Avoiding imperfections in parametric architecture

University of Huddersfield School of Art, Design and Architecture Department of Architecture Module TMA 1160 – 1718: Master of Architecture Dissertation Academic year: 2017 - 2018

Avoiding imperfections in parametric architecture

A dissertation submitted following the requirements for the Master of Architecture International

by Denis Alexandra Ianc U1266346 22nd December 2017

Abstract

The subject of this dissertation is focused mainly on parametric architecture. This controversial style is challenging architects today to accept it as a revolutionary style of the century.

The first part of the dissertation which consists in the first two chapters, is explaining Parametricism in terms of origins, history, buildings and criticism.

The second part of the dissertation consists in the description and definition of organic architecture because of the fact that the research brought to light some obvious similarities between Parametricism and organic architecture.

Moreover, the last chapter of the dissertation is revealed as an answer to the research question or subject. The information provided, proves that the latest development of technology managed to strengthen the relationship between architecture and nature.

Table of Contents

List of illustrations…………………………………………………………………………………………………………….1 Aknowledgements…………………………………………………………………………………………………………….2 Introduction………………………………………………………………………………………………………………………2 Literature review……………………………………………………………………………………………………………….3 Methodology…………………………………………………………………………………………………………………….6 Chapter 1 – Criticism of Parametricism……………………………………………………………………………..7 1.a Examples of criticised existing buildings……………………………………………………………………………7 1.b Critics on parametric design…………………………………………………………………………………………..10 1.c Conclusion………………………………………………………………………………………………………………………12

Chapter 2 – The origins of Parametricism ……………………………………………………………………….12 2.a History of Parametricism……………………………………………………………………………………………….12 2.b Definition of parametric architecture…………………………………………………………………………….16 2.c Conclusion……………………………………………………………………………………………………………………..17

Chapter 3 – Organic architecture………………………………………………………………………………………………….…..17 3.a Examples of successful organic projects………………………………………………………………………….17 3.b Definition of organic architecture……………………………………………………………………………………20 3.c Conclusion…………………………………………………………………………………………………………………….…21

Chapter 4 – Transponding biology in architecture…………………………………………………………….22 4.a About materialecology……………………………………………………………………………………………………..22 4.b Examples of projects………………………………………………………………………………………………………..24

Conclusion………………………………………………………………………………………………………………………..32 References………………………………………………………………………………………………………………..………34

List of illustrations Figure 1 - Aerial view of Galaxy SOHO Figure 2 - View down onto the promenades connecting the individual towers image Figure 3 - Riverside Museum Zaha Hadid Architects façade Figure 4 - Riverside Museum Zaha Hadid Architects Hawkeye Aerial Photography Figure 5 - London Aquatics Centre Interior Figure 6 - London Aquatics Centre Figure 7 - Hooke’s (1675, 31) anagram of the hanging chain model. At the time, anagrams were a common way to claim the first publication of an idea before the results were ready to publish.

Figure 8 - Inside Gaudí’s hanging model for the Colònia Güell.

Figure 9 - Sketchpad invented by Ivan Shuterland Figure 10 - Parametric design using Rhino and Grasshooper Figure 11 - Frank Lloyd Wright, Fallingwater (Edgar J. Kaufmann House), 1935-38, Bear Run, Pennsylvania Figure 12 - The East Beach Café, Littlehampton Figure 13 - The café's design, by Thomas Heatherwick Figure 14 - Bavinger House exterior Figure 15 - Bavinger House interior Figure 16 - Silk Pavilion Figure 17 - The Bombyx mori silkworm spinning silk fibre on a digitally scaffolding structure Figure 18 - HygroSkin – Meteorosensitive Pavilion in Stadtgarten, Stuttgart Figure 19 - Close-up photo of a HygroSkin aperture adapting to weather changes: open at low relative humdity (left) and closed at high relative humidity (right) Figure 20 - Interior photo of HygroSkin – Meteorosensitive Pavilion Figure 21 - Exploded view of a module's buildup: initially planar plywood panel (left), elastically self-formed plywood panels with sandwhich core (right) Figure 22 - Photo of the robotic wood trimming process with a blade saw Figure 23 - Generation and simulation of the machine code for robotic sawing and trimming

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Acknowledgements I would like to thank primarily to my module tutor Adrian Evans who gave me advice on how to get the best result in my research subject. I am thankful also to all tutors from University of Huddersfield for their support and guidance during all my academic years.

Introduction It is obvious how impressive is the architecture without restrictions, this is proved in many of the works of contemporary architects, but is it done correctly from all points of view? As a nature lover and architecture practitioner I would like to see these two connected. It would be a shame to throw art to the left and to the right if it does not make sense.

The subject of my dissertation will focus mainly on parametric architecture. Many critics have brought to our attention that some of the parametric buildings have been a failure for certain reasons. Here is where my research question appears: ‘Can we avoid imperfections in parametric architecture?’ In order to find an answer to this research subject, the first question that appears is ‘why?’ What is the reason for all the criticism addressed to this style?

In the first chapter named Criticism of Parametricism I will relate a few examples of buildings that have been criticised on many aspects. Most of them are criticised for being too expensive because of the technology requirements to build those unusual structures.

Another motive for criticism seems to be the heritage system of the cities urbanism. The second part of the first chapter I will reserve it just for arguments and criticism about the term and style in general, but mostly regarding Patrick Schumacher’s vision on the subject.

He is convinced that Parametricism is the style of the century and everybody should adopt it.

The origins of Parametricism is the name of the second chapter in which I will research the roots of the term in order to find out where all started. In the first part of the chapter, there is a short history of the parametric term. The research will bring out that Gaudi was one of the first architects who used parametric principles to design a fully functional and resistant building. After Gaudi’s hanging chain model, a significant invention was developed in 1963 called The Sketchpad. This was the first approach in the direction of digital drawing, which was then developed into detailed software like the programs used today by any architect. In the second part of this chapter I will quote the founder of the term on the definition of Parametricism, which seems more like an antidefinition than an actual definition. As a conclusion of the chapter I am going to debate this definition and give my personal opinion about it.

The subject of the third chapter can be found in the title, organic architecture. I decided to research this subject too because of the connection with Parametricism that to me seems 2

obvious. In most of their statements, Zaha Hadid and Patrick Schumacher describe their ideas of concepts as buildings that seem to grow from the site, that blend in the natural landscape, or that belong to that particular site. This description to me it seems very similar to Frank Lloyd Wright’s description of organic architecture and that is why I think this chapter will help me explain how can we avoid imperfections in parametric architecture. In the first part of the chapter I will present a few organic architecture designs and in the second part I will give the definition of organic architecture followed by a chapter conclusion in which I am going to attempt a definition of my vision of Parametricism.

