Wye Lun Ho 705632 Part A Studio Air Journal by Wye Lun

STUDIO AIR 2016, SEMESTER 2, MATTHEW MACDONNELL, WYE LUN HO (705632)

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TABLE OF CONTENT Introduction Part A: Conceptualisation A.1 Design Futuring A.1.1 The Butterfly House A.1.2 The Canuhome A.2 Design Computation A.2.1 The Guangzhou Opera House A.2.2 The ShellStar Pavillion A.3 Composition/Generation A.3.1 Serpentine Pavillion 2012 A.3.2 Mobile Art Pavillion A.4 Conclusion A.5 Learning Outcomes A.6 Appendix - Algorithm Sketches A.7 Part A Bibliography

INTRODUCTION Hi. My name is Wye Lun Ho and I am from Malaysia currently pursuing an architecture major in the Bachelor of Environments at the University of Melbourne. Ever since leaving my home country to pursue an architectural degree in Melbourne, I was exposed to a broad range of architectural styles which I had never came across in my previous life which spark my interests to know more about the language and field of architectural design. I believe that architecture is appreciated through its spatial qualities, emotions and experiences that it is able to leave for its inhabitants which what makes it an invaluable aspects to most students Studio Air is the first studio in which I was exposed to digital architecture with the emphasis of algorithm design. I had previously developed basic skills in softwares such as Rhino and Sketchup to generate forms, ideas and models in my previous studies in subjects such as Visualising Environments however Grasshopper is definitely a brand new challenge for me. Furthermore, I am looking to broaden my depth of skills and knowledge that I have learnt so far through the my developments in this subject in the near future.

‘‘ AS AN ARCHITECT, YOU DESIGN FOR THE PRESENT WITH AN AWARENESS OF THE PAST FOR A FUTURE THAT IS ESSENTIALLY UNKNOWN’’ NORMAN FOSTER

CONCEPTUALISATION

PART A CONCEPTUALISATION

CONCEPTUALISATION 5

CONCEPTUALISATION

A.1 DESIGN FUTURING CHANGING THE PRACTICE AND MINDSET OF FUTURE DESIGNERS Living in an anthropocentric age that is greatly dependent on meeting the needs of the growing planet’s population and rapid advances in technological means had placed the current world environment in a situation where defuturing condition of unsustainablilty is accelerating faster than we could comprehend or even stop the process from causing further damage. This is particularly a huge concern for all designers around the world as ‘the state of the world’ and the state of design has to correspond with each other because whenever we tend to alter the state of the environment, we also tend to take something from it. 1 As we live in a world where resources are finite and the depletion of these materials are irreversible, the relation between creation and destruction has to controlled to prevent such cataclysm from occuring in the near future.Design futuring thus serves as the key purpose to slow the rate of defuturing and redirecting us towards a far more susitainable modes of planetary habitation.2 To be able to achieve these two primary approach in future designs, it is important that we designers have to understand the fundamentals and having a clear sense of what design needs to be mobilized for or against which includes expanding our knowledge and breaking out of the boundaries of the design community to a much wider range of disciplines. -

Figure 2

1 2

Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice , Oxford: Berg Fry, 2008 CONCEPTUALISATION 7

Figure 3 and 4

“‘ÇHETWOOD’S STARTLING CREATION IS A RIOT OF UNLIKELY SHAPES, MATERIALS AND TEXTURES THAT ENCAPSULATE THE BUILDING”S FUNCTION WHILE TRANSFORMING ONE’S PERCEPTION OF IT’’ 8

