Beruflich Dokumente
Kultur Dokumente
Real Time
Volume 2
Editors
Bob Martens
Gabriel Wurzer
Thomas Grasl
Wolfgang E. Lorenz
Richard Schaffranek
Faculty of Architecture and Urban Planning
TU Wien
Real Time - Proceedings of the 33rd International Conference on Education and Research in
Computer Aided Architectural Design in Europe, Vienna, Austria, 16-18th September 2015, Vol-
ume 2. Edited by Bob Martens, Gabriel Wurzer, Thomas Grasl, Wolfgang E. Lorenz and Richard
Schaffranek. Brussels: Education and Research in Computer Aided Architectural Design in Eu-
rope; Vienna: Faculty of Architecture and Urban Planning, TU Wien.
ISBN: 9789491207099
Copyright © 2015
Publisher: eCAADe (Education and Research in Computer Aided Architectural Design in Eu-
rope) and Faculty of Architecture and Regional Planning, TU Wien.
All rights reserved. Nothing from this publication may be produced, stored in computerised
system or published in any form or in any manner, including electronic, mechanical, repro-
graphic or photographic, without prior written permission from the publisher.
eCAADe 2015
Real Time -
Extending the Reach of Computation
Volume 2
Proceedings of the 33rd International Conference on Education and Research in
Computer Aided Architectural Design in Europe
Edited by
Bob Martens
Gabriel Wurzer
Thomas Grasl
Wolfgang E. Lorenz
Richard Schaffranek
Theme
This is the second volume of the conference proceedings of the 33rd eCAADe conference,
held from 16-18 September 2015 at TU Wien, Vienna, Austria. Both volumes together contain
the 145 accepted papers that are also available digitally in CuminCAD (Cumulative Index of
Computer Aided Architectural Design, http://cumincad.scix.net).
The theme of the 33rd eCAADe conference is Real Time: Seeing architectural design as a
time-critical and time-related activity requires new tools, methods and theories that deliver
results not only accurately but also timely. As project cycles begin to accelerate, a variety of
design decisions need to be taken swiftly and nevertheless accurately. Today's practice needs
to explore the solution space through a rapid feedback loop between digital and physical
products, used collaboratively and over a distance. To facilitate such a back-and-forth,
geometries must be converted to manageable approximations on which intelligent tools
can act, providing the designer with feedback and advice. This year's conference seeks to be
a platform for research, teaching and practical work conducted in that spirit.
The second volume of the proceedings contains 74 papers grouped under 15 sub-themes,
which generally follow a more designernly and educational logic than the works in volume 1
(which follow a more formal approach). As additional part, we have our preceding workshop
contributions, which are papers summarizing the workshops given.
Autodesk
Bentley
sion chairs with whom we had the honor of collectively creating this issue of the eCAADe
conference proceedings. In that context, special thanks goes to Martin Winchester for over-
looking the abstract submission system (OpenConf ), which will continue to be one of the main
technical pillars for the preparation of this conference. As further novelty of this year, Martin
has also made available a photo upload for the voting system (eCAADe Best Paper Award /
Ivan Petrovic Award) from which we and future conference organisers will benefit.
Furthermore, our keynote speakers and workshop organisers offer a highly appreciated
added value to the conference in line with eCAADe's motto - promoting good practice and
sharing information in relation to the use of computers in research and education in architecture
and related professions. We thank all of you for fostering eCAADe's role as a platform.
Besides the (printed or digital) conference proceedings, the team of Wolfgang Dokonal
continously provides us with video streams of the paper presentations. This can be challeng-
19 Workshop Contributions
21 Workshop: Developing Building Information Model Visualizations Using a
Domain Specific Language
Helga Tauscher, Raimar J. Scherer
25 Digital Tools and Creative Practice in Architectural Research
Johan Verbeke, Tadeja Zupancic, Henri Achten
29 Quadrics Theorems as an Introduction to Geometry, Parametric Design and
Digital Fabrication
Roberto Narvaez-Rodriguez, Jose Antonio Barrera-Vera
33 Robotic Woodcraft
Philipp Hornung, Johannes Braumann, Reinhold Krobath, Sigrid Brell-Cokcan,
Georg Glaeser
37 ColLab Sketch
Kateřina Nováková, Henri Achten
The rise of digital building models has devalued the broad domain of
architectural visualization, a former core topic of the domain. At the same time,
digital media has opened up new possibilities for interactive and explorative
visual representations. Against this background the workshop advocates to
rediscover visualization as a distinct topic in the context of architecture and
construction. The workshop introduces a method and a theoretic framework for
the creation of visual representations from building information models under
involvement of architects and engineers as domain experts, and a prototypical
implementation, which serves as a proof of concept and allows for the practical
application of the method. The workshop presents the prototype based on selected
hands-on examples.
guage (DSL). A particular visualization specification is objects and attributes. These selected parts of the
then processed together with a building information building model are then to be mapped onto visual-
model to produce a particular visualization. This way ization objects and their attributes. Simple visual-
a particular building information model can be rep- ization mappings must be combinable to form more
resented in different ways, and a particular visualiza- complex mapping specifications.
tion specification can be reused for multiple building
information models as shown in figure 1. PROTOTYP AND DSL IMPLEMENTATION
The suggested software architecture of a respec- Prototypical implementations of both the DSL and
tive processing application follows the paradigm of the processing application serve as proof of concept
the visualization pipeline (Haber 1979). The pipeline and allow for the practical application of the meth-
model breaks the visualization process into three suc- ods. We called the DSL implementation Building
cessive steps: filter, map, and render. Filtering and Information Style Language (BISL), in reference to
mapping are general issues of information technolo- other style languages such as the extensible style lan-
gies, which have also been studied in the context guage (XSL). The processing engine implementation
of building information models (e.g. Katranuschkov is called Billie, the Building Information Style Engine.
2000). Since previous work on building informa- Billie is implemented with a modular architec-
tion model filtering and mapping exists, visualization ture according to the visualization pipeline paradigm
generation can be seen as a specific application of as shown in figure 2. The modular architecture allows
these techniques, with a specific target space for the to extend and update single modules such as the vi-
mapping - the space of potential visualizations. sualization models or query languages and engines.
The specifics of the mapping task, the visualiza- Therefore the application acts more like a framework,
tion domain and the building information modelling integrating diverse libraries under a common inter-
domain allow to narrow down the general purpose face. Since Billie is implemented in Java and runs in a
mapping concepts. A DSL to describe visualizations JVM, the dynamic programming language Groovy is
has to cover the following concepts: Filters allow used in order to leverage its DSL features.
to query building information models and to select
Figure 2
Modular
architecture of the
visualization
processing engine
REFERENCES
Haber, RB and McNabb, DA 1979, 'Visualization Idioms:
A Conceptual Model for Scientific Visualization Sys-
tems', in Nielson, GM, Shriver, B and Rosenblum, LJ
(eds) 1979, Visualization in Scientific Computing, IEE
Computer Science Press, Los Alamitos, CA
Katranuschkov, P 2000, A Mapping Language for Concur-
rent Engineering Processes, Ph.D. Thesis, TU-Dresden
Knoernschild, K 2012, Java Application Architecture. Mod-
ularity Patterns with Examples Using OSGI, Prentice
Hall, Upper Saddle River, New Jersey
[1] http://hlg.github.io/billie
Figure 1
Pictures of the built
full-scale prototype,
The Caterpillar
gallery, University
of Seville (Spain),
2014.
events-ONR-data | events-ONR-display When for a compact Kress spindle was developed by ana-
handling many complex toolpaths in one continu- lyzing the limits of our large milling spindle with the
ous process, the resulting data-set within the plan- goal of creating a complementary tool for situations
ning environment is rapidly increasing. As a conse- with complex reachability. Its digital representation
quence, it becomes increasingly difficult to maintain allows us to digitally evaluate such situations in ad-
an overview of the project, possibly causing one to vance and avoid collisions with the workpiece (Figure
miss problematic robot positions. Therefore, out-of- 3).
reach positions as well as collisions have to be pre- customToolElte+Fipa Similarly, a custom phys-
checked to avoid kinematic singularities, collisions, ical tools was developed that allows us to combine
or damage to the robot and its surroundings. For a gripping and milling in one seamless process. It is
fast quantitative and qualitative summary two com- based on a mid-sized electro spindle (Elte TMPE4)
ponents were developed (Figure 2). In the event of and an overhead-mounted vacuum gripper (Fipa
unreachable positions or collisions, the quantitative TC120x230) on multiple custom flange elements. In
outputs display the amount, of 'events ONR' (events many industrial applications, robots are only used for
of no reach and collision), the related axes, axis- pick and place operations - with new, custom tools
values, indices, command ids and command tags. this could be easily expanded, but also requires new
These outputs greatly facilitate spotting affected sit- programming approaches that can cope with the
uations in the toolpath as well as on the program- complexity of having multiple tools mounted onto a
ming canvas of Grasshopper. As an additional fea- single machine.
ture, 'events ONR' can be displayed graphically in the
rhino viewport. CONCLUSION
customToolKressElte Special tools allow us to Visual programming has allowed us to quickly and
perform operations that would not be possible with efficiently create robotic processes that embed parts
regular, commercial end-effectors. A special mount of the material knowledge of artisans and carpenters
within the code, making it accessible to non-expert Control: Integrated CAD/CAM for Architectural De-
users (see also Brell-Cokcan and Braumann, 2014). sign', Proceedings of the 31st Annual Conference of the
Similarly, we can now quickly prototype new robotic Association for Computer Aided Design in Architecture
(ACADIA)
tools within a virtual environment, greatly speeding
Braumann, J and Brell-Cokcan, S 2014a 'Visual Robot
up their development. Programming – Linking Design, Simulation, and
Therefore custom software allows us to move Fabrication', Proceedings of the 5th annual Sympo-
past the limitations of commercial software, which is sium on Simulation for Architecture and Urban Design
generally not optimized for materials with a complex- (SimAUD)
ity like wood, towards new robotic applications. Braumann, J and Brell-Cokcan, S 2015 'Adaptive Robot
Control', Proceedings of the eCAADe 2015, Vienna
We expect that the use of robotic labor will con-
Brell-Cokcan, S and Braumann, J 2014b 'Robotic Pro-
tinue to have a deep impact on the creative indus- duction Immanent Design: Creative toolpath De-
try, towards creating new and customizable designs sign in Micro and Macro Scale', Proceedings of the
with multifunctional machines and the similarly mul- 34th Annual Conference of the Association for Com-
tifunctional material wood. puter Aided Design in Architecture (ACADIA), Los An-
geles, pp. 579-588
Gramazio, F, Kohler, M and Oesterle, S 2010, 'Encoding
ACKNOWLEDGMENTS Material', in Oxman, R and Oxman, N (eds) 2010, Ar-
This research has been supported by the Austrian Sci- chitectural Design, vol 80, Wiley, Hoboken, pp. 111-
ence Fund through the PEEK program for arts-based 118
research (project AR 238-G21). Menges, A 2012, 'Morphospaces of Robotic Fabrica-
tion', in Brell-Cokcan, S and Braumann, J (eds) 2012,
Suppin, R, 2015, 'Repair My Series 07' as part of
Rob|Arch – Robotic Fabrication in Architecture, Art,
his Ph.D. thesis, Vienna University of Technology. and Design, Springer, Vienna, pp. 28-47
REFERENCES
Braumann, J and Brell-Cokcan, S 2011 'Parametric Robot
Figure 1 INTRODUCTION
Sketch produced ColLab Sketch [1] is a program for sharing and manip-
with ColLab Sketch ulating sketches via the internet. It was developed
by Kateřina Nováková at Czech Technical University
in Prague, in collaboration with ETH Zurich, Chair
of Information Architecture. Collab Sketch is multi-
platform, working on Android, iPad, and Windows.
People can sketch, share their sketches, and work on
sketches made by other people - which forms the
technical basis of this workshop.
Tane Moleta1
1
Victoria University of Wellington
1
tane.moleta@vuw.ac.nz
Real Time Strategy games enjoy worldwide popularity. Success in this genre of
games requires a high degree of skill in spatial and temporal organisation. These
skills are typically built upon a foundation characteristic of an iterative workflow.
An iterative workflow is also a desirable behaviour in the design studio of
architecture students allowing for a greater understanding of parameters
embedded within the design and ultimately leading to better learning outcomes.
This paper discusses the potential of Real Time Strategy Games and draws
connections between successful player attributes found specifically in Tower
Defence Games and how these could be used to introduce skills required in the
planning of architectural space
REFERENCES
Chieh, J L 2005 'Space Layout Game: An Interactive
Game of Space Layout for Teaching and Represent-
ing Design Knowledge', Proceedings of the 10th Inter-
national Conference on Computer Aided Architectural
Asterios Agkathidis1
1
University of Liverpool
1
asterios.agkathidis@liv.ac.uk
INTRODUCTION: DESIGN METHODS IN AR- terms such as 'generative design', 'parametric design'
CHITECTURE or 'algorithmic design', to name but a few. These of-
Generating form poses one of the fundamental ques- fer new design paths to architects by breaking with
tions in architectural education and practice. Archi- predictable relationships between form and repre-
tectural production is frequently accompanied by de- sentation in favour of computationally generated
bates about the legitimacy of its design approach, complexities, thus enabling the development of new
questioning the relationship between function and topologies. They shift the emphasis from 'form mak-
form, aesthetics and construction systems, context ing' to 'form finding' (Kolarevic 2003). The critics of
and structure, user needs and construction costs, in such design approaches claim that they disconnect
all possible configurations. In recent years, computa- architectural output from its context and its users,
tional tools have introduced innovative form-finding and lead to a decrease in spatial quality and a build-
techniques, revolutionizing architectural design and ing's integration within the urban environment. Fur-
production. These techniques are often described by thermore, some argue that a totally computerized
approach leads to disconnection from physical mod-
and unrepeatable results performed by an idea-code, is focusing on the emergent and adaptable qualities
as in nature'. Indeed, the notions of generative de- of form. Form is no longer being made, but found,
sign and digital morphogenesis are strongly asso- based on a set of rules or algorithms, in association
ciated. The term 'morphogenesis' derives from the with mainly digital, but also physical, tools and tech-
Greek words morphe (μορφή, meaning 'form') and niques. They imply the rules; the entire process fol-
genesis (γένεσις, meaning 'birth'), so could be literally lows.
translated as 'birth of form'. As with the term 'genera- Michael Hensel describes digital morphogene-
tive design', there is no unique definition for morpho- sis as a 'self-organization process, underlying the
genesis, and it seems that the terminology is chang- growth of living organisms, from which architects
ing in relation to emerging technologies and tech- can learn' (Hensel, Menges and Weinstock 2006). In
niques. their latest book, Rivka and Robert Oxman (2013)
Branko Kolarevic (2003) describes digital mor- categorize form generation into six dominant mod-
phogenesis as follows: 'The predictable relationships els in relation to its main driver: mathematical, tec-
between design and representations are abandoned tonic, material, natural, fabricational and performa-
in favour of computationally generated complexities. tive. They see digital morphogenesis as 'the exploita-
Models of design capable of consistent, continual tion of generative media for the derivation of mate-
and dynamic transformation are replacing the static rial form and its evolutionary mutation'. Its key con-
norms of conventional processes. Complex curvilin- cepts include topological geometries, genetic algo-
ear geometries are produced with the same ease as rithms, parametric design and performance analysis.
Euclidean geometries of planar shapes and cylindri- Finally, Toyo Ito compares 'generative order' to
cal, spherical or conical forms. The plan no longer the growth mechanism of trees, whose form derives
"generates" the design; sections attain a purely an- from the repetition of simple rules, creating a very
alytical role. Grids, repetitions and symmetries lose complex order (Turnbull 2012). A tree's shape re-
their past raison d'être, as infinite variability becomes sponds to its surroundings, blurring the boundaries
as feasible as modularity, and as mass-customization of interior and exterior spaces - qualities that are easy
presents alternatives to mass-production.' In addi- to recognize in Ito's Serpentine Gallery Pavilion in
tion, he sees such methods as unpredictable mech- London.
anisms of creation, relying on digital tools, where Based on these key definitions of generative de-
traditional architectural values are replaced by com- sign, a modified design method was developed in or-
plexity, asymmetry, curvilinearity, infinite variability der to be applied in a year 3 design studio module at
and mass customization. Architectural morphology the Liverpool School of Architecture.
Figure 2
Generative Design
Method applied in
Studio 04
Alongside the loss of materiality and craftsman- leagues and fellow educators was definitely among
ship, many critics of generative design methods ar- them. This included guidance from tutors involved
gue that the resulting architectural proposals are to- in the process as well as criticism from others observ-
tally detached from their context. This is a criticism ing the approach. From a student's point of view, the
often applied to modern architecture as well. Dur- shift away from conventional design methods cer-
ing our programme, the degree of integration or non- tainly appeared to be very demanding. That became
integration within a context was up to the designer. particularly evident after the completion of the form-
Building up a relationship between a building and its finding phase; it was the Metamorphosis that pre-
context can be achieved in many different ways. It sented the biggest challenges. As liberating and ex-
can rely on form, materiality or programme, or all of citing as Morphogenesis might have been for some,
the above. One can choose to harmonize, ignore or abandoning the abstraction of the prototype and
break with a building's context, a decision that does transforming it into a building proposal, overcom-
not depend on the design approach but on the de- ing obstacles of structure, urban context, planning
signer's attitude towards the site. Nevertheless, ex- and materiality seemed to be very difficult. Many
ternal examiners overviewing the projects expressed tended to start from scratch, leaving everything be-
surprise at the high degree of site-specific proposals, hind and following the conventional approach they
despite the unconventional design approach. All of were most familiar with. Some chose a brutal landing
the finalized projects managed to comply with stan- of their prototype into the site, without developing
dards and requirements defined by the accreditation an attitude towards the context, while others failed
body (RIBA) and the module descriptors, as evident to use their prototype for something more than sim-
in the drawing and modelling outputs. In that sense, ply trendy decoration.
the generative design method applied proved highly Another issue that arose using this approach was
appropriate for design education, helping students having to manage the geometrical complexity that
to develop their skills and self-confidence, and en- occurred.This was often a problem of representation.
hancing their future employability. This became ev- Complex geometries are easily produced in a digital
ident by the student survey, where 97% of all par- environment, but controlling and representing their
ticipants expressed their confidence about gaining outputs often requires non-standardized methods as
higher employability perspectives. well. This can be a consequence of using software in-
Looking at the difficulties accompanying such an correctly, or of using inappropriate software for the
approach, findings varied. Scepticism from other col- task required. How can complex geometries be rep-
ACKNOWLEDGEMENTS
My acknowledgements got to all studio 04 tutors,
Richard Dod, Elif Erdine, Jo Hudson and Jane Moscar-
dini for their hard effort and support.
REFERENCES
Agkathidis, A and Kocatürk, T 2014 'Deceptive Land-
scape Installation: Algorithmic patterning strategies
for a small pavilion', Proceedings of eCAADe 2014,
Newcastle, pp. p71-79
van Berkel, B and Bos, C 1999, Move (3-vol. set): Imagina-
tion/Techniques/Effects, Groose Press, Amsterdam
Derrida, J 1976, De la grammatologie, Les Éditions de Mi-
nuit, Paris
Eisenman, P 2004, Eisenman Inside Out: Selected Writ-
ings 1963–1988 (Theoretical Perspectives in Architec-
tural History & Criticism), Yale University Press, Yale
Fischer, T and Herr, C M 2001 'Teaching Generative De-
sign', International Conference on Generative Art, Mi-
lan
Frampton, K 1995, Studies in Tectonic Culture: The Poetics
of Construction in Nineteenth and Twentieth Century
Architecture, MIT Press, Boston
Hensel, MA, Menges, A and Weinstock, M (eds) 2006,
Techniques and Technologies in Morphogenetic De-
sign, Wiley & Sons, London
In the past three years, Massive Open Online Courses (MOOCs) have become an
important new way for universities to reach out to possible matriculates, life long
learners and alumni. Although MOOCs already cover a vast amount of subjects
and curricula, it is remarkable to ascertain the lack of Architectural Design
courses on the main platforms like edX and Coursera. Online courses do cover
design aspects, e.g. about styles and building materials, but 'design as activity' is
an exceptional subject in the portfolio of available MOOCs. In contrast, the
CAAD community was one of the first to develop Virtual Design Studio's (VDS)
and experimental predecessors of MOOC platforms, such as the AVOCAAD
course database system (Af Klercker et al. 2001). Yet, the query 'MOOC' still
does not ring a bell in the CUMINCAD publication database (per May 2015). In
this paper I will explore a palette of design education settings, in order to find a
fit to what a MOOC platform can offer. I will compare the 'MOOC-ability' of
Design Education to chances in Virtual Design Studio's and developments in
ubiquitous mobile platforms.
REFERENCES
Achten, H, Koszewski, K and Martens, B 2011 'What hap-
pened after the “Hype” on Virtual Design Studios?:
Some Considerations for a Roundtable Discussion',
29th eCAADe Conference Proceedings / ISBN 978-9-
4912070-1-3, University of Ljubljana, Faculty of Ar-
chitecture (Slovenia), pp. 23-32
Figure 2
The SparkSpace
Demo in short.
Figure 3
The research group
in its entirety.
son 2007, Verbeke 2013, Sevaldson 2010). Through Modes 1 & 2 forms of knowledge production. Mode 1
this publication (Gibbons et al. 1994) the transdisci- refers to traditional scientific knowledge, such as Nat-
plinary approach became widely spread in relation ural Sciences belonging to exact sciences, generated
to the description of two parallel and competitive within a disciplinary, primary cognitive context. In-
Figure 2
Responsive
prototype of Group
1B: Window
Aperture
Figure 4
Responsive
prototype of Group
2B: Dynamic
Building Facade
Screen The model consisted of pieces of cardboard running
across wooden rods representing guide rails for the
shading path. The students used a number of pullies
connected with threads to simulate the movement of
the shading elements along the rails. An Arduino mi-
crocontroller was used and connected to Grasshop-
per, and 4 servo motors were used to control the mo-
tion around the pullies and consequently the shad-
ing patterns along the pathway. Some of the basic findings and observations upon
Group 2B chose to develop a building facade conducting the two previous studios are: (1) the sig-
screen consisting of a kinetic skin system. The system nificance of the order of introducing responsive sys-
is composed of 1mX1m units that respond to heat tems within an architectural project, and (2) the stu-
gain analysis. Using a pre-programmed system that dent team dynamics and collaborative process, and
pulls weather and heat gain analysis data, the build- (3) the skill set and knowledge required to integrate
ing facade should automatically respond to external responsive systems in a project. Typically in the Fall
conditions, while still allowing for user intervention studio, the students could not capitalize on their re-
upon desire. Each modular unit consists of muscle sponsive elements in developing their designs, as
wires comprising electrostrictive materials that con- they were introduced in the final phase of the project.
tract or expand based on the electric power they re- In the Spring studio however, there was a significant
ceive. These contractions and expansions produce progress in the detailing and development that stu-
variations in the overall shape of the building screen, dents expressed in their designs. Getting the stu-
producing varying patterns in the interior of the ho- dents to design, fabricate and operate their respon-
tel building. sive elements early in the process allowed for devel-
For the exercise prototype (Figure 4), the stu- opment at a number of levels, including structural
dents developed a full-scale model of a sample detailing, environmental analysis, parametric model-
90cmX60cm screen using MDF. The screen was di- ing, and facade design.
vided into six identical panels, each hosting a num- As the students were asked to assume different
ber of motion rails to guide the kinetic movement of roles in the Spring semester within their teams, this
the modular screen units that shape the overall build- allowed for a further level of detailing. Project archi-
ing pattern. An Arduino microcontroller was con- tects were expected to set the general strategy for
Figure 5
Framework for
integrating
responsive systems
in the architectural
design studio
ACKNOWLEDGMENTS
We would like to thank all participating students in
both AENG 4556 Architectural Design V studios for
Fall 2014 and Spring 2015 at the Department of Con-
struction and Architectural Engineering at The Amer-
ican University in Cairo, Cairo, Egypt. Without their
hard work and the dedication of the teaching assis-
tants Ahmed ElShafei and Amira Abdel-rahman, this
work would not have been possible. We are also
APPLICATION INTERFACE
At the early stage of implementing augmented real-
ity in the course of modeling in the academic year
2013/2014, a set of freeware computational tools was
used as addition to the standard modeling software
taught during classes. Metaio Creator was used as
a tool for converting planar graphics to AR trackers
and supplementing them with digital content with
an easy-to-use drag-and-drop interface that does not
require programming. Final setups were published
with Metaio Cloud and could be accessed via QR
An interactive model accessible through augmented codes with a free mobile application Junaio.
reality allows free and intuitive perception from dif- In the academic year 2014/2015 the solution de-
ferent angles and distances and can be easily altered scribed above was replaced with a custom AR appli-
by turning on and off particular layers of informa- cation. The reason was to ensure bigger flexibility
tion, such as architectural elements (external walls, in programming particular application features, pro-
roof ) or hierarchical organization (floors, functions). vide access to augmented content without the use of
One example is a digital model of Jacobus Johannes QR codes and become more independent from third-
Pieter Oud's Weissenhof Row Houses that can be cus- party software.
tomized by a spectator. By touching the screen of a The first version of the application was created
handheld device, one browses through a sequence by Jacek Markusiewicz using a game development
of different layers of the model: (i) the whole row of platform - Unity 3d with Vuforia extension provid-
houses with closest surrounding, (ii) one module sep- ing assets and SDK for augmented reality imple-
arated from the context or (iii) the module with exter- mentation. Digital models exported from McNeel's
nal walls turned off to show the interior [Fig. 5]. An- Rhinoceros3d as Wavefront .obj or .3ds files are im-
other example is Frank Lloyd Wright's Fallingwater, ported as assets to the Unity project and assigned
where the user can decide which floor to turn on or to corresponding trackers, that are abstract graph-
What we define as three-dimensional navigation and three-dimensional abstraction of a user (Kim and
in software, in real life is a simple and intuitive ac- Maher 2006, Sharlin 2004 after Abdelmohsen and
tion, where looking at an object from different dis- Yi-Luen Do 2007). Augmented reality seems to be
tances and different angles does not require intellec- at least partially solving navigation issues as look-
tual effort and consists of moving and rotating ei- ing and perceiving is intuitive and follows the inverse
ther one's head or the object they perceive. How- kinematics mechanism: pointing a handheld device
ever translating such movements and rotations (of camera on a virtual object visible on the screen is di-
either a virtual camera or a three-dimensional ob- rectly understood as camera transformation.
ject) into mouse operations results in mathematically
complex transformations that have to be defined by CONCLUSIONS AND FUTURE APPLICA-
the user. In other words, in real life one's brain per-
TIONS
forms inverse kinematics transformations that meet
Architectural presentation is an intellectual process
our needs, whereas while using computer software,
that focuses on communication. The use of aug-
one needs to perform forward kinematics transfor-
mented reality can channel a message through mul-
mations in order to achieve the desired effect.
tiple senses and provide interaction between the re-
The double projection and the forward kinemat-
ceiver and the medium of communication. The stu-
ics manipulation may lead to imprecision, latency
dents that employ augmented content in their pre-
and, what is most important, the shift of user's focus
sentations tend to use different means of expres-
from the content to tool management.
sion than the ones that present their work in a tra-
Even though human-computer interaction ex-
ditional way. The printed panels of the first are more
perts such as Jef Raskin and Bruce Tognazzini ques-
schematic and contain less explicit information while
tion the existence of fully intuitive interfaces (Raskin
the digital content accessible through a mobile appli-
1994, Tognazzini 1992), research shows that many
cation is complete.
types of interaction such as tangible user interfaces
Moreover, the possibility of including media
positively affect the efficiency, cognitive processes
such as video and sound, otherwise impossible, en-
ular case a fused deposition modeling based Strata- a program written in C and uploaded to the board
sys Dimension 1200es units were used. Due to the using Arduino IDE. The program converts input read-
time factor and the limited duration of the work- ings into numerical values and specifies output sig-
shop, a two-pronged approach to the project was nals that drive LED strip actions and communication
developed. The first goal was to design an abstract between the circuits. The systems are autonomous
model of network structure made of LED fixtures. and no external computer is needed to define inter-
In this case the objective conditions such as maxi- action. [Fig. 4 and 5]
mum length, stiffness, strength and ergonomics of
the project were taken into the account. The second
goal was to design aesthetic form of a joint connect-
ing the network elements together.
