STUDIO AIR Tiffany Natasha Santoso 551502
CONTENTS Introduction Part A: Case for Innovation A1.0 Architecture as a Discourse A1.1 Precedent Woks: Ziprocker - Zipshape A1.2 Precedent Works: Lincoln Park Zoo A2.0 Computational Architecture A2.1 Precedent Works: FAZ Pavilion A2.2 Precedent Works: Aggregrated Lamination A3.0 Parametric Modeling A3.1 Precedent works: MOBIUS pareSITE Pavilion A4.0 Algorithmic Explorations A5.0 Conclusion & Learning Outcomes A7.0 Reference List Part B: Design Approach Part C: Project Proposal
INTRODUCTION Hello there! My name is Tiffany Natasha Santoso and you can simply call me Tasha. I am currently a third year student of the Bachelor of Environments; endlessly battling, learning and persevering in the fascinating world of architecture. I come from Indonesia, one of the largest countries in Asia comprimising many ethnic groups. Yes, it is that country that is exceptionally rich in culture and biodiversity. Indonesian architecture is something that I personally adore. It reflects the cultural, historical and geographical richness that Indonesia has. Modern Indonesian architecture has slowly start to drive towards sustainability in terms of construction technique, building system and material use. What I really fancy about modern Indonesian architects is how they incoorperate aspects from the traditional culture and the tropical ambience of Indonesia with modern techniques and style. Saying that, computational architecture and parametricism are not common topics discussed within the field of Indonesian architecture. This is one of the many reason to why I am very grateful to be an overseas student at the Univessity of Melbourne. My love for art has driven me into a relationship with it. Since young, I have naturallly been addicted to drawing, painting, crafting, photography and anything that involves practical art. Painting, have a very special place in my heart even until now. From mix media to water color and from knifes to brushes and even hands, I have always enjoy it. My interest for architecture begin when I was in high school. If I were asked to why I to study architecture, my answer is simply because I cannot picture myself in other fields. Other than that, I enjoy traveling, cooking and have casual affairs with food. I have explore around a couple of design softwares including Photoshop, InDesign, Illustrator, AutoCAD, 3DMAX and Rhynoceros but I must admit that using design softwares is not my strongest ability. Nevertheless, the advantages that these digital tools are able to offer in aiding architects in this modern phase never fail to interest me.
I am excited to grow in this subject, hopefuly survive and nail it in the end!
Some of my works during Visual Communications, 2012
CLOSE ENCOUNTERS
I first encountered parametric design and digital fabrication during Virtual Environments which I took on my first year. It was a fun and creative yet challenging introduction to parametric architecture of the post-modern era. The project was to create a wearable micro-architectural structure with the panelling tools plug-ins offered in Rhynoceros. It involves hand crafted moulds to translating NURBS surfaces into panelled surfaces and digital fabrication at the end. My lantern was inspired by the natural process of thigmonastic response in mimosa pudica plants. This is achieved by creating various sizes of openings of the panels, incoorperating the effect of escalation into the shape of the lantern. Thus, the effect of thigmonastic movement itself can be see through the process of light and shadows. The experience during the Virtual Environments was not a smooth one. I encountered difficulties during the digitazion and fabrication transition phase which caused me to remodify my panels through a lot of process. Thus, leaving me with less time for the fabrication phase. Facing the technical glitches over and over again had taught me to push myself a little further. Virtual Environments has taught me to never stop to be critical with my designs. With the help of the extra tutorial sessions, my tutor and perserverance along the way, I was able to find a unique way of fabricating myself which in the end saves me a lot time with the fabrication. My experience during the Virtual Environments was not a smooth one, yet it was insightful and had led me to a deeper understanding of what architecture is. My lantern was selected as one of the candidates of the VIrtual Environments Selected Student Projects Exhibition on August.
