668986 week2

STUDIO AIR2016, SEMESTER 1TUTOR: FinniaSTUDENT NAME: Haotian Wu (668986)

Table of Contents

4 BIOGRAPHY

6 DESIGN FUTURING

8 DESIGN FUTURING

10 CASE STUDY 1

12 CASE STUDY 2

14 DESIGN COMPUTATION

16 DESIGN COMPUTATION

18 case study 1

20 case study 2

22 REFERENCE

4 CONCEPTUALIZATION

push architecture towards a broader world, influencing much more than buildings.

For me contemporary architecture means in this age the task of architects is becoming ever challenging. We need to apply interdisciplinary knowledge to explore the possibility of architecture. I think Studio Air will be a great experience to synthesize contemporary design theory and skills so I am very looking forward to the project.

Now I am doing the last year of architecture and from the past studios and theoretical courses I have done, I found my interest in architecture is still quite broad. I am fond of playing with tectonics in Studio Earth, as well as learning theories and styles from masters in Studio Water. And I am particularly enthusiastic about model making and fabrication.

In the first year, I took computing and database courses as my breath subjects, which unintentionally opened the door of parametric design for me. I self-learned a bit Grasshopper during the summer and just found it would be a trend in future architecture industry. Just like people inventing pencil to replace charcoal, CAD to replace draft paper, I feel there will be a significant place for computing soon. It is not just about coding to generate fancy patterns or structures but

My name is Haotian Wu and my friends usually call me Stewart. I originally come from Suzhou, China

and had one year of foundation school in Auckland, New Zealand, before coming to the University of Melbourne. My interest in architecture has been fostered since childhood by my architect uncle. I liked reading plans from his working materials and tried to draw my own version. Yet in the following years in China, my enthusiasm in architecture was not encouraged either by my parents or the school education, until I went to Taylors College in Auckland where I spent a really fun year in Art course. And interestingly, I did help my uncle who had been living in Auckland by then do some construction work, which made me more familiar with this field.

BIOGRAPHYAuthor and Past Works

CONCEPTUALIZATION 5

Second Skin - Keep Personal Space. Project from Digital Desgin and Fabrication 2015

Adapative Shelter - Urban Envelope. Project from AA Visisting School Melbourne 2016

Studley Park Boat House. Project from Design Studio Water 2015

Herring Island Pavilion. Project from Design Studio Earth 2015

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6 CONCEPTUALIZATION

secondly there are also plural possible futures which can aid us to speculate designs. So future is something we design for as well as something we design upon.

Inspiring Studio Air

Contemporary design theories and digital techniques will be introduced and applied in Studio Air, so

we can consider ‘futuring’ as a signpost of the project. Concluded and reflected from the reading materials, there are a few inspiring points:

1. The project does not have to stick with solving practical problems as we are still thinking within the a conventional frame. Instead the design should be able to speculate sustainable possible futures and illuminate transformative actions[3].

2. The design should engage users in depth and inspire users to think the status quo critically[4]. It should be a compass to indicate how to think sustainably rather than as a map directly showing where or what is sustainability[5].

3. The design should be innovative even revolutionary, encouraging fundamental transform from the underpinning concepts in order to break the existing thinking frame. But at the same time inflated faith and idealist reform should be avoided[6].

Critical Moment

Now human are facing a critical moment as the future which is supposed set in the front, is no more secured.

The defuturing condition of unsustainability is accelerating and design because of its innate ability of prefiguration, should be human’s method of futuring. However, not all designs can play this significant role. Fry suggests three main problems in the situation of current design which certainly includes architecture[1]. Firstly, the deregulated pluralization renders a large amount of design activities trivialized and stylized. Secondly, the limitation of social form causes most designs in the current world is either economy-oriented or culture-oriented but not sustainment-oriented. Thirdly, even those so-called sustainable design are just slowing the defuturing rather than essentially changing the condition. So before starting the Studio Air, we need to radically redefine the frame of design.

