Alcazar ian 698457 journal pages

S T U D I O

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AIR AIR A L C A Z A R 6 9 8 4 5 7

CONTENTS

[1] Cover Photo

ABOUT ME

IAN DANIELLE BONIFACIO ALCAZAR LUCTOR ET EMERGO I STRUGGLE AND EMERGE Perhaps, this quote best encapsulates my academic journey and my life in general thus far ; From being a struggling engineering student, who is always oblivious of mathematical concepts, into a beaming Architecture Student who is full of hopes and dreams. Rooted from my primary school's motto, this has given me an ambiguous guide on how to approach life; that getting broken is somewhat expected, as being broken entails the opportunity to being remade; likened to the Japanese art of Kintsugi.

Moving from the Philippines to settle in Australia in mid-2008 broaden my views of the world. Having been exposed to diverse range of culture, from the Lebos to the Polys to the Aussies and anything in between, piqued my interest on exploring and observing cultural identities and thereby discovering and enriching my own identity.

My practical experience in design extends beyond the traditional realms of Architecture. I have been involved with various stage designs ranging from small gatherings to bigger events such as a recently held national youth conference in Brisbane. I am also a designer of gastronomic experiences, unpretentiously called as cooking. More so, I have recently been involved in creating creative contents for a Catholic Youth Group such as graphics, even competing in a short film competion, only bested by the action-packed Canberra entry.

I am very passionate on creating things ; creating food that is somewhat inspired by the likes of Heston Blumenthal's Molecular Gastronomy and Dominique Crenn's Poetic Cuisine; Creating spatial experiences reminiscent of Alvaro Siza's work, more so creating Architecture that is true to its form.

IN GLORIA DEI [2] Potrait

[3] Studio Water Project

ABOUT ME

ARCHITECTURE AND SKILLS Being an Architecture student, moulded my design process to a one that facilitates intuition yet pragmatic thinking. I strive to achieve balance between the two as I feel both are essential in the field of Architecture I’m interested in.

Adobe Photoshop Proficient Adobe InDesign Proficient Adobe Illustrator Proficient Adobe Premier Pro Beginner

Although exposed to other forms of 3D modelling, I am not very proficient at using Rhino. Perhaps, I find its User Interface unfriendly in comparison with Sketchup.

Rhino 5 Beginner GrassHopper Beginner

With this, I am lacking skills in grasshopper.

Having briefly trialled it before dumbfounded me as I struggle to understand each functions.

However, I am hopeful that throughout this course, I can improve my Algorithmic thinking and excel in parametric modelling

AutoCad Proficient

Vray Rendering Proficient

Trimble Sketchup Proficient

Procrastination Master

PART_A CONCEPTU

UALISATION

A1

DESIGN FUTURING

Careful response to ecological, ethical, social and political concerns require the emergence of Architecture as a design practice that consolidate and use diverse range of knowledge and ultimately contributes ideas to the ongoing disciplinary discourse and culture at large.

N G

Design Futuring redefines and rethink the practice of design as a critical paradigm that synthesize sustainability and design whilst engaging disciplines outside the traditionally boundaries of Architecture. The promotion of this notion is essential to our very own survival1.

1. Fry, Tony Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg 2008), pp. 1–16

[4] Sky

INDIGO TOWERS CASE STUDY 1

ARCHITECTS Design 10 LOCATION Hong Kong STATUS Conceptual DATE 2011

IN

an age where being Sustainable is an emerging status quo. Many architects integrate sfafasf techniques and technologies to achieve carbon-neutrality. Green certifications have sprung up such as NABERS, Green Star, and LEED. However, this certifications are somewhat inadequate in encouraging innovation in Green technologies as they promote complacency especially when the desired status quo is achieved. More so, Yes, they have reduced their respecitve environmental impacts; however, is that it?

on. It does not aim to be a passive. as it is aimed to have positive impact to the environment, not merely offsetting all its negatives.

In conjuction with other aggressive sustainable design, both conceptual and built, the design promotes redefining a complacent definition of sustainable design; thereby, encouraging Architectural discourse in their respective field.

Sustainable design refers to the “ elimination of negative environmental impact completely through skillful, sensitive design”2. By definition Indigo Tower and practice, This in itself does not entail positive impact to the environment as it only focuses on offsetting the negative impacts thereby ,in a sense, environmentally ceasing to exist. The concept of sustainable design in itself is passive and submissive.