PART A: CASE FOR INNOVATION
“Architecture is not about buildings, but about the knowledge that is accumulated within the discipline of architecture. Architecture is actually a collection of knowledge.� - Peter Trummer, 2013, What is Architecture Interview
Architecture as a discourse Architects, architecture, those terms are not something that people are foreign with. What is architecture? What does architects do? When people are asked to give a response to these questions, words such as designing and buildings are what we recurrently hear. In thesaurus architecture is identified as building design, building style, building, construction, structure, design. I, too, used to be in a limited perception that architecture is about buildings, structures and those beautiful facades which came from a single talented, genious mind of a designer. This shallow definition slowly diminish through the experience of being an architecture student. Architecture is not a term that deserves to be looked at on thesaurus. I realized that the inquiry of “what is architecture� cannot be straightforwardly answered. Thus, this triggers continuous discussions leading towards the consideration of architecture as a discourse. Defining architecture as a form of art can be misleading. Architecture is far more influential than that. It is a compromised art if it is an art at all, it is the art of living. The forte of architecture is more than a form of art or a view to aesthethic appeal, but exceeds to the idea that it is a system of communications or discursive formation, it is an interdisciplinary deliberation [1]. Richard Williams explained that the philosophical, social or profesional aspects of architecture is as important as a it is a material one and it is when architecture is considered as a discourse that it becomes a successful representation of a visual culture [2]. Architecture as a discourse drives the discipline towards a dynamic dimension. It is a process where numerous realms are put into consideration, a collection of knowledge and concepts that move towards harmony. Hence it is ever-changing in a way that the subject is continuously critically challenged and redefined. Thus extending the boundary of architecture, leading it to new directions and innovative outcomes.
“Works of architecture frame our lives; we inhabit them; they define our movement through cities; they moralise and discipline or attempt to.” Richard Wiliams Architecture as a culture of living, a social representation should be something which is open to all aspects. How is this a challenge? Interpertation varies between architects and the audiences as it is an agent of ambiguities in which architects, users, site, weather contributes to its value [3]. It is a celebration of art, symbolic realm, spatial experience, political and social values, and so forth [4]. Therefore, true architecture is flexible and open to conflicting interpertations and it relies on its ability to endure ambiguity [5]. As excuisitely said by Greg Lynn during the ‘What is Architecture’ interview, “Architecture is a cultural practice. It is bringing into physical world the values of a culture... [providing] more and more opportunities for architecture other than buildings [6].” With the advancing digital technology now, humans are able to conduct various design experiments. How is this advantageous to architects? Having the best tool for the specific task and being able to conduct experiment on framing a particular design task are indeed advantagous.This creates new design parameters which leads to more innovative outcomes. With the Wyndham Gateway project, innovative design is definetaly expected to be achieved by contributing in the discourse of architecture. My aim for this project is to create a distinctive, unique design that will combine the signature of wood properties and that of the area, demonstrating architecture as a living culture.
“Architecture must be immaterial and porous, as well as solid and stable where necessary, and so should the practice of architects” Jonathan Hill
PRECEDENT A1.1
Ziprocker - Zipshape
Christoph Schindler & Margarita Salmeron Espinosa Schindlersalmeron Zurich, Germany
Fig 1.1 Fig 1.2
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“Today, nobody doubts the central role information technology has taken or is about to take in the building sector. 3D-modelling tools, parametric models, research on self organization and computer-aided machine tools are not only omnipresent means, but appear to have become the selfsufficient focus of the discourse. It is difficult to relate those technologies and their formal output to art history as we know it since the 19th century. Therefore I wonder whether it could be history of technology itself which might help us to describe and contextualize contemporary development in architecture…” - Christoph Schindler
Is there a need for digital crafting? Ziprocker is a wooden contemporary seating furniture which is a product of the Zipshape research. The Zipshape research achieved the method of fabricating single curved panels from any plain material without the use of molds. Where the use of molds can be time consuming and costly, this method opens up opportunities to create something new. Is there sustainable agenda? Are all good designs sustainable? Are sustainable designs good? Ziprocker contributes to the discourse as it creates new innovative applications that could push the boundaries of furnitecture, or architecture as whole. The bending without mold discovery involves two individually slotted panels that interlock when bent into defined curvature, creating a zip-like, teeth-like interlocking system [8]. What interests me is the geometry of the teeth which depends on the geometry of the curve that the designers want to achieve. Also, how the method managed to minimize material usage through the panels’ thinness. This ofcourse is the application CAD for complex design solutions. Indeed, this complex method is achieved by going through multiple experiments with different profiles of teeth, material exploration and different CNC tooling. In this case, the designers used the high technology 5 axis milling machines, including circular saw blades and CNC hot wire cutter [9]. Furthermore, materials are used uniquely in this method. Although generally the most appropriate materials for this project is “recoflex”, a wood, cork and later composite, they decided to use wood due to its unique properties and advantages. As explained by Schindler, the teeh defines the geometry, whereas the thin sheet connects them and is responsible of the tensile forces like a trussed beam. Although it is not necessary for the teeth to be wood material, the sheets relate to the material qualities of wood in terms of its beding properties. Wood’s fibre structure and its ‘anisotropic’ behaviour leads to these opportunies of bending function. Ziprocker uses cheap pine wood for the core with the teeth and highly qualified plywoods for the sheets. Furthermore, woods colour and texture also factors to the uniqueness of each of the product [10].