What is Future

Fry’s book describes human society as a train running towards a cliff and most design works with the

‘sustainable’ intention are just slowing down the train but the defuturing is still inevitable[2]. Therefore the task of design should instead redirect the train to an alternative future, which requires designers as the first brave passengers to jump off the train and look for other directions firstly. In this way the future is defined with a dual meaning. Firstly there will be a single future we are eventually going to and

DESIGN FUTURINGSignposting the Studio

CONCEPTUALIZATION 7

Speculating Future

Speculating Future

Defuturing

Speculating Future

Designer

Humanity

Design

How design redirect humanity from defuturing to sustainable future

8 CONCEPTUALIZATION

Sustainability in the Project

As Fry suggests, a futuring design should speculate sustainable futures as a design tool, should redirect

humanity towards sustainability and should inspire people to think sustainably. However he does not give an explicit definition of sustainability. If ‘design futuring’ is the signpost of our studio, what a sustainability are we going to purse? There is one definition from my Reshaping Environments essay which I think will still work in this case:

“Sustainability is the quality of a system regardless of its scale, if the relationships between and within its all subsystems are able to persist and nourish each other. There is no fixed focus of sustainability as it attempts to balance all stakeholders. “

So we need to realize that sustainability is neither anthropocentric nor nature-centred and can never be prescribed. The focus of the project will not be the answer of sustainability, but the process to explore sustainable futures, and the method of mobilizing people to think about sustainability.

Design as a Discourse

As Schumacher suggests architecture is a system of communication and the total mass of works and

process should work as a discourse to communicate the idea[7]. So during the studio not only the outcome but also our design process and all items involved in should in Fry’s word, mobilize ‘design intelligence’[8]. There are two requirements our design discourse need to meet:

1. The discourse should be participatory rather than consensual, which asks for the capability to be communicated among not only design community but the large group of people. It can act as an educational agency to promote design as a ‘common literacy’[9].

2. The discourse should explore the evolution from ‘things’ to a ‘design’ and how things act beyond their mere function as material or immaterial object. Trivalized pattern, function, structure and style must be avoided[10].

DESIGN FUTURINGSignposting the Studio

CONCEPTUALIZATION 9

DRAWING

DESIGN OUTCOME

WRITING MODELING

SKETCH PRESENTATION ......

trivialized styles / patterns / structures / functions

DISC

OURSE

sustainablefuture???

The whole mass of design as discourse to mobilize people’s sustainable thinking

10 CONCEPTUALIZATION

Figure1. Eden Project consisting of two ‘Biomes‘

structure - a complex of steel domes. The whole project, including the function, the lasting educational program and even the building progress are contributing collectively as a discourse to speculate future and inspire people to think about sustainability. The main function of Eden Project is to reserve and exhibit plants from diverse environments and climates which are artificially created by the two large ‘Biomes’(pic02, 03). Before the ‘Biomes‘ were set down, the soil was made from local mine waste and the organic matter was from composted bark. That indicates a new possibility for human to reapproach and regenerate the nature after the highly industrialized society isolated it. Besides, Eden Project also functions as an educational agency. It helds types of plant visit, apprenticeship, school of gardening and even green cooking course. The program aims to influence every

Before 1995 when the project started, the site was a working china clay pit, nearing the end of its

economic life. The barren valley exhausted by human beings was waiting for the day of being ignored just like many other locations on the earth which used to be pit, factory, dump...... However, Eden Project changes its destiny. As an architectural work itself, the hexagonal structure of bubbles can set on any harsh terrains(pic01), and the strong sense of biomimicry forms a nearly fictional contrast between the project and the surroundings, between human-created nature and human-abandoned nature.

Despite its wonderful architectural design, Eden Project should be regarded as a discourse rather than a mere

CASE STUDY 1 Eden Project, 2003, Cornwall, England

CONCEPTUALIZATION 11

aspect of human life and the focus is usually on children, to inspire the next generation. It is also a project involving users in depth. During the construction, the public was invited to see the progress of creating the paradise.

‘The moment we saw it we loved it, because it felt natural – a biological response to our needs, but forged in materials that would allow us to explore the cultivation of plants in a way never before attempted’

-Tim Smit, Eden co-founder

Therefore we can see that the project has never been launched to solve any urgent problems. The emerging of Eden Project creates a paralled world beside our current life where human is so closed to nature and so cares about nature. The design is speculating a future which is still far away but we are yearning for. Most importantly, it is a built work, being a forerunner of speculative architecture. This encourgaes us to experiment bravely in our own project and make the idea real to challenge the conventional world.