The last chapter comes as a response to my research subject, avoiding imperfections in parametric architecture. The name of the chapter is ‘Transponding biology in architecture’ because that is the subject of the latest innovation in design. The chapter will begin with an explanation of the term materialecology coined by Neri Oxman. Materialecology is a design approach aiming to strengthen the connection between nature and the object created. In the second part of the last chapter, I will present two of the latest most innovative design projects that are visibly related to nature. One of the projects is the Silk Pavilion designed by the MIT Media Lab, where a fibre-based digital design is playing the role of structure while the silkworms are layering the outer skin of the pavilion. This project is the result of many years of research in order to monitor the behaviour and necessities of a silkworm. The second project presented in the last chapter is related to meteorosensitive architecture and it will reveal the study of wood, to be more specific, plywood sheets. The HygroSkin Pavilion designed by Fonds Régional d’art Contemporain du Centre is testing the responsiveness of plywood sheets regarding temperature changes. The research will reveal how wood reacts to humidity with no mechanical requirements, technology or external power supply system.

Literature review Case Study Research – design and methods fourth edition (Robert K. Yin) This book features every particular research include through 44 boxes vignettes that present beforehand distributed contextual analyses. Gives methodological bits of knowledge to demonstrate the similarities between contextual investigations and other sociology strategies. Proposes a three phase approach to help users to compose the right questions for their own case study research. Covers new material on human subject assurance, the part of Institutional Review Boards, and the transaction between acquiring IRB endorsement and the last improvement of the contextual analysis convention and lead of a pilot case.

Incorporates a general realistic of the whole contextual analysis examine process toward the start of the book. Offers in-content learning helps, including "tips" that suggest key conversation starters and give answers toward the start of every chapter, down to earth works out, endnotes, and another cross-referencing table.

This book has helped to develop my research capacities through various examples so that they can be interpreted and applied in my research information gathering process. Also, the diagrams shown in this book helped to better organize the steps planned to follow, and also 3

brought some convincing arguments in using at least a few research methods to get the best results.

The politics of parametricism – Digital technologies in architecture (Matthew Poole, Manuel Shvartzberg) Throughout the last decade,"parametricism" has been proclaimed as another avant-garde in architecture, urbanism, and industrial design, viewed by numerous as the next amazing style in history. From structures to urban areas, the fabricated condition is progressively outlined and built utilizing advanced programming in light of parametric scripting stages which claim to process complex physical and social models alike. In any case, basic inquiries concerning these social and mechanical movements are frequently overshadowed by the tempting aesthetic that parametric outline instruments and their architectural items and discourses represent. The Politics of Parametricism tends to these issues, offering a provocative gathering of new expositions composed by driving worldwide scholars in the fields of advanced design, hypothesis, and innovation. Investigating the social, political, moral, and philosophical issues in question, every section gives an alternate vantage point on the difficulties and arrangements displayed by the procedure of parametric engineering and urbanism.

Parametric Design for Architecture – (Wassim Jabi) Architects use digital tools in order to help them contour their ideas and generate models of their concepts. Parametric design programming lets architects and designers determine connections among diverse parameters of their concept model and make reciprocal adjustments. When adjustments happen, the reminder of the prototype responds and updates properly and in a regular manner focusing on the pre-arranged associative guidelines. Through a detailed characterization of multiple parametric, innovative and algorithmic methods, this book presents a guide to developing geometric and environmental solutions for distinct situations.

This book introduces international case studies from a selection of architects, step-by-step tutorials generating an understanding of both common designs and unique digital algorithms and descriptions of basic algorithmic methods that allow practitioners to practice their skills in any parametric software.

Journal Articles about parametric architecture by Patrick Schumacher In these articles parametricism roots are described as coming from the computational animation methods of the mid 1990’s and that it only fully developed in recent years with the advancement of parametric designing softwares. Patrick Schumacher justifies why parametricism has evolved into the leading, unique style today and why it is specifically 4

appropriate for large-scale urban design as presented by various competition-winning design schemes completed by Zaha Hadid Architects.

Through his statements, Patrick Schumacher is explaining that Parametricism has now evolved sufficiently from the technical and aesthetic point of view to employ with the development of “a complex, variegated urban order”. Moreover, he is claiming that it should be already capable of adapting and responding to the flexible forces that influence global markets.

In one of the journal articles, Patrick Schumacher relates how elegance in architecture generates complexity. Elegance must be understood and polished throughout the construction and building concept scheme to be totally expressed in the design. This requires the detailing of dimensional and framework organisation and the combination of all construction mechanisms that are systemic, flexible and comply with each other, producing an overall accuracy of construction.

Another journal explains that implementation of essential geometrical acoustics in the architectural practice is nothing new. The appearance of three-dimensional modelling software such as Grasshopper has for sure maximised the consultant’s effectiveness and discussions within the design company. At first, Grasshopper’s supposed restraining in complex calculations appears to restrain its use to basic trigonometry, but technology develops fast and this does not apply anymore. Geometry investigation regarding acoustic concepts are compelled by actual parametric modelling. This paper also explains the cooperative technique of developing an individual algorithm for acoustic and architectural model creation.

Journal Articles written by Neri Oxman In one of her articles called Materialecology, Neri Oxman speaks about the considerations and guidelines behind material ecology that stirred the need to delivered a framework for advancement in digital form-generation, multifunctional materials and computational manufacturing. These techniques in concert will enable the revelation of material ecology across scales in architectural or product design.

One of her most inspiring projects is explained in detail in the journal article called The Silk Pavilion. This project’s aim was to propose a format development approach to fibre-based computational fabrication exploring the duality of digital and naturally manufactured structures. In this approach, digital tools are expected to convey a profoundly separated framework, over which a natural system is deployed. These two frameworks are acting complimentary: one is pointing out the structure’s load-bearing trajectories while the other is strengthening these paths and performs as a skin.

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Methodology In order to find answers to my research question ‘Can we avoid imperfections in Parametricism?’ I started looking for the root of the problem through case studies on three of the most criticised parametric buildings. After establishing the reasons for the addressed critiques, I continued the dissertation by collecting more information about the origins of Parametricism in order to make a comparison with an already acknowledged world-wide architectural style.

Besides case studies, this dissertation is based on arguments sustained by qualified sources that helped me formulate my own conclusions. The arguments regarding the similarities between organic architecture and parametric architecture, led to the conclusion that parametric design represents in fact an evolved organic architecture.

By using these methods I achieved the goal of finding an answer to my research question, which I expressed it through Orgametricism.

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Chapter 1 – Criticism of Parametricism 1.a. Examples of criticised existing buildings

Galaxy Soho – Beijing, China One of the most criticised buildings designed by ZHA Architects is Galaxy Soho built in China and completed in 2012 (fig.1-2). This complex stands empty since it was open, primarily because the prices are still increasing and investors find it very expensive. Besides the fact that this building does not fit in the overall landscape being far more futuristic than the surrounding buildings, another negative factor about this building is that the rooms are not flexible and the sunlight barely enters the rooms.

fig.1 Aerial view of Galaxy SOHO (n.d., 2012)

In his blog, Wainwright (2013) talks about the letter published by the Beijing Cultural Heritage Protection Centre where they seemed very offended by the design of Galaxy Soho.

