Contemporary Process In Architecture

-B.Arch. –IX Sem-Batch-[2015-20] -Ar.Sindhuja-Asst.Prof, MSAJAA

 UNIT 1 INTRODUCTION
-Investigation of contemporary theories of media and their influence on the perception of space and
architecture. Technology and Art – Technology and Architecture – Technology as Rhetoric – Digital
Technology and Architecture
 'ARCHITECTURE PARLANTE

THE NOTION THAT ARCHITECTURE "SPEAKS" OR AN

UNDERSTANDING OF ARCHITECTURE AS "A
LANGUAGE"

• communicative abilities that resemble other arts of

human expression
• We "read" and interpret the functional aspects of Two properties seem to have been central to the language
architecture as we move through spaces and of architecture within the last hundred years:
appropriate them for dwelling, working, • the language of form and
consuming,etc. • The language of the surface.
• architecture as communicating messages towards its
surroundings by means of its exterior properties.

• the development of the "free facade" that is

liberated from structural functions. has given
architects new possibilities of exterior expression in
architecture.
 MEDIA ARCHITECTURE
• media architecture is not tied to a specific material or
• Media architecture has
expression as many other movements have been.
already established itself
as a practical phenomenon
• Media may be implemented in various materials,
in a variety of permanent
resolutions and forms. Similar to terms like "glass
or temporary installations.
But the field still lacks an
architecture" or "concrete architecture", the term media
architecture defines how expression is achieved, but
IN URBAN LEVEL
ontology and a theoretical
not what is expressed.
discourse to support it.

• The community has on many

• Media architecture regards architecture as a medium IN CAMPUS LEVEL
occasions discussed the
• Dynamic expressions may be achieved through light,
potentials and challenges
but other materials may also be thought of as a
of media architecture, but
only little effort has been
mediator. IN PERSONAL SCALE
put into discussing what
• Several unrealized concepts have been made by
media architecture actually
designers that incorporate reflective materials or
is and how we define it.
colored curtains and panels that mechanically change
the expression of the architecture.
• the composition and visual
character of architecture
• When architecture adopts symbolic expressions it adds
has always been able to
qualities that are not tied to traditional architectural
express certain immaterial
function, but may instead by described as immaterial
qualities.
qualities.
MEDIA IN SPACE AND ARCHITECTURE.
Over the last decade, the architectural landscape in cities like New York, Tokyo and London has been undergoing a
major change. Large LCD screens and LED Billboards are appearing as part of the city architectural landscape.

1)the environment is the immediate vicinity-

2)the actual content that is being communicated, and
3)the carrier that supports the display medium. (e.g. a building,
a square, a facade or ornament) that fulfill a supporting role
in sustaining the broadcast medium, be it for structural,
functional, or aesthetic reasons.

Categories of potential applications of media technologies in

urban spaces
1. Entertainment- In Las vegas,U.S, the LCD (Liquid Crystal 2. Business – One of the application of media façade in a dense urban
Display)screens dominate the strip skyline- mainly context on a big scale is the headquarters of the technology stock market
driven by commercial advertising, appearing in various NASDAQ in Manhattan. It is housing the NASDAQ ticker and the high-
shapes, sizes and orientation. tech LED (light emitting diode) display which wraps around the cylindrical
corner of the building. The NASDAQ displays broadcasts up-to-the minute
financial news driven by events, market highlights, and advertisements

Las vegas – street night view NASDAQ Building in Manhattan

3. Art and entertainment.-The headquarters of the in 4. Recreation and Entertainment
Rotterdam is an example of using the media screen Dutch The Crown Fountain , in Chicago, features a shallow pool
telecommunication company KPN to cover the entire façade. with two glass block towers one at each end. It does not
But the major drawback here was the screen faces the broadcast a pre-programmed commercial advertising but
residential areas and hence has raised light pollution issues. rather displays the faces of one thousand Chicago people
The façade is facing the city and change every day, with the one at a time. During the final minute of the display, the lips
season, activities, festivals, animations and graphics or just purse and spout of water shoots from their mouths. This
show KNP-logos. low level of action attracts people attention and makes
them feel engaged and aware of their presence with the
fountains setting.

Crown Fountain , in
Chicago,

KPN Façade with displays

Advantages and disadvantages of media façade in architectural space

Large projection screens are becoming more and more prominent in urban spaces.

 Relationship of elements and narrative - In order to achieve a real integration on an urban scale, we need to consider the
design of space as a meaningful whole considering the urban space, the dynamic visual information, and the social
interaction space. Proper proportions of the graphic elements and their relative size is important to create a balance and to
achieve real integration on the urban level.
 Social interactivity vs. commercial monologue. -unlike the typical use of new technologies to perform a pre-programmed
commercial monologue, the participants input and feedback thru projections, robotics, sound and local sensors- should
become an integral part of the public space, and the outcome is influenced by participants action.
 Location and mobility. – the location of the animated screens or signs should not distract the public and cause light pollution-
hence their location, orientation of surfaces, size , resolution and image refresh rate matters. The signs designed to
attract public on different levels – on an eye level, on a car level or to be seen from a highway or to make a distinct
landscape of symbols and light.
 Obsolescence vs. flexibility: - one relevant concern is the durability of the architectural material and the rapid
obsolescence of technology standards. By using temporary projection on exterior or interior walls, will allow flexibility in
terms of materials and space for future re-use and conversion.
 Privacy concern and light pollution – there should be proper regulations to regulate the amount of light-intensive signages
and the massive light displays and its effect.

Some MORE EXAMPLES OF MEDIA FACDE

 5. Puzzle Façade- The Ars Electronica Center’s Luminous Puzzle Façade, in Linz, Austria Can be
“Solved” With a Rubik’s Cube

Artist Javier Lloert created an interactive Puzzle Façade that is controlled via a Rubik’s cube. He connected the facade of the Ars
Electronica Center in Linz, Austria to a white 3D-printed cube that controls the building’s lights. Passers-by are invited to engage with the
interactive experience and take part in shaping the night time cityscape.

He designed a special interface cube that features electronic components which keep track of its movements and orientation. The data is
sent over Bluetooth to a computer that runs the Puzzle Façade software.

Because of the building’s surroundings, the player can see only two sides at the same time. However, the player is able to rotate and flip
the interface cube in order to work on all four sides.
https://inhabitat.com/puzzle-facade-lets-users-solve-the-ars-electronica-center-with-a-rubiks-cube-in-austria/puzzle-facade-1/
 6. Digital Water Curtain - DWC

Using the digital water curtain, we can print letters and symbols on a dynamic water wall, formed by multiple, vertical water jets. Using the
included software and computer equipment, this interactive water curtain is able to represent both symbols and letters, as the user desires.

The digital water curtain is available in prefabricated modules of 2 or 3 meters that include 32 programmable nozzles per linear meter.
The included software is user-friendly, converting simple keystrokes into signals to open and close the electro valves, thus printing letters
and symbols in the water.

This type of digital, interactive water curtain is the ideal decorative complement for shopping malls and public spaces open to tourism,
as well as hotel and airport lobbies.
Circular Digital Water Curtain

https://youtu.be/MKKQDzIPFWs
 7. Dry fountain
The Waterboy dry fountain kits are easy to install and adapt to a wide range of designs for this type of installation. They are
found in public squares and shopping centers, since they provide playful water displays in a minimum of space, while the dry
fountain is running, yet allow for a dry walking environment when the fountain is turned off.

The Waterbody is a dry and walkable fountain kit, made of stainless steel and especially designed to be installed in pavement
and resist vandalism, since its grid is durable and shock-resistant, protecting the kit

http://www.saferain.com/en/water-show/digital-water-curtain/digital-water-curtain-circular- shaped.html#prettyPhoto
8. Aviary

Aviary is an interactive environment designed in collaboration with Parallel Development, with a sound composition by Erik Carlson.
The playful audio-visual sculpture responds to touch through displays of light and sounds that evoke the effects of a bird in flight
or their natural habitat. Like a shared musical instrument, Aviary can be “played” by one or many users. Each pole has a unique
series of sounds that form a family of sounds. A casual touch creates a vertical burst of light, while a sustained hold slowly fills the
column with light. Depending on where the pole is touched, the sound response is unique, with bird calls near the top of the pole,
and abstract bird-like sounds near the bottom. Sliding up and down the pole causes the sounds to be blended in a unique and real-
time sound effect. A quick slide up the pole, causes a burst of light to float up to the top and a then migrate to adjacent poles. The
gesture is like the releasing of a bird, allowing it to fly up and to circle around. The light and sounds of the bird calls migrate up the
spiral if it was an upward gesture, and down the spiral if it was a downward gesture.
 Additional reference : Media architecture
http://cavi.au.dk/research/media-architecture/
https://www.archdaily.com/tag/media-architecture

https://architecture.mit.edu/architecture-and-urbanism/project/aviary
MEDIA PAVILION

Swiss Expo 2002 on Lake Neuchatel, American architects Diller

Scofidio + Renfo had crated a pavilion consisting in its primary
expression of mist. The “Blur Building”,
 • The “Blur Building”, as it was called, consisted of thin steel frames that
supported a network of tubes, hoses, and nozzles, providing a
constant flow of water that vaporized around it.

• This entire structure was placed near the shore of the lake, and
visitors were able to enter by following a narrow walkway.

• Blur Building was, of course, a highly experimental project, but shows

how architects strive for new ways to break to previous code and
how immateriality may be implemented in many ways and materials.

• The cloud surrounding the building could in some ways be compared

to a medium in its dynamic character and constantly changing
expression.

• The architects have even made this comparison in their own

description of the project:

“Blur is an anti-spectacle. Contrary to immersive environments

that strive for high-definition visual fidelity with ever-greater
technical virtuosity, Blur is decidedly low-definition: there is
nothing to see but our dependence on vision itself.”
(dillerscofidio.com/blur.html)
Refer: https://dsrny.com/project/blur-building
MEDIA ARCHITECTURE-FEW OTHER PROJECTS Refer: http://cavi.au.dk/research/media-architecture/

• Plant a light
• Climate on the wall
• Aarhus by light
• The Danish Pavilion EXPO 2010
• Media Architecture Biennale
 Technology in Art

Renaissance Art
Medieval Art Early Renaissance

High Renaissance Art Cubist Art Abstract Expressionism

Holography Virtual Reality Digital Pixels

Mixed Reality
Burbles-Community Construction
 Gesture Installation Chanting Computers Gesture Deduction

Generative Audio-Visual Facial Recognition

Poetry & Programming
Database
TECHNOLOGY AND ART
Technology is redefining art in strange, new ways. Till, over the past few decades, art and tech have become more intertwined
than ever before, whether it’s through providing new ways to mix different types of media, allowing more human interaction or
simply making the process of creating it easier.

How technology affects art?

Artists started transitioning from being painters and sculptures that used paint and cement into digital artists and 3D artists, using
imaging software and different materials to create works of art. Art influences technology as much as technology affects art as
art gets more innovative with years of new multimedia technology.

There are some of the innovative technological art .

1. The beauty of dirty air

• A Russian artist Dmitry Morozov devised a way to make pollution beautiful.
• First, he built a device, complete with a little plastic nose, that uses sensors which can measure
dust and other typical pollutants, including carbon monoxide, formaldehyde and methane.
Then, he headed out to the streets of Moscow.
• The sensors translate the data they gather into volts and a computing platform called Arduino
translates those volts into shapes and colors, creating a movie of pollution.
• Morozov’s device then grabs still images from the movie and prints them out.
• As irony would have it, the dirtier the air, the brighter the image. Exhaust smoke can look particularly vibrant.
https://www.smithsonianmag.com/arts-culture/7-ways-technology-is-changing-how-art-is- made-180952472/
 2. Assemblance :
Let’s start with lasers, the brush stroke of so much digital art. One of the more popular exhibits in the London show is called
“Assemblance,” and it’s designed to encourage visitors to create light structures and floor drawings by moving through
colored laser beams and smoke. The inclination for most people is to work alone, but the shapes they produce tend to be
more fragile. If a person nearby bumps into their structure, for instance, it’s likely to fall apart. But those who collaborate with
others—even if it’s through an act as simple as holding hands—discover that the light structures they create are both more
resilient and more sophisticated. “Assemblance,” says Usman Haque, one of the founders of Umbrellium, the London art
collective that designed it, has a sand castle quality to it—like a rogue wave, one overly aggressive person can wreck
everything.
https://youtu.be/5VqHKy9IKbc

3. Petting Zoo :
Another favorite at “Digital Revolution” is an experience called “Petting Zoo.” Instead of rubbing cute goats and furry rabbits,
you get to cozy up to snake-like tubes hanging from the ceiling. Doesn’t sound like fun? But wait, these are very responsive tubes,
bending and moving and changing colors based on how they read your movements, sounds and touch. They might pull back
shyly if they sense a large group approaching or get all cuddly if you’re being affectionate. And if you’re just standing there, they
may act bored. The immersive artwork,developed by a design group called Minimaforms, is meant to provide a glimpse into the
future, when robots or even artificial pets will be able to read our moods and react in kind
 4. Rising Colorspace 5.Finding of inner birds
If Rising Colorspace, an abstract artwork painted on the
wall of a Berlin gallery, doesn’t seem so fabulous at first
glance, just give it a little time. Come back the next day
and it will look at least a little different. That’s because
the painting is always changing, thanks to a wall-
climbing robot called a Vertwalker armed with a paint
• “Treachery of the Sanctuary,” it’s meant to explore the creative
pen and a software program instructing it to follow a
process through interactions with digital birds.
certain pattern.
• The gallery visitors are requested to stand in front of each of the
The creation of artists Julian Adenauer and Michael Haas, screens. In the first, the person’s shadow reflected on the screen
the Vertwalker—which looks like a flattened iRobot disintegrates into a flock of birds. That, according to Milk,
Roomba—is constantly overwriting its own work, cycling represents the moment of creative inspiration.
through eight colors as it glides up vertical walls for • In the second, the shadow is pecked away by virtual birds diving
two to three hours at a time before it needs a battery from above. That symbolizes critical response, he explains.
change. “The process of creation is ideally endless,” • In the third screen, things get better—you see how you’d look with
Haas explains. a majestic set of giant wings that flap as you move. And that, says
https://www.smithsonianmag.com/arts-culture/7-ways- Milk, captures the instant when a creative thought transforms into
technology-is-changing-how-art-is-made- 180952472/ something larger than the original idea.
https://www.youtube.com/watch?v=ehjklqL6g84
 5. Rain room
Depending on how the viewer move, they would experience a unique rain shower, complete with humidity, the sound of
falling water, and the visual effect of rain; all without getting wet https://www.youtube.com/watch?v=EkvazIZx-F0

6. Sketch town
It let children color in a paper outline of a car, then it is scanned,
converted into 3-D, and inserted into a dynamic animated city.
There, the children can move their digital cars—and other children’s
as well—with their hands. They can even print a paper version of
their car and fold it into a toy. This project aims to encourage
children to become aware of what the child next to them is drawing
or creating. And they may come to think it would be more fun to
build something together.
https://www.youtube.com/watch?v=kQ_17zapssI
 Technology and Architecture
• Technology is changing architecture. The world of computational design means architects are pursing new frontiers where
architecture can be generated through the writing of algorithms and software, where interactive physical mechanisms can be
built that respond to their environment, adapting and evolving as necessary
• Architectural technology can be summarised as the "technical design and expertise used in the application and
integration of construction technologies in the building design process.“
• Technology in architecture—from computational design to apps—has architects doing more than designing and
supervising the construction of buildings. They are pursuing new horizons in design, chasing algorithms, experimenting with
adaptability, robotics, 3D printing and reality.
• Following are some of the important technologies that are shaping the face of architecture.
 Generative Design: Generative design mimics nature’s evolutionary approach to design.
 Additive Design, 3D Printing and Robotics:The way we make things is changing in radical ways
 Architectural Apps and Cloud Services :Touchscreen technology allows architects to sketch directly
into software that can be translated into 3D modeling apps
 Virtual, Augmented and Mixed Realities:Augmented reality applications allow users to overlay
building plans, marketing materials and other 2D collateral on a 3D BIM model.
 In the last years, many new software programs have been launched , which could be used for building the model and producing the 2D
drawings simultaneously. In addition to installing technical information on parts of the project it also gives calculation of quantities and the
specifications. Recently, a camera has been provided with a computer enabling it, which compare the reality with digital design and project
an image including the parts constructed and the remaining to give a virtual reality model.

For several years, many architects have been famous for being biased towards computers and excellent in manipulating them to highlight
their distinctive design ideas.

 For example, Zaha Hadid who has been very famous for her designs which gained international
acknowledgement and appreciation, and at an early stage of her professional career, she could
not use the computer in her designs as modern design software was not available at that time.
 Zaha Hadid was expressing her ideas through drawings and works of art.
 By the development of design software and the possibility of its use she was able to represent
her designs more realistically through digital solids.
 This has enabled her to transform her paintings into architectural designs including schemes,
sections, and all of the engineering drawings required for construction.

Zaha hadid’s painting and initial sketches

from where she evolves her design
 .

 Another example is the Architect Frank Gehry, the famous designer of the Guggenheim Museum in Spain.
 Gehry starts by building models using cartoon, wood, and different materials.
 Then, with advanced devices scan the models and turn them into digital images.
 Images are transferred to CATIA Program where the design team turn them into a digital model, and then translate it into engineering
drawings.

One of the major impacts of technology on the digital design is the distance created between the designer and the architect. Thus, the design
becomes more and more visual. Architecture as a profession distant itself with drawings but not constructing buildings. Using computers limits the
interaction between the architect and his/her building to just moving the mouse and pressing the keys of the keyboard. Definitely, using the
hands in any production process is very important in developing some sort of empirical knowledge which cannot be gained through reading books or
using computer software.

Initial sketches of Guggenheim museum transformed to drawings

 Technology and Architecture
Asymptote deliberately focuses on an active architectural style calling on temporal metaphors and processes to determine a construction.
The word Asymptote, defined as two parallel lines that meet at the vanishing point, conveys for them the philosophical underpinnings of their
practice. The two lines of the asymptote that constantly approach each other but never touch capture the spirit of an open-ended practice.

Architecture is a complex field of relationships that results in a dynamic and fluctuating entity. It is significant that the lines of the asymptote, like
many simultaneous pursuits in their architectural practice, do not merge entirely but are rather like trajectories that create an increasingly dense
territory between them.

Experimental and speculative works continue to be an important aspect of their practice. These provide opportunities to conduct research for our
various building and digital projects, from the use of new technologies and “intelligent” materials, to issue of contemporary inhabitation and cultural
significance. All of these exhibit their drive to tread unknown territories and explore new possibilities for architecture with the aim of creating
meaningful and inspired spatial experiences.
Draws inspiration form a wide range of sources not traditionally associated with architecture. Their projects are equally concerned with change and
fluctuating conditions –
• motion,
• light,
• speed and
• traversing virtual boundaries – with new forms,generative processes and new types of building systems.
Few of their projects:
•Guggenheim Virtual Museum
•Virtual New York Stock Exchange
•Flux space 1.0, 2.0, 3.0
•Claudia Hill installation, New York;
•Knoll A3 system furniture;
•Guggenheim Museum SoHo, New York;
•New York Stock Exchange Advanced Trading Floor Operations Center;
•Universe Theater, Denmark;
•Floriade Pavilion Haarlemmermeer, The Netherlands;
•Experimental Music Theater, Graz, Austria;
•Multimedia Research Park, Kyoto, Japan;
•Mission Armory Internet Complex, San Francisco;
•Technology Culture Museum, New York;
•Dodger Stadium, Los Angeles;
•World Intellectual Properties Organization, Geneva;
•Airport Urbanism;
•B-scape ; I-scape ; DataScape
•Yas Hotel Abudhabi
•Kaohsiung Port terminal
•Srata tower, Abudhabi
•ARC River Culture Pavilion
•Alessi flagship store
•Pgcc Malaysia
•Beukenhof Auditorium and
Crematorium
Architecture into a post-computer era.