INTERACTIVITY OF MLC
The interaction of Modular Light Cloud is controlled
by electronic circuits based on Arduino Nano 3.0
boards. The circuits are powered with 12 V DC and
the behavior of sensors and actuators is defined with
As expected, the project of joint element had to un- However, the internal structure of printed element
dergo a series of optimizations at the stage of rapid was the most important aspect of 3D printing tech-
prototyping as well as during the production cycle of nology. In practice only the outer stroke along with
final products. These changes had an impact on two a fixed or predetermined thickness were produced
main issues: the time required for fabrication of a sin- as full volume. All of the remaining space was filled
gle node and thus the whole structure as well as the with a grid of controlled shape and density. Being
material usage along with physical properties of the aware of this property affected the efficiency of fab-
object. rication - both from material durability and econom-
As a result of the design process and discussions, ical point of view. In the case of equipment (Strata-
two solutions for the main part of the joint were pre- Sys Dimension 1200es) used during the workshops
sented. Although similar in shape, they differed by we were dealing with grid deposited in one of three
production time that if multiplied by 42 nodes would possible variants: Low Density (where the distance
sum up for a total of 3360 minutes - roughly 56 hours. between the printed forming lines is about 5 mm);
Even assuming a continuous use of two printing de- High Density (where the distance between the lines
vices and ignoring the time necessary to prepare the is approximately 2 mm); and a solid (in which follow-
files, post process finished models, etc. this meant ing lines are printed one next to another tightly filling
leading to the creation of an installation based on Greenfield, A. 2006, Everyware: The Dawning Age of Ubiq-
human-machine interaction. The knowledge and ar- uitous Computing, New Riders Publishing
tifacts generated during that time are certainly base Henricks, T. S. 2010, 'Caillois’s Man, Play, and Games An
Appreciation and Evaluation', American Journal of
for further research and can be developed during fu-
Play, 3, pp. 157-185
ture workshops and experimental projects organized Huang, J., Padmanabhan, K. and Collins, O. M. 2011, 'The
by Architecture for Society of Knowledge at Warsaw sampling theorem with constant amplitude variable
University of Technology. width pulses', IEEE transactions on Circuits and Sys-
tems, 58, pp. 1178 - 1190
Schumacher, P. 2011, The Autopoiesis of Architecture: A
REFERENCES New Framework for Architecture, Wiley
Benedikt, M. 1969, 'Sculpture as architecture: New York Soja, E. W. 1996, Thirdspace: Journeys to Los Angeles and
letter, 1966 – 67', Minimal Art, pp. 61-91 Other Real-and-Imagined Places, Wiley-Blackwell
Bonnemaison, S. and Eisenbach, R. 2009, Installations Słyk, J. 2012, Źródła Architektury Informacyjnej, Oficyna
By Architects: Experiments in Building and Design, Wydawnicza Politechniki Warszawskiej, Warsaw
Princeton Architectural Press Vidler, A. 2008, 'Architecture’s Expanded Field', Architec-
Cooley, J. and Tuckey, J. 1965, 'An algorithm for the ma- ture Between Spectacle and Use, 59, pp. 143-154
chine calculation of complex Fourier series', Mathe- Whybrow, N. 2010, Art and the city, I. B. Tauris
matics of Computation, 90, p. 297–301 Wright, F. L. 2008, 'The art and craft of the machine',
The opportunities for the use of Digital Manufacturing in the field of architecture
have increased tremendously over the past years. Today, already a large variety
of methods and processes are used for the production of architectural models or
even prototypes and design models. By now, this new technology has also become
firmly established in the education of students. In this context, especially the
theoretical basics of digital manufacturing, that is to say the integration of CAAD
with the manufacturing process, and the special characteristics of the additive
manufacturing, i.e. assembly in layers, are taught. As a demonstration of the
practical application of the new technology of 3D printing, this paper will focus
on the Workshop Digital Manufacturing. Due to the new approach of this
workshop, which relies on the assembly of a 3D printer from an assembly kit, the
students gain profound insights into the technology and functionality of 3D
printers. In a next step, the students realize various models with the 3D-printer
and in doing so develop design guidelines for additive manufacturing
autonomously.
checked for consistency. Any faults in the model can able free of charge. There are usually tutorials and
be resolved. Some minor changes to the texture, webinars available for those wishing to teach them-
e.g. the color, are still possible. The orientation of selves how to use such simple CAAD systems. Profes-
the part in the construction space is also determined sional users, on the other hand, may use professional
in pre-processing. If necessary, a support structure CAAD or BIM systems with a wide range of design el-
is generated to prevent protruding elements of the ements. However, extensive training is needed on
part from snapping off during the additive manufac- such systems and often many years of practical de-
turing process. The slicing of the part, including the sign experience as well. There is also the option of
support structure, into layers is the most important using 3D scanners to capture existing objects. This
part of this process step. technology is used primarily at the recording from ex-
Fused deposition modeling (FDM) is used for the isting buildings but also to the documentation in ar-
generative construction process in this instance. In chaeology.
this, a filament made of ABS is inserted into a noz-
zle and heated there until viscous. It is then applied Transferring the data
to a base. Once one layer has been completely ap- Essentially, two neutral data formats are used to
plied, the base is lowered or the nozzle raised and transfer data from the CAAD system or 3D scanner.
the construction process begins again. In final post- One of these is the STL format, which offers a simple
processing, the additively manufactured part is then representation of the geometric data using triangu-
separated from the base. The support structure may lated surfaces. The VRML format is used when infor-
also have to be removed. mation on the surface relating to color or texture is
There are various ways in which each step in the also to be transferred, as it can transfer color informa-
process chain can be implemented. This can depend tion in addition to purely geometrical information, as
on e.g. how experienced the user is, from more inex- opposed to STL.
perienced private users through to well-trained and
experienced professional users. Therefore the var- Preparing the data
ious ways in which the students used the process Private users can send 3D data to a service provider
chain is explained precisely below. who will prepare the data and then produce the phys-
ical model for them. Users with their own 3D printers
Creating the data can usually use the software provided by the DM sys-
There are various ways in which the data can be cre- tem hardware manufacturer to prepare the data to be
ated. In the simplest case of an inexperienced user, read in and for the manufacturing process. This often
for example, a 3D model can be downloaded from allows for direct, error-free transfer of the print data
an online database. Users with basic CAAD knowl- to the system. In addition to this, there is also a range
edge can use browser-based or open-source CAAD of simple to professional software packages that can
systems, the basic versions of which are often avail- handle these data preparation tasks.
terial) for the digital manufacturing process. avoided as these can be difficult to represent.
As a variation on this approach, the manufac- • Curved shapes are preferable during cross-
turing of architectural models that were available by section transitions as sharp edges are difficult
means of databases was also carried out. In this in- to represent.
stance, students were in particular able to experi- • Projecting elements not supported by a sup-
ence today's possibilities but also limitations in the port structure should be designed with a max-
manufacturing of existing data records and the re- imum angle of 45° to the vertical plane.
production accuracy of details. Aside from design • The size of the 3D printer's installation space
and technical aspects, the workshop also commu- must be observed (230 x 230 x 210 mm,
nicates knowledge regarding necessary production LxWxH). Of course, parts protruding beyond
times and the production cost for models and pro- this can be scaled using the software in pre-
totypes using this method. processing.
Various design rules but also operation instruc- • The color of each layer can be changed by
tions that have to be adhered to when selecting parts using different colored construction materials
from a database and designing new parts emerged during the construction process.
from the workshop: • The different colors of the filaments result in
different characteristics. These have to be
• For the parts to adhere well to the base plate considered e.g. in terms of printing speed and
and support, they should have as big a base the temperature at the extruder nozzle.
as possible and therefore good adhesion. • Large, flat components tend to warp. To pre-
• Thin cross-sections in the lower section of the vent warping, a heated printing bed should
part should be avoided as there can be fast be used. If appropriate, the printing should be
movements and therefore vibrations during realized directly onto the construction plat-
the build process, especially if the construc- form, without using a raft.
tion speed is high.
• Very delicate cross-sections should be
plant cells and model growth processes generating on distance to points in a specific subset of the plane,
fractals, the model was used by a student in the class was used in the parametric design medium. Para-
as a form generation method in the design process. metric model could be adjusted by defining the vol-
The results were varied from a structural system, into ume of the voids within the structure and reduce the
a façade element and a partition wall pattern. A para- weight of it (Fig. 02)
metric model was generated to test different options
(Fig. 01). Translation of Properties
Bird bone structures were investigated by an- Observations in nature can be interpreted, ab-
other student in terms of its formal organization. stracted in some level and translated into building
Based on the research undertaken, it was found out components or mechanisms, such as kinetic systems.
that birds have been affected under many skeletal In regards to the biomimetic approaches used in ar-
evolution and presented adaption by time. To opti- chitectural design process, there is a shift from the
mize the energy of a flying bird, the bone structure static aesthetics of organic form into a performance
needs to be light and should obtain voids to mini- based bio-materiality, driven by responsiveness. This
mize its weight. The participant's intent was to de- can be investigated through the evolution of botani-
sign a structure with less weight by introducing voids cal specimens (Perez, 2006).
and increase structural efficiency. Therefore, voronoi As a part of the course, one of the students
model, based on portioning plane into regions based focused on the phototropism activity observed in
cation as an integral part is not novel, there is a ne- organizational relationships, translation of properties
cessity to develop a more comprehensive approach and processes in nature adapted to the design pro-
to adapt multi-faceted problems in the design pro- cess.
cess, by developing algorithmic thinking. The elec- The major difficulty encountered in the process
tive course titled "Sustainable Design and Environ- was that since biomimicry is an interdisciplinary field,
ment through Biomimicry" taught by the author was students had challenges to interpret the information
conducted in Fall 2014-2015 at Ozyegin University which was not directly related to the architecture /
for undergraduate students, in order to deal design design profession. For the future lines of the work,
problems as holistic systems, as well as to enable the intent is to teach this method not only to the
awareness towards performance issues and sustain- architecture students, but to the multidisciplinary
able design. As the scope of this course, natural sys- groups of students from different departments, such
tems were examined and findings of a selected mat- as mechanical and structural engineering, biology
ter or phenomenon were implemented in a design and computer science, so that the participants might
solution. Based on the outputs, it is identified that focus in the research phase and collaborate effec-
students learn from natural systems in three differ- tively.
ent ways including generation of morphological and
tion between various specialists, collision detection (6%), medicine, language, economy, and so on. Both
and so on. school types provide entrance to university level ed-
In the winter semester 2013/2014 three parallel ucation. Additionally there are secondary vocational
activities were started to better integrate BIM in ed- schools offering more specialised education - those
ucation at our faculty: in the first year direct expo- graduates typically enter practice after receiving their
sure of students to BIM and cooperation with one first diploma. Future students from specialised schools in
year's design studio, and in the third year so-called technology (and in a few cases arts) already have ba-
Bachelor graduation project BIM integration in a se- sic knowledge of CAD.
lected design studio as pilot project. In the remain- Before the start of their studies in the Bachelor
der of this paper we will present the integration pro- programme of the faculty of Architecture, we con-
cess, discuss results, and present future continuation tacted all enrolled future students and offered them
of this work. a choice of three course types in the first semester
CAAD course:
TURNING POINT: INTEGRATION OF BIM IN 1. Regular AutoCAD (no BIM).
CURRICULUM 2. Revit (BIM).
In the winter semester of 2013/2014 we were able to 3. ArchiCAD (BIM).
widen the offer of BIM in education in the curriculum
of the faculty: The students were informed about the options that
they could choose. It is important to note that the
• In first semester CAD course, students could teaching had to be prepared in such a way as not
choose between AutoCAD (traditional, non- to disadvantage any choice over the others. Table 2
BIM course), Revit (BIM), and ArchiCAD (BIM). shows the proportion of students that choose a par-
• In first semester basic design studio (called ticular software.
"ZAN") option to work out tasks with BIM soft-
ware and digital sketching tools. Table 2
• In the Bachelor graduation project a selected Number of students
design studio offered option to work out that choose a
diploma project in BIM. particular software
option in first year
These tracks are incorporated in the regular curricu- education.
lum of the faculty. For the course we set a number of requirements:
Option 1: First year starting BIM course • No previous knowledge of CAD is required or
In Czech republic secondary education there are two expected from the students.
types of schools: gymnasiums, offering general edu- • No knowledge of building structures and ex-
cation (80% of total number of students); and special perience of draughting techniques is sup-
education secondary schools offering specialisations posed.
in technology (12% of total number of students), arts • We teach the basics of 3D modelling and the
Ioanna Symeonidou1
1
Graz University of Technology
1
ioanna.symeonidou@gmail.com
ANALOGUE COMPUTATION AND LEARN- the pioneer to research, study and categorize these
ING BY DOING structures, together with his team at the Institute for
Form-finding is a well-established method in archi- Lightweight Structures in Stuttgart. Their physical
tecture and engineering aiming to define the opti- experiments and models have been documented in
mal geometry with respect to the structural behav- the famous volumes of IL books; although most of
ior for certain boundary conditions. There is a long the IL series were published in the early 70s, which is
history of experimentation in this field, supported by much before the wide use of computational design
scientific research and built examples. Frei Otto was in architecture, they remain an essential reading for
ments in CAD/CAM have achieved a seamless trans- agree that a design process is iterative, including trial
fer of information from designing to making, a file- and error, multiplicity of sketches media. As Parthe-
to-factory continuum from the computer screen to nios explains in his paper for the Critical Digital Con-
the CNC machine. However the creative process itself ference at the Graduate School of Design at Harvard
is not so easy to trace, very often thoughts are frag- "conceptual design is not a linear process, it consists
mented, discontinuous, yet creative, jumping from of sub-processes which are individual but interact
one idea to another, taking one informed decision, with each other" (Parthenios, 2005). Our aim here is
followed by a random or controversial design ges- not to delve in the mysteries of design creativity, it
ture. In the same fashion a designer implements dif- is rather to provide access to diverse media for de-
ferent media during the design process, "Prototypes sign experimentation and set up a workshop frame-
and other types of expressions such as sketches, di- work where student work is more self-guided, "with
agrams and scenarios, are the core means by which the student given greater opportunity to test their
the designer builds the connection between fields of own assertions and to build their own confidence
knowledge and progresses toward a product" (Stap- and repertoire of design experimentation" (Self and
pers, 2007) It is not possible to come up with a car- Walker, 2010)
tography of how a design idea is developed. Many
ACKNOWLEDGEMENTS REFERENCES
The author would like to acknowledge the contri- Barthel, R 2005, 'Natural Forms-Architectural Forms', in
bution of Graz University of Technology students: Nerdinger, W (eds) 2005, Frei Otto. Complete Works,
Anna-Maria Jäger, Anna Moteva, Clara Primschitz, Birkhäuser Architecture, Basel ; Boston
Day, A 1965, 'An introduction to dynamic relaxation', The
David Ferreira Arias, Florian Scheucher, Gilbert Mur-
Engineer, 219(5688), pp. 218-221
rer, Huanghuang Yan, Ina Lichtenegger, Martin Kos- Hensel, M and Menges, A (eds) 2007, Morpho-Ecologies:
suth, Lukas Andreas Zitterer, Markus Monsberger, Towards Heterogeneous Space In Architecture Design,
Maykal Borislav Mateev, Stefan Neumann, Rui Patri- AA Publications, London
cio and Philipp Wayd. Kilian, A and Ochsendorf, J 2005, 'Particle-spring systems
Special thanks goes to Prof. Milena Stavric who for structural form finding', Journal-International As-
sociation for Shell and Spatial Structures, 148, p. 77
continuously assisted the course, helping with tech-
Kolarevic, B 2004, Architecture in the Digital Age: Design
nical and practical issues. The results of the workshop and Manufacturing, Taylor \& Francis
are also documented at the Institute of Architecture Koskinen, I, Zimmerman, J, Binder, T, Redstrom, J and
and Media website: iam.tugraz.at Wensveen, S 2011, Design Research Through Practice:
We describe and discuss a design and research project that together with students
explores the new possibilities current design tools and manufacturing processes
give architects to design systems for building components that transcend the
limits of fordist serial mass production in favour of post-fordist individualized
mass production, most importantly the supersession of a few equal building
components for many similar ones. Contrary to many projects with similar
content and intent, ours starts not with the digital tools but with production
techniques and materials. Constant physical materialization plays the main role,
digital tools assist.
Figure 2
Design Course Step
2: Lamp design
studies (Student
Project, Aachen
School of
Architecture)
Design course step 3: Pavilion architecture ment and handled with tools (Figures 4 and 5) ?
designed on the basis of a parametrized
building system Design course step 4: 1:1 Scale installation
Again, the discussions and results from the previous built from parametrized building system
steps are re-considered to design an object with in- In the final step, the students in course chooses one
creased scale, complexity and proximity to an archi- of the projects from step 3 and build (parts of ) it as
tectural building: a simple pavilion, basically merely a 1:1 scale prototype (Figures 6 and 7). Questions
a roof to provide simple shelter from sun and rain. of transportability and handling become even more
Although in this step, the projects are built as scale important and also become 'real' for students as op-
models only (Figure 3), questions of weight and posed to 'merely' theoretical as in the previous steps.
transportability have to be considered. How large Furthermore, the students now have to organize
can the individual parts be, so that they can still be as a group with a common objective. This means that
transported from production facility to building site, they have to divide labour, that is to identify and as-
lifted from one place to another with standard equip- sign specific tasks. Typically, they discover new in-
Figure 4
Design Course Step
3: Pavilion designs
Component
Assembly Studies
(Student Project by
Esra Bektas, Marc
Mevißen, Ümmü
Dedeoglu, Selin
Sönmez, Aachen
School of
Architecture)
Figure 6
Design Course Step
4: 1:1 Scale
Prototype - Milling
and Assembling of
Building
Components
(Student Project by
Larissa Niemann,
Michael Meuffels,
Alena Puchleitner
and Lara Waibel,
Aachen School of
Architecture)
dividual skills, capabilities and talents: students who spond to changing design conditions. The incorpo-
may not have developed strong designs may be very ration of physical properties of real materials, man-
adept at organizing the group, or finding transporta- ufacturing of parts from them and transporting and
tion or sponsoring. Students who may not be very handling those parts into students' design thinking
accomplished at using digital tools or building small- is much improved through the experiences gained in
scale models may come into their own in the large- the project.
scale manipulation of physical parts. In the future, we aim to extend the duration of
the project from 1 to 2 or more semesters in order
REVIEW AND OUTLOOK to increase the degree of experimentation with para-
Overall, the students' understanding of buildings and metric possibilities in the digital design space.
their components is deepened and made more fluid:
no longer do they cling to rigid and fixed objects,
but rather to relational fields of possibilities that re-
REFERENCES
Matcha, H. and Barczik, G. 2009, 'Productive Processes', in
Agkathidis, A. (eds) 2009, Modular Structures in De-
sign and Architecture, BIS Publishers
Matcha, H. 2010, 'Regelbasierte Planung - Parametrik',
in Hauschild, M. and Karzel, R. (eds) 2010, Detail
Praxis: Digitale Prozesse, Institut für Internationale
Architektur-Dokumentation
Matcha, H. and Karzel, R. 2013 'Lehre als Praxis als
Forschung: 1:1 Entwicklung von Messeständen
unter Einsatz parametrisierter Software und com-
putergesteuerter Herstellung', ECHT?! Zum Bezug
von Praxis und Lehre in der Architekturausbildung,
Katja-Annika Pahl (Hrsg.), TUDpress 2013
The first part of this paper is giving an overview, experimentation results and
feedback of a six years experience of parametric design education in schools of
architecture from France and Belgium. The second part addresses a structure of
an advanced educational process of parametric modeling able to support
architectural design praxis.
digital tools in computer-aided design through the identified structure to propose an architectural so-
use of new generation parametric techniques based lution and materialize it using parametric modeling
on visual programming (Grasshopper). The work- tools. The designed response respects the functional
shop of digital design and fabrication, flowing the and material constraints explained at the beginning
courses, is the spearhead of parametric education in of the workshop. The sketches (see figure 2) are used
the program. It tries to experiment contemporary ar- as a design tool to materialize the designed solution
chitectural practices (non-standard architecture de- and define its different modeling steps.
sign and complex shape generation) using paramet- In this way, the students participating on the
ric modeling, 3D printing machines and digital fab- workshop use simple paper model and more elab-
rication devices creating a digital continuum from orated mockup to experiment the generated para-
digital file to physical object (Marin et al 2009). The metric model structure. They use the physical model
workshop creates a design process to enhance archi- to determinate how to join the project components.
tectural shape exploration and materiality by using The result of this first experimentation was integrated
parametric modeling and digital fabrication tools. in the parametric model by adding new geometric
The students use a reference object (from the nature) functions generating the assembling system. A sec-
as a base model to design an exhibition space. They ond virtual experimentation based on 3D modeling
identify the formal structure of the reference object help students to validate the assembling system and
and represent using sketches. The students use the to start the fabrication process.
The Faculty of Applied Sciences of the Univer- students to focus on parametric model structure and
sity of Liège and its Engineer-Architect Department features and not on the use of the modeling tool
(Belgium) integrates parametric modeling as a part (Davis et al. 2011). We use the parametric puzzle (see
of Computer Aided Design courses. We propose a de- figure 3) as a main device to analyze the designed ob-
sign exercise where students used parametric model- ject and define the main parametric modelling steps.
ing tools to generate original forms integrating struc- We imagine the parametric modeling exercise as a re-
tural and construction constraints (create an interac- verse design process. The process starts by analyz-
tion between structure and form). It combines, digi- ing a physical model (mock up) representing a pavil-
tal tools for modeling and fabrication tasks, and phys- ion with a complex structure shape. They identify
ical tools for the parametric analysis process. The the structure components and tries to imagine how
analysis step comes before the modeling one to help they could be designed. Sketching activity is used to
Figure 3
Physical model
experimentation
and mock-up
realization
Figure 4
Students using the
parametric puzzle
device to define a
parametric
modeling process
ACKNOWLEDGMENTS
This work was partially supported by national funds
through Fundação para a Ciência e a Tecnolo-
gia (FCT) with reference UID/CEC/50021/2013, and
by the Rosetta project under contract PTDC/ATP-
AQI/5224/2012.
We thank our colleagues who contributed to the
elaboration of the survey and attended the inter-
views, although they may not agree with all of the
interpretations/conclusions of this paper. We would
also like to thank Ana Rita Santos and Sandra Mon-
teiro for their help in the revision phases.
REFERENCES
Celani, G and Vaz, C 2012, 'CAD Scripting and Visual Pro-
gramming Languages for Implementing Computa-
tional Design Concepts: A Comparison From a Ped-
agogical Point of View', International Journal of Archi-
tectural Computing, 18, pp. 122-137
Duarte, J. 2005 'Towards a New Curricula on New Tech-
nologies in Architecture', Giaconia, P. (ed.), Script:
Spot on Schools, Editrice Compositori, pp. 40-45
Duarte, J. 2007 'Inserting New Technologies in Under-
graduate Architectural Curricula', Predicting the Fu-
ture 25th eCAADe Conference Proceedings, Germany,
pp. 423-430
Lawson, B 2005, How designers think: the design process
demystified, Architectural Press, Burlington
Leitão, A. 2013 'Teaching Computer Science for Architec-
This article explains parametric, fabrication and teaching strategies used during
a workshop for constructing a full scale, self supporting, vault metal structure
realized with parametric manufacturing methods. The key aim is to construct an
easy assemble and transportable pavilion, while focusing on new design and
construction methods of a façade system in which the structure, joint and skin will
integrate functions in a unifying structural system. For the investigation, we
explore materials commonly used in façade industry, such as aluminum profiles
and aluminium composite panels (ACP).
Figure 2
Frame and Shell
Visualizations of
distribution of
deflection.
Figure 8
Part of Calycas.
MATERIALIZATION PHASE sidering that all pieces are different, numbering pro-
Manufacturing Techniques cess is essential for each element and slit, so all num-
The benefit of visiting some of the largest manufac- bers are engraved. All processes, from modelling to
turing industries of aluminum is to get introduced to fabrication are automated inside the same Grasshop-
the manufacturing and coating process of aluminum per definition, counting material cost and cutting
and composites and their unique properties. almost time.
unlimited possibilities of design profiles and univer-
sal applications of the material. Construction Logic
In this phase of the workshop, we are explaining Along with the design of the pavilion, the construc-
all the necessary to orientate from 3d to 2d elements, tion logic is conceived in such a way that the structure
in order to introduce participants to the production can be assembled and disassembled easily and trans-
process and digital manufacturing techniques with ported as 4 parts, three legs and top head. Counting
3-axis CNC router and laser cutter. The parametric the help of 24 students, the 159 aluminum bars and
strategy is formed in clusters, one for each system: 63 discs were organized by number and the 45 ACP
'Orientation of beams and slits', 'orientation of discs pieces were folded and secured with screws and bolts
and slits', 'unroll hexagons and number faces'. Con- ( see figure 7). Various aspects related with safety, or-
CONCLUSIONS
The aluminium composite panel that was used
weighed twice as much as the originally planned
panels, because it had a fire rated core instead of a
core made of HDPE. This extra weight caused a failure
in the connecting discs made from ACP. The ACP ma-
terial was not able to support the lateral and buckling
forces of the structure with the increased self weight.
Therefore the discs were replaced with discs made
from steel.
The workflow went almost as expected, al-
though some aspects in the design of Calycas need
to be optimized, like the joint design system and es-
pecially, the connection system between the 4 parts.
Further studies include a different type of geometry
and material, or a 3d printed optimized connector, in-
stead of the planar discs. Although, the coordination
of the student teams worked very well, the assem-
ble process could be taken further with an efficient
way for securing the 4 parts, in order to reduce the
amount of people necessary to build a bigger struc-
ture.
