Syllabus 2014

University of Nicosia Department of Architecture [ARC], FALL 2014

Unit 5 ‘In_out Crisis’

Tutors:

Alessandra Swiny Email: swiny.a@unic.ac.cy Michalis Georgiou Email: georgiou.m@unic.ac.cy Natasa Christou Email: n.christou@live.co.uk

Class: Course: Website:

Tuesday, 09:00 – 18:00 ARCH-401/501 and ARCH402/502 www.unit05.com

“Crises are ultimately productive. They force invention. Radical destruction gives way to new forms of production. If an emergency can be at any scale, from a broken bone to a continent, what turns it into crisis is when its effect exceeds the local scale. Things spin out of scale and therefore out of control. The whole environment is threatened...”

Mark Wigley,’ Space in Crisis’, C-Lab This notion is the foundation for the investigations led in the Unit 5 “in/out crisis”. The Unit sets the premise and the educational environment to respond to current global “crises”, through an optimistic approach focusing on current emergency situations. The aim is to generate intelligent strategies that produce potential and alternative solutions.

Unit 5 ‘In_out Crisis’ FALL 2014

Contents 1. Topic Introduction 2. The Studio scopes 3. Unit Structure 4. Teaching and Assessment Methods 5. Bibliographic References

Unit 5 ‘In_out Crisis’ FALL 2014

1. TOPIC INTRODUCTION 1.1 ‘in/out crisis’; re-adjusted ecologies _ the eco-system of crisis Crisis: derives from the Greek work krisis, meaning ‘decision’.

Its definition is as follows: “an unstable or crucial time; a crucial stage or turning point in the course of something; the decisive moment; the turning point; an unstable situation of extreme danger or difficulty affecting an individual, group, community, or whole society”. (MerriamWebster Dictionary) Crises are deemed to be negative changes in the security, economic, political, societal, or environmental affairs, especially when they occur abruptly, with little or no warning.

More loosely, it is a term meaning 'a testing time' or an 'EMERGENCY EVENT'.”

Unit 5: ‘In/Out of Crisis, emergent and adaptive’, grasps a critical momentum in time and examines the current state of Crisis from a positive state of mind that can generate new ways and a new approach to the built environment.

Seeking new design possibilities through both theoretical and design based speculations, the studio explores the potentials in utilizing state-of-the-art technology, promoting sustainability, remaking and reusing existing resources, re-informing the designer’s repertoire, and reenvisioning our living environment. The unit intends to investigate, invent, and re-invent - thus innovate in the architectural production.

Notions of material fabrication, production processes, self-sufficiency, infrastructures risen ‘in/out’ of crisis are defined through experimentation towards a positive environmental and social impact. A series of workshops will support students to develop a design toolbox and communications skills based on generative and associative modelling techniques, digital fabrication and material experimentation.

Student Project, E_Mintsiou_Parasitizing the void, Unit5 - 2013-2014

Unit 5 ‘In_out Crisis’ FALL 2014

2. STUDIO SCOPES: 2.1 THESIS: Unit 5 will focus in analogue and digital experimentation while combining the potential of digital fabrication and the insight of time tested vernacular applications. The Unit is interested in natural systems and organisms and their ability to survive and evolve by adapting to their natural environments.

The architectural design of the project is mainly influenced by two factors:  

The topic introduction:’ in_out crisis’: emergent and adaptive The innovative interdisciplinary strategies to produce the new

Since these factors arising, the objectives of this studio are: 

The Understanding of Crisis

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The relationship of the project with contextual and non-contextual parameters

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The production of innovative fabrication methods and materiality

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Design Development of the proposal

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Design complement of the proposal

P_VasquezHadjilyra.Inverted Utopia lost things in the sand Unit5 - 2013-2014

Unit 5 ‘In_out Crisis’ FALL 2014

3. UNIT STRUCTURE 3.1 PHASE 1: LEARN (October- November) We ‘start-over’ with an intensive period of learning to develop design methodologies and strategies to respond to crisis. In your group you will be asked to decompose a condition of crisis. Individually you will be asked to experiment with parametric logic in regards to materials, systems and behavior in order to build your collective strategy. Skills will be developed using the following tools: Rhino 3D, Grasshoper, Kangaroo, Hoosnake, Vray, and Ecotect. A set of precedents that you can choose from within the following contexts will help to demonstrate digital and analogue experiments in the context of crisis.