The New York Stock Exchange, a virtual Wall Street project currently underway, or the virtual Guggenheim, achieve this quest
for a permanent interaction between real space and screen space, where the architect can penetrate the cognitive realm
directly.
1997-2000,New York
Software
Alias, Cosmo Worlds VRML, Adobe Photoshop, Adobe
Premiere
Client
New York Stock Exchange
Securities Industries Automation Corporation, SIAC
Architects : Asymptote architects
Programmers
SIAC, Brooklyn, New York
RT-Set, Tel Aviv, Israel

NYSE 3DTF Virtual Reality Environment

• The 3DTF (3-D Trading Floor) is a dynamic 3D view of shares and financial information.
• a fully interactive space containing stock exchange values, indexes, graphs, news and live video content from major television networks
• which change "floating" in real time within an architectural environment.

"We approached it as if it were an ordinary architecture project. The virtual space had to represent the intensity and architectural language of
today's NYSE".
• 1998 (NYSE) was developing a strategy for dealing with the ever-increasing complexity of managing their data and information
• a virtual environment that would facilitate the reading, correlation, and navigation of massive amounts of information.
• The complexity of real-time information that their staff must contend with on a daily basis required an innovative solution reliant on three-
dimensional visualization.

DESIGN
• How to navigate through huge amount of data.
• An approach where information is fused with a virtual terrain or landscape using
composition, form & movement was to be adopted.

•Reinterpretation and transformation of the existing physical trading environment - The

NYSE floor was idealized and refined for eventual virtual deployment.
•Developing a wireframe model that corresponded to the layout of the "real" trading
floor and its constituent elements, their relative placement and geographic location on the
floor.
•The architectural idealization had to provide flexibility; to accommodate the data feeds
that would eventually be programmed into it.
•Constant shifts in scale, enhanced levels of detail, and insertion of numerous other kinetic
virtual objects.
•Thus the model had to function in real time, which produced high technological demands;
and an economy of form was necessary to process and animate extremely large
quantities of data.
•Took advantage of opportunities in virtual space to manipulate spatial and temporal dimensions.
•The 3DTF allows one to occupy several virtual spaces, scales, and points of view simultaneously.
•Captured events can also be instantly replayed alongside real-time events
•The importance of the temporal dimension is evident as the inextricable relationship between financial "events" and media news-reporting of
cause-and-effect is made transparent.

•The project posed an interesting opportunity to reconsider the "reality" of the actual trading floor: Asymptote's 3DTF version of the trading floor,
although virtual and not intended to be constructed outside of a computer environment, is effectively a direction for possible future trading
environments.

•The virtual trading floor as designed is both a reflection of the existing environment and a provocation for a new, physically augmented
architecture.
The environment
- high-tech, featuring a curved, sloped wall of blue glass hosting sixty liquid crystal monitors, enhanced by back lighting with fluorescent lights to
which blue gelatin is added to accentuate the pigmentation of the glass.

- Steel plays an important role alongside the glass: this is the material used in the console supporting the data panel, which is also blue and is
equipped with telephones and PCs.

- Curved panels also incorporating metal elements slice through the space, made of glass toward the ceiling and steel in the part nearer the floor.

Cybernetic aesthetic – Relationship between digital technology and architecture which is the preferred territory for the Asymptote group's
investigation of space.
The assemblies comprise of the virtual trading floor includes two facilities of computer servers and networks, news and data feeds, and almost
limitless data-mining capabilities.

All of the information that is relevant to the NYSE and its daily activity of trades and transactions is mapped into this fully navigable multi-
dimensional world.

Although the virtual-reality environment was initially designed to enable the NYSE to supervise their trading environment, the project has recently
evolved to cater to other uses, including a large-scale Internet initiative and a television broadcasting environment.

These mutations and elaborations of the project have further architectural implications as the virtual realm slowly takes over the real trading floor as
a "place.“
 Technology as Rhetoric
• The rhetoric of technology is both an object and field of study. It refers to the ways in which makers and consumers of
technology talk about and make decisions regarding technology and also the influence that technology has on discourse.
Studies of the rhetoric of technology are interdisciplinary.

TECHNOLOGY AS RHETORIC IN ARCHITECTURE.

Definition:
Rhetoric is the art of using speech to convince or persuade. It is the study of the way of using language effectively. Just as
we elaborate your concepts in design.

Architecture uses signs to communicate its function and meaning.

 Rhetoric Architecture
 Digital Rhetoric
 Technology As Rhetoric
Rhetoric Architecture:
Rhetoric is defined as ‘an art possessed with the power of persuasion’. Sometimes spaces can function as a non-human agent
that speaks on behalf of organizational actors to a large number of people. For example Jewish Museum by Daniel
Libeskind.
The need for creating a ‘rhetoric’ as a form of correlation between discourse with a historical content and architectural practice.

Digital Rhetoric Architecture:

 The invasion of digital technology into our lives in the age of modern technology, especially computers, is an essential irresistible matter.
 Digital rhetoric is the way of informing, persuading and inspiring actions in an audience through digital media. It is an advancing form of
communication composed, created and distributed through multimedia platforms.
 Online media are increasingly used as communication and information platforms, and since more text is placed online.
 Because of this shift in rhetoric, the relationship between writers and readers has changed in form, communication, style and effectiveness.
Example : Design Boom, Arch Daily, Pinterest etc. From Notebooks to IPad and paintbrush to smart pens.
 Digital rhetoric is advancing and changing how people choose to communicate their ideas with broader audiences. As the power of
technology grows so too do the uses and scope of digital rhetoric too.
 This includes schools offering online classes and test taking, online news sources and people prefer online searching than encyclopedia.
Online journals allow for information to be more accessible due to the use of digital rhetoric. Writers also have more opportunities to write
in various formats instead of traditional linear format.
Technology As Rhetoric:

 Technology is both techniques and objects that embody and enact

techniques.
 Architectural technology can be summarized as the technical design and
expertise used in the building design process.
 The use of such technologies in designing process adds a new dimension to the
architectural product, which enables us to materialize our ideas that are not
fully expressed.
 When an architect uses the computer in the process of design and
representation, he connects to it creating a coupled cognitive system, where
the man and machine exchange ideas and information.
 Nowadays, most of the architecture use programs not only to develop ideas
but also to draw and represent them in efficient way.
 Digital Technology and Architecture
DIGITAL TECHNOLOGY AND ARCHITECTURE
• The Information Age, like the Industrial Age before it, is challenging not only how we design buildings, but also how we
manufacture and construct them- thru digital fabrication.
• The generative and creative potential of digital media, together with manufacturing advances already attained in
automotive, aerospace and shipbuilding industries, is opening up new dimensions in architectural design.
It was only within the last few years that the advances in
• computer-aided design (CAD) and
• computer-aided manufacturing (CAM) technologies have started to have an impact on building design and construction
practices
DIGITAL TECHNOLOGY & DIGITAL ARCHITECTURE
Digital architecture is to digital society what modern architecture was to industrial society
Digital technology has enabled
• A more fluid, dynamic way to approach design
• Building form to constantly evolve thru motion and transmutation
• Design in a truly constraint less environment.
Three core aspects of Information Technologies to design practices are as follows:
1. Digital expression of building form
2. Digital integration of specialist design information
3. Digital organization of office practice.
DIGITAL EXPRESSION OF BUILDING FORM
The digital expression of building form concerns ways in which methods of expression such as conventional sketching and
physical modelling can be transferred into digital environments. Digital representation occurs whenever designers use the
medium of computing environments to produce objects such as drawings and models that can either be used for analysis
or for presentation
Example: -
CURVES OF STEEL: CATIA AND THE WALT DISNEY CONCERT HALL
The Walt Disney Concert Hall, designed by architect Frank Gehry, makes extensive use of computer technology. Without
the use of CATIA (Computer-Aided Three-Dimensional Interactive Application), construction of the concert hall would have
been impossible. After a physical model is built, the model is scanned by a laser device that transmits coordinates to the
CATIA program. CATIA then shows a 3D section of the model, which can be viewed as a movie that gives structural
coordinates as well as a time schedule for project completion.
These paperless plans are more easily understood by a contractor and construction crew and allow Gehry's unconventional
forms to take shape. In the future, CATIA technology will allow exact quantities of materials to be calculated and will even
facilitate work via the internet. CATIA has also been used in the building of other structures such as the Guggenheim
Museum in Bilbao, Spain and a giant fish sculpture on the Barcelona waterfront, both also designed by Gehry.
DIGITAL INTEGRATION OF SPECIALIST DESIGN

The digital integration of specialist design information is concerned with how CAD environmental aspects can be
modelled and supported digitally, and integrate architecture/ structural / construction / environmental aspects /
fabrication..
Building information modeling (BIM)
BIM is an intelligent model-based process that provides insight to help you plan, design, construct, and manage
buildings and infrastructure. BIM creates a single platform for AEC- Architecture, Engineering and Construction.
Advantages of BIM
• Reduces waste and rework
• Manage greater project complexity
• Work with compressed project schedule
• IPD – integrated project delivery.

According to the NBS National BIM Report 2015, the most popular drawing tools are:
• Nemetschek Vectorworks • Stadpro
• Autodesk Revit (Architecture/Structures/MEP) • Robotstructure
• Autodesk AutoCAD • Ecoteln
• Primevera • Clash detection
• Tetla • Catia
• Naviswork
• Trimble Sketchup (formerly Google Sketchup)
• Design
Building Information Modeling (BIM) for building design and engineering helps reduce the risk of errors through integrated
design, engineering, and fabrication workflows

• Construction
(BIM) on-site and in the office to help streamline workflows, maintain more accurate information, and keep BIM
construction projects moving forward more predictably.

• Infrastructure
(BIM) solutions help turn information into insight to optimize designs and help accelerate approvals, resulting in more
effective and resilient infrastructure.
DIGITAL ORGANISATION OF OFFICE PRACTICE
The digital organisation of office practice concerns issues of presentation and communication of information to various
design partners and clients throughout the different design stages. In the real world of design practice, responses need to
be made to human demands on a daily basis. These demands are often client-driven, constrained by professional bodies
and standards, and reflective of the attitudes and design philosophies of the practices themselves.
Example:
Phoenix International Media Center
Phoenix International Media Center, located at the southwest corner of Beijing Chaoyang Park, with gross floor area
of 65,000 square meters and building height of 55 meters, was designed by Beijing Institute of Architectural
Design.
The overall design logic is to wrap the main, independently-maintainable space with an ecologically-functional shell,
rendering a building-in-building form. There is some interesting shared and public space in between, so as to meet the
purpose of public involvement and experience and environmental protection.
In addition to media office and studio production facilities, there is also lots of interactive experience space open to
the public, so as to reflect the unique open business concept of Phoenix Media.
To show the uniqueness, culture, and rationality of technology and cost, the architects creatively proposed for the outer
surface of the center a flake-type, unit-combined façade fabrication of which either two of the 5,180 units are
different from each other.
UNIT 2-ASPECT OF DIGITAL ARCHITECTURE
Aspects of Digital Architecture– Design and Computation – Difference between Digital Process and
Non-Digital Process – Architecture and Cyber Space – Qualities of the new space – Issues of
Aesthetics and Authorship of Design – Increased Automatism and its influence
Digital Architecture
The digital advancements have heralded a new architecture that is anything, but static in nature.
• A new perception of space – the fluid continuity
• Dematerialisation of structures
•Variation –of shape and of the programming of its movements
• Changing expression of the exterior and interior image
• Connection with a possible processing of data transformed in real time
•Uninhibited and spontaneous in its manifestations
•Extrovert by being dynamical; informal by being informational and joyful in its movements.
• More explicit, direct and expressive
• More colourful than austere
•Eloquent, rather than elegant
•Bold, rather than resistant

CHARACTERISTICS/ ASPECTS OF DIGITAL ARCHITECTURE COMPUTATIONAL ARCHITECTURE

The new digital approaches to architectural design (digital architectures) are based on computational concepts such as

1. Topological space (topological architectures),

2. Isomorphic surfaces (isomorphic architectures),
3. Motion kinematics and dynamics (animate architectures),
4. Key shape animation (metamorphic architectures),
5. Parametric design (parametric architectures), and
6. Genetic algorithms (evolutionary architectures),
 COMPUTATIONAL CONCEPTS METHODOLOGY/ EXAMPLES
CONCEPTS
1. Topological space (topological architectures), • Topology • Mobius strip
• nurbs • Klein Bottle
• non – Euclidean geometry • Gehry’s Guggenheim Museum in Bilbao, spain
• Kunsthaus Graz,Austria

2.Isomorphic surfaces (isomorphicarchitectures), • blobs

• Bernard Franken’s The BMW Pavilion in Munich
• metaballs
• Cardiff Opera by Greg Lynn
• isomorphic surfaces
• Kunsthaus Graz, Grazer Kunsthaus, or Graz Art Museum

3.Motion kinematics and dynamics (animate • keyframe animation

• forward and inverse kinematics • Lynn’s Port Authority Bus Terminal in New York
architectures),
• dynamics (force fields) and
• particle emission.

4.Key shape animation (metamorphic architectures), • keyshape – keyframe animation • Gehry.s Üstra Office Building in Hannover, Germany (1999)
• path animation • Ost/Kuttner Apartments (1996,),

5.Parametric design (parametric architectures), • defined by control parameters • Mercedes Benz museum in Stuttgart by un studio
Levels of computability • waterloo train station in London
• The representational, • paracube by arch. Marcos Novak
• The parametric, • national swimming center in Beijing
• The algorithmic
6.Genetic algorithms (evolutionary architectures), • genetic algorithm
• Various parameters are encoded
• Greg Lynn's embryological house
into the “a string-like structure”
and their values changed during
the generative process
 • TOPOLOGY
1.TOPOLOGICAL ARCHITECTURE • NURBS
• NON – EUCLEDIAN GEOMETRY
TOPOLOGICAL SPACES
• Topology is an abstract term designating a continuity of surface. It is usually employed in the field of mathematics to describe an entity of
organized spatial relationships and proximities within surface structures. Topology – A study of intrinsic, qualitative properties of geometric
forms that are not normally affected by changes in size or shape.

Topologically equivalent figures

2 figures are topologically equivalent if one can be obtained from the other by curving or stretching its surface without cuts or creases.

Topologically equivalent figures

Euclidean and Non-Euclidean Geometries
The topological geometry is often described as ‘Non-Euclidean’ that is a geometry that does not follow the Euclidean geometry of distinct
volumes in the Cartesian space. However, once a topological architecture is given a geometric architectural form, it operates in the domain of
Euclidean geometry.
Topology is opposed to the Euclidean
geometrical representation of space. When an
Euclidean wall associates itself to other flat
surfaces (walls, ceiling, floors), it is simple to
define an inside and an outside.

Note : Euclid sometimes given the

name Euclid of Alexandria , was
a Greek mathematician, often
referred to as the "founder of
geometry” or the "father of
geometry". Euclid deduced the
theorems of what is now called
Euclidean geometry from a small
set of axioms. Euclid also wrote
works on perspective, conic
sections, spherical geometry,
number theory, and rigor.
 NON EUCLIDEAN GEOMETRIES
Architectural thinking throughout centuries was based firmly on Euclidean thought and Platonic solids, neatly
depicted in Le Corbusier's sketch in his book Vers une architecture. The cylinder, pyramid, cube, prism and
sphere were not only the essential forms of the Egyptian, Greek and Roman architecture, as dryly observed by
Le Corbusier, but were also universal geometric “primitives” of the digital solid modeling software of the late
twentieth century.

The first four postulates, as articulated by Euclid, are considered postulates of absolute geometry. It was this
fifth postulate that opened the realm of non-Euclidean geometries. Though many had questioned Euclid’s fifth
postulate, it was not until Carl Friedrich Gauss and the mathematicians after him who have finally managed to
successfully demonstrate the existence of non-Euclidean geometries.
Euclid's Postulates
1. A straight line segment can be drawn joining any two points.
2. Any straight line segment can be extended indefinitely in a straight line.
3. Given any straight lines segment, a circle can be drawn having the segment as
radius and one endpoint as center.
4. All Right Angles are congruent.
5. If two lines are drawn which intersect a third in such a way that the sum of the
inner angles on one side is less than two Right Angles, then the two lines inevitably
must intersect each other on that side if extended far enough. This postulate is
equivalent to what is known as the Parallel Postulate.
Topological surfaces like the well-known Möbius strip, complexifies this strict definition of inside and outside since the inflection of these surfaces
does no longer allow them to contain space, but rather to constitute an interface between two milieus.

Topology is opposed to the Euclidean geometrical representation of space. To use an architectural terminology, when an Euclidean wall is
combined to other flat surfaces (other walls, ceiling, floors), it is simple to define an inside and an outside, since such terms found their definitions
based on such an organization of space.

On the other hand, topological surfaces like the well-known Möbius strip and the Klein Bottle, complexifies this strict definition of inside and
outside since the inflection of these surfaces does no longer allow them to contain space, but rather to constitute an interface(edge or border)
between two milieus. (background,setting or surrounding)
astrologer and mathematician - August Ferdinand Möbius (1790-1868).

Mobius strip
• Möbius strips, which have only one surface and one edge, are a kind of
object studied in topology. The Moebius strip is the figure of 8 without a
right or vice versa, without beginning or end.
• The Möbius strip has the mathematical property of being unorientable.
It can be realized as a ruled surface.
• Mobius house in a residential area close to Amsterdam.
• In 1993, a young couple instructed the Dutch architect Ben van Berkel
design “a house that was recognized as a reference in terms of renewal
of the architectural language.”
https:// en. wikiarquitectura. com/ building/ moebius - house/
https:// en. wikipedia. org/wiki/ M% C3 % B 6bius_ strip
Klein Bottle
In topology, a branch of mathematics, the Klein bottle i s an example of a non- orientable surface ; it is a two-dimensional
manifold. The Klein bottle i s a descriptive model of a surface developed by topological mathematician klein.
https:// en. wikipedia. org/ wiki/ Klein_ bottle
Klein Bottle house
Klein house has become the mathematical concept of the Klein Bottle. Externally the building is predominantly clad in cement sheeting,
simultaneously recalling both folded origami, tents and the ubiquitous ‘fibro-shack’. The building is supported by a traditional timber stud frame
– pushed to its physical limit.

Klein Bottle

Klein Bottle House

Alexandros Tsamis, Surrogate House, MIT 2010.
This notion of topology is studied in various schools of architectures and architectural practices around the world (see Alexandros Tsamis
above or the work of Kokkugia for some instance) as the representation/generation of such complexity of space has been reachable for the
last two decades thanks to the computational tool (although people like Vittorio Giorgini or Frederick Kiesler did not seem to need computers
to build such forms).

kokkugia architecture ubiquitous ‘fibro-shack’. The building is supported by

a traditional timber stud frame – pushed to its
https://iremstructure.wordpress.com/2012/03/10/kokkugia-algorithmic-architecture/\ physical limit.
Bejing Olympic stadium, is affectionately named the “Birds Nest.” The design of this large stadium was accomplished
together by Swiss architects Jacques Herzog and Pierre de Meuron and Chinese architect Li Xinggang and the others.
The designers didn’t do any redundant disposals to the look of the stadium. They just exposed the steel structures entirely
and let them become the most natural appearance. The form of the stadium looks like a big nest which embraces and nurses
human beings.

Bejing Olympic stadium

In his essay on “architectural curvilinearity” Greg Lynn (1993) offers examples of new approaches to design that move
away from the deconstructivism’s “logic of conflict and contradiction” to develop a “more fluid logic of connectivity.”

