Contemp Process FINAL PRINT

Contemporary
Processes in
Architecture
9th Sem – 5th yr. B.Arch.
Ar. MD.Thulasii Gangaa

CONTEMPORARY PROCESSES IN ARCHITECTURE
AR6014 - CONTEMPORARY PROCESSES IN ARCHITECTURE
OBJECTIVES:
To investigate various theories of media and its influence on the perception of space.
To study the various aspects of Digital Architecture and its exploration through emerging
phenomena that relies on abstraction of ideas.
To study the works of contemporary architects who have illustrated the influence of the digital
media in evolving architecture. This is to be presented as Seminars.\
UNIT I - 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
UNIT II 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
UNIT III CONTEMPORARY PROCESS

Emerging phenomena such as increasing formal and functional abstractions – Diagrams –
Diagrammatic Reasoning – Diagrams and Design Process – Animation and Design – Digital Hybrid
UNIT IV GEOMETRIES AND SURFACES

Fractal Geometry – Shape Grammar - Hyper Surface - Liquid Architecture – Responsive
Architecture.
UNIT V 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.
TOTAL: 45 PERIODS
OUTCOMES
Students would be able understand the effect of contemporary theories of media on contemporary
architectural design.
Student shall gain insight to the various contemporary design process/theories and their relation
to computation.
Students would be able to identify and go in depth into specific and appropriate aspects relating to
the discipline of architecture and reflect this in the realm of design
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REQUIRED READING
1. Work of Architecture in the Age of Mechanical Reproduction, Differences MIT press,
1997.
2. Peter Eisenman, Vision Unfolding, Architecture in the Age of Electronic Media, 1992.
3. William J Mitchell, the Logic of Architecture: Design, Computation and Cognition. MIT Press,
Cambridge, 1995
4. Ali Rahim, “Contemporary Process in Architecture”, John Wiley & Sons, 2000
5. Contemporary Techniques in Architecture”, Halsted Press, 2002
REFERENCES:
1. Gillian Hunt, “Architecture in the Cybernetic Age”, Architectural Design Profile no.136,1998
2. Sarah Chaplin, “Cyberspace Lingering on the Threshold”, (architecture, postmodernism and
difference, Architectural Design Profile No. 118: Architects in Cyberspace, 32-35, London: Academy
Edition, 1995
3. Rob Shields (ed.), “ Cultures of the internet: Virtual Spaces, Real Histories, Living bodies”, Sage,
London, 1996
4. John Beckman, The Virtual Dimension, Architecture, Representation and Crash Culture, Princeton
Architecture Press, 1998.
5. William J Mitchell, “City of bits: Space, Place and the Infobahn”. MIT Press, Cambridge, 1995
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ASSIGNMENT TOPIC LIST – explain with examples- max 7 to 10 pages..a4 size..ms-

word.font size 12.heading size 14..calibri font.
1. Influence of media in architecture – Mohamed safiq,

2. Technology and art, Technology and architecture…afrin
3. Digital technology and architecture..with examples..dheenadayalan, Technology
as rheotoric in architecture …riswan
4. Digital process and non digital process.. rhenius
5. Cyber space – ameer batcha
6. Fractal geometry---alagar
7. Shape grammar—sahina
8. Hyper surface – analin
9. Liquid architecture -hajra
10. Responsive architecture – Vijayalakshmi
11. Greglynn- asraf ali
12. Reiser and umemotto – annie batcha
13. Nox architects – kalyan
14. Un studio -jennathmariyam
15. Dillerscofidio – lakshminarayanan
16. Dominique Perrault -pooja
17. Decoi - harikrishna
18. Marcos novak - – Nagarajan
19. FOA architects - adbul iiilah
20. Asymptote – satyanarayanan
21. Herzog n demeuron -pooja
22. Neil denari – Iqbal
23. Digital hybrid – shruthi
24. Emerging phenome such as increasing formal and functional abstractions -
saarjun
25. Diagrams, diagrammatic reasoning, diagrams and design process, Contemporary
computational design process in architecture – mahayogalakhsmi n manodurga
26. Animation and design-thinesh
27. Increased automation and ints influence - uvais
28. Issues of aesthetic and authorship of design – Shafiq
29. Digital fabrication -sangetha
30. Topological architecture – asraf ali
31. Isomorphic architecture, Animate architecture – dinesh
32. , metamorphic architecture , paramaetric architecture-jayasurya
33. Evolutionary architecture – jenish
34. Emergence and morphogenesis, cellular automation in arc hitecture – jenish
35. Bim – surendaran
36. Genetic algorithm in design computation – yusuf
37. Zaha Hadid -hajra
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UNIT I - 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
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
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1. Entertainment- In Las vegas,U.S, the LCD (Liquid Crystal Display)screens dominate the strip
skyline- mainly driven by commercial advertising, appearing in various shapes, sizes and
orientation.
Las vegas – street night view

2. Business – One of the application of media façade in a dense urban context on a big scale is
the headquarters of the technology stock market NASDAQ in Manhattan. It is housing the
NASDAQ ticker and the high-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
NASDAQ Building in Manhattan

3. Art and entertainment.-The headquarters of the in Rotterdam is an example of using the media
screen Dutch telecommunication company KPN to cover the entire façade. But the major
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drawback here was the screen faces the residential areas and hence has raised light pollution
issues. The façade is facing the city and change every day, with the season, activities, festivals,
animations and graphics or just show KNP-logos.
KPN Façade with displays
4. Recreation and Entertainment
The Crown Fountain , in Chicago, features a shallow pool with two glass block towers one at each
end. It does not broadcast a pre-programmed commercial advertising but rather displays the faces
of one thousand Chicago people one at a time. During the final minute of the display, the lips purse
and spout of water shoots from their mouths. This low level of action attracts people attention and
makes them feel engaged and aware of their presence with the fountains setting.
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Crown Fountain , in Chicago,
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
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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/
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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.
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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 Waterboy 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.
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http://www.saferain.com/en/water-show/digital-water-curtain/digital-water-curtain-circular-
shaped.html#prettyPhoto
8. Aviary
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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
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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.
https://architecture.mit.edu/architecture-and-urbanism/project/aviary
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Additional reference : Media architecture
http://cavi.au.dk/research/media-architecture/
https://www.archdaily.com/tag/media-architecture
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
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• 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,
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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
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 pen and a software program instructing it to follow a
certain pattern.
The creation of artists Julian Adenauer and Michael Haas, the Vertwalker—which looks like a
flattened iRobot Roomba—is constantly overwriting its own work, cycling through eight colors
as it glides up vertical walls for two to three hours at a time before it needs a battery change.
“The process of creation is ideally endless,” Haas explains.
https://www.smithsonianmag.com/arts-culture/7-ways-technology-is-changing-how-art-is-made-
180952472/
4. Finding of inner birds
• “Treachery of the Sanctuary,” it’s meant to explore the creative process through
interactions with digital birds.
• The gallery visitors are requested to stand in front of each of the screens. In the first,
the person’s shadow reflected on the screen disintegrates into a flock of birds. That,
according to Milk, represents the moment of creative inspiration.
• In the second, the shadow is pecked away by virtual birds diving from above. That
symbolizes critical response, he explains.
• In the third screen, things get better—you see how you’d look with a majestic set of
giant wings that flap as you move. And that, says Milk, captures the instant when a
creative thought transforms into something larger than the original idea.
https://www.youtube.com/watch?v=ehjklqL6g84
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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
5. 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.
▶ 1:16
https://www.youtube.com/watch?v=kQ_17zapssI
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TECHNOLOGY AND ARCHITECTURE

