering and free flow in order to create more aesthet-ic appearance and our design concept.

Looking towards addition of the complexity contains in the vor-onoi.

[STRIPS AND FLODING ]Issue associated with the form

I N T E R I M P R E S E N T A T I O N issue addressing and change

PROJECT PROPOSAL 57

I N T E R I M P R E S E N T A T I O N issue addressing and change

C.1.1

The selected project was a dif-ferent geometry which basically pick up the logics from Seroussi Pavilion 2007 and the ICD/ITKE Research Pavilion 2010. Also the volume of voronoi applied to the geometry to create the flow. (credit to Eddie)

[VORONOI]Issue associated with the form

[FABRICATION ]Issue associated with the geometry and structure

The structure will be still constructed in a ribs-supporting system. However, we are considering to swap to a new meth-ods that connect the strips at the outer edge of the ribs instead of intersecting through the ribs.

However, with this new methods, we need to beware of how the distance between each ribs can be fixed to al-low the deflection of the strips in order to fabricate more accurate geometry compare to the digital one.

58 PROJECT PROPOSAL

FLOW /flTO MOVE OR RUN SMOOTHLY WITH UNBROKEN CONTINUITY, AS IN THE MANNER CHARACTERISTIC OF A FLUID.

C.3 F I N A L I S I N G C O N C E P T C O N C E P T F I N A L I Z A T I O N Biommicry

PROJECT PROPOSAL 59

C.3 F I N A L I S I N G C O N C E P T C O N C E P T F I N A L I Z A T I O N BiommicryC.1.2

60 PROJECT PROPOSAL

C O N C E P T F I N A L I Z A T I O N Biommicry

BIOMMICRY ALGORITHM HAS BEEN EXPERIMENTED TO ASSIST THE CONCEPT OF VISUALIZING THE INVISIBLE FLOW AND CHANGE IN THE SITE BY SIMULATING PEOPLES BEHAVIOURS AND PICTURE THE FLOW AND COLLISION OF THE IDEAS BORN DURING THE BRAINSTORM IN THE BOARDROOM.

PROJECT PROPOSAL 61

SYSTEMICGROWTH

AG E N T- B A S E D D E S I G N S T U DY 1

C O N C E P T F I N A L I Z A T I O N Biommicry

C.1.2

C.4 F I N A L I S I N G C O N C E P T - C O N S E Q U E N C E S

AFTER THE EXPLORATION ON THE AGENT-BASED SIMULATION, WE FIND THE FLEXIBILITY AND DYNAMISM IN THE BIOMMICRY ALGORITHM. AND THAT IS THE REASEON WE ARE CHANING OUR DEFINITION.

62 PROJECT PROPOSAL

AG E N T- B A S E D D E S I G N S T U DY 3

SYSTEMIC MOTION

F O R M R E G E N E R A T I O N C O N C E P T F I N A L I Z A T I O N Biommicry

C.1.2

AFTER THE INTERIM PRESENTATION, WE DECIDED TO CHANGE THE DEFINITION IN ORDER TO CREATE GEOMETRY WITH MORE ORGANISIM AND FLUDITY.

WITH THE NEW MODIFICATION, WE ARE ALBE TO CHANGE BOTH FLOW OF THE CURVES AND THE GEOMETRY OF THE LOFT TUBES AT THE SAME TIME, THE TUBES ARE DIRECTLY INFLUENCED AND SHAPED BY THE FLOWING CURVES.

IN ADDITION, THE BASIC ALGORITHM IN THE NEW DEFINITION IS MORE REPRESENTABLE OF OUR IDEA, WHICH EVOLVES THE COLLISION AND CONJUNCTION OF PEOPLE AND MOVEMENT IN THEORY.

