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
45