AIR PART A Liaoyu zhou 784143

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Studio Air Liaoyu Zhou 784143 2017 semester 2 Tutor: Finnia Warnock


0.0 biography

My name is Liaoyu Zhou (Rosie). I am a third-year architecture student. I was born in China and have study in Australia for 3 years. My point of interest in architecture was arisen from the architecture theories which discussing architecture’s relations and influences towards human. I guess I am a more theoretic person instead of practical. And I also less interested in the fancy architecture which shock people at the first sight. I am interested in the architecture with more organic shape and brings comforts and peace to users or generating certain thinking.

I had experience on some software like rhino and CAD, but I usually organized my initial design on paper instead of using computer programing. I guess it is my bias towards some extreme geometric building with less functionality attached and also lacking of skills is my reasons for less computer works.


Earth secret project 1

For this studio, I really want to learn more computation skills which will definitely better my future design. I am expecting to know more about today’s computation and design due to I have not exposed to this much.

Earth secret project 2

There are some projects from my studio earth.

Earth project frame and infill


Part A. conceptualizat


tion


A1.0 design future Current situation Now human is facing an unstainable situation of exploiting the world, and there will be no future for us if this human and world relation is maintained. In this situation, design is regarded as an important method to secure our future, for its capacity to influence people’s thoughts and behaviors and shape the material world [1]. Driven by today’s condition, a series of designs highlight sustainability, human-nature relation, and possible future living model, are proposed and contributed to the discourse about future possibilities.

Architecture’s role Instead of perceiving as a container for people, architecture is viewed as a practice to test out revolutionary ideas and employ changes to existing relations of culture, politics, and social discourses[2]. In history, many revolutionary cases of architecture were proposed, driven by critical issues of that time. These cases contributed to existing debates among society and generated various possibilities for future at that time. For some cases, we can still see their influences among architects, architectures and social discussion today. It is reasonable that we consider different architectures as our possibilities towards future.

technology New technology can change design feature of that era profoundly. For example, the designs we produce using Rhino and CAD have its similarities to some extent, which is quite different from a hand-drawn proposal.


Issue right now But the reality for this industry is more about the profit aspect. Commercial development is surely the key factor for an industry to grow. In the sense, the challenge for architects is how to balance the commercial consideration and the need to secure future. Also there are some designs with the title of sustainability actually produces much more waste than the normal design. Therefore, as a designer, we should consider what design can be regarded as sustainable, and if all the inputs contributing to the design are worthwhile. According to Fry, our future can only be secure by insightful design[3]. In order to coop with our existing issues, Fry also states that design intelligence engaging with our social, economic and political theories and decaying environment needs to be established[4]. As a result, people can make more rational judgment towards our situation. Critical design and dark design that push the boundary of our narrow assumptions and creating discussion can also be effective building up design intelligence[5].


A1.1 case study 1 Architect: Superstudio Project: The Continuous Monument Time: 1969 - 1970 Unbuilt project

Figure 1: Superstudio The continuous monument 1

The Continuous Monument project is consisted of a series of city and nature compositions, in which buildings seem monumental, overwhelming and having a negative relation towards nature. It had been created mainly through photo collage and drawing. This project has never intended to be built, therefore, it can be really radical and conveying revolutionary ideas.

The grid structure in this project is implying our city grid and all the artificial structure in our social, cultural and political areas. It points out a possible future which includes a total and unpleasant urbanism, 1969’s social beliefs might bring us to. In 1960s cities is growing fast and rectangular city grids are regarded as scientific and functional. Superstudio tried to point out the absurdities and dangers behind arbitrary urban planning and criticized the unhealthy urbanism structure.


This project is also aimed to challenge the technology optimism in society. By portraying a dark and overwhelming city machine created through the ‘great technology’, they made the public to realize technology can lead to a bad future without careful implement. Through inserting a giant city grid into harmonious nature, a concern about the way human values nature also arose. In this sense, technology and human society show their ridiculousness.

