Air journal 1 Siyu Chen
description
Transcript of Air journal 1 Siyu Chen
I R Siyu Chen 581848 Semester 2 2014
PART A
CONCEPTUALISATION
1
- INTRODUCTION 01 - 02 PARTA - CONCEPTUALISATION - A1. DESIGN FUTURING 03 - 09 - A2. DESIGN COMPUTATION 10 - 16 - A3. COMPOSITION/GENERATION 17 - 23 - A4. CONCLUSION 24 - 25 - A5. LEARNING OUTCOME 26 - 27 - BIBLIOGRAPHY 28- 30
Table Of Cotents
My name is Siyu Chen. I was born in a
small and beautiful city in the Southern
part of China. I am a third year architec-
ture student. I chose architecture as my
major because I wanted to have a creative
and imaginative career. My second year
of architecture study at the University of
Melbourne was very exciting but challeng-
ing. I was confronted with a lot of drawing
and modelling exercises which came as
a big challenge. Although I experienced
a steep learning curve, I thoroughly en-
joyed the process of architectural thinking
and design. What I enjoyed the most was
the opportunity topresent my own design
to someone else that to me is a greatest
satisfaction. This is the first time that I am
exploring the world of parametric de-
sign and modelling. I have come across
digital design before through seeing
built digital design projects myself and
also on magazines. I understand that
although digital design differs great-
ly with traditional design, I believe the
underlying concepts and the think-
ing behind the designer would still be
the same. What I am looking forward
to in Studio Air is learning about digi-
tal design and how I can use software
to make complex shapers into reality.
2
Introduction
A 1 Design Futuring
3
By treating these vectors as fluid and dynamic presentations of contem-porary life, structures are no longer isolated objects as defined in archi-tectural modernity; they become natural and coherent components of human life and the urban environment.' 1 --- MAD Design Philosophy
1: MAD Design Philosophy., At Chinese-architects Office Profiles Architects(2014),. Accessed by 18 Mar 2014 < http://www.chinese-architects.com/en/mad/> 2: FRY, TONY,. Design Futuring: Sustainability, Ethics and New Practice ( Oxford:Berg 2008) PP.15
Tony Fry, in his book ‘Design Futuring -
Sustainability, Ethics and New Practice’
discusses how digital parametric design
is a way to solve the problem of environ-
mental change and disaster. Fry discuss-
es the current approach to exploiting the
Earth’s natural resources for short term
economic gain and how this approach is
‘de-futuring’, i.e. designing for our own
doom and demise as a civilisation.
Instead what Fry suggests is ‘design
futuring’ which is designing and build-
ing with our future in mind so that as we
build the world for tomorrow, that world
would be one that is sustainable, green
and healthy for all generations to come.
In Fry’s words, “we now requires a new
type of practice which recognize design’s
importance in overcoming a world made
unsustainable”.2
One aspect of the responsibility of design
and architecture that A good sustainable
design should have the ability to not only
perform sustainably but also be able to
educate the occupants and users of the
building to adopt sustainable practices.
As Fry emphasises, “the relations be-
tween creation and destruction are not
an issue when a resource is renewable
6 4
A 1 Design Futuring
but it is disaster when it is not”. 3 There-
fore, design futuring is an approach to
design that moves from passive con-
sumption to active participation and
‘change-creation’. Architecture that
makes a sensitive and sustainable
connection between the urban and the
ecological. What I learn from Fry’s ar-
gument is that design futuring is about
achieving a sustainable life on Earth.
It is about changing attitudes and re-
directing our lives towards more sus-
tainable modes. Following this notion
I have selected a few precedents pro-
jects below for discussion. What I hope
to achieve this semester is to explore
the ideas of sustainability through digi-
tal parametric design.
3: FRY, TONY,. Design Futuring: Sustainability, Ethics and New Practice ( Oxford:Berg 2008) PP.4
THE TECHNOLOGY &ENTERTAINMENT AND KNOWLEDGE CENTER IN TAIPEI
TAIWANG
Fig 1
5Fig1: Technology, Entertainment & Knowledge Center (TEK) at Architecture News Plus <http://www.archi-
tecturenewsplus.com/projects/1918>
The Technology, Entertainment and
Knowledge Centre (TEK) in Taiwan is
designed by BIG- Bijarke Ingels Group.