CONCEPTUALISATION

WILL JONES, NEW RESIDENTIAL ARCHITECTU

URE

A.1.1

THE BUTTERFLY HOUSE Laurie Chetwood, Surrey UK

The Butterfly House is a residential private house that is located on the southfacing slope on a three-acre site in Surrey, UK which was remodelled after an originally Canadian cedar timber-framed house exhibited at the Ideal Home Exhibition in the 1930s. The first main attraction that caught the attention of the architect Laurie and his family after purchasing the house was the large amount of butterflies that were attracted to the site’s garden which was filled with natural plantations of buddleia, lavender and poppies that provide an ideal environment for the colourful insect to latch onto the area.1 This essentially makes the core design and concept of this architectural project being related to the insect where it was constructed after life cycle of the butterfly. The project aims to serve the needs of modern existence with the integration of the lightness an=d elegance of the insect. The design process itself took two years to evolve before it was actually committed to paper and sent to the local planning authority in the late 1990s.2 The architectural journey through the butterfly’s life cycle begins from the steel bridge with curved steel balustrades that resembles the segmented body of a caterpillar that progresses to the chrysalis stage that is influenced by the staircase, enclosed areas of the house and conservatory, and finally to the final insect represented by the external canopies over a paved garden space. The interior spaces was built to rekindle the transformation as if the butterfly is preparing to emerge from its cocoon, displayed by the organic nature of the atrium and stairs visually referring to unfurling wings. 3 The most important aspect of the design was the operation of solar and wind power as well as rainwater recvcling for grey use such as gardening and washing which integrates the sustainable architecture through the dependency use of renewable sources for most operation within and outside of the building.

Figure 5

1 Chetwood, Laurie, Sustainable Design : The Butterfly House, n.d, <http://www.ljhooker.com. au/myljhooker/sustainable-design-the-butterfly-house> (accessed 30 July 2016) 2 Jones, Will, The Butterfly House, n.d, < http://architizer.com/projects/the-butterfly-house/> (accessed 30 July 2016) 3 Glancey Jonathan, It’ll never take off, 2003 , < https://www.theguardian.com/artanddesign/2003/ nov/24/architecture> (accessed 30 July 2016)

CONCEPTUALISATION 9

A.1.2

THE CANUHOME Institute Without Boundaries, Canada

The Canuhome project is a 20 by 50 foot exhibit of an 850 square foot residence containing a kitchen, living room, dining room, bathroom and bedroom that was developed by Canada Mortgage and Housing Corporation (CHMC) and the Institute without Boundaries (IWB). This project was constructed with an aim to educate exisiting generations and change the current way of living to achieve a balance between sus--tainability and lifestyle, while maintaining the quality and affordability of the housing. 1 The modular frame structure of the house was constructed out of prefabricated wood products that are renewable products which are also easy to assemble on site.The project exhibits numerous intelligent design choices such as the use of non toxic materials to promote a healthier living and wired with an intelligent network of sensors that were tuned to educate users about the relationship between their lifestyle and carbon impact. 2 The houseâ&#x20AC;&#x2122;s cladding system uses a range of colours to passively collect and exchange renewable energies such as solar, wind and vibration that responds to the seasons on the outside and interact with the inhabitants in the inside by providing lighting, air movement and communication nervous system for thermal and acoustic comforts. This would drastically reduce the ecological impact to the environment as it does not rely on the combustion of fossil fuels for the generation of energy inside the house. 3 The design idea and concept for this project would definitely respond to the futuring approach that was explained by Fry where it emphasizes on the importance of creating a sustainable living habitation that is able to reduce the rate at which earthâ&#x20AC;&#x2122;s non renewable materials and resources are depleting.

1 n.a , Canuhome, 2008 , < http://institutewithoutboundaries.ca/?portfolio=canuhome> (accessed 30 July 2016) 2 Ranson, Jeff, Green Building Brain: Canuhome, 2010 ,< http://greenbuildingbrain.org/buildings/can home> (accessed 30 July 2016) 3 Busyboom, Prefab Canuhome, 2008, < http://www.busyboo.com/2008/07/22/prefab-canuhome/> (accessed 30 July 2016)