This new fluidity of connectivity is manifested through folding, a design strategy that departs from Euclidean geometry
of discrete volumes represented in Cartesian space, and employs topological, “rubber-sheet” geometry of continuous
curves and surfaces.
In topological space, geometry is represented not by implicit equations, but by parametric functions, which describe a range of possibilities.
The continuous, highly curvilinear surfaces that feature prominently in contemporary architecture are mathematically described as
NURBS – Non-Uniform Rational B-Splines. NURBS geometry introduces double curved surfaces in architecture allowing for
generation, control, fabrication of curvilinear geometries.

What makes NURBS curves and surfaces particularly appealing is the ability to easily control their shape by manipulating the control
points, weights, and knots. NURBS make the heterogeneous, yet coherent forms of the topological space computationally possible.

Spline curves and polygons are collectively

termed "faces", while grids and spline surfaces
are termed "hulls". As opposed to polygonal
types, NURBS and Bézier entities are inherently
smooth primitives known as splines.

 2 degree spline- a two-degree spline ,where

the curvature and inflection is determined by
a sequence of positions between only two
points along the motions flow of the spline.
The spline is therefore appears to be a
poly-line.
 3 degree spline- a 3 three degree spline ,where  A seven degree spline – where the curvate and inflection is
the curvature and inflection is determined by a determined by a sequence of positions of 7 adjacent points along
sequence of positions of 3 points along the the path of the spline. The seven-degree spline is therefore much
motion flow of the spline. The spline is smoother than the three-degree spline because it interpolates
constructed from control vertices, connected in a between a greater number of adjacent points.
sequence, and from which a vector curve hangs
with a directional flow.
 Two splines –showing the
distributed effect of a change
in one control vertex across the
length of the spline. The fourth
control vertex is moved and its
weight is increased. This
change is distributed along the
length of the spline rather than
only between fixed points.
 What makes NURBS curves and surfaces particularly appealing is their ability to easily control their shape by interactively
NURBS manipulating the control points, weights and knots. NURBS make the heterogeneous, yet coherent, forms of the digital architectures
computationally possible and their construction attainable by means of computer numerically controlled (CNC) machinery

NURBS modeling software

Example: Topological architecture: Gehry’s Guggenheim Museum in Bilbao, spain
Set on the edge of the Nervión River in Bilbao, Spain, the Guggenheim Museum is a fusion of complex, swirling forms and captivating
materiality that responds to an intricate program and an industrial urban context..

• Constructed of titanium, limestone, and glass, the seemingly random curves of the exterior are designed to catch the light and react
to the sun and the weather. Fixing clips make a shallow central dent in each of the .38mm titanium tiles, making the surface
appear to ripple in the changing light and giving an extraordinary iridescence to the overall composition.
• Because of their mathematical intricacy, the twisting curves were designed using a 3-D design software called CATIA, which allows for
complex designs and calculations that would not have been possible a few years ago. Essentially, the software digitizes points on the
edges, surfaces, and intersections of Gehry’s hand-built models to construct on-screen models that can then be manipulated.
• The building’s walls and ceilings are load-bearing, containing an internal structure of metal rods that form grids with triangles. CATIA
calculated the number of bars required in each location, as well as the bars ’positions and orientations. In addition to this structure,
the walls and ceilings have several insulating layers and an outer coating of titanium. Each piece is exclusive to its location,
determined by the CATIA software.
Example: Topological architecture: Kunsthaus Graz,Austria
A representational level is characterized by the utilization of the computational mainly as an electronic drawing tool.
An example - Kunsthaus Graz by Peter Cook and Colin Fournier.
NURBS have been used to digitally describe the shape of the outer skin of the museum based on an existing physical model

Digital blob modelling

techniques are based on
the NURBS technology
(non-uniform rational B-
Splines). The structural
digital model began as a
sphere which was then
distorted by pulling on
parametric control
points in software -
Rhino-3D.

BIX (big pixel) media facade

The Kunsthaus, Graz, Austria by Peter Cook and Colin Fournier

Early CAD sketch model of skin form Detailed CAD model of cladding system Physical structural model

CAD models of cladding panels 3D model views

 •BLOBS
2.ISOMORPHIC SPACES- (ISOMORPHIC ARCHITECTURES) •METABALLS
•ISOMORPHIC SURFACES
Isomorphism is a very general concept that appears in several areas of mathematics. The word derives from the Greek iso, meaning
"equal," and morphosis, meaning "to form" or "to shape."

Formally, an isomorphism is bijective morphism. Informally, an isomorphism is a map that preserves sets and relations among elements. "
is isomorphic to " is written . Unfortunately, this symbol is also used to denote geometric congruence.

Blobs or meta balls, as isomorphic surfaces are sometimes called, are amorphous objects constructed as composite assemblages of mutually
inflecting parametric objects with internal forces of mass and attraction. They exercise fields or regions of influence, which could be
additive (positive) or subtractive (negative).

The geometry is constructed by computing a

surface at which the composite field has the
same intensity – hence the name – isomorphic
surfaces.

The surface boundary of the whole (the

isomorphic surface) shifts or moves as fields of
influence vary in their location and intensity.
In that way, objects begin to operate in a
dynamic rather than a static geography (Lynn
1999).
 Isomorphic polysurfaces" in the special effects and
animation industry is referred to as "meta-clay," "meta-
ball" or "blob" models.
“ BLOB “ – means BINARY LARGE OBJECT
 Blobs have a centre, a surface and a mass area that is
relative to other objects, and internal forces due to
mass attraction

 The weight of one spline surface can affect those of

another spline surface. These resulting structures are
called blobs for their ability to mutually inflect one
another and form composite assemblages.

 Disconnected primitives used to compose an isomorphic

polysurface.

 Difference between sphere and blob

•Sphere symmetries are the index of a low level of

interaction.

•Blob has an index of a high degree of information in

the form of differentiation of components in time.
Examples : BMW-Pavilion by B. Franken,
•Sphere can be identified as a blob without influence Cardiff Opera by Greg Lynn,
(attractive force) Kunsthaus Graz, Grazer Kunsthaus, or Graz Art Museum
 BLOBS-METABALLS-ISOMORPHIC SURFACES
These are amorphous objects constructed as composite assemblages of mutually inflecting
parametric objects with internal forces of mass and attraction
Bernard Franken’s The BMW Pavilion in Munich

Example: BMW Pavillion is exclusively based on the computational concepts of isomorphic surfaces. Architect - Bernhard Franken - 1999
• The form was generated digitally, Franken used a dynamic process to
express the balance between internal pressure and surface tension of a
drop of water, he simulated a physical forces of two drops merging under
the influence of gravity, and so the Bubble was generated.
• The approach in the BMW bubble project is from the skin to the structure.
The structural grid is obtained by cutting the surface with horizontal and
vertical planes orthogonal to each others. in this case the production
strategy is based on the individuation of planar components from
geometrically complex surface by using a sequence of planar section.
• The structural ribs are made of 3 layers of cut sheet aluminum. the section
cutting was carried out using cnc-driven water-jet cutters in seven different
factories.
• The first model of the bubbles’ skin was constructed using a laser sintering
method in the department for rapid prototyping at the design department
of BMW.
Example ; Cardiff Opera by Greg Lynn
Welsh National Opera House on the Inner Harbor of Cardiff Bay mandates a new concept for waterfront urban space. The proposal uses
the empty shell of the defunct technology of the Oval Basin, not as a monument to a bygone era but as the generator of a new
waterfront public space and as the starting point for A new civic institution. The Oval Basin becomes the chrysalis out of which the Opera
House emerges. Like the graving docks that are indigenous to Cardiff's waterfront, the Opera House is sited so that is an interface
between land and water.
• The project is structured through two systems; portalized wall fins and rib
structured hulls. The inspiration for these two structural systems and their
relationship to the site came from the graving docks in Cardiff, such as the Oval
Basin.

• These fins walls act like the lateral supports of the wooden cribs upon which the
dry docked boats were supported and constructed in the graving docks of
Cardiff. These walls are of concrete construction and run continuously from a
height of 32m to grade level though a series of variable slopes.

• These walls can be punctured at any point at which they can support transmitted
loads from above, as they are based on the structural principle of portalized
masonry walls.
Example ; Kunsthaus Graz, Grazer Kunsthaus, or Graz Art Museum
• The Kunsthaus Graz, Grazer Kunsthaus, or Graz Art Museum was built as part of the European Capital of Culture celebrations in 2003
and has since become an architectural landmark in Graz, Austria. Its exhibition program specializes in contemporary art of the last four
decades.

• Designed by Peter Cook and Colin Fournier, the Kunsthaus, Graz is characterised geometrically by its blob-like form. The architects
wanted to establish the ‘alien’ nature of the object and so a sleek continuous surface was the best way to smooth out the conventional
differences between elements such as roof, walls and floors.
Digital blob modelling techniques are based on the NURBS
technology (non-uniform rational B- Splines). The structural digital
model began as a sphere which was then distorted by pulling on
parametric control points in software -Rhino-3D.

The building also features a media façade, the BIX (big pixel). The
giant low-resolution screen surface of the Kunsthaus can display
simple image sequences and varying text streams, making it an
innovative medium for digitally presenting art and other information.
3.MOTION KINEMATICS AND DYNAMICS ( ANIMATE ARCHITECTURE )
Kinematics is the branch of mechanics concerned with the motions of objects without being concerned with the forces that cause the motion. In
this latter respect it differs from dynamics, which is concerned with the forces that affect motion.Kinematics studies without consideration given to
mass or external forces, whereas Dynamics takes into consideration physical properties such as mass, elasticity and physical forces such as
gravity and inertia.

KINEMATICS : There are three basic concepts in kinematics - speed, velocity and acceleration.
• Speed : The speed of an object is how fast it is moving (the same as the ordinary, everyday definition). Speed in physics is defined as the rate
of change of position with no respect to direction.
• Velocity : Velocity is defined as the rate of change of position of a body in a given direction. The velocity of an object (such as a bus) is how
fast it is moving in a particular direction. To specify the velocity, both a speed and a direction must be given. Continuing with the bus from the
example above, if it is moving east of west, then its velocity is 50 km/h, e of w.
• Acceleration : Acceleration is the rate of change of velocity. Recalling the definition of velocity, this could mean a change in speed or direction.
So, if the bus (yes, it's still with us!) goes around a curve without slowing down, still traveling at 50 km/hr, but now turning toward the south
(say), then it is accelerating, even though its speed isn't changing.
Acceleration will prove to be an important topic when it comes to dynamics, which is concerned with the forces that make objects move.

 Uniform motion
The simplest type of motion is where the change in distance is the same for every second; in other words the speed is constant.

 Motion with constant acceleration

The next simplest type of motion is where the velocity (speed) is steadily increasing.
DYNAMICS
Dynamics is the study of why things move, in contrast to kinematics, which is concerned with describing the motion of objects. An object's motion
typically is described using Newton's Laws of Motion

Newton's 1st Law of Motion

Newton's First Law is often stated: "An objects at rest will tend to stay at rest, or an object in motion will tend to stay in motion unless acted
on by an outside force."
Newton's 2nd Law of Motion
Newton's 2nd Law of Motion states:"the rate of change of the momentum of an object is directly proportional to the resultant force acting
upon it".
Newton's 3rd Law of Motion
Newton's Third Law of Motion is often stated as "For every action there is an equal and opposite reaction."

Greg Lynn (1999) was one of the first architects to utilize animation software not as a medium
of representation, but of form generation.

According to Lynn, “Animate design is defined by the co-presence of motion and force at the
moment of formal conception.”Force, as an initial condition, becomes “the cause of both motion
and particular inflections of a form.” According to Lynn, “while motion implies movement and
action, animation implies evolution of a form and its shaping forces.”

In his projects, Lynn utilizes an entire repertoire of motion-based modelling techniques, such as
keyframe animation, forward and inverse kinematics, dynamics (force fields) and particle
emission.
Keyframe animation
A keyframe in animation and filmmaking is a drawing that defines the
starting and ending points of any smooth transition. The drawings are
called "frames" because their position in time is measured in frames on a
strip of film. A sequence of keyframes defines which movement the viewer
will see, whereas the position of the keyframes on the film, video, or
animation defines the timing of the movement. Because only two or three
keyframes over the span of a second do not create the illusion of movement,
the remaining frames are filled with inbetweens.
 What is Forward Kinematics?
The Forward Kinematics function/algorithm takes a pose as
the input, and calculates the position of the end effector as
the output. Forward Kinematics is the inverse function of
Inverse Kinematics. With Forward Kinematics, you need to
define the whole pose of an articulated body so as to
provide the function/algorithm with the pose input. This
means you need to define the articulation of each joint in
the articulated body. This might be fine if you have a low
number of joints, but with a high number of joints this
tends to be tedious.

What is Inverse Kinematics?

Figure: The target position is represented by a
red circle. The target position is defined as the Now, imagine if you’d like the end effector of your
input, and the resulting pose required for the articulated body to reach a particular target position.
end effector to reach the target position is the This means that you know the end effector position you’d
output. like to target, but you don’t know what the pose of the
articulated body needs to be for the end effector to
https://www.quora.com/What-is-the- reach this target position. This is where Inverse Kinematics
difference-between-inverse-kinematics- shines!
approach-and- forward-kinematics-approach
Particle system in motion modelling
A particle system is a technique in game physics, motion graphics, and computer graphics that uses a large number of very small sprites, 3D
models, or other graphic objects to simulate certain kinds of "fuzzy" phenomena,

Introduced in the 1982 film Star Trek II: The Wrath of Khan for the fictional "Genesis effect",other examples include replicating the phenomena
of fire, explosions, smoke, moving water (waterfall), sparks, fallingleaves, rock falls, clouds, fog, snow, dust, meteortails, stars and
galaxies, or abstract visual effects like glowing trails, magic spells, etc. - these use particles that fade out quickly and are then re-emitted
from the effect's source.

Another technique can be used for things that contain many strands - such as fur, hair, and grass - involving rendering an entire particle's
lifetime at once, which can then be drawn and manipulated as a single strand of the material in question.

Particle systems may be two-dimensional or three-dimensional.

Typically a particle system's position and motion in 3D space are controlled by what is referred to as an emitter. The emitter acts as the source
of the particles, and its location in 3D space determines where they are generated and where they move to. A regular 3D mesh object, such
as a cube or a plane, can be used as an emitter. The emitter has attached to it a set of particle behavior parameters. These parameters can
include the spawning rate (how many particles are generated per unit of time), the particles' initial velocity vector (the direction they are
emitted upon creation), particle lifetime (the length of time each individual particle exists before disappearing), particle color, and many
more.
A typical particle system's update loop (which is performed for each frame of animation) can be separated into two distinct stages, the
parameter update/simulation stage and the rendering stage.

Simulation stage
During the simulation stage, the number of new particles that must be created is calculated based on spawning rates and the interval
between updates, and each of them is spawned in a specific position in 3D space based on the emitter's position and the spawning area
specified. Each of the particle's parameters (i.e. velocity, color, etc.) is initialized according to the emitter's parameters. At each update, all
existing particles are checked to see if they have exceeded their lifetime, in which case they are removed from the simulation. Otherwise,
the particles' position and other characteristics are advanced based on a physical simulation, which can be as simple as translating their
current position, or as complicated as performing physically accurate trajectory calculations which take into account external forces (gravity,
friction, wind, etc.). It is common to perform collision detection between particles and specified 3D objects in the scene to make the
particles bounce off of or otherwise interact with obstacles in the environment.

Rendering stage
After the update is complete, each particle is rendered, usually in the form of a textured billboarded quad (i.e. a quadrilateral that is always
facing the viewer). Particles can be rendered as Metaballs in off-line rendering; is surfaces computed from particle-metaballs make quite
convincing liquids. Finally, 3D mesh objects can "stand in" for the particles — a snowstorm might consist of a single 3D snowflake mesh
being duplicated and rotated to match the positions of thousands or millions of particles.
Particle systems can be either animated or static; that is, the lifetime of each particle can
either be distributed over time or rendered all at once. The consequence of this distinction is
similar to the difference between snowflakes and hair - animated particles are akin to
snowflakes, which move around as distinct points in space, and static particles are akin to
hair, which consists of a distinct number of curves.

A cube emitting
The same cube
5000 animated emitter rendered
particles, obeying a using static
"gravitational" particles, or
force in the negative strands.
Y direction.
Greg Lynn projects
In some of Lynn’s projects, such as the House Prototype in Long Island , skeletons with a global envelope are deformed using inverse
kinematics under the influence of various site-induced forces.

In contrast to kinematics, the dynamic simulation takes into consideration the effects of forces on the motion of an object or a system of objects,
especially of forces that do not originate within the system itself. Physical properties of objects, such as mass (density), elasticity, static and
kinetic friction (or roughness), are defined. Forces of gravity, wind, or vortex are applied, collision detection and obstacles (deflectors) are
specified, and dynamic simulation computed.

Greg Lynn’s design of a protective roof and a lighting scheme for the bus terminal in New York offers a very effective example of using
particle systems to visualize the gradient fields of “attraction” present on the site, created by the forces associated with the movement and flow
of pedestrians, cars, and buses on the site.

Animate architecture: Lynn’s Port Authority Bus Terminal in New York.

4.KEY SHAPE ANIMATION (METAMORPHIC ARCHITECTURE)
Metamorphosis
Metamorphic architectures are generated by the deformation of modelling space. Morphing
represents an additional deformation and transformation techniques, which involve a time
based strategy.

Metamorphic generation of form includes several techniques such as key shape animation,
deformations of the modelling space around the model using a bounding box (lattice
deformation), an spline curve, or one of the coordinate system axis or planes, and path
animation, which deforms an object as it moves along a selected path.

PATH CURVE DEFORMATION

 TOPOLOGICAL INVARIANT TRANSFORMATIONS:

Simple, topologically invariant transformations, such as
Spline curve deformation
twisting and bending, are particularly effective means
for creating alternative morphologies.

For instance, Gehry.s Üstra Office Building in Hannover,

Germany (1999), has a simple prismatic form, which
twists in the direction of the nearby open park area .
By adding a fourth, temporal dimension to the deformation processes, animation software adds a possibility to literally express the space
and form of an object’s metamorphosis
Gehry.s Üstra Office Building in Hannover, Germany (1999)

KEYSHAPE – KEYFRAME ANIMATION

In keyshape (keyframe) animation, different states of an object (i.e. keyshapes or keyframes) are
located at discrete points in time, and the software then computes through interpolation a smooth,
animated, time encoded transition between them. A designer could choose one of the interpolated
states for further development, or could use the interpolation as an iterative modelling technique to
produce instances of the object as it transitions, i.e. morphs from one state to another .

Morphing
A particularly interesting temporal modelling technique is morphing, in which dissimilar forms are
blended to produce a range of hybrid forms that combine formal attributes of the base and target
objects.
Kolatan and Mac Donald used morphing in a number
of their projects. In Housings, a normative three
bedroom, two-and-a-half bathroom colonial house
face morphing was used as a base object that was then morphed
into a range of everyday objects as targets producing
a large range of what they call chimerical designs .

object morphing
 In the Ost/Kuttner Apartments (1996,), they digitally blended cross referenced sectional profiles of common household furniture, such as a
bed, sink, sofa, etc., to generate new hybrid forms that establish a chimerical condition between furniture, space, and surface.

Kolatan and Mac Donald intentionally employed digital generative processes whose outcomes were unknown and impossible to preconceive
or predict, i.e. they relied on processes characterized by nonlinearity, indeterminacy and emergence.
Other techniques for the metamorphic generation of form include deformations of the modeling
space around an object using a bounding box (lattice deformation), a spline curve, or one of the
coordinate system axis or planes, whereby an object’s shape conforms to the changes in geometry of
the modeling space.
Root Chair by Sulan Kolatan and William MacDonald

PATH ANIMATION
In path animation, for example, an object is deformed as it moves along a selected path
Modelling of movement in architecture
There are two recent models for the modeling of
movement in architecture; the first method
involves procession and the second involves
superimposition.