What this project offers is a unique ap-
proach to digital form making and sus-
tainable design that ultimately lead to
cultural change, in terms of how urban
spaces are used and conceived. The
unique form of the project is created by
a Boolean function in a digital software,
between a spiralling tube and a cube
volume. Moving beyond the typical 2D
design process of slab and post, what
digital design is able to offer is 3D form
making using complex geometries such
as Boolean cut-outs. Using the Boolean
function, the building design is composed
of the ‘positive’ habitable space and the
‘negative’ void spaces that becomes and
interesting warped surface that acts as
the ‘second-dimension’ façade of the
building. By connecting this additional
building surface created by the Boolean
to the street, what this design is able to
achieve is a connected walking plane
from the street level to the top of the
6Fig2,3: TEK building in Taipei, At Archiview, Accessed by 17Mar 2014 < http://wordlesstech.
com/2011/02/09/tek-building-in-taipei/>
building, through the ‘face’ of the build-
ing. This unique building organisation,
essentially embeds a public function on
the face of the building, extending the
public space from the street to the face
of the building and to the green roof top.
The spiralling negative volume of the
building becomes the new bridge that
funnels the public on the street to the
top of the building. By creating such an
interesting design, the project is able to
reconceive the idea of public and pri-
vate urban space, the ‘pubic’ respon-
sibility for ‘private’ buildings and how
private building can give more back to
the public. In this scheme, even when
the building is ‘closed’ the public can
still walk from the face of the building
up to the roof terrace. Therefore what
this design is able to achieve is give a
green space back to the city, in the same
time of creating a walkway for exercise.
Functionally the spiral volume also works
as a ventilation shaft, allowing more in-
ternal spaces to have cross ventilation
which will lead to reduced energy con-
sumptions as people will be able to rely
less on air conditioning. As the visitors
work their way up the top of the build-
ing, there roof top is planted with trees
– a sky deck, allowing people to enjoy
both the view as well as the greenery.
Fig 2 Fig 3
Fig 4
7Fig4:TEK building, At Archiview, < http://wordlesstech.com/2011/02/09/tek-building-in-taipei/>
As a feature of the sustainable design,
the roof garden also acts as insulation
layer to cool the building during the sum-
mer months and keep the warmth of the
building during winter, as the soil and the
trees will act as a buffer for temperature
swings. In this scheme we see an amal-
gamation of aesthetics, function, sus-
tainable design, public interest design
and digital design all wrapped into one.
Urban Forest Skyscraper in Chong-qin China.
Design By MAD Architects
The skyscraper has a central cylin-
drical structure with each concrete
floor plate of a different elliptical ge-
ometry, creating an overall effect of
undulation in the building form. Each
level is enclosed in structural glazing
that allows full transparency in and out
of the building. The glazing also max-
imises the view towards the sky and
the rest of the urban landscape.What
is also unique about this skyscraperFig 5
Fig 6
8Fig5,6: Uban Forest bt MAD at Dezzen (2014) <http://www.dezeen.com/2009/12/10/urban-forest-by-mad/>
is the reinterpretation of the divide between the urban and
the rural. Following the idea of ‘green skyscrapers’ started by
Eastern architects such as Ken Yeung, MAD also incorporates
the ideas of urban forest in decorating edges of the floor plate
with tree as if they are trees on a steep cliff face. Pocket of air
and ventilation are also punctured in the skyscraper, capitalis-
ing on the needed sunlight for the areas of green.This vertical
organisation logic is also seen in the internal spatial designs,
as commercial and office spaces are intertwined vertically to
create spaces of intrigue and views to the green and the sky.
Fig 8
Fig 7
9
Natural design is more than imitat-
ing the appearance of the organ-
ic. it is learning from natural prin-
ciples. of design how to produce
form in response to the condi-
tions of the environmental context.