Laser Cutter @ [ARC] F-Lab

Principles: *Conditions: Water: Freeze/ Flood/ Float

or Earth: Bury/Hang/Dig

*Experiments: Type A: Natural System precedents Type B: Architectural precedents natural systems Topics: Tensile structures, Inflated structures, Aggregated systems, Pattern Formation systems The key experiments should be analyzed through the following strategies: structure (skeleton, decomposition, hierarchy), functionality (heating, cooling, circulation, flow), materiality (skin, shading) *Crisis Types: Environmental, Political, Social, and Financial

Unit 5 ‘In_out Crisis’ FALL 2014

Students will work in Groups of 2/3. Each student will develop a set of skills that they will apply and incorporate into their projects as the year progresses.

Directions:  Pick a condition that interest you as a group  Pick two experiments, one per type (A & B), per group  Pick a crisis concentration and write a responsive manifesto (max 200 words)

Submission Requirements:    

Physical Models Drawings and Sketches Digitized Models A1 Presentation Panels, one per principle

Detailed specifications and requirements will be given before each pin-up and exam.

Student Project, A Aristodemou Trashformer, Unit5 - 2013-2014

Unit 5 ‘In_out Crisis’ FALL 2014

3.2 PHASE 2: APPLY (November –January) By utilizing what you have learnt so far through the catalogue of design languages and experiments explored, and the digital techniques learnt, you will create a temporary Out-post (pod) for survival. At this point you must take a stand! In the project the interrelationships and connections are emphasized within the crisis context (connect or disconnect). The proposal should aim towards a parasite (your survival out-post) and donor relationship (contextual parameters and conditions).

Student Project, A_Ragkousis_Marine Debris Upcycling Center and Y. Gavriel, Cavity Unit5 2013-2014

Principles: a. Relevance to your brief Phase 1 Use the output results of what you have learn and imply them into your strategy b. Conditions You must take into consideration the 6 site conditions: WATER (Freeze/Flood/Float) – EARTH (Bury/Hang/Dig) as a key relation of your design proposal to its extreme environmental condition c. Self-Reliance Think about the autonomy of your building. Think also about the temporality of your proposal. How is it adaptive and responsive? Does it have a footing – how does it physically connect to its environment? What is the relationship to water, power (electric,solar,wind,biomass), how is it self-sustainable? How does it link to its environment in a micro and macro scale? d. Civic/ Social Responsibility (Symbiosis) Unit 5 ‘In_out Crisis’ FALL 2014

Think about the social impact your proposal might have. Is it participatory? How does it engage to people’s lifes and habits. Does it make a difference? What are the community interactions/exchanges? e. High Tech-Low Tech Fabrication methods How is your proposal based on low cost fabrication methods? Think about the upcycling aspect of your proposal. What is the assembly process? Think about material performances.

Are you using found objects? Recycled objects? Self-sustaining materials? What is the lifecycle of your project?

“Forget the way it looks and think about the way it performs” Neri Oxman Directions:  The proposal should respond to the above principles  The program of the proposal should respond to the donor-parasite relationship  The out-post hosts one user and must be self-sufficient and respond to its context

Submission Requirements:   

An abstract of 300-500 words summarizing the intentions Physical Models at scale 1:100, 1:50, 1:20 Drawings, Plans, Sections, Elevations, Details 1:100, 1:50, 1:20

Detailed specifications and requirements will be given before each pin-up and exam.