Architectural form is typically conceived as a modulating frame through which a mobile eye moves.
In processional models of time, architecture is the immobile frame through which
motion passes. There are two recent alternatives to the processional model of the
static frame; both of which formalize time. Where processional time depends on
static frames, formal time indexes time through the multiplication and
sequencing of static frames.

Examples of formal or phenomenal time include "shearing," "shifting" and

"rotating" operations. Superimposed snap-shots of motion imply time as a
phenomenal movement between frames or moments.

"Rotational" is one such example of time being used to describe the movement
between superimposed formal moments. These motion picture models of time
instance a sequence into frames that are later reanimated with motion. They
differ from the processional models of architecture as a static frame because they
introduce the idea of architecture as multiply framed and therefore dynamic

In path animation, for example, an

object is deformed as it moves
along a selected path
5.PARAMETRIC DESIGN – ( PARAMETRIC ARCHITECTURE)
In parametric design the parameters of a particular design are defined, and not its shape. By assigning different values to the parameters,
different objects or configurations can be created. It is defined by control parameters , such as dimensions, angles, relative distances, etc.

Equations can be used to describe the relationships between objects, thus defining an associative geometry— the “constituent geometry that
is mutually linked” (Burry 1999). That way, interdependencies between objects can be established, and objects’ behaviour under
transformations defined. Parametric design often entails a Procedural, Algorithmic description of geometry.

In this Algorithmic Spectaculars (i.e..,)Algorithmic explorations of “tectonic Production” using mathematical software, architects can construct
mathematical models and generative procedures that are constrained by numerous variables initially unrelated to any programmatic concerns.
Each variable or process is a “Slot” into which an external influence can be mapped, Either statically or Dynamically.

The implication is that the parametric design doesn’t necessarily predicate stable forms. As demonstrated by Burry (1999), one can devise a Para
morph – an unstable spatial and topological description of form with stable characteristics.

Asymptote architects-Yas Viceroy Hotel Abu

Parametric Instances of an Object

Parametric Landscape
Examples for the parametric architecture
MERCEDES BENZ MUSEUM IN STUTTGART BY UN STUDIO
A more complex parametric interplay between all of the various elements of the architecture was used in the design of the Mercedes
Benz Museum in Stuttgart by UN Studio. The definition of the geometry of every single element of the building is dependent on the
basic layout of the trefoil figure.
Examples for the parametric architecture
WATERLOO TRAIN STATION IN LONDON
An example - A well-known example of this type of parametric variation is the design for the Waterloo train station in London by
Nicholas Grim Shaw.
In this design the basic structure was a three-pin bowstring arch with an asymmetric placement of the center pin due to the geometry of
the platforms and its parametric propagation as a series of 36 identically configured trusses along the length of the train shed

36 dimensionally different
but identically configured
three –pin bowstring arches
 THE ALGORITHMIC
EXAMPLE-NATIONAL SWIMMING CENTRE IN BEIJING
The formal description of the space filling behavior of foam bubbles and its abstraction as Wearie-
Phelan geometry enabled the use of complex polyhedral cells as a construction system - a rational
and efficient solution that appears to be random.

The Water Cube's structure is the outcome of applying sophisticated analysis and optimization
software that Arup's engineers created in-house specifically for this project. The program helped the
designers examine the space frame under various loading scenarios to determine the size, shape,
weight, and other properties for each of the 22,000 steel tubes. These characteristics were
automatically recorded in a database and a 3D model, which in turn were used to produce the
construction documents.

Because of the high degree of automation that the parametric process afforded, the team could
generate a complete set of new construction documents in less than a week following a major change
in the Water Cube's configuration, according to Carfrae. But speed was not the only advantage. The
process also ensured accuracy. Prior to construction, the team issued the 3D model, traditional 2D
drawings, and the database to the contractor. They did not worry about potential conflicts between
the various media (or resulting construction errors) since "it was all the same information conveyed in
different ways," he says.

Team members say that the process of digital form finding, analysis, and documentation employed to
produce the Water Cube was cutting edge for a building designed largely in late 2003. "There is a
lot of talk about auto generated architecture, but this was one of the first projects where such a
process was realized,“ Chris Bosse, a former project architect at PTW.
Examples for the parametric architecture
PARACUBE BY ARCH. MARCOS NOVAK
Parametric design often entails a procedural, algorithmic description of geometry. In his “algorithmic
spectaculars”, i.e., algorithmic explorations of “tectonic production” using Mathematica software,
Marcos Novak (1996) constructs “mathematical models and generative procedures that are
constrained by numerous variables initially unrelated to any pragmatic concerns … Each variable or
process is a ‘slot’ into which an external influence can be mapped, either statically or dynamically.”
In his explorations, Novak is “concerned less with the manipulation of objects and more with the
manipulation of relations, fields, higher dimensions, and eventually the curvature of space itself.”

Using Mathematica software, Marcos Novak constructs "mathematical models and generative
procedures that are constrained by numerous variables initially unrelated to any pragmatic concerns Paracube
each variable or process is a' slot' into which an external influence can be mapped, either statically or
dynamically". In his explorations, Novak is "concerned less with the manipulation of objects and
more with the manipulation of relations, fields, higher dimensions, and eventually the curvature of
space itself"

This project was defined by six parametric surfaces, each with its own coordinate system. The
parametric equations governing each surface were arranged so that a variation on a particular
surface would cause reactions or permutations on adjoining surfaces, effectively creating a topological
cube.

The parametric equations governing the cuboid, was manipulated to create two forms: a skeletal Interior of the project
frame and a smooth skin. Parameterization allowed the smoothness of each element to be defined
and manipulated through computational formulas.
6.GENETIC ALGORITHM - EVOLUTIONARY ARCHITECTURE
EVOLUTIONARY ARCHITECTURE
• The “rules” that direct the genesis of living organisms, that generate their form, are encoded in the strands of DNA. Variation within the same
species is achieved through gene crossover and mutation, i.e. through the iterative exchange and change of information that governs the
biological morphogenesis.
• The concepts of biological growth and form, i.e. the evolutionary model of nature, can be applied as the generative process for architectural
form as well, argues John Frazer in his book “Evolutionary Architecture”. According to Frazer, architectural concepts are expressed as a
set of generative rules, and their evolution and development can be digitally encoded. The generative script of instructions produces a
large number of prototypical forms which are then evaluated on the basis of their performance in a simulated environment.. According to
Frazer, the emergent forms are often unexpected.

The key concept behind the evolutionary approach to architecture is that of the genetic algorithm,
a class of highly parallel evolutionary, adaptive search procedures,. as defined by Frazer. Their
key characteristic is a string-like structure equivalent to the chromosomes of nature, to which the
rules of reproduction, gene crossover and mutation are applied.

• Various parameters are encoded into the “a string-like structure” and their values changed
during the generative process. A number of similar forms, “pseudo-organisms,” are
generated, which are then selected from the generated populations based on predefined
“fitness” criteria.
• The selected “organisms,” and the corresponding parameter values, are then crossbred, with
the accompanying “gene crossovers” and “mutations”, thus passing beneficial and survival-
enhancing traits to new generations. Optimum solutions are obtained by small incremental
changes over several generations.
Examples for the genetic algorithm - evolutionary architecture

GREG LYNN'S EMBRYOLOGICAL HOUSE

Greg Lynn's Embryological House which used bodily forms and human morphologies, as
well as the allegorical genetic processes, is widely considered as a genetic architecture.
• The prototype of the embryological house is a topological symmetrical pure sphere,
which is a curve duplicated 12 times.
• In the first few months studying the project, Lynn and his team was focus on the massing,
on how the curve could best performed. They tried to automate the whole thing.
• Lynn first established the parameters for the Embryological House geometry (the
primitive curves) using Micro station software. By experimenting with a series of twelve
control points attached to this basic geometry he established prescribed limits, beyond
which impractical designs would result.

The Embryological House directly projects the body (embryo), which both stands for it and
represents its ideal perfection. In Vitruvian and Renaissance theory, the building derives its
authority, proportional and compositional, from the body; in a complementary way, the
building acts to confirm and establish the body.
The system is built up with a sphere and 6 targets. Then each of the targets is blend with the sphere. There are 6 variants if the whole
morph equals . As long as any one of them changes, the result would change.

Recombinant architecture looks to the figure of the artificially designed body (genomically, surgically or otherwise realized) as a
cyborgian measure of both structure and inhabitant, while genetic architecture infers or applies genetic grammars into the moment of
creating formal architecture. The body is the first architecture: the habitat that precedes habitation. Architecture looks toward the body for
its telos, its image of unified singularity, its continuous historicity.

“The condition of embodiment and its material poetics of scale, temperature, solidity and pliability, reproducibility and singularity have
located the horizon of design from Vitruvius to Virilio.” (Benjamin Bratton)
Bodies could be considered as machines, and machines as bodies, therefore they can be used for new design practices and modifications. A
spatial example could be the ear-mouse in 1995, which was then removed, without harming the mouse. Additionally, the extreme body
modification and plastic surgeries could be considered as “a deliberate renovation of the first habitat (of the Self), and of the public
production of performative space (of the singular Other)” (Benjamin Bratton). Although in the fields of primary mechanics the ultramodern Body
is a highly recombinant form, the ultimate realization of genomic digital auto-fabrication, it is unlikely to happen for legal and ethical reasons.

Bodies are now imaged as genomic territories, due to the fact that they are sliced into component sub variables and statistical predispositions.
Bodies could be considered not only as the first architecture, but also as the first digital architecture. The bodily forms produced are themselves
architectonic in the highest order. Like all the other naturally occurring architectures these genomic manifestations are incredibly perfect as they
are and available modifications.
DIFFERENCES BETWEEN DIGITAL PROCESS & NON-DIGITAL PROCESS

Digital Technology Digital Architecture

Technological advances have permitted: •The digital advancements have heralded a new architecture that is
•Simulation of growth processes anything, but static in nature.
•Animation of structures •A new perception of space –the fluid continuity
•Development of interactive processes and spaces •Dematerialisationof structure s
•Generation of heterogeneous shapes defined with basic •Variation –of shape and of the programming of its movements
programs and messages •Changing expression of the exterior and interior image
•Connection with a possible processing of data transformed in real time

Digital World Digital Architecture

A space –abounding in embryonic possibilities Digital architecture is to digital society what modern architecture was to
A space –more open to new programmesand systems industrial society
Devices –that are capable of reacting and mutating with An architecture
reality or the physical world •Of interchange and information
Capable of receiving and acting. •With a capacity for displacement and modification
•Dynamic evolution of processes and their associated spatial definition.
 Digital Architecture Digital Architecture
An architecture An architecture that is:
•Progressive and optimistic •Dynamic

It looks for a qualitative change produced through an effective It proposes the development of processes, rather than the
combination of heterogeneous data and bits of information. definition and limiting of occurrences.
In the complex reality, it looks to work within that complexity with It operates with dynamic geometries and organizations, an exact
an aim to explore possible potentials. more than exact Euclidean geometries.
Closer to elastic topologies rather than univeralrigid reticules.
Closer to digital logics rather than analogical models.

Digital Architecture Digital Architecture

An architecture that is: An architecture that is:
•More open, non-determinist, non-closed, unfinished and non- •Uninhibited and spontaneous in its manifestations
prefigured. •Extrovert being dynamical; informal by being informational and joyful
in its movements.
Capable of expressing its own movements, but also the different •More explicit, direct and expressive
demands that call for and shape it. •More colourfulthan austere
Conceived as a processing logic, rather than a formal aesthetic. •Eloquent, rather than elegant
A strategy rather than as a composition. •Bold, rather than resistant
 UNIT 3-CONTEMPORARY PROCESS
Overview of various Contemporary design process and it relation to computation: Diagrams –
Diagrammatic Reasoning – Diagrams and Design Process – Animation and Design – Digital Hybrid Design
Protocols – Concept of Emergence - Introduction to Cellular Automata and Architectural applications –
Genetic algorithms and Design Computation
 Diagrams
• Diagram is a chart, graph, drawing or figure produced by graphic means & serves to explain &
communicate facts information of a particular case.

• The property of information economy is the bottom value of diagrams for almost all disciplines

• The word “diagrams” is derived from the word “diagnosis”

• A diagram is a symbolic representation of information according to some visualization Technique.

• In general, diagrams are best known and understood as visual tools used for the compression of information.

• In architecture, diagrams have in the last few years been introduced as part of a technique
that promotes a proliferating, generating and instrumentalising approach to design.

• The essence of the diagrammatic technique is that it introduces into a work qualities that are unspoken,
disconnected from an ideal or an ideology, random, intuitive, subjective, not bound to a linear logic -
qualities that can be physical, structural, spatial or technical.
Historical context of diagrams
We express, record, events-memories and happenings around.

Initially we scribbled in stones; To make it permanent we incorporated

carving technique which has a three dimensional profile.

With the invention of color, stone painting we expressed natural forms,

human actions, material, life styles…

After invention of paper, sketching style developed; which showed quality

and intensity of light in sketches creating three-dimensional effects…
Diagrams and Architecture
Sketch - Is mainly about spatial form

A perspective sketch provides three-dimensional information about a scene, specifying the shape of physical elements
and their spatial relationships. A plan or elevation sketch may be concerned with the proportions of a building or its
components. Although a sketch falls short of precisely specifying dimensions and shapes, it provides more shape
and dimension information than a diagram.

Schematic drawing
It uses conventional symbols to represent building components and, typically drawn free hand the schematic
drawing retains the spatial feel of a sketch, drawn to scale, it is more complex and precise than a diagram, yet
it does not attempt the accuracy and precision of a working drawing.

Bubble diagram
A Bubble diagram represents functional spaces in a floor plan with rough sizes, adjacencies, containment and
connections.

Design Diagram
A Design Diagrams can be spatial, showing the relative positions and approximate sizes of rooms, or it can be
non-spatial, showing a sequence of building construction.
Architects who use diagrams
as a design-tool
Ф Peter Eisenman
Ф Ben van berkel

Ф Greg lynn

Ф Rem koolhaas

Ф Kazuo sejima
 Peter Eisenman
A Eisenman began his career as an architect. From the thesis in 1963 up until about
1980, Eisenman, was involved both with the professional world of architecture and with
teaching.

In 1980 he decided to focus more on his buildings and opened his professional
practice: “Eisenman architects”. Since 1980, he has been involved in a number of
large projects, from housing complexes in Berlin to high profile office buildings in
Tokyo.

E I S E N M AN
 Eisenman, while focusing more on building and his professional practice, still remains a highly
theoretical architect.

In 1999 he published the book “Diagram Diaries” which is both a summary of his works to
date as well as an involved theoretical reflection on that work.

Diagram Diaries
The condition of “look alike” is critical issue in the anteriority of architecture,
structural parameters gradually evolved out of Greek, roman, and gothic architecture, so

E I S E N M AN
what was perceived as structural had to look structural to the eye of the beholder as the
subject came into consciousness in the fifteenth century. This need introduced an idea of
looking-in-the present. This produced a condition in representation, an expectancy, which
can be called normal.
He exhibits a full set of inspirations for his design.
• First , there are internal rules to create a form.
• He uses diagrams that describe the relationships among deep structure,prior conditions and actual environment.
• Third there is a relationship between deep structure and a prior condition in the essence of architecture to make
them manifest.
This manifestation is a prior condition in which the act of shifting creates readable spaces,while the initial platonic
form is no longer a singular unit, but a fragment of its original whole.
Eisenman while working with computers, he employs a vector notion to represent form.
 FRAMES

WALLS

VOLUMES

Diagrams are those drawings which engage in self conscious reductive process, attempting to make clear
a specific interpretation through the exclusion of that information which the author deems irrelevant.
 For Wexner Center, Eisenman incorporated both old
and new theories into its design, bringing issues of
the diagram as generator, the grid, trace, and
dispersal with him from past projects to bring about a
displacement, but also considering new aspects such
WEXNER CENTER

as context and program

Client : Ohio State University

Architect : Peter Eisenman & Richard Trott
Peter Eisenman seems to have discovered that architecture needs to include outside parameters in order to
be produced, and that only in the frame of its external circumstances does it acquire meaning.
WEXNER CENTER
WEXNER CENTER
 Its multidisciplinary programs encompass performing arts, exhibitions, and media arts (film/video)
and have focused on cutting-edge culture from around the globe.
WEXNER CENTER

The Wexner Center was the first major public building designed by architect PETER EISENMAN

To reflect the history of the site: the building incorporated large brick tower structures inspired by the
Armory building, a castle-like structure that had burnt down on the location in 1958. The design also
includes a large white metal grid meant to suggest scaffolding, to give the building a sense of
incompleteness in tune with the architect's deconstructivist tastes.

Eisenman Also took note of the mismatched street

grids of the OSU campus and the city of
Columbus, and designed the Wexner Center to
alternate which grids it followed.
WEXNER CENTER

The original skylight of the Wexner Center

developed leaks and allowed in too much
sunlight that could potentially damage art
works. Failed to fix the problems, The
Wexner eventually covered the skylight with
membrane and translucent plastic film on the
curtain wall glass unit.
WEXNER CENTER

The south side of the Wexner Center.

Diagrammatic Reasoning:
 Diagrammatic reasoning is reasoning by means of visual representations. The study of diagrammatic reasoning is about
the understanding of concepts and ideas, visualized with the use of diagrams and imagery instead of by linguistic or
algebraic means.

The Nature of Reasoning in Architectural Design:

 Reasoning is very much about what we believe to be true or what we feel to be true, in other words things have to makes
sense.
 In other words we need to be persuaded by what we encounter or what is presented to us.
 Sometimes it may require effort to understand something, other times it may make sense immediately.
 The designer needs to persuade a variety of audiences (clients, peers, the public) as he has convinced himself, he has
developed a belief in his own design over the course of the design process.
 The design process is an activity that works towards letting the design make more and more sense.
 The persuasive nature of reasoning in design is aimed at generating a plausible outcome, one that makes sense in a certain
way, convincing both the designer and the audience.
SEVERAL CLASSIFICATIONS AND EXAMPLES OF ARCHITECTURAL DIAGRAMS
Diagrams & Design Process:
• Design methods are intended for the design of ’the total situation’….meaning the functions and uses of things, the ‘systems’
into which they are organized, or the ‘environment’ in which they operate.

• The beginning of the design process is an analytical phase, whereby the designer seeks to find the structure, the centre and
the essence of the problem. Without a well defined ‘problem’, there is no direction to look for solutions.
• Stating the problem is where the solution starts, because the solution is hiding within the parameters of the problem
statement. It has even been argued that the objectives, however abstract their form, are full of hidden assumptions about
how the person stating it thinks it can be satisfied (Jones 1992 ).
• It follows that the creativity and personality of the designer are present within the problem statement, just as the directions
and concepts are also present from the very start where the problem starts to become defined.
Diagrams of the Design Process
• The importance of trying to define the problem that needs solving cannot be overstated. Still it must be kept in mind that
the understanding and statement of a problem is not objective. Each person will understand a problem according to a
complex variety of personal and professional factors. This is one of the reasons why designers are increasingly working
together in teams, in order to access a broader faceted understanding

Computation:

• Computation is any type of calculation or use of computing technology in information processing. Computation is a
process following a well-defined model understood and expressed as, for example, an algorithm, or a protocol.
• To compute is to execute an algorithm.
• More precisely, to say that a device or organ computes is to say that there exists a modeling relationship of a certain
kind between it and a formal specification of an algorithm and supporting architecture.
CONCEPT OF EMERGENCE
A new concept in Artificial Intelligence derived from natural science.
Swarm Intelligence
 Artificial Intelligence based on the collective behaviour of Decentralized(dispersed), self- organized systems.
 A population of simple agents interacting locally with one another and with their
environment.
 Agents follow simple rules – no centralized control structure.
 Emergence of complex global behaviour
 Example- ant colonies, bird flocking, animal herding, bacteria growth,etc.
 Ants display intelligent behaviour as a colony rather than alone.
 Hive – Hundreds of honeybees making critical decision about their hives
 Flocking – Birds flocking/migrating together to distant destinations
In describing collective behaviors, emergence refers to how collective properties arise from the properties of parts, how
behavior at a larger scale arises from the detailed structure, behavior and relationships at a finer scale.

