Seeing,

Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023

Architectural Representation

The learning objective for this topic is to understand that architectural representation is
about the content as much as it is about the finding of the best way to convey intent and
thought processes through drawing, rendering and model making. This semester is about
equipping students with ways to see and think, and to inculcate drawing and making as
intrinsic thinking processes. The ambition is for the hands-on exercises to span across a
spectrum of capabilities and understanding through a condensed run through methods and
precedents as vehicles for learning.

Individual studio tutors will teach drawing conventions and construction of technical
drawings, so that a fundamental vocabulary to read and “write” architecture is at hand.
Architectural representation through drawing sits at the intersection of art and science. A
good drawing evidences observation in documentation, clarity in thinking, virtuosity in
precision and ingenuity in execution.

One does not need to be adept at art to draw well. Rather it is critical thinking and
understanding, rigor, discipline and the ability to sustain enduring tasks of design
investigation, development, trial and error, that form the necessary aptitude of an
architectural design professional.


Assignments
3 bi-weekly and 2 3-week assignments on projections will be carried out over 12 weeks, each
paired with different learning vehicles.

Written by Adjunct Assistant Prof. Yen Yen Wu (Genome Architects) 1




Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023


Year Brief and Schedule Overview

Wk 0 Introduction by Year Leader
Topics Vehicle Skill
Ex 1 Composition, Order, Geometry for Stereotomic, Mechanical Drafting of
Wk 1, Wk 2 Orthography, Grid, Axis, Symmetry, Poché Plan, Section, Elevation
Hierarchy, Light. Small in Pencil and Studio
buildings, old Group Foam Model.
and new with
strong
ordering
principles
Wk 3 Lecture by Ar. Lee May Anne on Ex 1 and 2
Ex 2 Points, Lines, Planes, Asymmetry, Tectonic Mechanical Drafting of
Wk 3, Wk 4 Façade, Structure, Circulation, Exploded
Space. Axonometric/
Houses, mix of Isometric in Pen and
old and new Group Cardboard /
Wood sticks Model.

Wk 5 Lecture by Ar. Ng San Son on Ex 3, individual Studio Site Visit
Ex 3 Interiority and Exteriority, Metropolis, Mechanical Drafting of
Wk 5, Wk 6 Perspective, Approach, Sequence City and Sectional Perspective
and Vignettes. Private/Public. Architecture in Pen (aided by 3d
Rhino massing)
Early
Independence,
Mixed Use

Recess Week: Self-learning Rhino and Grasshopper with TAs
Wk 7 Lecture by Year Leader on Ex 4
Ex 4 Mapping and Notions, Parametric Complex Rhino - Mechanical
Wk 7, 8, 9 Form, Extensive Properties, Geometries, Drafting in Pen Hybrid
Topology. Digital Design Drawing. Individual
Topology Model.

Wk 10 Lecture by Ar. Yong Sy Lyng on Ex 5
Ex 5 Complex Informational Systems, Generative Grasshopper, Rhino -
Wk 10, 11, Algorithm, Field. Parametric and Mechanical Drafting in
12 Space, Responsive Forms. Computational Pen. Individual
Performance and Response, Design Generative Process
Intensive Properties, Processes Model.

Wk 13 Monday online submission deadline. Tuesday final review

Written by Adjunct Assistant Prof. Yen Yen Wu (Genome Architects) 2




Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023

Exercise 1 (Weeks 1, 2)
Through the study of representation of Plan, Section, Elevation,
In
Stereotomy, Poché
Discover: Composition, Order, Geometry, Orthography, Grid, Axis, Symmetry, Hierarchy,
Light.
* Unit Choice of Small Building precedents, mix of old and new