Architectural technology, or building technology, is the application of technology to the design of
buildings. It is a component of architecture and building engineering and is sometimes viewed as a
distinct discipline or sub-category. New materials and technologies generated new design challenges
and construction methods throughout the evolution of building, especially since the advent of
industrialisation in the 19th century.
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."
An overview of the role and influence of digital technology on architecture design
The invasion of digital technology into our daily lives in the age of modern technology, especially
computers, is an essential irresistible matter. Therefore, it has become necessary to review its use
and examine its effects on the human mind and body. The use of such technologies in the designing
process adds a new dimension to the architectural product, which enables us to materialize our
ideas that are not fully expressed. However, the challenge enables us to hold on to our human
identity and not allow the technology to distance the architect from performing his/her original role.
The ambition and creativity of the designer would not lead anywhere without the animation
means capable of expressing it in an efficient way. The animation means cannot be considered
separate from the content of the design; it rather greatly and directly affects it.
When the architect uses the computer in the process of design and representation, he
connects to it creating a coupled cognitive system, where the man and the machine exchange ideas
and information. Thus, any change that occurs on the computer or the designer leads to a change in
the outcome of the design.
• The first interference of computers in architecture was via the digital designing programs,
especially CAD, which was set as an alternative for the task of the two dimensional drawing,
such as diagrams and sections.
• This enables the architect to produce and copy diagrams faster and more efficiently.
• Furthermore, the development of such programs has enabled building digital models that are
able to somewhat compensate for the need to make manual models using materials.
• The time and money spent while creating the model and the period taken to create the model
and the high price it costs make it difficult for the designer to create a new model while
modifying it, unlike the digital models which could be modified almost immediately and
extremely quickly.
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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.
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Zaha hadid’s painting and initial sketches from where she evolves her design
Initial sketches of Guggenheim museum transformed to drawings
• 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.
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At other times, design software have became able to create a virtual building which does not contain
any physical tangible elements. NOX, architecture design office based in Rotterdam, recently
designed a tower for an architecture competitions, consisting of a website interacting with the user
while a virtual tower constitutes a network covering the town and interacting with variables such as
the electricity consumption, communication activities, or any other information resulting from the
behaviour patterns of the population. The information is collected and represented by 3D maps over
the map of the constructed roads which allow the citizens to monitor their consumer behaviours and
their effects on the network according to their addresses.
This project consists of an architecture and virtual space and does not include any physical motion
more than sitting at a computer terminal and entering data. Although NOX tries to stimulate senses
and body with the different effects using these designs, it does compensate the lack of motion
caused by this virtual digital technology.
One of the major results of using the computer in architecture is that these programs encourage the
selfishness of the designer and increase his/her arrogance to some extent. The architects use their
designs and buildings as means to express themselves. Obviously, the new tools have expanded the
architects’ ambition to the extent that this becomes sometimes at the expense of the design
requirements.
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.
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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.
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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.
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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.
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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 organisation 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
Conceptual manual sketches
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Computer generated building conceptual models
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.
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Guggenheim Museum in Bilbao, Spain
giant fish sculpture on the Barcelona waterfront
Walt Disney Concert Hall in Los Angeles

The Walt Disney Concert Hall in downtown Los Angeles has been likened to everything from a shining
metal flower to a ship with billowing sails of stainless steel. The stunning steel curves would have
been nearly impossible to build without the extensive use of a revolutionary computer-aided drafting
program.
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conceptual sketch
The Walt Disney Concert Hall in downtown Los Angeles.
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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.
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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
• Autodesk Revit (Architecture/Structures/MEP)
• Autodesk AutoCAD
• Primevera
• Tetla
• Stadpro
• Robotstructure
• Ecoteln
• Clash detection
• 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.
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UNIT II - 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 on Architectural Form and Space.
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),
1. TOPOLOGICAL SPACES - (TOPOLOGICAL ARCHITECTURES)
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.
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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.
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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).
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Mobius strip Kl ei n Bott l e
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.
h ttps ://en.wi kip edia. or g/w iki /M%C3 %B6bi us_ stri p
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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.”
http s: //en .wikiarq uite ct ura.co m/bu ilding/moeb ius -hou se /
Kl ei n Bott l e
In t opology, a b ran ch of mathe mat ics, the Kl ein bott le is an e xamp le
of a no n-ori ent abl e surf ac e; it is a t wo -dimen sional man ifo ld . T he
Kle in bott le is a de script ive mod el of a surf ace d e velop ed b y
to pologica l mathe matician kle in
http s: //en .wikip edia.o rg/ wiki/Kle in_b ottle

Kl ei n Bott l ehouse
Klien 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
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ubiquitous ‘fibro-shack’. The building is supported by a traditional timber stud frame – pushed to its
physical limit.
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
https://iremstructure.wordpress.com/2012/03/10/kokkugia-algorithmic-architecture/\
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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.”
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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.
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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 the curvature and inflection is determined by
a sequence of positions of 3 points along the motion flow of the spline. The spline is
constructed from control vertices, connected in a sequence, and from which a vector curve
hangs with a directional flow.
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• A seven degree spline – where the curvate and inflection is determined by a sequence of
positions of 7 adjacent points along the path of the spline. The seven-degree spline is
therefore much smoother than the three-degree spline because it interpolates between a
greater number of adjacent points.
• 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.
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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.
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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.
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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.
ISOMORPHIC SPACES- (ISOMORPHIC ARCHITECTURES)
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).
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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).
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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.
• Sphere can be identified as a blob without influence

(attractive force)
Examples : Cardiff Opera by Greg Lynn, BMW-Pavilion by B. Franken, Kunsthaus Graz, Grazer
Kunsthaus, or Graz Art Museum
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Example: BMW Pavillion is exclusively based on the computational concepts of isomorphic

surfaces. Architect - Bernhard Franken - 1999
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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.
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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.
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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.
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Cardiff Opera by Greg Lynn
Welsh National Opera House on the Inner Harbor of