According to MAD, what they tried
to achieve in this project is to search
for a Chinese skyscraper typology,
which unlike the western typology is
not about industrialising and clear zon-
ing of activities and functions. Instead,
the vertical organisation of the build-
ing adopts a blurring of activities and
programs as the forest comes into the
working space and vice versa. The ul-
timate idea is to reconceived the city as
not only a place of concrete and steel,
but rather a place also ‘built’ with green-
ery; melding the natural and the man-
made into one dense material for living.
Fig7,8: Urban Forest bt MAD at Dezzen (2014) <http://www.dezeen.com/2009/12/10/urban-forest-by-mad/>
10
A 2 Design Futuring
Computers are the drawings boards
of today. With the advancement of
technology, computers have become
a necessary tool in all architectur-
al studios. Apart from digital model-
ling and representation, computers
are also able to help designers cal-
culate the performance of different
building designs, resolve complex
geometries, as well as fabricate de-
sign components directly by 3D print-
ing, CNC milling, laser cutting etc.
There are two major approaches to
working with computers– computer-
isation and computation. While com-
puterisation is when the designer
draws the design in the computer,
computation is when the computer is
used to ‘extend the designer’s intel-
lect’ by assisting the designer make
design decision based on calcula-
tions or design options create through
generation. As Brady explains,
“computational design... captures
not only the complexity of build-
ing a project, but also the multi-
tude of parameters that play a crit-
ical role in a building’s formation”. 4
Through computation, the design-
er is able to explore more innova-
tive designs, open up new terri-
tories for formal exploration. The
designer is also able to expand the
boundaries of possibilities in archi-
tectural design as the computers
4: Mouzhan, Majidi,. Peters,Brady,.(2013)computation works:The building of algorithmic Though.,Archi-
tectural Design,83.2, pp.15
A 2 Design Futuring
11
are able to resolve evermore com-
plex geometries and detailing. and
steel, but rathera place also ‘built’
with greenery; melding the natural
and the manmade into one dense
material for living. Through com-
putation, smarter and more accu-
rate designs can be generated.
These designs can also be generated
very quickly through the use of script-
ed algorithms that can calculate and
produce variations of the same design
logic through the inputting of different
compositional parameters. With the
computer, the designer is able to con-
ceive of, represent and translate these
new geometries.the designer is able
to conceive of, represent and trans-
late these new geometries. As Majidi
Said, “this hasn’t simply transformed
what we can design- it’s had a huge
impact on how we build”. 5 The abil-
ity of computers to capture an entire
design on digital file means that the
design can be fabricated through the
‘printing’ of the file. In another words,
through computation, the designer is
once again able to ‘build’ the design
rather than just produce the drawing.
The ability to materialise designs has
transformed the way designers work
and also how the construction indus-
try approach the delivery and fabrica-
tion of building parts and components.
5: Mouzhan, Majidi,. Peters,Brady,.(2013)computation works:The building of algorithmic Though.,Archi-
tectural Design,83.2, pp.14
12
ZAHA HADID'S DONGDAEMUN DESIGN PLAZA
OPENS IN SEOUL
Fig 9
Fig 10
The Dongdaemun Design Plaza (DDP)
is a futuristic public space for the city of
Seoul. The design reinterprets the city,
landscape and spaces space for work-
ing and exploring. The DDP has exhibi-
tion centres, convention centres, seminar
rooms, a design museum and a library. As
a design plaza, the building also serves
as a cultural hub where people can get
together to share ideas and aspirations.
As a hill-like objective the DDP is
brings ‘nature’ back into the city. Vis-
itors can ‘climb’ up to the top of the
building like they can get up a hill.
There are parts of the building that
look like a cliff or a cave and others that
resemble a hill. The organic geometries
are built by complicated steel fram-
ing, clad with over 45,000 aluminium
Fig9,10: Zaha Hadid’s Dongdaemun Design Plaza Opens in Seoul at Dezeen Magazine 2014, <http://www.de-zeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/>
13
Fig 11
Fig 12
Fig 13
Fig11,12,13: Zaha Hadid’s Dongdaemun Design Plaza Opens in Seoul at Dezeen Magazine 2014, <http://www.
dezeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/>
panels of varying sizes and curvature
directions. During the day the build-
ing has a monumental presence over
the city, however, according to Hadid,
at night the back lit aluminium panels
with perforations transforms into “a field
of pixilation and perforation patterns”.
