Wu_Di_Part_A by Di Wu

S T U D I O

A I R PART A 2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315

TABLE OF CONTENT INTRODUCTION PART A CONCEPTUALIZATION A.1.

DESIGN FUTURING

A.2. DESIGN COMPUTATION A.3. COMPOSITION/GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOME A.6. ALGORITHMIC SKETCHES BIBLIOGRAPHY

INTRODUCTION

Di Wu MAJOR: ARCHITECTURE My name is Di Wu. I am currently a 3rd year student in the Bachelor of Environments. I come from China and have been in Melbourne for 3 years. I enjoy the slow-paced lifestyle and intense academic journey in Melbourne. I am good at sketching, painting an model-making. I have learned these skills no less than 10 years. Though I am not familiar with graphic design, I am able to imagine and deal with spatial relationships and configurations. So what architecture attracts me is exploring space, form an function. In my previous semesters, design studios I have done make me strongly believe that a good architecture should be supported by a strong concept and the most suitable representation. Digital Design and Fabrication was my first time to touch digital methodology in design and I was impressed by the power of computational softwares which could compute every details I want to express. Thus, I am looking forward to explore the field of computational design through the study in Studio Air.

CONCEPTUALIZATION .1. DESIGN FUTURING .2. DESIGN COMPUTATION .3. COMPOSITION/GENERATION .4. CONCLUSION .5. LEARNING OUTCOMES .6. APPENDIX - ALGORITHMIC SKETCHES

.1 DESIGN FUTURING With the development of technology and society, human is anthropocentrically grabbing resources for the sake of economy with an insatiable appetite. We have to confront the consequences of we unwittingly have created - a defuturing condition of unsustainability which means human are accelerating our future including not only resources but also the time for human existence. Fry pointed out that design should no longer be focused on its currently economically and culturally position and a level of superficial and short-term satisfaction (Design democracy) [1]. Instead, designers should change thinking, recognize and rethink current situation and redirect human towards more sustainable modes of planetary habitation by design.[2] On the other hand, what Fry hoped us to rethink is recognize design systematically. Design is definitely aimed to solve problems. However, problem itself is not equivalent to malfunction. On the contrary, it is likely to be the consequence of how a system works, which means that these problems, challenges and changes are unfixable today. Even certain designs either do not patch the system or make the problem worse as human

bring something into being meanwhile something is destoryed. Thus, Design futuring is to explore and experiment new possibilities of relationships among human, nature and creation in a broader scope of system from multiple dimensions more about future in order to redirect the value and ideology of design. Under Fry's stimulation of Design Futuring aimed at rethinking and redirecting design, Dunne and Raby developed a more specfic way of thinking to imagine what future may look like and to use speculative design to criticize "narrow assumptions and preconceptions" so as to stimulate discussion and debate. [3] "What we are interested in [...] is the idea of possible futures and using them as tools to better understand the present and to discuss the kind of future people want, and, of course, ones people do not want. [...] futures are not a destination or something to be strived for but a medium to aid imaginative thought-to speculate with." [4]

[1]. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), pp. 1-16 (p.6) [2]. Fry, (p.6) [3]. Anthony Dunne and Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming (MIT Press, 2013), pp. 1-9, 33-45 (p.34) [4]. Dunne and Raby, (p.2)

.1 DESIGN FUTURING BLUR BUILDING DILLER SCOFIDIO + IRENFR Swiss Expo 2002, Yverdon-les-Bains, Switzerland Briefly, Blur building is a temporary project designed by Diller Scofidio for Swiss EXPO in 2002. It can be viewed as an experimental example of speculative design. It is an open platform above a lake and visitors have access to the platform via ramps. The whole building got rid of the basic elements of conventional architecture, wall and roof, replaced by a fog. The entire structure is lightweight tensegrity. This pavilion imagined a new relationships between human, architecture and nature and speculate a blur being transcending the physical being / entities. Breaking through the conventional materiality, the designers used water as the primary material to redefine space and the boundaries of architecture by creating a fog mass. The mist is soft and can be sensed. This characteristic blurs the boundary between the interior and exterior, artificial environment and natural environment. This flexible boundary as sensor, like human skin, reacts in response to the natural environment. [5] With the help of technology, an homogeneous blurring artificial environment was created which created a space extending to infinity and leading to the void. The homogeneity, white and mist make people disappear on the platform. [6] This effect is the result of nature and technology. A smart weather system shots and controls the water pumped from lake and filtered through heaps of high-pressure nozzles according to the surrounding temperature, humidity, wind speed and directions at different zones. "BLUR is a spectacle with nothing to see. Within BLUR, vision is put out-of-focus so that our dependence on

