ARCHITECTURE DESIGN STUDIO AIR ABPL 30048
NAME: HO POH HUI (376181) JOURNAL
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Foreword As part of Architecture Design Studio Air in 2012, this journal aims to focus on digital architectural design as entailed in the course outline.h. Rivka Oxman, an influential commentator in the architecture field, argues that contemporary design teaching needs to be founded on new digital design thinking rather than the outdated paper based, top-down workflows. Digital capabilities enable associative and performancebased processes. This means that the traditional understanding of form making and materiality could be reinvented though new problems might arise from using such new approaches. Nevertheless, the influence of digital technology on architectural creativity, professional practices or construction is immense and growing. The journal also acts as an Expression of Interest (EOI) that proposes a design for the Western Gateway Design Project based on parametric approach. The parametric approach will be supported by explaining the innovative characteristics of computational creativity demonstrated through precedents and digitally defined physical prototypes.
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I.1. Case for Innovation I.1.1 Architecture as a Discourse Architecture tends to be thought of as art, exclusive to the profession (Williams 2005). However, a deeper look into architecture reveals that architecture needs to be analysed as discourse. It then becomes possible to think that architecture as something in which everyone can participate and understood as a sign, symbol and spatial experience (Williams 2005). Dramatic changes in the society – new technologies, new materials and new way of living – often leads to changes in architecture. It is through the consideration of architecture as discourse that one can engage with it as visual culture. As Patrick Schumacher argued, architecture becomes a system of communication that self generates within the ongoing flow of discourse and the cross-disciplinary dissemination of knowledge, ideas and theories (2011). I think that architectural discourse should be sparked by the zeitgeist of the age. The zeitgeist is the use of the vibrant and growing digital technology within the architectural field. This then directly relates to the Gateway Project. The Gateway project demands a design focused on the sparking of architectural discourse among the wider community of Melbournians. The use of parametric modelling approach would be able to meet the brief requirement to propose a “new, inspiring and brave ideas that generate a new discourse” (Wyndham City 2011) as illustrated by the successful precedents elsewhere which utilise the similar innovative approach.
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ADVANCING ARCHITECTURE DISCOURSE
HEADSPACE
HEADSPACE
Project is part of the Virtual Environments course at the Faculty of Architecture, Building and Planning, University of Melbourne that challenges 1st year architecture students to use advanced computational skills to manufacture complex and unorthodox wearable sculptures. The design is initially sketched, modelled in clay or plasticene and then remodelled in digital softwares for further development using digital tools resulting in unusual and intricate geometries that can be fabricated from paper. My concept and ideas are inspired by Experience Music Project and Restaurant Georges through the idea of deconstructivism where non-rectilinear shapes create a controlled 'chaos' condition. The initial physical model sketch is limited by the materiality of the plasticene. Hence the design is digitized and improved using digital softwares where the design is further elaborated with computationally generated complexities from the drawings.Overall, the project focuses on ‘gradual,
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iterative development that searches outcomes by exposing initial concepts to different media, techniques, contingencies and materials’ (Roudavski, Stanislav and Anne-Marie Walsh 2011) HEADSPACE has received international recognition and was played at the New York Architectural film festival in 2010. This project attracts international attention due to its emphasis on dynamic generation in response to performance criteria and its focus on the utilising digital fabrication not as one workflow among many but as a fundamental shift in traditional design thinking and practices. HEADSPACE has since become a topic of architectural discourse in terms of the idea generated from it.
