Lau_Tony_699872_Part A

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STUDIO AIR 2 014, S em er ter 2 Tony Lau


L a u S i u Ya n To n y


I

’m studying the Bachelor of Environment and major

those challenges. In the past two years, i have

in Architecture in the University of Melbourne. As

finished the course of Architectural Studies in City

I’m a transferred students from Hong Kong, this

University of Hong Kong. In that period, my life

is my first time coming to Melbourne but studying

is full with the studio design and the “deadline”

the final year of the course. To me, Melbourne, or

in order to finish total five studio projects in one

Australia, is a very different place from Hong Kong,

and a half year, whcih trained me as an effecient

not only the change of extreme climate, but also the

and effective person to deal with the coming

culture difference. For the coming next year, there

issues and workloads. To me, Alvaro Siza is one

are many challenges I have to confront, including

of my most famous achitects that inspires me the

the difficulties of learning programming, heavy

aesthetic of purity with simple geometry and the

load of reading, and also the communication and

spactial idea of planning. Like Siza’s building, I’m

presentation of the idea in English. Nevertheless,

trying to achieving an simple and skillful geometric

studying Architecture and work within it is my major

design; pure and conceiable spatial planning;

dream and support that help me to overcome for

audacious and precise drawings in my own designs.

3


CO N T E N T S PART A. CONCEPTUALISATION A0. Introduction A1. Design Futuring A2. Design Computation A3. Composition/Generation A4. Conclusion A5. Learning outcomes

PART B. CRITERIA DESIGN B1. Research Field B2. Case Study 1.0 B3. Case Study 2.0 B4. Technique: Development B5. Technique: Prototypes B6. Technique: Proposal B7. Learning Objectives and Outcomes

PART C. DETAILED DESIGN C1. Design Concept C2. Tectonic Elements & Prototypes C3. Final Detail Model C4. Learning Objectives and Outcome

BIBLIOGRAPHY

DESIGN STUDIO:


AA II RR PROGRAMMING THE WORLD

5


A1. DESIGN FUTURING

N

owadays, the place we are living in are becoming

chitecture, landscape architecture and planning may provide

much tougher than before, the polluted environment,

general answers to us. In Kropotkin’s writing, he wanted to re-

lack of natural resources, and the considerable sum of

store the quality of the natural environment after the ravages

human, these factors are making our life harder and reduce

of industrial development; the production of far more durable

the possibility of the future that can be sustained, which

artefacts; a focus on the development of community; the

means defuturing. How can we protect our future? How can a

devolution of government; the overcoming of alienated labor

future actually be secured by design? There are many ques-

and the development of the practice of apprenticeships.

tion and difficulties we have to confront, but I believe that our

1930s, there is a New Deal project held by Tennessee Valley

future could be sustained or improved by ‘Design’.

Authority (TVA) that addressing the issue of ‘planning and the

The destruction of design Against this backdrop, ‘design futuring’ has to confront two tasks: slowing the rate of defuturing [….] and redirecting us towards far more sustainable modes of planetary habitation. [1]

With the help of technological advancement, there are a

[3]

In

people’. And after that, Julian Huxley develop the concept further in order to recognize a fundamental and still absolutely relevant point about democratic design and democracy in general - good decisions require the people making them to be critically informed.

[4]

growing mass of cheap computers and design software pro-

The responsibility of public

viding to the public that anyone can pretend as a ‘design-

Much of what we know of institutions, the distribution of power,

er’ although they are only at junior level. Consequently, the

social relations, cultural values, and everyday life is mediated

design products in many aspects have becoming commercial

by the built environment. Thus, to make architecture is to con-

and trivial things due to the movement of ‘design democracy’.

struct knowledge, to build vision. To make architecture is to

In this situation, design either goes on becoming trivialized,

map the world in some way, to intervene, to signify: it is a po-

technocratic, invisible and elemental to the unsustainable, or

litical act. Architecture, then, as discourse, discipline, and form,

it becomes a path-finding means to sustain action countering

operates at the intersection of power, relations of production,

the unsustainable while also creating far more viable futures.

culture, and representation and is instrumental to the con-

[2]

struction of our identities and our differences, to shaping how

Stand up to fight for better environment To overcome this situation, the writing and its ideas of Peter Kropotkin, which has influenced many people, especially ar-

CONCEPTUALISATION

we know the world.