He is stating that this project “caused great damage to the preservation of the old Beijing streetscape, the original urban plan, the traditional hutong and courtyard houses, the landscape formation, and the style and colour scheme of Beijing’s unique vernacular architecture.” Besides the physical and economical imperfections, this building has an issue with politics as well.

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fig.2 view down onto the promenades connecting the individual towers image (D. Hudson, 2012).

Riverside Museum – Glasgow, Scotland

fig.3 Riverside Museum Zaha Hadid Architects façade (n.d., n.d.)

This museum, also designed by ZHA Architects, was criticised because of the fact that is out of the context, maybe too cartoonish (fig.3) and the shape from aerial view makes no sense because nobody can see it (fig.4). Architectural critic Rowand Moore (2016), from “The Guardian” states that this is “a building whose zig-zag, zinc-clad roof makes it visually spectacular, but not any easier to navigate or inhabit as a museum.” Besides these, visitors cannot get close views of the objects.

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fig.4 Riverside Museum Zaha Hadid Architects Hawkeye Aerial Photography (n.d., n.d.)

London Aquatic Centre – London, United Kingdom

Fig.5 London Aquatics Centre Interior (Hufton, N. & Crow, A., n.d.)

One of the reasons for criticism addressed to this design is because of the restricted views seating available for the public (fig.5). Apparently, officials from the Olympics had to refund tickets because of the obstructed views from the upper rows. Zaha Hadid Architects denies that is because of bad design. Their brief was to provide the centre with 5000 spectator seats that have no interrupted views of the 10m diving platform events and they delivered 8000.

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Fig.6 London Aquatics Centre (n.d., n.d.)

The design concept of the London Aquatic Centre (fig.6) was created on the idea of the movement of the water and that can be easily noticed because of the large spans and curvature of the ceiling.

After all the criticism on these designs it is obvious that the biggest problem of Parametricism is the cost of production for the materials or the ‘wrinkled’ structures. This does not mean necessarily that there are no other restrictions, for example on political matter.

The burden of this play, which W. Rybczynski additionally calls attention to, aside from lifted development expenses—and caulking issues—is that the morphological structures created are neglectful of the past. This gives parametrically planned structures an up-to-theminute quality. Despite the fact that they look science fiction cutting edge, they are additionally inquisitively one-dimensional, to no end ages quicker than yesterday's vision without bounds.

1.b. Critics on parametric design As a fan of the architect Zaha Hadid, I studied her career, her works, her vision, which remained a legacy and which will be continued by her partner Patrik Schumacher, but I also studied her way of thinking, inspiration and goals. I wrote an essay called "The Design Process of a Successful Architect," in which I learned that her great inspiration comes from the painter Malevich who was painting in abstract form all sorts of geometric shapes, lines, and compositions difficult to understand for a person uninformed. But the connection between Malevich's paintings and the daring designs of Zaha Hadid is once again abstract, and so is P.Schumacher's attempt to give a definition of “Parametricism”, a term that he coined himself, when that definition has nothing to do with some of their projects.

In 2016, Rowan Moore who is an architecture critique for ‘The Guardian’, was stating that Patrik Schumacher who is now the director of ZHA Architects and also co-director at AADRL, 10

has been pushing an “impressive but impenetrable string of polysyllables” to define what he calls Parametricism.

Zaha Hadid Architects are claiming that their projects are based on the typology of the land on which they are building and their goal is trying to implement the idea that the building belongs to the place and falls into the overall picture, but all they do is the opposite of their purpose. The same opinion is brought to light by Rowan Moore (2016) who is claiming that “For something so keen to base itself on scientific information, Parametricism is short of evidence that it actually works. It rests on the unproven belief that it is possible to mould architectural forms perfectly to the complex and unpredictable uses they will contain. It is supposed to be adaptable, fluid, responsive and connective with its surroundings, but most parametric buildings so far tend to be the opposite.”

But ZHArchitects are not the only ones criticised for exquisite designs, Frank Gehry is also spotted for his impossible facades. Lloyd Alter (2014) is bringing up the fact that many of Frank Gehry, Zaha Hadid or Bjarke Ingels’s designs are actually faulty from the technical point of view and they are also “thermal nightmares that will turn into money pits for their owners as they try to keep the rain out and the heat in.”

Other critiques come from Witold Rybczynski (2013) who is stating that “Even in experienced

hands, parametric programs can produce alarmingly undisciplined results.” For sure this statement was referring to Schumacher’s tendency of focusing mainly on the elegance of the building’s form rather than focusing first on the functionality of the building. In his defence, Schumacher considers that the objective is to improve urbanism and to enlarge the architectural repertoire which can become densely layered, complex and differentiated.

The term of complexity was deeply investigated by Christopher Alexander who sent an important and ambitious message through his book called ‘Notes on the Synthesis of Form’.

“My main task has been to show that there is a deep and important underlying structural correspondence between the pattern of a problem and the process of designing a physical form which answers that problem,” (C.Alexander 1964) His thesis was that any design issue could be reasonably separated into covering subsets of functional needs, and that these sets had a various levelled relationship. He gave a kettle for instance, and recorded 21 particular examples that represented its outline: “It must not be hard to pick up when it is hot,” “It must not corrode in steamy kitchens,” “It must not be hard to fill with water,” et cetera.

Alexander's needs, or “misfit variables,” as he called them, are based on the meaning of a parameter—"a quantifiable factor framing one of a set that characterizes a framework, or sets the states of its operation"— yet his approach was parametric in a distinct sense in comparison to Schumacher's. Alexander’s goal wasn’t just to design unusual shapes; his ambition was to discover the boundaries of complexity in design.

A genetic algorithm described by Malkawi in his research paper in 2004, is imitating the natural process of evolution which can be mixed with the digital wavy dynamics to assess and improve thermal performance and ventilation in the projects. On the other hand, he 11

concluded that the technology is far from being able to control or anticipate human behaviour in their daily interaction with the surrounding objects or the building itself.

“Parametric design cannot provide comprehensive solutions due to the fact that the basic physics-based algorithms integration problem is still far from being solved.”

1.c. Conclusion In order to establish the solution for the research subject ‘avoiding imperfections in parametric architecture’, first we need to find out why the imperfections exist in the first place. Therefore, this chapter presented critiques regarding parametric buildings and Parametricism. The next step to answering the research subject will be presented in chapter two. Through a short history of Parametricism and the definition of the term, the roots of parametric architecture will be discovered.

Chapter 2 – The origins of Parametricism

2.a. History of Parametricism

One of the earliest attempts of using parametric equations was found in Robert Hook’s hanging chain model which was then developed by Antonio Gaudi in his concepts.

It is difficult to know if Gaudí was directly impacted by the different researchers and mathematicians who had before utilized parametric formulas to characterize geometry.