Indigo Tower challenges this convention and aims to redefine sustainable design. Its design improves the quality of air through the combination of Photo-voltaic cells, nanotechnology and bio-purification. This effectively reduces air pollution not only for its occupants but also for the dense urban jungle of Hong Kong and thereby extending its contribution beyond its walls; All made possible through rigorous testing and simulation. This are all in conjuction with the building’s aim to be carbon-neutral 3.

It’s unique form (fig.5) encourages efficient cross ventilation, maximum exposure to the sun among others. This was enabled and informed using computational fluid dynamics Although unbuilt, this does not deter the fact that its ambitions is relavant as its architecture is designed to tackle environmental concerns head

[5] Performance Diagrams

2. McLennan, Jason. The Philosophy of Sustainable Design: The Future of Architecture. Ecotone Publishing Company 2004 3. Givens, Ted.10 Designs Beyond Neutrality. John Wiley &

A1 CS1

[6] Indigo Towers

A1 CS2

[7] Hygroscope

HYGROSCOPIC MATERIAL CASE STUDY 2

ARCHITECTS Achim Menges (Director of ICD) in collaboration with Steffen Reichert (Research Associate at the ICD) LOCATION Centre Pompidou, Paris

TR

aditonal building materials, such as wood, are often seen static, with its dynamic properties usually discouraged. However, a discourse has recently emerged that challenges this convention and embraces its dynamic properties. Menges and Reichert explores this ‘intelligent material’ that naturally respond with the environment.

The Hygroscopic property of wood, may have been a bane and considered by most as material weakness but this is an evolutionary trait that allows “motion without motors” by swelling and shrinking depending on the relative moisture level. The Institute for Computational Design (ICD) aims to exploit this trait and incorporate hygroscope into architecture. Through advance design computation and digital fabrication, plywood plates curl depending on the moisture level. By tapping into the environment, this ‘Intelligent Material’ are set to replace machines, achieving design that truly is ecologically embedded4 . The development and the exploitation of the innate natural properties of this material contributes to the advancement of Responsive Architecture.

Responsive architecture, at its core, aims to improve building’s energy performance through constant adaption to the natural environment surrounding it, with the aid of sensors5.

Intelligent materials such as those utilized

by Menges eliminates the need of sensors.

It is an architecture that inherently strives for

STATUS Built, but with further research DATE 2012

sustainability especially in accordance with its building performance.

The developments of Mengess’ research exploit traits derived from millions of years’ worth of evolution, further facilitating the intertwinement of Natural science and Architecture; biologist and architects. Thereby, promoting collaboration between two disparte yet essential fields. The wealth of knowledge informs the discpline to improve building performance whilst optimising and exploiting natural materiality and traits.

Furthermore, This research in relation with Fry’s Design Futuring redirects ‘us towards (a) far more sustainable modes of planetary habitation’.

It does not propagate an idea of isolation from nature rather it fosters design that embraces human ecology and nature; both becoming and receiving. The advancement of this thinking, may very well be more important than the actual proceedings and results of the research; as changing the values of the people, from one that shies away from nature to a one that embraces it, is a ‘world-shaping force’ that gears humanity toward the ‘development of sustainment’.

4. Achim Menges, Steffan Reichart. Performative Wood. John Wiley & Sons Ltd. 2015 5. Sterk, Tristan d’Estrée . Building Upon Negroponte: A Hybridized Model of Control Suitable for A Responsive Architecture , The School of The Art Institute of Chicago 2003

[8] Hygroscopic Sensitive Openings

A2

DESIGN

COMPUTATION

6. Menges, Achim and Ahliquist, Sean Computational Design Thinking: Computation Design Thinking. John Wiley & Sons Ltd. 2011 7. Oxman, Rivka and Robert Oxman, eds . Theories of the Digital in Architecture London; New York: Routledge 2014, pp. 1–10 8. Terzidis, Kostas Algorithms for Visual Design Using the Processing Language. Indianapolis: Wiley Publishing Ltd. 2009 I 9. Kalay, Yehuda E. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. Cambridge, MA: MIT Press 2004, pp. 5-25 10. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp.

08-15 2013 [9] Espacio Parasol Sevilla

COMPUTATION

TH

roughout history, the role of architect is strongly dependent with his use of Pencil and Paper.

The emergence of computers shifted and changed an architect’s design process. It opened possibilities; conceived ideas that are beyond what was possible. The usage of this technology is characterised by two approaches, Computerisation and Computation.