This precedent to me shows architecture as a culture of living. I feel like the architects have managed to put multiple realms into consideration and somehow understands how the precedent have gone through a dynamic process. “The project transforms a picturesque urban pond from the 19th century into an ecological habitat buzzing with life.” - Studio Gang Architects
PRECEDENT A1.2
Lincoln Park Zoo Studio Gang Architects Chicago, USA
The pavilion is a part of a larger redevelopment of the pond of the Lincoln Park Zoo. In the project, the pond depth was increased to improve oxigenation of the aquatic life and creates balance in the pond ecosystem. The wetland was created along the water’s edge with plants and drainage to improve the life of the vegetation and wildlife at the park. In addition, the boardwalk made from plastic circles the park and lead users to different parts of the park exposing it to different views, animals, plants and habitat [11]. The pavilion as part of the boardwalk is a multi-functional shelter that is carefully located to keep away from the western sun, have the view of the Hancock and a view through the pavilion to the south frames the chicago skyline [12]. This tortoise shell inspired pavilion, is made of prefabricated laminated veneer lumber that are bent, certainly mathemathically calculated with the advanced digital tool. The use of laminated wood sheets are meant to reduce waste pieces and the cutting up of large trees. The fibreglass pods have a function of a shield, inserted into the bent wood members to create a global curvature [13]. Its very interesting to see how the two materials contrast. The pavilion is intergrated into the life of the users through its function as an open air shelter. Some of the activities in which the pavilion is used include outdoor classes and yoga sessions (14). Has the pavilion successfuly capture this nonlinearity and indeterminacy? As described by Branko Kolaveric, (2003, cited in Dunn, 2012) “The generative role of new digital technologies is accomplished through the designer’s simulatious interpretation and manipulation of a computational construct in a complex discourse that is continuously reconstructing itself - a “self-reflexive’ discourse in which graphics actively shape the designer’s thinking procecss [15].”
Fig 2.2
Fig 2.1
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Fig 2.5
COMPUTATIONAL ARCHITECTURE Computers act as ‘tools’, superb ‘analytical engine’ that will asist designers in the process of designing, digitation, fabrication and construction. It is meant to give accurancy and efficiency to the users. How? Given the inputs, through a set of instructions or program, computers are able to produce outputs which are arithmatically accurate due to its ability to connect facts from the countless information that it can store [16]. This is efficient for the process of design manipulation in terms of quick and repetitive functions such as ‘copy, paste, undo, redo’. But of course its ability is more than that. What is more to computational architecture? The computational architecture era is not about the urge to ‘boblify’ or produce organic shape. Albeit the fact that it facilitates the creation of complex abstract forms, the dynamic of computational architecture cannot be seen merely from the form [17]. It is dynamic as it uses the digital technology as a tool for direct experimentation to simulate building performance [18]. which create challenges and pressures on the discipline of architecture to be critical, to negotiate and reorganize around the opportunities and risks of these challenges. Thus, initiating digital communication between architects, engineers, fabricators and builders [19]. As a reference to Kalay. computational architecture can be seen as a puzzle solving process where the whole is unpredictable. The final product revolves through a process, through a set of rules [20]. This obliged architects to be selective in the aspects they want to critic, as it is impossible to do everything at one time.
“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” - Peter Brady, Architectural Design volume 83 issue 2
The communication between the users and the computers in the computer aided design (CAD) is important. What is the human role in CAD? The role of human as the creative mind is to find the right tool for the specific task and begin the design experimentation. How would one frame a particular design task? Indeed this involves understand algorithm, a finite set of rules or operations that are specific and simple to follow [21]. Taking an algorithmic approach has to be intergrated at the early design process, breaking down a series of problems into a series of parts. What are the various steps to take? What is your design approach? Does the fact that digital technology will play a central role in this current restructuring give an advantage to architects? Definitely. Computer as a digital design agent demonstrates a systematic, process based and algorithmic approach which is crucial in producing innovative designs.