Mark Burry, the contemporan official architect of Gaudí's Sagrada Família, says there is for all intents and purposes nothing composed by Gaudí himself about the inspirations, speculations and practice that pushed him to extend the boundaries.(D.Davis 2013) According to Claudi Catala (cited in D.Davis 2013) Gaudí's university educational modules included “advanced mathematics, general physics, natural science, and descriptive geometry”. Gaudí's profound comprehension of science underlies his arhitectural engineering which solely comprises of numerical ruled surfaces – helicoids, paraboloids, and hyperboloids – parametrically connected together with ruled lines, booleans, proportions, and catenary curves (J. Burry and M. Burry 2010, 35-39; M. Burry 2011, 144 mentioned in D.Davis 2013).

Regardless of whether Gaudí knew about the research characterizing geometry with parametric algorithms, Gaudí absolutely utilized models supported by parametric algorithms when planning his architectural masterpieces.

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It is obvious that the application of parametric formulas are present in numerous aspects of Gaudi’s designs, but the best representation of this application is the way he used the hanging chain model. The origin of the hanging chain concept begins from Robert Hooke's (1675, 31 mentioned in D.Davis 2013) anagram "abcccddeeeeefggiiiiiiiiillmmmmnnnnooprrsssttttttuuuuuuuuu”(fig.7), which unscrambled and interpreted from Latin "as hangs the flexible line, so but inverted will stand the rigid arch" (Heyman 1995, 7 mentioned in D.Davis 2013).

fig.7 Hooke’s (1675, 31) anagram of the hanging chain model. At the time, anagrams were a common way to claim the first publication of an idea before the results were ready to publish.

(D.Davis, 2013)

Gaudí decided to adopt this system in his design for the Colònia Güell Chapel by creating a reverse model of the chapel applying strings pressured with birdshot. Due to Hooke's guideline, the strings would dependably sink into a shape that, when altered, would remain in obvious compression. This hanging chain model presents all the elements of a parametric formula. There are an arrangement of free parameters (string length, pinpoint area, birdshot weight) and there are an arrangement of results (the different vertex areas of focuses on the strings) which evolve from the parameters application of precise operations (for this situation Newtons laws of movement). By adjusting the individual parameters of the hanging chain model Gaudí could produce various concepts of the Colònia Güell Chapel and be guaranteed that the structure would remain in compression. (fig.8)

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fig.8 Inside Gaudí’s hanging model for the Colònia Güell. (D.Davis, 2013)

Contrasted with the first applications of parametric formulas by researchers and mathematicians, the innovative development of Gaudí's hanging chain structure demonstrates that it naturally figures the parametric results. He found a way to automatically emerge a shape of a catenary bend following the principle of gravitation on strings leaving behind endless manual calculations.

In the 20th century, before Zaha Hadid’s partner Patrik Schumacher coined the term Parametricism, one of the first persons to talk about parameters in architecture was Luigi Moretti. In 1958 he was the founder of the IRMOU (National Institute for Mathematical and Operative Research for Urbanism) where he was researching and trying to develop parametric architecture. In one of his writings, in 1940, he concluded that “The functional parameters are meticulously listed and identified as the basis for the expressive game of an architect”. Twenty years later he shared this with the world in his exhibition of “Parametric Architecture and of Mathematical and Operational Research in Town-planning: 12th Triennial Exhibition, Milan, Arts’ Palace, September-October 1960”.

Some of parametric architecture’s early practitioners were Greg Lynn, Jesse Reiser, Lars Spuybroek and Kas Oosterhuis.

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fig.9 Sketchpad invented by Ivan Shuterland (D.Davis, 2013)

The first invention that launched digital design was the Sketchpad (fig.9) invented in 1963 by Ivan Sutherland as a part of his PhD thesis. His aim was to develop a mechanism that could reduce and facilitate the working hours of a designer, because everybody knows that in architecture, remaking drawings and models are essential to get the best possible result.

After fifty years of developing the software, computers have completely replaced the drawing boards offering a large variety of programs like CATIA, Rhino, Fusion, SolidWorks and many others based on visual scripts and algorithms. (fig.10)

fig.10 Parametric design using Rhino and Grasshooper (n.d., n.d.)

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Recently a researcher named Daniel Davis (2013) wrote a PhD thesis on computational design stating that "...a parametric model is unique, not because it has parameters (all design, by definition, has parameters), not because it changes (other design representations change), not because it is a tool or a style of architecture, a parametric model is unique not for what it does but rather for how it was created. A parametric model is created by a designer explicitly stating how outcomes derive from a set of parameters... As such, I define a parametric model as many mathematicians would: as a set of equations that express a geometric model as explicit functions of a number of parameters".

2.b. Definition of Parametricism Patrik Schumacher (2008) wrote in his “Parametricist Manifesto” that: “The defining heuristics of parametricism are fully reflected in the taboos and dogmas of contemporary avant-garde design culture: Negative heuristics: avoid familiar typologies, avoid platonic/hermetic objects, avoid clearcut zones/territories, avoid repetition, avoid straight lines, avoid right angles, avoid corners, …, and most importantly: do not add or subtract without elaborate interarticulations.”

(Patrik Schumacher, 2008)

From my understanding of the definition and description of what Parametricism tends to be in Patrick Schumacher’s aspirations, basically he is saying: if you want your design to be recognised as Parametricism, you should make a profound connection with the nature so that the building seem to grow from the site but avoid the heuristics mentioned above.

The problem is that in nature is impossible not to encounter elements as straight lines, repetition, clear-cut zones, right angles, and even corners. In the end, all his dictatorship statements are in contradiction with the overall vision of a concept. Another fact about this definition is that in a design process, the artist is not avoiding anything; on the contrary, he is aiming to check multiple variations of the concept to make sure that the result is the perfect one regardless of straight lines, repetition and so on. In my opinion, there is not a single architect who will compromise the functions or the aesthethics of their projects just to fit into the requirements of Parametricism.

Professor Richard Coyne (2014) from University of Edinburgh was stating that “It looks as though the words parametricism and parametric bear the same relationship that scientism does to science. According to the Oxford English Dictionary, scientism is “A term applied (freq. in a derogatory manner) to a belief in the omnipotence of scientific knowledge and techniques; also to the view that the methods of study appropriate to physical science can replace those used in other fields such as philosophy and, esp., human behaviour and the social sciences.” Parametricism comes across as belief in the omnipotence of parametric knowledge and techniques bent on replacing all others.”

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2.c. Conclusion Besides the fact that parametric architecture seems to be covering the vision of the future of many individuals, this style is still struggling to avoid imperfections. Taking in count that it has been developed in over 70 years until today, for sure Parametricism will still remain controversial for a long period of time. But is it correct to call it “Parametricism”? since all buildings regardless of their form are anyway based on parameters. And if it is, should its definition sound like an antidefinition?

Another fact that comes up controversial seems to be the origin of Parametricism. In P. Schumacher’s words, this style called Parametricism, is defined by the overall aesthetics of the building that seems to attach itself to the environment. One century ago, Frank Lloyd Wright was first attempting to explain his work based on the same concept, which nowadays is known as organic architecture.