What the DDP project demonstrates in
terms of computation design is the abili-
ty for designers to conceive of and build
irregular and organic building forms.
Each of the panels adopt a unique ge-
ometry that has to be calculated by the
computer software and fabricated off
site. Without the computer such forms
would be near impossible to think of
and even more difficult for translate for
construction. The computer has trans-
formed the way designers think and
draw, and also changed the way the
design is translated into fabrication.
14
Fig 14
Fig 165
Fig 14: Towards a Design-City (POST-Design Capital) At Failed Archietcture < http://failedarchitec-ture.com/towards-a-design-city-post-design-capital/>Fig 15 : Zaha Hadid’s Dongdaemun Design Plaza Opens in Seoul at Dezeen Magazine 2014,<http://www.de-zeen.com/2014/03/23/zaha-hadid-dongdaemun-design-plaza-seoul/>
15
ENERGY ROOF PERUGIA BY COOP HIMMELB(L)
INSHARE1
Fig 16 Fig 17
Fig16,17: Energy Roof Perugia By Coop Himmelb(I,) at Dezzen (2014), <http://www.dezeen.com/2010/01/21/
energy-roof-perugia-by-coop-himmelblau/>
The Energy Roof project captures the
essence of computation design and
sustainability. The design aims to gener-
ate energy for the city of Perugia, Italy.
The project is conceived of in three lay-
ers, the top layer is the transparent pho-
tovoltaic cells, the second layer is the
structure which also holds five wind tur-
bines and the bottom layer is composed
of laminated glazing and translucent
cushions. Powered by both the wind
and the sun, the project is an artwork
that works hard to also generate energy.
The unique role of computation on this
project is the scripted programs that cal-
culates the optimal position of the solar
cells in order to harness maximum solar
energy gains. “During the design pro-
cess of the energy roof a special focus
has been put on using photovoltaic cells
as functional and aesthetic elements”.
16
Fig 18
Fig 19
Fig18,19: Energy Roof Perugia, at Coophimmelb (L) Au, <http://www.coop-himmelblau.at/architecture/pro-jects/energy-roof-perugia/>
Therefore through computation, the de-
signers have been able to make better de-
cisions on what looks intriguing as well as
performs well as a solar energy collector.
The complex structure for the project is also
resolved by computation design. The main
geometries are composed of longitudinal
planes that also work as the bearing structure.
The project is daring and imaginative, combining complex geomet-
ric forms and components with a difficult brief for renewable energy gen-
eration. What computation has been able to assist with is the calculations
needed resolve both the functional and aesthetic ambitions of the project.
17
A 3composition / Generation
'the material shift and fabrication design were among the dominant contributions of the evolution of digital architecture in the first dec-ade of' the new millennium. --- Rivaka, Oxman and Robert Oxman 6
6:Oxman, Rivka,, Robert, Rovka., Eds (2014),. Theories of the digital in architecture., pp.8
Composition, the logic of piecing to-
gether objects in order to create an
artwork has been the tradition way of
design for centuries. Architects used
to design through composition, based
on a series of different and related log-
ics such as proportioning, patterns,
ratios and rhythms. The design would
be communicated through a series
of physical models and 2D drawings
such as plans, sections and elections.
What is central to the process of com-
position design is that the designer is
at the centre of the design decision
making process, thus composition de-
sign can be a very subjective process.
Compared to composition, digital gen-
erative design removes the designer a
step away from the production of de-
sign itself and instead asks the design-
er to be input design data / information
and make design output selections.
Design data on a project could include
the orientation of the site, the internal
spaces and volumes needed or the
heating and ventilation requirements,
then letting the computer generate de-
sign options that satisfies the require-
ments for the designer to select from.
What the generative process is able to
18
achieve is precision in calculation and
the rapid production of design options
for study, selection or design develop-
ment. As Brady explained “we are mov-
ing from an era where architects use
software to one where they create the
software”. 7 The generative process
allows designers to consider a wider
range of design solutions as well as
potentially create forms previously un-
thinkable. By altering the input data, the
computer is able to regenerate designs
and offer a different set of solutions.