Computerisation, simply put, is exporting preconceived ideas into computers and digitise it to improve efficiency, making it easier to manipulate.

So what is computation?

their imagination.”8. But, doesn’t pen and paper, also limit our imagination by constricting us in its boundaries? Many critics arguing against the emergence of the new design process failed to recognise that the pen and paper did what computation did to Architecture. Perhaps, there is another emergence that will break the boundaries of computation and again revolutinise our design process?

REVOLUTIONISING THE PRACTISE

TH

e emergence of this design tool is already transforming the structure of architectural firms, thereby, highlighting the importance of such discourse.

Computational Designers are organised with firms in ways ranging from an outside consultants to computational design that is fully integrated within a practice.

According to Menges and Ahliquist, Computation is ‘‘the processing of information and interactions between elements which constitute a specific environment; it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure.’’6

CO

The human mind, although a powerful tool, is not capable of consolidating hundreds of variables and data simultaneously.

Computation breaks this barrier as it is capable of processing an otherwise impossible mental aptitude. This expands the designer’s capacity to solve increasingly complex problems through the access of wider scope of design possibiilities, enhancing it with creative insights and informed decision. Form generation is now, ever more “informed by performative design, tectonic models and digital materiality”7

Proceedings of these analysis and simulation are used as a essential parameter in the search of computationally designed form10. This is especially revelant as these proceedings are oftenly concerned with material, structural and environmental performance.

Furthermore, The creation of unexpected results from computing processes and experimentation can create inspirations beyond the creative intellect of the designer amd thus explore an otherwise unknown outcomes.

Critics, however argue that “It is possible to claim that a designer’s creativity is limited by the very programs that are supposed to free

CONTRIBUTION TO DESIGN FUTURING mputation’s ability to consolidate hundreds of variables and data is beneficial especially when processed into useful information. Architects are now experimenting with this technology to gain knowledge or further understand material behaviours (as explained in A2 C2) and architectural tectonics, with their perfomance analysis used in simulations of building performances.

CASE STUDIES

CA

se studies selected demonstates the evolution of design processes in regards with design computation and design freedom.

A2 CS1

[10] Candela’s Hyperbolic Paraboloid

[11] La Manantiales

LOS MANANTIALES CASE STUDY 1

ARCHITECTS Félix Candela LOCATION Xochimilco area, Mexico, Mexico STATUS Built DATE 1956

DE

signing and the construction of shell structure is nothing new.

It has been present for most of Felix Candela’s. Even his design is informed by a much older precedents coming from the vaulting of Gothic Vernacular.

Candela stated that “of all the shapes we can give to the shell, the EASIEST and most practical to build is the hyperbolic paraboloid.”11 He further stressed that ‘the shell must be stable and of a shape which permits an easy way to work. It should be as symmetrical as possible because this simplifies its behavior12 This exposes the limitation of the human mind as his leniency to relatively simpler forms (fig.

12) in which Candela’s dictated by simpler deviations of the hyperbolic paraboloid restricted his design language. It is not born out of the architect’s endeavor to create simplicity rather in avoidance of mental strain caused by the search of complexity. But what if the search for complexity is made easier with technology?

[12] New Shapes

The next case study will explore the role of the emergence of Computational design in revolutionizing the utilization and design of shell structures and how it changed the design process. With this, disparities between form aided by computational design and a form that isn’t is revealed.

11. Burger, Noah and Billington David FELIX CANDELA, ELEGANCE AND ENDURANCE:AN EXAMINATION OF THE XOCHIMILCO SHELL. Journal of the International Association for Shell and Spatial Structures 2006 12. Clark, Nanette. Felix Candela and Restaurant Los Manatiales, Xochimilco, Mexico. Blog Article 2009

ARMADILLO VAULT CASE STUDY 2

ARCHITECTS ETH Zurich Researchers LOCATION Venice Architecure Bienalle 2016 STATUS Built DATE 2016 Growing leniency of architects towards designing in the style of parametricism, the realization of the benefits of shell structures, and advancements in design computations demands continued research and innovation in structural engineering and shell construction Much like the Los Manantiales, The Armadillo Vault is a type of thin shell structure. Yet, the latter showcases advances in computation through allowing more complex and expressive geometry whilst still being structurally efficient.

It is no longer bounded by the conventions set

by Candela.

