Architecture STUDIO AIR 2013

Tanya HickeyTutors: Finn Warnock & Tom Morgan

Contents

Introduction.....................................pg 3

Part A. EOI 1:Case for Innovation................pg 4

A.1. Architecture as a Discourse.................pg 5

A.2. Computational Architecture..................pg 9

A.3. Parametric Modelling........................pg 13

A.4. Algorithmic Explorations....................pg 16

A.5. Conclusion..................................pg 17

A.6. Learning Outcomes...........................pg 17

Notes............................................pg 18

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Introduction

Left: Fractal Tree theory provided inspiration for the project

As a third year student of Environments majoring in architecture my introduction to digital based design was in first year in the subject Virtual Environments. Rhinoceros and the Panelling Tools Plugin were the software employed to investigate complex form and respond to a brief to design a panelled paper model lantern following a defined process-based design protocol.

With limited digital design experience aside from basic CAD skills, my experience with Rhino was initially challenging yet provided inspiration and results that were beyond what I had considered possible for my skill level from the outset. Exploration in orthographic projection, contouring techniques, digitisation of a 3D model and digital modelling using Panelling Tools drove the design.

Above: Final design featured varied sized openings determined by the use of attractor points. Adjustable louvers allowed manual manipulation of light penetration.

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Part A.EOI: CASE FOR INNOVATIONThe following Case for Innovation will in reference to the Wyndham City Western Gateway Design Project explore Architecture as a suitable Discourse, how innovation in computation would be of merit to the project and Parametric Modelling as a suitable design solution.

Above: Sculptural installation existing on the freeway in the Wyndham precinct.

source: http://architectureau.com/articles/projects-17/

Wyndham Gateway key brief points:

• High exposure location seen by those entering the municipality inbound to the CBD • Brief required a ‘exciting, eye-catching installation’, an entry statement, arrival experience • To inspire and enrich the municipality • The issue of upgrading image is key • Reported success of Seeds of Change (2003) and House in the Sky(2001) • Possess longevity and encourage ongoing interest and reflection • Need to respond to the consideration of scale, impact, high-speed movement, surrounding buildings and topology • Must provide significant impact • Accessible to wider public • Exploration of place-making qualities • Focal point of iconic scale and presence • Encourage a sense of pride in community • Propose new, inspiring, brave ideas contributing to ‘new’ discourse

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A.1.ARCHITECTURE AS A DISCOURSE

Why would architecture be the preferred discourse in favour of alternative visual arts such as sculpture?

The built environment is a physical expression of the social, cultural, political, academic, economic, commercial and technological climate. It provides a physical historical dialogue communicating the myriad and complexity of influences and issues relevant to the time and are not simply an exercise in conforming to an architectural ‘style’ as understood in the traditional sense.¹

Schumacher’s unified theory describes the influence of several discourses’ contributing to that of architecture including those from social, political, economic, technological and cultural realms.² This makes architecture inherently complex compared to alternative visual art disciplines that have also been invited to enter the Wyndham Gateway Project.³ Individual artistic expression is not a freedom afforded to the architect as it is to visual arts such as sculpture. The breadth of contributing discourse toward architecture in itself provides significant potential to create new discourse with an architectural entry, a key brief criteria for the Wyndham Project.

“architecture needs to be thought of less as a set of special material products and rather more as range of social and

professional practices that sometimes, but by no means always, lead to buildings.”

Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture:Definitions, Concepts, Contexts, ed. By Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p. 108

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Architecture has the potential to communicate social and politically relevant issues applicable to the Wyndham municipality, the national community and the global framework through contribution to a broad range of discourse. Through consideration of design approach, the Wyndham Gateway can communicate on a ‘dual’ level. The design could provide an experiential quality to commuters into the Melbourne metropolitan region and also provide discourse for those participating in the autopoietic communications described by Schumacher.4

Digital design and computation is on the forefront in the design and architectural worlds. As students we are made aware of innovations in digital design technology and the impact on the architectural world. The skills required to utilise the programs are becoming increasingly specialised as the technologies evolve so rapidly. For this reason, a design for Wyndham Gateway that utilises specialist digital software such as Parametric Design has significant potential to create ‘new’ discourse and generate communication streams.