Figure 2: Superstudio The continuous monument 2

Around 1960s there were series of political events around the world, like Cultural Revolution in China, feminist movements, and politicized gay rights movement in western society. This turbulent political and social environment enabled all kind of different theories and ideas to grow. It is reasonable that many radical works like the continuous monuments are proposed at that time. According to Dunne and Ruby, it is a dark design, generating a undesirable future to break the naĂŻve dream of techno-utopianism[6]. The continuous monument project functioned well to propose a series of questions about urbanism, technology, environment and social, cultural and political structure at that time. And it is still radical today. We still reference it as a miserable future and try to avoid it through careful designs. These ideas behind the continuous monument project is highly appreciate by lateral architects and even contemporary masters like Rem Koolhaas and Zaha Hadid. It is a good example depicting how architecture can help to achieve a better future but also questioning this future at the same time.

Figure 3: Superstudio The continuous monument 3

Figure 4: Superstudio The continuous monument 4


A1.2 case study 2 Architect: Diller Scofidio & Renfro Project: Zaryadye Park Time: 2013 Built project to be finished in 2017

Figure 5: Zaryadye Park 1

This project introduces an idea called “wild urbanism”, which states that human and vegetation share equal importance. In Zaryadye park, architecture and nature are a harmonious whole and we can see a balance of nature and culture. Currently, we are facing a situation of environment degradation due to our exploit to environment. This proposal shows a new human-nature relationship, which is sustainable in its concept and care about nature. We can see a positive future presenting in Zaryadye park.

Zaryadye Park employs a system using particular heating and cooling techniques to maintain four different microclimates, which is trying to mimic four Russian landscape typologies: tundra, wetland, forest and the steppe. Visitors can even experience different season in this park. Because it is Moscow’s first new park in 50 years, this design also is viewed as a milestone for Moscow. All these vegetation works not only as attraction but also exhibition for educational uses. However, in terms of energy it consumes to create these microclimates, it is not self-sustaining.


Zaryadye park locates in the city center of Moscow, which makes it more revolutionary and influential. Because it at least represents Moscow’s attitude towards new human-nature relationship. The word “wild” in Russia is actually a stain, reminding they of the economic collapse and failure of past political system. Diller Scofidio & Renfro redefine this “wild” within the control of technology and cater for the social meaning of wilderness. This park also have positive psychological influences to people in Russia.

Figure 6: Zaryadye Park 2

This park is designed to be open for all years and having large open space, which allows people to gather and protest there. By comparing these two precedents, we can see that a large-size built project is less revolutionary and radical than an unbuilt project. Because a built project needs to carter more about only not the social, cultural and political ground but also all the commercial reasons and feeling of clients. Sometimes an unbuilt project can inspire people more than a built project. For Zayardye Park project, the idea of “wild urbanism” is meaningful contracting the traditional way of thinking urbanism as an irrational expanding human’s order upon nature. The idea of nature and human share equal values is meaningful. However, using technology to create artificial natural environment is still exerting human power upon nature and the park is not self-sustaining, which seems contradicting its concepts. It is the compromise of built project to clients. However, generally it is a critical design that pointing out new possibility for human future and allowing discussion for the gap between reality and an imaginary and perfect future [7].