“Within the posst modern architecture, the whole become under question... Defragment the whole, but the whole would still be somehow in the beginning of the point. Keeping on that negotiation, you realized that post modernism becomes defragment of little pieces... In the last couple of years especially with computers and great links, you see a renegotiation of the whole. The whole is a continuous negotiation of its parts individually... The whole that comes out is an unpredicted whole... The question is not anymore what in the end the whole assume to be? The more important question is in the accumulation of the parts, [whether[ there is an unpredictable whole. But the parts, they can be recognized.� - Peter Trummer, 2013, What is Architecture interview
PRECEDENT A2.1
FAZ PAVILION
Achim Menges, Steffen Reichert, and Scheffler+Partner Frankfurt, Germany An unbuilt project?
Fig 3.1 Fig 3.4
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Fig 3.3
How does the natural force contributes to the discourse of architecture? Material capacity and the possibilities it has to offer should not be taken lightly. This research experimented around the development of biomimetic responsive material system that require no external energy of mechanical or electronic control. It specificaly highlighted wood’s natural behaviour towards humidity or moisture. This computational architecture opens up opportunities for a true ecologically embedded architecture which is in constant feedback and interaction with its surrounding environment [22].
Fig 3.5 & Fig 3.6 - Responsive surface structures project phase II
Fig 3.2- Fig 3.4 - Responsive surface structures project phase 1
With the digital technology, ‘programed’ responsiveness can be achieved through material system but without the use additional energy. The research begins with the responsive surface structures projects phase I and II. With the paneling tools plug in for Rhynocerous, a three dimensonal componentry, or ‘panel’, can be replicated to operate within the range of the surface grid created [23]. The different porportion, orientation and connection type of the small panels are the variable components which affects the result of the experiment. Different behaviours of the veneer composite elements can be explored by altering the production parameters such as fibre directionality, layout of natural and synthethic composite, length-width-thickness ratio, geometry of the panels element and the humidity control during the production phase [24]. Through altering the parameters, different humidity response can be studied. The FAZ summer pavilion interacts within its environment by its reaction to weather changes. The entire ‘envelope’ opens up on a sunny or dry days with realtively low humidity. On the other hand, it closes down when weather changes and rainfall come to perform as a protective, weatherproof shelter. This is a direct relationship between the changes humidity and ‘programed’ autonomous response, providing a unique environmental and spatial experience [25]. Will the ability of this research project to appear ever-changing, locally varied due to climate and to sense-actuate-regulate make it a project that could retain its ambiguousness in the society? This way architecture seems almost like nature?
Fig 4.1 Due to its fibrous structure, one of wood’s characteristic is its anisotropy which uses the grain direction as a strengh property. This project experimented on both anisotropic and isotropic (universal direction) qualities of wood and questions whether there could be a state of operation that could achieve both the anisotropic natural qualities and isotropic lamination techniques. The aim was to achieve a manufactured composite but the behaviour of a natural wood by the asistance of computational technology to measure tense and compression accurately [26]. Twice the strength, but still adaptable to be formed into various geometries that are easy to assemble. Does this lead to innovation in terms of reducing wood wastes? The end product of the experiment involves laminating 2-ply maple veneer and bonding them together through a clamp molding. It takes the advantage of grain direction, running parallel to gravitational force. But arranging the notch, along the curved paths, are what is preventing the buckling [27]. Is the isotropic lamination technique indirectly achieved this way?