PROJECT PROPOSAL 63

OLD:

GRID SPREADING+

TWO SETS OF ATTRACTORS TO CHANGE THE RAIUS OF THE CIRCLS AND THE INTERFERENCE EFFECT+

CIRCLES SIT ON THE POINTS ON THE LINES

NEW:

GRID PINCH+

ONLY ONE FACTORS CHANGE

THE RADIUS OF THE CIRCLS AND

THE INTERFERENCE EFFECT+

CIRCLES SIT BETWEEN THE

CURVES

F O R M R E G E N E R A T I O N

C.1.3C O N C E P T F I N A L I Z A T I O N Biommicry

GRID SPREADING GRID PINCH

64 PROJECT PROPOSAL

PROJECT PROPOSAL 65

66 PROJECT PROPOSAL

PROJECT PROPOSAL 67

68 PROJECT PROPOSAL

PROJECT PROPOSAL 69

THE NEW SERIOUS MATRIX WILL BE BUILT UPON THE NEW DEFINITION THAT GENERATES TUBES AND BULBS BASED ON THE DISTANCE BETWEEN THE ADJACENT CURVES.

THEREFORE, THE GENERAL GEOMETRY GAINS MORE FLUIDITY AND ELEGANCE.

EXCEPT THE ORGANIC FLOW CURVES ARE CREATED BY THE ATTRACTOR POINTS, IN THE NEW DEFINITION, THE VARIABLE DIMENSION OF THE CIRCLES (WAIST OF THE TUBES) IS ALSO UNDER THE INFLUENCE OF THE DISTRIBUTION OF THE ATTRACTOR POINTS, WHICH MEANS THE TWO MAIN PARAMETERS IN THIS DESIGN PROPOSAL IS INFLUENCE BY THE SAME SET OF DATA, AND THIS MADE THE WHOLE GEOMETRY GAIN MORE SENSE OF INTEGRITY AND CONTINUITY, DEMONSTRATING MORE CONCRETE IMPLEMENTATION OF THE DE-SIGN CONCEPT.

70 PROJECT PROPOSAL

FORM REGENERATION

C.1.3

PROJECT PROPOSAL 71

FORM REGENERATION #01 #05

#02 #06

#03 #07

#04 #08

72 PROJECT PROPOSAL

#09 #13

#10 #14

#11 #15

#12 #16

PROJECT PROPOSAL 73

#17 #21

#18 #22

#19 #23

#20 #24

74 PROJECT PROPOSAL

#25 #29

#26 #30

#27 #31

#28 #32

PROJECT PROPOSAL 75

#33 #37

#34 #38

#34

#35 #39

#36 #40

76 PROJECT PROPOSAL

SIMPLE GEOMETRY WITHOUT

INTERSECTION

ELONGATE ALONG THE CURVE TUBES SIT ADJECENT TO EACH OTHER INCREASE THE DIVISON PROTION OF THE DISTANCE BETWEEN CURVES TO CREATE

OPENNING SPACE.

DENSE TUBES WITHOUT TOO MUCH CHANGE OF SIZE OF TUBES

#A

#B

#C

#D

THE #13 IS THE BEST ONE THAT WE CHOSE FROM THE ABOVE 40 ITERATIONS WHICH HAS BIG CONTRAST OF SMALL AND BIG TUBES THAT CREATES SENSE OF ELEGANT AND ORGANIC LAYERING. THE IRREGULAR OPENING PROVIDES ABILITY TO SEE THROUGH THE INSTALLATION TOWARDS CEILING, GIVE SENSE OF OPENNESS TO THE ROOM AND CLIENTS USING EXPERIENCE.

THEN BASED ON THE GEOMETRY AND IDEA THAT SHOWED IN #13,

WE HAVE DEVELOPED 6 ITERATIONS WHICH ARE MORE PRACTICAL WITH CONSIDERATION OF CONCERNS IN FABRICATION.

IN THE SELECTION OF THE ITERATIONS,

-----WE TRY TO AVOID THE ONES WITH TOO MUCH RANDOMNESS OF THE DISTRIBUTION OF THE DISRUPTED SPACE WHICH RESULTS IN CREATING TOO MUCH INTERSECTING TUBES THAT ARE NOT FABRICATABLE.