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ADVANCING ARCHITECTURE DISCOURSE
ADVANCING ARCHITECTURE DISCOURSE
State of the Art Project
WEBB BRIDGE
Denton Corker Marshall + artist Robert Owen + ARUP
“Collaborations between artists and architects can produce fascinating results.Through that authorship, Webb Bridge has the roughness and experimental nature of a sculptural prototype ” Norman Day,The Age, March 2004
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A competition-winning design for a new pedestrian/cycle bridge over the Yarra river, as part of a public art project, in Melbourne’s Docklands area. Designed by sculptor Robert Owen, the Webb Bridge is based on eel-trap shape lattice that borrows a cross-cultural imagery from the indigenous culture. Owen’s initial sketch and physical model is further developed using digital exploration by the architects. Engineers ARUP developed the spine and elliptical shaped structure so that it represents the artist’s intentions (Marshall & Owen 2010), but was also buildable and affordable. This public art sculpture becomes a experiential urban space, evoking a sense of culture, symbol and relation. This project challenges the rethinking of the relationship between artists, architects and engineers. Their collaboration in this case through the digital realm not only produce a fascinating urban sculpture that symbolizes Melbourne’s indigenous culture but also ‘bridge’ the gap’ between the artists, architects and engineers.
“The resulting structure suggests a new connection, or a knot, between the old and new, past and future” - Denton Corker Marshall This precedent broadens my understanding of architecture and what formal relationships and systems that are associated with it. In the context of Wyndham, I want to use digital tools to merge the ideas of art, architecture and engineering together in hope that something innovative, brave and new will emerged from the collaboration as demonstrated by this precedent.
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ADVANCING ARCHITECTURE DISCOURSE
State of the Art Project Herzog & de Meuron Architects
BEIJING OLYMPICS ST The Beijing National Stadium is one of the iconic architecture of the 2008 Beijing Olympics. The building’s circular shape represents the Chinese symbol of ‘heaven’ (Arup 2011). The progressive structural form of the building is popularly described as a ‘bird’s nest’ with its steel mesh pattern inspired by Chinese-style ‘crazed pottery’ (ARUP 2011). The steel mesh envelope forms the façade, structure and roof of the stadium (Herzog & de Meuron 2007). Nonetheless, the seemingly random steel mesh pattern abides by complex rules for which advanced geometry was defined (ARUP 2011).
the people. The steel mesh becomes China’s icon of modernity to the world and through the non-hierarchical and non-modular geometry that reflects the diverse and global population of China (Zaera-Polo 2009). The spaces surrounding the interior of the stadium form the public space which becomes the autonomous urban site linking the stadium to the city outside. This area between the inside and outside gives the opportunity for the public to interact freely. Here, the building becomes an act of resistance to China’s dictatorship by providing urban spaces for free interaction between the public (Beyer and Knofel 2008).
The envelope of the stadium is more than mere façade or structure: it is representative of the politics and of
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TADIUM In a nutshell, this stadium represents an iconic landmark of Beijing, an architectural representation of the society, a new urban experience and a politically controversial building. The discourse created by this stadium resonates across the world. It changes the perception of the world towards Beijing as the rising economic power of the East capable of building architecture that is complex, advanced yet still embrace its culture. Also, the building represents the rising importance of urban spaces in Beijing as a place for the public to interact freely in a communist country.
spark interest and gain attention of the professionals and the public in order to “make a significant impact�. Using innovative digital tools could imply the readiness of Wyndham to embrace the new and exciting challenges associated with a growing city. As suggested by Richard Williams (2005), a design that sparks discourses could be symbolically rich in its context, but still be located within a widely understood vernacular of signs.
Similarly, for the Gateway Project, the design should be able to be read and open to various interpretations to
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I.1. Case for Innovation I.1.2 Computation in Architecture - Unique innovations “Digital architecture will be very useful when it works for cultural, social, ecological and economic concerns. As digital techniques become more and more sophisticated, and are not just realized, in more and more projects there will be new tendencies away from the abstraction and neutrality of earlier models towards a real-world rendering and the manipulation of the actual and the existing, producing more- unique works.� -Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) pg183.
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Through computational design, the final design of the Western Gateway will be: -innovative, collaborative, better informed design decision, and cost efficient, as all the required parameters may be pre-set in order to remain within the budget while also carrying out the requirements set out on the brief. -exploration of designs on a more advanced level; generating designs from algorithmic codes and set parameters, so that as the design progresses, details may be fine-tuned, ideas can be added, but all within the set constraints.