[5]

To take the diversity of humanity away

from deepening the disaster of unsustainability toward the futuring character of sustain-ability, we should put forward of-


fers no vision of ‘a brave new world’ but rather design as a ‘redirective practice’. [6]

Therefore, the way to achieve it would

be let the design intelligence becoming the essential skills of life to the public, especially child, instead of putting the narrow and reductive focus on specific designer, like Patrik Schumacher. Everyone should take the responsibility of designing better environment to human. Precedent study: The first case study would be Centre Pompidou-Metz, 2010 The second case study would be ‘Zootopia’ In Denmark, In Progress.

to restore the quality of the natural environment [...]; the production of far more durable artefacts; a focus on the development of community; the devolution of government, [...] -- Peter Kropotkin

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 7 3 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 8 4 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 8 5 Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), pp. 1 6 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 15 1 2

7


CENTRE POMPIDOU-METZ METZ, FRANCE, 2010

CONCEPTUALISATION


“

Everyone

used to want to be star architects.

That’s

no

longer the case.

-- Shigeru Ban

9


I

n a very long time, the reason for people who wanting to become an architect is desiring for the honour of

creating amazing buildings without con-

sidering environmental or sustainable matters. In the era of ‘Green world’, there is no longer suitable for people who carry these kind of thoughts. For better future, the works of Japanese architect Shigeru Ban has contributed the fundamental ideas for design futuring. Ban is not interested in the newest materials and techniques, but rather the expres-

CONCEPTUALISATION

sion of the concept behind his building. Paper architecture Ban is most famous now for his innovative work with paper and cardboard tubing as a material for building construction, like the project of Centre Pompidou-Metz. He is attracted to using paper because it is low cost, recyclable, low-tech and replaceable in Metz that timber can be used as both a tensile member and compressive member, I thought it could be realized as a compressive shell structure, in addition to


being a tensile mesh structure. Ecological development The last aspect of Ban’s influences is his humanitarianism and his attraction to ecological architecture. His work with paper and other materials is heavily based on its sustainability and because it produces very little waste. Ban fits well into the category of “Ecological Architects� but he also can make solid claims for being modernist, a Japanese experimentalist, as well as a rationalist.

11


BIG ENVISIONS ZOOTOPIA GIVSKUD, DENMARK, IN PROGRESS

CONCEPTUALISATION


“ In

order to create a more immersive experience

for visitors, as well as provide the animals with a comfortable and more wild environment, ‘zootopia’ seeks to remove the physical partitions and cages typically utilized in zoos.

-- Danish

architects

BIG

13


D

esign Futuring is not only limited to

machine, we have to rethink the inter-

the building, but also means how

action between visitors and animals

to design a better living envi-

that educating the concept about the

ronment to human so as animals. In the

relationship between mankind, animals

future, creating a better and well plan-

and environment so as to create an

ning region for other living environment

ideal place for the future. Acting as

is more important than before in order

the inspiration of new idea of project

to maintain the diversity of ecology. Also,

scheme, the project will attempt to

this is related to the concept of ‘design

“integrate and hide buildings” within the

futuring’ that could inform the idea that

landscape and express the integration

provides an intriguing opportunity for

of nature and natural elements into cut-

the creation of a space with “the best

ting-edge, innovative architecture. The

possible and freest possible environment

complex’s building elements are inte-

for the animals’ lives and relationships

grated with the landscape, to conceal

with each other and humans.”

their appearance to the animals while

To modify the traditional perspective

distinctly fitting to the individual species.

towards zoo which is money-making

CONCEPTUALISATION


15


The straight line belongs to men, the curved one to God. -- Antoni Gaudí i Cornet

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 9 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 3 9 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design pp. 4 10 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 4 11 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture pp. 6 7 8

CONCEPTUALISATION


A2. DESIGN COMPUTATION

D

esign Computation in architecture is undeniable that

environment, using parametric thinking into the design process

have improved the productivity and creativity of

become an essential way that can widely considering the

design, especially in material and engineering aspects.

complex environmental factors into the design.

In terms of the complexity of geometries, building forms and structures, it is much more complex and efficiency when using parametric computation instead of traditional thinking.