Student Project, G_Hadjimattheou-A.M Tarkasi welcome to hell Unit5 - 2013-2014

Unit 5 ‘In_out Crisis’ FALL 2014

3.3 PHASE 3: REALIZE: (January-May) Taking into consideration that up until now you have done the following:   

Developed the manifesto of crisis Updated your design tool box with advanced digital methods Tested your intention in a small scale proposal

Now it’s time to identify the void of crisis in a global context. Research for a globalized situation based on extreme social or environmental cases that your proposal could have a huge positive impact on. Think about ways that your resilient microcosm developed in Phase 2 could expand and explore the possibilities of your system being applied in a macro-scale.

Student Project, A_Ragkousis_Marine Debris Upcycling Center Unit5 - 2013-2014

Principles: a. What is it?

You should be able to expand your abstract about crisis. b. Where is it? The site: You are free to propose your own individual sites and programs if you find something really amazing and you are passionate about as long as it falls into the pre-specified conditions. c. For who is it? The scale: The proposal should be tested into a small community of people (a prox. 50-100 inhabitants). You should also think about its social impact. You should think about the strategy of existence and growth of your proposal through time. d. Materiality: You should apply and expand your material explorations and fabrication methods tested prior on Phase 1 +2. You should be able to incorporate the lessons already learnt into new models of architecture. Key principles mentioned in Phase 1 +2 should be utilized here.

Submission Requirements: TBA Unit 5 ‘In_out Crisis’ FALL 2014

3.4 WORKSHOPS: The aim of these workshops is to encourage the use of digital software and hardware in order to improve your skills and abilities for your architectural proposals. Through practical exercises and hands on learning you will be trained on various digital-analogue experiments, various ways of architectural representation and mapping techniques as well as principles and guidelines of dynamic representation and composition. A detail assignment of each workshop will be given individually.

WORKSHOP 1 – Digitize Part 1 Tutoring: Michalis Georgiou, Natasa Christou Details: Introduction to Digital tools. Start building parametric logic. Show the strategy and potential of using each digital tool for a variety of intentions. An intense workshop to show the connection between digital and analogue experiments. *Software: Rhino 5, Grasshopper, Plug ins: Hoopsnake, Kangaroo, Firefly etc.

WORKSHOP 2 – Digitize Part 2 Tutoring: Michalis Georgiou, Natasa Christou Details: Generation/analysis and fabrication methods will be implied to your brief one precedent list. A series of examples will be demonstrated in order to prepare proposals becoming physical production from digitized information. *Software: Rhino 5, Grasshopper, Plug ins: Hoopsnake, Kangaroo ,Firefly etc.

WORKSHOP 3 - Fabricate Tutoring: Michalis Georgiou, Natasa Christou Details: An introduction to CAD/CAM processes. This workshop will focus on the formatting of the previous made digital models by physically produced outcomes using CAD/CAM machines. *Software: WORKSHOP 4 – Visualize Tutoring: Michalis Georgiou, Natasa Christou Details: This workshop will focus on architectural representation through the use of rendering techniques and dynamic visualizations. Students will be provided with strategies on how to create dynamic architectural representations *Software: Rhino 5, Vray, Photoshop WORKSHOP 5+6 - Mapping Tutoring: Natasa Christou, Alessandra Swiny Details: Advanced Communication Skills, Mapping techniques on complex data, Use of Metadiagrams and Hands on techniques on how to present information. *Software: Adobe Illustrator + Rhino 3D + Grasshopper

Unit 5 ‘In_out Crisis’ FALL 2014

3.5 WEEKLY SCHEDULE: WEEK

DATE

TUESDAY 09: 00 – 18:00

WORKSHOP

01

30-09-2014

INTRODUCTION TO THE UNIT Start of Phase 1: Learn

02

7-10-2014

Group Tutorials

03

14-10-2014

Group Tutorials

04

21-10-2014

Group Tutorials

05

28-10-2014

PIN-UP 1

06

4-11-2014

Start of Phase 2 Group Tutorials

-

07

11-11-2014

Group Tutorials

WORKSHOP 3 Fabricate

08

18-11-2014

Group Tutorials

-

09

25-11-2014

Group Tutorials

WORKSHOP 4 – Visualize

10

2-12-2014

PIN-UP 2

11

9-12-2014

Group Tutorials

12

16-12-2014

Group Tutorials

WORKSHOP 1 – Digitize Part 1 WORKSHOP 2 – Digitize Part 2 -

Collaborative Workshop with Westminster (8th)