“The Stereotomic Approach
On the one hand, as described by Robin Evans, stereotomy (or the science of cutting
solids) was a Seventeenth Century French rubric under which were gathered several
existing techniques including stonecutting. According to Evans, “The basis of
stonecutting was the trait, a collection of layout drawings used to enable the precise
cutting of component masonry blocks for complex architectural forms, especially
vaults”[..] On the other hand, in the words of Francesco Cacciatore, “the term
stereotomic, from the Greek stereos (solid) and tomia (cut), introduces an idea of
building, which is not conceived as the assemblage and juxtaposition of elements
typical of the tectonic approach, but rather as the gradual removal of matter from
an initial shape”. Based on this point of view, the application of the stereotomic
approach to architecture results in the generation of monolithic and compact forms,
where the individual parts cannot be discerned from the whole and in which the
removal of matter produces the intended architectural spaces.”
- Stereotomic Models in Architecture, Juan José Castellón González, Pierluigi
D’Acunto, Chair of Structural Design, ETH Zürich Switzerland


Kimberly Elam, Geometry of Design: Studies in Proportion and Composition, 2001
“The purpose of Geometry of Design is not to quantify aesthetics through geometry
but rather to reveal relationships that have foundations in the essential qualities of
life such as proportion an growth patterns as well as mathematics. Its purpose is to
lend insight into the design process and give visual coherence to design through
visual structure. It is through this insight that the artist or designer may find worth
and value for themselves and their own work.”


In Week 0, each studio tutor may determine a set of simple straight line, curve, drawing
conventions, pen weights and pencil exercises for students. These may be seen as a form of
warm ups, to introduce students to equipment, general rules of technical drawing and ways
to set up them up. The ambition is to explore mechanical penmanship through static
linework that demonstrate use of lines to create depth, geometrical composition, optical
perception and transformation.

In Weeks 1 and 2, each Unit will select several comparative small buildings to be studied and
shared as precedents, where fundamentals of plan, section and elevation, geometrical
composition and stereotomy will be taught through these precedents. Unit tutors are
encouraged to select 3 projects from a mix of ancient and contemporary buildings for

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023

comparison, eg Church of San Filippo Neri, Kandariya Mahadev Temple, Mukunda Nayanar
Temple, Bruder Klaus Chapel Peter Zumthor, Chichu Art Museum Tadao Ando, House of
Cordoba Emilio Ambasz etc. TAs will assist in obtaining copies of drawings and readings of
chosen buildings for the unit.

Students are asked to observe, explore and draw the plans, elevations and sections of a
given precedent and through annotations and diagrams, extract ordering principles (grid,
repetition, rhythm, axis, symmetry, geometry, proportion) that will be layered with linework
or pencil, over the projection drawings.

Through the use of pencil, demonstration of light and shadow, depth and transparency with
shading and hatching is also encouraged.

Deliverables

1 Plan in scale 1:100 / 1:200 with line weights, ordering principles,
1 Section in scale 1:100 / 1:200 with line weights, solid-void, figure-ground,
Elevation in scale 1:100 / 1:200 with line weights, textures, light and shadow,
Drawings to scale as tutor deems fit, in pencil.
Diagrams and annotations demonstration analysis on composition, geometry may be
carefully overlaid.
Above on 1 sheet of A1 cartridge drawing paper each per student.

3 students to a group per studio, 3 study models that are made of stereotomic material
such as Styrofoam, blue foam, stacked foam core etc. that allows for carving of monolithic,
compact models Cardboard, sticks, paper are not allowed.




Assessment at End of Week 2: Pin-up, No-talk 5.00pm in studio for all studios.



Reference Readings:
Elam, Kimberly. Geometry of Design. Princeton Architectural Press, 2001
Ching, Frank. Architecture: Form, Space and Order. Van Nostrand Reinhold, 1996.
Rowe, Colin. The Mathematics of the Ideal Villa. Architectural Review, 1947
Unwin, Simon. Analysing Architecture. Routledge, 1997
Trivedi, Kirti. Hindu Temple: Models of a Fractal Universe. Paper No. 24, presented at the
International seminar on Mayonic Science and Technology. 1993
Gonzalez, Juan Jose Castellon and D’Acunto, Pierluigi. Stereotomic Models in Architecture: A
generative design method to integrate spatial and structural parameters through the
application of subtractive operations. Chair of Structural Design, ETH Zurich, Switzerland
Moretti, Luigi. Structures and Sequence of Spaces. Editorial for Spazio 7th Edition, 1952.
(translated)

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023


Exercise 2 (Weeks 3, 4)
Through the study of representation of Exploded Isometric and Axonometric
In
Tectonic
Discover: Points, Lines, Planes, Asymmetry, Façade, Structure, Circulation, Space.
* Unit Choice of Precedents