Figure 7: Zaryadye Park 3

Figure 8: Zaryadye Park 4


A2.0 design computation Architecture design requires both the consideration of imposed constraints and personal inspiration, in other words, analysis and creativity[8]. Today we have come to a shift point of architecture due to the great help of computer towards both analysis and creativity. Computerization is helpful as a powerful analytic tool for architectural design. Firstly, Kalay states that “computers, by their nature, are superb analytical engines”[9]. A new formation of architecture through algorithm has been provided through computer programs, which allows designers to drafting and communicate their design in greater details. Also by keeping the parameters of the building formation process, designer has the ability to change them and others are able to have a better understanding towards the design. Usually algorithmic formfinding method is used to discover a most efficient surface for design which is based on algorithmic calculation which human finds hard to achieve. Secondly, computerized design process allows not only testing of material performance, but also make material fabrication more detailed and easier. The digital connection of material and performance stimulation already create a new collaborative relationship between architects and engineers[10]. Thirdly, according to Oxman, material experimentation in computer program helps to build ecological design corresponding closely with surrounding environment[11]. Designer can have a better control of these interactive relations between environment and material by computerized model. Creativity generated by computerization is usually recognized as “fake” creativity, which seems arbitrary. Firstly, there are many architects undergo a physical computation process, which uses more mathematic methods to approach design solutions. We cannot claim these creativities are fake. In this sense, computerization is a great method to generate creativity. Secondly, scripting has become a new architectural thinking method and has its own stylistic preferences [12]. Computation has its own style, which is the similar topic as drawing having its own style, and physical model having its own style. However, people tend to overlook computation as a design tool. In order to come out with better design solution, designers need to explore all kinds of methods and media. But we are unwilling to admit that computerization leads us to a more creative outcome and creativity is more likely to be fortuitous outcome.


In conclusion, computerization help us to have more efficient analysis and generate creativity, which is the key to a better design.


A2.1 case study 1 Architects: Zaha Hadid Architects Project: The Morpheus Hotel Location: Cotai, Macau Built finish time: 2017

Figure 9: The Morpheus Hotel 1

This 40-story luxury hotel designed by Zaha Hadid Architects is using total 3-D modeling technique from the concept establishing to the faรงade detailing. It shows how computerization can help us to generate good design in a creative way and perfect it with analytical method.


The concept is gradually developing from testing different overall shapes of the building. With Tspline, the smooth surface and structure is made and communicated easily(Fig 10). Without computerization, this particular style of one smooth piece of building with central voids is hard to imagine and propose. After an initial concept established, a more detailed model is produced after simulating structural, and material performance and surrounding environment conditions. The form of the hotel is changed as parameters changed. We can see that the whole form-finding process is highly influenced by computer script and comes out with a computerized style eventually. The two bridges between voids are not only providing natural lighting but also forming a creative indoor space with brand-new experience. Computer’s strong ability in terms of light penetration and testing environmental relations, works as the basis of these bridges’ design[13](Fig 11). This first high-rise building supported by a free-form exoskeleton steel structure worldwide cannot be designed and built without support of computer programing. Envelope and cladding structures are also tested on a 3-D model in terms of efficiency and material performance. We can see a new collaborative relationship between architects and engineers from different companies with cross-disciplinary knowledge involving to ensure all the structures are successful and fulfilling the aesthetic requirement. With computer file as communication tool as well, sharing knowledge and fix errors can be easier [14]. Façade elements are designed according to their different curvature(Fig 12). These components are in great details and modeled as individual Rhino files. These detailed components can be directly sent to production. They also are in high quality due to the detailed and accurate 3-D model and the performance testing process on computer.

Figure 10: The Morpheus Hotel 2

Figure 11: The Morpheus Hotel 3

Figure 12: The Morpheus Hotel 4


A2.2 case study 2 Designer: Brian Peters, Assistant Professor Kent State University, Design.Lab.Workshop Project: The Solar Bytes Pavilion Location: Cleveland, Ohio, United States Date: 2014

Figure 13: The Solar Bytes Pavilion 1

This pavilion is a temporary structure which uses new technologies to find out a new solution for architecture in more efficient and environmental ways. In this case, computerization is working more to enhance creativity and providing stylish features. The overall shape of this pavilion is designed to be barrel vault. By replacing the traditional module bricks with 3D printed plastic elements, the design gains a totally new look. This vault includes 94 hexagonal modules and some of them are slightly different with shapes. They are modelled carefully in computer and sent to 3D printer. During the design stage, many prototypes are made to discover the most effective model. Computer programs made prototypes easier to compared and making change, which lead to a best solution in a small amount of time [15]. Because of this digital process, the vault gains a neat surface and pattern, and the detailed and precise interlocking systems becomes structurally powerful and anesthetically valuable. Viewers can easily surmise that it is a product of computerization due to its neatness, lightness and sense of technology.