Cardiff Bay mandates a new concept for waterfront
urban space.
Our 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.
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
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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.
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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
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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.
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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?
Now, imagine if you’d like the end effector of your articulated body to reach a particular target
position. This means that you know the end effector position you’d like to target, but you don’t
know what the pose of the articulated body needs to be for the end effector to reach this target
position. This is where Inverse Kinematics shines!
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Figure 6: The target position is represented by a red circle. The target position is defined as the
input, and the resulting pose required for the end effector to reach the target position is the
output.
https://www.quora.com/What-is-the-difference-between-inverse-kinematics-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.
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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; isosurfaces 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.
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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 5000 animated particles, obeying a "gravitational" force in the negative Y
direction.
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The same cube emitter rendered using static particles, or strands.
Developer-friendly particle system tools
Havok provides multiple particle system APIs. Their Havok FX API focuses especially on particle
system effects.
Ageia - now a subsidiary of Nvidia - provides a particle system and other game physics API that is
used in many games, including Unreal Engine 3 games.
Both GameMaker: Studio and Unity provide a two-dimensional particle system often used
by indie, hobbyist, or student game developers, though it cannot be imported into other engines.
Many other solutions also exist, and particle systems are frequently written from scratch if non-
standard effects or behaviors are desired.
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.
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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.
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.
bounding box (lattice deformation)
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Spline curve deformation
Path curve deformation
• TOPOLOGICAL INVARIANT TRANSFORMATIONS:

Simple, topologically invariant transformations, such as 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 .
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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.
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face morphing
object morphing
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 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 .
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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.
Root Chair by Sulan Kolatan and William MacDonald
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.
PATH ANIMATION
In path animation, for example, an object is deformed as it moves along a selected path
Metamorphic architecture: Peter Eisenman’s Offices of BFL Software
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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
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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. As observed by Burry, “the ability to define, determine and reconfigure
geometrical relationships is of particular value.”
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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 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
frame and a smooth skin. Parameterization allowed the smoothness of each element to be
defined and manipulated through computational formulas.
Paracube Interior of the project
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The implication is that the parametric design doesn’t necessarily predicate stable forms. As
demonstrated by Burry (1999), one can devise a paramorph – an unstable spatial and topological
description of form with stable characteristics.
Asymptote architects-Yas Viceroy Hotel Abu
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GENETIC ALGORITHM - EVOLUTIONARY ARCHITECTURE
Darwinism is a theory of biological evolution developed by the English naturalist Charles

Darwin (1809–1882) and others, stating that all species of organisms arise and develop through
the natural selection of small, inherited variations that increase the individual's ability to
compete, survive, and reproduce.
Darwin's theory consisted of two main points;
1) diverse groups of animals evolve from one or a few common ancestors;
2) the mechanism by which this evolution takes place is natural selection
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Darwin's 3 parts of - Theory of Evolution by Natural Selection
• More individuals are produced each generation that can survive.
• Phenotypic variation exists among individuals and the variation is heritable.
• Those individuals with heritable traits better suited to the environment will survive.
Note : phenotype means - organism's observable characteristics or traits, such as its

morphology, development, biochemical or physiological properties, behavior, and products of
behavior (such as a bird's nest).)
A genetic algorithm is a search heuristic that is inspired by Charles Darwin’s theory of natural
evolution. This algorithm reflects the process of natural selection where the fittest individuals
are selected for reproduction in order to produce offspring of the next generation.
Notion of Natural Selection
The process of natural selection starts with the selection of fittest individuals from a population.
They produce offspring which inherit the characteristics of the parents and will be added to the
next generation. If parents have better fitness, their offspring will be better than parents and
have a better chance at surviving. This process keeps on iterating and at the end, a generation
with the fittest individuals will be found.
This notion can be applied for a search problem. We consider a set of solutions for a problem and
select the set of best ones out of them.
Five phases are considered in a genetic algorithm.
1. Initial population
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2. Fitness function
3. Selection
4. Crossover
5. Mutation
Initial Population
The process begins with a set of individuals which is called a Population. Each individual is a
solution to the problem you want to solve.
An individual is characterized by a set of parameters (variables) known as Genes. Genes are

joined into a string to form a Chromosome (solution).
In a genetic algorithm, the set of genes of an individual is represented using a string, in terms of
an alphabet. Usually, binary values are used (string of 1s and 0s). We say that we encode the
genes in a chromosome.
Fitness Function
The fitness function determines how fit an individual is (the ability of an individual to compete
with other individuals). It gives a fitness score to each individual. The probability that an
individual will be selected for reproduction is based on its fitness score.
Selection
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The idea of selection phase is to select the fittest individuals and let them pass their genes to
the next generation.
Two pairs of individuals (parents) are selected based on their fitness scores. Individuals with high
fitness have more chance to be selected for reproduction.
Crossover
Crossover is the most significant phase in a genetic algorithm. For each pair of parents to be
mated, a crossover point is chosen at random from within the genes.
For example, consider the crossover point to be 3 as shown below.
Crossover point
Offspring are created by exchanging the genes of parents among themselves until the crossover
point is reached.
Exchanging genes among parents = A1 & A2
The new offspring are added to the population.
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New offspring – A5 and A6
Mutation
In certain new offspring formed, some of their genes can be subjected to a mutation with a low
random probability. This implies that some of the bits in the bit string can be flipped.
Mutation: Before and After
Mutation occurs to maintain diversity within the population and prevent premature
convergence.
Termination
The algorithm terminates if the population has converged (does not produce offspring which are
significantly different from the previous generation). Then it is said that the genetic algorithm
has provided a set of solutions to our problem.
Comments
The population has a fixed size. As new generations are formed, individuals with least fitness
die, providing space for new offspring.
The sequence of phases is repeated to produce individuals in each new generation which are
better than the previous generation.
Psuedocode
START
Generate the initial population
Compute fitness
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REPEAT
Selection
Crossover
Mutation
Compute fitness
UNTIL population has converged
STOP
Example Implementation in Java
Given below is an example implementation of a genetic algorithm in Java. Given a set of 5 genes,
each gene can hold one of the binary values 0 and 1.
The fitness value is calculated as the number of 1s present in the genome. If there are five 1s,
then it is having maximum fitness. If there are no 1s, then it has the minimum fitness.
This genetic algorithm tries to maximize the fitness function to provide a population consisting
of the fittest individual, i.e. individuals with five 1s.
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Note: In this example, after crossover and mutation, the least fit individual is replaced from the
new fittest offspring.
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https://towardsdatascience.com/introduction-to-genetic-algorithms-including-example-code-
e396e98d8bf3
https://www.neuraldesigner.com/blog/genetic_algorithms_for_feature_selection
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.
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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.
http://pandalabccc.blogspot.com/2013/02/hyperbodyinteractivebody-workshop-for.html
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BIONIC ARCHITECTURE
Bionic architecture is a movement for the design and construction of expressive buildings whose
layout and lines borrow from natural (i.e. biological) forms. The movement began to mature in
the early 21st century, and thus in early designs research was stressed over practicality. One of
the tasks set themselves by the movement's early pioneers was the development of aesthetic
and economic justifications for their approach to architecture.
Karl Chu.s approach to digital morphogenesis and to what he calls the proto-bionic architecture
is a formal system based on the generative logic of the Lindermayer System (L-System) and its
implementation in digital modeling software, where it is used for the simulation of plant growth.
L-systems are based on a recursive, rule-based branching system, conceived on the simple
technique of rewriting, in which complex objects are created by successively replacing parts of an
initially constructed object using a set of simple rewriting rules. A simple set of carefully defined
rules can produce a very complex object in a recursive process consisting of only a few levels
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https://www.archdaily.com/510167/video-bionic-architecture-that-moves-when-you-do
In both approaches to generative design based on biological metaphors, the task of the architect
is to essentially define the common source of form, the genetic coding for a large family of
similar objects, in which variety is achieved through different processes of reproduction.. As was
the case with other contemporary approaches to design, in processes of genetic coding the
emphasis shifts to articulating the inner logic of the project rather than the external form
example: Yokohama International Port Terminal
The brief of the Yokohama International Port Terminal asked for the articulation of a passenger
cruise terminal and a mix of civic facilities for the use of citizens in one building. Designed by
Foreign Office Architects (FOA) in 1995, the futuristic terminal represented an emergent typology
of transportation infrastructure.
The project starts with what the architects have named as the "no-return pier", with the ambition
to structure the precinct of the pier as a fluid, uninterrupted and multidirectional space, rather
than a gateway to flows of fixed orientation. A series of programmatically specific interlocking
circulation loops allow the architects to subvert the traditional linear and branching structure
characteristic of the building
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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
What is a diagram?
• A diagram is a symbolic representation of information according to some visualization
technique.
• Diagrams are pictorial presentation of quantitative data
• 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.
• Diagrams transform verbal notation to an abstract graphic representation.