Assemble Logic Further contribution to the market, will be inter-
For the assembly, 4 groups of 6 students and one su- esting to include design and digital fabrication of dif-
pervisor, were responsible for each part of the struc- ferent types of mass production aluminum profiles
ture (see figure 8). A code system diagram developed so each piece will not need to be CNC machined.
for this project demonstrates the number and loca- The ACP material, as a skin component, has possibil-
tion of pieces, the construction logic behind and the ities and needs additional research, as in cases of 3d
interconnection of the modeling and manufacturing façade systems, for environmental analysis and struc-
process (see figure 9). Black numbers represent discs tural performance incorporation, as mentioned in an
and those numbers are the same as the vertices num- open discussion during the exhibition and interna-
ACKNOWLEDGMENTS
We like to specially thank ETEM, ELVAL COLOUR,
Cavazos & Associates and all the participants for their
contribution and support.
SPECIFICATIONS
Materials: Silver Metallic FR (fire resistant) aluminium
composite panels 3200 x 1250x 4 mm, aluminum
sheets 3mm or 30 bars of 5000 x 60 x 3 mm,
screws and bolts. Machines/Tools: Laser Cutter, CNC
Router/Hammer. Dimensions: Weight <150 kg, 3.2 x
3.7x 2.6 m.
REFERENCES
Orciuoli, A and Baquero, P 2014 'Teaching strategies for
Digital fabrication', Sigradi 2014
Pottmann, H, Asperl, A, Hofer, M and Kilian, A 2007, Ar-
chitectural Geometry, Bentley Institute Press
Pottmann, H, Brell-Cokcan, S and Wallner, J 2007, 'Dis-
crete Surfaces for Architectural Design', in Chenin,
P, Lyche, T and Schumaker, L L (eds) 2007, Curves
and Surface Design: Avignon 2006, Nashboro Press,
p. 220
Wallner, J and Pottmann, H 2011, 'Geometric computing
for freeform architecture', Journal of Mathematics in
Industry, 1:4, pp. 3-4
design(FUNCTION);
With a focus on enhancing spatial experiences Figure 5
through the merging of urban space, human/robot (designFUNCTION)
interaction and emerging reactive technologies, urban interactive
one of the student-formed firms, design(FUNCTION), robots proposal
strove to reinvent not only how we design physi-
cal spaces, but also how we interact with "space" on
a global scale. Through the creation of a series of
globally connected, interactive "Pods" (figure 3) con-
REFERENCES
Akin, O 1990 'Computational Design Instruction: Toward
a Pedagogy, The Electronic Design Studio: Architec-
CONCLUSION tural Knowledge and Media in the Computer Era',
As computation, robotics, and intelligent building/- Proceedings of CAAD Futures 1989, p. 302
fabrications systems continue to find themselves Anderson, N, Potocnik, K and Zhou, J 2014, 'Inno-
ever more prevalent within both education and prac- vation and Creativity in Organizations A State-of-
tice, it has become increasingly more imperative the-Science Review, Prospective Commentary, and
Guiding Framework', Journal of Management, 40(5),
for educators to reimagine our current pedagogical pp. 1297-1333
frameworks to allow for the assimilation of these new Bateson, G 1972, Steps to an ecology of Mind, Ballantine
tools and means of thinking about artificial and nat- Books, New York
ural intelligence. Braumann, J and Brell-Cokcan, S 2012 'Real-Time Robot
The pedagogical prototype of an Inconvenient Simulation and Control for Architectural Design',
Proceedings of eCAADe 2012, Prague
Joshua Choi1
1
Massachusetts Institute of Technology
1
http://archipleasure.com/filter/jjjc/Joshua-Choi-2
1
joshuac@mit.edu
This thesis presents a system that uses games. It allows people to participate in
the process of designing an architectural space. The site for the design project of
this experimental methodology is a courtyard on MIT campus.The games are
initially prepared by the architect through sampling various objects, materials,
lighting, and figures from different media such as photogrammetric models
around the building site and other relevant 3D modeling/animation contents. The
goal of this design system is to collage those components into a final architectural
form through a democratic process.The games are distributed to students, faculty
and staff who will be the users of the space being designed. Through playing
these games, they provide preference about the architectural program and
various design decisions regarding formal composition, details, and finishes.
This crowd-sourcing occurs both implicitly and explicitly while the game is being
played, and the collected feed-back informs the architect about design
development.This thesis questions the role of the architects in a democratic
process of design: Are we the designer of the space, or creator of a system that
controls the design process?
FUTURE STEP
The upcoming thesis will implement machine-
learning algorithm to analyze crowd sourced data
computationally. Those results will help identify
what to design for architects for further develop-
ment. However, there is more than computational Figure 15
challenge; there are still many different ways to de- Data visualization
velop design after identifying future users' feedback for Design B of
and design problem. Navigation Game
In order to study how architects can make de-
sign decision with identified design problem, I need
to experiment with many different tools for the par-
ticipants to use during the game in addition to 'like'
and 'dislike' photo function. For example, in the fu-
ture iteration, a player may potentially move around
furniture, or even relocate a room so that at every end
of the game, the design of the space can undergo
a significant infrastructure transformation by differ-
ent players. Tentatively titled as Transform Game, this
stage can take place collaboratively at the same time,
so that one can see other players changing the sur- REFERENCES
rounding environment as one plays the game. In this As, IA and Angelico, MA 2012 'Crowdsourcing Archi-
tecture: A Disruptive Model in Architectural Prac-
way, architects can also study the interconnectivity of tice', Proceedings of the 32nd Annual Conference of
the participants design decision-making process. the Association for Computer Aided Design in Archi-
tecture (ACADIA 2012, ISBN 978-1-62407-267-3), San
Francisco, pp. 439-443
This paper addresses the needs of exhibition curation with the concept of a virtual
gallery (which may or may not be translated into reality). Curation is often an
overly linear process - as opposed to an iterative exercise, whereby collaboration
between stakeholders is somewhat limited by time, distance and the opportunity
for virtual communication. This suggests that the implementation of a system for
sharing visual data - especially in the real-time mode that a virtual studio might
offer - could facilitate a more dynamic and iterative design process, where the
design team remains engaged throughout.Two (architectural) designers - from
Vienna, Austria and Liverpool, UK - are collaborating to create a process for
exhibition design for existing venue, involving international stakeholders in
remote locations. The key outcome for this research is to create a framework for
future collaborative workflow that enhances the delivery of exhibition design
through improved decision-making, without the need for all of the team to have
extensive software knowledge.The paper thence reflects on current experience,
reporting changes in curatorial processes and suggesting areas of added value
that might benefit future works.
Figure 5
'live' working plan
Figure 8
web-based iVisit
virtual exhibition
REFERENCES
Birnbaum, D 2008, A Brief History of Curating, JRP Ringier
& Les Presses du Reel
Clark, S and Moorhouse, J 2014, 'Winning work with BIM',
in Klashka, R (eds) 2014, BIM in Small Practices: Illus-
trated Case Studies, RIBA
Martens, B and Peter, H 2012, The Destroyed Synagogues
of Vienna : Virtual City Walks, Lit Verlag
Obrist, H 2014, 'The Art of Curation', The Guardian, 23
March 2014, p. 1
Vidokle, A 2010, 'Art Without Artist', e-flux, 16, p. 1
Figure 5
Diagram of Diff
algorithm.
DISCUSSION
Figure 9
This study, questions the present system of competi-
Top rated plans, '
tion in architecture practice, which in this case, the
jaldabaoth' is
evaluation process and its result is distributed in a
responsible of
sequence of contribution of searching the solution
auto-generation of
space. This study shows that strategy to do so is nec-
plans
essary to multi-user collaboration in design. Neither
of the Bots had a learning routine, meaning lacking
strategy across plans. Although, this can be said that
bots had no intelligence to learn, the result showed a
spontaneous strategy to overcome the human com-
petitors. Unlike human participants, the automated
Figure 10 process has no limitation in time, in other words the
inheritance cost for producing one model is nearly zero for ma-
tendency of models chines. The machine has potential to effectively pro-
created by users duce accurate models, once the appropriate lean-
(human) ing mechanism implemented. Figure 10 indicates
the chart of inheritance within man made models,
which can be interpreted the ratio of collaboration.
Throughout this experiment, approximately half of
the users used models of their own, in other words,
modelers are willing to collaborate with different in-
dividuals near 50%. Moreover, the result shows that
in a blind situation, humans are open to work to-
gether with bots (Table 1). It is clear that collabora-
RESULT tion in design still needs further exploration, and the
There were 1750 models submitted to the database result of this study needs constant iteration to mea-
within 3 months. sure the will and potential of true collaboration. How-
Figure 7 shows the overall tree diagram submit- ever, this study constructed one example of a com-
ted to the web application. Figure 8 shows a partial plete system of collaboration in design.
CAAD AND CONCEPTUAL DESIGN IN A 1991) and involve different modes of thinking (i.e. an-
TEAM WITH VARIOUS EXPERTS alytic versus synthetic) (Peters 1991; Akin 2001; Pfam-
Architectural design most commonly involves a col- matter 2000; Hurol 2014). Structural engineers for
laboration of various design experts (e.g. architect, example are critical towards architects' lack of struc-
structural and acoustic engineer) with interdepen- tural understanding and their seeking of structural
dent design outcomes: design decisions of one ex- advice too late for optimal structural solutions, while
pert can importantly influence the quality of another architects are disappointed by engineers' poor en-
expert's design outcome. Therefore a collaboration gagement with the architectural design ideas and
of architects and engineers starting already in the are afraid engineers stifle their design explorations
conceptual phase of the design process is a valuable (Charleson & Pirie 2009; Hurol 2014).
asset to control the overall quality of the architectural Emmitt and Gorse (2003) argue that architects
design outcome. and engineers need to possess mutual knowledge
This collaboration of architects and engineers is and experience in each other's discipline to be suc-
influenced by their differences in design cultures and cessful in their design communication. Zaccai and
knowledge, which start in their education (Salvadori Bastick bring it a step further (Lerdahl 2001): to en-
able a successful collaboration for innovative or cre-
Figure 4
Structural
dimensions layer:
symbols for transfer
of moment.
Figure 5
Example of
To enable the structural concept to bring a load to catalogue entry for
its supports, each structural element is required to a structural
perform its own (2) structural function(s).The layer of conceptual
structural function identifies the type of load transfer element.
that needs to occur in a structural element: axial or
parallel transfer of force (Figure 3), or axial or parallel
transfer of moment (Figure 4).
The structural form of an element is determined
by the required structural function(s) it has to per-
form. This is expressed in the layer of (3) structural di-
mensions. This leads to five major types of structural
dimensions: one for each type of structural function
except for axial transfer of force which is split into
tension and compression (since in the latter buckling
needs to be additionally considered for dimension-
ing). This means that expressing the characteristics
of structural dimensions also reveals the underlying
characteristics of structural functions that each ele-
ment needs to perform (Figure 3 & 4).
The layer of (4) structural design possibilities
links each conceptual element and its characteristics
• Students state that the language is useful for • Some students say they find it essential to
the first phases of the design process, when limit the number of different symbols in the
there is a need for more abstract structural language in order to gain more insight into
ideas, but that something 'more' is needed the structural essence.
later on in the design process, when there is
In addition, based upon his notes and the produced
a need for more detailed information that this
project results of the students, the author concludes
language does not provide.
that (1) the language enables him to quickly and eas-
• There is a limit on the amount of understand-
ily write down the structural story of a conceptual de-
able information that can be communicated
sign proposal, with the advantage to be (2) still con-
in one drawing. Thus in case of complex struc-
sultable by students after the meeting is over. (3) The
tures or too many load cases, more than one
students seem able to grasp the expressed structural
3D view is needed.
behaviour of the structural proposition and if nec-
• The language provides structural informa-
essary change the presented structural form model
tion on the level of an architect's design cul-
within sound structural logic.
ture. Students value the visual communica-
tion (with the language) more than a spoken
one.
Advances in digital media are encouraging designers to adopt digital tools during
early stages of design ideation as well as to facilitate collaboration in design
teams. Collaborative environments for design teams should take into
consideration both the multimodal nature of design representation as well as the
complexity of team cognition. Collaborative tools that take a "black-box"
approach often limit affordances for design ideation and collaboration. We
describe here a collaborative environment that we put together using a
kit-of-parts approach and underlying theoretical considerations. We also describe
systematic usability evaluation of the collaborative environment by constraining
select media affordances and qualitatively examining the impact on a team's
design process. Preliminary findings were used to improve the environment and
lay the groundwork for developing tele-collaborative environments.
focused on the study of artifacts developed instead devices to the shared workspace or to other team
of the actual team interactions and communication members. This transfer of documents and drawings
(Dong et al. 2013). irrespective of the file type or software origin and
web URLs is achieved through an intuitive drag and
DEVELOPMENT OF THE COLLABORATIVE drop transfer. Individual users can also edit any file
in the shared workspace. TeamSpot software facili-
DESIGN ENVIRONMENT USING A KIT-OF-
tates this collaboration using the PointRight system
PARTS APPROACH (Johanson et al. 2002) that facilitates pointer and key-
Our collaborative environment as illustrated in fig-
board redirection in collaborative environments that
ure 1, comprised of a 12 feet by 8 feet whiteboard
include a multi-machine, multi-display set-up. A set
that acted as the primary shared workspace for digi-
of graphics workstations including laptops and desk-
tally mediated collaboration. The whiteboard is aug-
tops equipped with a variety of 3-d modeling, image
mented by a short throw projector to share digi-
editing and presentation software and input devices
tal content as well as eBeam technology from Lu-
like Wacom tablets complete the collaborative envi-
idia Inc. for digitally capturing the interactions on
ronment. The collaborative environment is also con-
the whiteboard whether using whiteboard markers
nected to our 18 feet by 6 feet stereoscopic display
or using stylus for projected content. In addition to
to facilitate immersive visualization of designs. The
the whiteboard-capture technology, the TeamSpot
number of workstations in our collaborative environ-
collaboration software suite from Tidebreak Inc. form
ment is flexible and we have used varying configura-
the heart of the collaborative environment. The
tions from 3 to 9 workstations.
TeamSpot software connects the individual laptops
and desktops to the shared digital work surface. It
allows movement of information and artifacts across
Figure 2
The collaborative
environment in use
The hackathon mechanism, transforming pools of native metrics to measure diversity in a more com-
data through coding and/or hacking, proved to be a plex and sophisticated manner. The second charge
useful platform to encourage participation at a vari- was how to visually represent such metrics; indeed,
ety of scales. It also provided the creative environ- the expectation was for participants to transcend
ment of celebrating the design-oriented "culture of conventions of graphic representation and to pro-
making" that when properly calibrated, gave the par- pose innovative ideas. The DOD was loosely divided
ticipants invaluable insights on managing a range of into three phases: team-building activities; brain-
complex data sets and enabling tangible products. storming and production (see Figure 1); and exhibi-
tion/showcase of alternatives/outcomes. The com-
petition venue included classrooms, studios, fabri- Figure 1
cation facilities, computer laboratories, galleries and Space claimed by a
common areas in a university building housing the Hackathon team
College of Architecture. Team-building activities was turned into a
were facilitated to increase team multidisciplinar- private
ity. To better support and encourage active engage- multifunctional lab.
ment, a team of mentors was created with defined Image credit [By
skills. To further stimulate discussion and to provide a Author].
first-hand experience in crossing disciplinary bound-
aries, teams were required to demonstrate some type
of diversity within their ranks; teams were incen-
tivized to assemble groups with the highest degrees
of diversity (Figure 2 shows selected team charac-
teristics) as defined by each team in its own terms.
Description of the event In summary, the key learning objectives of the DOD
The Diversity Open Data (DOD) hackathon took place hackathon event included: engaging students, fac-
over an intensive 24-hour period in April 2014. The ulty, staff and the wider community in a discussion
central challenge delivered to participants was that about diversity; visualizing publicly available data of
while diversity is meant to include a variety of as- the Texas A&M University as related to diversity; pro-
pects, facets and characteristics of the population, viding a platform for free expression through design
its actual "measurement" is commonly simplified via language, and to provide experience working in di-
two variables: race/ethnicity and gender/sex. Partic- verse collaborative teams.
ipants were first tasked with imagining reliable alter-
REFERENCES
Artiles, J.A. and Wallace, D.R. 2013 'Borrowing from
Hackathons: Overnight designathons as a template
for creative idea hubs in the space of hands-on
learning, digital learning, and systems re-thinking',
World Engineering Education Forum Innovation in re-
search and engineering education: key factors for
global competitiveness, Cartagena, p. Colombia
BIMStorm, . 2012 'About BIMStorm', Retrieved from [1],
Accessed 05/28/2015
Counsell, J. 2012 'Beyond level 2 BIM, web portals
and collaboration tools', Proceedings Of The Interna-
tional Conference On Information Visualisation, (2012
16th International Conference on Information Visuali-
sation, IV 2012)
Open Knowledge Foundation, . 2014 'What is open?', Re-
trieved from [2] - Accessed 05/28/2015.
Kemp, A. 2011, '“BIM isn’t Geospatial” …. Or is it?',
AGI Community’11, Accessed 05/28/2015, Retreived
from [3]
Nath, J. 2011, 'Reimagining government in the digital
age', National Civic Review, 100(3), pp. 19-23
Reimold, D. 2013, Journalism of ideas: Brainstorming, de-
veloping, and selling stories in the digital age, Rout-
ledge, Florence, KY
Safadi, Y. 2014, The hack-charrette: Designing a model for
engaging teams in tech innovation, Master's Thesis,
The University of The Arts Philadelphia, Pennsylva-
nia
Schrommer, J. and Musty, P.J. 2011, 'A charrette is
the center of the urban design process', Theory
Meets Practice 2003, Retrieved from [4] - Accessed
05/29/2015.
Smith, N.D. 2012 'Design Charrette: A Vehicle for con-
sultation or collaboration?', Participatory Innovation
Conference, Melbourne, Australia
[1] http://www.bimstorm.com/i/BimStorm.php
[2] https://okfn.org/opendata
[3] https://communities.rics.org/gf2.ti/f/200194/67
68101/pdf/- /RICS12Pres_ACK_Speech.pdf
[4] http://www.charrettecenter.net/articles/Charre
ttesDefined.pdf
In the past years the creative industry has made great advancements in the area
of robotics. Accessible robot simulation and control environments based on visual
programming systems such as Grasshopper and Dynamo now allow even novice
users to quickly and intuitively explore the potential of robotic fabrication, while
expert users can use their programming knowledge to create complex, parametric
robotic programs. The great advantage of using visual programming for robot
control lies in the quick iterations that allow the user to change both geometry
and toolpaths as well as machinic parameters and then simulate the results within
a single environment. However, at the end of such an iterative optimization
process the data is condensed into a robot control data file, which is then copied
over to the robot and thus loses its parametric relationship with the code that
generated it. In this research we present a newly developed system that allows a
dynamic link between the robot and the controlling PC for parametrically
adjusting robotic toolpaths and collecting feedback data from the robot itself -
enabling entirely new approaches towards robotic fabrication by even more
closely linking design and fabrication.
Figure 1
Robot
programming
through
Grasshopper via the
robot’s serial port.
Early approaches
towards direct
robot control
(Braumann and
Brell-Cokcan, 2012)
Figure 3
Location of
command logic:
Entirely on the
robot controller for
regular control data
files (SRC), entirely
on the external
controller for
real-time
controllers (RSI),
distributed
command logic
(NEW).
Through analyzing our past robot projects, we While usually robot programs only allow the user
have identified four distinctive interaction strategies to set a speed override, adaptive mode attempts to
that should cover most current requirements for in- keep the entire robot job completely parametric for
teractive toolpaths within the creative industry (Fig- as long as possible. Only when a command is com-
ure 5). These strategies can be switched within the mitted to the robot's buffer it cannot be changed
Grasshopper component depending on the prefer- anymore. This allows us to incorporate sensoric feed-
ence of the user. back to continuously inform the fabrication process
Default Mode: This is the most basic mode and all its parameters
whose purpose is simply to transfer commands to the A current application of the adaptive mode is
robot. Once commands are connected to the ARC AROSU, an EU-funded research project that explores
component they are immediately processed and sent the structuring of natural stone (Figure 6). The new
to the robot. While the robot is already moving, addi- "adaptive" toolpath capabilities are used to adjust
tional commands are streamed until the interpreter's toolpath parameters and geometry in real-time, com-
buffer has reached its defined capacity. From then pensating e.g. for the non-homogeneous structure
on, executed commands are culled from the buffer of natural stone.
and replaced with new commands. If the input data Iterative Mode: In interactive mode, the ARC
from the ARC component is changed, it immediately behaves mostly like default mode with a similarly
wipes the robot's buffer and starts streaming new large buffer, but does not accept any new commands
commands. until the robot signals that it is ready for the next it-
Adaptive Mode: In comparison with default eration, i.e. when the previous commands have been
mode, adaptive mode users a much shallower buffer processed and an optional timeout has passed. The
that contains only the bare minimum of commands main applications is therefore to switch between fab-
to cover brief lags in the Ethernet communication. rication and evaluation. Essentially, the user only has
to define a single operation such as "pick up here and a very suitable platform for defining such flexible
drop off there" and a set of global rules regarding the robotic processes. However, in more in-depth anal-
placement. Then the robot performs an operation, ysis we observed some issues when e.g. frequent re-
sensor data - e.g. from a 3D camera - is processed, draws are issued. Finally we implemented our own
and the next iteration adjusted according to the cap- display pipeline to Rhino and spun out all interfac-
tured data. Refer e.g. to Dörfler et al., 2012. ing operations into highest-priority threads that run
Real-time Mode: Similar to the adaptive mode, in parallel to Grasshopper for a minimum of inter-
real-time mode uses a shallow buffer to reduce the ference. While this still does not make Windows a
reaction time to a minimum within ARC's framework. real-time operating system, most multi-core proces-
However, while adaptive mode works with the en- sors have enough processing power to stream even
tire parametric toolpath, real-time mode generates dense position data to the robot with a minimum of
each command on the fly by taking the current robot- lag. The combination of a simulation framework with
position, calculating the difference to the target po- a new data-streaming interface is highly synergetic,
sition and then adjusting it according to the pre-set as e.g. jobs can be automatically simulated without
step-values. So if the target, e.g. based on live mo- user-interaction and are only queued for fabrication
tion capture data, were to move, with a step size set once all performance criteria such as avoiding colli-
to 5mm and a buffer of 5 positions, the robot would sions and ensuring reachability are met.
continue for 25mm before reacting to the change. While similar robot control solutions exist, this
new interface offers the advantage that the robot re-
CHALLENGES AND OUTLOOK acts in exactly the same way as if it was processing a
This research marks our initial steps towards even regular robot control data file. Furthermore, it is ex-
more integrated design and production workflows tremely easy to install and maintain, requiring only
that allow us to directly apply the flexibility of vi- a regular Ethernet cable, the range of Grasshopper
sual programming in the physical world using robotic components, and the relevant KUKA software on the
arms. robot. Once the IP of the robot has been set, com-
With its large user-base, powerful geometric mands can be immediately streamed to the machine.
functions and accessible layout, Grasshopper marks We believe that adaptive robot control marks a
very important step for the creative industry as it can
Industrial robots from the automotive industry are being repurposed for use in
architecture fabrication research in academic institutions around the globe. They
are adapted for a variety of fabrication techniques due to the versatility of their
6-axis arm configuration. Though their physical versatility is an advantage in
research, their computational and sensory capabilities are rudimentary and have
not evolved significantly in the past forty years of their existence. In the meantime
the manufacturing industry has moved on by introducing new forms of
manufacturing namely Industry 4.0. In this position paper we look at the
characteristics necessary to bring architecture robotics into line with Industry 4.0
standards. By presenting the fabrication process as a relationship model of
'tool-process-outcome' we will examine the way in which these entities and their
interrelations might be augmented vis-a-vis Cyber-Physical Systems (CPS),
Social Robotics and Human-Computer Interaction (HCI) approaches such as the
Tangible User Interface (TUI).
Architecture is currently stagnating somewhere tural elements, although it should be noted that in
between the digital and physical worlds; using our certain countries, like the UK and Australia, that is be-
daily design tools we can fashion almost anything we coming less of a constant than it may previously have
want out of thin air while the majority of our con- been.
struction techniques have remained relatively un- A potential solution to bridge this gap may be
changed for the past hundred years, presentation approaching in the form of architectural robotics.
techniques are advancing with virtual reality and From heavy-duty industrial robots to drones, all
game engines whilst we still produce two dimen- robots are actors in the physical world controlled en-
sional drawings and details for building sites, and tirely by the same 1s and 0s that inhabit the digital
we still value the production of a physical prototype one. This paper will focus predominantly on the con-
much more highly than we do an algorithm or virtual struction side of architecture as given that the design
model. There are obvious reasons for which this state phase has already begun to be upgraded through its
of affairs has arisen: we are still relatively digitally illit- digitisation.
erate, especially in the upper echelons, it takes time, Industrial robots are precise, strong, fast, robust,
and therefore money, to adapt to new techniques have existed in some shape or form since the 1950s
and technologies, and we have a workforce of skilled and are the de facto technology in manufacturing
labourers that can reliably build standard architec- anything from mobile phones to cars but the con-
cumstances we enter a command validation phase gram end-effectors and connect wirelessly to a robot
where we weigh up the benefits for each command (currently only ABB robots are supported), supports
from its integration of this value. The primary con- vocal input through Google's vocal recognition ser-
dition is the validity of the leftmost command given vice. The interface supports two vocal input modes,
that, semantically speaking, once a value has been offline and online, during which a user's instructions
assigned to a subsequent command no other infor- are converted into DMR executable commands and
mation will be added therefore if the leftmost com- tasks. In offline mode the user can dictate com-
mand would be invalid without this information it mands, program tasks and modify these graphically
is associated with the left-hand command. In more before saving them for future execution in online
complex scenarios we prioritise certain contextual mode or, shortly, export these to ABB's RAPID lan-
factors and the information already included in the guage for direct execution on a robotic manipula-
surrounding commands such that the information is tor. During online mode the user has direct, real-time
included in its most probable location. control of the robot and can therefore fully collabo-
rate as well as receive audio feedback from command
INTERFACE validations or other systems that require user alerts.