Such generative design approaches of-
fer several advantages, first, there is a
level of rigour in approaching the design
problem through tests, trials and perfor-
mance calculations. Second, computa-
tion increases speed in the creation of
design solutions which also speeds up
the process of reviewing more options.
Third, there is a greater precision in
calculations so the produced solutions
would be accurate. Fourth, by having
an algorithm for the design, future mod-
ifications are easier to make as input
data can be changed to create differ-
ent solutions and lastly the potential to
create designs previously unimaginable
by human mind. Such a design process
is also known as parametric model-
ling and has now become indispensa-
ble especially on large and complex
project where there are complex func-
tional and aesthetic briefs to resolve.
A 3composition / Generation
7: Mouzhan, Majidi,. Peters,Brady,.(2013)computation works:The building of algorithmic
Though.,Architectural Design,83.2, pp.10
SUBDIVIDED PAVIL-IONS
MICHAEL HANSMEYER
Fig 20
Fig 21
19Fig20: Pavilion 2 (Catmull-Clark subdivision), at Michael Hansmeyer- computational architecture 2014, <http://www.michael-hansmeyer.com/projects/initial_subdivision_studies.html?screenSize=1&color=1#2 >Fig21: Pavilion 2 (Catmull-Clark subdivision), at Michael Hansmeyer- computational architecture 2014, <http://www.michael-hansmeyer.com/projects/initial_subdivision_studies.html?screenSize=1&color=1#2 >
The explorations of
Hansmeyer in the
Subdivided Pavilions
is a process of cap-
turing the variability of
a similar design logic.
Based on a base unit of 2 intersecting cu-
bic frames, Hansmeyer applied the ‘subdi-
vision’ logic to create formal explorations
and variations. Subdivisions have tradi-
tionally been applied in the field of com-
puter graphics to create a smoother form
by refining the edges. Instead the subdi-
vision algorithm is applied in this project
to test the evolving curvature and impli-
cated structure and surface of the forms.
The experimentation is set up as a 3D
subdivision process, with the algorithm
altered through gradual modification in
the ‘weighting’ of the subdivision. What
the algorithm does is formalise the ex-
perimentation process, as different forms
and attributes are able to be mapped
back to different sets of parameter vari-
ables. Through this project it is easy to
see how the parameters are interlinked
to the generation and formal manipula-
tion of the entire project. By making small
parameter adjustments entire forms and
be modified. Therefore, the power of the
generative process is the ability to refine
a project through parametric adjustments.
Fig 22
20Fig 22 Pavilion 2 (Catmull-Clark subdivision), at Michael Hansmeyer- computational architecture 2014, <http://www.michael-hansmeyer.com/projects/initial_subdivision_studies.html?screenSize=1&color=1#2 >
ECO-PHYSIOLOGI-CAL ARCHIECTURE BY SHIMA MIABADI
Fig 23
21Fig23: vEco-physiological Architecture at Shima Miabadi 2014 <http://shima-miabadi.com/ECOPHYSIOLOGI-
CAL-ARCHITECTURE>
Eco-physiological architecture presents
a very different approach to sustainable
design and architecture. Taking inspira-
tion from how the blood flow system of
penguins works, the project adopts the
same strategy of heat exchange so that
the he¬at energy of the building is recy-
cled and not wasted. The project adopts
computation design to come up with
the geometries of a web-ad, two-lay-
er façade that allows both heating and
cooling to exchange when needed.By
connecting the webs of the facade that
generates the most heat energy, to area
where it is colder, the heat is able to be
transferred to other part of the building to
heat up different sections of the building.
Fig 24
Fig 25
22Fig24,25: Eco-physiological Architecture at Shima Miabadi 2014 <http://shima-miabadi.com/ECOPHYSIOLOG-
ICAL-ARCHITECTURE>
In the words of Miabadi, the system
“counters current heat exchange,
thermal inertia and the retention of
metabolic heat”. The exchange of
heat is facilitated by the flow of water
which is pumped across the façade
in a web of pipes. Like the intertwin-
ing of the incoming and outgoing
blood vessels of penguins for heat
exchange, the webs of the façade
also acts in a similar way to push hot
and cold water over each other to ex-
change the heat that would otherwise
be lost to the external atmosphere.