Parametric design communicates positivity, new and brave ideas – a quality Wyndham can display through an architectural gateway in this genre. It communicates on multiple levels whether the observer is aware or otherwise. Impressions of strength, positivity, bravery, vitality and global relevance are implied in the utilisation of specialist software to produce a Parametric Design entry. Given that Wyndham Council’s objective is to give this impression, a Parametric Architectural design should be preferred over alternative visual art options that would not have the same assertive influence.

Why is this? On first impression because it is so visible and accessible. It is available to the public to experience in our museums, sports stadiums, airports, universities and freeways. It is possibly less elitist than other art forms as we don’t necessarily need to understand it to appreciate and experience it. It is before us and often available to experience whether it is to enter the museum or drive through it on a freeway. The discourse is possibly less accessible yet the experience is readily accessible.

“Architecture is the most public of the arts”

Williams, Richard (2005). ‘Architecture and Visual Culture’, in Exploring Visual Culture:Definitions, Concepts, Contexts, ed. By Matthew Rampley (Edinburgh: Edinburgh University Press), pp. 102-116, p. 102

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MAD Architects, Orbos Art and City Museum, 2005Source: http://www.indesignlive.asia/articles/projects/Ordos-Museum-Inner-Mongolia

source:http://archdaily.net/wp-content/uploads/2012/02/1330288937-mad-ordos-museum-section-2-copy-1000x706.jpg

The social influence buildings have demand that architectural design evolves and maintains contribution to the numerous involved discourse’.5 The political desire to communicate through the built form has moulded the environment. An example of this is the Ordos Art and City Museum (2005) by MAD Architects.

Ordos Art & City Museum is a parametric designed lattice structure wrapped in polished aluminium metal louvers. Inspired by Buckminster Fuller’s Manhattan Dome, the museum was commissioned for a largely undeveloped municipality following China’s forging economy.6 The objective was to build a symbolic ‘nucleus’ for the centre of the town characterised by a rigid geometric grid. This nucleus was to symbolise a new community spirit, of the sun rising over the former harsh desert dunes representing a transition from past to future prosperity for the region .7 The digitally warped dome results in a fluid organic form that has been labelled in design circles as ‘blobitecture’ and typifies the ‘blob’ fascination described by Lynn in his article ‘Fold’s, Bodies and Blobs’. 8

The political motivation behind the commission is responsible for the resulting form. The design communicates the aspirations or intent between the municipality, the residents, future residents and multiple global discourses’. The municipality is trying to make an impression of being on the forefront yet respecting the past. There is a dialogue of global standing, optimism, confidence, security….all characteristics to attract new community members and respect for the client. The form is rich in symbolism and reflects cultural values.

“To make architecture is to map the world in some way, to intervene, to signify: it is a political act.”

Dutton, Thomas A. and Lian Hurst Mann, eds (1996). Reconstructing Architecture: Critical Discourses and Social Practices (Minneapolis: University of Minnesota Press), p. 1

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Public buildings are a method of communicating with the public. Not only buildings that we occupy or visit however. The Wyndham Project is an opportunity for the expression of social, political and cultural values, of ‘prospects’ that the council wishes to communicate to the world. Commuters will involuntarily be affected by the design and the wider audience through new discourse. Architecture is arguably expected to be great on more levels than other arts such as sculpture for example.9 It is expected to be aesthetically pleasing, provide a spatial experience, be functionally effective, be able to communicate the motivations of the client in this case Wyndham Council, contribute to discourse and be appreciated by the public…all within budget.