For example, cells that make up a muscle display the emergent property of working together to produce the muscle's
overall structure and movement. A water molecule has emergent properties that arise out of the properties of oxygen and
hydrogen atoms. Many water molecules together form river flows and ocean waves. Trees, other plants and animals form a
forest.
 Section of a complex nest structure built by Apicotermes termites:

20 cm across, the structure is made from soil and woody material with external
holes to ventilate the horizontal layered passages, which are vertically
connected by an internal spiral staircase. The complex form emerges from the
collective behaviour of a large number of termites following very simple rules.

Emergent behavior is behavior of a system that does not depend on its individual parts, but on their relationships to one
another.

Emergent behaviour can only be predicted, managed, or controlled by

understanding the parts and their RELATIONSHIPS.

Characteristics of Emergence
 Coherence—A stable system of interactions
 Wholeness—Not just the sum of its parts, but also different and
irreducible from its parts
 Dynamic—Always in process, continuing to evolve
 Downward causation—The system shaping the behavior of the parts
 Birds flock, sand forms dunes, and individuals create societies.
 No one is in charge—No conductor is orchestrating orderly activity
Emergence in architecture
Emergence is of Momentous importance to architecture, demanding substantial revisions to the way in which we produce
designs. We can use the mathematical models outlined above for generating designs, evolving forms and structures in
morphogenetic processes within computational environments.individual building to its environment. Each building is a part of
the environment of its neighbors, and it follows that ‘urban environmental intelligence can be achieved by the extension of
data communication between the environmental systems of neighboring buildings. Urban transport infrastructure must be
organized to have similar responsive systems, not only to control internal environment of stations and subways but also to
manage the response to the fluctuating discharge of people onto streets and into buildings. Linking the response of
infrastructure systems to groups of environmentally intelligent buildings will allow higher level behavior to emerge”.

Emergent Design Group (MIT) – 1997

Michael Weinstock, Achim Menges and Michael Hensel

Genr8- A design tool for surface generation (2001)

Genr8 is a surface design tool developed by Martin Hemberg with advisory services provided by Una- May O'Reilly and Peter
Testa. The concepts and tool are part of the work by the Emergent Design Group at MIT. The goal was to provide architects with
access to creative surface design by giving them influence over generative processes.
SOFTWARE USED

CATIA (Computer Aided three-dimensional Interactive Application)

Autodesk 3DS Max(Autodesk 3ds Max is a parametric 3D modeling software which provides modeling, animation, simulation, and
rendering functions for games, film, and motion graphics. )

Autodesk Maya(Autodesk Maya is a 3D computer graphics software.It is used to create interactive 3D applications, including video
games, animated film, TV series, or visual effects. )

Grasshopper 3d (originally Explicit History) is a plug-in for Rhinoceros 3D that presents the users with a visual programming
language interface to create and edit geometry.[9]

Autodesk Revit: Autodesk Revit is building information modeling (BIM) software used by architects and other building professionals.
Revit was developed in response to the need for software that could create three-dimensional parametric models that include both
geometry and non-geometric design and construction information..

Autodesk Dynamo:Dynamo is an open source graphical programming environment for design. Dynamo extends building information
modeling with the data and logic environment of a graphical algorithm editor.

GenerativeComponents:GenerativeComponents, parametric CAD software developed by Bentley Systems,[10] was first introduced in
2003, became increasingly used in practice (especially by the London architectural community) by early 2005, and was commercially
released in November 2007. GenerativeComponents has a strong traditional base of users in academia and at technologically
advanced design firms.
DIGITAL HYBRID
 According to definitions used in life sciences, a hybrid organism is one created by combining characteristics and features
of two parent-organisms. Hybrid is an offspring of parents that differ in genetically determined traits. Other definition,
closer to architecture defines hybridization (a.k.a. morphing) as a process in which an object changes its form gradually in
order to obtain another form and consists basically of the selection of two objects and the assignment of in-between
transitional steps.
 Among various hybrid environments for architecture there is however one, which has become an interesting field of
experimentation in last decade, namely computational design of architectural form.
 Filmmakers used camera and film technology designed to capture three-dimensional physical reality. Graphic designers
were working with offset printing and lithography. Animators were working with their own technologies: transparent cells
and an animation stand with a stationary film camera capable of making exposures one frame at a time as the animator
changed cells and/or moved backgrounds.
 For example, graphic designers worked with a two-dimensional space, film directors arranged compositions in three-
dimensional space, and cell animators worked with a “two-and-a-half” dimensional space.
 This difference is very important. If media creation and editing software did not include these and many other
modification operations, we would have seen an altogether different visual language at work today. We would have
seen “digital multimedia,” i.e., designs that simply combine elements from different media. Instead, we see what I call
“metamedia”—the remixing of working methods and techniques of different media within a single project.
 The profession of an architect has always been a hybrid one. Nowadays one of the main hybrids is that combining
traditional manual architectural design methodologies with automated, digital and computational ones creating a
hybrid design domain.
The studies in Sopot College As the main course (architectural design studio) is focused on design using the more traditional
human based approach, the complementary course (computational design techniques) combines this methodology with more
avant-garde one that uses a computational design method Detail, Craft Table, Jurasz Emilia, Sopot College

Form+Facade, Office building, Facade, Front curtain wall,

Zawadzki Lukas, Sopot College Stępkowki Radosław, Sopot College

The attempt of a spatial expression or integration of similar advances or/ and perceptions presupposes a wider association of
architecture with digital technology sciences. An urgent investigation that needs to be implemented includes examination of the
potential revolutionary synergy between architecture, artificial intelligence, information theory, virtual reality, cyberspace,
climate studies, material science, bioengineering and nanotechnology. This covers a so-called ‘digital pantheon’, having a strong
impact on architecture and the future paradigm of the man-made environments.

The new digital approaches to architectural design (digital architectures) are based on computational concepts such as
topological space (topological architectures), isomorphic surfaces (isomorphic architectures), motion kinematics and dynamics
(animate architectures), keyshape animation (metamorphic architectures), parametric design (parametric architectures), and
genetic algorithms (evolutionary architectures). New categories could be added to this taxonomy as new processes become
introduced based on emerging computational approaches. For examples, new methods could emerge based on performance-
based (structural, acoustical, environmental, etc.) generation and transformation of forms.
 UNIT 4-GEOMETRIES AND SURFACES
Fractal Geometry – Shape Grammar - Hyper Surface - Liquid Architecture – Responsive Architecture.
FRACTAL GEOMETRY
Mandelbrot - “father of fractal geometry,” defined a fractal as “a shape made of parts similar to the whole in some way.”
The so-called Mandelbrot set which is the “breeding ground for the world’s most famous fractals,” is an “odd-shaped infinite
swarm of points clustered on what is known as the ‘complex number plane.’”

Fractal geometry is the formal study of

mathematical shapes that display a
progression of never- ending, self-
similar, meandering detail from large to
small scales. It has the descriptive power
to capture, explain, and enhance one's
appreciation of and control over
complex diversity.
Natural shapes and rhythms, such as leaves, tree branching, mountain ridges, flood levels of a river, wave patterns, and
nerve impulses, display this cascading behaviour. These fractal concepts are found in many fields, from physics to musical
composition.

FRACTAL FERN: One very simple way to understand fractals and the meaning of "lteration" is to examine a simple recursive
operation that produces a fractal fern thru a "chaos game' of generating random numbers and then placing them on a grid.
After a few dozen repetitions or ITERATIONS the shape we would recognize as a Perfect Fern appears from the abstract
world of math. How and Why can this be?
Fractals are maps of the simplest paths sliding up the scale of Dimensions (from 2-D to 3-D and so on). So maybe it's simply
an artifact of nature's elegance that we find exact correspondences between these inherently existing mathematical forms and
natural patterns, and even living creatures of many types.
Edible Fractals: Romanesco (a cross between broccoli and Cauliflower, which
accentuates the great fractal spiral patterns on the top. Tastes -ok too)

Fractal Growth
Pattern of a Leaf

this view of valleys and river

basins displays beautiful Natural Fractal
capillary fractal dendritic Landscape:
branching.

Geometric beauty of a
snowflake.
In normal geometry shapes are defined by a set of rules and definitions. Fractal geometry also defines shapes by rules,
however these rules are different to the ones in classical geometry. In fractal geometry a shape is made in two steps:

 First: by making a rule about how to change a certain (usually classically geometric) shape.
 Second: This rule is then applied to the shape again and again, until infinity. In maths when you change something it is
usually called a function, so what happens is that a function is applied to a shape recursively, like the diagram below.

A good fractal shape is called the Von Koch

Curve. The rules, or function, are extremely
simple. First you start with a straight line . This
is your ‘initial shape’:
The rules are as follows:

1.Split every straight line into 3 equal segments.

2.Replace the middle segment with an equilateral triangle, and remove the side of the
triangle corresponding to the initial straight line.

The process is shown in the figure below:

This is what happens to the straight line, our initial
shape, when it goes through the function the first
time, the first iteration. Now, the shape it has
produced is fed back into the function again for a
second iteration:
Remember the rule was that any straight line would be split into thirds, so now 4 lines are split up and made into triangles.
The shape that is produced after the second iteration is then fed through the function for a third time.

FRACTAL DIMENSION
Mandelbrot proposed a simple but radical way to qualify fractal geometry through
a fractal dimension. The dimension is a statistical quantity that gives an indication
of how completely a fractal appears to fill space, as one zooms down to finer scales.
There are many specific definitions of fractal dimensions, such as Hausdorff
dimension, Rényi dimensions, box-counting dimension and correlation
dimension, etc,
Intuitively, it seems that the curve is more than 1-dimensional, but less than 2-
dimensional, i.e. it has a fractional or fractal dimension.
The Hausdorff Dimension
Example of non-integer dimensions. The first four iterations of the Koch curve, where after each iteration, all original line
segments are replaced with four, each a self-similar copy that is 1/3 the length of the original. One formalism of the
Hausdorff dimension uses this scale factor (3) and the number of self-similar objects (4) to calculate the dimension, D,
after the first iteration to be D = (log N)/(log S) = (log 4)/(log 3) ≈ 1.26.[1] That is, while the Hausdorff dimension of a
single point is zero, of a line segment is 1, of a square is 2, and of a cube is 3, for fractals such as this, the object can
have a non-integer dimension.

D-dimension . N – no of segmentd r -no of segment division

Box –counting method
Practically, the fractal dimension can only be used in the case where irregularities to
be measured are in the continuous form. Natural objects offer a lot of variation
which may not be self- similar. The Box-counting dimension is much more robust
measure which is widely used even to measure images.
Every box counting algorithm has a scanning plan that describes how the data will
be gathered, in essence, how the box will be moved over the space containing the
pattern
To calculate the box-counting dimension, we need to place the image on a grid. The number of boxes, with
size s1, that cover the image is counted (n1). Then the number of a smaller grid of boxes, with size s2, is
counted (n2). The fractal dimension between two scales is then calculated by the relationship between the
difference of the number of boxed occupied and the difference of inverse grid sizes.
In more chaotic and complex objects such as architecture and design, more flexible and robust measures,
such as range analysis, midpoint displacement, etc, can be employed.
Examples for fractal geometry
30 St Mary Axe - The Gherkin – swiss reinsurance building – London
30 St Mary Axe (widely known informally as The Gherkin and previously as the Swiss Re Building) is a commercial
skyscraper in London's primary financial district, the City of London. London’s first ecological tall building and an instantly
recognisable addition to the city’s skyline, this headquarters designed for Swiss Re is rooted in a radical approach
technically, architecturally, socially and spatially. Forty-one storeys high, it provides 46,400 square metres net of office
space together with an arcade of shops and cafés accessed from a newly created piazza. At the summit is a club room that
offers a spectacular 360-degree panorama across the capital.
Generated by a circular plan, with a radial geometry, the building widens in
profile as it rises and tapers towards its apex. This distinctive form responds to the
constraints of the site: the building appears more slender than a rectangular block
of equivalent size and the slimming of its profile towards the base maximises the
public realm at street level. Environmentally, its profile reduces wind
deflections compared with a rectilinear tower of similar size, helping to maintain a
comfortable environment at ground level, and creates external pressure
differentials that are exploited to drive a unique system of natural ventilation.
SHAPE GRAMMAR
A shape grammar consists of shape rules and a generation engine that selects and processes rules. A shape rule defines
how an existing (part of a) shape can be transformed.
A shape rule consists of two parts separated by an arrow pointing from left to right.
 The part left of the arrow is termed the Left-Hand Side (LHS). It depicts a condition in terms of a shape and a marker.
 The part right of the arrow is termed the Right-Hand Side (RHS). It depicts how the LHS shape should be transformed
and where the marker is positioned.
The marker helps to locate and orient the new shape. A shape grammar minimally consists of three shape rules:
 a start rule,
 at least one transformation rule, and
 a termination rule.
The start rule is necessary to start the shape generation process.
The termination rule is necessary to make the shape generation process
stop.
The simplest way to stop the process is by a shape rule that removes the
marker. X →Y
rule addition rule: X ≤Y
subtraction rule: Y ≤X
add/subtract rule: X ≤Y and Y ≤X
SHAPE GRAMMAR
Use of a shape grammar as an analytical tool and as a design tool in the area of architecture and urbanism is given in the
following sections.

SHAPE GRAMMAR AS AN ANALYTICAL TOOL

Until the last decade of the twentieth century, application of shape grammar was developing as a tool for analysis.
Stiny and Mitchell published the work “The Palladian grammar” that initiated an ambitious and influential research on how
shape grammar can be used in a study of an architectural style. They proposed a method based on parametric shape
grammar for generating ground plans of Palladio's villas as a definition of the Palladian style. Specifying the shape
grammar rules, they recast parts of Palladio's system of proportion and “architectural language” in a modern, “generative
form”.
SHAPE GRAMMAR AS A DESIGN TOOL
Developing new, original designs by using shape grammars emerged from analytic approach and combining existing
rules and grammar language.

Therefore, this approach to shape grammar is both analytical and synthetic

Another significant contribution of shape grammar application in architectural design is given by Lawrence Sass. In his
research projects in the past several years, Sass introduces a novel method to generate house designs completely from
3/4” plywood sheet using a shape grammar routine and CNC fabrication process.
Shape grammar routine is used to subdivide initial solid shape into constructible components for digital fabrication on
CNC cutting machine. Sass' approach is addressed to the fast and transportable housing production based on
changing needs for a digital fabrication that are low cost and custom designed.

There are several possible tasks for programs that implement shape grammars.

The most common task, and perhaps the first that comes to mind, is to aid in the generation of shapes from shape
grammars.
HYPER SURFACE - LIQUID ARCHITECTURE – RESPONSIVE ARCHITECTURE.

LIQUID ARCHITECTURE:

• Interior and exterior space change based on outer environment or human information data.
• Multi-dimensional space that is naturally evolving.
• Topologically, it is organically flexible
• Transformation of rigid architecture into continuous and seamlessly integrated form.

“A liquid architecture is an architecture whose form is contingent on the interests of the beholder; it is an architecture that
opens to welcome you and closes to defend you; it is an architecture without doors and hallways, where the next room is
always where it needs to be and what it needs to be.
It is an architecture that dances or pulsates, becomes tranquil or agitated. Liquid architecture makes liquid cities, cities
that change at the shift of a value, where visitors with different backgrounds see different landmarks, where
neighborhoods vary with ideas held in common, and evolve as the ideas mature or dissolve.”
"If we described liquid architecture as a symphony in space, this description should still fall short of the promise.

A symphony, though it varies within its duration, is still a fixed object and can be repeated.
At its fullest expression a liquid architecture is more than that. It is a symphony of space, but a symphony that never
repeats and continues to develop.
If architecture is an extension of our bodies, shelter and actor for the fragile self , a liquid architecture is that self in the
act of becoming its own changing shelter.

Like us, it has an identity; but this identity is only revealed fully during the course of its lifetime."

-Marcos Novak
CYBER SPACE:

What is cyberspace?
Cyberspace is a completely spatialized visualization of all information in global information processing systems , along
pathways provided by present and future communications networks, enabling full co presence and interaction of multiple
users , allowing input and output and to the full human sensor, permitting simulations of real and virtual realities and
remote data collection .
Cyberspace provides a new concept of SPACE AND TIME that does not have limits such as GRAVITATION and it transforms
the STRUCTURALLY RIGID ARCHITECTURAL STYLE AND SPACE into a CONTINUOUS AND SEAMLESSLY INTEGRATED
FLUIDIC FORM and into ELASTIC,FLEXIBLR AND VARIABLE SPACE.

Architects followed liquid architecture :

1. ZAHA HADID 2. FRANK GEHRY 3. MARCOS NOVAK

 HEYDAR ALIYEV CENTER

BAKU,AZERBEIJAN.

-ZAHA HADID

Walt Disney Concert Hall, Los Angeles Guggenheim Museum Lou Ruvo Center for Brain Health, Cleveland – FRANK
GEHRY
“Liquid architectures” have a lot more to do with immersion
than with cyberspace, strictly speaking.
Immersion has actually been applied to virtual reality
rather than cyberspace itself.

Michael Heim identified seven qualities inherent to virtual

reality that can also be identified in
Novak’s work.

 Immersion,
 Full-body immersion,
 Simulation,
 Interaction,
 Artificiality,
 Telepresence
 Networked communications
  Immersion stands for the illusion of being submerged in a virtual world.

 Full-body immersion means that the body’s free movements are actually information to be
read by the computer

 Simulation is a set of computer graphics with a degree of realism

 Interaction means that one interacts with electronic representations of real things

 Artificiality is a world constructed by men;

 Tele presence means that one is present from a distant location as though it was close up
 Networked communications is the shared construct of virtual worlds

 These buildings are not only designed by architects but also by POETS, ARTISTS,
MUSICIANS…
 Liquid cyberspace, liquid architecture, liquid cities.
 Liquid architecture is more than kinetic architecture, robotic architecture, and architecture of fixed parts and
variable links.

Liquid architecture makes liquid cities, cities that change at the shift of a value, where visitors with different
backgrounds see different landmarks, where neighbourhoods vary with ideas held in common, and evolve as ideas mature or
dissolve.

Examples
The Guggenheim Museum , Bilbao –FRANK GEHRY: refer previous notes
HYPERSURFACE

In mathematics, a hypersurface is a surface in hyperspace,

but in the context of this journal this mathematical term is
existentialized. Hyperspace is four + dimensional space ,
but here hypersurfaces are rethought to render a more
complex notion of space time information. This
reprogramming is motivated by cultural forces that have the
effect of superposing existential sensibilities onto
mathematical and material conditions, especially of the
recent topological explorations of architectural form.