Armadillo vault is a pioneer in stone vault construction and thin shell construction. It is a marvel that does not use any glue to support itself. The design uses 399 Limestone slabs, individually cut based on individually specific parameters. The undulating canopy, with main spans of 16 metres, is structurally support entirely through compression. The use of limestone

[12] Armadillo Vault

as its building material further expresses and celebrates the structure’s expressive yet efficient geometry. Furthermore, proportionally, when compared with an egg shell, the vault would be half of its thickness, highlighting the material efficiency of the technology and the confidence of its designers in the power of design computation.13 This is a clear departure from Candela’s leniency to simplicity as complexity can be achieved with relative ease.

The renewed and innovative approach, distant but reminiscent of how Los Manatiales was conceived, allowed rigorous testing of the form, in respect with its structural viability through computer software. This process had ultimately facilitated structural optimization. With this advancement in design computation technology, ‘‘structural engineering can go beyond making a given geometry produce true innovation, and that designing with constraints need not constrain progress’’14

A2 CS2

13. Author Unknown.‘‘Armadillo Vault is a pioneering stone structure that supports itself without any glue’’ Dezeen 2016 14.Block, Philippe. Parametricism Structural Congeniality.

Architectural Design. John Wiley & Sons Ltd 2016.

[13] Armadillo Vault

A2 CS3

[14] Museo Soumaya

MUSEO SOUMAYA CASE STUDY 3

ARCHITECTS Fernando Romero LOCATION Mexico STATUS Built DATE 2011

MU

seo Soumaya was built to house the private collection of Mexico’s wealthiest man, Carlos Sim

Museo Soumaya exposes the limitation of human minds through its unconventional complex form.

Gaussian analysis of its design surface revelead areas with most curvature. More so, with the design intent having the hexagonal panels that maintains uniform spacing to ensure regularity, design challenges are met.

Gaussian Analysis informed the nuances in each panels through calculating the curvature or the lack of thereof on the building facade. As a result, Individually fabricated hexagonal panels that individually conforms with the curvature of

the form was made possible to efficiently create 14a .

Museo Soumaya illustrates that with complexity requires simplicity. As we strive for greater complexity using computational design tools, we are required to formulate simple yet intergrated process so as to rationalise, understand and communicate forms beyond our mental capacity.

14a Romero, et al. Bridging Culture and Design. Architectural Design John Wiley & Sons Ltd 2013

[14a] Museo Soumaya Interior

A3 COMPOSITION/ GENERATION

[15] Reaching Out

ALGORITHMIC THINKING Terzidis defines algorithm as,

“An algorithm is a computational procedure for addressing a problem in a finite number of steps. It involves deduction, induction, abstraction, generalization, and structured logic. It is the systematic extraction of logical principles and the development of a generic solution plan.”¹6

AL

gorthmic Thinking is a pursuit to finding solutions through logically sequenced procedures.

This thinking is essential in comprehending Parametric modelling and Generative design.

PARAMETRIC MODELLING

WI

th its origins in mathematics Parametric modelling is a design process based on Algorithmic Thinking. It allows the expression of rules and parameters that sets, clarify and define the specified relationship between design response and intent. The relations between each element are manipulated that ultimately informs the resulted structural and geometric complexity 17

them to customize software to their own predilections 18. More so, scripting can automate menial task thus potentially streamlining the profession.

CONCLUSION

TH

e rise of Parametric modelling and scripting culture together with the promotion of algorithmic thinking continues to transform the field of Architecture and thereby the departure from its traditional tools, the pen and paper However, with its relative infancy in the architectural world, design strategies aligned with algorithmic scripting are poorly comprehended. Appropriate skills and understanding is required in order to fully utilize generative designing. These are the challenges faced by the industry before it can fully embrace this innovation.

Parametric modelling assist on greater design innovation because of rapid generation design aided by readily changeable parametrers and representation; extending the boundaries of design possibilities. However, this pursuit of creativity may possibly fail to reconcile its abstract form to its real world viability.

Careful and sometimes extensive and tedious rationalization of generated forms is needed, unless, the design itself is destined to exist outside the physical realm.

PROGRAMMING + SCRIPTING

TH

e emergence of generative design shines the importance of computer programming. The development of scripting cultures in the architecture community, further facilitates unique opportunities of innovation as it enables

16 Terzidis, Kostas. Algorithmic Architecture: Oxford.

Elsevier Ltd. 16 2016 17. Jabi, Wassim. Parametric Design for Architecture.