-----TRYING TO FINISH THE EDGES OF THE TUBES MORE SHARPLY TO PROVIDE SENSE OF COMPLETION RATHER THAN JUST TRIM THEM OFF WITH THE WHITE BOX.

*PROVIDES LIGHTWEIGHT FLOATING AND FREEDOM.

PROJECT PROPOSAL 77

SUCESSFUL ITERATIONS

C.1.4

SIMPLE GEOMETRY WITHOUT

INTERSECTION

#13INCREASE THE DIVISON PROTION OF THE DISTANCE BETWEEN CURVES TO CREATE OPENNING SPACE.

78 PROJECT PROPOSAL

#E

#F

ADJUSTABLE AS SEPRATE GROUPS TO MINIMISE INTERSECTION AND GENERATE VOLUME

DENSE TUBES WITHOUT TOO MUCH CHANGE OF SIZE OF TUBES

----- GRAPH MAPPER HAS BEEN USED TO ADJUST THE POSITION OF THE TUBES AS SEPERATE GROUPS TO AVOID MINIMISE THE OCCURANCE OF INTERSECTION, AS WELL AS CREATING VOLUMETRIC SPACE BY ITS WEAVE ON THE VERTICAL DIMENSION. THEN

IT BECOMES DOUBLLY CURVED GEOMETRY WHICH MAY CAUSE ERRORS DURING UNROLLING AND FABRICATION PROCESS.

-----EXCEPT BY GROUP THE STRIPS AND GRAPH MAPPER THEM, THE SECOND WAY TO MINIMIZE THE INTERSECTION IS MINIMIZE THE NUMBER OF STRIPS FIRST AND THEN CONTROL THEM INDIVIDUALLY BY USING GRAPH MAPPER. THE OUTCOME CAN BE SEEN IN #F. WE LIKE ITS ORGANIC FLOW AND FLUDITY, HOWEVER, CONSIDER THE DIFFCULTY IN FABRICATION TO BUILD SUCH COMPLEX AND IRRGULAR CURVATURE, WE FINALLY CHOSE A MORE GENTLE AND ORDERING ITERATION, SHOWING IN THE NEXT PAGE.

PROJECT PROPOSAL 79

C.1.4SUCESSFUL ITERATIONS

80 PROJECT PROPOSAL

IN ORDER TO RESPONSE TO THE SITE, WE LEFT THE MIDDLE OPENING A BIT WIDER THAN THE OTHERS, IN ORDER TO PRODUCE LESS INFLUENCE ON THE LIGHTING IN THE MIDDLE OF THE ROOM WHERE ABOVE TABLE. AND ALSO THE FOUR CORNERS ARE ROUNDED TO SUIT THE GLASS WALL.

MOST OF THE CLASSMATES PREFER #F AND #13 INSTEAD OF #D AND #E, BECAUSE WE THOUGHT #F AND #13 ARE MORE PRESENTIVE OF OUR DESIGN CONCEPT DUE TO THEIR FLEXIBILITY, FLUIDITY, AND IRREGULAR DISTRIBUTION OF THE SPACES AND THE BULBS WHICH CAN STRONGLY IMPRESS PEOPLE IN VISUAL.

HOWEVER, DUE TO THE ACTUAL BUILDABILITY AND TIME LIMITATION, WE CHOSE #D AND # E TYPE AS THE BASE FOR OUR FINAL GEOMETRY AND TRIED TO ACHIEVE AS MUCH PARAMETRIC AESTHETICS AS WE CAN WITH MINIMUM INTERSECTION FOR FABRICATION. THE FINAL GEOMETRY WERE ALSO KEPT IN AN APPROPRIATE DIMENSION TO NOT DISTURB OCCUPANTS VIEW ANGLE TO THE TV SCREEN.