“Tectonics in architecture is defined as "the science or art of construction, both in relation to
use and artistic design." It refers not just to the "activity of making the materially requisite
construction that answers certain needs, but rather to the activity that raises this
construction to an art form." It is concerned with the modeling of material to bring the
material into presence: from the physical into the meta-physical world.”
– Robert Maulden, Tectonics in Architecture

In “A Genealogy of Modern Buildings: Comparative Critical Analysis of Built Form” by

Kenneth Frampton, projects are paired and compared by, but not limited to, their design
intent, circulation around public and private spaces, and structure through photographs,
drawings and diagrams. Students may digest Frampton’s analysis and crystalise their own
understanding and reading of the architects’ DESIGN INTENT through a series of
compositional, circulation, light/shade diagrams.

In Weeks 3 and 4, each Unit will select several comparative small houses within each Studio
to be studied and shared as precedents, where fundamentals of exploded isonometric and
axonometric will be taught through these precedents focused on tectonic points, lines and
planes. Unit tutors are encouraged to select 3 projects from a mix of Modernist and
contemporary houses for comparison, eg Tuggenhadt House, Villa Savoye, Schroeder House,
Falkestrasse Loft by Coop Himmelblau etc. TAs will assist in obtaining copies of drawings and
readings of chosen buildings for the Unit.

Each student is to analyse the strength of each project, choose an original point of view and
translate their analysis into 1 clear drawing that is most representative of their assessment.
The architectural content of these drawings will be abstracted into exploded architectural
axonometric / isometric drawings and should show different views that exemplify aspects of
the building that students have identified are the strength of the project and their best
representation.

Through the use of ink pens, demonstration of sequence, approach, circulation and
assembly is encouraged. Students may explore ways through exploded (or not) axonometric
/ isometric drawings, line work, pencil / pen shading or hatching, annotation etc. to convey
their analysis. This drawing should be a design exercise in controlled and deliberate
composition in order to best articulate the stated design intentions of the architects and
students’ points of view.

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023


Deliverables:
1 axonometric / isometric drawing in 1:50/1:75/1:100 scale with line weights,
Drawings to scale as tutor deems fit, in ink pen work.
Diagrams and annotations that demonstrate analysis movement, space, views,
foreground/background, façade, structure, circulation is encouraged.
Above on 1 sheet of A1 cartridge drawing paper each per student.


3 students to a group per studio, 3 study models that are made of materials that
demonstrate tectonic such as cardboard, basswood strips, grey board, foam core etc.
expressing of planes, lines and edges.










Assessment at End of Week 4: Pin-up, No-talk at 5pm in person.












Reference Reading:
Moussavi, Farshid. The Function of Form. ACTAR, Harvard Graduate School of Design, 2009
May, John. Signal. Image. Architecture. Columbia Books on Architecture and The City, 2019
(Chapter: Orthography)
Le Corbusier. Towards a New Architecture. 1923.
Frampton, Kenneth. Studies in Tectonic Culture: The Poetics of Construction in Nineteenth
and Twentieth Century Architecture. Graham Foundation for Advanced Studies and The MIT
Press. 1995. Edited by John Cava.

Written by Adjunct Assistant Prof. Yen Yen Wu (Genome Architects) 6




Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023

Exercise 3 (Weeks 5, 6)
Through the study of representation of Sectional Perspectives
In
Early Independence Singaporean Architecture, Metropolis, City and Architecture,
Discover: Interiority and Exteriority, Perspective, Approach, Sequence and Vignettes.
Private/Public.


Each Unit may choose from the below, or as tutors deem fit:
1) Pearl Bank Apartments by Tan Cheng Siong of Archurban Architects Planners (1976)
2) Golden Mile Complex by Design Partnership and DP Architects: Tay Kheng Soon,
William Lim, Gan Eng Oon (1974)
3) People’s Park Complex, Design Partnership and DP Architects: Tay Kheng Soon,
William Lim, Koh Seow Chuan (1973)
4) Singapore Conference Hall by William Lim, Chan Voon Fee and Lim Chong Keat from
Malayan Architects Co-Partnership and Architects Team 3 (1965)
5) Pandan Valley Condominium by Tan Cheng Siong from Archurban Architects
Planners (1978)


Studios shall visit the selected building and develop a sense of experiential understanding of
the spaces, as well as the people whom they serve. TAs will assist in obtaining reading
references and drawings of chosen building for unit.