To make DMR a fully intuitive language it has been There are clearly safety issues inherent with this
built into an Android application, referred to as the sort of control but, as collaborative robotics becomes
DMRI (DMR Interface), which, as well as allowing a more widely acknowledged field by manufactur-
users to graphically setup commands and tasks, pro- ers, many of these are currently being integrated
into new manipulators' hardware (YuMi, Baxter, etc.).
between 0.1-0.4s according to the length and com- ture, with other hardware and software development
plexity of the phrase, and the DMR parsing takes 0.05- to combat issues of on-site robotics such-as inter-
0.1s. Advancements in AI are going to enable much machine communication, ambient noise and multi-
more responsive vocal recognition systems and nat- modal human-machine interfaces.
ural language parsing but what is noteworthy here is
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ware has been released to beta testers, developers
will be able to integrate DMR into other systems, from
drones to hoovers, growing an ecosystem of similarly
controlled machines. The project remains under ac-
tive development with specific focus on safety and
robustness and will be joined, in the very near fu-
Hans Sachs1
1
Responsive design studio
1
hs@responsivedesign.de
Figure 3
'Orlov Act' - physical
prototype and
Rhino-Grasshopper
3D sequence
model, (C) Hans
Sachs, Cologne,
2014
REFERENCES
Cache, B. and Speaks, M 1995, Earth Moves: the Furnish-
ing Territories, MIT Press , Boston
Chesbrough, H.W. 2003, Open Innovation: The new imper-
ative for creating and profiting from technology,, Har-
CONCLUSION vard Business School Press, Boston
Even though computers and software have devel- Moorstedt, T. 2010, 'Du bist die Fabrik', Süddeutsche
oped significantly during the past decades, the way Zeitung, 10/11, p. 82
of developing architectural-, but also design objects Oxman, N. 2010 'Material Based Design Computation',
Massachusetts Institute of Technology, Boston, p. 304
with CAD is still widely misinterpreted as technical
Reichwald, R. and Piller, F. 2009, Interaktive Wertschöp-
drawing assistance. In keeping with the motto 'Com- fung: Open Innovation, Individualisierung und neue
puter Aided Drawing' instead of the more reasonable Formen der Arbeitsteilung, Springer Verlag, Wies-
(and correct) definition 'Computer Aided Design' the baden
perception of designing with computers still rather Sachs, H. 2012, 'Digital Crafting', Architectural Particles,
bases on a concept of industrial design thinking. MAKK Köln, 1, pp. 12-18
Sennett, R. 2008, The Craftsman, Yale University Press,
A first mention should be made of the fact that,
New Haven & London
during the development of this research and in- [1] http://www.techopedia.com/definition/23371/digi
cluded studies, the dissolution of boundaries be- tal-revolution
tween the disciplines evolved to be a crucial part. [2] http://www.generative-modeling.org/
During the industrial revolution in the 19th century, [3] http://de.wikipedia.org/wiki/FabLab
the exchange between different disciplines with re-
gard to choice of materials and technology was es-
sential in bringing about change and development in
architecture and design. Today industrially produced
and used materials, especially when used in the field
Figure 2
Immersive Tracking
Environment
REFERENCES
Ascott, R 1990, 'Is There Love In The Telematic Embrace?',
Art Journal, 49(3), p. 241
Batliner, C, Newsum, MJ and Casey, M 2015, Live, -
Batliner, C, Proto, J and Kruysman, B 2011, Esperant.0, -
Fry, B and Reas, C 2012, Processing 2, available at: pro-
cessing.org
Goldemberg, E 2012, Pulsation In Architecture, Ft. Laud-
erdale, Fla.: J. Ross Pub
Gow, M and Karlsson, U 2013, 'Enveloping Performance',
in Dehs, J (eds) 2013, When Architects And Designers
Write/Draw/Build?, Arkitektskolens Forlag, pp. 102-
117
Guvenc, O 2014 'Interface Activated Design Agency', Aca-
dia 2014 Design Agency
Inhatowicz, E 1969, The Senster, -
Johns, RL 2014, 'GREYSHED', Architectural Design, 84(3),
pp. 74-75
Kac, E 1996, 'Ornitorrinco and Rara Avis: Telepresence Art
on the Internet', Leonardo, 29(5), pp. 389-400
Lozano-Hemmer, R 1999, 'Vectorial Elevation - Relational
Architecture', Leonardo, 35(5), p. 554
Lynn, G 1999, Animate Form, New York: Princeton Archi-
tectural Press
Rehm, MC 2014, Henri, -
Rinaldo, K 2000, Autopoesis, -
Rokeby, D 1995, TRANSFORMING MIRRORSSubjectivity
and Control in Interactive Media, Albany: State Uni-
versity of New York Press
Russell, SJ and Norvig, P 1996, Artificial Intelligence
- A Modern Approach, Prentice-Hall, Inc.A Simon
Figure 3
Left to right:
Chosen Fragment
for 1:1 fabrication,
informed point
cloud on the
chosen fragment,
and one single
generated
continuous curve
used as the robotic
3D printing path.
of long exposure-time photography. Later this ap- system, derived from these experiments, involved:
proach is tested on the whole designed pavilion rep- size of the overall shape, thickness of nozzle for mate-
resented by a network of curves (figure 6) rial deposition, number of targets to describe robotic
The robotic pattern project, as part of the sec- motion and method of approaching defined targets.
ond set of preliminary studies, focuses on drawing As a consequence of these experiments the team for-
geometric patterns that explore variation in densi- mulated two categories of material deposition: con-
ties and resolutions to reach the desired porosity tinuous flow and on/off numerically controlled flow
and functionally- in the case this paper structurally- patterns. Both directions had specific benefits and
graded material systems (Oxman et al. 2011) . This in- limitations. Continuous material deposition involved
formed the design of robotically controlled routines a bigger abstraction of the drawing patterns, while
for material deposition. The established parametric compensating through a unified understanding of
Figure 7
Pattern and
material-
architecture
studies
the structural performance of the final prototype. arm, where the material source was exterior to the
Numerically controlled material deposition enabled robotic arm in order to maximize the freedom of
a more acurate representation of the final prototype movement and reach. In order to achieve an op-
but the logic used for production was rather more timum multi-dimensional material-architecture and
fragmented (figure 7). informed by previous studies on printing resolution
The ceramic robotic printing study explores pos- and variation of material deposition, a customizable
sibilities of production of 3D printed building parts extruder-nozzle system was designed and tested (fig-
and establishes a production method where all pa- ure 8). Considering the fact that natural materials are
rameters are calibrated for the developed physical not fully predictable different material properties like
set-up. The team designed an extruder connected plasticity, viscosity, flow rate and short-term material
to an end-effector mounted on the head of a robotic behaviour at different robot-motion speeds, were in-
Figure 9
A layered approach
to 3D material
deposition on 3D
surfaces
vestigated and documented in order to provide com- operating module ready to be used and well con-
plete information sets for the next prototyping phase nected to a real design problem. In a larger context,
(figure 9 and 10). the additive D2RP project presented in this paper is
part of Robotic Building (RB).This extended frame-
CONCLUSION AND DISCUSSION work focuses on linking design to materialisation by
Advancements in robotic building can potentially integrating multiple functionalities (from functional
foster the pace at which architectural design and fab- requirements to structural strength, thermal insula-
rication processes co-evolve. It is possible to envis- tion, and climate control) in the design (Bier, 2013
age a future in which building systems are customiz- and 2014) of building components. The main consid-
able and increasingly automated. The D2RP devel- eration is that in architecture and building construc-
oped by the TUD team is exploring and securing a fu- tion the factory of the future employs building ma-
ture for informed porosity in additive material distri- terials and components that can be robotically pro-
butions. Porosity at macro, meso and micro scales, cessed and assembled. This requires development of
refers to the optimisation of spatial configurations multi-materials, -tools, and -robots D2RP processes,
and material distribution. It strives not only at con- which will be implemented incrementally in the next
trolling mass-void ratios but also at achieving an in- phases of the project.
tegral design, from overall building configurations to
the architectured material itself. ACKNOWLEDGEMENTS
The specific goal of the presented case study in The authors are thankful and appreciate all the indi-
this paper was to scale and regulate the concept and viduals and institutions involved in the realization of
technology of 3d printing for architectural design this project: MSc3 fall 2014 students of Hyperbody
and construction, by integrating it in an informed, of TU Delft, 3TU.Bouw Center of Excellence for the
chained design to production system. For the au- Built Environment, Delft Robotic Institute, 100% Re-
thors, it was important to develop the technology not search office of TU Delft Faculty of Architecture and
as an isolated node but as an integrated working- ABB Benelux.
Renate Weissenböck1
1
Graz University of Technology
1
http://iam.tugraz.at
1
weissenboeck@tugraz.at
This research explores the relationship between digital design and digital
fabrication, investigating robotic fabrication as a dynamic design process. It
examines the potential of utilizing production tools as the key part of the design
process, where the final geometry is neither simulated nor pre-defined in the
digital realm before materialization. This "design-fabrication" or
"design-by-fabrication" workflow fosters a new way of thinking about
architectural design and practice, as well as unlocking creativity and discovering
new geometries and aesthetics. To illustrate this, the paper presents a series of
directed design experiments developed by students in two seminars at Graz
University of Technology. A unique fabrication technique is investigated,
combining laser cutting and robotic thermoforming, which was developed by the
author in the course of her PhD-research. Utilizing this robotically aided design
process, sheets of acrylic glass are laser cut and thermoformed by a robot into 3-
dimensional spatial objects, each element with individual geometries, textures,
transparencies and apertures.
as a technique to fabricate complex designs, but to ing robotic folding of metal panels. In 2010, Brell-
"create" complex designs. Cockcan and Braumann founded the Association of
Robots in Architecture, with the goal to "make in-
ROBOTIC DESIGN-FABRICATION dustrial robots accessible to the creative industry". In
Currently, architects and designers are passionately 2012, they organized the first RobIArch-conference,
exploring the application of industrial robots in archi- on robotic fabrication in art, architecture and design,
tecture. It was pioneered by Gramazio and Kohler in investigating the field of "...re-using industrial robots
2006 at the ETH, investigating the robotic assembly as a well-established basis and adapting them for ar-
of bricks, and by Epps of Robofold in 2008, explor- chitectural purposes by developing custom software
Figure 2
Matrix of exemplary
qualities and
shapes, created by
different laser-cut
operations
Figure 3
Fabrication
workflow
Figure 4
Students exploring
laser cutting, hand
forming and
robotics
Figure 6
Case study 1:
"Slices"
tors in this design-fabrication process are the laser- apertures. These prototypes can be interpreted on
cut pattern, the geometry of the deformer tool and different scales - either as a building element, or as a
the robot path performing movement operations like scale-model of a larger shaped surface. The effect of
push, tilt or twist. Further important parameters are the laser-scored surface works very well as texturing
the heating time of the panel, the robot speed during and light filtering (Figure 6).
deformation and the cooling time at the maximal de-
formation point, to keep the deformed shape of the • Laser pattern: score, slot
prototype. • Deformer tool: 3-pin
• Robot movement: push
Case study 1: Slices
In this project, the student designs an intricate facade
for the ground floor of an urban building situation, Case study 2: The Cube
providing a new identity and a more spatial quality. The design intention of this student was to create in-
Sheets of transparent acrylic glass are laser-slotted dividual facade perforations and apertures, for the
along parallel lines for the prototypes. In addition, four differently oriented sides of a house. The se-
different transparencies and textures are created by lected cut and form pattern depends on different de-
laser-scoring. The individual slices are deformed by a mands of light filtering and views to the outside. The
tool consisting of three pins, which deforms three of project combines triangular perforations with linear,
the slices at once, thus creating openings. Different pushed-out openings in different depths and angles.
shades of transparency and reflection become visi- Opaque acrylic glass is used, and the final prototype
ble, depending on light conditions, view-angle and consists of four panels combined to a cube. Surpris-
ing in this case study is the greatly achieved effect
Figure 8
Case study 3: "Floral
Explosion"
case studies. The created prototypes are appreciated Verlag Wien, pp. 118-129
as design and study objects. Reflecting on them, con- Brell-Cokcan, S and Braumann, J (eds) 2013, Rob | Arch
clusions can be drawn on the potential of the pre- 2012 Robotic Fabrication in Architecture, Art and De-
sign, Springer-Verlag/Wien
sented workflow for similar design-fabrication pro-
Fereos, P and Tsiliakos, M 2014 'Isoprototyping - Rapid
cesses, implementing other malleable materials in Robotic Aided Fabrication for Double Curvature Sur-
a cut-and-form process. Furthermore, a big poten- faces', Fusion - Proceedings of the 32nd eCAADe Con-
tial for specific applications in architecture is conceiv- ference - Volume 1, Newcastle upon Tyne, England,
able, like additive building skins or systems of pri- pp. 433-443
mary skin structures. Gramazio, F and Kohler, M 2008, Digital Materiality in Ar-
chitecture, Lars Müller Publishers
The next steps in this line of research will be
Hirschberg, U 2014, 'Editorial', in Fakultät für Architektur,
the exploration of more complex robotic deforma- Technische Universität Graz, - (eds) 2014, GAM 10: In-
tion movements for form-creation, as well as the es- tuition &the Machine, Ambra Verlag, p. 5
tablishment of a design catalogue created by the de- Lynn, G 1999, Animate Form, Princeton Architectural
veloped design-fabrication process. Press, New York
McGee, W and Ponce de Leon, M (eds) 2014, Robotic Fab-
rication in Architecture, Art and Design 2014, Springer
ACKNOWLEDGEMENTS International Publishing
This research is supported by the Institute of Archi- Menges, A 2012, Material Computation, AD John Wi-
tecture and Media, the Institute of Structural De- ley&Sons Ltd., London
sign and the ABB Roboter Labor at Graz University of Vyzoviti, S 2011, Soft Shells: Porous and Deployable Archi-
tectural Screens, BIS Publishers
Technology. Special thanks to Urs Hirschberg, Paul
Weissenböck, R 2014, 'D-FORM. Exploring the Combina-
Frick, Felix Amtsberg and Richard Dank for their sup- tion of Laser Cutting and Robotic Thermoforming as
port, as well as to all participating students in the a Technique for Architectural Envelopes', in McGee,
"digital fabrication" seminars: Timo Hopp, Maykal W and Ponce de Leon, M (eds) 2014, Robotic Fabri-
Borislav Mateev, Matthias Prosekar, João Petersen, cation in Architecture, Art and Design 2014, Springer
Rene Starmutz, Werner Thiemann; Marlene Gratzer, International Publishing, pp. 249-260
[1] http://www.robotsinarchitecture.org/kuka-prc
Martin Paul Handley, Gerrit Hoppe, Julian Jauk, Ste-
[2] http://hal.thibaultschwartz.com/
fan Milenkovic, Ryan Oliason, Adrian Paul, Benjamin [3] http://vimeo.com/64710189
Schmid, Christoph Thambauer. [4] http://vimeo.com/68575276
[5] http://www.schimek-architektur.at/?page_id=253
REFERENCES
Bechthold, M and King, M 2013, 'Design Robotics - To-
wards strategic design experiments', in Brell-Cokcan,
S and Braumann, J (eds) 2013, Rob | Arch 2012 Robotic
Fabrication in Architecture, Art and Design, Springer-
Asli Agirbas1
1
Mimar Sinan Fine Arts University and Fatih Sultan Mehmet Vakif University, Is-
tanbul, Turkey
1
www.asliagirbas.com
1
aagirbas@pratt.edu
Simos Vamvakidis1
1
National Technical University of Athens (NTUA) School of Architecture
1
www.svstudio.gr
1
yerasimo@gmail.com
Digital fabrication technologies are changing rapidly the way we design, as any
other tool would affect the way we produce space. Multi layered 3D printing is
already allowing architects, designers and engineers to experiment with new
design processes and new ways of production. At the same time, little research
has being done in the way gradient transparency (through multiple layered
surfaces) can affect the design process through computation; a field that deserves
further investigation. The focus of this paper is to explore bio-inspired material
finding design processes while combining biology, architecture and material
science. We explore performance driven design possibilities through a study of
marine animals -and specifically cephalopods- where opacity between skin layers
is controlled through color pigments - while black pigments are called
melanophores - which is often used as a type of camouflage. We propose a
computation model that follows the logic of gradient transparency through
pigments to fit complex "host surfaces". We define a "host" surface as a basic
geometry on which the pigments are computed. This study provides the
methodology for the design of biomimetic surfaces with gradient transparency,
using controlled and computated sub geometries analogous to the melanophores
pigments. We finally propose Pigment Skin, a computational design model as an
example to materialize this study.
Result
Biological epidermis design rules. The geometric
design rules in Cephalopods melanophore skin are
analyzed along three levels of detail: local, regional
and global. These different scales are in correla-
tion with each other, allowing for full body coverage
through a surface along the Cephalopod body. We
chose to examine the epidermis through three differ-
Method ent scales in order to be able to clarify and translate
Microscopic examination. Marine animals can the design rules into a computational model.
change their skin color to approximately mimic the
hue of their immediate environment, but also as a Local. The local level of organization relates to sin-
response to temperature, mood, stress levels and gle melanophore cell, its anatomy and its geome-
social cues. Cephalopoda such as squid use chem- try. All melanophore cells are similar in Cephalopods
ical cells and light reflecting cells to sense the en- such as the Bigfeen rif squid (Sepioteuthis lessoni-
vironment they are in and change their skin color. ana). Cephalopod melanophores all function simi-
This is achieved though colored pigments transloca- larly, compacting from as small as a tenth of a mil-
tion in light reflecting cells called chromatophores. limetre to 2 mm in diameter (20 : 1 expansion fac-
This process, known as physiological color change, is tor). The time that it takes to go from fully retracted
most widely studied in melanophores, since melanin to fully expanded varies and is based on the organ-
is the darkest and most visible pigment. In most ism, but recent work has reported it to be typically
species with a relatively thin dermis, the dermal around 300 ms. Melanophore cells contain black or
melanophores tend to be flat and cover a large sur- brown pigments.
face area (see figure 2). Regional. The regional level of organization de-
Flat dermal melanophores often overlay other scribes the interconnection of chromatofores on the
chromatophores, so when the pigment is dispersed Cephalopod skin and the correlation between lo-
throughout the cell the skin appears dark. When the cal shape variation and regional functionality of the
pigment is aggregated toward the centre of the cell, system. As mentioned before, melanophores can
the pigments in other chromatophores are exposed change, due to physiological and/or environmental
to light and the skin takes on their hue. On the disper- conditions, creating different categories of clusters
sion of melanin, the light is no longer scattered and (see figure 4).
Figure 3
3D Printed Pavilion
- The Bartlett BPro
Show 2014 -
GAD/RC4 // Team
Filamentrics: Nan
Jiang, Yiwei Wang,
Zheeshan Ahmed,
Yichao Chen
CREDITS
• Bartlett GAD-RC4 Studio Masters: Manuel
Jimenez Garcia & Gilles Retsin
• Technical Support: Vicente Soler & Thibault
Schwartz
• Team Filamentrics: Nan Jiang, Yiwei Wang,
Zeeshan Ahmed & Yichao Chen
• Team Microstrata: Wonil Son, Fame Boonyasit,
CONCLUSION:
Maho Akita & Syazwan Rusdi
Filamentrics and MicroStrata illustrate the impor-
• Bartlett GAD Director: Alisa Andrasek
tance of integrating algorithmic processes of mate-
• The Bartlett B-Pro Director: Professor Frédéric
rial organisation in the research on large-scale 3D
Migayrou, B-Pro Director
printing. The projects manage to narrow the gap be-
• Main Softwares and Libraries used: Process-
tween simulation and fabrication through incorpo-
ing by Casey Reas and Ben Fry, Toxiclibs li-
rating constraints as generative elements in the de-
brary by Karsten Schmidt, McNeel Rhinoceros
sign process. In both projects, there is a tight rela-
+ Grasshopper, HAL by Thibault Schwartz, Au-
tionship between fabrication constraints, materiality,
todesk Maya, Autodesk 3Ds Max, Pixologic
computation and the final design outcome. The gap
ZBrush
between design and fabrication can be narrowed
through the use of computation which operates as
a system to organise material in response to specific REFERENCES
concerns of structure, fabrication and design. Bandel, H 2001, Structure Systems/Tragsysteme, Hatje
Different material principles result necessarily in Cantz
different structural systems, which in turn require Bryant, LR 2011, The Democracy of Objects, MPublishing,
their own machinic processes and algorithmic logic. University of Michigan Library
The specific material constraints of a compression- Kohler, M 2014, The Robotic Touch, Park Books
Nervi, PL 1965, Aesthetics and Technology in Building, Har-
based project like Microstrata requires a computa-
vard University Press
tional process which is more concerned with the pre- Spuybroek, L 2011, The Sympathy of Things: Ruskin and
cise organisation of pixels of matter. Filamentrics, the Ecology of Design, V2_Publishing
focusing on a space frame-like structure, requires a
changes in weight, mechanical resistance, thermal or Panels 1 and 2 were cast and set for 60 hours, be-
acoustical behaviour could be achieved with the in- fore demoulding. In the case of panel 3, we followed
troduction of different material elements in the con- an iterative process for the cast of the two layers of
crete matrix. (Table 1) concrete. An initial cast of the first layer, followed
by a partial demoulding after 24 hours, opening of
Table 1 the second interior void and re bracing the mould.
Concrete The casting of the second layer with the different mix
composition for mix of concrete followed and the final demoulding was
1 and 2 done after 72 hours (Figure 4).
The casting phase revealed that the precision of
the RHWC process as well as the fact that all parts
of the moulds were cut from a single block (which
would not be the case for milling) had a large impact
on the accuracy, correct fit and ease of assembly of
the moulds (Figure 5).
DISCUSSION
During the execution of the described experiments,
For the casting process, the moulds were treated with several constraints and characteristics of the pro-
a demoulding agent and a lateral bracing was ap- cess of Robotic hot-wire fabrication became appar-
plied to ensure no buckling would occur. A con- ent that should be taken into consideration for future
scious decision was made to avoid the use of time- research.
consuming coating applications, as was observed in
Geometrical constraints. One major geometrical
earlier examples. It was our understanding that it
constraint of this technology in surface description,
would defeat the purpose of developing a time ef-
especially when compared with the established free-
ficient process for formwork creation. Furthermore,
dom of other subtractive processes, is its restriction
it was an opportunity to study the textural quality of
to the creation of ruled surfaces in the movement of
concrete, emerging from this process.
the hot-wire through space. This unavoidable fact is
Figure 5
Fabricated EPS
formwork
assemblies before
closing and bracing
(panels 1, 2 and 3)
the clearest limitation of RHWC. On the other hand, elements were not parallel with the ruling lines, the
ruled surfaces encompass a great diversity of forms, hot-wire described a diagonal movement through
which have a clear historical relation with architec- the blocks. This meant that the seemingly large
ture as discussed in the previous examples. Further- length of the 100 centimetre wire was used in all its
more, the increasing tendency for freeform buildings extension for the production of the otherwise rela-
in concrete has prompted developments into ratio- tively small components.
nalization strategies for double curved surfaces, us- Precision. The gap left in the hot-wire cutting path
ing strips of ruled surfaces, with a very high accuracy, that results from the melting of the EPS foam, is a
greatly increasing the relevance for these geometries function of the cutting speed and the wire temper-
(Flory and Pottmann 2010). ature. For a set speed, an increase in temperature
Size restrictions. Taking into consideration that the represents an increase in the cut width and for a set
size of uncut EPS blocks does not prevent the scaling temperature, a decrease in cutting speed also repre-
of this technology to construction-scale elements, sents an increase in cutting width. For this reason,
the major size constraint is clearly in the available a ruled geometry that implies a stationary point in
length of the hot-wire. Nevertheless, a design prob- space within the movement of the ruling line (ex. the
lem was detected that further constrained the size of vertex of a conic surface) results in an unwanted in-
components. Because the borders of the proposed creased cutting gap representing a local loss of pre-
in most cases much more geometrically constrained, Finally, when considering the relation between
we believe that this is not reason enough for its inad- technology, materials and architectural expression,
equacy. we found that in the explored case of concrete there
One possible cause can be found in the fact was an interesting emergent architectural vocabu-
that CNC milling processes have been used for a lary that linked the prefabricated and assembled
longer time in manufacturing industries before being components to the fabrication technology. This vi-
adopted by architecture and the construction indus- sual and conceptual link created a specific tectonic
try. As such, tools, software and the knowledge of quality (figure 7) that we intend to further explore in
their application is much more widespread and its in- future experiments with prefabrication in concrete.
tegration and understanding in the architectural en-
vironment more profound. ACKNOWLEDGMENTS
From the perspective of the designer, facing the The authors would like to thank all the Digital Fab-
current alternative methods of formwork produc- rication Lab (DFL) team and the FEUP/CONSTRUCT
tion, the eventual design rationalization of a general team for the overall support to this experiment. This
curved surface to ruled surfaces poses a minor prob- work was developed in the scope of the Research
lem when compared to the issue of smooth surface Project with the reference PTDC/ATP-AQI/5124/2012,
quality, which seems to be the standard goal in the funded by FEDER funds through the Operational
architectural practice today. When considering the Competitiveness Programme - COMPETE, and by na-
general use of EPS and digital fabrication technolo- tional funds through the FCT - Foundation for the Sci-
gies for formwork production, the limiting factors are ence and Technology. It is also part of the PhD re-
clearly the material conditions of EPS and not the search with the reference SFRH / BD / 79227 / 2011,
technology employed. As such, other paths should supported by the FCT - Foundation for the Science
be explored in the future, that assume these limita- and Technology.
tions and explore different textural qualities for con-
crete, while maintaining the advantages of the digital
fabrication workflow.
This paper is both a fundamental and applied study of the multi-faceted design
and fabrication issues related to the construction of a mobile 3D printer. The
paper signifies the halfway point in a project initiated at the Azrieli School of
Architecture and Urbanism at Carleton University starting in 2013. The printer,
entitled 3DB, intends to print concrete elements for the Architecture, Engineering
and Construction industry. The printer frame was designed to fit within the bed of
a typical half-ton pick up truck or contract trailer. The paper describes the
design, simulation and construction of the steel frame, gantry and extruder and
makes speculation on future research including improved design of the extruder
and nozzle mechanism.
STEEL FRAME
The 3DB machine was designed in Autodesk Inventor
Professional. The frame has a rigid all steel construc-
Figure 2
tion. The undercarriage was inset to account for the
Welding the steel
wheel wells of half-ton pickup trucks and contracting
frame in the Azrieli
trailers. The platform is placed on heavy duty, indus-
School of
trial casters for ease of mobility. It is equipped with
Architecture and
retractable and adjustable feet for the purpose of lev-
Urbanism shop
eling and stability.
facilities
The project used Autodesk Simulation and In-
ventor's structural simulation capabilities, eliminat-
ing a number of design uncertainties. Inventor's
frame generating capabilities were critical in design-
ing the structural layout and mechanical connec-
tions of the frame. Structural and collapse sim-
Figure 3
ulations were conducted to determine deflections,
Simulation of the
strengthen the weak points, and prevent joint fail-
steel frame under
ures when the 3DB is printing an object and the max-
stress
imum volume of 2.16 cubic meters is reached (1800 x
1200 x 1000mm effective printing bed volume).
The frame is designed to handle the maximum
compressive weight in concrete of +- 4,600 kg dis-
tributed downwards at six points and supported by four
EXTRUDER DESIGN
The cement extruder is fed by a digitally controlled
progressive cavity pump. The extruder is capable
of depositing bituminous mixtures of various densi-
Figure 5 ties. This offers versatility in constructing concrete
The gantry elements of various structural and aesthetic charac-
teristics. This ongoing research was initiated in 2014.
The research team has contacted a number of indus-
try sources including individuals at the Carleton Uni-
versity Science & Technology Center to advise on the
design of the extruder and concrete mixtures.
The extrusion mechanism in composed of three
main assemblies:
1) A progressive cavity (PC) pump housed be-
neath the printing bed used to feed the pre-mixed
concrete through the plumbing lines. The concrete
would be mixed and fed to the pump via a standard
GANTRY open hopper or an integrated auger hopper.