Research by Design Based on the computer-aided design research, computational systems provide varying levels of assistance to human

Possibility of conceivable geometries

designers by taking care of smaller or larger parts of the de-

Beyond 20th century, there is already some parametric works,

sign process.[9] After the emerge of 2002 Serpentine Pavilion,

like the Hanging model of Sagrada Familia by Antoni Gaudí,

people are focusing on the possibilities of algorithmic design

showing the possibility of parametric design in architecture

in terms of aesthetic and tectonic aspects. Many iconic archi-

and its advantages. Due to the advantages that Drawings

tectural designs were produced from 2003 onward employing

and scale models allowed architects not only to communi­cate

these powerful digitally integrated performative design envi-

with the builders and their clients, but also to experiment with

ronments in which form is driven by performance.

alter­native design solutions.

of flexibility and complicity of nature, digital materiality and

[7]

Therefore, there is no doubt

[10]

In respect

that design modeling and drawings are necessary to us.

fabrication become an effective way in designing. It is in the

And after the emergent of the parametric programme, such

computational modelling of natural principles of performative

as Non-Uniform Rational B-Splines (NURBS) like Rhino and the

design of material systems that we can potentially create a

later appearance of integrated parametric modelers such as

second nature, or a sounder architecture with respect to ma-

Grasshopper

terial ecology.

[8]

, the similar calculation and modeling can be

[11]

In the future, the parametric design would

done by computation in place of the time-costly and com-

completely capture the fantastic design and the cruel nature.

plex model making and calculation by mankind. Also, with the

Precedent study:

help of technological advancement, parametric algorithmic

The first case study would be “The Heydar Aliyev Center”, 2013.

design not only perform as an effective tool for calculation

The second case study would be Library of Tama Art University, 2007.

and algorithm, but also act as an efficient way to response the environments. In order to sustain and improve the natural

17


HEYDAR ALIYEV CULTURAL CENTER BAKU, AZERBAIJAN, 2012

CONCEPTUALISATION


“ I

have always appreciated those who dare to experiment

with materials and proportions.

-- Zaha Hadid

19


I

n Hadid’s buildings, you are not hard to discover that there are many fluid or organic design occurring in her works, like the Tokyo 2020 Olympic stadium and Galaxy Soho in Bei-

jing. Continuing with the unique style, the Heydar Aliyev Center is performing the characteristic with continuous movement in appearance with the aid of computation. The parametr ic design Early in the design process, engineers performed a mathematically based computer analysis. “It’s good practice to do structural calculations for projects of that kind with a 3D nonlinear finite element analysis, including special loads like earthquake and high wind loads as present in Baku,” said by

CONCEPTUALISATION

the project engineer for this building. Computation play an important role in the project that advanced computing allowed for the continuous control and communication of these complexities among the numerous project participants in terms of a broad range of different functions, construction logics and technical systems. The advantages of computation Not only the challenge of continuous surface have to confront, but also the complex structure of liquid building require to deal with. The digital architectural space frame system enabled the construction of a free-form structure and saved significant time throughout the construction process.


The Baku complex actually consists of three buildings - a conference center, a museum and a library - connected through an interior space and by the curving “fluid” envelope that winds across the entire structure. A design inspired by “the fluid geometry of water in motion,” which used Rhino software to develop a highly precise but constantly evolving 3D digital model of the Baku center. Conceiving and building the complex involved simultaneous coordination with teams in other professional in the world.

21


TAMA ART UNIVERSITY LIBRARY TOKYO, JAPAN, 2007

CONCEPTUALISATION


“

I would like to use architecture to create bonds between people who live in cities, and even use it to recover the communities that used to exist in every single city.

-- Toyo Ito

23


T

his building may not be a good

“For the first time perhaps, architec tural

example of complex and fantastic

design might be aligned with neither for-

design using advance algorithmic

malism nor rationalism but with intelligent

programme, but this is a great chance

form and traceable creativity.” [12] In

to know how spatial planning and de-

plan these arches are arranged along

sign could be improved by algorithmic

curved lines which cross at several

thinking and computation. The first idea

points. Also, the spatial diversity experi-

of library was for a wide open gallery

ences when walking through the arches

on the ground level that would serve

different in span and height changes

as an active thoroughfare for peo-

seamlessly from a cloister-like space

ple crossing the campus, even without

filled with natural light, to the impression

intending to go to the library. To let the

of a tunnel that cannot be penetrated

flows and views of these people freely

visually. The library is a new place of

penetrate the building, designers began

arcade-like spaces where soft mutual

to think of a structure of randomly

relations form by simply passing through;

placed arches which would create the

a focal center where a new sense of

sensation as if the sloping floor and the

creativity begins to spread throughout

front garden’s scenery were continuing

the art university’s campus.

within the building.