TT will assist in obtaining building management’s permission to visit, risk assessment and
indemnity forms. Unit Leaders shall liaise directly with TT for assistance once precedents are
determined.

Each student shall study the drawings in detail, not only for their architectural merit, but
also in their social and physical context. Through formulating their own analysis of the
architects’ design intent, students will select 1 view and construct a sectional perspective
that best encapsulates the strongest instance of contrast in sequence, interiority/exteriority
or perception, in the view of for whom the building was designed.


Attention is also paid to the relationship of the building’s interior and the exterior context,
the understanding of the metropolis in drawings that depict mixed-use, events and urban
living conditions, such as the drawings by Archigram and Metabolist architects.

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023




Deliverables:
1 sectional perspective in suitable scale in pen,
Multiple smaller sequential vignettes showing progression, different perspectives and
contexts, on 1 sheet of A1 cartridge drawing paper.

A full building section is not required. Students should choose the perspective wisely, to
construct (such bird’s eye, worm’s eye, one / two point perspectives) to demonstrate their
original reading of the building from the point of a user.

Use of computer modelling, in so far as selecting and setting out of angles, depth of view are
allowed to be shown as ghosted lines on drawings, however, the fundamental
understanding of how a perspective is set up must be demonstrated in manual technical
drawing. TAs will assist in setting out a 3d model of studio chosen building, modelling an
overall outline only for students to work with in selection of angle and setting up of angles.










Assessment End of Week 6, Interim Review Intra-Unit.









Reference Reading:
Lewis.Tsurumaki.Lewis. Manual of a Section. Princeton Architectural Press New York, 2016
Ho Weng Hin, Dinesh Naidu & Tan Kar Lin. Our Modern Past: A Visual Survey of Singapore
Architecture 1920s-1970s. Co-published by Singapore Heritage Society and SIA Press, 2015.
McMorrough, Julia. Drawings for Architects. Rockport Publishers, 2015
Chia, Samatha & Fallon, Finbarr. Unit: A Glimpse into Singapore’s 1970s – ‘80s private
apartments, 2022

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023


Exercises 4 and 5
Architectural Representation in Complex Geometries and Computational Design Thinking

Computational design brings a set of process driven and design strategies as complexities
made possible by digital capabilities evolved. As architecture shifts into a realm that values
performative, interactive functions and less religious and philosophical ideologies; more
requirement to achieve quantitative targets (unit areas, wind velocity, heat gain, reflection
index), the premise for generating and evaluating architecture has correspondingly changed.

While it is true that not all architecture needs to be substantiated by figures (depending on
other layering of requirements such as culture, education and history), the methods and
technology afforded to us in design has completely changed. Yet computational design is
one that can be performed by hand; the computer just calculates to find and exhaust all
possibilities faster. All design decisions and parameters still originate from the thinking
faculty of the architect, which is why it is important to not use software mindlessly but
thoroughly understand the ideologies they stand for without mindless adoption.

The computer by no means dictates the ambit and parameters that frame design
exploration. By understanding how computer-aided design and digital fabrication work,
architects set out the task for generating options based on their stipulated criteria and
concerns, calibrate complex geometries with variations, and eventually innovate fabrication
and assembly processes. This translation of thought to form remains largely in the hands
(and mind) of the architect.

The learning objective for these exercises, is to understand intrinsic computational and
digital design thought processes through analogue architectural representations of drawing
and model making, as architectural design fundamentally remains a process of seeing,
thinking and making. In the last 6 weeks, fundamentals of complex geometry and
information processing explored through hand drawing, in tandem with introduction and
familiarisation with responsive materiality, will evidence that critical architectural thinking
commands digital tools and remains the bedrock of formal expression.