Each module contains a photovoltaic panel and LED light in the center and the Pavilion is located along the sun path to gain maximum solar exposure. The pavilion will light up during night and it acts also as a recorder for weather, because the part receiving longer and stronger sunlight will last longer time at night. It is supporting Oxman’s argument that computerized design learning from the natural principle of design to create a responding work to the surrounding context [16]. This also forms a unique aesthetic feature corresponding with surrounding environment. It is clear that without technological innovations, connecting environment condition and architecture is extremely difficult. We can also see a brand-new possibility for future design from it.

Figure 14: The Solar Bytes Pavilion 2

This pavilion is turned into small pieces and reused as material for extruder that accepts recycled material to build a totally different structure. It suggests a way of being sustainable for future design industry. The project expresses a strong sense of computerized design feature. It is efficient, time-saving and environmentally sustainable. I think the most important part for computerized design is their unique visual expression, and this expression is not only for aesthetic values but also driving by functional reasons.

Figure 15: The Solar Bytes Pavilion 3

Figure 16: The Solar Bytes Pavilion 4


A3.0 Composition/Generation

Architecture is experiencing a change from a social-cultural event driven composition mode to a computation driven generation mode. Generation architecture asking the control over the whole formation process, is enabled by the use of algorithmic scripting. An algorithm is described as a recipe for computer to follow and it generally transfers complex situations to be computational programs, which is controllable and easy to communicate [17]. Shifting from composition architecture to generation architecture benefits the whole industry and brings future possibilities due to computation. According to Peters, the structure of architectural firms is changing, and there are different roles computation experts can play in the companies [18]. There will be more choices and different working relations for architecture industry. Parametric modelling could potentially lead to a future, in which architects and users can keep communicating and changing the occupied buildings through digital models [19].

Generation mode use algorithmic thinking, parametric modelling and scripting as tools to free a new area of architecture, which cannot be reached with only human’s mind. Peters states that generation architectural designs with computation potentially providing unexpected results and generating inspirations that sometimes surpass human intelligences[20]. Because algorithmic thinking simplifies the complicated conditions. It is similar to the “game of life”, in which complex situations are produced by only a few simple rules. Also parametric model helps to calculate and represent the a project in details, which also helps designer to better the project. With parametric model programing developed, it not only improves ideas’ communication, but also actualizes the building experience and apply new meanings to projects[21]. Majidi argued that computation has a great impact on the way projects are built [22]. In this way, parametric model acts as annalistic and reflective stages. Scripting is the most direct and clear presentation of certain project’s formation. Analyzing scripts is the quickest way to communicate projects.


However, according to Whitehead, there is a danger for some scripters who is totally obsessed with the pure scripting technique and creating isolated crafts away from reality, which appears to be astray from the integrated and artful core of architecture [23]. It will better to employ the social and cultural concerns in composition formation to generation formation, in order to give architecture meanings. Architects understanding of algorithmic concept are still in a primary level and computation programming has not arrived a mature stage. Peters states that when architects utterly acquire algorithmic thinking method, computation will become a true design method eventually [24].


A3.1 case study 1 Architects: Marc Fornes/ Theverymany Project: Vaulted Willow Location: Borden Park – Edmonton, Alberta, Canada Date: 2014

Figure 17: Vaulted Willow 1

Vaulted Willow as a lightweight and self-supported shell derive from a series of form findings process. Starting with a 2D geometry and inflate it upwards to searching for an optimized structure. Thinking algorithmically it starts with a simple idea of inflating a 2D pattern, but comes out with a complicated form.