CONCEPTUALISATION


12

Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), pp. xi

25


A3. COMPOSITION/GENERATION

C

omparing to computerization which enhance the

ation of architectural form in responding the environment. Also,

precision and effectiveness of drawing, computation

like drawing, architects working with the pen or pencil can be

extend designer’s abilities to capture not only the

used to either draw building details or create conceptual

complexity of how to build a project, but also the multitude of

sketches for buildings, computational tools can be used to

parameters that are instrumental in a building’s formation. Like

increase efficiency and allow for better communication, as

Sean Ahlquist and Achim Menges, they defined computation

well as for conceptual sketching of algorithmic concepts.

as ‘the processing of information and interactions between

Computation allow architects predict, model and simulate the

elements which constitute a specific environment; it provides a

encounter between architecture and the public using more

framework for negotiating and influencing the interrelation of

accurate and sophisticated methods. In this way, computation

datasets of information, with the capacity to generate com-

makes possible not only the simulation and communication of

plex order, form, and structure.

[13]

In other words, computation

can be expressed as an algorithm that able to provide inspiration to architects that explore new design options and to analyse architectural decisions during the design process. By generated the corresponding code using scripting languages, like RhinoScript, we would gain an opportunities to modify the code to explore new options, and speculating on further design potentials.

[14]

the constructional aspects of a building, but also the experience and the creation of meaning.

[15]

Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. Through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models that sketching by algorithm. Computational

Highly efficient performance of buildings

designers are more than just creators of complex 3-D models

To sustain our world and protect our future, creating and

or the developers of digital tools – they distil the underlying

designing the building with better efficiency and performance

logic of architecture and create new environments in which to

is becoming an essence.

explore designs and simulate performance, both physical and

By using these tools, structural, material or environmental per-

experiential.

formance can become a fundamental parameter in the cre-

form-finding and performance analysis power, and simple

CONCEPTUALISATION

[16]

Therefore, it is clear that the flexible nature,


translation to fabrication information makes parametric modelling a powerful and efficient design tool. Precedent study: The first case study would be Agenware: research, 2009. The second case study would be Digital Grotesque, 2013.

When

architects have a sufficient understand-

ing 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.

--Brady Peters

13 Sean Ahlquist and Achim Menges, ‘Introduction’, in Sean Ahlquist and Achim Menges 2011. 14 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural 15 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural 16 Peters, Brady, “Computation Works: The Building of Algorithmic Thought.” Architectural

(eds), Computational Design Thinking, John Wiley & Sons (Chichester), Design (2013), pp15 Design (2013), pp13 Design (2013), pp15

27


AGENWARE:RESEARCH, 2009 BIOTHING

CONCEPTUALISATION


“

Architecture

is currently experiencing a shift from the drawing to the

algorithm as the method of capturing and communicating designs.

-- Brady Peters

29


I

n recent years architecture has

of rewriting existing protocols in

gained access to generative

architecture, including long inabil-

methods with large populations of

ity of the field to productively and

agents via explicit application of

creatively address acute issues of

scripting and programming in de-

sustainability.

sign process. Large data sets carry twofold potential in establishing explicit connection between built fabrics and external input data, addressing increasing complexity of constructed environments and their capacity for adaptation.

An era of algorithmic computation Architecture is currently experiencing a shift from the drawing to the algorithm as the method of capturing and communicating designs. The computational way of working augments the designer’s intellect

The study of emergence, where in-

and allows us to capture not only

dividual agents work in conjunction

the complexity of how to build a

with their “host” environments and

project, but also the multitude of

in collaboration with other simple

parameters that are instrumental in

agents towards higher order com-

a buildings formation.

plexity, is leading towards new kinds

the material resolution and levels

of structural, organizational, spatial

of information while having access

and esthetic behaviors. Such con-

to the coding of material or struc-

text reflects self-regulatory patterns

tural or organizational behaviors

found in natural ecosystems, which

increases the ability of designed

contemporary science, engineering

systems to respond, feedback, learn

and architecture are only starting

and adapt to the “host” condi-

to learn from. This emergent intelli-

tions. Such approach is narrowing

gence is being encapsulated as

the gap between the power of

series of proto-patterns capable

computation and materialization.