Zaha Hadid Architects – Azerbaijan Cultural Centre, Baku:

RESPONSIVE ARCHITECTURE
 Responsive architecture is an evolving field of architectural practice and research. Responsive architectures are those that
measure actual environmental conditions (via sensors) to enable buildings to adapt their form, shape, color or character
responsively
 Responsive architectures aim to refine and extend the discipline of architecture by improving the energy performance of
buildings with responsive technologies (sensors / control systems
/ actuators) while also producing buildings that reflect the technological and cultural conditions of our time.
 Responsive architectures distinguish themselves from other forms of interactive design by incorporating intelligent and
responsive technologies into the core elements of a building's fabric.
 Incorporating cutting edge technology, responsive architecture is able to adapt to its surrounding, sometimes changing shape
colour or character depending on what is going on around it. Here’s our pick of some of the most exiting examples
PRAIRIE HOUSE, ILLINOIS
 Designed by ORAMBRA.
 The Office for Robotic Architectural Media & The Bureau for Responsive
Architecture in Chicago.
 the Prairie House in Illinois (2011) implements new tensegrity systems and
cladding technologies.
 Through the use of thermo or photo-chromatic inks, the colour of the interior
membrane of the building becomes lighter on warmer days and darker on
colder days.
 The result is a piece of responsive architecture that both radically cuts
carbon emissions and presents an elegant new aesthetic.
 FUTURE VENICE
 As part of the Future Venice Project, Rachel Armstrong, one of the leading figures in the field of Architecture & Synthetic
Biology, has proposed that protocells could be used to grow an artificial limestone reef reinforcing the foundations of
Venice
 Protocells are chemical agents that behave in lifelike ways (such as growth and multiplication).
 They can therefore be manipulated to both form and sustain a material, in this case a reinforcing 'biocrete' for the
foundations of Venice.
 This application of 'living technology' could see huge changes in our approach to architecture and sustainability in the
coming years.
Photo: Christian Kerrigan
 Photo: Christian Kerrigan

THE HYGROSKIN METEOROSENSITIVE PAVILION

 Recently launched by a team at the University of Stuttgart led by Professor Achim
Meges, this new mode of climate-responsive architecture uses the naturally
responsive capacity of a basic material, wood, to allow a simple, dynamic
manipulation of a building's humidity.
 Requiring no additional source of energy or mechanical control, the HygroSkin uses
the natural elasticity of wood in relation to moisture content to adjust the movement
of apertures embedded within concave plywood sheets.
CLIMATE RESPONSIVE ARCHITECTURE
Climate Responsive Architecture takes into consideration seasonality, the direction of the sun (sun path and solar position), natural
shade provided by the surrounding topography, environmental factors (such as wind, rainfall, humidity) and climate data
(temperature, historical weather patterns, etc.) to design comfortable and energy efficient homes.

 In a nutshell, architects will need to consider the following before ever starting the design and architecture of a building:
 Perform a site analysis.

 Layout the building on the site.

 It’s all about the sun, so orient the building based upon cardinal directions.

 Select the appropriate window areas and glazing types based on orientation.

 Building envelope design varies greatly by geographic area.

 Minimize the building footprint.

 Design for natural ventilation.

 Relax the occupants comfort standards.

 Conduct modeling and analysis.

 Perform multiple iterations.

Responsive architecture –responding to climate ,using nature as an examples

CLIMATE RESPONSIVE DESIGN:

 Climatic responsive design is based on the way a building form and structure moderates the climte for human good
and well being.

 Climate responsive design is building takes into account the following climatic parameters which have direct influence
on indoor thermal comfort and energy consumption in buildings.

Casestudy 1
COMPOSITE CLIMATE – COLD AND DRY OVERVIEW OF DESIGN PRINCIPLES

 Resisting heat gain

 Decrease exposed surface area by orientation and shape of the building.
 Providing roof insulation and east and west wall insulation
 Increase shading on east and west walls by overhangs, fins
and trees.
 Increase surface reflectivity by using light-coloured textures.
 Encourage ventilation by locating windows properly.
  Increase air exchange rate with the help of courtyardS and Arrangement of openings.
Degree college and hill council, Leh, India

 Located in Leh, in upper Himalayas

 the degree college and hill council have been built within a cold and dry climate
 The building required to be heated almost throughout the year.
 It has long winter from October to April .
Roof:

Building arrangement:

 The street should be wide enough to ensure that building on one side
should not shade those onn the other side

 The street orientation should be east-westto allow for maximum south sun
to enter the building.
 UNIT 5-SEMINAR
Students would make presentation on the ideas and works of the following architects. The proposal must be
discussed with course faculty prior to presentation.
Greg Lynn, Reiser + Umemotto, Lars Spuybroek / NOX Architects, UN studio, Diller Scofidio, Dominique
Perrault, Decoi, Marcos Novak, Foreign Office Architects, Asymptote, Herzog and de Meuron, Neil Denari.
 ARCHITECTS CONCEPTS/IDEOLOGY EXAMPLES
1. Greg Lynn,  Force 1. Presbyterain church of new york 1995-1998
 Curvature 2. Artist space exhibition design -1995
 Multi-type of 3. Cradiff bay opera house -1994
performance
envelope
 Topology
 Multiplicities
 Firm approaches each
2.Reiser + Umemotto, project as the continuation 1. O-14 tower
of an ongoing inquiring, 2. Taipei Pop Music Center
delving into relationships
among architecture,
territory and systems of
distribution

3.Lars Spuybroek / NOX Architects,  Works on Interactive 1. H2O expo water pavilion
Architectural territory
2. D-Tower
 Develops Liquefied Forms 3. SON-O-HOUSE
 Liquid in Architecture don’t
mean turbulent and fluidic
geometry
 ARCHITECTS CONCEPTS/IDEOLOGY EXAMPLES

4.UN studio, Future-proofing the future 1. Mobius house

2. Mercedes-benz museum
3. Villa NM

•Post wall architecture 1. Blur, Swiss Expo, Lake Neuchâtel

5.Diller Scofidio •Biomimetic and 2. Lincoln Centre Public Spaces, New York
Biophilic architecture
•Atmospheric
architecture

 Expressionism
6.Herzog and de Meuron,
 Minimalist Art 1. Beijing national stadium
2. Elbphileharmonie
 Art Deco
 Biomimicry
ARCHITECTS CONCEPTS/IDEOLOGY EXAMPLES

7.Dominique Perrault, Inspired by the lesson of 1. Fukoku Tower,Osaka

modernism 2. Theater Albi, France

8.Decoi,
Mark Goulthorpe : • Rethinking architecture 1. One main street
• Seemingly radical praxis : 2. Bankside paramorph

9.Asymptote, Contemporary theory, 1. The arc - river culture multimedia museum

innovative building practices, 2. Velvo towers
Digital tools & technologies
Advancements in engineering
solutions
Environtmental sustainability
 ARCHITECTS CONCEPTS/IDEOLOGY EXAMPLES

FOA's Typological Strategy 1. Yokohama international passenger terminal

10.Foreign Office Architects (FOA)
Typology as a Tool for 2. World trade centre 1, bundle towers, new york
Consistency

Design methods:
11.Marcos Novak, •transarchitecture 1. Archilab,frac centre
•liquid architecture 2. Turbulent topologies,palazzetto tito,
•navigable music venice (italy),2008
•habitable cinema
•archimusic

Work with media rather 1. Porsche Design Tower

12.Neil Denari. than against it, allowing 2. Student Services Building
architecture to be engaging
rather than authoritative.
GREG LYNN
ABOUT HIM:Greg lynn was boren in ohio in 1964 and his received his undergraduate design degree from Miami university (ohio)
in 1986.
• He completed his graduate degree in architecture from princiton university in 1988.thereafter he was employed with Antoine
predock Architect in 1987 and Eisenman Architects1987 to 1991.
• In 1992 Lynn founded GregLynnFORM And currently has on office in venice,CA and Hoboken ,NJ, Lynn is affiliated with
numerous academic institution internationally ,both as adjunct professor, visiting lecture and critic.
Lynn has exhibited his work in numerous exhibitions and conferences.
NOTIONS
IDEALOGY/PHILOSOPHY  Type and instances
 Ideal type notion
THEORY  Mulity-type of performance envelope
 Size,position,rotation, direction,speed
TECHNIQUES CONCEPTS are determined by elemenof design.
 Surface results from elements
 Spline  Force
 NURBS surface  Curvature
 Animation  Multi-type of performance Study of ARCHITECTURE VIA
 Metaballs envelope COMPUTER MODAL
 Blebs,  Topology  The computer mediates
flowers,strands,lattices  Multiplicities  Topology
 Time
 Parameters
Topologe elements are result of a calculation.
Topologecal line is a movement through control pointes (spline).
Topological surface is also movement through control pointes (nurbs surface).

Spiline and Nurbs surface denote influence of vectors. Mulitiplicites.

Curvature of line or surface reflects conditions . Relations can be studied with

animation.

DESIGN PROCESS

METHOD

• Analyses brief for major spaces

• Decide on computational structure

• Relate structure to the site Determine forces on structure

• Keyframe major conditions on structure

• Animation and study interation .

• Freeze and develop one or more instances of the animation
• Animation is a term that differs from,but is often confused with moton.
• Moton implies movement and action animation suggests animalism, animisim, evalution,
growth, actution, vitality and virtuality.
• Virtuality is also a term used to describe the possession of force or power.

• Two recent models for the modeling of movement in architecture

• The first method involves procession and Second involves superimposition.

MODAL
Animate Form Bleb: A volume that appears from a self-intersecting surface

Flower: The transformation of a tube to a

plane by increased flattening of section.

Shared : Creating openings by means of

duplicate control curves.
 Strand: Creating spaces as bundles of lines Lattice: Creating space Rapid porotyping and CNC
grid structure milling techniques.

PROJECTS

1.Presbyterain Church of New York.

2.H2 House for the OMV Austrain Minaral oil company

3.Artist Space Exhibition Design -1995.

4.Electra 96-semi-Permanent Installation
5.Cardiff Bay ,Wales,United kingdom 6.Embryological house.
Summary: 2-3 Person firm-collabrates with other cyber architects for project delivery.
Example 1 : PRESBYTERAIN CHURCH OF NEW YORK 1995-1998
A multi functional Addition Sunnyside, Queens, Newyork city,.Greglyn n FORM With Mclnturf Architects and Garofalo Architects
The Koren Presbyterian Church of New York in Sunnyside,Queens,is the collaborative effort of Michael Mclnturf,Douglas and greg
liynn involving the adaptive re-use of and addition to an existing factory building.
The design team worked in three cities, Garofalo Architects in Chicago,IL,Michael Mclnturf Architects in Cincinnati,OH,and
Greg Lynn FORM in Hoboken NJ.
Through internet connection,the combined offices had a seven-person team that exchanged CAD files,Model photos and
other project information throughout the typical day.
By distributing the workload variable between offices and with combnation of each offices experience and expertise,The three
small offices ware able to design a project that would have been too large and complex for any of them to manage
individually.
The existing building, originally the knickerbocker Laundry factor designed by Irving Fenichel was built in 1932.

The 88000- sq.ft.Factory building was originally constructed as a two floor laundry facility with 15’
clear hight ceilings and large three story boiler room provide power in 1932.
It was described by the architectural and cultural critic,Lewis mumford as Americas best example of misplased monumentality
due to south façade.
 The architectural approach to The re-use of the factory
buildings as a church was to retain the industrial vocabulary of
the existing building and transform its interior spaces and
exterior massing into a new kind of religious building.
In addition he exploits eccentricities of the existing structure
which is divided in to rough its scale and industrial
vocabulary reflect the importance and uniqueness of the
church congregation.

The form of the two areas

The first is a large shed structure with repetitive long span open areas .
The structural system of steel elements to the south vary greatly in lenth,depth,and orientation.

Two types of construction

The first is a long span shed structure that is clad in metal and has an undulating shape following the rail lines.
The second forms are stucco clad entry tubes whick snake between existing structural bays vertically through the
building.
Where the existing building presents a vertical faced to the railway the new building sets up a much more horizontal
relationship to the site with this combination of low undulating forms.
Along with conventional architectural models and drawings analyzing the relationship between the existing and new
building use using ‘metap-blob’ computer software derived the design of the sanctuary.
Using this process, local constraints could be adjusted while maintaining a continuous volume. The Resulting
Massing that was produced was transformed as both an exterior metal roof enclosure constructed with identical long
span trusses and a more intricate interior volume of louvered hung celling panels and faceted walls.

The roof construction combines regularization and differentiation in its building components.
 The concurrence can be see in the organization of columns supporting the individual trusses which are spaced irregularly
allowing the joints bracing thr 135 long 8 deep trusses to be a eaqual lengths.
Depite the variable slopes of the roof.Similarly,new means of vertical circulation and loby space were invented using a
searias of overlapping linear entry spaces.
The selective removel of structural components,these tubular spaces connevt between exisiting columns and provide
definition for a new circulatory system of lobbies,stairs and corridor.

Example 2 : ARTIST SPACE EXHIBITION DESIGN -1995

Artist Space Gallery –Soho, New York city,New York

The exhibit consists of two kinds of materials,

The First is virtual and mobaile in the form of computer generated animations.
The second is concrete and inert in the form of both mainiature models and the full scale exhibition space itself.

The installation space was a concrete printout of the virtual exhibition, in various plastic materials
The virtual designs are viewed at a micro scale within a space that exhibits the qualities and characterstics of the space
presented in miniature.
There are no plans or section drawings presented,as the topologycal space and the animation techniques with which
they were conceived is best presented on television.

The exhibition present design processes with five videotaped animation

sequences accompanied the five groups of miniature models.

The complex organic forms of the projects are realized directly through 3-d
plots from computer files using varius rapid prototyping and 3-d printing
techniques including laser cut metal plates and streolithography.

These models are extremely small (less then 10” squre) yet maintain a high
degree of details.
The models were extremly small (less then 10” sequre) yet
maintained high degree of details within a micron.the same
design scheme or diagram was used for both the design of the
oslo space and the artist space gallery, an exhipition which
took place one year previously in new york citiys.
Because the context of the exhipition space was different the
design technique yielded very different results.
Example 3 : CRADIFF BAY OPERA HOUSE -1994

Design competition ,cradiff bay,wales,united kingdom

The siting of the welsh national opera house on the now defunct industrial water front of the lnner harbor of Cardiff bay mandated
a new concept for waterfront urban space that would nonetheless be continuous with the history of the site and cradiffs
waterfront.
The proposed project utilized the empty shell of the defunct technology of
the oval basin ,
Note as a mounument to a bygone era but as the generator of a new
waterfront civic institution that is an interface between land and water.

The oval basin becomes the chrysalis out of which the opera house emerges.
As Cardiff's coastline is a simple singular edge of the city but a highly particularized and negotiated edge that occurs at servel
scales where it is the generator of urban growth and development.
By borrowing the pattern of the grading ducks and their ability to slope the land into the sea
the opera house is connected to the water through the invitation of a new public reservoir
space that flow under and through the site –topological.
The sunken reservoir space with parking and shopping concourse one half level below the opera house allows for a
multiplication of the site surface , whare the opera houses foyers and lobbies exist at one half level above grade and
parking and movement onto.

Across and through the site accure at one half level below grade .

The project proposes a civic institution that is not monolithic but is rather permeated with
public space and programs at its base.

The graving docks that floated the volums of the hulls on cradle suppots the opera.

House programe are housed in volumes thatare supported above the reservoir.

The project is structured through two systems.

Portalized wall fins and rib structured hulls…

These two systems are sheathed in a lightweight tensile membarance that provides a
sheltred but environmentally permeable space over the building site area.
This image of the projects of a glowing alien presence within the chrysalis of
a dead technological waterfront monument would allow the project to
participate in the history of the site and the industrial heritage

Of the waterfront without nostalgia,While proposing a new civic institution that is continuous
with the history of the site and the waterfront of the city.
REISER + UMEMOTO
Example 1 :
NOX ARCHITECTS
 Rotterdam based
 Ar. Lars Spuybroek(September 16, 1959)
 Important digital architecture studio in
Europe
 Works on Interactive Architectural territory
 Develops Liquefied Forms
 Liquid in Architecture don’t mean turbulent
and fluidic geometry  Floor and Screen
 But dissolving crystalline or solid forms of Materiality, Functional  Surface and Interface
and Programmatic in Architecture  Action and Vision
 Especially Orthogonal basis of perception  Liquidity and Haptic`
 Skin and Environment
 “A Computer is more than anything else a steering device”
 Body and Space
 Object and Speed  Lars points out ‘Haptonomist’ as body merges itself with
 Plan and Volume diverse bodily extension
 This is due to the Nomadic view(Unboundedness, fluidity) of
the world
Example 1 : H2O EXPO WATER PAVILION
Building type Pavilion, Museum

Year of completion 1997

Floor area 1050 m²

 Idea of creating communicating architectural Environment

 Commissioned by Ministry of Water Management
 Environment is a metaphor of Water
 One complete experience of Building, light, water, projected images Architect Lars Spuybroek
and sound.
City Vrouwenpolder, Netherlands
 Literal metaphors about water defines the environment
 Fluid structure of the building’s interior is a shell of transforming
world of water
 All the sounds are electronically produced.
 Speakers are placed like sounding building and not sound in a
building
 There are about 60 speakers in the building
  The fluid structure of the inside of the building is a shell for a
continuously flowing and transforming world of water realized
both with real water and virtual environments.

 Each individual sound has its own character of movement and

speed over the speakers.

 The building exists of two interconnected pavilions: the Freshwater Pavilion and the Saltwater Pavilion. Each pavilion has
its own sound environment.

 The sound environment of the freshwater pavilion is based on metaphors of a river, a water source and a darker
underwater space.

 The saltwater pavilion is inspired by virtual sounding sky, the water surface of the sea and a hydra traversing these. It's
presenting metaphors of different weather conditions.

 The music in the two different spaces is not a fixed composition but has a generative approach to it and is therefore
composed on the moment itself.

 The rules for how sounds can be combined are predefined; the actual decision of what sounds is made in real-time.
  This way the music will always be different. Partly the visitors can influence the processes via sensor based interfaces in the
building.

 Furthermore the weather conditions outside of the building are used to control part of the compositional parameters.
While a traditional concert often aims for a uniform experience of the audience, the Water pavilion has the opposite approach. It's
part of the concept to promote individual experiences. Two persons visiting the building can have different experiences and when
visiting the Water Pavilion a second time this can lead to again another experience.
 In this pavilion, the organic notion does not come from the shape and structure alone. The program of the pavilion derives from
the desire to explore the qualities of water.

 The interior is an exhibition space provides information about water in its different forms, but also provides a set of sensual
experiences: tactile, visual, and acoustic and, of course, spatial.

 The visitors experience rain and wind, fog and steam, changes in architecture, coupled with abstract water-like projections.

 Although these qualities are clearly linked to the element, they do not try to replicate it and do not aim at authenticity - on the
contrary, they celebrate the different perspective they provide on the water phenomenon

 The interior of the object offers an exhibition space that informs its visitors about sensual and measurable properties of the water
and its realm.
 It provides tactile experiences (damp, temperature, wind, fog, steam, rain …) as well as acoustic
or visual (projections), and, not last, spatial.

 All this qualities are fully artificial and do not try to simulate the overall experience of a natural environment, whereas each
single stimulus can also be experienced in a natural environment.

 Also, one could state that this might be an authentic space, since it provides a synthetic experience, but one that does not as a
whole resemble any existing situation. The whole H2O Pavilion Experience can only be found at this certain place, which
generates something like an authenticity of the artificial.