The 3-axis gantry mechanism (Fig. 5) was remodeled 2) The material chamber attached to the Z-
from an open-source woodworking (Mechmate) CNC axis used to regulate the flow of the concrete by
machine. A series of modifications to the mecha- the means of air compression with solenoid valves
CONCLUSION
Digital fabrication undoubtedly offers enormous po-
tential for the AEC industry. The 3DB project at-
tempts to examine the implications of these devel-
opments. It is both a fundamental and applied study
in understanding the technology that defines this
emerging field. As the use of 3D printers becomes in-
creasingly normative in academia and practice it has
become apparent to the research team that a founda-
tional understanding is necessary. This project was
initially undertaken out of a curiosity for emerging
construction technology. It has now morphed into a
larger study of the purpose of 3D printing for archi-
tectural fabrication, its judicious necessity and cur-
rent limitations. As the project progresses and the
3DB becomes fully operational these ideas will con-
textualize continuously and the limitations and op-
portunities of such technology will continually be
tested.
The 3DB printing platform was successfully con-
structed (Fig. 6) and has currently reached the it-
erative stages of design and development common
with research projects of its nature. Many of the deci-
sions presently examined will transform and progress
as the implications of such decisions transcend to af-
fect the output of the machine in terms of fabricated
concrete objects. In this sense, the implications of
the project must be understood as two phases; one
Brick construction has a long and rich structural and aesthetic traditions in
architecture, which can be traced back to the origins of our civilization. However,
despite the remarkable works of Frank Lloyd Wright, Louis Kahn, Eladio Dieste
or Alvar Aalto in the 20th century, the application of this construction process to
address more irregular geometries is very difficult to be achieved by conventional
manual means. In this context, the last decade assisted to emergence of robotic
applications in architecture. While Gramazio & Kohler looked for solving
non-standard brick structures, others, like the S.A.M. robot initiative, are
interested in improving the productivity in the fabrication of regular brick
structures. By surveying the recent advances on bricklaying automation, this
paper is interested in reflecting on the actual role of manual brickwork. In doing
so, the authors present the Brick Tower experiment developed at the
DFL/CEAU/FAUP, where two different fabrications processes are critically
compared: a robotic and a manual one, which is aided by a video projection
technique. By describing and illustrating this experiment, the authors argue that
it is possible to expand the traditional craft of bricklaying by devising simple
strategies to increase the human capacity to understand and materialize more
elaborated geometries. This research avenue can be relevant if one considers that
manual work should remain the most common form of brickwork practice in the
next decades.
dustrial robot at the DFL wouldn't create a projection jection, both rectangles are not aligned in the same
large enough to allow building big parts. For the cur- plane. So, if the system is calibrated, once the brick
rent test, the video projection was mounted on the is placed on its real position, the bright rectangle has
top of a taller ladder. Given the narrow lens of the to coincide with its top surface. The worker thus gets
projector, the design model had to be divided in 5 two complementary information: to know where to
parts, which were assembled separately. place the brick and to confirm its right positioning.
To confirm the effective calibration of the system, Furthermore, by overlapping the image projection of
a few projection tests were carried out in the begin- the next level over the bricks laid in the table, the in-
ning, by using objects with different heights and ori- tersection space indicates where to put the glue. In
entations in space. With everything set, the experi- average, the positioning and bonding of each layer of
ment started with two persons picking and placing bricks took around 5 minutes to be completed. In the
the bricks, following the projected images of 2D plan end, the fabricated parts were assembled together to
drawings. Like in the robotic experiment, the glue form the second half of the Brick Tower (Figure 6).
was manually introduced after laying each level of
bricks. To improve the control and precision of the The Result
assembly, the projected image consists in two over- The end of the experiment resulted in the production
lapped crossed rectangles. While the dark one rep- of 2 brick structures by employing 2 different fabrica-
resents the bottom surface of the brick (i.e., the ref- tion processes, which departed from the same digital
erence for its placement), the brighter one describes information (Figure 7). In resume, the comparative
the contour of its upper surface. Due to the conic pro- analysis of both experiences reveals that:
ACKNOWLEDGMENTS REFERENCES
The authors would like to acknowledge the support Anderson, S. 2004, Eladio Dieste: Innovation in Structural
to this experiment provided by the DFL team, the re- Art, Princeton Architectural Press
search partnership with INESC TEC on robotic fab- Bock, T. 2008, 'Construction Automation and Robotics', in
Balaguer, C. and Abderrahim, M. (eds) 2008, Robotics
rication technologies, and the industrial support of
and Automation in Construction, In Tech, pp. 21-42
Cerâmica Vale da Gândara company in the study of Brinkmann, U. 2005, Frank O. Gehry - MARTa Herford,
brick construction. Brikhauser, Baden
This work was developed in the scope of Campbell, J.W.P. 2005, História Universal do Tijolo, Calei-
the Research Project with the reference PTDC/ATP- doscópio, Portugal
AQI/5124/2012, funded by FEDER funds through Gramazio, F. and Kohler, M. 2007, Digital Materiality in Ar-
chitecture, Lars Muller Publishers
the Operational Competitiveness Programme - COM-
Jetsonen, J. and Jetsonen, S. 2008, Finish Summer Houses,
PETE, and by national funds through the FCT - Foun- Princeton Architectural Press
dation for the Science and Technology. Petters, S. and Belden, R. 2014, 'SAM, the Robotic Brick-
layer', SMART / Dynamics of Masonry, 1 (4), pp. 10-14
[1] http://www.archdaily.com/?p=9028
This paper explores hybrid digital / physical workflows in the building trades, a
high-skill domain where human dexterity and craft can be augmented by the
precision and repeatability of digital design and fabrication tools. In particular
the paper highlights a project where historic techniques of decorative plastering
are extended through live motion capture of a drawing implement, information
rich visualization projected in the space of fabrication, and custom robotic
tooling to generate free-form running moulds. This workflow allows designers
and craftspeople to quickly explore patterns through free-hand sketch, test ideas
with shaded previews, and seamlessly produce physical parts using robotic
collaborators.
DEMONSTRATION
A sample pattern was tested to demonstrate the po-
tential of augmented fabrication workflows in archi-
tectural plaster. The authors developed a parametric Figure 3
patterning script that generated radial arrays around Real time tracking
a group of asymmetric obstacles commonly found of stylus with
in a contemporary ceiling plane (e.g., light fixtures, projection of drawn
columns, HVAC, fire suppression). Historically plas- curves on work
ter rosettes were installed around chandeliers in care- surface.
fully symmetric patterns. Users seed the algorith-
mic pattern generation with two curves, sketched
using the tracked stylus. An inner and outer draw-
ing boundary and a measuring grid are projected at
one to one scale on the work table to aid in hand-
REFERENCES
Bard, J, Mankouche, S and Schulte, M 2013 'Morphfaux',
Robotic Fabrication in Architecture, Art and Design, Vi-
enna, pp. 139-142
Van Den Branden, F and Hartsell, F 1984, Plastering Skills,
American Technical Pub., Alsip, Ill
Brynjolfsson, E and McAfee, A 2014, The Second Machine
Age, Norton, New York
Lee, S, Lee, K, Kim, J and Han, C 2006, 'Human-robot co-
operation control for installing heavy construction
materials.', Autonomous Robot, 22(3), pp. 305-319
Keywords: Robotic fabrication, Tensile mesh structures, Real time response, End
effector tool
Figure 1
Simulation steps of
robotic handling
during tensile mesh
structure
development
rollers pull and unwind the elastic thread from the lows the reduction of rollers' rotation relative to the
bobbin and feed the PLA cylindrical tube, which in rotation of the servo as well as the increase of the
turn transfer the thread to the welding spot [Figure rotational torque generated by the rollers. For the
4]. better control of the supply of hot-melt glue stick,
the rollers are connected to an additional pulley that
Supply and hot-melt adhesive transfers the rotational movement via the 3D printed
For the welding of threads and the creation of ex- pulley T15 in rollers (this appears on the back side of
pected nodes, the hot-melt silicone adhesive tech- the end effector). In order to maintain the correct
nology is applied. Due to the same type of silicone direction of movement for the hot-melt glue stick,
material used, both for elastic threads and for hot- a PLA tube is designed that allows the material to
melt glue stick, this technology is considered ideal move into and feed the melting apparatus. In this
for the creation of nodes/connections. The expected way, the rotation of four rollers pushes the material
future development of the research as regards the into the machine for melting purposes. This converts
recording of nodes via a vision system requires the the solid material into liquid, which is poured in the
use of hot-melt adhesive tube in black color. In a fu- hemisphere in the hot end of the end effector tool for
ture stage, through image processing, the physical welding the elastic thread material and for creating
nodes will be tracked and transferred to a digital en- nodes [Figure 5].
vironment in the form of information points.
The supply of hot-melt glue stick (11mm) is Holding and creation of nodes
achieved via the use of a continuous rotation motor An important feature in the process of creating nodes
(360 degrees servo motor). The rotation of servo mo- and controlling the threads' length is the technique
tor and its connections with the 3D printed pulley for approximation positioning and holding. The re-
T15 causes the transfer of motion via belt to the 3D tention of elastic thread is found to be necessary in
printed pulley T30. The increase of pulley's size al- order to reduce failures caused by the pretention of
the filament as well as the elevated temperature due ization of the overall physical prototype. In particular,
to the hot-melt adhesive process. the end effector is divided into three discrete parts:
To control the holding procedure and cut the
elastic thread, a linear actuator is used. The design • Electronics and material case
and printing of a 3D prefabricated gripper in front of • Mechanical and actuators case
the end effector tool manages to control the approx- • Melding and adhesive component
imation of thread in the predetermined level and to
hold the material. In order to achieve this, the gripper The fabrication of the prototype is achieved through
tool includes a hemispherical shape as well as a blade rapid prototyping and specifically through a 3D
for threads cutting. When closing the linear actua- printer using ABS and PLA materials. Within this
tor, the projection moves linearly in the vertical plane framework, the cases for all electronics and mechan-
of the melter device, in which it holds the thread, for ical parts are designed and printed, then assem-
nodes creation. In parallel, the linear actuator is able bled together and finally connected to the actuators.
to bring additional strength causing the cutting of For material feed, a prefabricated PLA roller is intro-
thread. With the opening of linear actuator, the node duced. The rotation of rollers is achieved in combina-
is released, activating the elastic behaviour of thread. tion with the timing belts, which convey the motion
Finally, the end effector tool is withdrawn from the from the actuators to the rollers.
welding spot [Figure 6]. The electronics and material part are fixed at the
end of the robotic machine. This section includes
all the electronic components of the end effector in-
FABRICATION OF THE END EFFECTOR
cluding connecting cables for actuators, power sup-
For physical development purposes, the mechanical
ply and Arduino board. Also, in this section the place-
parts that make up the end effector are fabricated
ment of materials (silicon elastic thread and glue
on a 1:1 scale and their motion is optimized through
stick) and their feeding control through the actuation
trial-and-error testing [Figure 7], aiming at the final-
of kinematic mechanisms can be found. For better
a. Creation of the start node, b. Length control of tor in the holding and creation of nodes procedure, a
elastic thread, and c. Creation of the end node. The numerical value of 40 and to open and release nodes,
three tasks are responsible to control the informa- a value of 55 is defined.
tion from the digital model activating the respective For the robotic control, the HAL (plug-in for
movement of actuators. Initially, to develop the con- Grasshopper) (Schwartz, 2012) is introduced. Specifi-
trol algorithms the actuators are connected to the Ar- cally, the actuation of the end effector tool is synchro-
duino board. Because the stepper motor needs to re- nized to the control of robotic arm movement. By
ceive data in pulses, an Easy stepper driver board that using feedback loop logic between robotic machine
is connected to the Arduino board is used. The step- and the HAL software, the algorithm is responsible
per driver is responsible to control the data from the to control and determine the order of elastic threads'
Grasshopper to the stepper motor, controlling in par- addition. Each thread is added by using the three
allel, the direction and angle of rotations. The con- tasks described above.
trol of linear actuator and servo motor is achieved by The task programming occurs by calculating the
the use of a simple 3pin wiring. With the use of nu- time duration depending on the position of the
merical values 0-180 degrees, which are designated robotic machine. Initially, the algorithm for control-
in Grasshopper and transferred to the Firefly writer, ling the start node creation activates the opening
the lengthening of the linear actuator, as well as the of the linear actuator. Subsequently, the activation
speed and direction of rotation of the servo motor are of the stepper motor manages to feed the welding
defined [Figure 9]. spot with 20mm length of thread. Then, the linear
Initially, actuators are calibrated in relation to the actuator slightly closes in order to hold the threads.
rollers of operations. For the length control and elas- Parallel to the complete closure of the linear actu-
tic thread feeding procedure, a full rotation (360 de- ator, the servo motor is activated to feed the hot-
grees) of stepper motor equal to the perimeter of melt glue stick. This is liquefied using the melter and
roller (55,2mm) is introduced, that achieves respec- the threads are adhesive for node creation. Finally,
tive thread feed. The supply and hot-melt adhesive by opening the linear actuator, the robotic machine
procedure is calibrated by the time of rotation of withdraws and continues its movement.
servo motor. Specifically, a time interval of 5sec is Parallel to the relocation of the robotic arm from
required for pushing the expected glue stick and for the start node, the task for controlling the length
creating the node. To activate the servo motor and of thread is activated. This procedure aims to sup-
stabilize its speed, a numerical value 80 is defined in ply, in each case, the required length of elastic sili-
Firefly, while to deactivate the motor, the numerical con thread. The suggested algorithm checks the re-
value 89 is used. Finally, to control the linear actua- sult of tensile structure simulation and sets the re-
quired length of thread in order to achieve the desir- Finally, when the robotic machine reaches the
able pretension and deformation of the mesh struc- point, the end node creation task is activated. The lin-
ture. The defined length is translated into an angle ear actuator closes and holds the thread. At the same
used for stepper motor rotation that causes the re- time, it cuts the thread from the bobbin and simul-
lease of expected material. The time of rotation is taneously the servo motor for the hot-melt glue stick
calculated and compared to the time needed by the procedure is activated producing the node. Then, the
robotic arm to move from the start node to the end control algorithm specifies new coordinates in which
node. If the time needed for length thread wrapping the silicon elastic thread addition procedure will oc-
is longer than the time needed for the robotic arm cur.
movement, the robot waits to execute the task for a
respective time and then continues the end node cre-
ation procedure.
changes in the luminance. The photometric analysis a few hours, when the significant luminance changes
software is calculating the luminance values, which were happening. As the rest of the day the aggre-
were then used in an algorithm to determine the gates are filtering only a reflection light from the sky,
robot's next move in the construction of the compo- the luminance values were barely changing (Figure
sition. The program is then outputting a KRL script 2).
directly to the robot, making it interact with the struc- Another important aspect of the initial experi-
ture towards a target light condition. This is making ments was the thickness of the structures. Observa-
a light controlled robot manufacturing possible. tions were made with different layer thicknesses in
order to investigate how much layer thickness affects
PROJECT DEVELOPMENT light penetrations. By starting with layer of 50 cm and
then reducing specific areas to 25 cm, the luminance
Initial light observations
on these areas would increase with 50%.
The initial experiments were aiming to observe and
record how changing daylight conditions are affect-
ing the luminance of the structure in order to use this
Dome structures
A subsequent sets of experiments was conducted
information as driving parameter for the later online
with dome structures in order to test three-
control. A series of small aggregate structures were
dimensional luminance effects. The domes were il-
build and photographed every 30 min in the course
luminated from the outside and photographed from
of a day. The structures had a constant orientation,
underneath (Figure 3). Different luminance condi-
thus making them exposed to direct sunlight only for
tions were analyzed and modification techniques
Figure 8
Final prototype:
online modification
process: (a) Current
image; (b) Current
luminance; (c)
Target luminance;
(d) Kinematics
simulation; (e)
Real-time
implementation.
This paper investigates the potential of soft robotics that are enabled by emergent
materials in architecture. Distributed, adaptive soft robotics holds the promise to
address many issues in architectural environments such as energy efficiency as
well as user comfort and safety.Two examples out of a series of experiments
conducted in the Material Dynamics Lab at the New Jersey Institute of
Technology are being introduced and serve as a vehicle to explore distributed soft
robotics in architectural environments. The design process and project
development methods of the soft robotic systems integrated the fabrication of
working proof of concept prototypes as well as their testing.
INTRODUCTION - ROBOTICS IN ARCHITEC- processes that include robotics in the design phase
TURE as well as the creation of architectural elements,
Robots, that have the ability to perform a multitude scholars have also been looking at performative, dis-
of unique tasks, have enjoyed great attention in art tributed robotics in the constructed environment.
and design communities in recent decades (Figure Early examples of kinetic, responsive and interactive
1). In architecture in particular they have been cel- architectural interventions such as hyposurface [3]
ebrated for their advanced fabrication capabilities have initiated a conversation that is contributing to
and they are widely regarded as the ultimate flex- this important research area. Furthermore the rise of
ible manufacturing tool. KUKA (Keller und Knap- a new prototyping environment that is enabled by
pich Augsburg) robotics were used in car manufac- Arduino microcontrollers has accelerated the study
turing when they established Europe's first welding of robotics in architecture greatly.
transfer line, built for Daimler-Benz in the early sev- The seamless integration of robotic systems into
enties [4]. Now a technology transfer from indus- our buildings holds the promise to improve active
tries such as the automotive industry is being stud- and reactive environments that will assist with en-
ied to revolutionize architectural construction pro- ergy efficiency of our buildings and improve user
cesses. Solutions for Building construction and main- comfort drastically. Distributed adaptive robotic sys-
tenance are being contemplated from the robotics tems in architecture can support an environment
standpoint, especially in architecture schools and in- that can continually negotiate conditions with the
novative offices like Snøhetta (Paoletti at al., 2013; users and their surroundings with a very high spa-
Bach et al.,1995; Pigram et al., 2011). tial resolution. The benefits of such a system lie in
But besides the newly developed architectural the fact that the robotics could perform without the
intervention of a programmer or a specialist to me- tectural context special attention has to be given to
diate between all the individual constituencies. The this topic. One of the approaches to a more risk free
robotic system will autonomously adapt without re- human robot interaction can be found through the
lying on preconceived notions of occupant desires or careful selection of materials - in particular materials
energy efficiency. that reflect the soft nature of our own bodies.
The design for an Adaptive Solar Envelope (ASE) The subfield of soft robotics represents a pen-
is such an example that was developed at the Depart- chant for a material centric approach in robotics.
ment of Architecture at the ETH Zu�rich and it is look- Common robotic systems comprise of hard, stiff and
ing at buildings as dynamic systems that are able to rigid components that cannot change their shape or
adapt to changing conditions while taking user satis- physical properties at the material level. Soft robotics
faction into account (Rossi et al., 2012). This research on the other hand are making use of progress that
integrates aspects from robotics, machine learning, has been generated in material sciences and many
ubiquitous computing, and sustainability in architec- other disciplines for the creation of a new generation
ture to optimize on site energy production through of robotics. Aside from the potential of soft robotics
a careful positioning of photovoltaic elements. Fur- benefitting a secure human robot interaction, soft
thermore it explores the potential to assist conven- and compliant material systems can benefit architec-
tional HVAC (heating ventilation and air condition- ture by utilizing their unique properties to control for
ing) systems and electric lighting in buildings for en- instance the thermal or acoustic environment.
ergy conservation. The project takes into account the The application of unconventional material sys-
user's desire and comfort at the same time. tems lies at the heart of the nascent stages of the very
young field (Iida et al., 2011). Nanotechnology, which
DISTRIBUTED SOFT ROBOTICS AND EMER- has accelerated the development of new materials
with novel properties, is a key driver in the continuing
GENT MATERIALS
evolution of soft robotic elements. Sensors as well as
Concerns of safety have always been a priority when
actuators have to be non-rigid, soft, flexible, elastic,
it comes to robots operating in the close vicinity of
compliant, deformable, or reconfigurable.
humans. The caged industrial robotic work cells of-
Smart materials (Addington et al., 2005) that
ten ensure the wellbeing of workers through spatial
have the ability to respond to an external stimulus
separation, while a continued improvement of the in-
with a material response are a class of materials that
teraction protocols paired with ample sensory infor-
will be instrumental in the creation of soft robotics
mation is making a close encounter between robots
due to their unique material behaviors. They can be
and humans continuously safer (Albu-Schäffer et al.,
for example polymorphic, luminescent, or chromic in
2008). By integrating a robotic system in the archi-
response to electric currents, chemical inputs, pho-
Figure 3
Soft Acoustic Tile |
Credit: MDL, Ryan
Berg, Paulo
Guerreiro, and Jesus
Vasquez
Figure 4
Soft acoustic tile
fabrication steps |
Credit: MDL, Berg,
Guerreiro, and
Vasquez
pneumatic, silicone based soft robotic acoustic tile components can be controlled through variations in
uses air not only as the actuating mechanism but also the thickness of the silicone components or the use
as the material that changes the acoustic properties of different types of silicone (Ecoflex® 00-30, Ecoflex®
of the system. The prototyping efforts were aided by 00-10, Dragon Skin® 30) that have varying degrees of
the soft robotic toolkit [2] that was developed from elasticity. This controls the overall deformation of the
research conducted at Harvard University and Trinity actuator.
College Dublin for hands-on design courses (Figure The individual actuators change their shape and
4). volume from entirely flat to slightly convex with a
The pneumatic actuators that the acoustic tiles surface morphology that displays a multitude of pro-
are comprised of in this project are made of silicone truding air pockets. This particular shape change al-
(Ecoflex® 00-50). The actuators are cast in two parts lows the system to influence the absorption, diffu-
and later adhered to each other. The main part is sion and reflection of sound. A hand air pump was
cast including voids for air chambers that will expand used for the inflation of the system during the ini-
in the assembly once the pneumatic system is ac- tial actuator testing, while at a later stage the activa-
tivated (Figure 4). The expansion of the individual tion of the design was accomplished through several
Figure 6
Soft Acoustic Tile |
Test Environment:
Deactivated and
Activated System |
Credit: MDL, Ryan
Berg, Paulo
Guerreiro, and Jesus
Vasquez
Figure 8
Soft Frit | Credit:
MDL, Jorge Cruz,
Lauren McLellan,
Anthony Morello,
and Anthony
Samaha
electric pumps controlled by an Arduino microcon- ments (Figure 8) that are envisioned on building fa-
troller setup (Figure 5). cades strive to control solar heat gain through build-
While the small proof of concept prototype ing skins. They expand to block sunlight when the in-
and test environment (Figure 6) successfully demon- terior environment is getting too warm or contract to
strated that the sound propagation was manipu- allow the sun to penetrate through the glass façade
lated (Figure 7), further research would have to be when the interior room temperatures drop (Figure 9).
conducted to fully explore the potential of the soft The intervention is configured to assist HVAC systems
robotic system to influence its environment in real in buildings to reduce the overall energy consump-
time. tion that would otherwise be expended to maintain
Another experiment that was conducted at the interior conditions with mechanical means.
Material Dynamics Lab resulted in the design for a Furthermore the actuator design featured a ma-
soft frit that was inspired by Hoberman's adaptive terial composite that integrates a photoluminescent
fritting projects [1]. The pneumatic soft robotic ele- material (Figure 10) into the silicone mixture. The
Figure 9
Soft Frit Testing |
Credit: MDL, Jorge
Cruz, Lauren
McLellan, Anthony
Morello, and
Anthony Samaha
robotic system can absorb sunlight during the day the envisioned architectural application. The pneu-
and emit photons of light during the nighttime matic actuators can be controlled individually to in-
hours. The use of this smart material can compliment flate or deflate. Furthermore the integration of leuco
electric lighting systems. dyes (such as seen in Figure 2) can change the mem-
In the final design the soft robotic system is envi- branes color to either absorb the energy of the sun or
sioned to comprise of a multitude of distributed, indi- to reflect it back into the environment. This change
vidually activated elements that can operate without of the material's albedo solely depends on ambient
the reliance of conventional energy production. Each temperatures.
element features a small solar cell that will operate a
low power micro blower, which can inflate or deflate CONCLUSION
the individual element. The projects conducted at the Material Dynamics Lab
A third project developed in the studio is called explored the potential of soft robotics in architecture
Soft Barrier (Figure 11). With a series of soft actuators through the lens of emergent materials. The final
the robotic system can manipulate thermal transfer distributed robotic designs demonstrated the poten-
through a soft and compliant skin. Air pockets in the tial to address many problems such as energy con-
design can modulate the thermal transfer through servation or noise reduction in the constructed envi-
Figure 11
Soft Barrier by Dan
Beltran, Michelle
Ghanime, Salma
Mahmood
ACKNOWLEDGEMENTS
I would like to thank my colleague Andrzej Zarzycki
for his support. I would also like to thank the fol-
lowing students for their dedication in the prototyp-
ing and testing efforts: Chris Bartel, Dan Beltran Bel-
tran, Ryan Berg, Jorge Cruz, Michelle Ghanime, Paulo
Guerreiro, Na'Shawn Jordan, Jay Lin, Salma Mah-
mood, Lauren McLellan, Lisa Merz, Anthony Morrello,
Anthony Samaha, Kwadjo Sasu, and Jesus Vasquez.
REFERENCES
Addington, M and Schodek, D 2005, Smart Materials and
Technologies for the Architecture and Design Profes-
sions, Architectural Press, Amsterdam, Boston
Bach, F, Rachkov, M, Seevers, J and Hahn, M 1995, 'High
tractive power wall-climbing robot', Automation In
Construction, 4, pp. 213-224
Iida, F and Laschi, C 2011, 'Soft Robotics: Challenges and
Perspectives', Procedia Computer Science, 7, pp. 99-
102
Paoletti, I and Naboni, RS 2013, Robotics In The Construc-
tion Industry: Mass Customization Or Digital Craft-
ing?, Springer New York LLC, New York
Pigram, D and McGee, W 2011 'Formation embedded de-
sign: A methodology for the integration of fabrica-
tion constraints into architectural design', Proceed-
ings of ACADIA 2011
The authors of this article argue for 'making time appear' in computational
materials and objects so that it can be used to help people become aware of their
relation to their environments. [Hallnäs & Redström 2001] As more
computational and responsive materials come into play when designing
architectural spaces designers might consider opening up the dimension of time
to 'make time appear' rather than disappear. [Hallnäs & Redström 2001]
Computational materials are materials which transform expression and respond
to inputs read by computer programs. Making time appear can have many uses
particularly in applications where people can be helped by the awareness of
unfolding of time, where the temporality is linked to transformative body
experience rather than project efficiency or collapsing distance. If architects,
designers, engineers and others could begin to consider and use time as a way to
promote reflection then it would be possible to design materials which could
expand human thinking through the material itself.
Figure 10
Close Up of the
Radiant Daisy Fabric
CONTRIBUTIONS
The contributions made by the authors of this pa-
The programming for The Radiant Daisy was written per are a framework for considering the temporality
so that the microcontroller received a signal from the related to designing computational materials which
proximity sensor and then sent current to make one make time appear. The authors have identified 2 in-
petal of the daisy opaque. Each time a person was terrelated concepts about time 'what' and 'when' is
sensed near the tube the next petal would become a textile frame computational textile expression as a
opaque until the entire daisy pattern was revealed linked human/material transformation in time. The
through opacity. Figure 12 shows the set up for the authors have presented work from an exhibition ti-
Radiant Daisy tube in the space. tled Patterning by Heat: Four Responsive Tension Struc-
Figure 12 tures as an example of these 2 temporal concepts.