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Figure2. The site lays on a former china clay pit

Figure4. The Rainforest Biome

Figure3. The Mediterranean Biome

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Unlike the Edent Project that has been built and serving the society, the Continuous Monument is just a series

of photo-collages, not even a complete architectural proposal. However, it is also a discourse to express the idea of architecture. This discourse was proposed by Super Studio in 1969, known for their conceptual architecture work. Though none of their ideas have been really brought to the real world, they influence and inspire many following contemporary architects such as Koolhaas, Zaha Hadid and Bernard Tschumi. Many of their projects were originally published in magazine and ranged from fiction to storyboard illustration and photomontage, which reflects Schumacher’s opinion: architecture does not only concern buildings.

The simple collage with abrupt blocks easily makes people

think of the relationship between architecture and natural or urban environments. From the collages on the right page we can see that the structured and hierarchic system of blocks supersedes the natural landscape that lies beneath it. The uniform blocks show a strong sense of indifference to the topography, to what exists naturally. It represents both architecture’s unpredicatable power of reshaping natural environments as well as human’s offensiveness to nature. These structures are nearly surreal but can inspire people of environmental thinking.

Another interpretation of the Continuous Monument is a form of architecture all equally emerging from a single continuous environment; the world rendered uniform by technology, culture and all the other inevitable forms of imperialism. The

Figure5. The most influential collage of Continuous Monument - the total urbanization in Manhattan

CASE STUDY 2Continuous Monument, 1969


large collage on the left page seems predicting the way globalisation and urbanization are swamping the world in the 21st century. Given the way the world was developing, we shall realize that we might as well all live in one anonymous megastructure, with local cultures stripped away.

With the fictionally tremendous structures, Continuous Monument is an early version of speculative architecture. It was not proposed to solve a design problem but as an aid to understand the order of earth and as a critique on human society. Although none of these block structures have been really built, the drawings have been showing the possibility of the future world. The depicted scenario might be undesirable for the inharmony and uniformity, or in another way desirable for human’s system governing the nature. But in either way it opens viewer’s mind of thinking future and the relationship between human and nature. I think that is what we should purse in our project - an inspiring and critical design discourse.

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Figure6. The structure spanning over the natural environment

Figure8. The structure embracing the huge waterfall

Figure7. The structure cutting in the landscape

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Oxman suggests that digital theories in fact brings Vitruvian effect back to architecture - a continuous

logic of design thinking and making[11]. Before Renaissance, buildings were constructed not planned so design was not separated from construction. Architects at that time took charge of the whole project so the process is continuous. Then the knowledge of building has been becoming increasingly complex, forcing the division of specialization. This yet has brought an incontinuity to architecture. As the initial designers architects cannot control the whole workflow and can hardly realize the problems in the following process, which often causes undesirable designs. However now digital technology is able to provide architects the continuum again from form-finding, performance evaluation to materialization and fabrication.

Form-finding

In the early years digital technology was just used as an assitance to actualize design proposals. Frank

Gehry’s Guggenheim Museum in Bilbao is an example of compterization rather than computation in design process. Then the rise of morphogenetic conception reveals the value of algorithm in pursuing non-stardard and organic forms[12]. Computation is regarded as a new method of form-finding. One of the advantages of scipting form-finding is the possibility to incorporate multidisciplinary research such as computational geometry and biomimetic patterns. The Serpentine Pavilion 2002 by Toyo Ito is an example fusing mathmatical algorithm in(pic01,02). Although by digital tools it is becoming much easier to generate complex forms, we need to realize that the formation always precede the

DESIGN COMPUTATIONDigital in Architecture

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Figure9. The mathematical algorithm behind Serpertine Pavilion

Figure10. The Serpentine Pavlion 2002, by Toyo Ito

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form. Algorithmic form-finding in essence is a design logic which utilizes the associative relationships and depenency between objects and their parts-and-whole structure[13].

Performace Evaluation

The advance of digital tools also raises the performative thinking in architecture. As architecture has been

separated from construction for ages, many errors in design proposal cannot be noticed until the construction started or even completed. Now with digital model and simulation tools such as BIM and CFD Analysis, not only the apperance but also the structural and functional performance of a building can be previewed. The image left is the simulation of temperature curves and airflow patterns of Sprawling Design Center, Linz(1993) before construction. With the feedback designers are able to change the proposal or on a higher level the form can be even driven by performance, which will be discussed more in case studies.