PROJECT PROPOSAL 81

C.1.5F I N A L G E O M E T R Y

CREATE 4000*6000 RECTANGLE AND THEN DIVIDE THE 4000 LINE BY SPACING OF 70 AND CONSTRUCT 57 LINES.

POSITION ATTRACTOR POINTS TO CULL PATTERN AND GENERATE NEW POINTS TO INTERPOLATE NEW CURVES WHICH ARE ORGANIC.

GROUP THE CURVES INTO GROUP BY 10, THEN WE GET 6 GROUPS ALLOW SEPARATE GRAPH MAPPER CONTROL.

DIVIDE EVERY CURVES INTO TWO SEPARATE SUB LISTS TO CALCULATE THE DISTANCE BETWEEN EVERY TWO ADJACENT CURVES. THEREFORE, WE ARE ABLE TO CONTROL THE SPACE BETWEEN EACH TUBE BY CHANGING THE DIVISION PORTION. THE FINAL STEP IS LOFTING THEM.

82 PROJECT PROPOSAL

GEOMETRY DEFINITION

IN OUR ENVISAGEMENT OF THE FINAL CONSTRUCTION, WE ARE GOING TO INVENT RIBS AS THE STRUCTURAL BONE TO SUPPORT THE TUBES AND SHAPE THE STRIPS INTO THE IRREGULAR BULBS. THE STRIPS WILL SOMEHOW CONNECT TO EACH OTHER FOR BETTER STABILITY. THE VERY TINNY TUBS WILL BE TAKEN EXPLORATION IN THE INVESTIGATION OF ANOTHER MATERIAL. THE CONNECTION BETWEEN RIBS AND STRIPS, AND THE CONNECTION BETWEEN EACH INDIVIDUAL TUBES NEED TO BE FURTHER DETERMINED.

PROJECT PROPOSAL 83

C.1.6

1. 2. 3. 4. 5. 6. 7.

B A S E G E O M E T R Y

S T R I P S A P P L I E D T O B R E P

W E A V I N G S T R I P S T O I N T E R S E C T

F I N D I N G T H E M I D P O I N T O F I N -T E R S E C T I O N S T O C R E A T E P O I N T S F O R F A B R I C A T I O N .

D I A G R A M S

STRUCTURAL SUPPORT

STRIPS

IN OUR ENVISAGEMENT OF THE FINAL CONSTRUCTION, WE ARE GOING TO INVENT RIBS AS THE STRUCTURAL BONE TO SUPPORT THE TUBES AND SHAPE THE STRIPS INTO THE IRREGULAR BULBS. THE STRIPS WILL SOMEHOW CONNECT TO EACH OTHER FOR BETTER STABILITY. THE VERY TINNY TUBS WILL BE TAKEN EXPLORATION IN THE INVESTIGATION OF ANOTHER MATERIAL. THE CONNECTION BETWEEN RIBS AND STRIPS, AND THE CONNECTION BETWEEN EACH INDIVIDUAL TUBES NEED TO BE FURTHER DETERMINED.

84 PROJECT PROPOSAL

C.9.1 P A T T E R N I N G - T H R O U G H M A T E R I A L E X P R E S S I O N P A T T E R N I N G - THROUGH MATERIAL EXPRESSION

PROJECT PROPOSAL 85

C.9.1 P A T T E R N I N G - T H R O U G H M A T E R I A L E X P R E S S I O N C.1.7 P A T T E R N I N G - THROUGH MATERIAL EXPRESSION

86 PROJECT PROPOSAL

Environmental feedback within the design process creadit: Nick Dean

Workflow that narrows the gap between 3d modeling and analysis Creates a feedback loop that allows for iterations to occur with reference to real-world parameters (i.e. light exposure & distribution) instead of in isolation Exploration into design potentials and performance at a very early stage within the design process More time to reach the optimum performance of the building/installation