vision can become the focus of the pavilion." [7] From speculative design point of view, blur building was depicted as a mediation and possibility between physical world and the invisible space of data linked by electronic technologies. [8] Light, air, water and sound are extracted from nature as data input. People can be imagined as data input. These data inputs are integrated in the building. Also, the soft skin of the building integrates into the nature. Everything (architecture, technologies, human and nature) is dematerialised.[9] The beings fall into between the void and entity, material and immaterial. Meanwhile, people in this space will "regain the feeling of really being alive". [10] Sometimes only lost something can people realize the importance of that thing. Blur building is an experiment in de-emphasis on an environmental scale. Movement within is unregulated. People have to depend upon their vision. Visitors are asked to wear "Braincoats" that reflect the interaction and relationships between visitors by lighting up in different colours. The colours representing different extents of attraction and repulsion is based on the questionnaires before visitors enter the building. This experiment explored the relationships between people, how the technology influence architecture and people, which might be a possible mode in the future

"The body extended through electronic technology opened our eyes to the forgotten existence of buildings and cities which are merged with nature and not completely closed off." [11]

Fig. 1. Blur building structures

[5]. Itō, Toyoo. Toyo Ito : Blurring Architecture (Milano : Charta ; Suermondt (D) : Ludwig Museum Aachen, 1999), p.58 [6]. Toyoo, (p.59) [7]. Cary Wolfe, Lose the Building: Systems Theory, Architecture, and Diller+Scofidio’s Blur, 16 vol (Johns Hopkins University Press, 2006) [8]. Maria Paneta, ‘Data mediation and visualisation’, in Bartlett School of Architecture, UCL <http://www.interactivearchitecture.org/is-softness-visible.html> [Accessed on 27 July 2018] [9]. Paneta [10]. Toyoo, (p.59) [11]. Toyoo, (p.58)

Fig. 2. Experience in the mist

Fig. 3. Braincoat system

Fig.4. Blur building by DILLER SCOFIDIOI + IRENFR

.1 DESIGN FUTURING INSTANT CITY, ARCHIGRAM Under the stimulation of the appearance and invention of technology, a group of futurist, anti-heroic and proconsumerist, Archigram, got inspiration from technology and intended to create a better future. The impact of technology on orthodox Modernism even contemporary ideology and value prompted them to question he Vitruvian notion that buildings need to be static entities[12] and wondered whether technology could bring a new reality and future "because of the inability of art and architecture to keep pace with the products, lifestyles, and machinery that were already part of daily life."[13] It is critical design that provide possibilities that highlight weakness within existing systems. [14] As other imaginations in the series of movable projects, Instant City inherited the principle of "plug-in". "Instant City, an airship containing all the cultural and education resources of a metropolis which could land in remote areas giving inhabitants a taste of city life."[15] It expressed the desire for an architecture liberated from static entities and moving in time and in space. The balloons carried the components of the city to the

destination and floated above the land. The metropolis were brought to "all places willing to plug in to the network, but it also tackled the problems of population growth, land use, and traffic that were thought at the time to render great cities unsustainable".[16] Although the dream was incredible and it was less likely to realize the hypothetical projects due to unavailable technology, it stimulated critical thinking to the conventions. Actually, the generation of the conceptual project is not rootless. “Whenever we bring something into being we also destroy something.” [17] Technology as a stimulus, exerts a great impact on the value of the world and forces people to rethink and recognize our existing normality. “It encouraged us to think about what we really needed from architecture, and about whether the conventional approach was providing us with optimum solutions.” [18] As Dunne & Raby suggested that “Dreams are powerful [...] they can also inspire us to imagine that things could be radically different than they are today, and then believe we can progress toward that imaginary world.“ [19] In the meanwhile, It is radical design that extend design’s boundaries beyond the strictly commercial towards imagination and future. [20]