[17]

Increasing

17 Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 10

CONCEPTUALISATION


Increased “resolution� allows programming of molecular transactions rather than totality of deterministic design or planning. At the core of the work is an accumulative library of scripts and methods for transcoding, applicable to the constraints of materials, structure, fabrication and assembly. Evolving algorithmic infrastructure allows a designer to work at the scale of information linked to various forms of materialization. Computational patterns are understood as deep in terms of the potential to produce expressions at various scales. Highly affective outcomes and the use of algorithmic scripting as the primary generative mode are frequently inseparable.

31


DIGITAL GROTESQUE, 2013 MICHAEL HANSMEYER

“

There are unseen objects that await us, if we as architects begin to think about designing not the object, but a process to generate objects.

CONCEPTUALISATION

-- Michael Hansmeyer


33


CONCEPTUALISATION


D

igital Grotesque is between chaos

form is recursively refined and enriched,

and order, both natural and the

culminating in a geometric mesh of 260

artificial, neither foreign nor famil-

million individually specified facets. This

iar. Any references to nature or existing

single process generates many scales of

styles are not integrated into the design

architecture, from the overall form with its

process, but are evoked only as associ-

broad curvature, to local surface devel-

ations in the eye of the beholder.

opment, down to minute textures.

Design by Algorithm

While computational geometry in archi-

In computational design, the architect

tecture is often used to create volumes

no longer develops form using pen and

with smooth, minimal surfaces, in the

paper or by mouse in a CAD program,

Digital Grotesque the design goal is the

but instead defines procedures to gen-

exactly the opposite. A maximal articula-

erate form. Shifting the design process

tion of the surface creates a volumetric

onto this abstract level has a dramatic

depth, where light is reflected in million

impact: Forms can be designed with a

different directions and the boundaries

complexity and richness that would be

of the architecture are spatially diffuse.

impossible to draw by hand. Now these complex forms can be brought out of the computer using additive manufacturing. Bits and bytes can be rendered directly into reality.

The single subdivision process produces forms that contain information at multiple scales. The closer one gets to the form, the more features one discovers. Such a hierarchical differentiation can also be

The combination of computational

found in classic architecture. Yet unlike

design and additive manufacturing

traditional architectural design process-

can lead to a non-standardized, highly

es, here a single process is used both

differentiated and spatially complex

to sculpt the overall form, and to create

architecture that is defined at the scale

the minute surface details.

of millimeters.

This articulation can be used to create

In the Digital Grotesque project, every

features that exceed the threshold of

detail of the architecture is generated

human haptic or visual perception that

through customized algorithms, without

would be entirely undrawable using

any manual intervention. A simple input

traditional means.

35


Architects don’t invent anything; they transform reality.

CONCEPTUALISATION

--Álvaro Siza Vieira


Design Futuring To rethink the reason why we are doing design, how can we create a better world for next generation, which methods can slow down the destruction of earth.

Design Computation To approach our better world, what can we design better environment with the help of high-technology, or computation, and what is the benefit when using computation.

Composition/Generation To response the current situation of environment, designing the sustainable architecture with computation and algorithmic thinking is becoming more useful and neccessary.

e t h i n ki n g 37


A4. CONCLUSION

I THINK...

S

aving the world!? Is this sounds childish or naive? I don’t think so, when the world is pushing closer to the edge of destruction by our hand, saving

the world would be the top searching world in Google soon. It is the time that we stand up to protect our future and stopping destroy the world. Under this situation, design computation may be a good solution. By using computation and algorithmic thinking, we could be create and design the building with better efficiency and performance. Many cases proofed that computation in architecture have improved the productivity and creativity of design, especially in material and engineering aspects. In terms of the complexity of geometries, building forms and structures, it is much more complex and efficiency when using parametric computation instead of traditional thinking. Also, with the help of technological advancement, parametric algorithmic design not only perform as an effective tool for calculation and algorithm, but also act as an efficient way to response the environments. Through computation, the digital architectural design environment has both the ability to construct complex models of buildings and give performance feedback on these models that sketching by using algorithmic language. In the future, the parametric design would completely capture the fantastic design responding the diversity of natural environment.