Fig 27
Fig 26
Fig 28
23Fig26,27,28: Eco-physiological Architecture at Shima Miabadi 2014 <http://shima-miabadi.com/ECOPHYSIO-
LOGICAL-ARCHITECTURE>
A 4 conclusionsion
24
A rchitectural now have to be updated
on the new computation technologies that
are reshaping the approach to design. In
this industry which is currently undergo-
ing significant transformation, computers
are playing a central role in reconceptu-
alising the boundaries of architecture.
Through the precedent projects present-
ed above it can be said that architecture,
through computation, have moved into a
world of system generation and perfor-
mance monitoring. Sustainability is no
only a passive design approach where
the designer selects materials that
would have less environmental impact,
rather through computation, sustainable
design is now where the architecture is
a machine for generating energy and
actively becoming a contributor to solv-
ing the problems of the environment.
In this transforming attitude to
sustainability and sustainable design,
the role of computation becomes
significant. Designers would have to
rely to computation to come up with
more logical and rigorous design
systems that doesn’t just ‘look pretty’
but also performs hard like a machine.
Designs need to stand up to the test of
performance, whether it is the heating
and ventilation performances, or the
energy generation objectives. The
‘beautiful machine’ is now the new
standard, as architecture works hard to
satisfy an ever evolving complex brief.
Combating the issues of environmental
damage and loss of resources,
architecture of the future needs to be
more responsible to the betterment of
our living and working environment of
the brief.Adopting nature as the source
of inspiration, I look forward to using
computation design to explore these
new edges of sustainable design.
Computation design, sits at the centre
of this new direction for architecture,
as a more ‘scientific’ approach to
design needs to be adopted in order to
create buildings that are going to work.
The LAGI design proposal is a good
opportunity to test some of these ideas
where the brief requests the creation of
a public sculpture that also generates
energy for the city of Copenhagen. Such
a ‘dual’ brief requires interdisciplinary
research, and a deep understanding of
the issues, opportunities and restraints
embodied in the different aspects
A 4 conclusionsion
25
A 5 Learning Outcome
Within these past few weeks, it has
been incredibly challenging to learn how
to use the parametric design software
such as Rhino and Grasshopper. I can
see that a lot of knowledge is needed
to first master the software before I can
control the parametric design process.
The learning of the theory behind
computation has been incredibly helpful
for me in understanding the capacities
and intentions behind these software.
Although it is challenging, I look forward
to mastering these software so I can really
push the envelope of architectural design.
From the reading on computation, the
study of precedent projects, and the
learning the Grasshopper, I have come
to realise the reasons and benefits of
using digital design in architecture. They
are not simply tools for form generation
but instead tools to solve evermore
complex design problems of the future.
Parametric design allows us as the
designer to set specific or multiple
input data, through which designer
can control the performance of
the design outcome. In this sense,
computation is incredibly powerful.
After learning Grasshopper, I realized
how rigorous and bewitched the digital
design and algorithmic logic can be. In
order to generate a certain outcome
the process can be very difficult.
26
27
A 5 Learning Outcome
As the designer literally has to
thinkAlike a programmer in breaking
down the components and attributes
of the design. For me, the first task
is to understand the properties
and functions available within the
Grasshopper. Over the next few
weeks I would be focusing on the
learning the existing definitions, and
to also learning how to create my own
definitions for formal experimentation.
A 6 Algorithmic Sketches
28
Within the past few week study, I achieved
a very basics degree of algorithm. Playing
around with the software definition,
sometimes it comes out with some un-
expectable outcome, but sometime the
outcomes are successfully. Through the
learning period, I feel more comfortable
with the grasshopper. But I look forward
to be more professional and confident.
This is to play with the definition of Curve
define and duplicate the curve by acting
the Hexgonal definition. The figure 31 is, I
trying to roft each hexagonal together, but
it is in 2D so can not build up.