Fig. 5. Peter Cook”Dirigeable Instant City M3″, 1969-98 Collages © Collection Frac Centre / Philippe Magnon

[12]. Victoria and Albert Museum, ‘Archigram: The Walking City, Living Pod and the Instant City’ <http://www.vam.ac.uk/content/articles/a/archigram-walking-city-living-podinstant-city/> [Accessed on 27 July 2018] [13]. DARRAN ANDERSON, 'The Prophetic Side of Archigram' <https://www.citylab.com/design/2017/11/the-prophetic-side-of-archigram/545759/> [Accessed on 27 July 2018] [14]. Dunne and Raby, (p.35) [15]. Victoria and Albert Museum [16]. Simon Sadler, Archigram: Architecture Without Architecture (The MIT Press, 2005), p.20 [17]. Fry, (p.4) [18]. Victoria and Albert Museum [19]. Dunne and Raby, (p.1) [20]. Dunne and Raby, (p.6)

Fig. 6. Peter Cook (Archigram)”Instant City Visits Bournemouth”, 196823 × 34,5 cm © Collection Frac Centre / Philippe Magnon

Fig. 7. “Instant City in a Field Long Elevation 1/200°”, 1969, 56,5 × 220 cm © Collection Frac Centre / Philippe Magnon

.2 DESIGN COMPUTATION The evolution of the digital in architectures gradually creates a symbiotic design system by establishing the linkage between design thinking and making. Generally speaking, computational design creates a digital chain[x] linking theories, concepts and disciplinary knowledge with form generation, performance and material fabrication, which sets up an environment for the interaction between digital generation and performance simulation as well as for the communication among computer, architect and engineer. In the micro perspective, based on computer's superb analytical and arithmetical capability and topological rules among parameters,

parametric algorithmic design by which using computer to aid realizes the complexity of free-form geometries, limitless mediated variability and performance simulation. "Architectural design needs to incorporate complex organisational and functional requirements, and therefore constitutes a recurrent negotiation of analysing existing and requisite conditions as well as generating and evaluating possible responses. Additional knowledge gained through such iterative processes may require further analysis of the specific context or even the adjustment of previously defined design objectives" [1]

[1]. Bollinger, K, Grohmann, M, and Tessman, O., 'Form, Force, Performance: Multiâ&#x20AC;?Parametric Structural Design', in Architectural Design <https:// onlinelibrary.wiley.com/doi/10.1002/ad.637> [Accessed 7 August 2018], p.21

.2 DESIGN COMPUTATION ICD/ITKE Research Pavilion 2012 This project aims to make use of algorithmic methods to explore new composite construction paradigm in architecture by analysing the material and morphological principles of arthropods' exoskeletons. Step 1: Algorithmic thinking is a nice tool to capture and extract the underlying logic from complex sets of data. Step 2: Simplify and express the logic as parameters and the rule between them. Step 3: Scripting a computable algorithm unambiguously and precisely which computer can operate and generate possibilities. Step 4: The algorithm should be linked to robotic manufacturing. Robot can implement the iteration of the algorithm to realize high performance structure. The lobster's exoskeleton was analysed. The material anisotropy and morphological principles were abstracted. "The direct coupling of geometry and finite element simulations into computational models allowed the generation and comparative analysis of numerous

variations." [2] Meanwhile, based on the data from material testing, computer would cooperate with performance stimulation software to optimise the fibre orientation and arrangement through a gradient-based method and calculate the minimum use of material. According to previous data, the winding motion paths was parametric designed associated with digital mathematical geometry model. [3] In this case, computational design realized the integration of form generation, performance simulation and robotic manufacturing. As Oxman stated "it is in the computational modelling of natural principles of performative design of material systems that we can potentially create a second nature,... with respect to material ecology." [4] "Every specific natural event, to be scientifically satisfying, must ultimately be related to a general formulation." [5]

Fig. 1. Fibre orientation and arrangement based on biommetic principles

[2]. [3]. [4]. [5].