 In the end this one space (the interior is uninterrupted and fluid) becomes unpredictable, different at every moment and
flowing, just like the water.
The Water Pavilion is designed to organize information flows from both body and its surroundings.
It is a highly complex, flexible system that is constantly responding to the action and event changes in the environment.
New information enters the system and is patterned into a continuous feedback loop of energy transformations. Machine and
body synthesize into a single whole.
Architects tend to think in an elementarist way, where elements are the simplest state of being, defined by internal complexities
of organizational properties that in the end determine purpose.
Thus, the Fresh Water Pavilion emerges as one of the preliminary examples of the ‘architecture of variation’, which has been
developed under the initial systems of interactive processes that were mechanically triggered and hydraulically operating
mechanisms.
Example 2 : D TOWER
Architect Lars Spuybroek

City Doetinchem, Netherlands

Building type Interactive sculpture

Year of completion 2004

Tower Height 12 m

 The D-tower is a project where intensive (feelings, qualities) and extensive  As for the colors,
(space, quantities) meets and starts exchanging roles.
o Blue represent Happiness
 It is a publicly displayed piece of art. o Green represents Hated
 People can express their current feelings by using voting buttons.
o Red represents Love
 Depending on their mood, the tower will lit up in different colors, visible to
public o Yellow represents Fear

 It is entirely made of epoxy

Example 3 : SON-O-HOUSE
Architect Lars Spuybroek City Breugel, Netherlands Building type Public

Pavilion Year of completion 2004

Sound work Composer Edwin Van Der Heide

 Located in a Large Industrial Park

 It is a Public pavilion where people can sit around, eat their

lunch have meetings
 A House where sounds live, not a real ‘House’ but a structure
that refers to living and the
bodily movements that accompany habit and habitation

 It is an architectural environment with interactive sound

installations
 It continuously generates new sound patterns activated by
sensors picking the visitor’s
movements
 Its structure derived from composition of sequential movements of bodies, limbs and hands that are inscribed on paper
bands

 These paper bands are stapled together and the curves directly follow from that there comes an arabesque of complex
intertwining lines

 While we sweep these lines sideways to get a three-dimensional porous structure

 This model is then digitized and remodeled by combining and curling resulting into a complex model

 There are about 23 sensors at strategic spots to indirectly influence music

 The aim is to create permanent interaction between sound, architecture, and the visitors.
 The presence, activity and approximate location of the visitors is detected by sensors in the
building

 It is continuously analyzed and quantified and the output is used to challenge visitors to
re- interpret their relationship with their environment

 Equipped with 20 speakers and can be used with 2 different approaches

 First is all can be used individually. Sounds will be clearly perceived from corresponding speaker direction

 Second they are divide into 5 overlapping sound fields, each group has 4 speakers
 The sounds produced by the speakers designed to interfere with each other in the space
 The system contains of rules and conditions that produce parameters of the sounds
 The system therefore produce its own sounds in real-time
 The sound effects transforms themselves depending on the activity of the visitors inside the field

 23 sensors are spread over the building to detect the

movements of visitors from one to another location

 The sensors are not meant to be precise but to generate

statistical information about the visitors
 The structure is derived from typical action-landscapes that
develop in a house: a fabric of larger scale bodily movements
in a corridor or room, together with smaller scale movements
around a sink or a drawer
UN STUDIO
UN Studio is a Dutch architectural practice specializing in architecture, urbandevelopment and
"infrastructural" projects.

 The practice was founded in 1988 by Ben van Berkel and Caroline Bos.

 The initials "UN" stand for United Network, a reference to the collaborative nature of the
practice comprising individuals from various countries with backgrounds and technical
training in numerous fields.

Vision
Future-proofing the future

 As what we design today is normally built in three to five years’ time, we’re used to working
with the future in mind.
 The future is changing faster than ever before. Even the most accurate predictions can be made redundant by a
sudden advance in technology.

 To ensure we don’t contribute to a waste of materials and investment that is no longer sustainable or appropriate in
today’s world, we develop strategies that not only anticipate the future, but possible changes to that future as well.
 We believe that the key to ‘future-proofing the future’ is knowledge. For the last decade, we have focused on expanding
our understanding of trends and practice in architecture and beyond.

 Two dedicated teams research every facet of the built environment inside and outside architecture. Within our network,
Knowledge Platforms serve as a database for sharing and expanding the experience and skills acquired during our
design projects.

 Externally, we collaborate with partners including the Harvard University Graduate School of Design, Microsoft and
Mitsubishi in four Work fields that investigate how to improve quality of life.

 The results contribute to our mission of producing user-centric designs that are adaptive, resilient and future-proof,
whatever the future may bring.

DIAGRAMS..pls refer notes given before

Example 1 :
 Materials

 The structure of movement is transposed to the organization of the two main materials used for the construction of the
house, glass and concrete move the facing each other and exchanged positions.
 The construction in particular is transformed into furniture and walls of glass walls become divisive.

 The property is structured in three levels, two studies in each of the

ends of the house for their respective professions, three bedrooms,
a meeting room, being, a kitchen, a storehouse and a greenhouse
on the top, All these units are linked into the routine of time.

 Low and elongated forms of housing, which are a result of

stretching the structure to the maximum, in addition to the massive
use of glass enclosures, is increasing linkages with the environment.

 The house takes aspects of the landscape and, from inside,

residents are experiencing the idea of walking through the
countryside.
The contortions and twists in the house beyond the mathematical diagram. Correspond to the movement
that shaped by a new lifestyle characterized by the use of electronic systems at work. Ben van Berkel has managed to give an
additional meaning to the diagram of the Moebius strip, a new symbolic value that corresponds with the increasingly blurred
boundaries between home and work.
Example 2 :
Example 3 : VILLA NM
•This project is a family summerhouse situated in a hilly and woody area, two hours drive from NYC.

•The house is situated on a plot of 7,000 m2 with a 360º view of the forests and meadows.

•The sloping site is used as device for the programmatic and volumetric organization of the house.

A Single box-like volume into two separate volumes;one seamlessly following the northern slope;the other lifted above the hill
creating a coverdparking and generating a split-level internal organisation.
• The kitchen and dining area on the ground floor are connected by a ramp to the living space above, the 1.5 meter (5 feet)
height change allowing for a tremendous view over the valley.
 A similar ramp connects the living area to the master and the
children’s bedrooms on the
second floor.

 Rooms that require a higher level of privacy are partly closed of to

the exterior. All other rooms are provided with large glassed
windows.

 linking the two models depending on the functional demands of the

building.
 it is difficult to recognise because precisely this model deliberately
defies stylistic debate.
 It involves more ramps and spirals.
All the functional facilities such
as the bathroom, kitchen and
fireplace are situated in the
vertical axis of the house. This
organization allows the
freeing up of the outer walls.
The volumetric transition is generated by a set of five parallel walls that rotate along
a horizontal axis from vertical to horizontal.

 Standardizing and pre-fabricating of this structural element lowered the

building costs without reducing the spatial quality of the interior.

 The interior space also takes advantage of the split-level organization.

 The walls become floor and vice versa. The ruled surface maintaining this
transition is repeated five times in the building.
 Technically speaking, the twist consists of fivetwistedsurfaces.
The stairs from the ground floor to the mezzanine look like a
hollow road -the two walls twist towards each other.

 The stairs from the mezzanine to the first floor, on the other
hand, are diagonal with a wall twisting to create a floor on
the one side and a ceiling twisting to become a wall on the
other.

 The materialization of the design is a combination of concrete

and glass with a light metal construction.

 The transformation of a geometric form and the

standardization of the structural elements enabled the
economical production of a highly individual building with
strong spatial qualities.
AR.DILLER SCOFIDIO
Ar.Eliazbeth Diller is a visionary. She imagines things the rest of us have to see to believe. She can turn
a metaphor into brick and mortar.
New york based architect Elizabeth Diller is the only architect named on Time magazine’s 2018 list of
the world’s 100 most influential people. The magazine praised her vision and success in a male –
dominated field.
Diller, co- founder of Diller scofidio and Renfro, just the second woman architect to make the Time 100
list as an individual after the late Zaha Hadid, who was named among the 100 in 2010.
Then they starts the DS+R studio. Diller Scofidio + Renfro is an interdisciplinary design studio that
integrates architecture, the visual arts and the performing arts.
Their firm spent decades designing conceptual art and sets for dance performances, rather than brick
and mortar buildings, but have won a number of high profile commissions in recent years.
Liz Diller and her maverick firm DS+R bring a groundbreaking approach to big and small projects in
architecture, urban design and art- playing with new materials,tampering with space and spectacle in
ways that make you look twice.
DS+R was the first architecture firm to receive a MacArthur “genius” grant –and it also won an Obie for jet Lag,a widely
creative piece of multimedia off-Broadway theatre.
 DESIGN METHODS: WORKS:

Post wall architecture Most popular works are,

Biomimetic and Biophilic architecture • Blur, Swiss Expo, Lake Neuchâtel
Atmospheric architecture
• Lincoln Centre Public Spaces, New York
• Museum of Modern Art (MoMA) Expansion

Example 1 : BLUR BUILDING:

The building was clad in steam,avoiding the need to attched cladding to the tensile web.

The Blur Building was a temporary pavilion

built for the Swiss EXPO 2002 by the
architects Diller Scofidio + Renfro
(DS+R).Located at the base of Lake
Neuchatel.

• The Blur Building creates a un unique and unusual experience. The Blur building is an example of
atmospheric architecture because of the materials it uses, the shape and form of the building and the
experience that the visitor receives while in the building.
 • The lightweight structure measured 300ft X 200ft and appeared to hover 75ft above the lake’s surface on
Tension frame work four columns.
• The columns sat on piles sunk deep beneath the water. A system of rectilinear struts and diagonal struts and
diagonal rods cantilevered the structure out over the lake, with the walkways weaving through it and providing a
counterweight. The architects based this ‘tensigirity’ structural form on the work of Buckminister fuller.

Closeup of the base of a mast.Each of the members is affixed Each mast mast held by 6 tendons 6 tension
with bolts.From under the sea.
It claimed to use water as the the primary building material; pumping it from the lake
before filtering and shooting it as a fine mist through 31,500 high pressure mist
nozzles.Controlled by a smart weather system that regulated the water pressure, the water
vapour created an ‘artificial cloud’ that dominated its form.
Before the visitor can enter the building Vertical mast as seen from the base. they must be given what Diller and Scofidio
named
 View from within: Entering Blur is like stepping into a
formless,featureless,depthless,scaleless,massless,surfaceless and
dimensionless medium.
The brain coats helped identifying the location of each user as
well as comparing their character profiles and reacting
colorfully depending on the degree of personality color
changing in coat

While moving through the building each “Braincoat” will produce different colours of light.This is dependant on the survey that
the visitors took.
The braincoats helped identifying the location of each users as well as comparing their
character profiles and reacting colorfully depending on the degree of personality
match: When people passed one another,their coats turned red in case of high affinity
and green in case of inadequacy. By doing this Diller and Scofidio have created a way
for people to connect while experiencing the Blur Building.
The Blur Building also has a water bar inside it that serves different types of water from Water bar in Blur
In the glass box, a space surrounded by glass on six sides,visitors experience a “sense of
physical suspension only heightened by an occasional opening in the fog”.
Visitors can climb another level to the Angel Bar at the summit.The final ascent resembles the sensation of flight as one pierces
through the cloud layer to the sky.Here,visitors relax,take in the view,and choose from a large selection of commercial
waters,municipal waters from world capitals,and glacial waters.At night the fog will function as a dynamic and thick video screen.
AR.HERZOG & DE MEURON
Herzog & de Meuron is a Swiss architecturefirm with its head office in Basel, Switzerland.The founders and senior
partners were Jacques Herzog &Pierre de Meuron . Their works were reductivist pieces of modernity that registered on
the same level as the Minimalist Art. Their projects are almost paradoxical.

STYLE

 Expressionism
 Minimalist Art
 Art Deco
 Biomimicry EXAMPLES
Example 1 : BEIJING NATIONAL STADIUM Multi-use sports venue STYLE:(Biomimicry)
This stadium resembles or express the Birds Nest .
CONCEPT
"China wanted to have something new for this very important stadium that wasporous while also being a collective building, a
public vessel".
 Inspired by Chinese style pottery
 Circular shape represent heaven
 STRUCTURE
CONCEPT
The Stadium consists of Two Independent structures

 Red Concrete Seating Bowl

Steel Roof  Outer Steel Frame Around the bowl
330m x 220m Weighs STEEL RED CONCRETE SEATING
FRAME BOWL
45000 tonnes
Interwoven steel boxes
7 LAYERS
Example 2 : ELBPHILEHARMONIE
The building is designed as a cultural and residential complex. The original 1966 brick façade of the Kaispeicher A, formerly a
warehouse, was retained at the base of the building. On top of this a footprint-matching superstructure rests on its own foundation
exhibiting a glassy exterior and a wavy roof line. About one thousand glass windows are curved. The building has 26 floors with
the first eight floors within the brick façade. It reaches its highest point with 108 meters at the western side. The footprint of the
building measures 120,000 m2. A curved escalator from the main entrance at the east side connects the ground floor with an
observation deck, the Plaza, at the 8th floor, the top of the brick section. The Plaza is accessible by the public. It offers a view of
Hamburg and the Elbe. From the Plaza the foyer of the concert hall can be reached. The trapezoidal-shaped structure to
accommodate back-of-house facilities for the concert halls, the children’s museum, public amenities, and the parking garage.

CRYSTALLINE TENT

BRICK WAREHOUSE
  3 CONCERT VENUES
 The Great Concert Hall can accommodate 2,100 visitors whereby the performers are in the center of the hall surrounded
by the audience in the vineyard style arrangement.

 The acoustics were designed by Yasuhisa Toyota who installed about 10,000 individually
micro-shaped drywall plates to disperse sound waves.

 The Great Concert Hall contains a pipe organ with 69 registers built by KlaisOrgelbau.
 The Recital Hall is intended for the performance of recitals, chamber music and jazz concerts; it can hold an audience of
550 people.In addition, there is the Kaistudio that allows for 170 visitors and is intended to serve educational activities.
(SOURCE:www.archdaily.com) MEDIA IN ARCHITECTURE
 MEDIA FAÇADE
 LIGHT PLAY

BUILDING MATERIALS

 GLASS
 BRICK
 GYPSUM FIBRE PANELS
ACOUSTICS
They used 10,000 Gypsum Fibre Panels (composed of a
mixture of natural plaster and recycled paper) to ensure that
the acoustics in grand hall. The acoustics skin was developed
by an Architects with the cooperation of acoustician Yasuhisa
Toyota. GYPSUM FIBRE PANELS

ROOF STRUCTURE
The 7,000-square metre roof of the Elbphilharmonie consists of eight spherical, concavely bent sections that form a uniquely
elegant curving silhouette. In addition, 6,000 shimmering giant sequins have been applied to the roof. The roof structure, with
its steep curves and high peaks, itself weighs 1,000 tonnes and covers the complex star-shaped steel framework that carries
the Grand Hall without any supporting pillars. The roof of the Grand Hall is made up of a steel framework, each element
measuring up to 25 metres in length and weighing up to 40 tonnes, the outer and inner shell, floors for the technical equipment,
the White Skin with the reflector as well as additional loads. Altogether the roof weighs 8,000 tonnes.

(SOURCE:www.architonic.com)
DOMINIQUE PERRAULT
A French Architect and urban planner.The first feature, which is tightly connected to an imperative need of enriching the
architectural language, regards the eloquent interpretation of some sources coming from artistic minimalism and conceptual art.
Being inspired by the lesson of modernism, the curtain façades, detached from structure and enhanced by light, transparent or
translucent screens of glass or metal seem to be a tribute to contemporary technologies, yet are not subservient to them.
Innovation often penetrates the engineering level

THE-PONT-DE-SEVRES-TOWERS–CITYLIGHTS
The towers are therefore an integral part of Paris’s recent expansion towards Grand Paris. In addition to their strong territorial
impact, these elements have transformed the buildings’ morphology and mutation.
An open,sheltered campus We conceived a range of spaces in order to open the project to the outside: a large plaza in front
of the towers, passageways on the sides, and gardens. The project is now physically anchored in the city. The 53,000 square
feet space that was created on the ground level connects the towers to their environment and roots them into the urban space of
the city. With the reception areas, walkways and communal spaces, we are offering a new type of work environment, fit for
today’s world.
The importance of light Natural light brings architecture to life, while artificial light plays the same role indoors, as part of
the finishing process. We use light to transform the spaces we create. The lighting you need to read a book or to work on a
computer is dramatically different for the lighting you need to move through a building. Source by Dominique Perrault
Architect.(SOURCE: www.archdaily.com)
Example 1 : FUKOKU TOWER,OSAKA
CONCEPT
This tower project for the Fukoku insurance company takes inspiration from the profile of a gigantic
tree whose roots proliferate on the surface of the ground. Splayed at its base, the tower’s outline
tapers elegantly as it rises, gracing the city’s skyline with a vertical asymptote.
The contrast between the structure’s base and upper regions is accentuated by the treatment of the building’s “bark”. Broad
“wood chips” on the lower levels gradually give way to a sleek wall. The glass facade is worked into a crescendo of encrusted
mirrors at the base, reflecting the colors of the sky and the surrounding environment.

ARCHITECTURE
The Fukoku Tower, a 737,000 square feet building, is located at a strategic point in Osaka, above and connected to a major
crossroad bringing together subterranean galleries. Perrault’s Tower takes the shape of a gigantic tree whose roots are
encrusted in these galleries. The Tower rises elegantly from the crossroad below ground, taking its energy from the dynamic
activities provided by the galleries.
Splayed at its base, the tower’s outline tapers elegantly as it rises, gracing the city’s skyline with a vertical asymptote. The
contrast between the structure’s base and upper levels is accentuated by the treatment of the building’s “bark”. Broad “wood
chips” on the lower levels gradually give way to a sleek and uninterrupted wall. The glass façade is worked into a crescendo of
encrusted mirrors at the base, reflecting the colors of the sky and the surrounding environment.
STRUCTURE
The vast atrium, the Fukoku Forest of Life, features a wide glass wall, measuring 62 x 112 feet. This wall, which incorporates
images of a forest landscape, creates the impression of a green environment on the doorstep of Osaka’s main train station and is
visible from the street.
Perrault plays with the contrast provided by the natural lighting that pours from the ground level into the crossroad below and the
strong artificial lighting of the galleries to create an element of surprise for passersby.
Fukoku Tower will house offices, shops, university premises and an underground parking. The building demonstrates clearly
Perrault’s desire to connect each of his projects with the situation of its site, incorporating each scheme into an ongoing
geographical context.
DECOI ARCHITECT’S
Mark Goulthorpe (Principal)
Raphael Crespin

Mark Goulthorpe :

•Mark Goulthorpe is an Associate Professor At MIT Dept of Architecture, teaching in undergraduate,graduate

and post- graduate programs, and undergoing research in digital design and fabrication.

•Current research centers on robotic fabrication and a variety of composite fabrication methodologies, as well

as a new iteration of the dynamically reconfigurable Hypo Surface

•He has two published books

1.―Autoplastic to Alloplastic‖ by Hyx/Pompidou.

2.―The Possibility of (an) Architecture‖ by Routledge theorizes.

Rethinking architecture:
Mark Goulthorpe is an architect, writer, and teacher. To seek
models of thought that might yield new approaches to designing
and constructing buildings. He uses innovative materials, processing
logics, and computer-aided design.

Seemingly radical praxis :

The process by which a theory, lesson, or skill is enacted.

yields buildings that are not only resilient, economical, and visually stunning,
but also offers insights into attaining
environmentally benign buildings.

Goulthorpe says that the need for new modes of designing and building are essential
for both their aesthetic value and for catering to the dramatic population and economic
growth of the developing world.
 DECOI architects Works:

 One main street.

 Electromagnetic Hypo Surface.
 UN 50th Anniversary Exhibition, Geneva, 1995.
 Bankside Paramorph extension to a towertop appartment in Bankside, London,2002.
 Birmingham, UK, 1999-2001.
 Glaphyros Apartment Paris, 2003.
 SPRINGY THINGY.
 Music Centre, Gateshead, 1998.

Example 1 : One main street (Subtle Digital Form + Sustainable Timber + CNC Milling):

 An officere furbishment that relentlessly deploys numeric command machining of sustainable plywood to evidence the
versatility and efficiency available via CAD-CAM design-build processes.
 The project displaces the combinatorial logic for ready-made component typical of late-industrial process for a seam less
and non-standard protocol of customized fabrication.
A formal aesthetice merges from these processes,imbuing the design with a curvilinear continuity at a detail and spatial
level.
Material:
Using a sustainable and carbon-absorbing raw material,translated efficiently into refined and
functional elements via dexterous low-energy digital tooling. The project essentially comprises two
planes.

Floor Ceiling:
Articulated as continuous surfaces inflected by function.
The curvilinearity expresses both the digital genesis and the seamless fabricationlogic. Unitary
Fabrication

Logic:
All visible elements of the design,except the glass,have been fabricated as stacked sectional elements cut from flat
plywoodsheets by a single 3-axis numeric command milling machine.