London: Laurence King. 2013 18. Peters, Brady. ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp.

08-15 2013

A3 CS1

[16] Khan Shatyr Centre -interior

KHAN SHATYR CENTRE

ARCHITECTS Foster+Partners LOCATION Astana, Kazakhstan STATUS Built

DATE 2010

an Shatyr Entertainment Centre features a conically shaped roofing with its based lining the circumference of an elliptical structure. The tensile roofing, or the tent, envelopes an expansive urban-scaled parks, shopping Centre and civic centers.

As with previous studies, parametric modelling generated design outcomes that tackle design constraints and demands.

KH

The quest to find optimal design solution and form entailed the need for complex modelling.

Parametric design tools were used for form finding. Algorithms that simulate various structural forces applied to the tensile structure.

This information, alongside various simulations such as those informed by climate defined the development of the final outcome.

The complexity of the tensile structure revealed difficulties in its representation and modelling especially when presented in 2D format. To tackle this issue, Foster+Partners extensively used 3D printing technology. [[17] Khan Shatyr Centre Exterior

A3 CS2

[18] No Man’s Sky art

NO MAN'S SKY DEVELOPER Hello Games STATUS Published DATE 2016

BR

includes parameterised mathematical equation that is capable of imitating a wide spectrum of geometry and structure that is found in nature.

itish Mathematician John Conway’s Game of life explores celular automation. In this, when cells were give 4 simple set of rules, produced complex and unpredictable patterns. No Man’s Sky can be considered as advance departure from this.

Generation schemes are present throughout the game, in which procedurally generates planets and their ecosystems, flora, fauna and their behavioral patterns, artificial structures, among others. This are all automatically generated as the player explores the game

No Man’s Sky is a video game that focuses on survival and planettary exploration. The game is vast, comprising of 18 quintilion planets, in which its creation is made possible by procedural generation. In which, Procedural generation define as a process of making data algorithmically. Advantages of this is the creation of larger content with a sense of randomness that lessens predictability.

For me, this begs a question regarding generative design in Architecture. If a game engine can create innumerable unique worlds, what entails with the profession of Architecture. What if someone creates an advanced deterministic algorithm that will generate coherent designs based on the advance parameters set by its maker? Efforts to use advance scripting even automate architectural documentation as demonstrated by one of Zaha Hadid’s Architect.

What would the future hold for Architecture? especially when generative design and scripting is concerned. Are we digging the graves of our own chosen proffesion?

The game engine uses several complex deterministics algorithms stemming from rules dictated by the developer, in which, will create individually unique set of results. This

A4

LEARNING OUTCOMES

A5

I initially found the theory of Architectural computing boring and uninteresting. However, I see and understand its importance. And through conversations, the content was made bearable.

The practice, although intertwined with its theory, is what I find really interesting. The creation of parametrically modelled designs are liberating as I can finally express parti and designs that my representational skills can't.

However, challenges persist as I struggle to understand individual functions of Grasshopper. Coupled with prior commitments outside University studies and overall procrastination, I struggled to be up-to date with weekly task. The extensiveness of the course structure is challenging yet exciting; As I am required to produce designs and use and learn the computational design tools in a faster rate.

Nevertheless, I am excited for the weeks to come and hopefully I can fully develop the appreciation of Architectural computing, both in theory and practice.

CONC LUS ION CONC LUS ION

[16] ICD/ITKE Research Pavilion

INTENDED DESIGN APPROACH BIOMIMICRY The onset of this journal is somewhat an indication of my chosen design approach.

IN

part A, I explored and scrutinised the very definition of sustainability through the Indigo Towers. I challenge its neutrality and redefine it as an active agent for the betterment of social, cultural, especially the ecoligical paradigm of the environment.

Nature has provided us with so much wealth of knowledge that can and should inform us in our design creation and decision making

as explored in Menges's morphological materials. I seek to exploit the evolutionary traits of nature's fauna and flora and use them to create useful and beneficial design that is efficient both in structure and performance.

With this, I have chosen Biomimicry. It is an approach that is geared towards sustainability and innovation by replicating and emulating nature's patterns and strategies.

A5

ALGORITHMICSKETCH

HES TH

ese algorithmic sketches are born out the same set of rules.

I havechosen to present this to highlight the ease of creation of each iteration.

Each iteration is unique despite having the same rules. They represent rapid generation of design possibly through computational design.