There is unique complexity in architecture not inherent in other visual arts. This raises the question of what makes architecture successful. RMIT’s Storey Hall, Melbourne (1995) has been the subject of attention, positive and negative. It has contributed to discourse, recognised as architecturally ‘significant’ by the Royal Australian Institute of Architects. It has several respected awards both for the internal and overall design.10

On an academic level, Storey Hall is a success. It communicates sentiments of leadership, bravery, prowess, excitement and confidence through the fractal inspired façade and interior. It also contributed to a new discourse as Wyndham Council aspires to do also with the Gateway Project. Did it serve the task, the social requirement of producing an aesthetically revered building? Williams (2005) describes the disappointment met when a building does not meet all of the criteria expected of architecture.11 Storey Hall is a symbolically rich design yet perhaps has not met the public requirement of a widely understood aesthetic. Can any design meet all of the criteria? Is it a failure if it doesn’t?

Parametric designs contribute to the architectural discourse and create new discourse by generating discussion. Rhinoceros, Grasshopper, Maya and other design software are specialised. Schumacher claims that such programs have formed a new formative architectural ‘style’ that will be recognised in architectural history as following Post-modernism.12 Debates surround these predictions and communications can be found in all media especially online forums, discussions and blogs. The debates themselves are likely less important than the fact that the debates and discussions exist at all contributing to new discourse. It is this topical nature of digital design, specifically Parametric Design that makes it an ideal design tool for the Wyndham Gateway Project.

RMIT Storey Hall, Melbourne (1995) Source: http://www.rmit.edu.au/about/heritage/bld16

The architect works within the parameters of the brief. Digital technology facilitates innovative design within architectural discourse because designs can be explored in depth without the need of a brief and without the need to physically build. The freedom to explore without the restraints of a typical client commission lends potential for revolutionary architectural design. This freedom to design without the restraints of a brief, site conditions and client also lead to revolutionary design during building lulls as evident during war time resulting in the Modernist ‘style’. This opportunity to explore in depth a design concept for the Wyndham Gateway that pushes boundaries with the aid of digital design heightens the likelihood that the design will contribute to new discourse.

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A.2.COMPUTATIONAL ARCHITECTURE

What is computation?

Using the definitions subscribed to by Terzidis (2006) computerization is the digitalisation and storage of preconceived ideas.That is, a digital version of the formerly drafted plans, sections, elevations etc. Computation as distinct from computerization is the use of computers and specialist design software as a tool to aid design.13

The advantages of computerization extend to time and reproduction efficiencies and make manipulation less labour intensive potentially reducing costs. These efficiencies can also provide opportunities for broader design exploration and innovation increasing the design space.17

Computation as a design tool provides the potential to further increase the design space by exploring complex geometries that would have been too complicated or time-consuming to reach using traditional drafting methods. Manipulation and refinement to design are less likely to be avoided providing greater opportunity to produce a more innovative design. Such manipulation and tweaking of design models can deliver greater efficiencies on many levels.

Each has advantages and disadvantages for the designer. Computerization provides efficient storage, drawing and reproduction that can be readily shared digitally enhancing communication between architects, clients and the related disciplines. This efficiency is translated to design process itself by allowing a more integrated than segregated collaboration during the design stages.14 Engineers, lighting specialists, environmental consultants and the myriad of other professions involved on the design and building industry can provide a ‘collective intelligence’ from the outset of the design.15 Furthermore, the ability to communicate designs virtually provides a degree of spacial experience for the architect and client so that refinement is possible prior to construction. The role of the architect is transformed to incorporate communication management.16

AAMI Stadium, COX Architects, Melbourne ( 2010)source:http://www.australiandesignreview.com/wp-content/uploads/

old_img/melbourne-rectangular-stadium-plan-2.jpg

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AAMI Park (2010) designed by Cox Architecture in conjunction with ARUP is an example of how computation can assist architects to produce a more efficient design through the manipulation of components. The Bio-frame with geodesic dome is inspired by the R. Buckminster Fuller design (1960). The custom built aluminium triangulated frame acts as a combined roof, wall and support and shelters the seated spectator area of the stadium providing uninterrupted views of the field.