Examination Period7TH of Jan. -21 Jan. 14

3-2-2015

Start Phase 3 Group Tutorials

15

10-2-2015

Group Tutorials

16

17-2-2015

PIN-UP 3

17

24-2-2015

Group Tutorials

18

3-3-2015

Group Tutorials

19

10-3-2015

Group Tutorials

20

17-3-2015

PIN-UP 4

21

24-3-2015

Group Tutorials

22

31-3-2015

Group Tutorials

23

21-4-2015

PIN-UP 5

24

28-4-2015

Group Tutorials

25

5-4-2015

Group Tutorials

WORKSHOP 5 Mapping

WORKSHOP 6 Mapping

Examination Period 11th – 25th May

Unit 5 ‘In_out Crisis’ FALL 2014

3.6 UNIT TRIP We will travel to Dubai on the 9th of December to do a workshop with the students at the American University of Sharjah (AUS). We will return on the 14th or 15th. All expenses for the trip must be covered by the students, the University of Nicosia is not responsible for any expenses. A release form must be signed by the students before going on the trip.

Unit 5 ‘In_out Crisis’ FALL 2014

4. ASSESMENT AND TEACHING METHODS Attendance, participation & development Workshops (6 @ 5% each) and required production Pin-ups (5 @ 4% each) Final project, final exam & Portfolio

15% 45% 20% 35%

5.1 TEACHING METHOD The teaching method in this course consists of lectures, demonstrations, exercises and individual instruction. Group discussions will also be taking place concerning interchange of ideas on given briefs. It is necessary for students to spend considerable time outside class hours to develop knowledge and skills. Studio based discussions will involve guest lecturers and students presenting their work individually.

5.2 ASSESSMENT CRITERIA The following criteria are applied, a number of which may be used in any given course, depending on the stated Learning Outcomes. Specific criteria will appear on all assignment briefs. The criteria have been designed to help you understand ‘what’ is being assessed in any assignment. Their presence will also help you identify what specific areas of your learning you need to improve and develop. Assessment criteria are:

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a. PROBLEM ANALYSIS Develop a range of ideas that demonstrate a creative response to a brief Identify the nature and requirements of the task (set or self-generated) Prioritize your tasks and take account of any limitations imposed by the assignment Give full consideration to any intended audience of the work Identify and communicate problems/solutions in an appropriate manner Demonstrate initiative through solutions to identified problems

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b. RESEARCH Apply an enquiring approach to identifying a range of visual or textual sources Evaluate information gathered and select material Synthesize different types of visual and contextual information Demonstrate how research has informed your progress

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c. CONCEPTUAL DEVELOPMENT (Generation of ideas)    

Use you research to initiate and explore creative proposal(s) Explore and develop a range of ideas that demonstrate a creative response to the brief Make links between your research, ideas and where applicable to the intended audience Effectively communicate your ideas using appropriate media

Unit 5 ‘In_out Crisis’ FALL 2014

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d. WORKING METHODS Plan you time efficiently to complete tasks on time Work effectively as an individual or where appropriate with others Use the available resources to good advantage employing safe working practices Communicate effectively using a range of appropriate methods Identify the strengths and weaknesses of the way that you work e. APPLICATION OF SKILLS Develop the appropriate technical/manipulative skills to support the production of your work Employ safe working practices with regard to yourself, others and the environment Demonstrate creative use of materials and methods Recognize and build your own strengths f. QUALITY OF FINAL PRODUCT (Visual) Present and describe your own work in a professional manner Present work which communicates its visual impact/aesthetic appeal, or demonstrates its commercial value Demonstrate the connection between the finished work, your original idea and intended audience g. QUALITY OF FINAL PRODUCT (Written) Present and describe your own work in a professional manner Articulate own point of view/values Coherently present an argument Articulate own point of view/values based upon research h. QUALITY OF FINAL PRODUCT (Verbal Presentation) Present and describe your own work in a professional manner Use appropriate language with regard to topic, audience and type of presentation. Articulate a range of ideas/arguments.