Ladybug plug-in (creadit: Nick Dean)

Whilst it is a plug-in that analyses sunlight exposure and distribution, there is quite a high level of control that allows the user to pinpoint exact locations for the sun

these locations acted as lights within the meeting room (4 different locations/positions were input into the SUNPATH COMPONENT)

RADIATION ANALYSIS component was used in order to analyse the distribution of light within the meeting room

Areas of most light exposure were located A point was set at each of these areas Points then used as ATTRACTOR POINTS in order to vary the thickness of the strips

throughout the geometry Closest to attractor points = thinner stripsNote: Still had to retain the overlap of the strips in order for the rivet connections to be possible

PROJECT PROPOSAL 87

Contribution/relevance to the design (creadit: Nick Dean) Works towards creating context-dependent parameters Design is somewhat unique to the meeting room site Different lighting plan/layout would contribute to different effects, there-

fore, the grasshopper definition is quite flexible & responsive in that regard Although the effect is not overly noticeable due to fabrication restrictions

(had to retain the overlap of the strips), the strips no longer all perform in the same way

strip thicknesses vary within each bulb In a general sense, working with Ladybug establishes a workflow that

draws upon both generative design and analysis a little bit different to how we designed throughout the semester

E N V I R O N M E N T A L F A C T O R S - INFLUENCING FORM + PATTERN DISRIBUTION

C.1.8

88 PROJECT PROPOSAL

C O N T E X T D E P E N D A N T - P A R A M E T R E S // ESTABLISHING A FRAMEWORKK

PROJECT PROPOSAL 89

E VA LUAT I O N W I T H I N T H E M E E T I N G R O O M

LIGHTEXPOSURE

C O N T E X T D E P E N D A N T - P A R A M E T R E S // ESTABLISHING A FRAMEWORKKC.1.9

90 PROJECT PROPOSAL

F E E D B AC K LO O P

SITESPECIFIC

I N I T I A L I D E AWEAVING

P A T E R N G E N E R A T I O N C.1.10

PROJECT PROPOSAL 91

P A T E R N G E N E R A T I O N

I N I T I A L I D E A

LINEARPATTERNSD I R E C T I O N C H A N G E # 1

PATTERNINGON STRIPSD I R E C T I O N C H A N G E # 2

92 PROJECT PROPOSAL

PATTERNINGON STRIPSD I R E C T I O N C H A N G E # 2

WE FINALLY CHOOSE THIS PATTERN IN ORDER TO PROVIDE GOOD LIGHTING AS WELL AS NOT BREAKING UP THE STRIPS DUE TO ITS MATERIALITY. THE PARALLEL DIRECTION ALSO CONTRIBUTES TO AN ACCORD LOOKING AS THE STRIPS.

PROJECT PROPOSAL 93

P A T E R N G E N E R A T I O N C.1.10

94 PROJECT PROPOSAL

1. JOINTS CONNECTED TO CEILING

2. JOINTS TO TIE THE CANES

3. CONNECTION BETWEEN CANES AND RIBS

4. PRIMARY STRUCTURAL RIBS TO SUPPORT THE INSTALLATION

PROTOTYPES

C. 2.

TECTONIC ELEMENTS &

PROJECT PROPOSAL 95

1

2

3

4

96 PROJECT PROPOSAL

J O I N T S: CEILING CONNECTIONS

C.2.1

JIA HAD INVENTED THESE JOINTS WHICH PERFORMANCE AS A HOOK WITH BOLT. HOWEVER, AFTER THE PRESENTATION WE REALIZED THE WEAKNESS OF THESE JOINTS IN A 3D PRINT MATERIAL AND THESE JOINTS FAILED TO HANG THE INSTALLATION VERTICALLY IN THE PLACE. THE JOINTS HAS BEEN FURTHER DEVELOPED BY JIA IN HER JOURNAL.