CONCEPTUALISATION


A5. LEARNING OUTCOME

A

fter the conceptualization of studio air, I am starting to rethink

...THEREFORE I AM

what I am doing in these days and what should I do in the future. Is that becoming a registered architect with considerable

salary could be good for me? Or keep pretending the world is still great and wonderful that no need to change? The answer may be different to others, but, for now and for me, I would try to contribute my little effort by applying my knowledge to design something which is benefit to the environment, not for gaining honor from public but for the sustainment of our environment. To be honest, i don’t even heard about the concept about algorithmic thinking or computation before coming to the studio. The thing i have learned before is that how to attract audience or client by using good layout and diagram or how to process precise CAD drawing to others parties etc. I think these skills are also useful and meaningful, but there is no meaning to become a professional architect without faith. In here, the faith is representing the idea to create a better world rather than the faith that becoming a famous architect who creating fantastic and iconic architectures which are not responding the surrounding environment or even harmful for environment due to lack of consideration about the sustainability. In the following weeks, I would look forward to algorithmic architecture which well responding to the site and environment, like the works of Toyo Ito and Shigeru Ban. Like one of my favorite architects, Alvaro Siza, said that architects don’t invent anything; they transform reality, i hope i could equip more knowledge and skill to create a sustainable and responding work in final stage.

39


A6. APPENDIX Sketch. 01 Algorithmic thinking:

CONCEPTUALISATION


cruve

divide curve

point charge

merge field

circle

divide curve

field line

divide curve

move

Interpolate

range graphic maper

multiplication

41


Sketch. 02

step 1

x coordinate y coordinate z coordinate x coordinate y coordinate z coordinate x coordinate y coordinate z coordinate

step 2

step 3

point A

line A

point B

line B

point C

line C

XY plane

step1

deconstruct plane

geometry

step 5

step 4

*HOOPSNAKE

endpoint line

vector *ORIENT DIRECTION

point vector

step2-7

Original

ree

line


step 6

Hoopsnake

: require the geometry and the line input in related to the output that forming an close system.

Orient Direction

: require the origin point, origin vector, guide point, guide vector and geometry, which is total five inputs.

step 7

Loft

Pipe

43


BIBLIOGRAPHY

Interent Kristin Dispenza, (2011), Zaha Hadid’s Heydar Aliyev Cultural Centre: Turning a Vision into Reality , Retrieved from http://buildipedia. com/aec-pros/from-the-job-site/zaha-hadids-heydar-aliyev-cultural-centre-turning-a-vision-into-reality Michael Hansmeyer, (2013), Digital Grotesque , Retrieved from http://www.michael-hansmeyer.com/projects/digital_grotesque. html?screenSize=1&color=1#1 Grotto-Hansmeyer, (2013), Retrieved from http://www.frac-centre. fr/_en/exhibitions/history-exhibitions/rub/archilab/grotto-hansmeyer/grotto-560.html Alisa Andrasek, (2010), //AGENWARE::RESEARCH/2009//////////////// , Retrieved from http://www.biothing.org/?cat=6 CENTREPOMPIDOU-METZ, (2008), Retrieved from http://www.centrepompidou-metz.fr/en/welcome

CONCEPTUALISATION


Book Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), pp.1-16 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-15 Issa, R, (2010), Essential Mathematics for computational design, Second Edition, Robert McNeel and associates, pp 1 - 42 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Terzidis, Kostas (2006). Algorithmic Architecture (Boston, MA: Elsevier), pp. i - xi Peters, Brady (2013). Computation Works: The Building of Algorithmic Thought from Architectural Design (AD) Special Issue - Computation Works V83 (2), p. 1-10 Peters, B. (2013). Computation Works: The Building of Algorithmic Thought. Architectural Design, 83(2), pp. 8-15. Kalay, Y. E. (2004). Architecture’s new media: principles, theories, and methods of computer-aided design. MIT Press, pp. 1-25 Schumacher, P. (2012). The Autopoiesis of Architecture, Volume II: A New Agenda for Architecture (Vol. 2). John Wiley & Sons, pp. 1-28

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