Written by Adjunct Assistant Prof. Yen Yen Wu (Genome Architects) 9




Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023


Exercise 4 (Weeks 7, 8, 9)
Through the study of representation of Complex Geometries and Digital Design
In
Parametric Form
Discover: Mapping and Notation systems, Extensive Properties, Topology.
* Unit Choice of instance scenario – event mapping and material

If before, principles and fundamental design concepts came from geometry found in nature,
or observed as found in mathematical calculus that is pleasurable to the eye, then today,
even more, architectural formulation and evaluation of design and aesthetics, is propelled
by understanding what and how data is collected, utilised, ordered and assessed through
computational means into possible architectural outcomes.

The objective of this exercise is to introduce how to see, map notations and/or interpret
information that can translate into drawing and making. Knowing what to look at and what
to collect, and how that can be productive to architectural design is a design process.
Through algorithmic, methodical, systematic representation, means and ways, complex
geometries and basic parametricism is introduced as an initial undertaking of data
translation into a topographically complex object.

Design of free forms, blobs and organic forms, afforded by new mathematical formulas and
language, found new life in digital architectural design software by way of NURBS, mesh,
splines. However, the hand too has long had the ability to record, resolve and construct
complex geometries, such as the skills needed in ship-building. While to construct anything
by hand takes a longer time, as a student of architecture and form making, it is important to
understand the ideology and underpinnings of complex geometries: what they represent,
how they manifest; to study and encapsulate complex forms and their intended (and
unintended) consequences.

https://modelshipworld.com/topic/12246-reading-boat-drawings/ (old drawings above and
computer generated of the same below)

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023

Assignment

Your Unit tutors will choose a site that has a prominent object in a space within the SDE4
campus that is subject to frequent use and impact. For example, this can be a bench at the
bus stop along Clementi Road. Observe, count, quantify, measure the various effects, use,
exertion etc. that this chosen “site” is subject to every day.

Each student will design a representation of this information in their own “code” language
through drawing, developing a strong, sophisticated legend by setting their own parameters
able to code all aspects of the found data. Students can design the way in which each of the
parameters demonstrate its intrinsic value and how best a consistent language of penned
line work within a designed coded syntax can capture the entirety of the information
presented on a single drawing.

Students may decide on the parameters that they choose to observe and record over a
period of time. Tutors will assist to help students determine what the qualities and
transformations. Information should carry scale and quantitative accuracy. Observations and
parameters should be made and collected around extensive quantities that affect and alter
the shape of a material object over time ie this may have been resulted from human impact
or weathering that would have seen changes in, say, lengths, volumes, surface topographies,
thicknesses etc. Think of this material of the object material as malleable over a long period
of time.

Make a model, starting with a malleable envelop material as advised by your studio tutor,
transcribing the transformations from your coded drawing physically onto the model. These
actions will result in depressions, deformations etc. and over time, repeated interactions at
the areas of contact, the malleable object / model will register, respond and undergo a
series of formal transformations, resulting in a final organic form.

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023


Once the model is completed, design one measuring device with which this freeform model
can be measured, dimensions taken for drawing. You will learn to draw an instance of this
model with hand and computer software, in a combined hybrid drawing, therefore gaining
insight and new understanding behind the computer software that you use. All drawings are
dimensioned and to scale.


Deliverables:
1 A1 notation drawing in Rhino or by hand, composed, intentional, designed, showing how
the touch-points, impact etc collected information are exacted from observation.
One final model of complex form geometry after data and actions are performed on model.
Suggested responsive materials include neoprene, rubber, silicon, foam, acrylic, wax and
clay.
One measuring device, designed to best extract x, y, z co-ordinates from complex model.
One hybrid A1 drawing that is a half hand drafted scaled and dimensioned precision drawing
in ink and another half modelled in rhino with NURBS / splines / mesh, printed.






Assessment at End of Week 9: Pin-up, No-talk at 5.00pm.