Each member of the frame performs multiple purposes and maximises efficiency by minimising resources. Digital manipulation of the members provided a solution that uses approximately 50% less resources than the typical cantilevered stadium design.18 The design has contributed to architectural discourse for its efficiencies and iconic appeal and has been awarded for its’ ingenuity.

AAMI Stadium, COX Architects, Melbourne (2010)

source:http://www.australiandesignreview.com/wp-content/uploads/old_img/melbourne-rectangular-stadium.jpg

Source: http://resources1.news.com.au/images/2009/11/23/1225802/284685-melbourne-rectangular-stadium.jpg

Source: http://www.australiandesignreview.com/wp-content/uploads/old_img/melbourne-rectangular-stadium-plan-3.jpg

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Due to the explicit nature of computational design, there needs to be programming proficiency and a ‘design intention’ to produce effective and considered designs. This sentiment is also reflected by Kalay (2004) in Architectures new Media.19 It has also been suggested that digital design might be considered “fake” creativity, that designs are stumbled upon rather than developed or that the designer’s creativity is restricted by the software itself.20 The opportunities of the software possibly outweigh the negatives by providing a vaster design space and complexity to explore with the potential to ‘amplify’ design concepts.21 Needless to say, proficiency in programming is crucial.

An example of computational design exploring geometries that would be too complex to explore using traditional drafting and design methods is Michael Hansmeyer’s Ornamented Columns (2011) .

The columns are inspired by morphogenesis and cell division and are developed using computational algorithms and processes based on the division of 3D geometries. The algorithms are repeated over and over to produce designs that are ‘undrawable’ due to their complexity. The columns are laser cut with layered 1mm card sheets. By folding the geometries 8 times the columns are composed of 5.8 million faces. Needless to say there are too many faces to be drawn on CAD and the designs confirm that computation open up a completely new and previously unimaginable genre of design, that by adjusting parameters to control processes, new geometries can be created.

Above: Computational Architecture; Ornamented Columns (2011)Source: http://www.michael-hansmeyer.com/projects/projects

Subdivided Columns; A New Order, Michael Hansmeyer, (2010)

source:http://www.michael-hansmeyer.com/projects/columns_info.

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Computational design is ideal as a tool for the Wyndham Gateway Project as it provides efficiencies that then allow for more in depth in exploration of a greater design space than non-digital and traditional design processes afford.22

A ‘breadth-first’ design process is more feasible using computation whereby more alternatives can be analysed, experimented and manipulated to produce an entry that is innovative and contributes to discourse.23

Subdivided Columns; A New Order, Michael Hansmeyer, (2010)

source:http://www.michael-hansmeyer.com/projects/columns_info.htmlold_img/melbourne-rectangular-stadium.jpg

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A.3.PARAMETRIC MODELLING

So what is parametric modelling?

According to ModeLab a parametric model is the part of a design that relate and change in a coordinated way defined by various parameters and dependencies.

Grasshopper as a plug-in to Rhinoceros3D is a node-based programming system that allows the designer to model using algorithms by adjusting multiple finite parameters. The programmer is required to set the parameters with various inputs to reach a desired output making the process an explicit one. The programmer needs to have an idea of where they want to arrive and exploration is possible from there.