PRECEDENT A2.2
Aggregated Lamination
Yarinda Bunnag, Aaron Goldstein, Marcin Mejsak, Paul Merr 2010 Harvard GSD perfomative wood studio (lead by A. Menges)
Fig 4.2
Fig 4.3
Fig 4.4
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Fig 4.6
“The architectural field’s current use of the parametric has been superficial and skin-deep, maybe importantly so, lacking of a larger framework of referents, narratives, history, and forces.� - Michael Meredith
PARAMETRIC MODELING “Never form,
enough. repeat ad
Transnausea”
‘Parametricism’ has been gathering its momentum since the last 10 years. Patrick Schumacher classified as the avant-garde of architecture [28]. This means a shift transition in the architectural style from basic to unsual and unique. It pushes the boundary of post modernism architecture relying on organic and abstract geometries, seperating from rigid geometrical figures [29]. However given this characteristic, parametricism is not all about the parametric, the ‘blobs’, ‘hair’, ‘cloth’, or the complexity for its own sake, but ‘a complex of a complex relationships’ [30]. The interlacement of these complex relationships, involves experimenting with design processes that includes multiple parameters and this defines parametric architecture. Parametric modeling is a product of the further development of computer technology, without computers it is impossible to achieve. This ‘style’ practices scripting cultures which is adopted by many digital softwares such as Grasshopper. This coding system is meant to help you direct that workflow. Do we get involve in scripting? Is it going to be an imporving culture? This extends the subject of architecture as a discourse. As design software continuosly advances, the fundamental concepts are consistent. Thus, it is crucial for designers to understand the core of how design softwares work from the early days autoCAD to Rhynoceros to be able to adapt easily [31].
Scripting cultures may have disadvantages such as relying on a program too much and the creation of copy-pasted design which are also something that has to be addressed in the discourse of architecture [32]. Is the future parametric? Does it guarantee architecture integrity? From control to design, critical parametricism “add, erase, relate and repair [6].” Parametricism is a proces of many processes. The critical questioning of parametricism within the discourse of architecture, strengthen it. It also initates the desire for designers to share knowledge with one another and the ‘live hive’ in the critical mass will unlock new potentials [33]. In addition the future can be parametric, it will most likely be. However, to rely on techonology completely will not do any justice as it is ‘much more human’ than that. Furthermore, quoting from Meredith, “architecture can only be critical or difficult or meaninful or complex if it directly engages culture [34].”
“When something supposedly looks ‘parametric’ today, it’s aesthethic (re)production-the repetition of quality and taste. The mastering of high-tech engineering software is ultimately used to produce ornate architectural decorations.” - Michael Meredith
PRECEDENT A3.1
MOBIUS: PareSITE Pavilion
Marie Davidova, Martin Gsandtner, Martin Sichman Architecture Institue in Prague Prague, Czech
The MOBIUS environtmental pavlion is a ‘mobius’ shaped, triangulated structure which experimented with the material performance of the massive wood of pine wood planks and half centimetres thin pine sheets. The design was accomplished with Grasshopper for Rhynocerous and fabricated with advanced robotic cutting machines. To achieve a goal of building a pavilion from a massive wood that deals with its material properties and the humidity-wood interaction and also to serve a festival in a public space, the Architecture Institue in Prague along with the Faculty of Forestry and Wood Sciences at the Szech University of Life Sciences Prague and the reSITE festivel work together [35]. The festival aims to initiate public participation while celebrating sustainabile architecture, film and culture [36]. The concept that is adopted by this pavilion is that of oriental screen-walls which absorb moisture during the night and allow air circulation for the evaporation to react with the realtive humidity of the air hence providing shadows during the hot-daytime [37]. The humiditypine wood interacton is also the key experimentation of this project. With the repetitive process and continuous improvisation that is a characteristic of parametric design, this project reminds me of my previous Virtual Environments weareable lantern because this project has to face a constraint which needs to be solved innovatively during the process of fabricating. Few pieces had to be produced in hand as the machine does not accept such shallow angles [38]. I realized that its critical for designers to be prepared to adapt during these constraints. One issue raised during the project is its ability to sustain as a pavilion that serves to a festival in public space, or are the systems too fragile? Does this determines the success of a design when it still managed to contribute to the idea of architecture as a discourse?
Fig 5.
.1
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Fig 5.4
Weekly Grasshopper Exercises// Algorithmic Explorat ions
WEEK 1 GRASSHOPPER EXPLORATION
Simple Lofting and Baking
Triangulation Algorithm Playing with Voronoi
WEEK 2 GRASSHOPPER EXPLORATION
Curve Menu Exerci
WEEK 2 GRASSHOPPER EXPLORATION Transform Menu Exercise
Contouring, Orienting and Unfolding
WEEK 2 GRASSHOPPER EXPLORATION Beach Chair
WEEK 3 GRASSHOPPER EXPLORATION Gridshell Tutorial
First Trial
Second Trial
WEEK 3 GRASSHOPPER EXPLORATION Bird Nesting Definition
Downloaded definition by Angel Quintana
Tryout of the bird nesting definition by creating a ‘bird nest’ vase, somehow altering the definition in my own understanding
WEEK 3 GRASSHOPPER EXPLORATION Tutorial Exercise
Not really sure whats happening here but the attempt to make the spheres varies in sizes is not successful. All of the spheres are in one uniform size.