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BMW KINECT S
“For us the design process starts in a chaos; it’s a chaos of many, many different ideas that are independent of each other. And then from this chaos, different shapes begin to emerge...then split into several kinds of ideas that compete with each other. And then given the context, the final step in the narrative, you will see a real recognizable shape of a car.” Art + Com
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“The project are always driven by the content and not by the technology. Technology is merely a tool for design development” Art + Com
SCULPTURE
Art + Com
The mechatronic installation involves 714 metal balls moving in an interplay of mechanics, electronics and code. The Kinetic Sculpture covers an area of six square meters, featuring 714 aluminium balls hung with fine steel wires (an almost invisible 0.2 mm), each moved by individually computer-controlled stepper motors. The installation starts in a chaotic state, then compete with each other forms until it is finally to a final object. The design uses advanced digital technology to orchestra the dynamic sculpture. With technology, such precision to map the position of each metal balls is possible. The kinetic sculpture I believe changes the notion of exhibition. Static exhibitions of the past no longer hold the same appeal over viewers these days. These dynamic sculptures change over time and presents a story. In this sense, reactive and interactive architectures enabled by digital technology are the future of communications. In the context of the Gateway project, I believe this form of kinetic sculpture could be a kind of ‘dynamic sculpture’ , one which is not merely static but has a dynamic appeal and convey a changing story to viewers. It is important to note that digital tools and computer software are merely tools that facilitate design. It does not overtake the design process itself. I think this is a vital concept to remember while undertaking this endeavour of parametric design to not lose out role as designer to these programs.
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QATAR NATIONAL CONVENTION CENTRE Yamasaki Architects
Computation enables evaluative tools from outside disciplines to enter conceptual phases of the architectural design process so that information “typically developed downstream and acted upon reactively [is made] available to help actively guide early design exploration” (Nicholas 2008: 17).
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One of the many kinds of contemporary architecture is performative architecture – performance based priorities achieved using computational tool. It utilizes digital technologies of quantitative and qualitative performance-based simulation to offer a comprehensive new approach to the design of built environment (Branko 2003). Qatar National Convention Centre, Yamasaki Architects is an example of performative architecture that optimizes its structure to its most performative and efficient form. Final form is load and cost effective. Yamasaki’s work here is a case of innovation and are only achievable through computationl design to derive the most optimal structural form. This is a radical and unconventional approach that I would like to explore in the Gateway project for Werribee. The idea of optimised structure that is cost efficient, load effective yet still aesthetically appealing will appeal to the Wyndham Council and will to a certain extent fulfil the brief requirements of the Gateway project.
Evolutionary Structural Optimisation
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I.1. Case for Innovation I.1.3 Parametric Modeling (Scripting) Parametric modeling or scripting is a new way of creative and speculative designing being explored collaboratively with emerging digital fabrication technologies. Scripting enables computer programming to be an integral part of the design process. Scripting liberates the design process by automating many routine aspects and repetition of the design process. The use of algorithms as an interactive feature takes computational design a step further. This project is revolutionary in its traversing of unexplored territory by “exploiting generative processes; toying with the unexpected and delving into the unknown; engaging with complexity” pp 39 (Burry 2011). It tries to form particular linkages between various disciplinary and technological nodes, promoting interelated relationships between architectural elements and social behavior. However, many instinctively swarm to consolidate a dominant paradigm such as the swarm itself, agent-based modeling (Burry 2011). This leads to the lack of inventiveness despite scripting programmes being able to be generative and emergent. There is also a need for symbiosis between the designer and code writer to unleash the full potential of scripting in design (Burry 2011). Code writer should not lock their script into predefined outcomes. Hence it is imperative for designers themselves to master the scripting programs so has to be able to explore and generate many outcomes without being limited by code writer or the software itself. The use of scripting to generate emergent outcome should not be considered (as is currently the fashion in many architectural form-finding exercises today) mere “architectural play” (Lynn and Gage2010). These programs should be integrated into existing architectural platforms, to create a more formally robust software that maintains architectural applicability. Certainly a full collaboration between disciplines would result in more fruitful outcomes.