Unitary Fabrication Logic:

All visible elements of the design,except the glass,have been fabricated as
stacked sectional elements cut from flat ply wood sheets by a single3-axis
numeric command milling machine. The ceilings,walls,floors and static furniture
have all been made as striated ply laminated elements,with functional elements
such as ventilation grilles,light pockets,and door handles formed directlyby
milling the mass of wood.
 Offloading pre -assembled ceiling components Ceiling genera ted milling file before nesting

Parametric Inflections: process.

The surfaces of the project deform to perform technically,in the floor used to capture the glass,or the ventilation grilles
that warp to the curvature of the ceiling.
These functional attributes were developed as parametrically‘variable elements,applied so as to locally adapt to the
base surface conditions automatically‘(they self- generate to suit their host site).
Where the glass wall is longer,so the structural fold of the floor heightens to augment its grip,the entire series of bumps
then varied by a second-order constraint.
Where air flow is increased locally,the vents elongate to baffle the flow proportionally,flaring the ribs of the ceiling
wider.
Scripting / Machining Protocols:
 As architects,we handed over actual milling files for fabrication,
Al ready nested on to ply wood sheets to minimize waste,which were the actual cutting instructions then issued digitally to the
numeric command machine.
These highly abstract machine instructions displaced the usual representative precepts of architectural production,but
infact we developed a machinic ghost of the final form,never modelling an accurate original!Well over one million linear
feet of cut were issued,a shift in the base protocol of contracting logic,the architect now fully in control of every detail via
fabrication code.
Machine -age manufacturing logic shifts to digital fabrication processes.
 Column:
The ceiling lifts over activity,inflects as if to
seek light,and is pulled by flows of people:an allo plasticity.
Continuous-SurfaceFormalism:
 The continuous machining process,the numeric
command machine executes curved cuts with equal precision as straight lines,essentially in
different to the complexity or number ofcuts.
 There is efficiency in maintaining surface continuity,large and highly accurate pre
fabricated parts quickly in stalled on site without the need for multi-component assembly.
This is mani fest in benches that curl out of floors,or reception desks that emerge as inflections from the general field.
The continuity of surface,in fact assembled in to an apparent unity from many highly accurate customized parts,is the
formal extension of the machining logic,challenging
the component -assembly aesthetic of machine age fabrication logic .

Continuous-SurfaceFormalism Reception desk model before nesting

Bench pre-assembly at CWK shop
machine to formal complexity!Indeed-the machine preferred continuity of curved cut.
Example 2 : BANKSIDE PARAMORPH: (Extension to a towertop apartment in bankside, london)

The project looks to establishing principles:

•A radical new spatial potential, trapping movement in 3d form(―geological formation‖)
•A revised attitude to CAD modelling, using multi-layered techniques(―dirty digital‖)
•A revolution in fabrication protocols (―a collapse of contractor space‖).

Creative Process:
1.INTUITION -intuition that parametric modeling (relational geometry) will allow for complex yet efficient 3 - d
space/form assemblies
2 . FORM
We liken the genesis of the project to calligraphy in that a period of assimilation of the complex
brief led to a highly articulate ‗gesture‘ that negotiates the complex formal and technical constraints:
1. an awkward stepped spiraling towertop site.
2. a client request for views in all directions.
3. the ability to nuance thermal performance
4. a need to modulate its structural form
5.the need for a lightweight prefabricated construction logic.
allow for complex yet e fficient 3 - d space/form assemblies
3.DESIGN FORM

1.Series of spiraling 3d structure/surface elements, offers a dramatic completion to the tower, whilst offering a radical interior spatiality.
The implicit assumption is that its form can be articulated as a series of variable parameters.

2.There is also a need for highly accurate and articulate fabrication techniques, which implies5-axis numeric command machining, the
structural box-trusses then assembled from beveled triangular panels.

3.structure,in sulation and weather proofing‗trapped‘with in its thickness-an essential recovery of efficiency within a now complex
formal environment(CAD/CAM).ie there is a collapse-back of distinction in regards to functional performance.

4.PRINCIPLE:

Within a digital environment, where variance is the norm, open-ended and pro life rating generative strategies are employed, sampling
and editing displacing design determinism as the essential aptitude of the architect. Parametric modelling,which models variables
within a dynamic system,demands that the architect articulate the essential parameters and their implication within a generative
environment:how does one establish the rules by which an architecture might be produced rather than a singular determination of form?
The paramorph emerges as the principled opponent to accidental methodologies of form generation.

Computer Modeling:
1.Sketch Design The initial computer modeling was done in 3D Studio Max .
2.Design Development
3.Currently we have moved to modeling the form in CATIA where we are concentrating on the detailed
level of articulation.
Fabrication Logic :
1 .Structure/Surface
2 .CNC Machining /
Assembly
3 .Prototypes .
ASSYMPTOTE ARCHITECTURE
Example 1 : THE ARC - RIVER CULTURE MULTIMEDIA MUSEUM
Example 2 : VELVO TOWERS
FOREIGN OFFICE ARCHITECTS
The London-based studio established in 1993, was headed by Farshid Moussavi and Alejandro Zaero- Polo.
It specialized in architectural design, master planning and interior design services for both public and private sector clients.
In their approach to architecture, the designers were hailed as new pragmatists, employing technical rigor in their focus on
organic growth and the evolution of design ‘species’ hybridizing uses relating to both local and global conditions.

FOA's Typological Strategy

Typology as a Tool for Consistency
Building types are critical to architects because they are a starting point for designing. Building typology refers to the study
and documentation of a set of buildings which have similarities in their type of function or form. There are two ways of
looking at the term "building typology".
The first is a functional typology that categorizes buildings into groups by the similarity of their use.A functional building
typology under this definition may create groups such as hospitals, schools, andshopping centers.

The second is a typology that groups buildings according to their forms. FOA views typology as a tool
for maintaining consistency in their projects, and their architectural works reflect this idea.Typology has been defined
variously as the imitation and reproduction of exemplary precedents (Quatreḿere, Rossi), the formation of types through a
composition of elements according to manuals(Durand, Krier), and as the repeated application of design norms under
universal conditions (Gropius,Le Corbusier). While classical typology fundamentally involves the concept of "repetition and
reproduction," FOA emphasizes the logic of "identity or sameness" in contemporary architecture.
Prototype Design Methodology
In "Remix 2000," FOA proposed a "prototype design methodology" as a tool to explore the complex material structure of
contemporary architecture.
They defined a prototype as an intermediate phase between information and form, arguing that the prototype could be
applied to numerous conditions, thus enabling projects to be interconnected.

A prototype is a rule or function that integrates myriad information and concepts into one type in contemporary society. While
the traditional "type" is a fixed constant, a "prototype" is a principle for controlling various conditions or multiple variables.
While all projects differ from one another in size, location, and program, the same prototype design methodology connects
them. Without doubt, this allows internal consistency and at the same time formal diversity despite the same prototype being
applied to projects.

Vectorial grids in various projects of FOA

Left: Yokohama Port Terminal, Yokohama, 2002,
Above Right: SE Coastal Park, Barcelona, 2004,
Below Right: Virtual House, Anywhere, 1997
Vectorial grids in the Yokohama Port Terminal are used as a frame of reference to determine the form of the girder, as well as
that of the dock and lamps on the roof; in Virtual House, they are used to determine the gradient of the roof and slab, as well
as the curvature of the folded sides. In fact, the methodology for using such a prototype in the Yokohama project employed a
process of constant feedback; this process created a unique and complex space with consistent design logic by
incorporating minimized basic components of the framework and a series of specialized techniques
that were newly developed.

Phylogenesis Based on the Concept of Species

FOA's book Phylogenesis published in 2003 examines the internal consistency of FOA's architectural works and presents a
phylogenetic tree that could substantially facilitate their future projects. Phylogenesis is useful for analyzing and reviewing
their past works and as a tool to be applied in the future.
FOA proposed a phylogenetic tree based on the concept of species as an effective alternative to traditional typology. They
define "species" as the physical composition of different materials according to a specific formula for a specific purpose in a
certain project. In such a classification, species implies an abstract structure for a single project organized by the composition
of "phyla.“

FOA identifies the problem in classical typology of connecting a specific program with a specific type.To overcome this
problem, they propose establishing "phyla" as a spatial hierarchical structure that supports the formation of "species" by
combining "phyla.“

FOA developed a typological strategy without abandoning the core idea of classical typology. First,
repetition and reproduction are used as tools for consistency. Secondly, the concept of "type" is
replaced by "prototype" and "species." Lastly, as typology inevitably has the characteristic of "division and classification by
types," FOA's phylogenetic tree reflects its typological thought.
Phylogenetic Tree,2004
The studio's first project, which is considered its landmark achievement, was the Yokohama Pier Port Terminal in Japan. The
Terminal has been described as a hybrid of non-Cartesian industrial infrastructure and versatile social functionality.

Example 1 : YOKOHAMA INTERNATIONAL PASSENGER TERMINAL

Designed by FOA in 1995, the futuristic terminal represented an emergent typology of transportation infrastructure.

Its radical, hyper-technological design explored new frontiers of

architectural form and simultaneously provoked a powerful
discourse on the social responsibility of large-scale projects to
enrich shared urban spaces.
 The striking appearance of the terminal was made possible only by tremendous advances in computer-aided design.

It was conceived primarily in section, with an incredibly complex series of surfaces that gently curve and fold into a
navigable, inhabitable architectural topography.

Atop the observation deck, the material fabric of the floor rises and falls in wave-like oscillations to create pathways and
apertures into the vast, enclosed spaces below.
These changes in elevation—sometimes subtle, sometimes sharp—were the essence of the novel architectural language invented for
the project.

The building is organized in three vertical levels. Atop a first floor parking garage, a spacious middle floor contains the terminal’s
administrative and operational areas, including ticketing, customs, immigration, restaurants, shopping and waiting areas.

While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation
scheme that dictates spatial organization. The circulation operates as a continuous looped diagram, directly rejecting any notion of
linearity and directionality. Visitors are taken through paths that meander vertically and horizontally before arriving at any
destination,and their sight lines through space are comparably tortuous and indirect. For all of the chaotic
complexity of the materials and formal gestures, the simplicity of this diagram offers a sense of clarity
and reveals the process from which the building emerged.
Example 2 : WORLD TRADE CENTRE 1, BUNDLE TOWERS, NEW YORK
The Bundle Towers is a proposal for the replacement of the World Trade Centre 1 with a new highrise typology.

The evolution of the high-rise has involved a process in which the increase in height of the skyscraper has each time
resulted in the concentration of more structure along the periphery of the floors, as the lateral forces become ever
stronger than the gravitational ones

This process has gradually evolved the post and beam

structural system,which distributes structure evenly across the
floor plates, into tubular structures.

As the high-rise grows taller, the strength of the material is

insufficient for the structure to provide
stability against lateral forces. Therefore, the only solution is
to keep increasing the depth of the
floors proportionally.
This leads to buildings that are extremely deep and heavily dependent on artificial light and mechanically-controlled
ventilation.
The Bundle Towers engages with the building mass, rather than with just the distribution of the structure along the perimeter
of floor plates. It is assembled as a bundle of interconnected structural tubes, each providing 500m2 of work space that
buttress each other for increasing structural stability.

Each of the workspaces along the 110 floors of workspaces accordingly benefit from natural light and views of the exterior
along their perimeter. In addition, at the point where the structural tubes touch each other, the workspaces gain access to
additional escape stairs from the neighboring tubes. At those floors, sky lobbies are also made possible which increase the
potential for interaction and exchange between workers in a high-rise.
MARCOS NOVAK
Introduction:
A multi-faceted artist and architect,marcos novak(1957)was born in caracas and studied architecture,specialising in
industrial design.As a researcher at austin university in texas he began to focus on the relationship between information
technology and construction in the early eighties.
A paladin of non-traditional architecture,novak found inspiration in the study of the spatial potential of the new digital
technologies,algorithmic compositions and music.
Novak theorized the existence of “hypersurfaces”. Hybrids combining “invisibility and virtuality”.

Design methods: He declared that “for the first time in two hundred years electroic spaces now permit arcitects to
•transarchitecture investigate concepts of space that had hitherto been impossible to explore by any other means
•liquid architecture than mathmatics or poetry.at the same time media technologies permit formation of new
•navigable music environment receptive to appropriate,relevant architecture”.
•habitable cinema
•archimusic

Famous works and projects:

• turbulent topologies,palazzetto tito,venice (italy),2008
• web-event trans-ports,nai,rotterdam,2000
• archilab,frac centre,orleans,2000
• continuum 001,centre for contemporary arts,glasgow,2000
• stand der dinge/virtuelle entwicklungen,kunstlerhaus,vienna.
MARCOS NOVAK WORKS
Example 1 : ARCHILAB,FRAC CENTRE:
Location:
75 Rue du colombier,45000 Orleans,France.
INTRODUCTION:
The site being the surface of intervention two predominant grids were identified from
the historic context of the site and the site Potential/role of FRAC in future.
The FRAC centre is the connecting point or the Continuum between the past and present.
The treatment of the building is heavily influenced by the futuristic,deconstructionist.
Styles of architecture and the conjuncture of architecture and digital technologies.

THE TURBULENT EXTRUCTIONS:

Volumes derived from the grids,projected towards the city,the sley;symbolic to a teleScope that can see further distance.
Turbulence of volume,mass,light,material,image,interaction(strategically placed plaza At the centre)Extraverted Nature.

The lightings and openings are artistic and architectural intervention of being a
Signage to public buildings,open and visible…..
The archhitectural ideas to take the Entire site,which determines the surface Of intervention.we
identified two predominate grids emanating from the historic context of the site.the meeting and the
convergence of these two geometries materialises in a deformation,a zone of turbulence,the future
presence of the FRAC centre….
The inner court is treated like a public spaces,linking all the buildings and carrying the program of the frac.our intention
is to create not only a landscape but a topographic surface.this surface follows the interferences of the two building
grids and accommodates the natural slopes the site towards the entries of the different programs of exhibition spaces.

The volume created by the meeting of these geometries are extruded vertically and stretched over the court and towards the
city.They are organised into three parts and conceived to be simple and facetted in form,a language derived from the fusion
of The grids of the site.
These “turbulent” extrusions each contain an element of the program.

The first and tallest a temporary Exhibition gallery with it’s accompanying scenographic
spaces,the smallest an audio visual gallery,and the third the welcome lobby,sales
space,and a convivial social space which extends out into the court.

This central space is an intersection,a place of meeting and exchange,material and

immaterial.This ambulatory space leads the public to the temporary and permanent
exhibition spaces and research areas.
The exterior and interior skins of the intervention are fine metallic and textile meshes which convey a perpetually modifying
flow of information.the idea is to create a building which continuallydescribes the process of creation,disappearing behind the
lines which were drawn only to reappear in volume,,light and image fuse together to create a dynamic form of architecture of
information.

These digital surfaces are addressed to the city and,as such,the building surface transcribes flow of information into light
images through an intervention of electronic shadow.these flows of information can be the weather,connections to their internet
site or any capturable flow of real time information.
The light surface of the building is simultaneously an architectural and artistic intervention,an urban signal,and signage of
the buildings activities.this idea is also pursued in the interior under the form of a dynamic system of signage.the objective is
to give the FRAC a tool that is sized by it’s public dimension,open and visible.

By its new open urban façade,obtained through the demolition of the existing building on the boulevard rocheplatte,the FRAC
centre is connected to the urban cultural promenade of Orleans,the interior court thus becoming a public plaza.we have
displaced to the centre centre of gravity to the heart of the site.

The new architectural intervention is the point of gravity,a new structure,a new geometry and a new departure for the
site,creating an architecture with a new presence that communicates a welcoming,an opening,and a vision for both the public
and researchers.
NEIL DENARI
• Neil Denari is principal of Neil M. Denari Architects / NMDA and a Professor in the Department of
Architecture and Urban Design at UCLA. His academic research focuses on urban morphology, utopias, and
vivid tectonics. He received his Bachelor of Architecture from the University of Houston in 1980 and a
Master of Architecture from Harvard University in 1982.
• Among his many awards is the 2011 Los Angeles AIA Gold Medal. Denari’s work has been included in many
exhibitions, including the traveling solo show “Displaced Buildings in Aperiodic City” which was inaugurated
in 2017 by the T-Space Gallery in Rhinebeck, New York.
• His work is permanently held by eight major museums around the world. With NMDA, Denari works on
building projects in North America, Europe and Asia. In 2012, NMDA won first prize in the New Keelung
Harbor Service Building competition.
• Denari lectures worldwide and has been a Visiting Professor at Harvard, Princeton, Columbia, Penn, and
Rice among other schools. He is the author of Interrupted Projections (1996), Gyroscopic Horizons (1999),
and MASS X (2018).

Architecture style
• Focusing primarily on architecture and urban scale planning, the office also has worked in the realm of graphic design,
branding, and product design.
• At present, his office is engaged with projects of various scales in the U.S. and Asia. NMDA’s most recent completed
building is HL23, a 14-story condominium tower next to the High Line at 23rd Street in New York.
• NMDA considers architecture as a medium with specific attributes that are different from other art and media forms, but
not as a medium whose responsibility it is to resist the influences of the temporal or the graphic, those forces exerted by
immaterial or two-dimensional media.
• In this sense, we work with media rather than against it, allowing architecture to be engaging rather than authoritative.
Example 1 : PORSCHE DESIGN TOWER

• Location – Frankfurt, Germany

• 150-200 Luxury residential units
• 38,000 Square Meter
• The competition asked for a 100 meter tower with an “exceptionally unique appearance”, to mark the entry to the new
Europaviertel district of Frankfurt. We considered two identities for a successful design. Porsche Design, a company
founded in 1971 as a luxury brand with special focus on functional, timeless and purist design.
• And Frankfurt, a city known not only for its importance as the financial center of the world, but also as a city that has long
embraced the High Rise. Our design approach incorporated, the formal, the structural, and the graphic, NMDA’s
architectural response to the two identities surrounding the project.
• For the new Porsche Design Tower, we have developed a figure through the same operations as the PD logo. The
parallelogram is an Forrent that ties together the entire project.
• The mirrored parallelogram is also used as a punched window system that tracks up the North and South facades. The
North and South ends of the tower are formed by large triangular subtractions in the primary block, leading to a
recursive, diagonal profile when seen in the oblique.
• Largee V columns support the base at the street level. Making a kind of arcade, these forms create a field of 3D
parallelograms through which the visitor moves to reach the lobby of the park to the south. They are a robust expression
of structural forces
Front elevation Side elevation
Example 2 : STUDENT SERVICES BUILDING
• Shenzen, China
• 10,000 Square Meters
• NMDA were one of five offices invited by Thom Mayne and Morphosis to develop a competition proposal for the new
Chinese University of Hong Kong for a site in Shenzhen, China. In addition to NMDA and Morphosis, the team consisted of
Griffin Enright / LA, Tom Wiscombe Design / LA, Scogin Elam / Atlanta, and Jacob + MacFarlane / Paris.
• Morphosis prepared a master plan based on a continuous, winding public promenade, that mediates between urban edge
classroom and lab buildings and residential buildings that wiggle up into the verdant hills on the other side. A number of
buildings were designated as ICON buildings including a Morphosis designed central library and NMDA designed Student
Services Building and Auditorium. The Student Services building is presented here.
• As one of the major icon buildings located along the main promenade, the Student Services building expresses its
connection to the University community through its site position, its sectional relationship to the promenade and private
garden program, and its sculptural and perforated form.
• The building, like a sponge, absorbs people, activities, and ideas as it serves to socially and culturally connect staff and
students, and also work and leisure. As approached from the South, the building is viewed as an internal campus gateway,
marking the edge of the Undergraduate Quad and the beginning of the rich pedestrian experience of the heart of the
campus.
• The building originates from a perfect hexagon in plan. It then becomes specialized through a series of local
developments that respond both to internal program as well as prevailing views and breezes. It is clad in a double skin of
perforated aluminum and glass storefront glazing behind.
THANK YOU !!