A good parametric model is also generated to finding the best form. Porosity increases with height to minimize upper weight and double curvature and edge strips are used to stiffen weak points. After this, a series of testing like dynamic analysis and stress ratio is processed on this model to ensure it function well(Fig 18).


The pressure of snow is also taken into account to stimulate the real surrounding environment. A small size model is made to ensure its functionality(Fig 19). Due to every piece of shingles is similar but unique, the fabrication must be precise which means the model have to be precise and extremely detailed. This freeform structure can only be calculated carry out through computation. It is clear that parametric modelling and computation process has enable this kind of freeform architecture which require high-quality of structural analysis and detailing. Also the detailing of model requires a high standard of precise fabrication.

Figure 18: Vaulted Willow 2

The color configuration of this pavilion is deriving form a potter pattern which depicts Chinese romantic story(Fig 20). It also coops with the surrounding color to merge in. This color finding process is more in a composition mode, comparing with the form finding process which is a generative procedure. It is beneficial to combine these two modes together, and attaching more social and cultural values to pure scientific form-finding.

Figure 19: Vaulted Willow 3

Figure 20: Vaulted Willow 4


A3.2 case study 2 Architects: Moritz Doerstelmann, Jan Knippers, Achim Menges, Stefana Parascho, Marshall Prado and Tobias Schwinn Project: ICD/ITKE Research Pavilion Location: University of Stuttgart Date: 2013-2014

Figure 21: ICD/ITKE Research Pavilion 1

This pavilion is built out of the concept of flying beetles’ elytra. Research team search for help from biologists to study various kinds of elytra and use computer to analyze the structural performance(Fig 22). Finally a coreless and lightweight double-layer shell structure is created. With fibre-composite structures, the beetle’s elytra’s working theory is presented(Fig 23).

numerous forewings protect the fragile flying wings working together against lateral load. In this practice, the input is elytra and the output comes out of algorithmic formation is the similar structure look fragile but structurally sound. Many modelling and analysis help to find the best elytra’s structure and transform it into architectural model. This deep biological research generates a creative and performative morphology with generative method.


The dedicated use of material and computational fabrication method creates unique and performative modules. With the help of dual-robot machine, the frame and the glass fibre are carefully applied. After the initial layer of glass fibre installed, the frame is put in the same condition of local load bearing requirements, which made each module unique and extremely performative(Fig 24). It is clear that the careful script and developed computation program can maximize architecture’s quality and performance to a stage we cannot imagine before.

Figure 22: ICD/ITKE Research Pavilion 2

I think this generative architecture combines both the sophisticated built manner of computation and the fine precedents of beetle’s elytra. It appears to be an integrated artform for generative architecture Figure 23: ICD/ITKE Research Pavilion 3

Figure 24: ICD/ITKE Research Pavilion 4


A4.0 Conclusion

After study of Part A, I realize except for the pure practical area of architecture, it also need to point out future opportunities. Architecture as the most widely existing features for social exchange, should leads discussion itself. Under this theme, design computation appears to be one of the most important tools for analysis and generating creativity. Sophisticated use of computation can expand our future possibility. We are experience a shift form composition mode to generation mode of architectural formation, which is mainly driven by computation, especially algorithmic thinking, parametric model and scripting. Architectural industry has been changing profoundly and a computerized and stylish future can already be perceived.

The generation form-finding method in case study of ICD/ITKE Research Pavilion appears to be really fascinating for me. It involves in a really scientific approach using computation technique to generate the optimized form and try to present the natural composition in a constructable way. I believe it is innovative in terms of this form-finding method starting from natural object can generate creativity that we might not exposed to in normal situation. Because these elements existing in nature are usually both elegant and functional. Also the sophisticated use of new programing technique to fix specific problem is innovative itself. I think this form-finding technique can create interesting projects with organic shape and great functionality. Designers who is seeking for optimal form might benefit from this technique. After these case study, I believe I will pay more attention to the natural shapes and try to incorporate them into my design generating process.