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HOW DOES SCRIPTING CONCERN THE GATEWAY -produce more possibilities/variations/ design outcomes in respond to the requirements and expectations of the Wyndham city council. -the employment of scripting in the Gateway Project can be explored by encoding certain criteria relevant to the site and design intent, and then embedded into the agents to create emergent architectonic response sensitive to the site
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MESONIC FABRICS EZIO BLASETTI “Through scripting, the eventual outcome will be much more sophisticated” - Burry 2011 Mesonic Fabrics is a contemporary scripting project that experiments with ways of scripting toward a solution or answer. The scripting uses algorithmic logic to generate new emergent patterns. DESIGN PHILOSOPHY The project is concerned in the exploration of transcoding 3 different algorithmic expression (Biothing 2007). Electromagnetic field is explored as a mean of recreating a generative systems in an innovative way. The process of scripting employed by Biothing enables rapid iteration and variation by exploiting the generative process.
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EMERGENT FIELD KOKKUGIA This project is based on the idea that a public space should emerge from interaction rather than prescribed by briefs (Kokkugia 2003). The project explores an understanding of emergence as the generation of pattern or form using local interactions between agents, fields of information and architectural elements, all within a complex system in scripting programs. Agent-based simulation techniques are used to generate programmatic relationships and architectonic response. Set of rules and constraints are assigned to architectural elements such as faรงade and structural grid to govern the way in which they interact with this field in the form making process. This develops an emergent relationship between program and peculiarities of architectural form, enabling the design process, and resultant architecture to not only exhibit particular behavourial qualities but also maintain architectural applicability. The final emergent outcome is an urban space that integrates the program, site and people together.
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I.2. Research Project I.2.1.1. Input/Association/Output Matrix
“To try to overcome this unpredictability, without compromising the delight of discovery, architects have developed methods that can be relied upon to produce satisfactory results” -Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press)
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MATRIX INPUT 1.Arbitary Points 2.Boolean Patterning 3.Curve Intersections 4.Explicit Grids 5.OverlappingPatterns 6.Surface Grids 7.Using Surface Normals ASSOCIATION 1.Attractor Point 2.Curve Attractor 3.Image Sampler 4.Maths Functions 5.Multiple Maths Functions 6.Streaming Text Files 7.Using Sets OUTPUT
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EXTRUSION N/A refering to unsuccessful combination of components.
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NO# accross Association NO# down Input
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MATRIX INPUT 1.Arbitary Points 2.Boolean Patterning 3.Curve Intersections 4.Explicit Grids 5.OverlappingPatterns 6.Surface Grids 7.Using Surface Normals ASSOCIATION 1.Attractor Point 2.Curve Attractor 3.Image Sampler 4.Maths Functions 5.Multiple Maths Functions 6.Streaming Text Files 7.Using Sets OUTPUT
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ROTATION N/A refering to unsuccessful combination of components.
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NO# accross Association NO# down Input
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EXPLORATION FROM THE MATRIX
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1 Surface Normals_Attractor Point_Data Driven Component_Extrusion 2 Arbitary Point_UsingSets_Rotation 3 PatternAndOverlap_Extrusion 4 ExplicitGrids_Streamtext_Extrusion Normals_Attractor Point_Data Driven Component_Extrusion STUDIO AIR 2012 5 Surface HO POH HUI 376181 25
6 Boolean Pattern_Attractor Point_Rotation 7 Surface Normals_MathFunctions_Extrusion 8 Surface Normals_MathFunctions 9 Surface Normals_Attractor Point 10 Surface Normals_Curve Attractor_Rotation
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EXPLORATION FROM THE MATRIX BREATH FIRST Surface normal_ Attractor point
Surface normal_Math Functions_ Extrusion
Surface normal_ MathFunctions
Boolean Pattern_ Attractor point_rotation
Surface normal_curve attractor_ rotation
DEPTH FIRST
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BREATH FIRST Surface normal_curve attractor_ rotation
Surface normals_ Attractor Point_ Data Driven Component_ Extrusion Domain
Surface normals_curve attractor_data driven shading
Grid_ MathFunctions_ data driven shading
DEPTH FIRST
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SEARCH PROCESS (Kalay 2004) Matrix
The matrix layout shows the search process using grasshopper with no outcome determined in advance. It was necessary to have variety of outcomes, but also necessary to search towards the optimal design possibilities for further consideration and development. As we redefine our goals and design criteria, we could pick variations that are better than the others and further developed the parametric variation.