CONCEPTUALISATION

A.2 DESIGN COMPUTATION OVERCOMING THE LIMITATIONS OF HUMANâ&#x20AC;&#x2122;S CAPACITY THROUGH COMPUTATIONAL The use of computers and technology in the contemporary age of architectural practice had long since played an important role in changing the ways and methods on how architects and designers represent, communicate and convey every aspect of their ideas to the public. How Does Computing Affect The Design Process? With the rapid expansion and development of technologies in the present society that we live in, new means and theories in digital architecture began to emerge as a medium for designing, representation and information modelling. One of the most significant transition that is currently happening is the switch from CAD to AAD that provides a new form of thinking for current architectural generation through the logic of algorithms and parameters. With the integration of parametric design and softwares such as Grasshopper, thousands of forms and creations will be able to be produced in a short amount of time with the least amount of effort that are more efficient in tackling and solving problems that arise from the design process that require higher levels of complexity and a greater rate of production. 1 Can Computing Be Used To Re-Define Practice? As architectural design is a process that require a balance in dealing with externally imposed constraints such as site conditions, climate, functionality, cost etc, this practice still requires the interaction between the brain for analytical and creativity to produce solutions to problems which could not be solved with just computers alone. The process of design therefore requires both rational and creative abilities in which computers lack to achieve a desired outcome but because we as humans have limitations in areas of our own due to our limited capacity to store and recall informations and memories, the integration of computers with designers will create a powerful symbiotic design system that will improve the quality of the production in various aspects. 2 Therefore, this part of the journal aims to formulate an argument which supports the man-machine symbiotic relationship in developing and enhancing design ideas and creativity instead of inhibiting this aspect that most designers claim to be. a barrier that inhibits this aspect 1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) 2 Kalay, Yehuda E. (2004). Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) CONCEPTUALISATION 13

“THE TESSELATION ON THE FLAT SURFACES IS TRIVIAL, BUT COVERING THE FILLETS IS MORE COMPLICATED, REQUIRING CURVED PIECES OF GRANITE STITCHED TOGETHER IN TESSELATED PATTERNS, LIKE A FOOTBALL.” PATRIK SCHUMACHER, WOODY K

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A.2.1

GUANGZHOU OPERA HOUSE ZAHA HADID ARCHITECTS, CHINA

The Guangzhou Opera House is at the heart of Guangzhouâ&#x20AC;&#x2122;s cultural development in which the design was influenced by river valleys that was evolved from the concepts of natural principles of erosion, goelogy and topography of the area. This building is highly significant in the context of computational design because it is one of the first parametric buildings to be realized in the built environment. 1 The overall form of the building is creative as it projects the dynamic fluid movement that the water gives to the river stones after the transformation from the erosional process. 2 To incorporate and construct such poetic ideas of structures that were derived from the natural and organic features of the waterworn rocks to be incorporated into a real life building, advanced computation technologies had to be used where the outer crystalline form was modelled using Rhino and the inner, more complex and fluid surfaces inside the auditorium in Maya. These organic forms in which Hadid, Schumacher and Yao as project architects of the project describe would be difficult to achieve without the aid of these softwares as this new wave of techtonic was generated through computational methods such as logarithms, splines, blobs, NURBs, and particles organized by the scripts of the dynamic systems of parametric design. 3 How Does Computation Impact On The Range of Conceivable and Achievable Geometries? As the design processes and thinking of parametricism merely focuses on the multiple relationships between objects and their parts as a whole, this method allows the building to be defined by their faceted structural skin that was covered in triangular tiles made of glass and white and black granite. 4 The skin combines traditional methods such as the sand-casting with the geometry of parametricism of the main structural steel nodes, and it is vaulted off of a separate, interior volume of concrete that houses the opera theater. The triangulated flat facets with steel members forming the shell meet in rounded fillet edges that pivot each facet towards the next. 5 1 Mayer, Adam, The Guangzhou Opera House: An Architectural Review, 2011, < http://www.chinaur bandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> (accessed 7 August 2016) 2 Arch20, Guangzhou Opera House, n.d, < http://www.arch2o.com/guangzhou-opera-house-zaha-hadidarchitects/> (accessed 7 August 2016) 3 Giovanni, Joseph, Guangzhou Opera House, 2011, < http://www.architectmagazine.com/design/build ings/guangzhou-opera-house_o> (accessed 7 August 2016) 4 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) 5 Giovanni, 2011