• A “diagram” is an abstract graphic language, like verbal language, consisting of grammatical
rules and vocabulary.
• Verbal language is sequential while a graphic language is simultaneous: “ all symbols and their
relationships are considered at the same time”
• Diagrams are a means to express functions, the relationships between functions, and the
hierarchy of those functions.
• Diagrams are drawn to focus design, knowledge and concerns. Diagrams are also used to
explore , analyze and synthesize ideas.
• The word “diagrams’ is derived from the word “diagnosis”
• The Design Diagram addresses the intangible conflict of language through the symbolic
development of “sticks”(rules ) and “seeds “ (ideas)
• An architectural diagram is a drawing that uses geometric elements to abstractly represent
phenomena such as sound, light, heat, wind, and rain; building components such as walls,
windows, doors and furniture; and characteristics of human perception and behavior such
as sight lines, privacy and movement, as well as territorial boundaries of space or rooms.
• A diagram is made of symbols and is about concepts. It is abstract and propositional: its
elements and spatial relations can be expressed as a set of statements. It explores, explains,
demonstrates, or clarifies relationships among parts of a whole or it illustrates how
something works (a sequence of events, movement, or a process). Its symbols may
represent objects (e.g., a space or a piece of furniture) or concepts (e.g., service area, a
buffer zone, accessibility or noise).
•
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• For example, an arrow indicates the magnitude and direction of a force; a line indicates the
ground without specifying material or exact location. A diagram omits detailed scale or
realistic pictorial representations; it indicates spatial relationships only approximately using
indefinite shapes. For example, a diagram may represent functional spaces in a floor plan as
crude ‘bubbles’, showing only sizes, adjacencies, containment, and connections
THREE STAGES TO THE DIAGRAM:
✓ selection,
✓ application and operation
✓ enabling the imagination to extend to subjects outside it and draw them inside,
changing itself in the process.
• Diagrams are packed with information on many levels. A diagram is an assemblage of

solidified situations, techniques, tactics and functioning’s.
• The diagram is not a blueprint.
• It is not the working drawing of an actual construction, recognisable in all its details and with
a proper scale.
• No situation will let itself be directly translated into a fitting and completely correspondent
conceptualisation.
• There will always be a gap between the two. By the same token concepts can never be directly
applied to architecture.
• There has to be a mediator. The mediating ingredient of the diagram derives not from the
strategies that inform the diagram, but from its actual format, its material configuration.
• The diagram is not a metaphor or paradigm, but an ‘abstract machine' that is both content
and expression.
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Why use diagrams?
• Diagrammatic practice delays the relentless intrusion of signs, thereby allowing architecture to
articulate an alternative to a representational design technique.
• A representational technique implies that we converge on reality from a conceptual position and
in that way fix the relationship between idea and form, between content and structure.
• When form and content are superimposed in this way, a type emerges. This is the problem with
an architecture that is based on a representational concept: it cannot escape existing typologies.
In not proceeding from signs, an instrumentalising technique such as the diagram delays
typological fixation.
• Concepts external to architecture are introduced rather than superimposed. Instances of specific
interpretation, utilisation, perception, construction and so on unfold and bring forth applications
on various levels of abstraction.
How is the diagram chosen and applied?
• The function of the diagram is to delay typology and advance design by bringing in external
concepts in a specific shape: as figure, not as image or sign.
• how do we select, insert and interpret diagrams? The selection and application of a diagram
involves the insertion of an element that contains within its dense information something that
our thoughts can latch onto, something that is suggestive, to distract us from spiralling into cliché.
How do diagrams become operational?
• The abstract machine of the diagram needs triggering.

• It has to be set in motion so that the transformative process can begin, but where does this
motion originate? How is the machine triggered?
• Furthermore, how can we isolate this principle and give it the dimensions that make it possible
to grasp and use it at will?
• The insertion of the diagram into the work ultimately points to the role of time and action in the
process of design.
• Interweaving time and action makes transformation possible, as in novels where long narrative
lines coil around black holes within the story.
• If there were no black holes for the story's protagonist to fall into, the landscape of the narrative
would be a smooth and timeless plane, in which the hero, whose character and adventures are
formed by this landscape, cannot evolve.
• The story is an intrinsic combination of character, place, event and duration. The landscape of
the story, the black holes and the character become one. Together they trigger the abstract
machine.
• In architecture, it goes something like this: the project is set on its course. Before the work
diverts into typology a diagram, rich in meaning, full of potential movement and loaded with
structure, which connects to some important aspect of the project, is found. The specific
properties of this diagram throw a new light onto the work.
• As a result, the work becomes un-fixed; new directions and new meanings are triggered. The
diagram operates like a black hole, which radically changes the course of the project,
transforming and liberating architecture.
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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
• Spatial Diagrams
• Chronometrical, Chronographical , Chronological Diagrams
• Sequence and Serial Diagrams
• Structural Diagrams
• Flow Diagrams
Spatial Diagrams:
• They are spatial organisations.