Design interest (at this stage)
Progression/change on surface to reflect the the change that is experienced by Wyndham now. The progression is explored via changes in perforation location, sizes and colour.
Breadth first
The breadth first method (Kalay 2006) is used as start of the experimentation. In this method several alternative ways to develop a solution are explored briefly before any one of them is developed to a logical conclustion. This is to explore the possibilities of parametric modeling. Using the breadth first method, I explore with how pattern or perforation on different curved surface could create a sense of progression. This simple exploration showed me how diverse outcomes can come from simple manupulation of parameters. This brings in possibilities to the Gateway project from which the design can be explored further.
Depth first
Variational exploration to its logical conclusion. Here each exploration made in the previous breadth first method is futher explored by controlling cerain parameters according to its relationship with other features. The perforation could be rotated or changed based on the attractor points, colour could be applied differently to the perforation etc. Despite not opening up more avenues for design outcomes as such in the breadth method, this method allows for a logical focused investigation of one candidate solution before moving to the next solution.
In relation to Gateway Project
The search process for the Gateway project for Wyndham city can produce more optimal outcomes and design solutions. Depending on the search method as specified by Kalay’s reading it is apparent that computational design has much more innovative and possible candidate solutions for consideration.
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Surface normals_Attractor Point_Data Driven Component_Extrusion Domain
Extrusion of line to form multiple component on the surface
Experimentation with the possible uses of attractor point in different location to create variation on the surface.
Experimentation with the uses of multiple attractor points placed close and appart to see the relationship between them.
The surface become rather complex, hard to be fabricated, need to be optimised.
By controlling the location of the attractor points, we can control the progression of its form. The parameters give us freedom to explore different changes on the surface. This is related back to Whydam as a city experience major changes within its community.
Grid_MathFunctions_data driven shading
Colour is arranged to create a spectrum.
Different colour and sizes of perforation is explored.
Colour could show changes by using spectrum. Parametric modeling comes in handy to easily apply and change various colour on the vector itself.
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I.2. Research Project I.2.1.2 Reverse-Engineered Case-Study
DIOR GINZA
Kumiko Inui Tokyo, Japan
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The Christian Dior facade is developed as double-layered skin comprises of two independent, 10mm thick aluminium surface: an outer, perforated layer, produced with a CNC milling machine, separated from an inner, printed layer by a 34cm airspace which is fibre-optically illuminated. The silkscreened pattern is scaled down 30%, which combined with the literal offset or layering of the two layers to create a moire effect. The facade presents itself as a ghost-like volume articulated solely through the luminious effects of the surfaces. This case study is chosen to explore the effect of layering of surfaces to generate that generates interesting architectural effect, in this case is the moire effect. Here the moire effect can be seen when a person move accross the facade and see an interference of dots. In a way, the facade respond to the movement of people passing the building. This is related back to the Gateway project as it brings the concept of the movement of drivers and the relation to the sculpture itself.