ICD, â&#x20AC;&#x2DC;ICD/ITK Research Pavilion 2012â&#x20AC;&#x2122;, Institute of Computational Design and Construction (ICD, 2012)<http://icd.uni-stuttgart.de/?p=8807> [Accessed 5 August 2018] ICD Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture [London; New York: Routledge, 2014], pp.1-10 (p.6) Bollinger, Grohmann, and Tessman. (p.21)

Fig. 2. ICD/ITKE Research Pavilion 2012 Integration of biomimicry, form generation, scripting, simulation and robotic fabrication

Fig. 3. ICD/ITKE Research Pavilion 2012

.2 DESIGN COMPUTATION Meiso no Mori Municipal Funeral Hall Kakamigahara-shi, Gifu, Japan 2015 Toyo Ito

Meiso no Mori Municipal Funeral Hall was built in a cemetery. Because of the cultural and natural contexts, an organic dynamic form was wanted to respond to the hills, water features and the surroundings. Parametric design with the aid of computer as a experiment and research by design is an ideal way of thinking and designing for this project. Computation transforms architectural design from searching for a reasonable and suitable solution to searching for an optimal solution, from finite outcomes to hundreds of possibilities based on computer's superhuman capability of information storage, problem analysis, solution calculation and generation and performance simulation and evaluation. The minimum units, parameters, linked by algorithms which establish correlations realize the precise control to goals and constraints. Meanwhile, computer has the capability to combine the form of trial-and error searches, constraintsatisfaction methods and rule-based design. [6] Meiso no Mori Municipal Funeral Hall is a good example as goal-directed parametric algorithmic design. The goals and constraints were set firstly, such as the fixed plan boundary of the roof surface, the fixed pillarshell joints and domains of the design variables and so forth. By modifying the parameters, differentiate forms satisfying the constraints were generated. And then the optimal solution or possibilities can be identified and selected. Thus, this case was not simply to pursue a complex free-from shell by using computer but to take advantage of computer's calculation to optimise the

solutions effectively and efficiently. To be more specific, computation links a three-dimensional modeller (represent the shape) to a FEM solver (to simulate the structural behaviour) for morphogenesis. The parameters, NURBS surface with control points was given to the modeller. A discrete finite element mesh with constraints and loads are the input of FEM solver and a real genetic code was given to the Genetic Algorithm. In Fig. 5, the system iterated the algorithms and generated dozens of forms, and then the system got rid of the inefficient structural parts and add new elements and continue the recursion in order to find the optimal result. [7] Hence, computation improves the search processes in solving problems of design process. Breath[x] means the parameters of variables to computer. Depth[x] means the variation of parameters. However, compared with conventional architectural design processes stated by Kalay [8], computational design provides infinite candidate solutions by input any data to parameters. And computer integrates the constraints-satisfaction methods into hundreds of candidates to find the Best. [9] In the digital chains, the digitalised data were used in the prefabrication of these curvilinear formworks without which it is hard to construct the complex concave and convex form[x]. In this respect, computational design is going to change material fabrication within the near future.

Fig. 4. Digital mesh of Meiso no Mori Municipal Funeral Hall

[6]. [7]. 58, [8]. [9].

Yehuda E. Kalay, Alberto Pugnale, 63) Yehuda E. Kalay, Yehuda E. Kalay,

Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) (p.17) 'Engineering Architecture: Advances of a technological parctice' <https://en.calameo.com/read/000202204155d7c8d7d38> [Accessed 7 August 2018], (p.53, (p.18) (p.)

Fig. 5. Form generation by changing parameters to achieve a optimal form

Fig. 6. Meiso no Mori Municipal Funeral Hall

.3 COMPOSITION/GENERATION Computation is progressively advancing within architecture. Computer application no longer wanders at the level of "Computerisation" [1], which means the role of computer has shifted from a tool of representation to a tool of generation. By writing and modifying of algorithms related to the placement and configuration of parameters and their relationships, computation can generate and explore complex order, form and

structure [2]. Meanwhile, the designers who own algorithmic thinking and understand the generating code are able to explore further options and generate unexpected results by the recursion and iteration of the algorithms. Hence the generative design is more flexible and suitable to solve complex and changeable problems, which allows the design environment accommodate changes by changing parameters within the framework of algorithms.