• Spaces that can be created , modified, visualized, manipulated not only by altering drawings and
volumes, but also with program clues, marks of past or future states, futures of light or
information - maps of influence.
• Each code generates a particular space.
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Chronometrical, Chronographical , Chronological Diagrams:
• Chronometrical, Chronographical, Chronological Diagrams enable to understand the time in

sequences and to narrative perception styles and also enables to establish random connections.
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Sequence and Serial Diagrams:
• They explain a data - that is regarding to an ensemble- by separating it to some intersections

and expressing it in the act of sequences and series. They don’t talk about randomly chosen
sequences but temporal sequences that has been lined up in an apparent time period.
Structural diagrams:
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Structural diagrams talk about the structural data, make connections between the structural
elements and building, abstract the relationships, connections etc.
Flow Diagrams:
• They are used to express the data which belongs to interrelations and to the fragments of the
entire system.
• For instance, they can express the change of one fragment in the system and it’s effects to the
whole system.
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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 Linda Selwood Choueiri
• 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.
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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.
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• 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:
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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
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• Simple rules engender complex behavior—Randomness becomes coherent as individuals,

each following a few basic principles or assumptions, interact with their neighbors (birds flock;
traffic flows).
Emergence is what happens when an interconnected system of relatively simple elements self-
organizes to form more intelligent, more adaptive high-level behaviour.
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 peopleonto 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)
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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.
Technical details
The technical power beneath GENR8 is twofold: evolutionary search and HEMLS (Hemberg
Extended Map L-Systems). A HEMLS, the generative process, is interpreted by GENR8 to generate a
surface. GENR8 uses evolutionary search to discover its own HEMLS that adaptively evolve towards
surfaces with features the user has specified.
Original map L-systems work only in 2D. So the designer had made some alterations the model to
make it work in 3D. These are called Hemberg Extended Map L-Systems (HEMLS).
SOFTWARE USED
Catia[edit]
CATIA (Computer Aided three-dimensional Interactive Application) was used by architect Frank
Gehry to design some of his award-winning curvilinear buildings such as the Guggenheim
Museum Bilbao.[8] Gehry Technologies, the technology arm of his firm, have since created Digital
Project, their own parametric design software based on their experience with CATIA.
Autodesk 3DS Max[edit]
Autodesk 3ds Max is a parametric 3D modeling software which provides modeling, animation,
simulation, and rendering functions for games, film, and motion graphics. 3ds Max uses the
concept of modifiers and wired parameters to control its geometry and gives the user the ability
to script its functionality. Max Creation Graph is a visual programming node-based tool creation
environment in 3ds Max 2016 that is similar to Grasshopper and Dynamo.
Autodesk Maya[edit]
Autodesk Maya is a 3D computer graphics software originally developed by Alias Systems

Corporation (formerly Alias|Wavefront) and currently owned and developed by Autodesk, Inc. It
is used to create interactive 3D applications, including video games, animated film, TV series, or
visual effects. Maya exposes a node graph architecture. Scene elements are node-based, each
node having its own attributes and customization. As a result, the visual representation of a scene
is based on a network of interconnecting nodes, depending on each other's information. Maya is
equipped with a cross-platform scripting language, called Maya Embedded Language. MEL is
provided for scripting and a means to customize the core functionality of the software, since
many of the tools and commands used are written in it. MEL or Python can be used to engineer
modifications, plug-ins or be injected into runtime. User interaction is recorded in MEL, allowing
novice users to implement subroutines.
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Grasshopper 3D[edit]
The Grasshopper canvas with some nodes
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]
Components or nodes are dragged onto a canvas in order to build a grasshopper definition.
Grasshopper is based on graphs (see Graph (discrete mathematics)) that map the flow of
relations from parameters through user-defined functions (nodes), resulting in the generation of
geometry. Changing parameters or geometry causes to changes to propagate throughout all
functions, and the geometry to be redrawn.[5]
Autodesk Revit[edit]
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. Every change made to an element in Revit is automatically
propagated through the model to keep all components, views and annotations consistent. This
eases collaboration between teams and ensures that all information (floor areas, schedules, etc.)
are updated dynamically when changes in the model are made.
Autodesk Dynamo[edit]
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[edit]
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.[citation needed] GenerativeComponents is often referred to by the nickname
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of 'GC'. GC epitomizes the quest to bring parametric modeling capabilities of 3D solid modeling
into architectural design, seeking to provide greater fluidity and fluency than mechanical 3D solid
modeling.[citation needed]
Users can interact with the software by either dynamically modeling and directly manipulating
geometry, or by applying rules and capturing relationships among model elements, or by defining
complex forms and systems through concisely expressed algorithms. The software supports many
industry standard file input and outputs including DGN by Bentley Systems, DWG by Autodesk,
STL (Stereo Lithography), Rhino, and others. The software can also integrate with Building
Information Modeling systems.
The software has a published API and uses a simple scripting language, both allowing the
integration with many different software tools, and the creation of custom programs by users.
This software is primarily used by architects and engineers in the design of buildings, but has also
been used to model natural and biological structures and mathematical systems.
Generative Components runs exclusively on Microsoft Windows operating systems, and in

English.
Bentley Systems, Incorporated is offering GC as a technology preview of GC as a free download.

This is a version of GC that no longer requires Bentley's MicroStation software for it to run, and
that has features and a user interface focused on computational design.
Marionette[edit]
Marionette is an open source graphical scripting tool (or visual programming environment) for
the architecture, engineering, construction, landscape, and entertainment design industries that
is built into the Mac and Windows versions of Vectorworks software. The tool was first made
available in the Vectorworks 2016 line of software products. Marionette enables designers to
create custom application algorithms that build interactive parametric objects and streamline
complex workflows, as well as build automated 2D drawing, 3D modeling, and BIM workflows
within Vectorworks software.
Built in the Python programming language, everything in Marionette consists of nodes which are
linked together in a flowchart arrangement. Each node contains a Python script with predefined
inputs and outputs that can be accessed and modified with a built-in editor. Nodes are placed
directly into the Vectorworks document and then connected to create complex algorithms. Since
Marionette is fully integrated into Vectorworks software, it can also be used to create entirely
self-contained parametric objects that can be inserted into new and existing designs.
Modelur[edit]
Modelur is a parametric urban design software plug-in for Trimble SketchUp, developed by
Agilicity d.o.o. (LLC).. Its primary goal is to help the users create conceptual urban massing. In
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contrast to common CAD applications, where the user designs buildings with usual dimensions
such as width, depth and height, Modelur offers design of built environment through key urban
parameters such as number of storeys and gross floor area of a building.
Modelur calculates key urban control parameters on the fly (e.g. floor area ratio or required
number of parking lots), delivering urban design information while the development is still
evolving. This way it helps taking well-informed decision during the earliest stages, when design
decisions have the highest impact.
Archimatix[edit]
Archimatix is a node-based parametric modeler extension for Unity 3D. It enables visual modeling
of 3D models within the Unity 3D editor.
CELLULAR AUTOMATION
A cellular automaton is a collection of "colored" cells on a grid of specified shape that evolves
through a number of discrete time steps according to a set of rules based on the states of
neighbouring cells. The rules are then applied iteratively for as many time steps as desired.
Von Neumann was one of the first people to consider such a model, and incorporated a cellular
model into his "universal constructor."
In addition to the grid on which a cellular automaton lives and the colors its cells may assume,
the neighborhood over which cells affect one another must also be specified. The simplest choice
is "nearest neighbors," in which only cells directly adjacent to a given cell may be affected at each
time step.
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Two common neighborhoods in the case of a two-dimensional cellular automaton on a square