There are a number of advantages and challenges associated with Parametric Modelling. Parametric modelling provides the designer a degree of automation so that complex geometries and repetition (especially working with large data sets) can be efficiently represented allowing the designer to explore and experiment with a greater number of alternative designs in the same time.24 A breadth-first approach is made further possible.25 As Burry explains in ‘Scripting Cultures” (2011), bespoke design is made more accessible and is possibly the solution to standardisation driven by the need to reduce costs.26

the explorable design space for the Wyndham Project is defined and the final form determined by the chosen software. Digital modelling software and programming language is ever evolving, challenging to learn and demanding to stay a breadth. To use the design tool effectively, the programmer needs to be able to translate a solution to a problem in a way that the computer can understand.27 Larger architectural firms that are on the forefront of such design technologies have dedicated departments specialising in digital and parametric modelling. There poses the question of whether this situation disconnects these programmers from the design process?

At the same time by choosing Parametric Design, As Burry (2011) points out, most designers do not use programming or scripting as part of the design process and instead are reliant on the capabilities of the software and those that designed them to effectively produce their idea. Burry describes them as ‘anonymous collaborators’ and because they are not part of the design process, the user of the software is subject to its’ own limitations. These issues may point to why parametric design has become synonymous with certain characteristics such as ‘blobitecture’ and tend to look similar. Patrick Schumacher (2010) in ‘Let the style wars begin’ even goes to the point of defining principles that should be adhered to in Parametricism to ensure a stylistic consistency.

The freedom of the designer is restricted by the limitations and inflexibilities of the software and the available programming or scripting skills. Grasshopper does offer greater control than say Rhinoceros alone due to the scripting controls. The highly specific instructions required to program effectively are both advantageous due to the degree of control afforded the designer and at the same time a disadvantage if the understanding of the language is inadequate. It is in this instance that the risk of code-sharing between those less proficient can result in a lack of innovation and a ‘stylistic’ quality defining Parametric design.28

Sol-O-House, NOX, (2010)Parametric modelling

source:

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Given parametric design is on the forefront of design discourse, it is possible that as scripting skills evolve with this generation that the stylistic characteristics associated with the design method will diversify also. This is reliant on designers becoming script specialists or taking on script assistance.

While parametric design is predicted to become increasingly significant within the architectural discourse there are also those suggesting that it is a passing novelty. For example, Mayer (2010) suggests that the significant costs of constructing such complex geometries is prohibitive for the mainstream uptake and that aside from the handful of exceptional examples that it will be limited to small scale pavilions and installations.29 Considering that ‘paper architecture’ also contributes toward innovation and design discourse this may not provide a sufficient obstacle to slow the momentum. Likewise, the designs may also outgrow the stylistic restraints heralded by Schumacher if we consider that all design is determined by manipulation of multiple parameters, digital or otherwise.

The Son-O-House installation by NOX Architects is typical of the scale of many parametric designs. Although fabrication is assisted by digital automation and parametric design enables this materialisation of of complex curved surfaces that would be impossible to realise using traditional methods, the scale is usually confined by the construction costs associated. Parametric designs’ very nature of making the complex possible is still restrained by budget and hence the current limitation to small scale projects and building skins (with exception to the Gehry’s of course).

The Son-O-House is described as a house of sound where the movements of vistors to the installation are recorded, recomposed and played to future visitors. The form itself reflects the curvature of movement of the buildings visitors. Movements of the visitors were first represented as a collection of paper strips that were then digitised using algorithm into vault form passing and intersecting with each other.

The structure is a non-standard geometry while the surface is composed of flat strip panels.The overlapping surface is characteristic of parametric modelling’s organic, dynamic and fluid forms that frequently mimic nature. When using nature as inspiration for design and improved building solutions and efficiencies as in biomimicry, parametric modelling is an ideal tool to replicate forms that occur in nature.

Left: Son-O-House, NOX, The Netherlands, 2004source: http://www.nox-art-architecture.com/NOX/Book%20Excerpts/MA.pdf

Above: Lofted version of digital model

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BMW Welt, Asymptote, Munich, Germany (2007)

source: http://www.bmw-welt.com/en/location/welt/architecture.html

BMW Welt by Asymptote (2007) Munich, Germany is another example of Parametric modelling being used to create form emulating nature. In the case of BMW Welt the ‘double cone’ geometry is supposed to reflect changes in cloud formation taking the form if a twisted torque structure. The frame is a grid with planar glass cells. Each steel member was specified individually and required precision for construction. A mere eleven columns support the roof and without computatin and simulation, the structure would not be possible.