[1]. Brady Peters, â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2 (2013), pp.8-15 (p.10) [2]. Brady Peters, (p.10-11)

.3 COMPOSITION/GENERATION Subdivided Pavilions 2005 This experimental project intends to generate heterogenous and complex outcomes through a simple process to which extent the output is easier to predict. It is based on a topological framework. A designer should "understand the results of the generating code, knowing how to modify the code to explore new options, and speculating on further design potentials". [3] To this project, it is much easier to adjust and refine subsequent parameters in order to generate more complex systems. In other words, "it provides a basic framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form, and structure." [4] The project follows a "bottom-up" approach. The algorithm was initially set up from a 2-dimensional subdivision process. Although it discusses the subdivision of certain geometry, it actually explores the intensional definition of a function, a computable function[5], which is the smallest and essential algorithm of the recursive generation process. As Oxman demonstrated

that "Parametric design as a facility for the control of topological relationships enables the creation and modulation of the differentiation of the elements of a design."[6] Hence, it is essential to understand the meaning of subdivision during a generative design process so as cultivate algorithmic thinking. There is no use of conditional or boolean logic, nor are random numbers used. The processes thus remain entirely deterministic. [7] By changing all sorts of weighting values and additional changeable parameters, subdivision systems generated hundreds of variations. This project formalizes modifications to these processes, the algorithms are applied to the generation of architectural pavilions. Each of the pavilions is based on two interlinked cubic frames. The generative process for each of that pavilions is identical, only its parameters specifically its division weights - are allowed to change. [8]

Fig. 1. Two-dimensional subdivision tests

[3]. Michael Hansmeyer, Subdivided Pavilions (Michael Hansmeyer Computational Architecture, 2005) <http://www.michael-hansmeyer.com/subdivided-pavilions> [Accessed on 6 August 2018] [4]. Brady Peters, (p.10) [5]. Robert A. and Frank C. Keil, eds, Definition of â&#x20AC;&#x2DC;Algorithmâ&#x20AC;&#x2122; in Wilson, The MIT Encyclopaedia of the Cognitive Sciences [London: MIT Press, 1999] pp.11,12 (p.11) [6]. Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture [London; New York: Routledge, 2014], pp.1-10 (p.3) [7]. Michael Hansmeyer [8]. Michael Hansmeyer

Fig. 2, 3. Three-dimensional subdivision tests (left and right) Fig. 4. Pavilion 2 (Catmull-Clark subdivision) (Bottom) Fig. 5. Pavilion 6 (Hybrid subdivision) (Top)

.3 COMPOSITION/GENERATION Subdivided Pavilions

Kakamigahara-shi, Gifu, Japan 2015 Toyo Ito This project aims to redirect current economic resources of coastal use in Rome towards a positive transformation and mediate the coastal erosion caused by tourism. Also, systemic heterogeneity is established to provide the space and materials for the marine biodiversity and human-marine ecosystems. The project started from "a digital simulation of a synthetic local ecosystem, a process based on multiagent systems and continuous cellular automata"[9]. The algorithm is inspired by the reaction-diffusion simulation which is the basic and inherent algorithm of modelling and simulating the generation and configuration of reefs without any influence of fields. In order to develop a more coherent generative strategy, the algorithm which simulates a synthetic ecosystem and the influence of other external factors, such as underwater currents, were written and applied. For instance, CFD (Computational Fluid Dynamics) was used to simulate the impact of underwater currents. [10] Thus, as the data flow shown, the algorithm of the self-growth of reefs was embedded into the algorithms simulating the effects of fields to simulate the generative process of reefs in the underwater environment. "Computer simulations such as CFD have opened up new possibilities for design and research by introducing

environments in which we can manipulate and observe". [11] By modifying parameters in the reaction-diffusion algorithm, the pattern formation and direction of the reefs can be control during the morphogenetic process. The pattern and direction formation as output of the reaction-diffusion algorithm are used as input data of the algorithm of the simulated ecosystem. The recursive algorithm was applied as well to generate the form. By controlling the simulation parameters within the domain, a gradient of possibility based on project requirements can be created. Based on the essential algorithm, "[t]he algorithmic process is implemented in the architect’s design environment as a generative tool capable of deriving a large number of design iterations. Variation is driven by random* modifications to parameters that influence the branching angle and branch length."[12] (*not sure whether the parameters were modified randomly, but indeed variations were generated through computation following the algorithms.) the composite algorithm is able to resolve multiple parameters, and generated appropriate variants for differing structural, environmental and social conditions.