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The Dior ginza pattern is made using attractor curves, The attractor curves were first drawn on a surface in Rhino according to the Dior pattern. A grid of points is then created on the surface and their distance from the attractor curves is measured using the pull point component. The values are remapped into the domain between 1 and 0 rounded up, The new set of integers is then associated with a set of two numbers so that only two radii will be produced. Circles are then created using the grid of points and the radii, and the remapped values can be varied to adjust the number of circles. The same grasshopper definition is duplicated twice so that both layers can be controlled separately. This enables quick experimentation such as changing the scale of the perforation, the distance between the two layers and attractor points.
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VIRTUAL MOIRE EFFECT
This effect is created by varying the parameters of the grasshopper definition to ‘represent’ the moire effect that could be possibly created when one move around facade.
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Varying the distance between the layers
CASE STUDY EXPLORATION
L: Further separation
R: Less separation
Varying scale of circle
The moire effect is more visible with the further separation.
L: Smaller circles in 1 layer
R: Larger circles in 1 layer
WIth the smaller circles, the moire effeect is not visible and focus than the larger circles. The criss-crossing pattern for the larger circles become heavier and more dominant. This method creates a strong sense of depth and space.
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Typography
Void and fill space
Colour effect
I.2. Research Project I.2.3 Fabrication - Material Effects I.2.4 Assembly Methods
A section of the facade is fabricated 1:10 scale, fabricated in 2 amount. The section is separated into 9 panels to emulate real condition. However, the decision to fabricate in separate panels pose as a problem during fabrication as we need to consider the joint of each panel and how the 2 different layers can be connected. The second layer will be sprayed on tracing paper to emulate the effect of the silkscreen layer.
Dior Ginza assembly method
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The material that we chose to fabricate the facade is clear perspex. As we soon realise that the clear perspex does not produce the moire effect well as it is see through, we decided to lightly spray colour on the perspex to create translucency . Interestingly, the reflective quality of the perspex adds another dimension on the facade itself. It now reflects the surrounding. This is somewhere that could be further explore or exploit in the future design process.
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Reflective quality of the perspex
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EFFECT 1 - Moire effect
The moire effect can be seen when one move across the panel, most visible where the larger circles are. However, the moire effect is not as successful as the Dior Ginza because the tartan dots behind the first layer is also sprayed in the small colour. Hence the blurring effect.This is a lesson to be learn. Applying our exploration of this case into the gateway project is the most crucial part. First, proper planning is important for the fabrication process. Our overlook of the similar colours between the dot and screen made the moire effect less successful. The joining of the nine panels was a challenge too. As the panels are quite huge, the joints between each panel must be strong to hold itself up.
EFFECT 2 - Light and shadow
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The images depict the shadow patterns that aare cast by the front layer as the light source travels from one side to the other, trying to represent the movement of the sun. As the light moves, the shape and strength of the shadow changes as well. These images demonstrate how taking into account movement of light and its relationship to the pattern cut into the panels have a rather interesting and progressive effect.
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EFFECT 3 - Layering at different angles
Apart from arranging the 2 layers parallel to each other, the layers are arranged at different angle to create an interesting space of contrast and shadow. However, the application of varied angle on the Gateway side need to be carefully considered. Will the slanting angles cause issues to the motorists? How could a three dimension space be created on side to fully engage with the changing angles (possibly a curved surface slanting at various angles)? How would the effect of shadows on the ground be visible to the drivers? Have shadows extending to the road? Maybe the structure extends over the road and thus the shadow could be cast on the road itself?