The glass panelled facade and roof are unusual in that that do not reflect the floor plan of the building as traditional architecture does.

On a larger scale than Son-O-House and obviously the pride of BMW, it is expected that the project was considerably more expensive to construct than a non-parametric design and suggests that the ‘luxury’ of such a design is reserved for the priveledged minority and not yet available to the mainstream as Schumacher would have us believe.

The complex structure is an exhibition of digital and parametric modelling and confirms that the technologies associated with producing such a building is akin to the cars that BMW produces. It is a clear dialogue to BMW’s clientele and competition of their leadership status. It is branding....and it is the type of marketing benefit that Wyndham would also enjoy by choosing Parametric Modelling for their Gateway.

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A.4.ALGORITHMIC EXPLORATIONS

The tutorials assisted in further explorations of complex geometries that would not have been possible using Rhino alone. While it is possible to explore and ‘play around’ with various tools, effects and commands it is clear that to script effectively i.e. create on screen an accurately represented preconceived idea, that this requires a specialist skill set.

It is understandable that there are criticisms of such software representing ‘fake’ creativity or accidental end product. One can accidently create a design that looks impressive. The skill is in developing the skills to ‘drive’ the software as opposed to having it drive the design.

The new territory that the software provides designers suggests that there may be a novelty value in producing designs (i.e. complex geometries and curvilinear forms) that were previously impossible to conceive using 2D and analogue tools.

Through explorations, especially the origami exercise, it became clear that there were multiple methods to reach a desired outcome. Often, far more scripts were used than what was really required as seen in the bottom example.

The process of thinking about a problem, predicting a solution and then implementing the steps so that they could interpreted accurately was challenging.

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A parametric architectural design for the Wyndham City Western Gateway Project will meet the objectives of the Wyndham City Council on every level.

An architectural design will enable a gateway of iconic scale and presence unmatched by alternative visual arts. The use of computational design specifically parametric design will ensure that an optimal number of design options are explored to arrive at a design that provides an eye-catching and intriguing experience for commuters, conveys a positive and inspiring dialogue for the municipality and generates new discourse over multiple disciples due to the innovative qualities.

Innovation will be demonstrated in the design approach by incorporating computation to explore new territories and to arrive at a design that otherwise would not have been preconceived. The end design will reflect this innovation through form via intuitive design decisions amplified by computational exploration. The spatial experience for commuters, the reflection upon the Wyndham municipality and architecture’s relevance to a vast discourse pool will provide stimulus for new discourse.

A.5.CONCLUSION

It is inspiring to research a movement that is current and invites participation as opposed to the more usual historical analysis. The evolution of computational design and digital technology has been relatively rapid meaning that many practices have yet to embrace the technologies that as students we are exploring. Computational theory is overwhelming in its’ specialisation, depth of knowledge required to ‘drive’ it and speed of change. The application potential is promising and to witness the diversification and maturation of the designs that are generated will be of interest. It is frustrating that for a discipline that is design based that it has been relatively slow to adopt the available technologies due to the interests of architectures related disciplines. It is positive to see that the segregation between the disciplines are beginning to dissipate and that architects can begin to work in an integrated and co-operative fashion to explore a broader design space due to digital technology.