Fig. 6. Form generation [9]. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018] [10]. ArchiGlobe on Architizer [11]. Klaus Bollinger, Manfred Grohmann and Oliver Tessman, 'Form, Force, Performance: Multi‐Parametric Structural Design', in Architectural Design <https://onlinelibrary. wiley.com/doi/10.1002/ad.637> [Accessed 7 August 2018], (p.23) [12]. Sawako Kaijima Roland Bouffanais Karen Willcox Suresh Naidu, 'Computational Fluid Dynamics for Architectural Design', in Architectural Design <https://onlinelibrary. wiley.com/doi/10.1002/ad.1566> [Accessed 7 August 2018] (p. 122)

Fig. 7. The implementation of a differentiation process that progressively separates void (passage) areas from those occupied by the material

Fig. 8. Iteration of algorithms

Fig. 9. Reefs Rome, Italy by ArchiGlobe on Architizer

Data Flow Fig. 10. Data flow and simulation

23 1

24 1

.4 CONCLUSION Facing the change of an era, not only what is happening but also what will happen, we have to change our thinking and redirect design towards far more sustainable modes. Design with the capability to shape the world needs more pluralism, ideology and values to handle the defuturing. Even though the future might be turbulent, we are optimistic to design futuring through critical design and more new methodologies to optimise our solutions. In the meanwhile, computational technology among a variety changes which is a strong instrument to reshape the world cannot be ignored. The computer science has experienced a great evolution from a tool for representations to a medium that supports a continuous logic of design thinking and making. It helped people establish parametric algorithmic thinking. Computation gained the

ability to extract the rules and laws from nature to realize computational analysis, simulation and generation. Based on data and algorithms, computation creates a brand new digital continuum of theories, form generation, morphogenesis, performance simulation and fabrication. Although the benefits are obvious, it is worth pointing that computation makes complex systems more easy and efficient. However, the application of computational design may deprive our intuition and creativity as human. Thus, computer is bound to create values but might bring potential problems in the future. In short, designers should take responsibility to take advantage of computation critically to speculate a sustainable future. As Fry stated that is our, designers', ethics.

.5 LEARNING OUTCOME After attempting to understand so many theories and thinking and case studys, I recognized design. I misunderstood the meaning of Design Futuringand Design for future. I never thought about and imagined what the future of design looks like before and never consider the nemesis human will confront and how design can influence the future beyond 100 years even 200 years. But now, I am being encouraged to open my mind and observe this world speculatively and critically. I am trying to catch up those imaginary and imaginative thinking. With little background knowledge and experience about parametric and algorithmic design, I start to understand and establish the algorithmic thinking based on studying

several specific algorithms in computational design. I desire to explore the evolution of computer technology. I realize that computational design is a good tool to help architects deepen the conceptualization and self-generate complex forms through the iteration of algorithms. I imagine computation will connect design process and manufacture stronger in order to find more sustainable ways to create a better future. Air is one of my new starting point during the journey of design, I would like to use digital technologies and speculative thinking to imagine and create new modes and relationships between human, architecture and the natural environment.

.6 APPENDIX - SKETCHBOOK

Firstly, I created a surface which is similar to the animals' shapes and set the surface to a container. Secondly, surface as input is connected to Populate Geometry to generate points randomly on the surface Lastly, Use Octree to generate the blocks. By modifying permitted content per leaf to change the size and quantity of the small blocks.