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A.2.2

SHELL STAR PAVILLION MATSYS, HONG KONG

The Shellstar Pavillion is a lightweight temporary pavillion that serve as a social hub and center for their art and design festival held in Hong Kong. Sitting directly on an empty lot within the Wan Chai district of Hong Kong, the form of the structure was experimented with the desire to create a spatial vortex that is able to draw visitors and pedestrians into the centre hub which subsequently re direct them back out into the larger festival site. The project took a period of 6 weeks in which multiple variations and iterations were developed, fabricated and assembled on site. 1 What Does Computation Contribute To Evidence and PerformanceOriented Designing? Form Generation/Discovery The form of the structure was said to be derived from the classical approach that was matured by Antonio Gaudi and Frei Otto with the integration of advanced digital modelling methods such as parametricism through the use of parametric modelling softwares such as Grasshopper and the physics engine Kangaroo. These measures enable the form to self organize into the catenary like thrust surfaces that align with the structural components of the pavillion which resembles the outline of the shape of the star in five outer points and also reducing the need for a large amount of structural supports. 2 Surface Development The exterior surface that contribute to the overall form of the pavillion is composed of nearly 1500 individual cells that were placed at a certain amount of angle. These cells have to possess some flexibility characteristics as they have to bend slightly to take on the curavature of the sheet in reality. This objective can be easily achieved quickly by inputing different values of parameters in the program for various design outcomes. 3 Fabrication Planning As described in the development of the surface, the structure was fabricated together with the flat unfolding of each cell using a more custom phython scripts in which flanges and labels were automatically added later on. The orientation of each cell were analyzed and then rotated to align the flutes of the Coroplast material with the principal bending direction of the surface. 4 Therefore, to conclude, with the use of more advanced mode of modelling techniques that are present in digital computation and softwares allow for more complex and complicated designs to be achieved and documented in a shorter period of time. 1 Yazgi, Begum, Shellstar Pavillion, 2013, <http://www.architectureoflife.net/en/shellstar-pavilion-by-mat sys/> (accessed 7 August 2016) 2 Kudless, Andrew, Shellstar Pavillion, 2012, < http://matsysdesign.com/category/projects/shell-star-pavil ion/> (accessed 7 August 2016) 3 Kudless, 2012 4 Kudless, 2012

CONCEPTUALISATION

A.3 COMPOSITION/GENERATION SHIFT FROM AN ERA WHERE ARCHITECTS USE SOFTWARE TO ONE WHERE THEY CREATE SOFTWARE As previously discussed in previous chapter of computational design, the development and rapid advancement of technology in the digital practice of architecture had created a new shift in the design methods and thinking in most designers and practitioners. With new techniques, theories and softwares being presented in the current era, not only they are able to overcome the human limitations of approaching the complex phases of design process but also contribute to the effortless form finding compostion that are being displayed in many real life built precedents all around the world. This is heavily influenced by the advanced means of generative scripting in parametric modellers and simulation softwares in integrating algorithm concepts and thoughts into the minds of future designers. This can be futher argued by Brady when the structure of most architectural firms are cotinuously adapting in response to the work of computational designers that various teams of designers are organised such that they are constantly accomodating the parameters of architectural design. 1 The impact of algorithmic thinking that it had on current designers is evident when architects are massively engaging with computation experiments to simulate building performance, to incorporate performance analysis and knowledge about material, tectonics and parameters of machinery production in their work. 2 The practice of communicating and capturing design ideas could also be done through the logic of algorithms but instead of the traditional way of drafting with pen or pencil to map building details or conceptual sketches on boards and papers, they are effectively carried out through inputing a set of rules, information and datas into the program to create multiple variations of forms and concepts. 3 The connection between algorithm and the generation of the conceptual form is also described as a recipe, method or technique for doing or creating something. They are often a list of simple operations that are unambiguous, precise and often correspond to the transformations of different phases such as the initial as the input and final as the output. 4 With the comprehensive knowledge and understanding of how these operations work creates a vast amount of opportunities for computational designers to control the performance of their design at their own will. 1. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2. Brady, 2013 3. Brady, 2013 4. Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the CONCEPTUALISATION 19 Cognitive Sciences (London: MIT Press), pp. 11, 12

“LANDSCAPED WITHIN THE CONTEXT OF KENSINGTON GARDENS , I IMAGINE THE VIVID GREE OF THE SURROUNDING VEGETATION INTERTWINED WITH A STRUCTURE GEOMETRIC.” SOU FUJIMOTO