Fig 29
Fig 30
Fig 31
A 6 Algorithmic Sketches
29
This is I draw the cuve from the Rhino and
definite the point from the grasshopper.
and paly around with the difinition of
X-axis and Y-axisFig 33
Fig 32
Fig 31
Bibliography
30
Text1: MAD Design Philosophy., At Chinese-architects Office Profiles Architects(2014),.
Accessed by 18 Mar 2014 < http://www.chinese-architects.com/en/mad/>
2: FRY, TONY,. Design Futuring: Sustainability, Ethics and New Practice
(Oxford:Berg 2008) PP.15
3: FRY, TONY,. Design Futuring: Sustainability, Ethics and New Practice
(Oxford:Berg 2008) PP.4
4: Mouzhan, Majidi,. Peters,Brady,.(2013)computation works:The building of
algorithmic Though.,Architectural Design,83.2, pp.15
5: Mouzhan, Majidi,. Peters,Brady,.(2013)computation works:The building of
algorithmic Though.,Architectural Design,83.2, pp.14
6:Oxman, Rivka,, Robert, Rovka., Eds (2014),. Theories of the digital in
architecture., pp.8
7: Mouzhan, Majidi,. Peters,Brady,.(2013)computation works:The building of
algorithmic Though.,Architectural Design,83.2, pp.10
Image:Technology, Entertainment & Knowledge Center (TEK) at Architecture News
Plus <http://www.architecturenewsplus.com/projects/1918>
Fig2,3: TEK building in Taipei, At Archiview, Accessed by 17Mar 2014 < http://
wordlesstech.com/2011/02/09/tek-building-in-taipei/>
Fig4:TEK building, At Archiview, < http://wordlesstech.com/2011/02/09/tek-
building-in-taipei/>
Fig5,6,7,8: Uban Forest bt MAD at Dezzen (2014) <http://www.dezeen.
com/2009/12/10/urban-forest-by-mad/>
Fig9,10,11,12,13,15: Zaha Hadid’s Dongdaemun Design Plaza Opens in Seoul
at Dezeen Magazine 2014, <http://www.dezeen.com/2014/03/23/zaha-hadid-
dongdaemun-design-plaza-seoul/>
Fig 14: Towards a Design-City (POST-Design Capital) At Failed Archietcture <
http://failedarchitecture.com/towards-a-design-city-post-design-capital/>
Fig16,17: Energy Roof Perugia By Coop Himmelb(I,) at Dezzen (2014), <http://
www.dezeen.com/2010/01/21/energy-roof-perugia-by-coop-himmelblau/>
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Bibliography
Fig18,19: Energy Roof Perugia, at Coophimmelb (L) Au, <http://www.coop-
himmelblau.at/architecture/projects/energy-roof-perugia/>
Fig20: Pavilion 2 (Catmull-Clark subdivision), at Michael Hansmeyer-
computational architecture 2014, <http://www.michael-hansmeyer.com/projects/
initial_subdivision_studies.html?screenSize=1&color=1#2 >
Fig21: Pavilion 2 (Catmull-Clark subdivision), at Michael Hansmeyer-
computational architecture 2014, <http://www.michael-hansmeyer.com/projects/
initial_subdivision_studies.html?screenSize=1&color=1#2 >
Fig 22 Pavilion 2 (Catmull-Clark subdivision), at Michael Hansmeyer-
computational architecture 2014, <http://www.michael-hansmeyer.com/projects/
initial_subdivision_studies.html?screenSize=1&color=1#2 >
Fig23: vEco-physiological Architecture at Shima Miabadi 2014 <http://shima-
miabadi.com/ECOPHYSIOLOGICAL-ARCHITECTURE>
Fig24,25: Eco-physiological Architecture at Shima Miabadi 2014 <http://shima-
miabadi.com/ECOPHYSIOLOGICAL-ARCHITECTURE>
Fig26,27,28: Eco-physiological Architecture at Shima Miabadi 2014 <http://shima-
miabadi.com/ECOPHYSIOLOGICAL-ARCHITECTURE>
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