Finally, a success attempt at the exercise
Conclusion and Learning Outcomes Analyzing the readings and precedents have taught me to view architecture as discourse, which is deeper than merely defining it as a form of art. I realized that architecture is an accumulation of knowledges. As we get critical with these different kind of ‘knowledges’, ‘parameters’, ‘realms’, we are flourishing the discourse of architecture and this is what keep architecture going. Discussing the computational architecture and parametric design, I believe that the algorithmic approach and scriptures writing will be benefical as long as we are in control of it. Throughout this subject, it is crucial to understand and endure in the basis of various digital tools and algorithmic thinking. The Wyndham project is definitely a great opportunity to contribute to the discourse of architecture while practicing the digital tools and learning from different precedents to create an innovative design.
Reference List 1. Patrik Schumacher, ‘Introduction : Architecture as Autopoietic System’, in The Autopoiesis of Architecture (Chichester: J. Wiley, 2011), pp. 1 - 28 2. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116 3. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 4. Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), pp. 102 - 116. 5. Hill, Jonathan (2006). ‘Drawing Forth Immaterial Architecture’, Architectural Research Quarterly, 10, 1, pp. 51-55 6. Lynn, Greg (2013). ‘What is Architecture’ interviews, by Luca De Giorgi, url: <http://www.whatisarchitecture.cc/2013/06/greg-lynn.html> 7. Wyndham City Gateway Design Project, retrieved from <https://app.lms.unimelb.edu.au/bbcswebdav/pid-3962725-dt-content-rid-10327484_2/courses/ABPL30048_2012_SM1/Project/Project%20Document%20-%20COMMENTED.pdf> Comments by Stanislav Roudavski v.02 8. Meredith, Michael. ‘Designtoproduction- Zipshape’, From Control to Design (Barcelona: ActarD), pp. 191-193 9. Beorkrem, Christopher (2013). ‘Ziprocker’ from Material Strategies In Digital Fabrication (New York: Routledge, 2013), pp. 40-45 10. Peters, Terri (2010). Interview with Christoph Schindler following workshop/ seminar 2, retrieved from <http://www.digitalcrafting.dk/?cat=24> on August 24th 2013 11. Studio Gang Architects (2010). Nature Boardwalk at Lincoln Park Zoo - Reimagining Landscape as City Infrastructure, retrieved from <http://studiogang.net/work/2005/lincolnparkzoo> on August 25th 2013 12. Becker, Lynn (2012). Reimagining Urban Eden: Studio/Gang and The Nature Boardwalk at Lincoln Park Zoo, retrieved from <http://lynnbecker.com/repeat/pond/jeanne_gang_and_the_lincoln_park_nature_boardwalk.htm> on August 25th 2013 14. Dezeen Magazine (2010) Movie by Spirit of Space: South Pond by Studio Gang, retrieved from <http://www.dezeen.com/2010/08/22/movie-by-spirit-of-space-south-pond-by-studio-gang/> on August 25th 2013 15. Dunn, Nick (2012). Strategies - Non Linearity and Indeterminacy, from Digital Fabrication In Architecture (London: Laurence King Publishing LTD, 2012), pp. 120 16. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of ComputerAided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 17. Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), pp. 3 - 28 18. Brady, Peter (2013) Computation Works: The building of algorithmic thought. Architectural Design, 83, 2, pp. 8 - 15 19. Marble, Scott (2012). ‘Digital Workflows in Architeture: Design-Assembly-Industry’ (Switzerland, Basel: Birkhauser, 2012), pp. 7-10
20. Yehuda E. Kalay, Architecture’s New Media : Principles, Theories, and Methods of ComputerAided Design (Cambridge, Mass.: MIT Press, 2004), pp. 5 - 25 21. Definition of “algorithm” in Wilson, Robert A. and Frank C. Keil eds(1999) in The Mit Encyclopedia of Cognitive Science (London: The MIT Press), pp.11-12 22. Achim Memges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 52-59 23. Beorkrem, Christopher (2013). ‘Responsive Surface Structures’ from Material Strategies In Digital Fabrication (New York: Routledge, 2013), pp. 58-63 24. Achim Memges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 52-59 25. Achim Memges, ‘Material Computation: Material Behaviour’ in Architectural Design (Chichester: John WIley & Sons), 82. 