A.3.1

SERPENTINE PAVILLION 2013 SOU FUJIMOTO, LONDON, UK

The Serpentine Gallery Pavillion 2013 is a temporary structure that sits in the middle of London’s Hyde Park that functions as a recreational shelter to increase the interaction of the public with the site. Although the entire form and structure of the Pavillion is highly conceived by geometric shapes where the horizontal and vertical surfaces are composed and constituted by the 3-Dimen sional qualities of the grid and cubic forms, it is difficult to relate the origin of the idea to the final structure where it was inspired by the organic elements and compositions such as the forest and the clouds. 1 By incorporating these features into his project, Fujimoto was able to propose an architectural landscape where the transparency of the structure was able to enhance the interaction of the user with the surrounding context that was able to allow people to experience a situation similar to as being in the cloud above the sky. By eliminating basic construction elements such as walls and roofs from his pavillion, Fujimoto was able respond to his own agenda of removing the boundaries between nature and architecture. The geometric organization and layering of the grids and cubic units also provide a sensation of the digital environment or the computer mainframe where some would argue after the experience of being surrounded by continuously changing pattern and projection of these units that do not seem to break from one side of the pavillion. 2 The extensive use of polycarbonate material also creates a harmonious combination of architecture , technology and nature as the installation is able to mimic the open like structure of the cloud and with the integration of LED lightings inside the lattice network creates the natural experience of a thunderstorm like cloud structure. 3 Furthermore, the complexity of the structure would not be achieved without the extensive use of computational means as the scheme was aided by Rhino and scripts that was used to transfer geometry of Scia Engineer. Thus, this is another project that is a good example of recognizing the importance of technological advancement and computer aided design in the current practice of the designers. 4

1 Pollock, Naomi, The making of Sou Fujimoto’s 2013 Serpentine Gallery Pavilion, 2013, < http://www. wallpaper.com/architecture/video-the-making-of-sou-fujimotos-2013-serpentine-gallery-pavilion> (ac cessed 10 August 2016) 2 Merrick, Jay, Cloud of steel: Sou Fujimoto’s temporary pavilion for London’s Serpentine Gallery un veiled, 2013, < http://www.independent.co.uk/arts-entertainment/art/news/cloud-of-steel-sou-fujimotostemporary-pavilion-for-londons-serpentine-gallery-unveiled-8643999.html> (accessed 10 August 2016 ) 3 Wainwright, Oliver, Serpentine Gallery becomes Serpen-Tron with radical new pavilion, 2013, < https:// www.theguardian.com/artanddesign/2013/jun/04/serpentine-gallery-pavilion-sou-fujimoto> (accessed 10 August 2016) 4 n.a , Serpentine Gallery Pavilion 2013, 2013, < https://en.wikiarquitectura.com/index.php/Serpentine_ Gallery_Pavilion_2013> (accessed 10 August 2016)

A.3.2

MOBILE ART PAVILLION SOMA ARCHITECTS, SALZBURG, AUSTRIA

This temporary art pavillion designed by SOMA architects integrates the context of art and contemporary music events as their core concept for the project. The surface of the pavillion was generated by a script that projects layers of crossing sticks at random angles along the structure with the help of genetic algorithms. As it is difficult to gauge the events that are occuring in the pavillion’s interior along with the appearance of its formal elements, the structure was able to provoke a sense of curiousity in the eyes of passerbys along the streets and create an invitation for them to explore the compartment of the entire structure. From my first impression, it was difficult to comprehend the overall shape and form of the pavillion where the extrusions from the surface is disorganized and create a feeling of anxiety of being surrounded by its presence. 1 The entire structure was simply based on a simple repitative element , a set of rules for aggregation where individual pieces of aluminium profiles of uniform length are clustered to form an irregular , mass like conglomerate with distinctive light conditions throughout the day will affect its appearance. 2 As art itself does not reveal at first sight, the pavillion serve as a building that requires constant engagement and participation to fully understand its composition and structure that it holds as it would not be achievable only from the visual expression of the public. 3

1 Bojovic, Marija, Repetitive Assemblage In Salzburg / Temporary Art Pavilion By Soma Architecture, 2013, < http://www.evolo.us/architecture/repetitive-assemblage-in-salzburg-temporary-art-pavilion-bysoma-architecture/> (accessed 10 August 2016) 2 Lomholt, Isabelle, Mobile Art Pavilion ‘White Noise’, Salzburg, 2013, < http://www.e-architect.co.uk/aus tria/mobile-art-pavilion-white-noise> (accessed 10 August 2016) 3 n.a, Mobile Art Pavillion “White Noise”, 2013, < http://www.archello.com/en/project/mobile-art-pavil lon-white-noise> (accessed 10 August 2016)