PROJECT PROPOSAL 97

J O I N T S: CEILING CONNECTIONS

E X I S T I N G G E O M E T R Y

M A T E R I A L + P R E C E D E N T

C A N E C.2.2

BRENDON AND HUGH HAD INVESTIGATED THIS PRECEDENT AS THE REFERENCE TO FABRICATE THE TINNY TUBE WITH BETTER MANAGEMENT OF THE CHANGING WAIST TUBES AND HAVE BETTER ABILITY TO DEAL WITH THE INEVITABLE INTERSECTION OF THE TUBES. THE CORES IN THEIR JOINTS ARE ANGLED IN ORDER TO PRESS THE CAN FLOW IN THE CERTAIN DIRECTION TO

CONSTRUCT ACOMPLEX SCULPTURE VOLUME.

98 PROJECT PROPOSAL

M A T E R I A L

J O I N T S

JOINTS FOR

TH E JOINTS SUCESSFULLY SHAPE THE CANE INTO THE RIGHT SHAPE, HOWEVER, THERE IS TROUBLE TO HOLD THE CANE TUBE INTO THE RIGHT POSITION. AND THE CANE HAS IMPACTS ON THE OVERALL LOOKING. PROJECT PROPOSAL 99

C.14 J O I N T S

J O I N T S

P H O T O S OF THE FABRICATION OF THE CANE

JOINTS FOR

100 PROJECT PROPOSAL

P R OTOT YP E 1 P R OTOT YP E 2 P R OTOT YP E 3

P R OTOT YP E 1

P R OTOT YP E 2

CONNECTION BETWEEN CANE-JOINTS

J O I N T S

C.2.3

CONNECTION BETWEEN RIBS

PROJECT PROPOSAL 101

J O I N T S CONNECTION BETWEEN RIB TO CANE-JOINTS

S T R I P C O N N E C T I O N S - P R O T O T Y P E M O D E L I N G // TABS

I n i t i a l P r o t o t y p e : P o l y p r o p y l e m e | T a b s

P r o t o t y p e : T i m b e r V e n e e r L a m i n a t e B a c k | R i v e t s

P R OTOT YP E FA B R I C AT I O N

TIMBER VENEER PAPER BACKTIMBER VENEER LAMINATE BACK

BREAKING POINT

P r e s s S t u d s R i v e t s

JOINTS FOR

--CONNECTION BETWEEN RIBS (1)

--CONNECTION BETWEEN CANE-JOINTS (2)

--CONNECTION BETWEEN RIB TO CANE-JOINTS (3)

HAS BEEN DEVELOPED BY JINTAO. ALL THE JOINTS ARE CLIPS LIKE AND 3D PRINTED, PERFORMING WITH INTERLOCKING SYSTEM. ALL THE JOINTS ARE DESIGNED TO STABILIZE THE STRUCTURE OF THE INSTALLATION AND POSE EVERY INDIVIDUAL TUBES IN THE EXPECTED POSITION. UPGRADED JOINTS HAS BEEN DEVELOPED AFTER PRESENTATION AND PRESENT IN JINTAOS JOURNAL.


R I B S - S T R U C T U R A L I N T E R I O R

South Pond Pavilion, Chicago 2010 by Studio Gang Architects

THE IDEA OF THIS WEAVY RIBS IS INSPIRED FROM THE SOUTH POND PAVILION IN CHICAGO. HOWEVER, WE NEED TO BE VERY CAREFUL ABOUT THE DIRECTION OF THE GAIN OF VENEER AND ITS FLEXIBILITY THAT ALLOW THE BEND OF THE VENEER. THE THERE JOINED WEAVE CREATES A RIGID STRUCTURE THAT SUPPORT THE STRIPS LIKE FISH BONE.