Coherently present/evaluate an argument.

Articulate own point of view/values based upon research.

Use visual aids/alternative forms of presentation as appropriate.

In order to pass the course, you will need to be able to demonstrate, depending on the task, some or all of the qualities described under each above headings. Where a module has more than one assessed component, each component must be passed

Unit 5 ‘In_out Crisis’ FALL 2014

5.3 ASSESSMENT DEADLINES Dates for assessment and deadlines for assignment are shown in weekly indicative program

5.4 PORTFOLIO & SUBMITTAL OF DIGITAL WORK Hardcopy and Digital Portfolios should be submitted at the end of each semester. Periodically students will be asked to submit assignments online through the Moodle Blended Learning Environment. (www.moodle.intranet.unic.ac.cy)

5.5 ATTENDANCE POLICY Class attendance is required in this course. Excessive absences will affect your grade. Absences above 20% will result in administrative withdrawal from class or failure in this course. Student withdrawal deadline has been set two weeks before the commencement of the final examinations. Failure to do this will earn the student a grade “F”.

5.6 LATE WORK A project must be submitted at the beginning of the class on the date required. All projects are assessed on submission. You must always hand in on time even if you are less than satisfied with a project in its present form. For every day over the specific date to submit the project, you will be penalized with a deduction of points from your total grade.

5.7 PROCEDURE FOR REQUESTING EXTENSIONS If you are ill during the Semester, or need to support a close member of the family through illness, if you experience other forms of difficulty leading to you not being able to submit work for assessment by the due date, you will need to apply for an extension (if you need up to four weeks to complete the work) PLEASE NOTE THAT PENALTY FOR LATE SUBMISSION OF WORK WITHOUT AN EXTENSION APPROVAL IS THE AWARD OF AN F GRADE FOR THE COMPONENT/ ELEMENT IN QUESTION.

5.8 CHEATING & PLAGIARISM Plagiarism, collusion and cheating are extremely serious offenses and you need to understand what each of them means. Briefly, Plagiarism is incorporating unattributed direct quotation or paraphrasing from someone else’s work into your own. In effect, stealing another’s work and passing it off as your own. Collusion is a situation in which two or more students have collaborated to produce a piece of work to be submitted (in whole or part) for assessment, and this is presented as the work of one student alone. Cheating is interpreted widely as any attempt by a student to gain unfair advantage in an assessment by dishonest means.

5.9 LIBRARY FACILITIES: It is very important to be able to use the facilities of the library and not just conduct research on the internet. You must read texts/periodicals/books that you will find rewarding and worthwhile. It is important that you expose yourself to multiple ideas/concepts/issues.

Unit 5 ‘In_out Crisis’ FALL 2014

5. BIBLIOGRAPHIC REFERENCES 4.1. STUDIO BLOG For coordination purposes the blog is created to keep a database and an archive of what we do.

In this website everyone will gain access to post their own work and material but at the same time gain from the vast bibliographic references, past studio work and presentations, architectural references, online tutorials and many more.

4.2. PUBLICATIONS An up to date archive book list is uploaded on the blog for your research interests. The main topics of the online library are Innovation in Architecture, Emergency and social concerns in architecture, materiality and digital (software, computational design, digital fabrication ect.)

More on: http://unit05.com/bibliography/ Articles and Digital Books will be given to you through a shared folder, the reader, as well as printed versions to use for your development.