Having that in mind, we can consider that Parametricism is not a new style, is the same organic architecture of Frank Lloyd Wright but improved, digital, algorithmic.

Chapter 3 – Organic architecture 3.a. Examples of successful organic projects

Falling water house – Pennnsylvania, USA This project is the most famous organic architecture masterpiece. Through this design, Frank Lloyd Wright literally created his vision of how architecture should be practiced. Using natural materials and colours, he managed to integrate the building in the environment even if he picked an unusual site for the construction, above the waterfall. With this idea, the architect wanted to generate a strong and even dramatic visual impact by combining modern technology with the nature.

The details of Fallingwater’s (fig.11) concept develop a house that is sheltering, while blurs the edges between inside and outside. Stone floors extends out onto terraces, and corner windows are opening outward to ‘break the box.’

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Fig.11 Frank Lloyd Wright, Fallingwater (Edgar J. Kaufmann House), 1935-38, Bear Run, Pennsylvania (photo: Carol M. Highsmith Archive, Library of Congress #LC-DIG-highsm-04261)

East Beach Café – Littlehampton, UK This project was completed in 2007 by Heatherwick Studio and its aim was to replace a kiosk on a beach in Littlehampton, which is known as a traditional village but also as a town with a high degree of vandalism. The main material used for this design was steel, which was crafted in the shape of a sea shell and inspired by a piece of driftwood found on the coast. (fig.12-13)

Fig.12 The East Beach Café, Littlehampton (Gordon, K., 2007)

Heatherwick Studio described the East Beach Café as following: “Conventionally modern seaside architecture evokes the white sails of yachts and steamboats in a bygone era of Art Deco, but for us, the British coast does not evoke images of a 18

sparkling sea, golden sand and a heaven blue. Our partnerships were lurching between brown wet sand and eroded by the magic of sea objects. All this made us wonder how to get a connection with the texture and richness of the British beach and if the projected building could settle in the sand, as any interesting object, by the sea “.

Fig.13 The café's design, by Thomas Heatherwick (Flett, K., 2016)

Bavinger House – Norman, Okaholma, USA The project Bavinger House was designed by Bruce Goff and completed in 1955. This eclectic style of changing levels and combining materials produced the effect of inhabiting nature. (fig.14)

Fig.14 Bavinger House exterior (Brown, R., n.d.)

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Greg LeMaire (2011) describes the building as following: “Evoking a castle-like sense of earthy monumentality the home rises against the forested landscape, eventually reaching its ultimate point. The walls are made of locally quarried “ironstone” that is replaced intermittently with large blue pieces of glass cullet. This added extra gives a whimsical charm to this organic growth of architecture. The spiraling roof which covers the whole of the structure is supported by cables connected to the center mast. The exterior stone walls seem to grow out of the landscape and surround the house, adding to its connection with the earth.” (fig.15)

Fig.15 Bavinger House interior (Transcript, 2016)

3.b. Definition and origin of organic architecture "A philosophy of architectural design, emerging in the early 20th cent., asserting that in structure and appearance a building should be based on organic forms and should harmonize with its natural environment." — Dictionary of Architecture and Construction (Craven, J., 2017) 20

The term organic architecture was frequently used at the beginning of the 20th century by American architect Frank Lloyd Wright to express the idea of connecting architecture with the environment. Louis Sullivan, his mentor, influenced him indirectly through the philosophy that “form follows function”, which was developed by Wright into “form and function are one”.

F.L. Wright’s purpose was to describe and create what organic architecture meant to him, and to inspire new generations of architects through his philosophy about building creation.

In his writings, he declared: “I’d like to have a free architecture. I’d like to have architecture that belonged where you see it standing, and was a grace to the landscape instead of a disgrace.” Frank Lloyd Wright: From Within Outward Audioguide (New York: Antenna Audio, Inc. and the Solomon R. Guggenheim Foundation, 2009)

Wright’s area of interest was the relationship between architecture and nature. He was convinced that architecture should be designed in a way that it appears to grow naturally from the ground and create a unified space within the environment. The functionality of the building should be based on a complex organism, which relates its parts to the main structure. In his designs, Wright is including natural elements and colours, mixing them into environmental friendly masterpieces.

After many years of research and experiments on this topic, organic architecture finally came to conclude Wright’s ideology for design. The following principles represent some of the ones included in the philosophy of organic architecture: 

“The belief that a building should appear to grow easily from its site



Choosing one dominant form for a building and integrating that form throughout

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Using natural colours: “Go into the woods and field for colour schemes”

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Revealing the nature of materials

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Opening up spaces

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Providing a place for natural foliage.” Guggenheim. (n.d.)

3.c. Conclusion This chapter brought to light some obvious similarities between Parametricism and Organic architecture. In essence, both styles aim to the same concept, the only major difference between them being the technology development over one century.

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In my opinion, what Patrick Schumacher is aiming to achieve is an evolved organic architecture which basically is a combination between parametric modelling and organic architecture.

If we combine the definition of a parametric model, for example given by D.Davis (2013), and the definition of organic architecture from the Dictionary of Architecture and Construction, the result could be named ‘Orgametricism’.

Orgametricism is a style described as a philosophy of digital architectural design, asserting that the structure and aesthetics is defined by a set of equations that express a geometric model based on organic shapes and should harmonize its parameters with its surrounding natural environment.

The next chapter represents the subject of ‘Orgametricism’. The information regarding some of the latest developments in terms of technology and environment research can demonstrate how can we avoid imperfections in parametric architecture.

Chapter 4 – Transponding biology in architecture 4.a. About materialecology The term materialecology was coined by American – Israeli architect Neri Oxman, who is also a professor at the MIT Media Lab. She has discovered a connection between architecture and medicine because she used to study medicine before she got into architecture. In her lab they are doing research on everything related to nature and they have discovered some amazing facts about Earth’s creatures.

The rigors of assembling and large scale manufacturing have been dominating the universe of art creation since the Industrial Revolution. Sequential construction systems have directed a world made of standard parts surrounding the creative energy of designers and manufacturers who have been instructed to consider their design items and frameworks regarding the assembling of parts with particular capacities. The suspicion that parts are made of single material and satisfy predetermined particular capacities is profoundly established in design and often goes unchallenged; it is additionally implemented by the way that mechanical supply chains work. These deep rooted outline ideal models have been resurrected in Computer-aided Design (CAD) tools and also in Computer-aided Manufacturing (CAM) innovations where homogeneous materials are framed into precharacterized shapes at the administration of prearranged functions.