HOWEVER, IN THIS PROTOTYPE, THE RIBS CRACKS AT THE PUNCH POINT, DUE TO THE LACK OF THE FLEXIBILITY OF THIS PIECE OF VENEER WITH LAMINATED BACK WHICH MADE THE VENEER BECOME RIGID. THE CRACK HAPPENED MAY ALSO DUE TO THE SMALL SCALE OF THIS PROTOTYPE, IN THE REAL 1:1 INSTALLATION, THIS SITUATION MIGHT NOT HAPPEN, BUT WE WILL STILL CONSIDER TO CHANGE TO THE VENEER WITH PAPER BACK TO AVOID THIS PROBLEM IN THE FINAL MODEL.


T H E F O R M - D E S I G N I N G W I T H I N P A R A M E T E R S // PROTOTYPE


FINAL DETAIL MODELFOR THE FINAL PRESENTATION, WE ARE GOING TO FABRICATE AND

PRESENT THREE MODELS IN THE SCALE OF 1:3, 1:10 AND 1: 30, RESPECTIVELY IN ACTUAL TIMBER VENNER, CARD CUTING AND 3D PRINTING.

C. 3.


Pro to t y p e 2

Pro to t y p e 1


Pro to t y p e 1

FA B R I C AT I O N P R O C E S S DAMAG E

D I F F U S E D T E N S I L E P R E S S U R E


H O M O G E N E I T Y O F MAT E R I A L E M P H A S I Z E D

S E W N R I B / S T R I PCO N N E C T I O N

Pro to t y p e 1 Pro to t y p e 2


R I B S U P P O R T

DIGITAL FABRICATION C.3.2

C A R D C U T T E R1 : 1 0 S C A L E

1

2

3

1 2 3 4

112 CRITERIA DESIGN

AND OUTCOMES

As a class project containing 13 people, we didnt successfully produce a completed fine model as we expected at the end of the semester, I think it is due to several reasons.

- Team work cooperate mismatched sometimes. We just start to work as a group after week 9, therefore there is less unity to work together efficiently and people had less passion and understanding for the final chossen design proposal that decided to be the base of part C final model. In a group work, every process should operating at the same time to save time and give feedback between each groups on time to efficiently fix the problems and made modification to both digital model and fabrication.

it should not be just one direct working flow from concept---geometry---pattern---joints----unroll----fabrication model. Instead, the working flow should be cross referenced to each other.

After final presentations:

C.4

LEARNING OBJECTIVES


https://vimeo.com/169959169

From the first to the last, our initial concept didnt changed too much, and the persist of this concept push us to develop more potential by using computerlization-driven design. This subjects force us to learn a very different digital model making programme that push us to step out of our comfort zone and discover the new innovation and possibilities of the way to design, and the way to deepen the connotation. By using grasshopper to design a parametric proposal, it allows the application and simulation of the law in the physical world such like gravity, forces and lighting. In addition, it gives us the chance to visualize the invisible rules in the natural world, such like distributed behavioural model of birds (boids).

Biommicry algorithm has been experimented to assist the concept of visualizing the invisible flow and change in the site by simulating peoples behaviours and picture the flow and collision of the ideas born during the brainstorm in the boardroom.

HTTPS://STATIC.DEZEEN.COM/UPLOADS/2010/05/DZN_SHANGHAI_EXPO_BRITISH-PAVILION-0004.JPG

A.6. APPENDIX - ALGORITHMIC SKETCHES

FIG.1.CURVILINEAR ATTRACTORS

FIG.2.IB&W IMAGE ATTRATORS

FIG.3. COLOURS INDICATES THE HEIGHT DIFFERENCE

FIG.4. PANELLING A GEOMETRY FIRST, THEN MAKE ATTRACTORS EFFECT. CREATE FEELING OF TEXTURE OF MATERIALITY

FIG.5. TRYING TO EMERGE THE PROJECTING SHAPE AS THE UK PAVILION IN SHANGHAI EXPO, BUT FAILED TO GET A AVERAGE ROUND SHAPE OF THE PROJECTION, AND THE COMPUTER FAILED TO RESPOND WHEN I EXTRUDE A TUBE AROUND EACH PROJECTING LINE.