grid are the so-called Moore neighborhood (a square neighborhood) and the von Neumann
neighborhood (a diamond-shaped neighborhood).
Moore neighborhood
In cellular automata, the Moore neighborhood is defined on a two-dimensional square

lattice and is composed of a central cell and the eight cells which surround it.
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The simplest type of cellular automaton is a binary, nearest-neighbor, one-dimensional

automaton. Such automata were called "elementary cellular automata"
https://www.slideshare.net/lxsjoules/cellular-automata-a-simple-introduction
https://books.google.co.in/books?id=L-p4AgAAQBAJ&pg=PA38&lpg=PA38&dq=proto-
bionic+architecture&source=bl&ots=Q4YnwDd9Tt&sig=X6IhHA42AIcamCrwm75ROIyGA9c&hl
=en&sa=X&ved=2ahUKEwjt_t3N6dXcAhUNb30KHW-
cCgwQ6AEwDnoECAgQAQ#v=onepage&q=proto-bionic%20architecture&f=false
Genetic algorithms and Design Computation (already explained in previous chapter)
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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.
• Design workflow that uses multiple software programs works in a similar way, except in this
case the building blocks are not just different kinds of visual elements one can create—vector
patterns, 3D objects, particle systems, etc.— but also various ways of modifying these
elements: blur, skew, vectorize, change transparency level, spherisize, extrude, etc.
• 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.
• As we can see, the production workflow specific to the software age has two major
consequences: the hybridity of media language we see today across the contemporary design
universe, and the use of the similar techniques and strategies regardless of the output media
and type of project. Like an object built from Lego blocks, a typical design today combines
techniques coming from multiple media. More precisely, it combines the results of the
operations specific to different software programs that were originally created to imitate
work with different physical media. (Illustrator was created to make illustrations, Photoshop
to edit digitized photographs, After Effects to create 2D animation, etc.) While these
techniques continue to be used in relation to their original media, most of them are now also
used as part of the workflow on any design job. The essential condition that enables this new
design logic and the resulting aesthetics is compatibility between files generated by different
programs. In other words, “import” and “export” commands of graphics, animation, video
editing, compositing, and modelling software are historically more important than the
individual operations these programs offer. The ability to combine raster and vector layers
within the same image, to place 3D elements into a 2D composition and vice versa, and so on
is what enables the production workflow with its reuse of the same techniques, effects, and
iconography across different media .Besides the hybridity of modern visual aesthetics and
reappearance of exactly the same design techniques across all output media, there are also
other effects. For instance, the whole field of motion graphics as it exists today came into
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existence to a large extent because of the integration between vector drawing software,
specifically Illustrator, and animation/compositing software such as After Effects.
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,
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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), as discussed in (Kolarevic 2000). 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.
•Topological architectures
•Isomorphic architectures
•Animate architectures
•Metamorphic architectures
•Parametric architectures
•Evolutionary architectures
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UNIT IV 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.
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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)
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Fractal Growth Pattern of a Leaf
Natural Fractal Landscape:
this view of valleys and river basins displays

beautiful capillary fractal dendritic branching.
Geometric beauty of a snowflake.
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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’:
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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:
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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
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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.
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2D Landscape generation using midpoint displacement-(or Diamond-square algorithm)
The main idea of the algorithm is as follows: Begin with a straight line segment, compute its
midpoint and displace it by a bounded random value. This displacement can be done either by:
• Displacing the midpoint in the direction perpendicular to the line segment.

• Displacing only the y coordinate value of the midpoint.
Different methods for displacing the midpoint.
This first iteration will result in two straight line segments obtained from the displacement of the
midpoint of the original segment. The same process of computing and displacing the midpoint
can be then applied to each of this new two segments and it will result in four straight line
segments. Then we can repeat the process for each of this four segments to obtain eight and so
on. The process can be repeated iteratively or recursively as many times as desired or until the
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segments cannot be reduced more (for graphical applications this limit would be two pixel’s width
segments).
From top to bottom, successive iterations of the algorithm.
This is the core idea of the midpoint displacement algorithm. In pseudocode it looks like:
Initialize segment
While iterations < num_of_iterations and segments_length > min_length:
For each segment:
Compute midpoint
Displace midpoint
Update segments
Reduce displacement bounds
iterations+1
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https://bitesofcode.wordpress.com/2016/12/23/landscape-generation-using-midpoint-
displacement/
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.
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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
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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.
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rule
X →Y
addition rule: X ≤Y
subtraction rule: Y ≤X
add/subtract rule: X ≤Y andY ≤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”.
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In the following years, analytic grammar has been extensively used in numerous works, revealing
general strategies and creating a knowledge base for understanding particular architect's
composition.
During the 80's and 90's, shape grammar was used to analyse works of Giuseppe Terragni, Frank
Lloyd Wright, Glenn Murcutt and Christopher Wren [9-12] as well as for the vernacular styles of
Japanese tearooms, Taiwanese traditional houses and for the landscape architecture of Mughul
gardens
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.
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A program for shape grammar generation commonly is called a shape grammar interpreter.
Here one enters a shape grammar into the computer and the program either generates
shapes in the language or the user guides the program, for example in selecting the rule to be
applied and where in the current shape to apply it. The program can have a particular shape
grammar built-in, so it only generates plans for African pygmy thatched huts, or it can allow
the user to enter in a shape grammar of a certain (restricted) type.
A second type of program is a parsing program. A parsing program is given a shape grammar
and a shape. The program determines if the shape is in the language generated by the
grammar and, if so, gives the sequence of rules that produces the shape. This is an analysis
problem rather than a design problem. Here we might be given a plan and a shape grammar
for determining pygmy thatched huts and the program would tell us whether or not the plan
is indeed a syntactically correct plan of a thatched hut.
A third type of program is an inference program. The grammatical inference problem is given
a set of shapes construct a shape grammar that generates the shapes (plus other shapes in
the same "style"). So, we would give a grammatical inference program a corpus of known
plans of pygmy thatched huts and the program would automatically generate a shape
grammar for pygmy huts. Maybe it would even write the grammar up for publication. If we
consider symbol grammars instead of shape grammars, a generation program would produce
grammatical sentences. This would be akin to our producing grammatical English sentences.
A parsing program would be given proposed sentences to determine if they are grammatical.
This would be akin to our analyzing or understanding sentences produced by others.
A fourth type of program would be a Computer Aided Design program for shape grammars.
The program would help the user design shape grammars. It would be more than a shape
grammar interpreter. It would assist the user in creating a shape grammar by providing
sophisticated tools for the user. This follows Terry Knight's (1998) statement that "the process
of developing an original grammar is analogous to the traditional design process." If
computers can help designers of widgets, they can help designers of shape grammars. The
flip of this type of program would be a shape grammar plug-in for a traditional computer
aided design program that would use shape grammars to help the practicing designer.
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
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“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 :
• ZAHA HADID
• FRANK GEHRY
• MARCOS NOVAK
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EXAMPLES :
HEYDAR ALIYEV CENTER ,
BAKU,AZERBEIJAN.
-ZAHA HADID
Walt Disney Concert Hall, Los Angeles Guggenheim Museum