B I B L I O G R A P H Y 1. Alberto Pugnale, 'Engineering Architecture: Advances of a technological parctice' <https://en.calameo. com/read/000202204155d7c8d7d38> [Accessed 7 August 2018] 2. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018] 3. Bollinger, K, Grohmann, M, and Tessman, O., 'Form, Force, Performance: Multi‐Parametric Structural Design', in Architectural Design <https://onlinelibrary.wiley.com/doi/10.1002/ad.637> [Accessed 7 August 2018] 4. Cary Wolfe, Lose the Building: Systems Theory, Architecture, and Diller+Scofidio’s Blur, 16 vol (Johns Hopkins University Press, 2006) 5. DARRAN ANDERSON, 'The Prophetic Side of Archigram' <https://www.citylab.com/design/2017/11/theprophetic-side-of-archigram/545759/> [Accessed on 27 July 2018] 6. DETAIL, Municipal Funeral Hall in Kakamigahara [DETAIL, 2008] <https://www.detail-online.com/article/ municipal-funeral-hall-in-kakamigahara-14735/> [Accessed 5 August 2018] 7. DILLER SCOFIDIOI + IRENFR, BLUR BUILDING SWISS EXPO 2002 <https://dsrny.com/project/blur-building> [Accessed on 27 July 2018] 8. Dunne, Anthony & Raby, Fiona, Speculative Everything: Design Fiction, and Social Dreaming (MIT Press, 2013) 9. Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008) 10. Hansmeyer, Michael, Subdivided Pavilions (Michael Hansmeyer Computational Architecture, 2005) <http:// www.michael-hansmeyer.com/subdivided-pavilions> [Accessed on 6 August 2018] 11. ICD, ‘ICD/ITK Research Pavilion 2012’, Institute of Computational Design and Construction (ICD, 2010) <http://icd.uni-stuttgart.de/?p=8807> [Accessed 7 August 2018] 12. Itō, Toyoo. Toyo Ito : Blurring Architecture (Milano : Charta ; Suermondt (D) : Ludwig Museum Aachen, 1999) 13. Kaijima, Sawako., Bouffanais, Roland., Willcox, Karen and Naidu, Suresh., 'Computational Fluid Dynamics for Architectural Design', in Architectural Design <https://onlinelibrary.wiley.com/doi/10.1002/ad.1566> [Accessed 7 August 2018] 14. Kalay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004) 15. Victoria and Albert Museum, ‘Archigram: The Walking City, Living Pod and the Instant City’ <http://www. vam.ac.uk/content/articles/a/archigram-walking-city-living-pod-instant-city/> [Accessed on 27 July 2018] 16. Maria Paneta, ‘Data mediation and visualisation’, in Bartlett School of Architecture, UCL <http://www. interactivearchitecture.org/is-softness-visible.html> [Accessed on 27 July 2018] 17. Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2014) 18. Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2 (2013) 19. Sadler, Simon, Archigram: Architecture Without Architecture (The MIT Press, 2005) 20. Wilson, Robert A. and Frank C. Keil, eds, The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press, 1999)

LIST

IMAGE

A.1.

Cover page. The Red List, 'Diller Scofidio + Renfro: Blur Building' <https://theredlist.com/wiki-2-19-879-606-228825-view-diller-scofidio-renfro-profile-diller-scofidiorenfro-blur-building.html>

Fig. 1 - 4. The Red List, 'Diller Scofidio + Renfro: Blur Building' <https://theredlist.com/wiki-2-19-879-606-228825-view-diller-scofidio-renfro-profile-diller-scofidiorenfro-blur-building.html> Fig. 5 -7. BMIAA, '“Gordon Matta-Clark. Anarchitect” at Jeu de Paume' <http://www.bmiaa.com/category/events/>

A.2.

Cover page. ICD, 'ICD/ITK Research Pavilion 2012' <http://icd.uni-stuttgart.de/?p=8807> Fig. 1 -3. ICD, 'ICD/ITK Research Pavilion 2012' <http://icd.uni-stuttgart.de/?p=8807> Fig. 6. ARCHESSENCE, 'Laurie Baker: Architect and Humanitarian' <https://thearchessence.wordpress.com/> Fig. 4 -5. Alberto Pugnale, 'COMPUTATIONAL MORPHOGENESIS OF FREE-FORM SHELL STRUCTURES' <http://www.albertopugnale.com/portfolio/computational-morphogenesis-of-free-form-structures/>

A.3.

Cover page. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018] Fig. 1 -5. Michael Hansmeyer, 'Subdivided Pavilions’ <http://www.michael-hansmeyer.com/subdivided-pavilions> [Accessed 6 August 2018] Fig. 6 -10. ArchiGlobe on Architizer, ‘Reefs’ <https://architizer.com/projects/reefs/> [Accessed 7 August 2018]

S T U D I O

A I R 2018, SEMESTER 2, MOYSHIE ELIAS DI WU 860315