The inspiration initially came from the Turning Torso in Sweden. This building is characterised

by lofting of two base and top, with the top rotated in 45 °angle.

From there, the addition of various polygon created a design which ranges from organic, conventional, to downright unusual.

REFERENCES IMAGES

[1] Alcazar, Ian (2015) Cover Photo (Own Photo) [2] Alcazar, Ian (2015) Potrait (Own Photo) [3] Alcazar, Ian (2015) Studio Water Project (Own Work) [4] Unknown (n.d) Sky (http://www.windsim.com/library/sky-textures.aspx) [accessed 11/08/2016] [5] Yu Lau, Stephen Siu (2011) Performance Diagrams accessed from 10 Designs Beyond Neutrality.

John Wiley & Sons Ltd. [6] 10 Designs (2011) Indigo Towers accessed at http://www.10design.co/press-releases/indigotower-bio-purification-to [7] ICD, University of Stuttgart (2015) Hygroscope [8] ICD, University of Stuttgart (2015) Hygroscopic Sensitive Openings [9] Rubendene (2012) Espacio Parsol Sevilla (https://en.wikipedia.org/wiki/Metropol_Parasol#/ media/File:Espacio_Parasol_Sevilla.jpg) [accessed 11/08/2016] [10] Candela, Felix (n.d) Candela’s Hyperbolic Paraboloid (http://candelastructures.org/exhibit/ name.html) [accessed 11/08/2016] [11] Unknown (n.d) La Manantiales (http://www.penccil.com/gallery.php?p=448853478151) [accessed 11/08/2016] [12] Isler, Heinz (1959) New Shapes for Shells’ (http://www.block.arch.ethz.ch/brg/files/2016_BLOCK_AD_parametricism-structuralcongeniality_1457692585.pdf)[accessed 11/08/2016] [13] Escobedo, David (2016) Armadillo Vault (http://www.armadillovault.com/) [accessed 11/08/2016] [14] Escobedo, David (2016) Armadillo Vault (http://www.armadillovault.com/) [accessed 11/08/2016] [15] Museo Soumaya [16] ‘Keith’ (2010). Reaching out. http://www.artfromcode.com/?cat=5 [accessed 11/08/2016]

REFERENCES

ARTICLES AND THE LIKES Achim Menges, Steffan Reichart (2015). Performative Wood. John Wiley & Sons Ltd. Block, Philippe (2016) Parametricism Structural Congeniality. Architectural Design. John Wiley & Sons Ltd. Burger, Noah and Billington David (2006) FELIX CANDELA, ELEGANCE AND ENDURANCE:AN EXAMINATION OF THE XOCHIMILCO SHELL. Journal of the International Association for Shell and Spatial Structures Clark, Nanette (2009) Felix Candela and Restaurant Los Manatiales, Xochimilco, Mexico (http:// anengineersaspect.blogspot.com.au/2009/06/felix-candela-and-restaurant-los.html) [accessed 11/08/2016] Dezeen (2016) Armadillo Vault is a pioneering stone structure that supports itself without any glue (http://www.dezeen.com/2016/05/31/armadillo-vault-block-research-group-eth-zurichbeyond-the-bending-limestone-structure-without-glue-venice-architecture-biennale-2016/) [accessed 11/08/2016] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 pdf Givens, Ted (2011). 10 Designs Beyond Neutrality. John Wiley & Sons Ltd. http://profs.info.uaic.ro/~avitcu/FII%202015-2016/Animatie%203D_Documentatie/ Algorithmic%20Architecture.pdf at 12/08/2016 Jabi, Wassim (2013) Parametric Design for Architecture. London: Laurence King. ISBN 9781780673141.

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of ComputerAided Design (Cambridge, MA: MIT Press), pp. 5-25 Menges, Achim and Ahliquist, Sean (2011) Computational Design Thinking: Computation Design Thinking. John Wiley & Sons Ltd. ISBN: 978-0-470-66570-1 Oxman, Rivka and Robert Oxman, eds . Theories of the Digital in Architecture (London; New York: Routledge 2014), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Romero, et al. Bridging Culture and Design. Architectural Design John Wiley & Sons Ltd 2013 Terzidis, Kostas (2006). Algorithmic Architecture: Oxford. Elsevier Ltd. accesed from Terzidis, Kostas (2009) Algorithms for Visual Design Using the Processing Language. Indianapolis: Wiley Publishing Ltd. ISBN: 978-0-470-37548-8