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FABRICATION - ASSEMBLY METHODS The reverse engineering case study is an important opportunity to comprehend the whole process of fabrication. In digital space, with the absence of real world physics it is difficult to comprehend the how would the design perform structurally in the real world. It also requires experience to deduce surfaces that are simply too difficult to be laser cut for fabrication unless more sophisticated tools such as CNC milling or 3D printing are employed. The process of fabrication requires us to rethink the whole design and building process.We need to be able to flatten a 3 dimensional virtual object such that it is possible to reconstruct the model in real world. One of the easiest way is to contour the model into strips and connect each individual part together using tabs. Of course, there are more sophisticated way to connect the strips together such as cross-contouring. The use of parametric software ties the designer closer to the fabrication process. It links up with the fabrication process by giving us digital tools to unroll our design. Materiality is also important. We need to consider how materials come together to best realize your idea. A good understanding of the material properties would be vital to decide on the most suitable material to fabricate the model. Adjustment to the design such as simplying the curvature of the model might be needed to fabricate complex designs. A balance between design intent and fabrication needs to be achieved. Understanding of the scale is also a key factor. We need to also refer back to the actual site and consider the spatial constraints on the site. Fabrication allows use to make many prototypes to test the design in the real world For DIor case study, we need to examine how the panels are connected. For the small scale model, it is possible to connect them at the base. It will be interesting to make the panels movable to the front/back/ left/right to uncover any unexpected architectural effect it may have. However, a proper assembly system would be required, such as the use of hinges to connect the real size panels together.
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COMPETITIVE ADVANTAGE Whydham city will greatly benefit from this project. The design approach that we intend to direct the project will be an installation that people will reflect upon and will generate a discourse among the wider community of Melbourne. The Beijing Olympic stadium is a landmark and icon, an exemplary case of innovative project that has sparks interest in a global context. In order for the gateway to be the landmark of Werribee, the project will take on a similar approach. With relation to our project, scripting can help us in producing desirable effects. Our group finds the use of scripting technique to design our model is very convenient and help us to achieve certain pattern that others cannot be obtained. Scripting can also be the antidote to standardisation forced by an ambition to lower production costs, rather than any more sophisticated motivation: the previously elusive opportunities for multiple versioning and bespoke production can now be considered more seriously through the use of scripting. Hence, scripting technique that our group will employ is a suitable and innovative approach in developing Gateway project to maximum possibilities.
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References: I.1.1 Architecture as a discourse Roudavski, Stanislav and Anne-Marie Walsh (2011), The Generator, < http:// thegenerator.net.au/capstone-subjects/first-year-subject-profile-virtualenvironments-headspace-project/ [accessed 2 April 2012] Schumacher, P (2011). ‘Introduction: Architecture as Autopoietic System’, in The Autopoiesis of Architecture: A New Framework for Architecture, (Chichester: J. Wiley), pp. 1 – 28 Williams, R (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116 ARUP (2011). Beijing National Stadium (Bird’s Nest), <http://www.arup.com/Projects/ Chinese_National_Stadium.aspx> [accessed 2 April 2012] Day, N (2004), Webb Bridge, The Age< http://www.theage.com.au articles/2004/03/26/1079939835363.html> [accessed 1 April 2012] Marshall & Owen (2010), Webb Bridge by Denton Corker Marshall in collaboration with artist Robert Owen, Australian Institute of Architects http://www.architecture.com.au/awards_se arch?option=showaward&entryno=20053006 > [accessed 20 March 2012] Herzog & de Meuron (2007). 226 – National Stadium, < http://www.herzogdemeuron. com/index/projects/complete-works/226-250/226-national-stadium.html> [accessed 30 March 2012] Zaera-Polo, A (2009). ‘Patterns, Fabrics, Prototypes, Tessellations’, in Architectural Design, vol. 76 (6), pp. 18 - 27 Beyer, S and Knofel, U (2008). ‘Herzog on Building Beijing’s Olympic Stadium’ [interview], in Spiegel Online International, trans. by Christopher Sultan from German, < http://www. spiegel.de/international/world/0,1518,569011,00.html> [accessed 3 April 2012]
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l.1.2 Computation in architecture Art+Com 2012, <http://www.artcom.de/> Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003) Suggested start with pp. 3-62
l.1.3 Paramteric modeling Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley) pp. 8-71 8-71 Biothing (2007), < http://www.biothing.org/?p=51> Kokkugia (2003), < http://www.kokkugia.com/> Lynn and Gage (2010), Composites, surfaces, and software : high performance architecture, Yale School of Architecture.
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STUDIO AIR 2012
HO POH HUI 376181