A.4 CONCLUSION

With the new and upcoming theories, methods tehcniques emerging from digital architecture and the rapid expansion of technology has definitely shape and change the practice of modern designers and architects in approaching a particular design process. The evolution of architectural design from the traditional means to the current era of computer aided design had really improved the limitations and capabilites of practitioners in various aspects such as drafting, documenting and the communication of ideas and now to a more advanced stage of integrating scripts, algorithms and codes to provide a more efficient way in solving more complicated problems in a design process and goes beyond the roots of architectural representation of forms that weere limited by the drafting techniques. Moreover it is important to emphasise that despite the high degree of flexibility and much faster rate in producing various outcomes that were made possible in the realm of digital architecture, this situation should be highly taken into consideration such that the existence of technological means serve the purpose of bridging the gap between humans and the complexity nature of the design process and that it should not be creating another problem for the global population in the future where sustainability becomes a huge implication that could emerge from this media.

CONCEPTUALISATION

A.5 LEARNING OUTCOMES

The development and research that were carried through the Part A of this journal had definitely increased my depth and level of understanding in the definition of digital architecture. It was initially challenging to figure out the terms and architectural language that were used in most articles and readings but together with the exploration of various design precedents, I was exposed to the various design outcomes and techniques that were made possible by the concepts of digital architecture. This studio had definitely changed my perception of the design methodology and with the exposure to algorithm scripting and parametricism in softwares such as Grasshopper was a challenge I hope to overcome over the course period as a beginner in this concept as the shift and transition from the a more basic to more advanced level of computer aided design (CAD) method requires more effort and practice in order to fully master the techniques in this field. In addition, I am excited to further explore an even more comprehensive techniques that will be exposed along the course structure in Part B.

CONCEPTUALISATION 25

A6 APPENDIX- ALGORITHM SKETCHES VORONOI STRUCTURES

My first exercise in Grasshopper was the experimentation on triangulation structures such as the Voronoi3D. I was really amazed by how easily the form can be manipulated by adjusting the parameters in the script to determine the number of cells in one unit. By using Grasshopper, the alteration and changes that have been made will be stored in the model thus making the modelling process at a higher rate of production

CONCEPTUALISATION

WEEK 1- TRIANGULATION ALGORITHMS OCT TREE

The oct tree data structure is also one of the interesting algorithm form that I find to be intriguing as by assigning and altering the number of points on a curved surface allows me to generate different compositions of clustered cubic geometries that in turn can be altered in their size and dimension

CONCEPTUALISATION 27

WEEK 2- LOFTING AND CURVE MENU

CONCEPTUALISATION

The technique of lofting in Grasshopper is similar in many ways with that in Rhino but because the program stores implicit information, the changes and alterations that were made to the objects in Rhino will be automatically updated in Grasshopper that enables an infinite variations of form to be created from the same object. The orginal form above was lofted from 3 distinct curves and the uniqueness of the program allowed me to generate multiple variations from the changes that I have made to each indvidual curve and different loft types that were enabled in the options.

Based on the techniques that I have discovered from the software I was able to create a simple desk/workstation from combining the two methods that incorporate different sitting positions.

CONCEPTUALISATION 29

WEEK 3- PATTERNING LISTS

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CONCEPTUALISATION 31

A.7 Part A Bibliography A.1 Design Futuring · Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice , Oxford: Berg · Chetwood, Laurie, Sustainable Design : The Butterfly House, n.d, <http://www.ljhooker.com. au/myljhooker/sustainable-design-the-butterfly-house> (accessed 30 July 2016) · Jones, Will, The Butterfly House, n.d, < http://architizer.com/projects/the-butterfly-house/> (accessed 30 July 2016) · Glancey Jonathan, It’ll never take off, 2003 , < https://www.theguardian.com/artanddesign/2003/ nov/24/architecture> (accessed 30 July 2016) · n.a , Canuhome, 2008 , < http://institutewithoutboundaries.ca/?portfolio=canuhome>, accessed 30 July 2016 · Ranson, Jeff, Green Building Brain: Canuhome, 2010 ,< http://greenbuildingbrain.org/buildings/can home> (accessed 30 July 2016) · Busyboom, Prefab Canuhome, 2008, < http://www.busyboo.com/2008/07/22/prefab-canuhome/> (accessed 30 July 2016)