Material ecology represents another recent design approach inspired by nature, that intends to build up a more profound connection between the environment and the object 22

created. The acknowledgment that nature and the plan question collaborate through various measurements and a range of ecological factors is the key to this approach. A basic investigation would demonstrate that the dimensionality of the surrounding space is substantially bigger than that of a regular design space. This dimensional confuse prompts and results in an ecological mismatch where created objects don't exactly fit in their individual surroundings. Material ecology means to connect this gap by expanding the dimensionality of the project space through materials with multiple functions, high spatial determination in assembling and modern digital algorithms. This way, a comprehensive perspective of design arises considering calculations, creation, and the material itself as indivisible measurements of design which brings about items that are ecological from the beginning.

Besides this research paper made by Neri Oxman, Christine Ortiz, Fabio Gramazio, and Matthias Kohler, there are some other groups around the world who are researching a suite of naturally inspired computerized manufacture tools, strategies, and innovations empowering outlines that have a significant association with the environment.

Kristensen et al. (ETH, Zurich) present a novel manufacture technique joining slip framing and digital creation for solid structures. In this added substance manufacture process an automated arm is actualized to shape the concrete while it solidifies, eliminating the requirement for the unique processed formwork and empowering the reuse of the form over various expulsions therefore offering more prominent proficiency and control.

Reichert et al. (ICD — Institute for Computational Design, Stuttgart) propose an alternative in approaching the design and fabrication of material-based perceptiveness and responsiveness. The creators concentrate on independent reactive design frameworks that can adapt to ecological boosts through hygroscopic material characteristics. Through this system, all capacities are incorporated into a solitary material. This exploration based on plant mechanics, concentrates on hygroscopic incitation in plants as a model for uninvolved, independent and materially installed responsiveness.

Ahlquist et al. (College of Michigan) introduce a computerized system and programming environment for the digital design of geometrically complex pre-focused on frame and twisting dynamic designs. The researchers are classifying connections between material structure and functional behaviour regarding topological, ecological, and material limitations. Physical models are assessed by sending spring-based recreations combined with limited component strategies. Among the contextual investigations is a banana leaf stalk, which shows captivating basic mixes of high twisting solidness and low torsional firmness.

Schleicher et al. (ITKE — Institute of Building Structures and Structural Design, Stuttgart) concentrate on the difficulties and openings related with the creation of kinetic structures.

The inspiration for their projects is found in adaptable and versatile plant movement for kinetic compositions. Utilizing digital modelling and simulation methods they uncover movement standards in plants and incorporate the basic instruments in adaptable

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structures. The construction of an adaptable shading mechanism for doubly bended facades acquires knowledge and research on bio-inspired kinetic forms.

Duro Royo et al. (MIT, USA) present a digital approach and programming environment for the generation of sectioned and enunciated shielded surfaces that consult between elements of assurance and adaptability. Inspired from the ancient heavily armoured fish Polypterus senegalus and through expanded simulations, the creators show structure-tofunction connections of characteristic bio-armours and imitate these discoveries in the design of a multiscale digital model named MetaMesh.

The considerations and guidelines behind material ecology stirred the need and delivered a framework for advancement in digital form-generation, multifunctional materials and computational manufacturing. These techniques in concert will enable the revelation of material ecology across scales in architectural or product design.

4.b. Examples of projects 4.b.1 The silk pavilion This project’s aim was to propose a format development approach to fibre-based computational fabrication exploring the duality of digital and naturally manufactured structures. (fig.16)

Fig.16 Silk Pavilion (MIT Media Lab, 2013)

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In this approach, digital tools are expected to convey a profoundly separated framework, over which a natural system is deployed. These two frameworks are acting complimentary: one is pointing out the structure’s load-bearing trajectories while the other is strengthening these paths and performs as a skin.

Fig.17 The Bombyx mori silkworm spinning silk fibre on a digitally scaffolding structure (Keating, S., 2013)

In order to create this relationship between a digitally-made structure and the silkworms, the researchers have been monitoring the Bombix mori silkworm’s behaviour in different spaces.(fig. 17 ) After several months of feeding the subject with leaves, it was ready to design its cocoon and with the help of a small magnet placed on the head of the silkworm, the movement was registered and studied in a parametric software. To be mentioned that no harm was inducted to the subjects, in fact, this process is beneficial for the silkworms which in some cases boil in their own cocoon missing their opportunity for reproduction.

The organically saved silk encapsulates qualities related with its scale that couldn't have been accomplished utilizing current digital instruments. The silkworm-spun non-woven fibroin clings to and wraps around the digitally placed silk fibres but also accommodates a robust 'infill' with the help of the interplay between the two synthetic operators saved by the silkworm: the fibroin that behaves as fibre and the sericin that behaves as an adhesive or connective tissue. The layout development approach can be executed utilizing different sorts of digital manufacturing instruments and organic frameworks. In this regard, the digital environment created for this task is perceived as a generative one: it can address other comparable issues over a scope of scales and over a variety of manufacture strategies, situations and organic grids of choice.

A few potential applications might be considered as conceivable results of this examination.

As to the immediate potential for natural creation joined with computer manufacturing, the trial information asserting the connection between platform surface morphology and natural fibre association can be viewed as the most valuable. Additional research regarding the production of exceedingly controlled and tunable functional variations of material 25

properties will be investigated through different methods for utilizing templates in biological manufacturing. New sorts of high-performance material composites might be outlined along these lines, much the same as the composites noticed on the pavilion which consolidate interior and outer natural silk wrapping of the engineered strings. Furthermore, coordinate silk fibre statement onto a framework structure not just sidesteps the handling of silk cocoons into string and material, yet additionally advances a more supportable silk collecting cycle. At long last, as to decentralized swarm-like development forms like the ones observed in nature, future improvements in the capability of synergistic development conduct will be additionally investigated by the MIT Research Lab.

4.b.2 Meteorosensitive architecture The HygroSkin pavilion (fig.18) investigates an innovative mode of temperature responsive building design based totally on the mixture and relationships of the material performance, digital morphogenesis and mechanic fabrication. Due to the fact that the timber is instabil regarding the moisture content in the atmosphere, researchers have been able to create a meteorosensitive architectural envelope responsive to weather modifications without the need of any mechanical support or energy consumption. Installed within mechanically manufactured, lightweight structural elements made of flexibly curved plywood panels, the reactive timber-composite apertures regulate the skin’s porosity in direct response to adjustments in temperature’s relative humidity.

The research and construction of the HygroSkin Pavilion were completed by the Fonds Régional d’art Contemporain du Centre and today the project can be found in the permanent collection of the FRAC Centre in Orleans. (Krieg, O.D., Menges, A., Reichert, S., Schwinn, T., Christian, Z., Zuluaga, D.C., & Rinderspacher, K.,2014)

Fig.18 HygroSkin – Meteorosensitive Pavilion in Stadtgarten, Stuttgart (FRAC Centre, 2013) 26

Wood is a clearly grown natural tissue that has advanced as an exceedingly powerful biological structure to satisfy the support, guidance and storage necessities of trees. The multi-purposeful characteristic develops in a distinct cell anatomy that is essential for the specific overall performance abilities of the material, which includes its anisotropic structural and hygroscopic typical features.