A5.0 Learning outcomes

After the study of part A, I have changed my attitude towards architectural computation. I am not appealed by computation process in the past, because I think many of computation projects are expressing the pure seeking of complicated geometries and they look similar to some extent. After researching of different process and projects with totally different intentions behind, I am really fascinated by the possibility computation can bring to us. I realize the past bias I had towards computation is particular towards computerized and unthoughtful designs, but there are much more we can do and innovate with computation. It is the technique that has a greater revolutionary impact for our future. Also the exposure to grasshopper is exciting. Through simply changing parameter, there will be lots of results I can comparing before deciding the final outcome.

Earth project

With these outcomes more analyses can be done, more potential problems might be uncovered, a design can be efficiently improved both through its functionality and visual aesthetics. During my past design process, I was doing computerized design instead of computation. Due to I always came up with the fixed design idea and then draw it on computer, which is not employing the creativity and unexpected results of computation. I will definitely try to generate my design on computer and explore different options to achieve the best outcome. I think the unexpected results computer bring to me will inspired me with new ideas and possibilities towards design in the future. Also I am really fascinate by the idea of using computation programming to recreate the design we might usually get used to do in other method, just like the experiment of drawing tree trunks in rhino presented in the lecture. The combination of traditional design process and the computation programming, and the way they changed each other is attractive to me. After this study, I have a review on my past earth studio project and I realized by input the parameter in grasshopper I will definitely come out with various options for the organic shape for my design, which I manually adjusted and had fewer other options towards it. Also through slightly adjustments, I can come up with unique and similar pieces for my organic form instead of a monolithic piece, which might have a totally different result.


Reference [1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3. [2] Richard Williams, ‘Architecture and Visual Culture’, Exploring Visual Culture: Definitions (Edinburgh: Edinburgh University Press, 2005), p. 108. [3] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 3. [4] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 12. [5] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) p. 38. [6] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) p. 38. [7] Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) p. 43. [8] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2. [9] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 2. [10] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 4. [11] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7. [12] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7. [13] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New York: Routledge, 2014), p. 7. [14] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 13. [15] Yehuda E Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), pp. 23-24. [16] Rivka Oxman & Robert Oxman, Theories of the Digital in Architecture (London; New


York: Routledge, 2014), p. 8. [17] A. Robert and C. Keil Frank, (1999). “Definition of ‘Algorithm’ in Wilson”, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999), p. 11. [18] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.11. [19] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.14. [20] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.10. [21] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.13. [22] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.13. [23] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.15. [24] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 2(2013), p.12.


Case study Archdaily, ‘A Wilderness in the City: How Diller Scofidio + Renfro's Zaryadye Park Could Help Fix Moscow” <http://www.archdaily.com/598907/a-wilderness-in-the-city-how-dillerscofidio-renfro-s-zaryadye-park-could-help-fix-moscow> [accessed 10 August 2017]. Archdaily, ‘"City of Dreams" Hotel Tower / Zaha Hadid Architects’ < http://www.archdaily. com/491074/zaha-hadid-designs-city-of-dreams-hotel-tower-in-macau> [accessed 10 August 2017]. Archdaily, ‘This 3D Printed Pavilion Provides Shade During the Day and Illuminates at Night’ <http://www.archdaily.com/772241/this-3d-printed-pavilion-provides-shade-duringthe-day-and-illuminates-at-night>[accessed 10 August 2017]. Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE), University of Stuttgart, ‘ICD/ITKE Research Pavilion’ <file:///D:/uni/air/ weekly task/week 3/journal/Doerstelmann_et_al-2015-Architectural_Design.pdf>[accessed 10 August 2017]. Newcastle University, ‘The continuous monument - superstudio’ < http://2014-2015. nclurbandesign.org/sustainability/superstudio/ fg> [accessed 10 August 2017]. Vimeo, ‘The Morpheus Hotel: From Design to Production: Live Webinar’ <https://vimeo. com/203509846#t=35m36s> [accessed 10 August 2017].