ARCHITECTURE Innovation David Gissen, Territory: Architecture Beyond Environment_An issue of AD magazine Jonathan Hill, Weather Architecture David Gissen, Subnatures Diller + Scofidio, Flesh, 1994 Vitra Design Museum. Living in Motion: Design and Architecture for Flexible Living, 2002 DAMDI Architectural Press. Bodyscape and Mobile Architecture Carmichael, Peter. Nomads (London 1991) Siegal, Jennifer. Mobile: The Art of Portable Architecture (Princeton Architectural Press: 2002) Junya Ishigami, Another Scale of Architecture Huizinga, J. H. (1992). Homo Ludens: A Study of the Play-Element in Culture (p. 2004).

Fox, M., & Kemp, M. (2009). Interactive Architecture (p. 256). Princeton Architectural Press.

Johnson, S. (n.d.). Emergence: The Connected Lives of Ants, Brains, Cities, and Software Anstey, T. (2007). Architecture and Authorship Sou Fujimoto, Primitive Future Boundaries, Institute without, B. M. D. I. (2004). Massive Change: A Manifesto for the Future of Global Design: A Manifesto for the Future Global Design Culture.

Richardson, Phyllis. XS: Big Ideas, Small Buildings (Thames & Hudson, London, UK: 2001) edited by Tschumi, Bernard & Berman, Matthew. INDEX Architecture (MIT Press, Cambridge, MA: 2003) Slavid, Ruth. Micro: Very Small Buildings (Laurence King Publishers: 2007) Hensel, M. Design Innovation for the Built Environment: Research by Design and the Renovation of Practice, 2012 Fairs, Marcus. Green Design: Creative sustainable designs for the 21st century (Carlton Books, London, UK: 2009) Unit 5 ‘In_out Crisis’ FALL 2014

Emergency Architecture for Humanity, Design Like you Give a Damn: Architectural Responses to Humanitarian Crises (Metropolis Books, NY.NY: 2006) Cooper-Hewitt, National Design Museum, Design for the Other 90%, Smithsonian Institution, NY.NY: 2007 Adrian Lahoud, Charles Rice, Anthony Burke, Post-Traumatic Urbanism, Architectural Design AD Magazine 2010 Charlesworth, Esther. Architects Without Frontiers: War, Reconstruction and Design Responsibility Corsellis, Tom & Vitale, Antonella. Transitional Settlement: Displaced Populations (2005) O’Mahony, Marie & Patton, Phill. Safe: Design Takes On Risk (Museum of Modern Art, NY, NY: 2005) Fathy, Hassan. Architecture for the Poor (University of Chicago Press, Chicago: 1973) Easterly, William. The White Man's Burden: Why the West's Efforts to Aid the Rest Have Done So Much Ill and So Little Good (Penguin Press, NY, NY: 2006) Bornstein, David. How to Change the World: Social Entrepreneurs and the Power of New Ideas (Oxford, Oxford University Press: 2004) edited by Hardy, Steve. Environmental Tectonics: Forming Climatic Change (AA Publications, London, UK: 2008 Gilles Deleuze, F. G. (2004). A Thousand Plateaus: Capitalism and Schizophrenia (Continuum Impacts No. 21).

Materiality Mori, Toshiko. Immaterial|ultramaterial: architecture, design, and materials (Harvard Design School with George Braziller, NY.NY: 2002) Mollerup, Per. Collapsibles: A Design Album of Space-Saving Objects (Thames & Hudson, London, UK: 2006) Vitra, Jean Prouve.Charles & Ray Eames: Constructive Furniture (2002) Lucie-Smith, Edward. Furniture: A Concise History (Thames & Hudson, London, UK:1993) Hodge, Brooke. Skin + Bones: Parallel Practices in Fashion and Architecture (MOCA, Thames & Hudson: 2006) Boniver, Tristan. Usus/usures: How things stand (publication of Belgium’s participation in the 12th Architecture Biennale of Venice, 2010) Custom Built: A Twenty-Year Survey of Work by Allan Wexler (Art Publishers, NY.NY; 2001)

DIGITAL Parametric Thinking : Menges, A. and A. (2012). Computational Design Thinking. Wiley & Sons.