Bilbao
Lou Ruvo Center for Brain Health,

Cleveland – FRANK GEHRY
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“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,
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• 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 pg 51 for notes
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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.
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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.
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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
Photo: Christian Kerrigan
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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.
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RADIANT SOIL
• The Canada-based architect Philip Beesley first presented his Hyozolic series of 'metabolic
architecture' installations in 2008:
• immersive environments designed to react to movement, and capable of regeneration and
growth.
• The installation Radiant Soil was presented at Espace EDF in Paris this summer, featuring
suspended, plant-like structures made from biomimetic components of polymer, metal and
glass, each with a near-living carbon-capture metabolism.
• Shape-memory mechanisms allow the structure to react to viewers as they approach, setting
off bursts of light that stimulate protocells and trigger chains of movement.
Photo: ©PBAI
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ABU DHABI CENTRAL MARKET

• In 2010, Hoberman Associates applied their Permea system of exterior shading roofs to three
public squares within the Abu Dhabi Central Market retail complex by Foster + Partners.
• Working from a dynamic grid reacting to levels of sunlight, the kinetic design of the shading
roof resembles a traditional coffered Islamic roof.
Photo: Nigel Young/Foster + Partners
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ECHOVIREN PAVILION
• This summer, Californian practice Smith | Allen, presented the first entirely 3D printed
architectural structure, a modular, site-responsive pavilion that changes shape in accordance
to the shapes and forms of its forest surroundings.
• The structure is composed from 585 interlocking components made from plant-based bio-
degradable plastics.
Photo: Smith | Allen
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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.
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❖ 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
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• 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 .
Sunpath:
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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.
Roof:
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UNIT V 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.
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.
IDEALOGY/PHILOSOPHY
THEORY
TECHNIQUES CONCEPTS
• Spline • Force
• NURBS surface • Curvature
• Animation • Multi-type of performance envelope
• Metaballs • Topology
• Blebs, flowers,strands,lattices • Multiplicities
NOTIONS Study of ARCHITECTURE VIA COMPUTER

MODAL
• Type and instances
• Ideal type notion • The computer mediates
• Mulity-type of performance • Topology
envelope • Time
• Size,position,rotation, • Parameters
direction,speed are determined
by elemenof design.
• Surface results from elements
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• Blebs, flowers,strands,lattices
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.
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Animate Form
MODAL
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.
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Strand: Creating spaces as bundles of lines
Lattice: Creating space grid structure
Rapid porotyping and CNC 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.
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EXAMPLES
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.
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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.
Whare the existing building presents a vertical faced to the railway the new building sets up a much
more horizondal 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 adjested while maintaining a continuous volume.
The Resulting
Massing that was produced was transformed as both an exterior metal roof enclosure construted
with identical long span trusess and a more intricate interior volume of louvered hung celling
panals and faceted walls.
The roof construction combaines regularization and diffrentiation in its building components.
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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.
ARTIST SPACE EXHIBITION DESIGN -1995
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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.
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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.
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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.
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The oval basin becomes the chrysalis out of which the opera house emerges.
As cardffs coastline is a simple singular edge of the citiy 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 gravimg 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.
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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 prjocts of a glowing alien

presence within the chrysalis of a dead
technological waterfront monument would
allow the project to partipicate in the history
of the site and the industrial heritage
Of the waterfront without nostalgia
While proposing a new civic institutation that is continous with the history of the site and the
waterfront of the city.
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
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• But dissolving crystalline or solid forms of Materiality, Functional and Programmatic in

Architecture
• Especially Orthogonal basis of perception
o Skin and Environment
o Body and Space
o Object and Speed
o Plan and Volume
o Floor and Screen
o Surface and Interface
o Action and Vision
o Liquidity and Haptic`
• “A Computer is more than anything else a steering device”
• Lars points out ‘Haptonomist’ as body merges itself with diverse bodily extension
• This is due to the Nomadic view(Unboundedness, fluidity) of the world
H2O Expo Water Pavilion
Architect Lars Spuybroek
City Vrouwenpolder, Netherlands
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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 and sound.
• 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.
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• 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.
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• 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.
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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.
D Tower
City Doetinchem, Netherlands
Building type Interactive sculpture
Tower Height 12 m
• The D-tower is a project where intensive (feelings, qualities) and extensive (space, quantities)
meets and starts exchanging roles.
• It is a publicly displayed piece of art.
• People can express their current feelings by using voting buttons.
• Depending on their mood, the tower will lit up in different colors, visible to public
• As for the colors,
o Blue represent Happiness
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o Green represents Hated
o Red represents Love
o Yellow represents Fear
• It is entirely made of epoxy
Son-O-House
City Breugel, Netherlands
Building type Public Pavilion
Sound work Composer Edwin Van Der Heide
• Located in a Large Industrial Park
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• 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.
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• 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
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• 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
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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.
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UN Studio
UN Studio is a Dutch architectural practice specializing

in architecture, urban development 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.
169
DIAGRAMS..pls refer notes given before
• The
A As a
result,
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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
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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.
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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 bifurcates
into two separate
volumes; one
seamlessly following
the northern slope;
the other lifted
above the hill
creating a covered
parking and
generating a split-
level internal
organization.
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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.
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• 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.
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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.
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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.
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• 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.
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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:
Post wall architecture
Biomimetic and Biophilic architecture
Atmospheric architecture
WORKS:
MOST POPULAR WORKS ARE,
Blur, Swiss Expo, Lake Neuchâtel
Lincoln Centre Public Spaces, New York
Museum of Modern Art (MoMA) Expansion
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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 uique 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.
193
Closeup of the base of a mast.Each of the Each mast mast held by 6 tendons 6 tension
members is affixed 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
The vertical masts are visible in this view Spraying Nozzle from
the
approach walkway
Visitors immersed in fog.