Digital Materialization and Fabrication

The emerging of CNC fabrication makes customized materialization possible. Architects can better deliver

the idea from the design proposal to the acuctual work. The development of 3D printing and laser-cutting encourages more creative designs. Also the digital techniques make a material-driven form-finding possible, which will be discussed in case study 2.

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Figure11. The simulation of temperature curves and airflow patterns of Sprawling Design Center

Figure12. The laser-cut timber material in Performative Wood Studio, GSD

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Design Algorithm

The use of algoritmic tools in architectural design is discussed on the last two pages. However we need

to understand that algorithmic thinking is a different concept from algorithmic tool, with the former emerging much earlier than the later. In Kalay’s article, algorithmic thinking is an iterative design method which does not rely on computers[14].

Designing is not a linear problem-solving process but always concerns uncertainity, conflction, tradeoff and side effects. In order to make sure those ‘wick problems’ can be solved, a recipe is invented consisting of analysis, synthesis, evaluation and communication(pic01). In Kalay’s opinion, within this frame designers act like search engines(pic02). They define a domain of goals based on problem analysis first and then produce a range of candidates. Via numerous tests against constraints, the scope of candidates will be reduced and finally a satisfying outcome will appear[15]. This design method is highly organized and rational. It requires intuitional force to lead and rational force to iterate. Therefore Kalay suggests that we need a symbiotic desgin system in which human contributes the intuitional ability such as decision-making and principle-setting while computer contributes the rational ability such as iterative computation[16]. Though I think this method is too rigid, the loop is actually often used in our design process. For example we produce generations of prototypes as well as iterations of Grasshopper geometries to test effect. And truely the integration of human creativity with computer rationality will be a focus of this project.

DESIGN COMPUTATIONAlgorithmic Thinking v.s. Algorithmic Tool

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Figure13. The design process described in Kalay’s article

Figure14. The search scheme described in Kalay’s article

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Puzzle-Making Process

Altough the design algorithm is rational it is not linear. When we are undertaking the iterations, our

perception of the final outcome also shifts. Therefore the design process will not be like playing with the Cube Puzzle that designers can foresee the result. Instead it is similar to playing with Tangram Puzzle[17]. During the design process, the designer keeps evaluating the outcome and keeps redirecting the design track. This reminds us that in the project we need to keep reflecting and adjusting the expectation of outcome. And accordingly we need to change our research and design methodology.

The diagram on the right bottom displays two modes of algorithmic process - breath first or depth first. Considering the collaborative work in the studio I think we will start from breath-first mode to produce diverse prototypes and then in the next phase we will focus on few most potential proposals to develop.

The analogy to puzzle-making also inspires me of generative form-finding script. So far my Grasshopper skill can only command computer to form a geometry which can be prescribed in my mind. I think the next step is to to develop a script which can self-evaluate and self-redirect so that the outcome can be beyond expectation.

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Figure15. The Rubic Cube, an example of problem-solving behaviour

Figure17. Two modes of design process - breath first or depth first

Figure16. The venerable Tangram puzzle - making new shapes from the seven basic pieces

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parameters and based on some principles, the method can generate a responsive geometry.

From the images above of the design’s interior we can see, the ideology is about creating tense connectivity between individual spaces and openness should form on the concentration spot. This formation principle is algorithmic while at that time they did not have so advanced simulation algorithm as today. So what they did to achieve this algorithmic ideology was, inspired by Frei Otto’s wool thread technique, making an analog computing machine as shown on the right page. They set a tank with liquid lacquer and two rings on which connected multiple sets of rubber tubes. The lines of rubber tubes represent the tense space, following the circulation pattern(input); and the two rings each represents

Figure18. The bird view and interior design of SoftOffice

SoftOffice, 2000, Unbuilt

The project is proposed by NOX as a interwoven space for both office and children’s relax space. This is a great

example showing how computational thinking works in architecture without nowadays advance of computational tools. Nox’s initial idea is to create a flexible space reacting to users’ movement and behaviours. They think the conventional architectural grid is too rigid and inefficient to plan space, frozening the real intention of users. Neither can they agree with the space neutrality of some modernism architectures. The form-finding process in their opinion should be actively driven by information of performance rather than as Mies Van Der Rohe suggests, leaving empty openness to passively suit all different events. Therefore a new method of form-finding is required to input circulation, behaviour and connection between different spaces as

CASE STUDY 1

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floor and ceiling with the height between them able to be adjusted(input). So the formation process is that the tubes are dipped in the liquid and subsequently taken out and streched from both side(input). And after drying for a certain period of time(input), because of the viscousity of lacquer, the lines start to merge into surfaces and holes naturally form next to crossing lines. We can see this process is quite like today’s generative algotitmic design but NOX used a method without computer, which suggests that computation is more a thought than tool in design and the formation principle is the essence no matter it is completed by human or computer. Now with digital computation we can make the workflow of information more accurate but the idea is the same.