Consequently, because of its biological anisotropic make-up, timber cannot meet the precise behaviour standards of industrially manufactured construction materials. To control the material’s ability in a significant manner it is necessary an integrative concept method that demands the latest digital design and fabrication equipment. Digital design offers suitable techniques for a unifying design procedure. A digital model may be informed by using unique material and production constraints, but at the same time is able to abstract geometric information into codified manufacturing instructions. For that reason, it is able to act as a generative data model that includes both the internal anatomic system of the material and the mechanic control for the manufacture of large numbers of distinct components.

The knowledgeable design abilities and digital software strategies admit remarkable access into the material’s volume and its complex behaviour. The purpose of this research is to check and compare these strategies at full scale through the improvement of a climate reactive enclosure of lightweight, geometrically distinct elements that use the timber’s energetic bending performance and moisture reaction of the material (fig. 19).

Fig.19 Close-up photo of a HygroSkin aperture adapting to weather changes: open at low relative humdity (left) and closed at high relative humidity (right) (FRAC Centre, 2013)

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Material-oriented Computational Design Process The scheme is based on several years of in depth design investigation into componentbased production and flexible self-forming frameworks. Based on the flexible performance of fine planar plywood sheets in addition to the material’s interrelated capacity to shape conical surfaces, a digital design method was developed with the principle of combining material and structural performance, mechanical production, and construction logic into one coherent design tactic. Primary limitations for the prototype were characterized by the Fonds Regional d’Art Contemporain du Centre, who authorised the HygroSkin Pavilion scheme, and the complementary requirement for construction, dismantling, and transportation, proposing a modular setup of pre-assembled components.

Due to their flexible essence, planar plywood sheets can transform into malleable surfaces of which the cone is a particular type of ruled surface along with straight areas that can be produced by relating the opposing non-parallel boundaries of a plane sheet. Despite the fact that the conical form increments structural strength in comparison to a plane sheet, the surface geometry will differ from the perfect conical form due to inner stresses. This flexible reaction depends on the category and value of the relationship between its boundaries, as well as irregular cut-outs of the originally plane component and as a result proposes the utilization of a supplementary shaping method.

A major restriction for the design and production of the model was the geometric character of the resulting connection curves among adjacent cones. Despite the fact that a circular cone is a symmetrical form, the resultant surfaces of a connection of homogeneous, matching cones show mainly separated geometries. (fig.20)

Fig.20 Interior photo of HygroSkin – Meteorosensitive Pavilion (FRAC Centre, 2013)

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Fabrication Intelligence The digital technique integrates the material’s capability to get to the point where it can physically compute the desired shape within the flexible curving technique, the cumulative framework of the resulting construction elements, the digital detailing of all joints and the technology of the required robotic code for the manufacture with a 7-axis industrial machine. The conical forms are used as an outer layer for every part, and turn into a sandwich structure by trapping a skin layer of one hundred mm polystyrene between two of the conical plywood sheets (fig.21). This composition is expanding the structural balance of the components, between 500 to 2500 mm in volume, while they become lightweight.

Ultimately, a custom vacuum shaping technique establishes texture of the conical geometry while the following robotic cutting technique guarantees dimensional perfection along the boundaries of each component.

Fig.21 Exploded view of a module's buildup: initially planar plywood panel (left), elastically selfformed plywood panels with sandwhich core (right) (FRAC Centre, 2013)

The mechanical production technique is established on an interactive reproduction of the machine’s kinematics and robotic machine code production. In order to get to the point where it can minimise production resistances, the component’s geometry is first assessed with the mechanic arm by checking the location of reference points connected to the base coordinate scheme represented by the vertical point. Using the assessed points, the computational geometry structure is lined up with the physical structure by an algorithm which reduces their distinctness in location and orientation.

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Fig.22 Photo of the robotic wood trimming process with a blade saw (FRAC Centre, 2013)

The mixture of parametrically created instruments for cutting the component’s edges with a round saw and grinding the foam basis (fig.22), and the reactive reproduction of the 7-axis machine’s kinematics is permitting the simultaneous creation of the equivalent machine control code from inside the parametric structuring domain (fig.23).

Fig.23 Generation and simulation of the machine code for robotic sawing and trimming (FRAC Centre, 2013)

To check the production accuracy before the construction, 3D laser scanning was applied for scanning a subdivision of the pre-assembled elements, which were contrasted to their equivalent computational structures. The examination of a three-dimensional laser scan of a component positioned in the first row revealed that a random collection of 25,000 scan 30

points of the more than 1 mil available information points had an typical deviation from the computerised target geometry of under 0.6 mm. The three-dimensional scan examination therefore revealed that the computerised production steps of pre-manufacturing the structure, CNC-trimming the flat plywood sheets, vacuum shaping the components, and mechanic grinding and cutting were remarkably accurate with a cumulative resistance of less than 1.0 mm for the particular construction elements.

Structural Intelligence The geometric concept of the framework was established roughly on a flat shell design.

Through controlled organisation of the elements, no connective lines develop on the same axis, thereby removing basic points of framework vulnerability and this way greatly solidifying the overall construction. Curving moments generated by storing eccentricities on every component must be considered given the element’s bended geometry and layout on the vertical axis. Nevertheless, a final component examination (FEA) established that only small-scale flexible loads are found, while most of the weight is taken axially.

FRAC researchers are stating in 2014 that “Given the sandwich configuration of the modules, the connection of the Styrofoam strips with adhesive causes the cross-section to work as a semi-rigid, 3D stressed skin panel member during bending and additionally stiffens the section against axial buckling loads. The connections between elements were designed as semi-rigid-moment connections in order to withstand lateral and vertical bending forces in addition to the shear and axial forces typical in plate shell structures. The global structural analysis indicates that the overall system provides better performance advantages – given the plate shell concept – when it is used in non-purely vertical or horizontal applications due to the increasing stability and strength requirements of such geometries. As a result of the material choice and geometric strategy, it is demonstrated that the highly differentiated modular structure is inherently strong, stable and lightweight.”

(Krieg, O.D., Menges, A., Reichert, S., Schwinn, T., Christian, Z., Zuluaga, D.C., & Rinderspacher, K., 2014)

Material Intelligence The HygroSkin Pavilion represents the continuity of previous analysis on the implementation of techniques and procedures for reactive hygroscopic performance into a practical and highly malleable architectural structure. Individual reactive apertures are installed into the considerable, mechanically manufactured multi-component structure of the pavilion, reacting every time to the adjustments in the humidity of the environment. These smooth temperature changes generate the silent, material-intuitive reaction of the skin; permanently adjusting the connectivity between the structure’s exterior and interior, bringing a special union of dimensional and climate experiences.