A.2 Design Computation · Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge) · Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press) · Mayer, Adam, The Guangzhou Opera House: An Architectural Review, 2011, < http://www.chinaur bandevelopment.com/the-guangzhou-opera-house-an-architectural-review/> (accessed 7 August 2016) · Arch20, Guangzhou Opera House, n.d, < http://www.arch2o.com/guangzhou-opera-house-zaha-hadidarchitects/> (accessed 7 August 2016) · Giovanni, Joseph, Guangzhou Opera House, 2011, < http://www.architectmagazine.com/design/build ings/guangzhou-opera-house_o> (accessed 7 August 2016) · Kudless, Andrew, Shellstar Pavillion, 2012, < http://matsysdesign.com/category/projects/shell-star-pavil ion/> (accessed 7 August 2016) · Yazgi, Begum, Shellstar Pavillion, 2013, <http://www.architectureoflife.net/en/shellstar-pavilion-by-mat sys/> (accessed 7 August 2016)

A.3 Composition/Generation · Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 · Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 · Pollock, Naomi, The making of Sou Fujimoto’s 2013 Serpentine Gallery Pavilion, 2013, < http://www. wallpaper.com/architecture/video-the-making-of-sou-fujimotos-2013-serpentine-gallery-pavilion> (ac cessed 10 August 2016) · Merrick, Jay, Cloud of steel: Sou Fujimoto’s temporary pavilion for London’s Serpentine Gallery un veiled, 2013, < http://www.independent.co.uk/arts-entertainment/art/news/cloud-of-steel-sou-fujimotostemporary-pavilion-for-londons-serpentine-gallery-unveiled-8643999.html> (accessed 10 August 2016) 32

CONCEPTUALISATION

· Wainwright, Oliver, Serpentine Gallery becomes Serpen-Tron with radical new pavilion, 2013, <https://www.theguardian.com/artanddesign/2013/jun/04/serpentine-gallery-pavilion-sou-fujimo to> (accessed 10 August 2016) · n.a , Serpentine Gallery Pavilion 2013, 2013, < https://en.wikiarquitectura.com/index.php/Serpen tine_Gallery_Pavilion_2013> (accessed 10 August 2016) · Bojovic, Marija, Repetitive Assemblage In Salzburg / Temporary Art Pavilion By Soma Architecture, 2013, < http://www.evolo.us/architecture/repetitive-assemblage-in-salzburg-temporary-art-pavil ion-by-soma-architecture/> (accessed 10 August 2016) ·Lomholt, Isabelle, Mobile Art Pavilion ‘White Noise’, Salzburg, 2013, < http://www.e-architect.co.uk/ austria/mobile-art-pavilion-white-noise> (accessed 10 August 2016) · n.a, Mobile Art Pavillion “White Noise”, 2013, < http://www.archello.com/en/project/mobile-art-pavil lon-white-noise> (accessed 10 August 2016)

ILLUSTRATIONS Rogers, S.A, Walkability & Hyperdensity: 14 Concepts for Future Cities, n.d, <http://weburbanist. com/2014/01/06/walkability-hyperdensity-14-concepts-for-future-cities/> (accessed 29 July 2016) Galli, Francesco, Re-Futuring the “Vicious Circle”. The Power of Anomaly and Debris to Envision a Chaotic Design System, 2016, < http://cumulusmilan2015.org/proceedings/articles/abs-020-Envisioning/> accessed 7 August 2016 Giudice, Gradient Descent Algorithm, 2012, < http://madeincalifornia.blogspot.com. au/2012/11/gradient-descent-algorithm.html> accessed 7 August 2016 Vasilaki, Elma, Apomechanes | nonlinear computational design strategies, 2010, <http://architetturaedisegno.blogspot.com.au/2010/12/apomechanes-nonlinear-computational.html> (accessed 7 August 2016)

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