Another interesting point is that although the method is used to form a performative geometry, it is actually also a process to test materiality, which can be inspiring for our ceiling project. Mere complex geometry is now easy to form in Grasshopper but the performance of material is very hard to simulate so physical test is still indispensable. The advantage of physical test is the ability to input materiality as a parameter, which will be discussed more in the next case study.

Figure19. The analog computing machine with lacquer and rubber tube for form-finding




The first step is to test material in a microscopic scale. The deflection of elastically bent plywood strips in relation to various specification parameter is digitally mapped and delivered to computer(pic02). Based on these data, the computer algorithm simulate the physical effect and form the geometry(pic01). This simulation also tests the structural possibility and according to the feedback designers can adjust the position of clinks. Next the design can be transfered from digital model to the physical actuality(pic02). Robotic cutting(pic03) enables the accurate information delivery from computer to material and the final assembly is quite simple. When pieces of plywood are assembled to the correct position and interact on each other, the geometry is naturally formed by the elastic bending force - the materialization is the computing machine itself.

The ICD/ITKE Research Pavilion 2012 is a great example of information workflow between material properties,

system behaviour, generative computational process and robotic manufacturing. With the development of computational design in the recent decades, the top-down hierachial design process always prioritizes geometry formation and isolates material performance. Material in parametric design has become constraint rather than opportunity. This project however shows the possibility of inputing material performance as a parameter to generate form. So this case study is especially meaningful for our studio because timber veneer product is going to be the main material. Regarding materialization as a generative driver of design instead of facilitative afterthought is significant in our project.

Figure22. The close view of ICD/ITKE Research Pavlion, 2010

ICD/ITKE Research Pavlion, 2010, StuggartCASE STUDY 2

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Just like the first case study, this project also focuses on performative structure and essentially utilizes materialization as the driven force behind design. In this case study, digital technique plays a significant role in the entire information processing and simulation. But the algorithm after all is a script of principle and a recipe of design thinking which is initiated by human. So we should remember formation always precedes form and thinking always precede computation.

Also this project displays that wood itself is a sophisticated material worth exploring. Different from steel or glass, wood is a more sustainable material and has much lower embodied energy. It is also a natural fiber with heterogeneous and anisotropic structure which needs to be analyzed before designing. So the following research direction will be inclined to timber-based works.

Figure23. The physical simulation of timber strips and automatic allocation of clinks

Figure25. The transfer from digital design to fabrication details

Figure26. The robotic cutting of timber strips

Figure24. The test of material and digital mapping of data


Reading[1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p. 12.

[2] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2006), p. 5.

[3] Anthony Dunne& Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (USA: MIT Press, 2013), p.33.




[7] Patrik Schumacher, The Autopoiesis of Architecture: A New Framework for Architecture (Chichester: Wiley, 2001), p. 3.




[11] Rivka Oxman and Oxman Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2015), p. 2.

[12] Rivka Oxman and Oxman Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2015), p. 6.

[13] Rivka Oxman and Oxman Robert, Theories of the Digital in Architecture (London; New York: Routledge, 2015), pp. 7-8.

[14] Yehuda E. Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004), p. 7.




Case Study

Achim Menges, ‘Material Computation: Higher Integration in Morphogenetic Design‘, Architectural Design, 2(2012), 14-21.

REFERENCE


Achim Menges, ‘Material Resourcefulness: Activating Material Information in Computational Design‘, Architectural Design, 2(2012), 34-43.

Eden Project, ‘From Pit to Paradise‘, Eden Project <https://www.edenproject.com/eden-story/eden-timeline> [accessed 7 March 2016].

Eden Project, ‘What’s here‘, Eden Project <https://www.edenproject.com/visit> [accessed 7 March 2016].

Jo Elworthy, Eden project : the guide (London: Transworld, 2012), pp. 5-13.