Image list Figure 1: Superstudio The continuous monument 1 <http://2014-2015.nclurbandesign.org/ sustainability/superstudio/ > [accessed 10 August 2017]. Figure 2: Superstudio The continuous monument 2 < http://2014-2015.nclurbandesign.org/ sustainability/superstudio/> [accessed 10 August 2017]. Figure 3: Superstudio The continuous monument 3 < https://www.moma.org/collection/ works/934> [accessed 10 August 2017]. Figure 4: Superstudio The continuous monument <https://www.moma.org/collection/ works/937> [accessed 10 August 2017]. Figure 5: Zaryadye Park 1 <http://www.archdaily.com/447637/diller-scofidio-renfro-winzaryadye-park-competition> [accessed 10 August 2017]. Figure 6: Zaryadye Park 2 <http://www.archdaily.com/447637/diller-scofidio-renfro-winzaryadye-park-competition> [accessed 10 August 2017]. Figure 7: Zaryadye Park 3 <http://www.archdaily.com/447637/diller-scofidio-renfro-winzaryadye-park-competition> [accessed 10 August 2017]. Figure 8: Zaryadye Park 4 <http://www.archdaily.com/447637/diller-scofidio-renfro-winzaryadye-park-competition> [accessed 10 August 2017]. Figure 9: The Morpheus Hotel 1 <http://www.archdaily.com/491074/zaha-hadid-designscity-of-dreams-hotel-tower-in-macau> [accessed 10 August 2017]. Figure 10: The Morpheus Hotel 2 <https://vimeo.com/203509846#t=35m36s > [accessed 10 August 2017]. Figure 11: The Morpheus Hotel 3 <https://vimeo.com/203509846#t=35m36s > [accessed 10 August 2017]. Figure 12: The Morpheus Hotel 4 <https://vimeo.com/203509846#t=35m36s > [accessed 10 August 2017]. Figure 13: The Solar Bytes Pavilion 1 <http://www.archdaily.com/772241/this-3d-printedpavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August 2017]. Figure 14: The Solar Bytes Pavilion 2 <http://www.archdaily.com/772241/this-3d-printedpavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August 2017]. Figure 15: The Solar Bytes Pavilion 3 <http://www.archdaily.com/772241/this-3d-printedpavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August


2017]. Figure 16: The Solar Bytes Pavilion 4 <http://www.archdaily.com/772241/this-3d-printedpavilion-provides-shade-during-the-day-and-illuminates-at-night> [accessed 10 August 2017]. Figure 17: Vaulted Willow 1 <https://theverymany.com/projects#/public-art/11-edmonton/> [accessed 10 August 2017]. Figure 18: Vaulted Willow 2 <https://theverymany.com/projects#/public-art/11-edmonton/> [accessed 10 August 2017]. Figure 19: Vaulted Willow 3 <https://theverymany.com/projects#/public-art/11-edmonton/> [accessed 10 August 2017]. Figure 20: Vaulted Willow 4 <https://theverymany.com/projects#/public-art/11-edmonton/> [accessed 10 August 2017]. Figure 21: ICD/ITKE Research Pavilion 1 <http://www.archdaily.com/522408/icd-itkeresearch-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. Figure 22: ICD/ITKE Research Pavilion 2 <http://www.archdaily.com/522408/icd-itkeresearch-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. Figure 23: ICD/ITKE Research Pavilion 3 <http://www.archdaily.com/522408/icd-itkeresearch-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017]. Figure 24: ICD/ITKE Research Pavilion 4 <http://www.archdaily.com/522408/icd-itkeresearch-pavilion-2015-icd-itke-university-of-stuttgart> [accessed 10 August 2017].


Bibliography Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16. Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Oxman, Rivka and Oxman, Robert, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’ in Wilson. The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12. Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116.


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