Otto, F. (2009). Occupying and Connecting: Thoughts on Territories and Spheres of Influence with Particular Reference to Human Settlement (p. 111). Edition Axel Menges.

Sakamoto, T., Ferre, A., Kubo, M. (2008). From control to design.

W. Daniel Hills, The Pattern On The Stone: The Simple Ideas That Make Computers Work, 9780465025961 Helmut Pottmann, Architectural geometry, 978-1934493045

Unit 5 ‘In_out Crisis’ FALL 2014

Neil Leach (Ed), Designing for a Digital World, 978-0470844199Michael Hensel (Ed), Achim Menges (Ed), Morpho-Ecologies: Towards Heterogeneous Space In Architecture Design, 9780415700832 Michael Hensel (Ed), Achim Menges (Ed), Versatility and Vicissitude: Performance in Morpho – Ecological Design Hani Rashid, Asympote: Flux, 978-0714841724 Tomoko Sakamoto, From Control to Design: Parametric/Algorithmic Architecture, 9788496540798 Fabrication Procedures: Aranda, B. (2006). Pamphlet Architecture 27: Tooling.

Princeton Architectural Press. Beorkrem, C. (n.d.). Material Strategies in Digital Fabrication.

Kolarevich, B. and Klinger, K. R. (2008). Manufacturing material effects. Rethinking design and making in architecture.

Thompson, R. (n.d.). Manufacturing Processes for Design Professionals.

Walker, M. S. and C. (n.d.). AA Agendas 9: Making Pavilions.

Branko Kolarevic, Architecture in the Digital Age: Design and Manufacturing, 9780415381413Adriaan Beukers, Lightness: The Inevitable Renaissance of Minimum energy structures, 978-9064505607 Branko Kolarevic, Manufacturing Material Effects: Rethinking Design and Making in Architecture, 978-0415775755 Lisa Iwamoto, Digital Fabrications architectural and Material Techniques, 978-1568987903 Software: John Maeda, Casey Reas, B. F. (2007). Processing: A Programming Handbook for Visual Designers and Artists (p. 768).

Wirz, F. (2011). Parametric Architecture with Grasshoper Primer.

Natural Systems and Design: Kelly, K. What Technology Wants.

Pawlyn, M. Biomimicry in Architecture Vyzoviti, S. Soft Shells: Porous and Deployable Architectural Screens.

Weinstock, M. The Architecture of Emergence: The Evolution of Form in Nature and Civilisation.

Websites: - Studio 10 : http://wewanttolearn.wordpress.com/ - Andrea Graziano: http://www.scoop.it/t/digitag-journal - Rachel Armstrong: https://www.facebook.com/livingarchitect - Kevin Kelly: http://kk.org/ - The Pop-up City: http://popupcity.net/ - Design Playgrounds: http://designplaygrounds.com/ - Materia: http://www.materia.nl/ - Arduino: http://www.arduino.cc/ - Grasshopper Forum: http://www.grasshopper3d.com/ - Firefly: http://fireflyexperiments.com/resources/ - Issuu Publications: http://issuu.com/ani.arzumanyan/docs/protoarchitecture_analogue_and_digital_hybrids

Unit 5 ‘In_out Crisis’ FALL 2014

Examples: para_SITE Michael Rakowitz Lian Low Eduard bohtlingk ‘markies’ 1986 Low Tech Ballon System I.Katase Paper Log Houses Shigeru Ban Architects Concrete Canvas Brewin.P & Crawford.W Cinema: Beasts of the southern wild Oblivion Cloud Atlas ‘Stalker’ or …Tarkofski Home. About the earth Yann Arthus Bertrand ‘earth from above’ Art and Artists: William kendridge Christo Gerhard Richter Andy Goldswothy Gordon Matta Clark Marina Abramovic Theaster Gates ( project at the Documenta 13) Ai Wei Wei Joseph Beuys Thomas Hirschhorn Pipilotti Rist Chiharu Shiota

Unit 5 ‘In_out Crisis’ FALL 2014