Jonathan Glancey, Superstudio: Life Without Objects is at Design Museum <http://www.theguardian.com/artanddesign/2003/mar/31/architecture.artsfeatures>

[accessed 7 March 2016].

Lars Spuybroek, ‘The Structure of Vagueness‘, in Performative Architecture, Beyond Instrumentality, ed. by Branko Kolarevic and Ali M. Malkawi (Newyork, London: Spon

Press, 2005), pp. 163-175.

Martin van Schaik and Otaker Máčel, Exit Utopia : Architectural Provocations, 1956-76, (New York: Prestel, 2005), pp, 105-126.


REFERENCEImagesFigure1. ‘Eden Project’ <https://en.wikipedia.org/wiki/Eden_> [accessed 7 March 2016].

Figure2. Eden Project, ‘Earlydays‘ <https://www.edenproject.com/eden-story/eden-timeline_> [accessed 7 March 2016].

Figure3. Eden Project, ‘Mediterranean Biome‘ <https://www.edenproject.com/visit/whats-here/mediterranean-biome> [accessed 7 March 2016].

Figure4. Eden Project, ‘Rainforest Biome‘ <https://www.edenproject.com/visit/whats-here/rainforest-biome> [accessed 7 March 2016].

Figure5. Harizan Cuma, ‘Continuous Monument 1‘ <http://arch122superstudio.blogspot.com.au/2012/06/continuous-monument-architectural-model_15.html>


Figure6. Harizan Cuma, ‘Continuous Monument 2‘ <http://arch122superstudio.blogspot.com.au/2012/06/continuous-monument-architectural-model_15.html>


Figure7. Super Studio, ‘Continuous Monument: On the River‘ <http://www.moma.org/collection/works/934> [accessed 7 March 2016].

Figure8. Super Studio, ‘Continuous Monument: On the Waterfall‘ <http://www.moma.org/collection/works/936> [accessed 7 March 2016].

Figure9. Serpentine Gallery, ‘Mathematics behind Serpentine Pavilion‘ <http://www.serpentinegalleries.org/> [accessed 13 March 2016].

Figure10. Serpentine Gallery, ‘Serpentine Pavilion 2002‘ <http://www.serpentinegalleries.org/> [accessed 13 March 2016].

Figure11. Branko Kolarevic and Ali M. Malkawi, ‘The simulation of temperature curves and airflow patterns of Sprawling Design Center‘, in Performative Architecture,

Beyond Instrumentality (Newyork, London: Spon Press, 2005), p. 119.

Figure12. Jian Huang and Minhwan Park,’Differentiated Wood Lattice Shell’, in Architectural Design, 2(2012), p. 36.

Figure13. Yehuda E. Kalay, ‘The major components of the architectural design process‘ in Architecture’s New Media: Principles, Theories, and Methods of Computer-

Aided Design (Cambridge, MA: MIT Press, 2004), p. 10.

Figure14. Yehuda E. Kalay, ‘Design as a process of searche‘ in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA:

MIT Press, 2004), p. 17.

Figure15. Yehuda E. Kalay, ‘The Rubik Cube‘ in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004),

p. 14.

Figure16. Yehuda E. Kalay, ‘The Tangram puzzle‘ in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press,

2004), p. 15.

Figure17. Yehuda E. Kalay, ‘Breath or depth‘ in Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press, 2004),

p. 19.

Figure18. NOX Art & Architecture, ‘SoftOffice‘ <http://www.nox-art-architecture.com/> [accessed 13 March 2016].


Figure19. NOX Art & Architecture, ‘Analog Computer_a‘ <http://www.nox-art-architecture.com/> [accessed 13 March 2016].

Figure20. NOX Art & Architecture, ‘Analog Computer_b‘ <http://www.nox-art-architecture.com/> [accessed 13 March 2016].

Figure21. NOX Art & Architecture, ‘Analog Computer_c‘ <http://www.nox-art-architecture.com/> [accessed 13 March 2016].

Figure22. ICE/ITKE, ‘ICD/ITKE Research Pavilion 2012‘ <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

Figure23. ICE/ITKE, ‘Physical Simulation‘ <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

Figure24. ICE/ITKE, ‘Material Test‘ <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

Figure25. ICE/ITKE, ‘Digital Model‘ <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

Figure26. ICE/ITKE, ‘Robotic Cutting‘ <http://icd.uni-stuttgart.de/?p=4458> [accessed 13 March 2016].

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