Set up of the More specifically they have presented the process
Radiant Daisy Fabric of making and designing these computational tex-
tiles to show how material selection, the structural
design of the knit, electronic design and program-
ming, present different gradations of time which can
be used to make time appear in human interaction
with the computational textile.
The authors would like to thank Mika Satomi for
her assistance with programming the textiles and
master knitters, Tommy Martinsson and Christian
Rodby at the Swedish School of Textiles in Boras Swe-
den.
REFERENCES
Bergström, J., Clark, B., Frigo, A., Mazé, R., Redström, J.
Material Specifics
If an orthotropic material like timber is akin to a bun-
dle of straws, then CLT is like a woven mat, and is of-
ten modeled in engineering literature as small struc- Figure 3
ture in itself. It is not enough to assume generic tim- Folded plate
ber qualities for a whole panel: cut at angles, the structure with
panel will sag slightly, like a textile. Unfortunately en- material removal in
gineering design guides provide no guidance for ex- the center of the
traordinary geometries, nor is there widely available panel according to
experimental data on the same for reference. stress distribution
Hence, to establish the theoretical structural be- in the structure
haviour of a folded CLT plate, material equations de-
scribing properties of individual laths (Hankinson),
lath layers and the panel as a whole (Gagnon) (Fell-
moser) were combined and then written into a cus- Figure 4
tom Grasshopper using the coding language Python. Folded plate
This component, along with additional structural de- structure with
sign criteria (CSA O86-09,2010), were integrated with material removal at
a Grasshopper script which morphed the geometry the panel corners
of an individual panel into different shapes and orien- according to stress
tations, effectively creating a simulated testing space. distribution in the
The link with Robot provided structural responses structure
for a band of angles and shapes, thereby identifying
the worst case loading angle condition: about 75° to
the exterior layers, rather than 90° as stated in most
guidelines. It is this value which was used as the ma-
depth of the cut to 3½". The angle of the fold also second stage of machining. From there each piece
had to consider the use of self-tapping screws; if the was machined on the 5-axis CNC and the fastener
angle had been more acute, the amount of mate- locations were pre-drilled and countersunk to facil-
rial available to support the screw heads would have itate accurate assembly. Because each screw was
been insufficient to prevent the fasteners from tear- oriented perpendicular to the panel it was crossing
ing out. Based on these constraints a 7'-0" tall wall into, and not perpendicular to the facing panel, pre-
with a 63° partial Yoshimura (anti-prism) origami fold machining these angles was imperative. Addition-
(Buri) was proposed to be built from 1½" furniture ally, as there were only four component types to fab-
grade plywood with a mitered joint, connected by ricate (two sets of mirrored triangular pieces), circu-
self-tapping screws. Using the automated algorithm lar markers were used to indicate if the panel was a
described in the previous section, it was determined type I, II, III, or IV. Once machined each component
only three cross-pairs of screws were necessary along was quickly sanded with an orbital sander, with at-
each seam. tention to cleaning up any tearing along the mitered
Once the geometry of the prototype was estab- edges.
lished, the process of machining and assembly could Following the machining and finishing of the
be tested. First, two sheets of ¾" plywood were lam- components, the assembly was straight forward. The
inated together to create the 1 ½" panel thickness components that established the base structure were
specified. Due to the edge condition of each triangu- fabricated in pairs first as they could simply sit on
lar component, each piece needed to be machined their flat edge and be easily fastened. The top pieces
individually. To facilitate this, each panel was cut were lifted and held individually and fastened to the
in half while maintaining a calculated origin for the base pieces. Within a few hours the wall was built.
Figure 7
Strategies used by
traditional coopers
was utilized to
facilitate the double
curvature
ACKNOWLEDGEMENTS
This research was made possible by funding from For-
est Innovation Investment of British Columbia.The
fabrication was carried out at the Centre for Ad-
This paper discusses an approach to adapting trabecular bone structures for the
design of complex architectural components exemplified through structural
nodes. Based on the paradigm shift in additive fabrication, namely the ability to
print structural metals, this paper identifies new methods for architectural and
structural design that allow to create porous, intricate architectural components.
Those components are designed in analogy to bone structures. The paper
presents a metaball-based application, programmed in Processing, which allows
creating n-legged nodes using parametric gradient maps. The approach aims at
reduction of weight and waste, while exploring the novel aesthetic properties of
such bio-constructed networks.
Figure 6
Osteonode
Processing Interface
with parametric
controls and 3d
modeling interface.
In the screenshot
the generated node
geometry is
analyzed with a
clipping plane.
Figure 8
Generated
osteotectonic
nodes with 3
legged, 4 legged, 5
legged and 8
legged variations.
generated through sampling of static data that has automation and structural analysis / feedback is pos-
advantages of parametric manipulation and distribu- sible that could replace the gradient field maps used
tion of material. Future research will attempt to ad- for the nodes and provide emergent results. As a
dress how such data could be generated through a result, trabecular aesthetics could be studied for di-
preliminary structural analysis of the node configu- verse architectural applications through controllable
ration that could drive the generation of optimal ma- parametric fields.
terial distribution.
As key components of structural networks, REFERENCES
nodes require precision and efficiency, and their cus- Blinn, JF 1982, 'A Generalization of Algebraic Surface
tomization could bring various advantages within Drawing', ACM Transactions on Graphics, 1(3), p.
the design, manufacture and construction of sys- 235–256
tems. While there is not a single BIM tool that can Crolla, K and Nicholas, N 2014 'Smart Nodes: A System
simultaneously achieve the modeling, analysis and for Variable Structural Frames with 3D Metal-Printed
Nodes', ACADIA 14: Design Agency [Proceedings of the
optimization of complex network nodes, the current
34th Annual Conference of the Association for Com-
implementation aims to benefit from preliminary puter Aided Design in Architecture (ACADIA), Los An-
input to generate more integrated results. Further geles, pp. 311-316
In this study, the semantic relationship of lexicons from the architectural design
domain and function words frequently used in the bioinspired design domain were
quantitatively extracted. Even though bioinspired design for the architecture
domain has a lot of possibility of use, it is not comparably accessible because the
design supportive systems were focused on engineering design domain.
Therefore, the semantic relatedness between function words from the engineering
domain and lexicons from the architectural domain were quantified in order to
develop a lexicon based biological system search tool. The lexicons were
extracted from the texts of the International Building Code and natural language
processing techniques supported the task. And the semantic relatedness between
the lexicons and function words were quantified by the semantic network analysis
using the WordNet system.
RESULT
Originally the function words have semantic hierar-
chy by relatedness and the list of class is 'Branch',
'Channel', 'Connect', 'Control', 'Magnitude', 'Convert',
'Provision', and 'Signal'. Each class word has its cor-
responding words. For example, the following words
are correspondents of the 'Convert' class: condense,
create, decode, differentiate, digitize, encode, evap-
orate, generate, integrate, liquefy, process, solidify,
ACKNOWLEDGEMENT
Figure 6 The images presented in this article are based on
Visual image experimental work developed by Illia Musizuk and
resulting of Michael Weizmann under the supervision of Profes-
algorithmic sor Rivka Oxman of the Technion, Faculty of Architec-
scripting in ture and T.P.
generative model
of digital design REFERENCES
(Credit: I. Musizuk) Celani, G and Vaz, C 2012, 'CAD Scripting And Visual Pro-
gramming Languages For Implementing Computa-
tional Design Concepts: A Comparison From a Peda-
gogical Point of View', International Journal of Archi-
tectural Computing, 10, pp. 121-138
Conclusions Hernandez, C.R.B. 2006, 'Thinking parametric design: in-
We have introduced and explored a range of research troducing parametric Gaudi', Design Studies, R. Ox-
issues in the characterization and definition of PDT man (ed.) special issue on Digital Design, 27, pp. 309-
in architectural design. Certain basic terms and con- 324
cepts have been discussed in order to provide a the- Holland, N 2011 'Inform form perform', Proceedings of
ACADIA 2011
oretical framework for defining PDT. The clarification
Iordanova, I 2009 'Parametric methods of exploration
of the taxonomic, epistemological, and theoretical is- and creativity during architectural design: A case
sues in PDT has been outlined. Further development study in the design studio', Proceedings of CAAD Fu-
more hiders, than can run free, the seeker wins s. If best layout can be picked. Another possibility is to
more hiders can run free, than the seeker finds, the use a metaheuristic solver such as simulated anneal-
hiders win h. Otherwise the game is a draw d. ing or a genetic algorithm.
As mentioned above, the quality of a layout (fit-
GENERATION OF RESULTS ness f ) can be defined rather easily, as seeker and
For the smallest layout possible, three players (one hiders should ideally have an equal chance to win.
seeker p(s), two hiders p(h1,2)) and three obsta- For this, the chance to be found should equal the
cles o(1,2,3), there are three different combinations hiders chance to escape by reaching the centre be-
where players can hide (AB, AC, BC) and six different fore the seeker. Thus the game would ideally result
paths on which the seeker can visit the obstacles (SP in a draw. The number of draws d of a possible layout
ABC, SP ACB, SP BAC, SP BCA, SP CAB, SP CBA) . can be measured against the difference between the
! total wins of either the hiders h or the seeker s. This
v(p, o) = o · o! (1) seems to result in a valid fitness function. The more
ph ! · (o − ph )!
quotient 2 approaches 1, the more attractive the lay-
The results for all these 18 possible game-variations out for the players (because there are fewer "frustrat-
v (Equation 1) are computed until either all hiders are ing" results).
found or have run free. Based on this simulation the d
quality of the layout can be measured through a fit- f (d, h, s) = ≤1 (2)
d + |h − s|
ness function f. To vary the playing field, the place-
ment of the obstacles around the centre of the play- However, this function ignores the difference be-
ing field can be changed in discrete steps (±0.1π). In tween draws on one hand and hider / seeker wins on
a second version, additionally the rotation of each the other hand. As long as the hiders´ wins equal the
obstacle around its centre can be changed (-0.4π to seeker´s wins they can exceed the number of draws.
0.4π;±0.1π). This can be done randomly and then the E.g. d=2 h=8 s=8, this would result in a fitness of 1
SOLUTION-SPACE COMPLEXITY
As shown for the smallest version of Hide-and-Seek
with three players and three obstacles, metaheuris-
tic solvers can be used to generate a layout, as the
fitness function can still be calculated within an ac-
ceptable time. But when adding only one obstacle to
In our research, a readily available metaheuris- this setup of Hide-and-Seek, the amount of possible
tic solver (Grasshopper, Galapagos) without any fur- game variations rises to 144 (compare to Equation 1),
ther modifications was used to generate layouts for quickly increasing the computational time, making it
the game of Hide-and-Seek. The best-found layout(s) infeasible to generate a layout through the utilization
can be seen in Figure 3. of such techniques.
the ranking of the cues the algorithm has to be compute these parameters has to be limited. Since
"trained" upfront. The ranking is interesting beyond the problem was explored upfront, the observations
pure prediction. It enables to identify which parame- made when looking at the best layouts should be
ters are important to the problem and which are not. taken into account when choosing the properties.
'Take the Best' could be used for the first example These data were used as training set to find an-
of our Hide-and Seek, where the obstacles are only al- other function that would remodel the fitness func-
lowed to rotate around the centre of the playing field. tion as good as possible but with less computational
However, as will be explained, it performs bad for the effort. In a first step each property was used to com-
second example where the obstacles are also allowed pute the correlation of the property and of simple
to rotate around their centre. transformations of the property (xˆ(-1); ln�(x)) against
Therefore in the case of Hide-and-Seek we had to the fitness function values. In a second step an itera-
use the strategy of 'Multiple Regression'. A thousand tive process (Branch and Bound) was applied to try if
random results where generated for both examples the correlation could be improved through multipli-
with and without obstacles rotated around their cen- cation of the different cues.
tre. (The Random class of the .NET framework is used. For the first example (obstacles are without rota-
The documentation ensures an even probability from tion around their centre) 18 different properties were
a finite set of numbers. Since the random numbers examined. The best correlation to the fitness func-
needed are limited (max 4/solution) enough random tion was found when the relation between median
numbers are provided.) For each generated layout and average angle between all pairs of obstacles o
the fitness and other properties, such as the aver- (Equation 5) got multiplied with the relation of the
age rotation of the obstacles around the playing field geometric average angle between all pairs of obsta-
centre or the average distance between the possi- cles and the angle that would distribute the obsta-
ble hiding positions, were saved. These properties cles equally (Equation 6). With this combination a
can be chosen at will, but the computational time to correlation to the fitness function of r=0.8182 can be
Figure 6
The left scatter
plots shows the
best-found
correlation of a
single cue. The
right scatter plot
shows the best
combination of up
to six cues.
operative architectural forms. Defining "Hide-and- good layout/design. More research should be carried
Seek" in this way, the simple design task to develop out to investigate under which circumstances other
a functional (= successful) layout for the distribution generative approaches could be successful to gen-
of obstacles, which cannot be solved with traditional erate designs procedurally without any iterative pro-
methods, can be approached. The operative dynam- cess.
ics of both the movement and perception of the play-
ers, as well as the flexibility of the layout of obstacles REFERENCES
interact with a complexity that can only be digitally DeLanda, Manuel 2002, 'Deleuze and the use of the ge-
simulated. To develop an algorithm generating lay- netic algorithm in architecture', Architectural Design,
outs that are "fitter" and therefore more successful 71(7), pp. 9-12
with the players, has to begin with a research of the Donath, Dirk, König, Reinhard and Petzold, Frank (eds)
correlation between arrangements of obstacles and 2012, KREMLAS: Entwicklung einer Kreativenevolu-
tionären Entwurfsmethode für Layoutprobleme in
hiders and the success of the players.
Architektur und Städtebau, Verlag der Bauhaus-
As the possible game variations increase expo- Universität Weimar
nentially with the number of obstacles and hiders, Elezkurtaj, Tomor and Franck, Georg 1999 'Algorithmic
heuristic fitness functions provide a highly efficient Support of Creative Architectural Design', Proceed-
tool extrapolating data learned form the smallest ings of the 17th Conference on Education in Computer
setup possible, producing complex arrangements Aided Architectural Design in Europe, Liverpool
Faucher, D and Nivet, ML 2000, 'Playing with design in-
close to real time. Thus they might become a valid
tents: integrating physical and urban constraints in
tool for the design practice in the future. In this pa- CAD', Automation in Construction, 9(1), p. 93–105
per, the game of "Hide-and-Seek" is interpreted as a Gigerenzer, Gerd, Todd, Peter M and ABC Research
complex architectural system whose design requires Group, - 2000, Simple Heuristics That Make Us Smart,
the development of a heuristic fitness function. But Oxford University Press, Oxford
still a metaheuristic solver has to be used to find a König, Reinhard, Treyer, Lukas and Schmitt, Gerhard
Christian J. Lange1
1
Department of Architecture, The University of Hong Kong
1
cjlange@hku.hk
This paper describes a design approach for a new urban building typology for
Shanghai utilizing a set of parametric design techniques to arrive at an
alternative solution to current models of urbanization. The goal in this approach
was to find a solution that is adaptable and sensitive to the urban environment
and has the capacity to preserve historic urban street patterns. The approach
included an understanding of the historic urban fabric of Shanghai, a respective
plot analysis and the development of a computational method to produce a new
urban type. The parametric set-up was build upon an analytical workflow with
integrated feedback procedures that informed the design exploration and resulted
in multiple design solutions.
Figure 1 INTRODUCTION
Old city fabric gets Shanghai is the largest city in China with a population
replaced with of over 20 million inhabitants in its greater metropoli-
generic housing tan area. In the last two decades the metropolis has
towers, Shanghai undergone a rapid economic and urban expansion.
The city contains now thousands of buildings labeled
as tall, with many more to come within the next few
years. This development has irreversible effects on The research project entitled "Shanghai Lilong Tower
the quality of urban space and the way people live. Urbanism - Towards an Urbanism of Parametric
In large parts of the city the traditional urban fabric of Preservation." is a theoretical attempt that offers a
low rise, low-density row houses has been already re- counter proposal to the current models of urban de-
placed by generic high-rise typologies that are trans- velopments in Shanghai. By utilizing computational
forming significantly the urban life and neighbor- methods the project aims to arrive at an alternative
hood relationships (Fig.1). If this trend continues, the solution, addressing the original qualities of the tra-
original character of the city will be largely at danger. ditional urban fabric.
REFERENCES
Guan, Qian 1996, Lilong Housing, A Traditional Settlement
Form, Master's Thesis, McGill
Hulshof, Michiel and Roggeveen, Daan 2011, How the
city moved to Mr Sun, SUN Publications, Amsterdam
SHOPGENERATOR V2
Generation
The generation of the layout is based on several user
inputs, mainly regarding size of the store, product
easily be expanded stepwise. Every layer can be en- Possible expansions of the agent based sim-
hanced separately and thus increase the variety and ulation
precision of generated layouts:
• Collision avoidance: The current implemen-
• Zoning: The subdivision of the kd tree for tation of the shopping agents doesn't simu-
unique situations (for example: decision mak- late collision avoidance between agents. By
ing on x- or y-parallel subdivision for product adding this and running the model for peak
groups with equal neighborhood relations) and trough hours additional information and
could be surveyed and expanded a higher level of detail could be provided.
• Path generation: The current approach (gen- • Buy-time: Depending on the type of product
erate paths along boundaries of product ar- and individual interest, shoppers take differ-
eas) is designed for small areas. To han- ent amount of time to compare and choose
dle path generation for larger areas, differ- which item to buy. For purchases done rarely
ent path generation solutions could be imple- (TVs, kitchen appliances, baby products,...)
mented. shoppers take more time and do a lot of com-
• Furniture: By integrating further subdivisions paring. By implementing this, the analysis of
possibilities and shelf arrangements such as shoppers could be expanded to also give ac-
star-shapes, advances and setbacks or "court" curate predictions on time spent in various
arrangement the diversity of generated lay- stores.
outs could be extended.
ture and nature lies in functionality. Whereas the tificial Intelligence, is the behavior exerted by natural
branched structures built by humans are mainly de- or artificial self-organized systems, being made up of
signed to carry a structural function, the branched boids/agents which interact locally with each other
constructions of nature have the property of multi- and their environment. These interactions lead to the
functionality. In the case of plants, the branches need emergence of complex systems demonstrating intel-
to transport water, minerals and products of photo- ligent behavior on a global level (Reynolds 1987). The
synthesis for survival as well as maintain the neces- inspiration for generating swarm intelligence mainly
sary structural resistance against the various forces come from biological systems, such as bird flocking,
applied to the leaves (Otto et al. 2006). fish schooling, ant colonies, and bacterial growth. In
In biological systems, self-organization refers the computational paradigm, agent-based models
to the process where pattern at the global level are used to create decentralized, self-organized be-
emerges from the interaction between lower-level havior. These computational algorithms simulate the
components. The rules specifying the interactions local interactions of agents in order to evaluate their
between lower-level components rise from local in- complex behavioral patterns leading to swarm intel-
formation, without the interference of external di- ligence (Shiffman 2012).
recting instructions (Weinstock 2004). Swarm intel- In the context of this research, self-organization
ligence, a concept mainly used on research about Ar- refers to form-finding methods directed at optimiz-
RESULTS
The design and fabrication processes have demon-
Figure 6
strated the strong independence between the digi-
Fabric formwork
tal and physical paradigms in design. While the com-
placed on top of
putational simulations have taken real-world con-
earth scaffolding.
straints into account with the implementation of
physics behaviour, the material properties of con-
crete and the correlations between earth and con-
crete have been some of the critical aspects which
could not have been predicted via the simulations.
Due to the humid conditions in the forest envi-
ronment, the earth scaffolding became condensed
which in turn restricted the settling of the fabric and
concrete while concrete was being poured. There- Figure 7
fore, future work needs to incorporate CFD (Compu- Final pavilion
tational Fluid Dynamics) simulation of concrete in the structure.
digital environment in order to allow for more precise
control of the final physical output. It has also been
witnessed that the density of the fabric formwork is
crucial in manipulating the behaviour of concrete. An
ideal formwork setup would comprise fabric with less
density, in other words more openings, in the lower
parts of the scaffolding in order to accelerate the cur-
REFERENCES
Hensel, M, Menges, A and Weinstock, M 2010, Emer-
gent Technologies and Design: Towards a Biological
Paradigm for Architecture, Routledge, UK
Otto, F, Rasch, B and Schanz, S 2006, Finding Form: To-
wards an Architecture of the Minimal, Axel Menges
Reynolds, C W 1987 'Flocks, Herds, and Schools: A
Distributed Behavioral Model', SIGGRAPH '87, Pro-
ceedings of the 14th Annual Conference on Computer
Graphics and Interactive Techniques, New York, pp.
25-34
Shiffman, D 2012, The Nature of Code: Simulating Natural
Systems with Processing, The Nature of Code
Option one is the first prototype in the process of construction, based on the
application of integrated processes of digital fabrication: This methodology was
developed through a research project which explores options of rural public
housing. The design process is integrated with other variables such as:
participative design, directed self-build and the integration of tangible and
intangible aspects. Parametric modeling was used as a strategy to create an
integrated process of design, production and assembly based on a code created in
grasshopper. Once finished, the housing unit will be handed over to a rural
family. This will allow for doing follow-up and evaluation.
• Compound enclosure
REFERENCES
Arango, G. 2003, La calidad de la vivienda, Biblioteca dig-
ital, Repositorio institucional, Universidad Nacional
de Colombia, Medellín, Colombia
Barrow, L. 2006 'Performance House: A CADCAM Modu-
lar House System, Synthetic Landscapes', Association
for Computer-Aided Design in Architecture
Duarte, J.P. 2001, Customizing Mass Housing: A Discursive
Grammar for Siza, Ph.D. Thesis, Massachusetts Insti-
Many situations related to natural environment and human activities increase the
risk related to housing and create a demand for rapid post-disaster solutions. The
solutions implemented by both the non-governmental organizations (NGOs) and
the local and national organizations should fulfill the requirements of the
temporarily displaced populations. However post-disaster design faces many
challenges in its process making the response always more complex. At the same
time, computer-based design is a growing approach in both architectural practice
and research. The research described in this paper aims to help in finding
solutions to design issues by addressing the potential of computer-based
architectural design support. It is applied to shelter and camp development and
takes into account physical, contextual and climatic parameters. The outcome is
a design process for shelter and camp, which has been validated by a parametric
prototype experiment in a case study. This should support humanitarian teams
and contribute to enhancing the quality of design as well as to reducing the time
required for the design and construction processes.
metric modeling methods. For this paper, a "tran- elements based on the interior surface. The slab and
sitional shelter prototype" (Figure 1) was developed extensions as well as the roof and the structures are
with parameters based on the Red Cross standards deducted thereafter through the contextual and cli-
and prototypes for shelters (Saunders 2013). The de- matic parameters. The structures and the envelope
gree of flexibility and the allowed elements to be con- of accommodation are chosen by deducting the roof.
trolled have been defined in the parametric model. The roof has a key role in customizing shelters indeed.
Adjustment of the elements and parameters will give The importance accorded to the roof as an essential
the ability to obtain the desired prototype accord- element in the design stems from the fact that this
ing to the criteria set. A shelter design process (Fig- form will answer the local climatic conditions.
ure 2) was developed by identifying possible rela-
tionships between different elements of the shelter, Camp design approach
and by defining the specific phase for the implemen- Emergency camps design (Figure 3) is a more com-
tation of the parameters in this process. The pro- plex and non-linear process often addressed through
cess begins with the number of people expected to the logistics issues raised. New concepts, require-
live inside the shelter. This parameter enables to de- ments and ideas will constantly be introduced and
rive the requested surface shelter through the usual planners should be prepared to adjust accordingly.
area per capita. According to the IFRC standards, the The camp design should be linked to the types of so-
minimum area by person should be >2.5 square me- lutions envisaged for sheltering which must be con-
ter: this will define the interior area of the shelter form to standards. The authors propose a multi-
needed by each family. The process continues with criteria approach rather than a so-called "iterative de-
all the further implemented construction parametric sign process" and identify the parameters and re-
Figure 3
Camp's design
elements and
parameters
Parameters
The parameters identified are based on a list pro-
vided by the Red Cross (Saunders 2013). Parameters Parameters included in the camp's design pro-
were classified according to their types in order to cess. A decomposition of camp's components is es-
choose the pertinent parameters at the good step sential when extracting the elements of the camp,
during the design process. We can identify three such as road, lots, sanitary, spaces, dimensions, green
types of parameters: (1) contextual parameters re- spaces, gathering spaces (table 2).
lated to living conditions and culture, (2) climatic pa-
Table 2
rameters related to climatic conditions and weather,
Parameters of camp
(3) physical parameters related to the forms, geome-
tries and dimensions.
The identification of parameters shows that
physical parameters can be easily expressed numer-
ically, while contextual and climatic parameters are
more complex to be be translated into qualitative or
numerical values.
Note that the elements of the shelters and the
camps can be affected by physical, contextual or cli-
matic parameters at the same time, climatic and con-
VALIDATION
textual parameters may have direct influence to a
physical elements.
Implementation
Shelters and camps parameters used for assessing
Parameters included in the shelter's design pro- our research propositions are implemented in a 3D
cess. In order to define the design structure of the modeling software allowing the generation of the
shelter, a decomposition with specific components prototype taking into account parameters and con-
is essential. These components represent the build- straints. Grasshopper and Rhino 3D are used in our
ing elements, such as walls, columns, beams, roof, study. The choice of Grasshopper and Rhino 3D is
and wall opening. Relations between these compo- justified by the ability of these software systems to
nents are defined and maintained along the design easily design and manipulate algorithms based on
process. Components can have the same parame- visual objects and defining the constraints and pa-
ters, but they can also serve as entries to other com- rameters. The prototype developed deals with pa-
Figure 4
Overall process for
the generation of
the shelter
prototype
The common understanding of morphogenesis im- nature of these aspects is intrinsic to evolutionary
plies a three-dimensional evolutionary change in biology, and its accurate implementation in bio-
form witnessed in the developmental process of generated architectures potentiates a twofold un-
an organism. This evolutionary process emerges derstanding of different morphogenetic strategies
from cell growth, cellular differentiation and envi- and its spatial consequences. Within this premise
ronmental changes that generate specific conditions the morphogenetic factors of cell-differentiation and
between genotype and phenotype. The complex cell-signaling become a crucial aspect in a real-time
This characteristic denominated as cell-signaling pro- phogenetic strategies and its spatial consequences.
vides complex intracellular relations that are embed- Within this premise the morphogenetic factors of
ded in the genetic code. Accordingly each con- cell-differentiation and cell-signaling become a cru-
tains cell specific molecular modules that foster in- cial aspect in a communication system between an
ner procedures such as, loops, symmetry and sub- archetype and space, thus performing within partic-
designs, meaning that cells have a behavioral code ular modes in which design correlates to space.
enabling them to perform only a certain number
of tasks. Only through intracellular communication BIOLOGY AND REALTIME SIGNALING
new cellular functionality is developed, which is si- Within the biological process of morphogenesis dif-
multaneously based in the cells genetic code, as well ferent procedures potentiate different species by set-
as the interaction signals from the surrounding en- ting different types of cells to organize and communi-
vironment. These actions create a framework imple- cate in groups that contain specific functions. Funda-
mented in computational development, which con- mentally, each cell is free to evolve within, as long as
sequently aim towards the usage of evolutionary al- the connections between their modules remain con-
gorithms in design (Holland, 1975). sistent. These processes are bidirectional and specific
The common understanding of morphogene- in the form they evolve, in order to remain fit in a de-
sis merely implies a three-dimensional evolution- termined environment. Specificity in the process of
ary change in form witnessed in the developmen- morphogenesis is an important factor that is contin-
tal process of an organism. This evolutionary pro- uously neglected in the field computational architec-
cess emerges from cell growth, cellular differentia- ture and becomes even more critical if we deal with
tion and environmental changes that generate spe- the notion of realtime design (Maturana and Varela,
cific conditions between genotype and phenotype. 1980).