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Temperature-reactiveness in nature is often naturally integrated in the material’s movement, while in architecture it is usually completed through distinct mechanical sensing, responding and coordinating devices. The HygroSkin Pavilion applies the natural standard of implementing reactiveness into the material format and for that reason does not need any type of control technology, mechanical tools or external power supply system. As a response to the local microclimate, the reactive timber elements of the pores are modifying the degree of opening and porosity of the structure, firmly modifying the meteorosensitive architectural layer in subtle behaviour. The hygroscopic timber modules are calibrated to respond to local modifications in relative humidity between 45% to 75%, which resembles to the usual moderate temperatures in central Europe. The hygroscopic behaviour of the total architectural skin generates a rare experience by regularly modulating the dimensional connection between exterior and interior in response to the dynamics of the ambient.

Conclusion In order to answer my reserch question ‘how can we avoid imperfections in parametric architecture’, I started looking for the imperfections and criticism regarding this subject. In the first chapter named Criticism of Parametricism, my focus was on parametric buildings that have been labelled as failures from different points of view. In the second part of this chapter I gathered quotes that criticize Parametricism as a style. Different qualified sources were investigated in order to compose the required academic argumentation.

In the second chapter, The origins of Parametricism, I started looking for the roots and history of parametric design and I related a story about Gaudi being the first architect who used the principle of parametric design. Through the hanging chain model, he discovered that even if he was changing the model’s parameters, the structure will resist in compression. Further in the chapter I wrote about the first digital technology regarding computational drawing which was invented in 1963 by Ivan Shuterland. After the Sketchpad, the digital industry developed rapidly and by the end of the 20th century, parametric design already started to revel itself. In the second part of this chapter I quoted the definition of Parametricism given by Patrick Schumacher in 2008.

The third chapter, Organic architecture, helped me collect evidence to sustain my arguments regarding the fact that parametric architecture existed long before the term Parametricism was coined, the difference being just the development of technology. Which proves that the imperfections appeared along with the freedom of expression. Taking that in count, there is an obvious need for appeal to the origins and that can be achieved through a deeper understanding of every creature or element in nature. I started this chapter by presenting three of the most famous organic buildings and in the second part of the chapter I quoted the definition of organic architecture from the Dictionary of Architecture and Construction. After the definition I gathered some of the principles of organic architecture described by Frank Lloyd Wright. In the conclusion of the chapter I 32

expressed my opinion regarding the similarities between Frank Lloyd Wright’s explanation of an organic concept and the explanation of Patrick Schumacher regarding parametric concepts. Finally, I expressed my vision of Parametricism through a mixture of definitions of a parametric model and organic architecture, resulting a style with the name of Orgametricism.

Transponding biology in architecture is the name of the forth chapter in which I explained my vision of Orgametricism. In the beginning of this chapter I summarised information regarding materialecology, which is a term coined by Neri Oxman, and institutions that are currently researching similar subjects. In the second part of this chapter I gave two examples of projects that are strongly focused on nature. The first project is the Silk Pavilion which tests the possibility of silkworms and artificial structures working together. After many years of research regarding the silkworm’s behaviour and needs, the pavilion finally reached its goal. The fiber-based artificial structure hosted the silkworms in order to obtain a natural layer of silk that completed the pavilion. The second project that I chose to mention is the HygroSkin Pavilion. The aim of the research was to find a material that can respond to climate change. The subject material is the wood, and the innovative fact about it is that it reacts to humidity.

In conclusion, the style of the century that Patrick Schumacher strives to defend, is nothing else but an evolved organic architecture that can avoid imperfections through a deeper connection with the environment.

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Publications: Harmens, J.A.J. (2014). Is What Is Seen By The Public As Parametric Architecture Actually Parametric And Is This The Future Of Architecture?(Investigation). Available from ISSUU. (ISSUU URL https://issuu.com/jajharchitechure/docs/is_what_is_seen_by_the_public_as_pa)

Youtube Videos: Texas A&M College of Architecture. (2017, May 2). Architects Patrik Schumacher and Mark Foster Gage face off[Video file]. Retrieved from https://www.youtube.com/watch?v=i1LHqssdGE8 TEDx Talks. (2017, Feb 24). Architecture that Challenges your Concept of Reality | Mark Foster Gage | TEDxMidAtlantic [Video file]. Retrieved from https://www.youtube.com/watch?v=7v5hmQt57lc&pbjreload=10 TED. (2015, Oct 29). Design at the Intersection of Technology and Biology | Neri Oxman | TED Talks [Video file]. Retrieved from https://www.youtube.com/watch?v=CVa_IZVzUoc

Journal Articles: Oxman, N., Laucks, J., Kayser, M., Duro-Royo, J., & Uribe, C.G. (2014). Fabricate: Negotiating Design & Making. Silk Pavilion: A case study in fibre-based digital fabrication, ,249-255.

Retrieved from http://www.materialecology.com/assets/pdf/Conf_FABRICATE_ArticleOxmanLaucks.pdf Schumacher, P. (2006). Arguing for Elegance. Architectural Design, , . Retrieved from http://www.patrikschumacher.com/Texts/Elegance%20argument.htm Schumacher, P. (2009). Parametric Patterns. Architectural Design, 79(6), . Retrieved from http://www.patrikschumacher.com/Texts/Parametric%20Patterns.html Schumacher, P. (2009). A new Global Style for Architecture and Urban Design. Architectural Design – Digital Cities, 79(4), . Retrieved from 37

http://www.patrikschumacher.com/Texts/Parametricism%20%20A%20New%20Global%20Style%20for%20Architecture%20and%20Urban%20Design.htm l Schumacher, P. (2006). Advancing Social Functionality via Agent Based Parametric Semiology. Architectural Design – Parametricism 2.0 - Rethinking Architecture’s Agenda for the 21st Century, , . Retrieved from http://www.patrikschumacher.com/Texts/Advancing%20Social%20Functionality%20via%20 Agent%20Based%20Parametric%20Semiology.html Oxman, N. (2015). Computer-Aided design. Material Ecology, , 1-2. Retrieved from http://www.materialecology.com/assets/pdf/Material_Ecology.pdf

Published Conference Paper: Schumacher, P. (2008). Parametricism as a Style – Parametricist Manifesto. In 11th Architecture Biennale, Venice, Retrieved from http://www.patrikschumacher.com/Texts/Parametricism%20as%20Style.htm.

Krieg, O.D., Menges, A., Reichert, S., Schwinn, T., Christian, Z., Zuluaga, D.C., & Rinderspacher, K. (2014). HygroSkin – Meteorosensitive Pavilion. In Fabricate 2014: Negotiating Design and Makin, At Zurich, Retrieved from https://www.researchgate.net/publication/273060832_HygroSkin__Meteorosensitive_Pavilion.

Oktan, S. & Vural, S. (2017). Parametricism: A style or a method. In Özgür Öztürk DAKAM YAYINLARI, Istanbul, Retrieved from https://www.researchgate.net/profile/Selin_Oktan/publication/320987351_PARAMETRIC ISM_A_STYLE_OR_A_METHOD/links/5a05a261458515eddb87f5b8/PARAMETRICISM -A-STYLE-OR-A-METHOD.pdf.

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