Reference Readings:
Lostritto, Carl. Computational Drawing: From Foundational Exercises to Theories of
Representation. Applied Research & Design, 2019
Tufte, Edward. Envisioning Information. Graphics Press USA, 1990
Lima, Manuel. Visual Complexity: Mapping Patterns of Information. Princeton Architectural
Press, 2011
Paez, Roger. Operative Mapping: Maps as Design Tools. Actar Publishers, 2019
Schumacher, Patrik. Parametricism as Style – Parametricist Manifesto. Talk presented at 11th
Architecture Biennale, Venice 2008.
Archaeology of the Digital, Co-Publishers The MIT Press & Canadian Centre for Architecture,
Edited by Greg Lynn, 2013
Lynn, Greg. Folds, Bodies & Blobs: Collected Essays (Books-by-architects). La Lettre Volee,
1998

Written by Adjunct Assistant Prof. Yen Yen Wu (Genome Architects) 12




Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023

Exercise 5 (Weeks 10, 11, 12)
Through the study of Generative and Computational Design
In
Complex Informational Systems, Algorithm, Field.
Discover: Parametric Space, Responsive Forms, Performance and Response. Intensive
Properties (Speed, Temperature, Pressure, Density), Process.
Unit Choice of Process (Matching process to intensive quality)


It has become fact and necessity that more and more, architects receive, analyse, strategise
different sets of parameters and information that are expected to feedback and inform
architectural design. This is a process-driven sequence that sometimes forms the principle
logic and backbone of architectural strategy and formal expression.

Objective:
Through the use of a responsive, dynamic process that provides feedback, the material
medium in which this process is situated and how through its intrinsic nature, forms are
generated by finding them, instead of making them preconceived, students see a possibility
of how performative, generative design in dynamic environments is predicated on
parameters and conditions and most importantly, a skillful, conceptually strong matching of
suitable simulation processes.

Students should be led to appreciate the abstraction of information behind generative
design and this methodology of form generation as rigorous system of thinking and that it is
not centered around form making only nor that these forms necessarily become
architecture without further consideration. This clarity must be underscored. While
technology and methods have made the manipulation of parameters faster and easier, and
it has enabled dynamic simulations, defined by functions and sets of operations performed
arithmetically to respond to design brief, architectural design should still be targeted critical
design outcomes that rely on human assessment and input.

Each Unit may choose their process for exploration based on the potential to meet the
above objectives. Choose an analog dynamic generative process that best matches the
phenomenon and intensive quality that is to be studied. Suggested media include responsive
systems such as casting (wax, concrete), smoke/ice, expansive foam etc. that demonstrate
intensive processes and allow for precise control of parameters including speed,
temperature, pressure, density, flux rate of change.

The data taken to perform these experiments may be from Exercise 4 above, the
observation of flux, density, space and qualitative change, and simulated with appropriate
designed tools, medium and parameters.

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Seeing, Thinking, Making
Year 1 Semester 1 - AR1101 Architectural Design 1
AY 2022/2023



Assignment
Each student will translate the observations and data collated from the experiment and
make drawings that show the changes in form and process, correlating to the variable
parameters precisely chosen and controlled with clear design intent.

Actions, designed by the students, should best translate exploration of parameters and
limits; how they are controlled to achieve endless simulations and possibilities. Information
detail and resolution should not be lost and translation should be faithful and robust.

A series of iterative models that progressively test the limits of the selected process within
the rigor and ambit of each code and action, probe students’ exploration of materiality and
computational design thinking. The full range of iterative models should demonstrate
taxonomy of these student-designed parameters and how the processes are form finding
through analog and digital means. Drawings can be made with repeated experiments by
hand, and by Grasshopper program.



Deliverables:
Iterative process models demonstrating rigor of investigation through change in parameters
through the translation of the student’s designed process.
The more, the merrier. Observations to be checked.

Plans and Sections of models shall be drawn in pen, pencil and / or in Grasshopper, at an
appropriate scale.







Assessment of Exercises 4 and 5 will be presented together at Final Review in Week 13.




Reference Readings:

Carpo, Mario. The Second Digital Turn: Design Beyond Intelligence. MIT Press, 2017
Provisional: Emerging Modes of Architectural Practice in USA. Princeton Architectural Press.
2009. Edited by Elite Kedan, Jon Dreyfous, Craig Mutter (Chapter “Convergence: Toward a
Digital Practice” by Chris Hoxie)

Written by Adjunct Assistant Prof. Yen Yen Wu (Genome Architects) 14