FIG.6. HTTPS://STATIC.DEZEEN.COM/UPLOADS/2010/05/DZN_SHANGHAI_EXPO_BRITISH-PAVILION-0004.JPG

FIG.6. UK PAVILION, SHANGHAI EXPO, 2010

FLIP DATA AND USE RELATED ITEM TO GET WEAVE TEXTURE

FIG.2.IB&W IMAGE ATTRATORS

CREATE FIELD BY THREE PAIRS OF POINTS ON A SURFACE,

ROTATE THE VECTOR OF THE CLOSER POINTS IN ORDER TO EMERGE AS AN ENTIRETY.

FIG.4. PANELING A GEOMETRY FIRST, THEN MAKE ATTRATORS EFFECT. CREATE FEELING OF TEXTURE OF MATERIALITY

GRID PINCH USING CULL PATTERN AND CLOSED POINT TO PICK UP THE POINT IN A RANGE IN ORDER TO RECONSTRUCTE

ROTAE BREP ALONG CURVES AND ROTATE THEM GRADUALLY

ACTING FORCE ON THE SURFACE TO CREATE RIPPING EFFECT BY KANGAROO

Reference:

1. NORMAN FOSTER, TED TALK, 2008.2. 2. GILI MERIN, AD CLASSICS: THE PLUG-IN CITY / PETER COOK, ARCHIGRAM, ARCHDAILY, 10 JULY,2013 < HTTP://WWW.ARCHDAILY.COM/399329/AD-CLASSICS-THE-PLUG-IN-CITY-PETER-COOK-ARCHIGRAM/> [ACCESSED 5 MARCH 2016]3. 4. 3. MEGAN SVEIVEN, AD CLASSICS: NAKAGIN CAPSULE TOWER / KISHO KUROKAWA, ARCHDAILY, 9 FEBRUARY, 2011 < HTTP://WWW.ARCHDAILY.COM/110745/AD-CLASSICS-NAKAGIN-CAPSULE-TOWER-KISHO-KUROKAWA>[ACCESSED 5 MARCH 2016]5. 4. BIOREBOOT: THE ARCHITECTURE OF R&SIE(N), DESIGNBOOM, 02, SEPTEMBER, 2010.< HTTP://WWW.DESIGNBOOM.COM/ARCHITECTURE/BIOREBOOT-THE-ARCHITECTURE-OF-RSIEN/>[ ACCESSED 10 MARCH 2016]6. 5. FRANCOIS, ROCHE, INTERNATIONAL PAVILION / BI[R]O-BO[O]T / 7 APPARATUSE, NEW-TERRITORIES. < HTTP://WWW.NEW-TERRITORIES.COM/BIENNAL%20OF%20VENICE%2008.HTM>/>[ ACCESSED 10 MARCH 2016]7. 6. ICD | ITKE RESEARCH PAVILION 2011 / ICD / ITKE UNIVERSITY OF STUTTGART , ARCHDAILY, 18 JANUARY, 2012 < HTTP://WWW.ARCHDAILY.COM/200685/ICDITKE-RESEARCH-PAVILION-ICD-ITKE-UNIVERSITY-OF-STUTTGART>8. 7. HEYDAR ALIYEV CENTER / ZAHA HADID ARCHITECTS ARCHDAILY,14 NO-VEMBER,2013< HTTP://WWW.ARCHDAILY.COM/448774/HEYDAR-ALIYEV-CENTER-ZAHA-HADID-ARCHITECTS>>/>[ ACCESSED 16MARCH 2016]9. PETERS, BRADY. (2013) COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT, ARCHITECTURAL DESIGN, 83, 2, P1010. COVER PHOTO CREATED BY ALEX DIACONU. 11. HTTP://WWW.WISEWOODVENEER.COM/FLEXIBLEWOODVENEER.HTML

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