Nevertheless the complex nature of morphogenesis The notion of realtime is implicit and the field
is intrinsic to evolutionary biology, and its accurate of Evo-Devo and emerged simultaneously with some
implementation in bio-generated architectures po- of the earliest ideas by D'Arcy Thompson on how
tentiates a twofold understanding of different mor- physical and mathematical processes affect biologi-
Figure 4
Multimodal System
view of
Emosphera’s
integrated realtime
signalling structure.
Figure 5
Graphics mapping
the realtime
normalization
sequence of the
genetic algorithm
(from top-left to
bottom-right).
The use of evolutionary solvers in design has introduced the potential of dealing
with multiple conflicting objectives under a single design model. The experiments
presented in this paper employ an evolutionary solver towards the generation of a
4x4 urban superblock in the city of Barcelona, one of the highest population
density cities in Europe. The superblock is based on Cerda's iconic 8-sided block
and takes three conflicting objectives into account, aiming not only to achieve a
high density proposal but one that considers block relations, as well as green
space throughout the city. The design is based on principles of evolutionary
science, generating a population of solutions, whose individuals are ranked and
selected based on a fitness criteria. Rather than aiming to reach a single 'optimal'
solution, the model produces a population of solutions that are optimized in
relation to the design environment.
BARCELONA
Urban Growth
The city of Barcelona's development into one of the
highest population density cities in Europe has been
propelled in part by the Example (2). The Eixample
Figure 2
(figure 1) is an urban plan proposed by Ildefons Cerda
Hierarchy of street
that addressed issues of population growth, build-
network and green
ing density, unsanitary conditions, illnesses and high
vs built area
mortality rates that had inflicted the city of Barcelona
occupation. (6)
during the 19th century, necessitating an expansion
of the city beyond its walls.
Cerda's plan for the city engaged three primary
domains:
Figure 11
Four Pareto
solutions selected
from generation
100 that exhibited
balanced fitness
values in relation to
all objectives.
Figure 4
DEVELOPMENTAL BIOLOGY
Developmental biology is the study of the growth of
Transparent mesh
plants and animals at the level of cells. The main fac-
with extruded
tors which are studied and which influence growth
venation structure
are cell proliferation, cell differentiation and morpho-
genesis (Wolpert el al. 2011).
Figure 5
RESULTS Venation structure
The types of geometries which can be generated by
the algorithm are surprisingly rich in their geometric
behaviour and range from relatively flat, waving sur-
faces (figures 2, 3), to very intricate formations remi-
niscent of flowers or corals (figures 4, 5, 6, 7).
When using a direction dependent movement
factor, horizontal planes can be created which can be
used to simulate leaf surfaces. The venation patterns
are most clearly visible in those structures. (figures 2,
3)
ACKNOWLEDGEMENTS
The paper was written by Christoph Klemmt as part
Figure 7 of a doctorate under the supervision of Prof. Dr. Klaus
Generated Bollinger at the University of Applied Arts Vienna.
morphology
REFERENCES
El Ahmar, S 2011, Biomimicry As A Tool For Sustainable
Architectural Design, Master's Thesis, Alexandria Uni-
versity
Benyus, J 1997, Biomimicry: Innovation inspired by nature,
William Morrow, New York
Evert, RF and Eichhorn, SE 2006, Esau's Plant Anatomy:
Meristems, Cells, and Tissues of the Plant Body - Their
Structure, Function, and Development, John Wiley &
Sons, London
Hart, G 2009 'Growth Forms', Proceedings of Bridges
Hensel, M 2006, 'Computing Self-Organisation:Environmentally
Sensitive Growth Modelling', AD, Techniques and
Technologies in Morphogenetic Design, pp. 12-17
CONCLUSIONS AND FUTURE WORK Hensel, M and Menges, A 2007, Morpho-Ecologies: To-
The geometries generated with the algorithm are wards Heterogeneous Space In Architecture Design,
very promising and show how a cell based simulation AA Publications, London
can be used to create complex morphologies. Very Hensel, M, Menges, A and Weinstock, M 2010, Emer-
gent Technologies & Design: Towards a biological
different types of structures can be generated by the
paradigm for architecture, Routledge, New York
system, which is controlled on a local cell level but as Kaandorp, JA and Kübler, JE 2001, The algorithmic beauty
well can react to global constraints. of seaweeds, sponges and corals, Springer, Heidel-
The geometries generated so far seem very suit- berg
able for the creation of art projects or experimental Kaandorp, JA, Sloot, PMA, Merks, RMH, Bak, RPM, Ver-
architecture. However they will need significant ad- meij, MJA and Maier, C 2005 'Morphogenesis of the
branching reef coral Madracis mirabilis', Proceedings
justments in order to become applicable for a func-
of the Royal Society B (2005) 272, pp. 127-133
tioning building design. Laguna, MF, Bohn, S and Jagla, EA 2008, 'The Role of Elas-
Various adjustments and additional behaviours tic Stresses on Leaf Venation Morphogenesis', PLoS
should be incorporated into the algorithm: Computational Biology, 4(4), p. e1000055
Lindenmayer, A 1986, 'Mathematical models for cellular
• global constraints and influences such as site interactions in development I. Filaments with one-
ibility). Whilst (b) expresses commonality the other to other actants because each actants pheromone
exchanges lead to deformations of the organisms is unique. As a difference , the pheromone can af-
niche: the latter (c and d) in terms of negative de- fect the actant by constituting a centrifugal or cen-
formation and (a) to positive deformation. These tripetal force on the nodes, thereby affecting the ac-
forms of interaction are extended for this study to de- tants current location relative to the difference de-
fine relation potentials, establishing forms of associ- tected. Fundamentally an actant constitutes an ab-
ation between one actant and another. These asso- stract swarm, with the capacity to distinguish self
ciational parameters distinguish the spatial-property from non-self. The pheromone an actant emits acts
of a relation as a scale, not of dimension, but as a as a unique signal, identifying itself to other actants.
gradient or degree of consolidation. The relation- Each actant thus has an identity, which its compo-
potentials between one actant and another are thus nents share and to which other actants refer. A dif-
sub-sumptive. (See Figure 1). ference may therefore be 'observed' by the actant,
through its boundary-receptors as something which
The basic component of the computer is not an aspect of its identity. The actant will thus
model respond to the difference detected by positioning it-
An actant represents a region of space, depicted by self according to the significance: i.e., the association
a boundary composed of 'boundary-nodes' that are with the other actant detected. Consequently, the
linked, and describe the actants form. The bound- actants configure themselves according to those ac-
ary is a mutable entity, because the boundary-nodes tants they have an association (or dissociation) with
have the capacity to affect and be affected. Their con- by responding to their signals. Configuration arises
figuration therefore affects the actants conformation. in the model as a result of boundary conformation,
The boundary consisting of nodes, which act as the determined by the way the boundary-receptors re-
actants receptors, and effectors, are affected by dif- spond to differences detected. (See figure 2).
ferences detected in the environment. These nodes The form of association and behaviour of an ac-
(referred to as boundary-receptors) are agents which tant is determined by its capacity to sense, and dis-
move collectively while emitting and responding to tinguish differences present in its environment. The
differences. These differences are created by the ac- differences thereby have meaning for an actant, act-
tants emitting pheromone, which acts as a signal ing as a signal, according to the significance of the
Figure 4
Actants settled in
different
configurations
according to their
associations
RESULTS Figure 5
Design process _ Geometrical characteris- Three structural
tics particularities of
Being one of the research goals, the generation of growth process
architectural models with the geometric qualities of
living structures identity, this intention will require
a generation process that allows to create a wide Which particularities of formal design are associ-
range of shapes with the same geometric identity. ated with each of these parameters? The origin, re-
According to Alexander, the phenomenon of life do gardless of its geometric configuration, is always the
it, but the geometric characteristics that his iden- source of all the information that will give body to
tity imposes only emerge in the structures if they the structure. It will define the morphological charac-
are generated by growth mechanisms. Therefore, it ter of the structure as well as the relations that need
seems clear that the adopt design process to gener- to exist between the elements given a particular pur-
ate models with the identity of living structures, one pose of structural cohesion. Therefore, the geomet-
should support the geometric features inherent to ric characteristics associated with the origin, include
the growth process of the same. Which are the struc- the definition of a geometric vocabulary and the def-
tural requirements evidenced by the growth phe- inition of the proportions ratios for the elements of
nomenon? Growth always begins with something the vocabulary and which are approached under the
that expands and never ceases to be an integral part theme allometry (figure 6). The expansion, in turn,
of the environment that contains it. It is, therefore, focuses on how the reproduction of the origin takes
a process which comprises at least three parameters: place and on the cohesive way in which this repro-
origin, expansion and connection (figure 5). duction propagates in space. This requires as geo-
metric characteristics the repetition and the gener-
ator center, and this is approached under the theme Shape grammars rules
structural expansion (figure 7). Finally, the connec- Global rules - Living structures proliferate in space by
tion focuses on how the structures work with the sur- growth levels. They are so important in the geomet-
rounding environment, in order to become an inte- ric composition of the shapes that all structural ele-
gral part of it. Therefore, the geometric characteristic ments are organized by their rules. This suggests that
associated with the connection, is the union and it is growth levels play an important structural basis role.
discussed under the topic of spatial integration (fig- Thus, it seems important and clear that the first phase
ure 8). of the design process is intended to generate a struc-
tural basis where will be referenced all the following
Design process _ shape generation phases. Therefore, global rules define the structural
How is made the transfer of these geometric char- basis rules. They control the proportional relation-
acteristics to the design process? By creating rules ship of the shapes as well the proportional variations
described with the graphic and algebraic languages between the structural elements which embody the
of shape grammars (Stiny, 2008). This grammar will shapes. The rules developed to this phase will only
divide the shape generation process in four distinct contemplate wave expansion (figure 9).
phases: global rules, shape delimitation rules, local Shape delimitations rules - These rules are based
rules and spatial rules, each one with its own rules. It on the union geometrical characteristics of the liv-
must be pointed out further that the elaborate gram- ing structures growth mechanisms. Their purpose is
mar is a parametric grammar. This means that the to generate irregular shapes contour over the struc-
rules must be interpreted by geometric parameters tural basis, able to reveal the multi diverse connectiv-
and not by the dimensional accuracy of their geom- ity of the union principles. For this operation a guide
etry in the graphic description of them. mesh of points is introduced over the expansion lev-
Figure 8
Connection
geometrical
characteristics. 1)
Union - The
connection with the
surround require
irregular limits with
multi-diverse
irregularities.
Figure 11
Example of a
bidimensional
geometric
composition
transferred to a
sphere surface.
els rings. These points will be the contour guide refer- tion, the expansion from a center. Thus, the surfaces
ence of shapes. The union of the selected points will centers will be the base reference to transfer the bidi-
be made by concave or convex lines in order to in- mensional composition into space. The concavity of
crease the shape connectivity with the environment these curved surfaces allows enclose internal space.
(figure 9). This particularity gives to these compositions a struc-
Local rules - These rules correspond to the shape tural purpose of "shelter", which enables the human
materialization stage. It is the stage where the phys- occupation (figure 9, 10 and 11).
ical structure is generated. These rules will generate
the structural shapes of the geometric composition Validation
one by one, from the geometrical qualities of the ini- The design process proposed, generate shapes
tial shape. To generate these shapes is applied the whose structural composition reflects the geometri-
voronoi diagram concept. To simplify the generation cal characteristics identified as crucial to the growth
process of structural shapes, this grammar only con- mechanism of living structures. The shape structural
templates the use of polygonal shapes (figure 9). elements reveal the same geometric familiarity. All
Spatial Rules - The purpose of these rules is to are polygons. These polygons are distributed by the
transfer the two dimensional geometric composition structural composition through an expansive shape
defined in phase 3, to a curved surface in space. Two (wave). The proportion ratios between them also re-
geometric surfaces are used as the basis for this trans- spect the scale variations of harmonious proportions.
fer, the torus and the sphere. Both surfaces share the The structural composition is generated from a cen-
main structure quality of the geometrical composi- ter through growth levels. The composition is struc-
tured through the repetition of familiar geometrical able to generate a wide range of geometric shapes
elements with spatial exclusivity qualities. They do with the same identity and to the challenge of gen-
not share anything with other shapes or elements. erate shapes that reveals a geometric pattern more
They are clear, simples and irregulars. The resulting similar to the ones existing in the living structures.
spatial exclusivity of the combination of all the ele-
ments reveals a vibrant geometrical pattern (rough- CONCLUSIONS
ness). The shapes union with the environment is This investigation shows through a geometrical de-
strong. They contain boundaries with a large diver- sign process that is become necessary to change the
sity of connection with the environment. The result design process for the architecture start to demon-
is a strong "friction" between shapes and environ- strate simultaneously in the same geometric compo-
ment. The result of combining all these features in sition, the geometrical characteristics of living struc-
one structure only, is compact, cohesive and non uni- tures identity that Alexander advocates as crucial to
form shapes. So, the geometric design process pro- the architectural quality in terms of spatial integra-
posed, respond positively to the challenge of being tion of the shapes in the natural surroundings. The
REFERENCES
Alexander, Christopher 2001, The nature of order: An es-
say on the art of building and the nature of the uni-
verse, The center for environmental structure, Cali-
fornia
Yota Adilenidou1
1
The Bartlett, UCL
1
yota@arch-hives.net
This paper is focusing on the idea of error as the origin of difference in form but
also as the path and the necessity for optimization. It describes the use of
Cellular Automata (CA) for a series of structural and formal elements, whose
proliferation is guided through sets of differential grids (multigrids) and leads to
the buildup of big span structures and edifices as, for example, a cathedral.
Starting from the error as the main idea/tool for optimization, taxonomies of
morphological errors occur and at a next step, they are informed with contextual
elements to produce an architectural system. A toolbox is composed that can be
implemented in different scales and environmental parameters, providing
variation, optimization, complexity and detail density. Different sets of
experiments were created starting from linear structural elements and continuing
to space dividers and larger surface components.
bination to differentiated multi-grids that are able to give the points were the appendages and organs
mutate before and during the process of CA prolifer- will grow to other directions of the embryo para-
ation through generations, leading to a different out- metric space. Carroll also mentions a region in the
come and application from other CA projects, while embryo responsible for its organization, called the
deforming the very defined and static background of "organizer" (Carroll 2005) that holds the structure of
the system. body together and maintains the order. Any change
in the organizer will cause disorder and will upset the
ERROR, EVOLUTION AND OPTIMIZATION equilibrium.
Sean Carroll explains in his book Endless Forms Most The development process depends upon an au-
beautiful (Caroll 2005) the stages of development of tomated procedure. A small set of similar genes pro-
an embryo to a fully developed body. The points duce a countless number of animal species. Switches
(coordinates) of the embryo geometric ideal surface turned from on to off (repressors - activators), turn on
is referenced to the elements of the final body for- and off specific digit parts of the body on growth and
mation, the surface, pattern, layers, organs and ap- act as operating instructions for the genetic toolkit,
pendages. Matter is organized with the help of affecting the body pattern, its layering and exten-
the embryo "manual", the genotype. In its coordi- sions (Carroll 2005) Carroll is talking about episodes
nates, the information of body structure and growth instead of instantaneous events - environmental
is found. Carroll talks about the geography of the em- changes or chance that affect this automated pro-
bryo as a system of longitudes and latitudes evenly cess. While the switches circuit is assembled, fail-
arranged and dividing the embryo. Longitudes are ures take place that produce errors in body symme-
referring to the pattern of the body, the repetitive try, changes in morphology as well as in the use
parts and the way they are varied through the body of appendages, creating advanced new bodies and
via development. Latitudes refer to the surface and species. In this way, errors or otherwise, deviations
the layers below, epidermis, mesoderm and other tis- from the default, are leading to optimized forms
sues. The intersections of longitudes and latitudes and structures that are adjusted to their environ-
ment. These symmetry breaking changes are also de-
is found either on the curve� grid or on the sudden GAUDI'S SAGRADA FAMILIA CASE STUDY
change of rules of the cellular automaton. While the research has started with design tests that
Gaudi's Sagrada Familia is used as an exam- were linear and were consisting more of structural
ple model for investigating the complexity of form components than spatial distribution elements (Fig-
emerging through perfect polar geometries and in- ure 3), the detail resolution and the sculpting quali-
tersections of simple ruled surfaces that become sub- ties that the experiments revealed from the very be-
divisions, increasing detail and resolution. (Burry, ginning, led the discussion to the Gothic architecture
Burry, 2012) This research attempts to revisit the and the sculpting methodologies of Gaudi in Sagrada
connection between the use of absolute geome- Familia. The multigrid of polar arrays of curves, de-
tries, symmetries, and Boolean operations. Their dis- scribed above, found reference to the curves that
tortions become "decorative elements", elements of were guiding the form and the detail in gothic el-
complexity production and real�time matter distri- ements, describing the geometry of ruled surfaces
bution, displayed in a series of new prototypes, vir- that were intersecting, while they were transferring
tual and physical that examine error and randomness load and matter. This grid that emerges from the
as a convolution primary ingredient. Boolean opera- gothic nerves, holds all the information of detail
tion acts as an agent of complexity, sub�division, in- intensity, affects perforation, and light distribution.
ward self�repetition, it sculpts the surfaces, it read- While in Gothic Architecture the ruled surface is the
justs the topology of the design object. receiver of subcomponents of a different resolution
and form, in Gaudi's Sagrada Familia, the ruled sur-
face becomes the subcomponent. The detail and
sculpting results arise from the multiplication of the
ruled surface, its rotational array and its intersection was a perfect application model for the next set of
with its neighboring subcomponents-ruled surfaces. experiments. The plan typology of the cathedral was
The proliferation of clear geometrical forms becomes kept intact and was used as a base for the creation
origin of complexity. These surface subdivisions were of multi-grids. The aim was not to reinvent a new
transferred in the digital interface by Mark and Jane spatial arrangement but to rewrite the same spatial
Burry as Boolean operations in order to recreate the relationships through a different vocabulary aiming
methodology via computation. at a new type of spatial experience. As a first step,
the parts of the cathedral were categorized and in-
APPLICATION - THE CATHEDRAL troduced defined polar grids of multiple centers. The
While the methodology of the research was com- grids created through these centers varied in scale,
pared and connected to the multi-grids resulting resolution, and density, as well as in boundary condi-
from intersecting ruled surfaces of Gothic Architec- tions according to the different spatial needs, the size
ture and Gaudi's sculpting methods, the Cathedral of the specific cathedral part, its location to the whole
system and its neighboring conditions, the context
conditions and the relation of the cathedral with the but also changes in the local areas of the pattern, af-
immediate environment of the city. This process led fecting the sculpting, the perforation of the surfaces
to taxonomies of elements, structural and spatial, but as well as the volume aggregation for structural ca-
also to a pattern of directions and matter distribution. pacity. Although the linearity of the cathedral is kept,
The multi-grid was used as a base for the cellular au- the resolution of the grid with more than 600.000 re-
tomata aggregation. sulting editing points from polar curves of different
The cathedral and its parts still keep some ob- centers and different array density, created intricate
ject qualities of the initial tests but this time the ob- outcomes of high complexity.
ject is dispersed and its boundaries are dissolved in The surfaces of the parts of the cathedral, the
order to make it interact with the neighborhoods. narthex, the nave, the cloister, the choir and the
CA rules are transformed trough context geometry transept (Figure 5) are constructed through a point
but also through environmental data in order to pro- cloud extracted from the CA aggregation through
vide boundary conditions, openings, and perfora- the grids. The linear core can result to various out-
tion, light and shadow distribution, as well as dec- comes with curves of different shapes arrayed around
oration and sculpting. The symmetry of the typical the same centers. (Figure 6) Mutation of the initial
cathedral plan is readjusted and mutated. The initial seeds and the CA code is reshaping and breaking the
seeds arrangement is also mutated according to en- symmetry. The two mirrored parts of the cathedral
vironmental factors to provide alterations in density typology are differentiated although they are result-
ing from grids of the same initial center points. The typology of a cathedral was simulated through differ-
same set of "genes" with different "initial switches" re- ent polar grids creating space distribution and struc-
sult to loss of information, local differentiation, and tural elements. In the next experiments, Boolean op-
symmetry imperfection. (Figure 6) erations will be used in order to create surface resolu-
In the surface sculpting of Gaudi, we can read tion and decoration, using the resulting elements as
the use of simple surfaces as a subcomponent for the perforation and surface sculpting. The grids are again
creation of detail and complexity. The proliferation initiating the process but instead of space distribu-
of the ruled surfaces, hyperboloids and paraboloids, tors they play the role of surface subdivision guides.
and their intersection was creating carving patterns, (Figure 7)
on the larger surfaces of the Sagrada Familia cathe- The base used for the experiments was a set
dral. Polar arrays of intersecting surfaces in different of Boolean union surfaces that were copied and ro-
angles, directions, densities, and repetitions was pro- tated around a center creating a pattern. The ex-
ducing a result of maximum detail intensity. Inspired tracted wireframe of these surfaces became the grid
by this methodology, a different set of experiments of curves upon which the CA would be arranged and
was introduced. In the previous examples, the linear would generate the point clouds. The first tests were
through defined rules create variations, errors or else, The errors introduced to the system are not ran-
deviations from the default condition that often re- dom but actually have a strong connection to context
lates to symmetry and to disorder of form. Complex- parameters. There are a number questions that arise.
ity can actually originate from simple geometry and How do you control randomness? Is it randomness,
specific rules leading to detail concentration, disor- disorder or mutation what is implemented in the
der, intricacy and infinite variation. Sets of simple script? Is mutation intentional? Are the disordered
ruled surfaces were used as a base multi-grid for the initial seeds manually mutated according to param-
CA to aggregate. eters or they are randomly generated? This can be
"He who loves practice without theory is like the sailor INTRODUCTION. MATTER, SPACE AND
who boards ship without a rudder and compass and TIME IN ARCHITECTURE
never knows where he may cast" Leonardo da Vinci. Our universe is subject to perpetual change. Be-
Acknowledgement: This paper partially shows cause it is made up of material "bricks" it is doomed
the results of the research project "Pensamiento Grá- to constant transformations that are energy consum-
fico. Percepción visual, expresión gráfica y concien- ing. The rate of these modifications is what Aris-
cia digital" funded by the Conselleria de Educación, totle (Physics IV, VIII) called time, a human abstrac-
Cultura y Deporte (Generalidad Valenciana). tion to measure these changes and what could be
referred to as cosmological time. No matter how
simple or apparently ethereal the architectural lim-
its may be, they are always material. Considering
Henri Achten1
1
Czech Technical University in Prague
1
achten@fa.cvut.cz
INTRODUCTION and actions between the user and the building that
In this paper we investigate a number of tech- have some meaning for both the building and the
nologies through the lens of interactive architec- user. Meaning for the user usually is straightforward
ture. In earlier work we developed a framework for - it can vary from utilitarian (switching on/off lights,
the design of interactive architecture (Achten 2014a; controlling the heating, managing shades, and so on)
Achten 2014b; Achten 2013). Interactive architec- to leisure (watching television, setting music, man-
ture occurs in buildings when part of the building aging ambient levels, and so on). The term "mean-
engages in a dialogue with the user. The dialogue ing" for the building is a bit less obvious, as we can-
should not be taken as a literal conversation between not attribute to the building a level of understanding
the building and the user (although it might take that similar to people. In the current discussion it is suf-
form), but means rather an exchange of information ficient to speak of meaning when the action and in-
Figure 2
Evolution of virtual
and physical
models during the
prototyping
process
DISCUSSION
The design process is progressed not only to adapt
to the design requirements using smart components,
but also to specify the desired form according to con-
cepts: prototyping process. Virtual models, physical
models and sketches were categorized into 6 works
from the 6 project teams. A team which produced
balanced quantities of three media (virtual models,
physical models and sketches) was selected and their
roles were analyzed in terms of complementary roles
of models and media. This team designed a kinetic
façade to mimic a leaf like Carpinus laxiflora to im-
prove the quality of the indoor environment. Ki-
netic parts in this project operate in response to the
presence of human with the help of a proximity sen- operating the parts as in the real smart build-
sor. The design process can be divided into 2 stages ing envelope.
based on the function change of three media. Def- • SKETCH
initions of stage A and B are based on the chapter
of 'designing digital design studio': In stage A, con- 1. A stage: It is used to skematize the image
nections between virtual models and physical mod- of the facade. Virtual models and physical
els are not fully constructed for real-time operations: models are implemented same as drawn us-
In stage B, connections between virtual models and ing sketch
physical models are completed for real-time opera- 2. B stage: When awkward movements or phys-
tions. ical crashes are detected, it is used to analyze
imperfections for factors or set complemen-
• VIRTUAL MODEL tary mechanism using connection between
1. A stage: method to implement geometries virtual models and physical models.
2. B stage: method to evaluate performance -
When designers operate virtual models and physical
for acting by both adapting a luminous inten-
models separately (A stage), they need to compare
sity and a distance between a user and the en-
different versions or prototypes to improve design fi-
velope, simulation results are compared with
delity. In this stage, they are able to implement de-
each other.
sired form and choreograph systematic movement in
• PHYSICAL MODEL accordance with design concept. After schematic de-
1. A stage: method to apply the movement sign are built in a simplified form (B stage), they oper-
of the leaves to folding mechanism of the ate system in real-time and interacts to achieve high-
façade. performance of 'smart building envelope'. And Sym-
2. B stage: method to find physical problems by biotic virtual-physical models play a key role to de-
CONCLUSION AKNOWLEDGEMENT
Prototyping is a critical design method for smart This paper was supported by 63 Research Fund,
building envelope which needs to be developed with Sungkyunkwan University, 2014.
step-by-step evaluations on its operations and var-
ious required performance factors. Also, reflecting REFERENCES
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studios. Old-fashioned CAD teaching curricular pro- 'Virtual Reality Applied to the Study of the Interac-
tion between the User and the Built Space: A Liter-
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ulation, are not able to fully support those require- Las Vegas, pp. 345-351
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Davis, D, Salim, F and Burry, J 2011 'Designing Respon-
the type of design product, levels of implementation,
sive Architecture: Mediating Analogue And Digital
coordinating tools, providing necessary knowledge Modelling In Studio', Proceedings of the Computer-
and skills. This paper tried to address this strategy in a Aided Architectural Design Research in Asia (CAADRIA)
digital design studio where the theme was to imple- 2011, pp. 155-164
ment a smart building envelope, then analyzed the De, S, Christophe, B and Moessner, K 2014, 'Semantic en-
content of the class. In this paper, a symbiotic model ablers for dynamic digital–physical object associa-
tions in a federated node architecture for the Inter-
between virtual-physical models was proposed. The
net of Things', Ad Hoc Networks, 18, pp. 102-120
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vantages in deriving successful design. Another in- Formal Designs, pp. 43-61
teresting point was how traditional sketches facili- Gruber, P, Bruckner, D, Hellmich, C, Schmiedmayer, H-
tates the interactions between two models. In con- B, Stachelberger, H and Gebeshuber, IC (eds) 2011,
clusion, a framework for prototyping-based design Biomimetics--Materials, Structures and Processes: Ex-
studio was proposed which is based on the symbi- amples, Ideas and Case Studies, Springer Science &
Business Media
otic virtual-physical models. Also, the integrated use
Guimaraes, T and Saraph, JV 1991, 'The role of proto-
of traditional design media in digital design process typing in executive decision systems', Information &
was emphasized. A rigorous analysis method was not management, 21(5), pp. 257-267
fully developed to quantify the statistical significance
Modularization
With the current end effector prototype (to be de-
scribed below), there is huge potential for variation
within the modularization of the form. Current mod-
Figure 3
ular systems are modeled off of a hexagonal pattern-
ROBO-WINDER
ing with a varying diameter of between eighteen and
v.6.0. Fabrication
sixty inches. The current prototype also has the abil-
Drawing
ity to adjust in length in 1/8" increments of length cre-
ating extra flexibility (figure 2). For additional varia-
tion in form or winding patterns, arms can be com-
pletely removed creating new modular typologies
or elongated asymmetrically. Also, as symmetry be-
tween the inner and outer surfaces my not be struc-
turally or visually desirable, each arm also has the
ability to rotate 45 degrees on either direction out-
side of vertical. This allows for interlocking between
adjacent panels.