A.6.LEARNING OUTCOMES

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1 William, Richard (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh University Press), pg. 1032 Patrick Schumacher (2011), “Introduction: Architecture as Autopoietic System”, pg. 43 William, Richard (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh University Press), pg. 1044 Patrick Schumacher (2011), “Introduction: Architecture as Autopoietic System”, pg. 15 William, Richard (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh University Press), pg. 1036 http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_ id=18003&q=ordos%20art%20and%20city%20museum, accessed 18th March 20137 http://www.worldarchitecturenews.com/index.php?fuseaction=wanappln.projectview&upload_ id=18003&q=ordos%20art%20and%20city%20museum, accessed 18th March 20138 Lynn, Greg (1998), “WWhy Tectonics is Square and Topology is Groovy”, in Folds, Bodies & Blobs: Collected Essays, ed. by Greg Lynn (Bruxelles: La Lettre volee), pg 1699 William, Richard (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh University Press), pg. 10310 http://rmit.edu.au/about/heritage/bld16/, accessed 27th March 201311 William, Richard (2005), ‘Architecture and Visual Culture’, in Exploring Visual Culture: Definitions, Concepts, Contexts, ed. by Matthew Rampley, (Edinburgh University Press), pg. 10512 Patrick Schumacher (2010), “Patrick Schumacher on Parametricism - Let the style wars Begin”, 13 Terzidis, Kostas (2006), Alogorithmic Architecture (Boston, MA: Elsevier), pg. xi (as quoted in Lecture 2 Studio Air, S1, 2013)14 Kieran, Stephan & James Timberlake (2004), ‘Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction’, (New York: McGraw-Hill), pg. 13, 15, 23, (as quoted in Lecture 2 Studio Air, S1, 2013)15 Kieran, Stephan & James Timberlake (2004), ‘Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction’, (New York: McGraw-Hill), pg. 13, 15, 23, (as quoted in Lecture 2 Studio Air, S1, 2013)16 Kieran, Stephan & James Timberlake (2004), ‘Refabricating Architecture: How Manufacturing Methodologies are Poised to Transform Building Construction’, (New York: McGraw-Hill), pg. 13, 15, 23, (as quoted in Lecture 2 Studio Air, S1, 2013)17 Woodbury, Robert F and Andrew L. Burrow (2006), “Whither design space”, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pg. 6618 http://coxarchitecture.com.au/#/project/11615, accessed 18th March 201319 Yehuda E Kalay (2004), “Architecture’s new media: Principles, Theories and methods of Computer-Aided Design”, (Cambridge, Mass.: MIT Press), pg. 320 Lawson, Bryan (1999), ‘“Fake’ and ‘Real” Creativity using Computer-aided design: Some Lessons for Herman Hertzberger’, in Proceedings of the 3rd Conference on Creativity and Cognition, ed. by Ernest Edmonds and Linda Candy (New York: ACM Press), pg. 174-179 (as quoted in Lecture 2 Studio Air, S1, 2013)21 Woodbury, Robert F and Andrew L. Burrow (2006), “Whither design space”, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pg. 6822 Woodbury, Robert F and Andrew L. Burrow (2006), “Whither design space”, Artificial Intelligence for Engineering Design, Analysis and Manufacturing, 20, 2, pg. 6623 Yehuda E Kalay (2004), “Architecture’s new media: Principles, Theories and methods of Computer-Aided Design”, (Cambridge, Mass.: MIT Press), pg. 1924 Burry, Mark (2011), “Scripting Cultures: Rchitectural Design and Programming”, (Chinister Wiley), pg. 825 Yehuda E Kalay (2004), “Architecture’s new media: Principles, Theories and methods of Computer-Aided Design”, (Cambridge, Mass.: MIT Press), pg. 1926 Burry, Mark (2011), “Scripting Cultures: Rchitectural Design and Programming”, (Chinister Wiley), pg. 927 Burry, Mark (2011), “Scripting Cultures: Rchitectural Design and Programming”, (Chinister Wiley), pg. 2728 Burry, Mark (2011), “Scripting Cultures: Rchitectural Design and Programming”, (Chinister Wiley), pg. 1829 Mayer, Adam Nathaniel (2010), ‘Style and the Pretense of Parametric Architecture’, (link provided wk 3, Studio Air)

NOTES 18

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