2. pp 52-59 26. Menges, A (2010). ‘Aggregrated Lamination’ Harvard University Graduate School of Design. Retrieved on 25 August 2013 from, url: <http://www.achimmenges.net/?p=5011> 27. Menges, A (2010). ‘Aggregrated Lamination’ Harvard University Graduate School of Design. Retrieved on 25 August 2013 from, url: <http://www.achimmenges.net/?p=5011> 28. Schumacher, Patrick (2010). Patrick Schumacher on Parametricism - ‘Let The Style Wars Begin’, Architects Journal, retrieved on August 24 2013, url: < http://www.architectsjournal.co.uk/the-critics/ patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> 29. Schumacher, Patrick (2010). Patrick Schumacher on Parametricism - ‘Let The Style Wars Begin’, Architects Journal, retrieved on August 24 2013, url: < http://www.architectsjournal.co.uk/the-critics/ patrik-schumacher-on-parametricism-let-the-style-wars-begin/5217211.article> 30. Meredith, Michael. ‘Never enough (transform, repeat ad nausea)’, From Control to Design (Barcelona: Actar-D), pp. 6-9 31. Burry, Mark (2011). Scripting Cultures: Architectural Design and Programming (Chichester: Wiley), pp. 8 - 71 32. Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-22 33. Woodbury, Robert (2010). Elements of Parametric Design (London: Routledge) pp. 7-22 34. Meredith, Michael. ‘Never enough (transform, repeat ad nausea)’, From Control to Design (Barcelona: Actar-D), pp. 6-9 Others Trummer, Peter (2013). ‘What is Architecture’ interviews, by Luca De Giorgi, url: <http://www.whatisarchitecture.cc/2013/05/peter-trummer.html>
Image References Fig 1.1 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www.schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45-ziprocker> Fig 1.2 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www.schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45-ziprocker> Fig 1.3 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www.schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45-ziprocker> Fig 1.4 Workshop 2 - Ziprocker, retrieved on August 25th 2013, from <url: http://www.digitalcrafting.dk/?p=955> Fig 1.5 Workshop 2 - Ziprocker, retrieved on August 25th 2013, from <url: http://www.digitalcrafting.dk/?p=955> Fig 1.6 Zipshape - Zipculture, retrieved on August 25th 2013, from <url: http://www.schindlersalmeron.com/index.php/collection/k2-categories/teachingresearch/item/45-ziprocker> Fig 2.1 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.2 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.3 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.4 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 2.5 Studio Gang Architects, Nature Broadwalk At Lincoln Park Zoo, retrieved on August 25th 2013, from <url: http://studiogang.net/work/2005/lincolnparkzoo> Fig 3.1 A. Menges, FAZ pavilion, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4967> Fig 3.2 A. Menges, Responsive surface structures phase I, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4411> Fig 3.3 A. Menges, Responsive surface structures phase I, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4411> Fig 3.4 A. Menges, Responsive surface structures phase I, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4411> Fig 3.5 A. Menges, Responsive surface structures phase II, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4638 > Fig 3.6 A. Menges, Responsive surface structures phase II, retrieved on August 25th 2013, from <url: http://www.achimmenges.net/?p=4638> Fig 4.1 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http:// www.achimmenges.net/?p=5011> Fig 4.2 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http:// www.achimmenges.net/?p=5011> Fig 4.3 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http:// www.achimmenges.net/?p=5011> Fig 4.4 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http:// www.achimmenges.net/?p=5011>
Image References Fig 4.5 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http:// www.achimmenges.net/?p=5011> Fig 4.6 A. Menges, Aggregated Lamination, retrieved on August 25th 2013, from <url: http:// www.achimmenges.net/?p=5011> Fig 5.1 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete> Fig 5.2 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete> Fig 5.3 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete> Fig 5.4 Archinect, MOBIUS: the pareSITE pavilion, retrieved on August 25th 2013, from <url: http://archinect.com/blog/article/76416569/m-bius-is-complete>