Module connections are currently designed as
flexible rubber hinges which allow for a minimal
amount of flexibility between the modules. The con-
nection system will be developed further in later
research, and as the individual module system be-
comes more robust. Through the utilization formless composite winding,
the dwellings form has the ability to remain flexible
Robo-Winder V.6.0 (form, joints and skin), as the building is no longer
Opposed to the previously discussed Monocaque constrained by the ridged connections and cross sec-
based structural winding; ROBO-WINDER (figure 3) tions of standardized materials such as wood, steel
CONCLUSION
Although the "One Day House" is still in the early
stages of development, current research has shown
the potential and necessity for the integration of ad-
vanced materials, fabrication methods and robotics
into the design and fabrication of future housing so-
lutions. Through the utilization of these new mate-
rials and methods, the potential for the creation of
Ubiquitous computing systems are changing the way retail environments are
being designed. With increasing frequency, User Experience (UX) designers
leveraging ubiquitous computing systems that observe and respond to user
behaviors are assuming roles once held exclusively by architects. As these
systems continue to spread, space designers will need to embrace UX research
and design methods. We will discuss how ubiquitous computing is leveraged in
our research, and our position on how these systems are impacting the design of
retail environments, illustrated by several examples of UX research projects
informing the design of retail environments.
Observe and Respond tion, or customer loyalty programs can also be used
Ubiquitous computing systems that observe behav- to ensure that the appropriate content is provided to
ior and make decisions on how to respond based on the user, providing a better chance that the user will
that data, and perhaps other sources of data from make a purchase.
within a network of supporting devices, are relatively In addition to what the consumer experiences,
straightforward in terms of the process by which they retailers can receive data about a guest's browsing
perform these actions. In many cases, it is an "if this, on the their mobile app, procession through the store
then that" relationship that drives the experience. For while the app is running during a visit (see Figure 3),
instance, if you bring your mobile smart device, that and what the guest's level of interaction is with any
is running an in-store application capable of look- push notifications they may have received (do they
ing for one of Apple's iBeacons, near a product on a ignore it, click on it then navigate back to the previ-
shelf and you pass inside of a predetermined prox- ous task, proceed to purchase it online [a.k.a. show-
imity threshold, then you will receive a push notifica- rooming] or potentially in store). Retailers can use the
tion (see Figure 2) about a special promotional offer insights gained from such user interactions to inform
for that product. the designs of future in-store experiences.
CONCLUSION
User experience researchers have begun to employ
ubiquitous computing to observe behavior, respond
in real time, and broker insights that lead to changes
in retail building. It is a priority for all designers of
space to undertake the lessons required to under- REFERENCES
stand how occupants experience space, and how to McCullough, M 2005, Digital Ground, The MIT Press
Weiser, M 1994 'Creating the invisible interface', UIST
leverage tools like ubiquitous computing to under-
'94 Proceedings of the 7th Annual ACM Symposium on
stand experiences and develop new insights to in- User Interface Software and Technology
form design decisions. Weiser, M 1995 'The Computer for the 21st Century',
Readings in Human-Computer Interaction
[1] http://www.ubiq.com/weiser/testbeddevices.htm
[2] http://www.open-building.org/ob/concepts.html
There is a strong relation between playful learning and the environment children
inhabit. An environment can easily turn into a medium for play while its patterns
and children's interactions with these patterns can turn into experiences of
learning. Developed upon findings from an analog pilot study and built with an
open source electronic platform and piezoelectric sensors, our prototype
translates children's physical actions into responses of an interactive device.
Experiments with children using the prototype support, in part, a unifying
approach to designing playful learning environments embedded with tangible
spatial interaction.
colours of paint (Figure 1). The set up offered a lim- N, having seen this, started within a smaller circle,
ited simulated functionality and allowed for some ba- continually examining the traces her shoes left, and
sic interactions with visual and haptic feedbacks. A only after that she started to wander around more
open area of 3m by 3m was covered with paper fixed freely.
to the ground. Children were provided with trays of Both participants, N more than D, were inter-
blue and red paint and two pairs of footwear easily at- ested in leaving visual traces that allowed them to
tachable to the bottom of their shoes. They were not observing their own movements. Perceiving these
instructed but freely stepped in the trays with their as helpful tools, they accepted the environment and
attached footwear and then onto the planar surface played extensively to experience and explore more in
covered with paper. The two children are twins at age the next 30 minutes.
4, one girl and one boy (from here on referred to as N
and D, respectively). Interact and Socialise
The pilot study enabled the identification of Apart from the children's focused physical playful ac-
three categories that defined play for the children in tivity within the environment, we observed that they
the experiment: 1) approach and engage, 2) explore influenced the actions of one another. Many be-
and play, 3) interact and socialise (Figure 2). haviours emerged during play, such as influencing
the other one, suggesting alternative ways, collabo-
Approach and Engage rative building, and synchronised movement.
From the beginning, the children took comfort in After their first individual explorations, they
the fact that they were together with their twins switched their attention to see what the other one
and were not shy. They were very curious about was doing. They started looking at the traces of the
the setup. At first they visually explored it from a other to see what he or she did. Later on, for a short
distance and later continued to familiarise with it period, they played tag, introducing a pattern that
through touch before starting to bodily engage with they know prior to their experience on this surface.
the setup. As a result, they left similar traces. Soon to the end of
the play, N suggested that they can hold hand hands
Explore and Play and together they tried synchronous movement.
D was the first to explore the playground. Right after
applying paint to the bottom of his shoes, he made A Case for Playful Learning
a big run reaching the limits of the playground, and Playing in an enhanced environment, analog and
when his shoes run out of paint, he stopped to see much similar to the "activities" N and D referred to
the totality of the traces he made. On the other hand, in their conversation, had a positive impact on their
level of understanding, engagement and motivation. itations. The output of that is visualised through a
The environment gave visual clues to them regarding screen. The screen is a mockup feature that we re-
the expected performances, yet their performance verted to within the limits of this study whereas the
depended on their imagination. The main idea of this initial design features interactive piezoelectrically ca-
interactive playground has been to encourage chil- pacitated floor boards previously simulated as the
dren in playful learning. We observed that allowing walkable area of the first phase.
the children to act and explore on their own naturally A code continuously reads the value from the
motivated them for interaction and active experienc- potentiometer and writes the interrelated value to
ing. change the variables on the screen with the read data
The paint traces served as the output devices of of the movement. Users simultaneously perceive the
the input from the children's movements. We carry current state of other players, their locations and pro-
these relations on to the second phase of our study ceed accordingly. With interrelated values, chang-
where we develop an electronically enhanced set-up ing features are to be realised as learning material
(Figure 3). Embedding the input and the output into via making inferences and reasoning. The set-up re-
the environment opens up new possibilities in space. quires the conversion of data. In this case the conver-
By embedding, new relations and ways of interac- sion is achieved through Arduino boards that trans-
tions emerge between the children and the environ- late the analog input to the output in the form of ba-
ment, defining the grounds for the children's play. sic shapes of colour to be subsequently visualised on
the screen. The variables for the shapes are scaled
A PROTOTYPE WITH PIEZOELECTRIC SEN- size, position and colour.
The prototype stands for a playground with the en- vated to explore and experience movement, colour,
hanced features. It serves as the medium where and size of shapes when they got responses from the
children can explore, experience and form chang- environment as a result of their actions. Further re-
ing interactions with and within the play environ- sponses to their continued actions motivated them
ment. Additionally children are able to interpret the even more. The experienced aspects of the interac-
results of their movements and build basic reason- tive environments in the two phases of our study de-
ing. With the embedded interaction provided in this fined the type of interactions that took place. These
case, children have had the freedom of manipulat- included children's interaction not only with the en-
ing and transforming the data and explore the results vironment but also with each other similar to what
of their movements as scale, position and colour. happens in many other forms of play.
We observed that, as a result, they have developed The interactivity in both of our set-ups has made
some basic reasoning skills through active play. To it possible for the children to experience and ex-
encourage children in interpreting the system in an plore. From the beginning of the pilot study, the
explorative way in technologically enhanced envi- children were very much engaged and enthusiastic
ronments, we propose to establish a connection be- about exploring and experiencing the set-ups pro-
tween the input and the output, digital and the phys- vided for them. This shows that even the most prim-
ical, the user and the environment. itive setups hold the potential to encourage children
in play and supports the premise that a unified physi-
DISCUSSION cal and digital environment they inhabit can simulta-
We have introduced a technical framework and a neously serve as an interaction medium. Embedding
developing prototype for an interactive playground features of reasoning in the interactive environment
that engages children in playful learning. In our stud- has served as the driving force for playful learning
ies up to this point, children were engaged and moti- within the real world. Because free play does not hold
Figure 1
A simulation
workflow
supporting a
reiterative design
and analysis
feedback loop for
analyzing the
multi-zone building
energy
performance of
occupant
interaction with
dynamic façade
systems.
Figure 2
The EDDS
embedded with a
vertical floor to
ceiling IGU (left),
the material
assembly layers
(middle), and the
individual
metalized
polymeric rolled
shutter (right).
zone building performance analyses of basic occu- flow makes it possible to analyze the whole-building
pant interactions with an emerging dynamic façade energy impacts of solar- and occupant-responsive
system, the Electroactive Dynamic Display System façade systems.
(EDDS). The parametric simulation workflow exam-
ined how highly responsive façade systems can re- REFERENCES
duce a building's energy consumption while simul- Cole, RJ, Bild, A and Matheus, E 2012, 'Automated
taneously responding to occupant interactions, pref- and human intelligence: direct and indirect conse-
erences, or overrides. Preliminary analysis results quences', Intelligent Buildings International, 4, pp. 4-
demonstrated that systemic compensation for occu- 14
pant interaction with the EDDS had positive impacts Decker, M 2013, 'New Material Compositions', in Ng, R
and Patel, S (eds) 2013, Performative Materials in Ar-
on the single- and multi-zone daylighting and ther-
chitecture and Design, Intellect, Chicago, pp. 61-79
mal performance of a building. While a single-zone Dyson, AH, Krietemeyer, B and Stark, PRH 2013, 'Elec-
and multi-zone analysis provided significant results troactive Dynamic Display Systems (EDDS)', in
with regards to the ability of a dynamic façade sys- Lorenzo-Eiroa, P and Sprecher, A (eds) 2013, Archi-
tem to respond to both environmental and occupant tecture in Formation: On the Nature of Information in
demands, analyzing the whole-building impacts is Digital Architecture, Routledge, New York, pp. 150-
155
a critical next step; however, with increased com-
Jakubiec, JA and Reinhart, C 2011 'DIVA 2.0: Integrating
putational processing power, this simulation work- Daylight and Thermal Simulations Using Rhinoceros
Werner Lonsing1
1
Independent researcher
1
ecaade2015@lonsing.com
Lighting
Lighting in electronics is a special case, while LED are
used. They can be addressed directly. This makes it
very easy to work with, but limits the overall bright-
ness.
Relay shields
No micro controller can control high voltage on its
own circuits. Instead relays are needed to trigger a
Usage
switch for the high power devices, the single purpose
Because a ready made shield is used, where the core
of a relay (figure 9).
simply plugs in its socket, no further hardware com-
For micro controllers special relay shields have
posing is done, and the related software remains un-
been designed. They provide some relays with screw
altered. Particle provides a simple app to control all
connectors, power regulation for the complete board
lowing performance: cavity temperature=35.2°C, air- flow=7.7 ach (due to infiltration only as no air open- Table 1
Design variables,
their description
and affected
performance
criteria. The search
range of each
variable is set after
preliminary testing
of a wider range for
each variable alone
to understand its
influence.
Table 2
Comparison of EVALUATING SELECTED SOLUTION
daylight and Simulations have been repeated for the whole month
cooling loads of the of July. Figure 7 shows that cavity temperature is al-
office room before ways around 1.7 to 2.0°C above ambient temperature
and after the even with changing wind speed and direction. This is
placement of quite important so that the proposed design would
double façade. not be always dependent on a specific wind direc-
tion, increasing its efficiency. Cavity airflow through-
out the month closely follows wind speed and had a Software limitations
minimum of 24 ach when wind speed was 2.7 m/s. It is important to point out the limitation of Ener-
Table 2 summarizes the performance of the room gyPlus in modelling double facades, as the Airflow
before and after the double façade. The presence Network model it uses assumes that each thermal
of this façade had a positive effect on cooling loads zone has a uniform temperature distribution, and it
as they decreased by 15%. However, it had a neg- does not take into consideration the cavity airflow
ative result on Daylight Autonomy which decreased pattern (EnergyPlus, 2014). Several studies (Zhang,
to 45.2% of the space. This means that further mod- et al., 2013; Sabooni, et al., 2012; Kim & Park, 2011)
Figure 2
Floyd D´Angelo,
Revolving
Aluminium House,
from:
http://modernhomesla.
blogspot.co.at/2012/11/
the-dangelo-
house-futuristic-
desert.html,
accessed
The first program was called Ecological Ballet. Fully 2014-06-14
functioning interactive models of scaled architec-
tural projects were shown at the MAK - Austrian Mu-
seum of Applied Arts / Contemporary Art, Vienna, in
October 2013. SolSeduction - A Phyto-Solar Dance-
Floor was the second program, showing full scale in-
teractive prototypes and one scaled model at Heili-
genkreuzer Hof , a show room of the University of
Figure 3
Task diagram me by
Bernhard Sommer.
Luminiscent.Tracings.
Studets: Ola Mnich, Marko Margeta, Banafsheh
Fahimipour, Nina Soltani, James Park Oxy.Clmn.
This habitat provides an artificial day zone and an Students: Noemi Polo, Moritz Hanshans, Artur
artificial night zone. Bioluminescent organisms - py- Stashkevitsh, Arpapan Chantanakajornfung
rocystis lunula - help to orient in the darkness and ac- Vessels of algae - chlorella vulgaris - , spread over
company the visitors in the night zone providing an the walls towards the ceiling. This algae vessels are
almost surreal atmosphere of water reflections and interconnected with an air supply structure, a net-
blue specular plankton light. The artificial vessels for work of tubes and valves resembling a circulatory sys-
the plankton are a combination of panels that pro- tem. Interpolated with the algae there are also air
vide the framework for clear cushion full with the reservoirs that inflate and deflate giving the a sense
mixture of water and nutrients and a kinetic hanging of breathing. The air supply system is mediated by
system that provides the motion for their transition several electromagnetic valves that will control the
from day to night. According to the movement of the air circulation in the system. The algae consumes
visitors under the cushions, locally placed activators the CO2 that the visitors exhale giving back oxygen
will produce the necessary turbulences to excite the to the exhibition space. Using CO2 sensors the sys-
plankton to release its glow. The movement of the tem is triggered by comparing the existing level in
visitor is traced by motion sensors that inform the re- the room to de desire value. When this point is sur-
spective areas to glow. This gives the audience a feel- passed the system uses an air compressor to start the
ing of being followed by the light like one is followed circulation of air form the room into to PVC inflatable
by a curios animal. As the plankton needs a 12 hour reservoirs that will regulate the amount of air flowing
cycles of daylight and darkness to be able to recharge into the algae vessels. When the air reservoirs reach
its luminance, two different populations trade places the desire pressures, electromagnetic air valves will
every 12 hours. This change is driven by a mechanical open the flow of air into the algae vessels, for them
clock, that slowly lowers and respectively raises the to process the CO2 and produce Oxygen in return.
two sets of elements, so that the fluid with the plank- The organism also works as a new kind of ornament
ton can flow freely from one zone to another. This full rich in detail and designed for the exhibition space.
Figure 11
Diagramme by Galo
Moncayo.
ACKNOWLEDGEMENTS
The projects were made possible by extra funding
from the rector of the University of Applied Arts Vi-
enna, Gerald Bast. The developement of the pro-
totypes was accompanied by visiting critics Claudia
Pasquero and Marco Poletto from UCL Bartlett / eco-
LogicStudio.
The students inolved showed committment that
exceeded what you can expect by far.
LINKS
Videos from the prototypes can be accessed online:
energy-design.tumblr.com
REFERENCES
Blaschitz, M, Wurm, J, Hemmrich, E, Arup, - and Splitter-
werk, - 2014, Das Algenhaus / The Algae House, Niggli
Verlag, Zürich
Faste, T and Faste, H 2012 'Demystifying “design re-
search”: Design is not research, research is design.',
Proceedings of the IDSA
Hensel, MU (eds) 2013, Design innovation for the built en-
vironment: Research by design and the renovation of
practice, Routledge
Leibundgut, H 2011, .: LowEx building design: für eine Ze-
roEmission Architecture, vdf Hochschulverlag AG
Neugeboren, H 1929, 'eine bach-fuge im bild', Bauhaus.
Zeitschrift für Gestaltung no. 1, 1(3), pp. 16-18
As part of ongoing research, the Digital Arts Center at UNC Charlotte has
commissioned of a new music composition by Andy Akiho, a fellow at the
American Academy in Rome. The presentation of this piece will begin with a
premiere in Charlotte, followed by performances in Rome, New York ,Cleveland
and Charleston. This collaboration focuses on responsive architecture (an
interweaving of space and digital media as a critical element in contemporary
architecrue) and expanded musical performance venues (an engaging, inclusive
and unique atmosphere for both performers and audience). To accomplish these
goals, we have created a "prepared music field" that will allow the audience to
move through the space using their smart phones to engage both with live
performers and digitally delivered augmented compositional elements. Audience
members will have a unique listening experience depending upon their position
and movement during the performance. In this work, we reconnect music with its
temporal dimension by using digital methods to create a real time experience.
The electric light is pure information. It is a medium and other designers of space is how to conceptualize
without a message, as it were, unless it is used to spell this mixed environment, how to integrate the flow of
out some verbal ad or name. This fact, characteristic of information with the spatial settings in which it is re-
all media, means that the "content" of any medium is ceived.
always another medium. (McCluhan 1967) Real time has already arrived. The pressing ques-
As a matter of facts on the ground, environments tion is how it will transform the shape and role of ex-
at all levels are being flooded with information. The isting cultural practice.
wide proliferation of smart phones and communica- Our group of researchers at the University of
tion networks has altered the manner in which peo- North Carolina at Charlotte has been exploring the
ple understand and experience space. (Castells 2000, manner in which interactivity and computation can
Graham 1998) One pressing question for architects transform music performance space. Our group in-
Figure 5
Historical
constellation of
experimental
music.
TECHNOLOGICAL MATRIX
Our group is currently developing the smart phone
application for use in the Prepared Music Field. This
application will be for both iOS and Android, and
will be available for download at each performance
venue. The application is being designed collabora-
tively with the composer and the musicians, and is in-
To further emulate GPS, we can combine three of
tended both to meet the needs of this particular com-
these beacons to find an approximate location in
position as well as being made available as a platform
space by identifying which the proximal zone for
for other, future composers and projects.
each beacon (far, close, far). This allows us to do one
If mobile computing applications are to be part
of two things: we can either have three different ef-
fects that are modulated simultaneously, or we can Synchronizing Musicians & Mobile Sounds
have a complex effect that has several different vari- To synchronize all of the music in the exhibition
able qualities we can adjust. when using a MIDI controller, we have decided to
include the metronome in the mobile app. When
Smartphone Accelerometers & Gyroscopes the audience loads the app, they will be unaware
Accelerometer and gyroscopes are prominent fea- of the option unless they browse through the set-
tures of nearly all smartphones. While bluetooth bea- tings. For musicians, they will simply go to the op-
cons work with the last few generations of phones, tions and flip a switch so that they hear a metronome
these sensors will work on every smartphone starting instead. By linking the metronome to the clock on
with the first generation. Using measurements from each smartphone, we can easily synchronize each
these sensors we can track people's relative move- musician spread across the exhibition space without
ment within a space and could be used to make small the need for visual or auditory contact.
adjustments to the sounds people are hearing. They The use of prerecorded or streaming music with
can form a backup system in case the beacons' sig- the option to synchronize as an alternative to a
nal is intermittent. Accelerometers can modify the metronome is also part of the interface.
sounds people hear within a proximal zone (such as
"far") so that small movements will impact the music Visualization
along with large movements. To the audience, the existence of sensors and trig-
gers that can change sound is largely irrelevant. They
Creating Mobile Effects for the Audience do not need to know, or it should not be completely
There are two options available to us when thinking evident to them how the project is technically im-
about effects we can give the audience through a plemented. The audience will, however, want to
mobile app (see Figure 7). First, we can program a have some control or ability to predict changes to
MIDI controller in the app to create sounds, or use the sounds as they move through the physical space.
prerecorded music that will be layered on top of the Presently, this can be thought of as a visualization
live sounds. Secondly, we can use the built-in micro- of the abstract space of the beacons and sound ef-
phone to record the live sound and modify it using ef- fects. Naively this could be a simple map of the space
fects on the phone. The advantage to modifying live with the sensing areas around each beacon. From
sound is that it will always be synchronized. Synchro- an artistic perspective, however, a map is not a good
nization with a MIDI controller is discussed in the next visualization. We are developing an abstraction of a
section, but should not be any more complicated. map, or the fields involved in sound generation and
When using prerecorded sounds, the two op- changes. This visualization will recognize that we will
tions are including the sounds in the app, or connect- not always know the position of the audience mem-
ing to a central server over WiFi to stream or down- ber (such as when they are outside of a beacon's sens-
load the music. While not incredibly hard, streaming ing area) and will not fully predict changes to the
presents the most risk for complication since it relies sound in order to preserve a sense of discoverability
on the quality of the existing wireless at the exhibi- inside the system.
tion location.
In this paper we present the first phase of our research on the development of a
framework for early-stage responsive kinetic building skin design. The aims of
this study were: to formulate a methodological and instrumental basis for the
construction of the framework, to conduct an initial pre-assessment of its
features, and finally to provide the first example of how the framework could be
applied in practice. Importantly, at this point our goal was not yet to indicate the
framework's effectiveness, but rather focus on formulating its foundations. A pilot
design experiment, aimed at the probing of the framework's characteristics,
suggests the emergence of its two noteworthy features. Firstly, it allows to freely
but at the same time also systematically explore six design aspects of responsive
architecture: form, functionality, performance, kinetic behaviors, system
mechanics and responsiveness. Secondly, it helps to explore these six aspects
using diverse means: parametric models, digital simulations, computational
analyses, physical models and interactive prototypes. These features suggest that
the framework could be a valid and useful means of supporting designers in the
complex task of creating architectural concepts of responsive kinetic structures.
Figure 3
Example scenarios
of the practical
implementation of
the proposed
framework, derived
from our pilot
experiment: a.
Various configura-
tions of interactions
between selected
framework
modules; b.
Detailed example of
the execution of the
analysis, synthesis,
evaluation,
modification and
decision-making
loop, for design
aspect configura-
tion from scheme I
of Figure 3a
Figure 7
Assembly and
testing of the
mechanical and
dynamic properties
of the 3d printed
mockup of the
kinetic component
equipped with an
Arduino-controlled tical means of activating the structure were consid- skin covers' mounting and risks of resultant cover col-
servo motor ered, and the servo motors were selected for this pur- lisions were revealed (Figure 6). This information pro-
pose, the model needed to be adjusted to illustrate vided valuable clues for the next phase of concept
the rotary manner of operation typical for the servos. development.
Consequently, the selected edges of the structure The following design phase embraced the cre-
were established as rotatable around certain joints, ation of an improved mechanical model of one basic
while others were defined as fixed. Before the final kinetic component. That digital model was prepared
model materialization, two digital variants were used with the 3d printing method in mind. This particular
as a means to cross-check the composition, esthetic rapid prototyping technique was selected because it
appearance as well as collision risks (Figure 5). Ulti- allowed for the production of a much more detailed
mately, the model with the simpler linear arrange- prototype, containing custom-designed joints and
ment of components was selected for prototyping connectors. The assembly and testing of the move-
and assembly. ment behavior of the fabricated model revealed its
The existence of the early physical laser-cut weaknesses in terms of the unstable servo motors'
model allowed to explore the architectural aspects of mounting and loose connectivity of the rotatable
the kinetic structure, such as its tectonics, the shad- joints (Figure 7). These issues were later on corrected
owing and lighting effects arising on its surface dur- in the digital model, which resulted in the 3d printed
ing dynamic movement, and the general esthetic ap- mockup of two kinetic components, in which sup-
pearance of the entire composition of the elements. plementary stabilizing and mounting elements were
Moreover, tampering with the model's movable ele- added.
ments has led to further useful discoveries, related to In parallel to the explorations of the physical
kinetic behaviors and mechanical system dynamics. component prototypes, the studies of their esthetic
These indicated that what was feasible in the digital and environmental properties were also performed,
model may not necessarily work in a physical one. For in the digital space. The objective was to investi-
example, the problem of the instability of the kinetic gate the consequences of applying the components
Figure 11
The 3d-printed
interactive
prototype of the
second, more stable
variant of the
kinetic system
REFERENCES
Beaman, ML and Bader, S 2010 'Responsive shading: In-
telligent façade systems', Proceedings of the 30th An-
nual ACADIA Conference, pp. 263-269
Davis, D, Salim, F and Burry, J 2011 'Designing responsive
architecture: Mediating analogue and digital mod-
elling in studio', Proceedings of the 16th International
CAADRIA Conference, pp. 155-164
Dorst, K and Cross, N 2001, 'Creativity in the design
process: Co-evolution of problem-solution', Design
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