Longitudinal section of the building
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View from within: Entering Blur is like stepping into a

formless,featureless,depthless,
scaleless,massless,surfaceless and dimensionless
medium.
The braincoats 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 around the world to the building visitors.this is
appropriate for the Blur Building because its main material is a form of water.
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Plan @ +7.67m Level

Plan @ +11.3m Level
View of Angel Bar.
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
BEIJING NATIONAL STADIUMMulti-use sports venue
STYLE:(Biomimicry)
This stadium resembles or express the Birds Nest .
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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
Steel Roof
330m x 220m
Weighs 45000 tonnes
Interwoven steel boxes
STRUCTURE
The Stadium consists of Two Independent structures
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❖ Red Concrete Seating Bowl
❖ Outer Steel Frame Around the bowl
Reason for the independent Structures
To Earthquake Proof the stadium ,The bowl & Roof were Split into two separate elements
& The bowl split into 8 zones each with its own stability system & effectively its own building
In anattempt to hide steel supports for the retractable roof, required in the bidding process,
the team developed the "random-looking additional steel. Each Half of the stadium is nearly
symmetrical.100000 Seating.
STEEL FRAME
RED CONCRETE SEATING BOWL
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7 LAYERS
MEDIA IN ARCHITECTURE
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MEDIA FAÇADE
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.
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the trapezoidal-shaped structure to accommodate back-of-house facilities for the concert halls, the
children’s museum, public amenities, and the parking garage.
TWO DISTINCT ELEMENTS
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.[2] 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
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BUILDING MATERILS
• 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
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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)
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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)
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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.
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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,
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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. 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 logico fready-made components
typicaloflate-industrial process for aseam less and non-standard protocol of
customized fabrication.
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❖ A formal aesthetice merges from these

processes,imbuing the design with a curvilinear
continuity at a detail and spatial level.
Ceiling Skin -Inflection and draft angle analysis Ceiling

topography
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
elements,with functional elements such as ventilation grilles,light pockets,and door handles
form ed directly by milling the mass of wood .

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
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formed directly by milling the mass of wood.
Offloading pre - assembled ceiling components
Parametric Inflections:
❖ 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.
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❖ Machine - age manufacturing logic shifts to digital fabrication processes.
Ceiling genera ted milling file before nesting process.
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 Bench pre-assembly at CWK shop
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Reception desk Fabrication: The developed

design was nuanced parametrically in
celebration of the in difference of the CNC
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Reception desk model before nesting

machine to formal complexity!Indeed-the machine preferred continuity of curved cut.
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Final Image
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‖)
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•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 e fficient 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.
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3.Design:
FORM
1.series of spiralling 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 bevelled 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 functiona lperformance.
4.Principle:
Within a digital environment,where variancy is the norm,open-ended and pro life rating generatives
trategies are employed,sampling and editing displacing design determinism as the essential aptitude
of the architect.Parametric modelling,which models variables within a dynamicsystem,demands that
the architectarticulate 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 formgeneration.
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.
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Fabrication Logic:
1 .Structure/Surface
2 .CNC Machining / Assembly
3 .Prototypes .
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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, and
shopping centers.
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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
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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
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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.
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 p
rojects to enrich shared urban spaces.
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The striking appearance of the terminal was made possible only by tremendous advances in comput
er-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 spa
ces
below.
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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.
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NEXT AT THE BRITISH PAVILION, 8TH VENICE BIENNALE, VENICE
In 2002 the British Council selected Foreign Office Architects to create a site-specific installation to
represent Britain at the 8th Venice Architecture Biennale. In response to the Biennale’s
theme, Next, the installation used FOA's own Yokohama International Ferry Terminal project to
answer the question posed by the Biennale, ‘What will architecture of the future be like?’
The presentation dissected the project to illustrate some of the emerging questions which the
disciplines of architecture, urbanism and design are confronted by due to radical changes in the
modes of production and economic integration.
These included questions raised by the conflict between global processes and local singularities, the
mutability of structures, the re-organization of programs and the proliferation of information –
questions which had already generated interest in a number of practices around the world who were
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developing new methods and techniques both to exploit the architectural potential of these
emerging forms of production and to develop new forms of organization to operate within them.
FOA transformed the British Pavilion into a dark, labyrinthine space in which the visitor moved
through a sequence of rooms, each dedicated to a different theme of the project: Landscape;
Borderlessness; Growth; Complexity; Tools and Technology.
Using state-of-the-art projectors provided by NEC UK, the Pavilion was turned into a spectacular
virtual and immersive space, at the heart of which was a room with projections of the Terminal itself.
SOUTH-EAST COASTAL PARK, BARCELONA
The South-East Coastal Park and Auditoriums was part of the infrastructure built by the City of
Barcelona as Host City for the International Forum of Cultures in 2004 and was required to provide
two open-air auditoriums and abundant vegetation in a coastal location exposed to salty breeze.
The site for the park was located in an area of reclaimed land and one of its other requirements was
to bridge an 11m drop in level between the city and the waterfront beach.
The park is designed to achieve these requirements through a topography that descends the 11m
drop in level through a series of ramps for circulation throughout the park, interconnected by sloped
surfaces.
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The sloped surfaces that face the sea are stepped to be used as auditorium seating. The sloped
surfaces that face away from the contaminated south-westerly wind are planted with vegetation,
stepped surfaces for the auditoria, sloped surfaces for vegetation and flat surfaces for events.
The resultant topography of the park presents an alternative to the traditional dichotomy between
the rational geometries of French landscapes and the organic, picturesque qualities of English
landscapes.
It is at once complex and rational: generated by precise constraints rather than through mimicking
nature.
Proposed as an alternative to the rational geometry - artificial and linear, consistent or contradictory
- and organic geometrical approximations that intend to attempt the picturesque qualities of nature,
the design for the park explores strategies that produce organisationally complex landscapes.
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These emerge through the production of artificially generated topographies through a mediated
integration of rigorous modelled orders.
The organisational prototype is borrowed from a frequent element in coastal areas: sand dunes. They
are a form, a material organisation with little internal structure, merely sand shaped by wind.
The programmatic distribution is fundamentally based on the analysis of the different sport and
leisure activities which the park had to host and the harsh environmental conditions of this exposed
location.
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 high-
rise 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
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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.
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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.
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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 theorised the existence of “hypersurfaces”.hybrids combining “invisibility

and virtuality”.
Design methods:
transarchitecture
liquid architecture
navigable music
habitable cinema
archimusic
he declared that “for the first time in two

hundred years electroic spaces now permit arcitects to
investigate concepts of space that had hitherto been
impossible to explore by any other means than
mathmatics or poetry.at the same time media
technologies permit formation of new environment
receptive to appropriate,relevant architecture”.
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.
What is liquid architecture:

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 makes

liquid cities,cities that change at the shift of a value,where visitors with different backgronds see
different landmarks,where neighborhoods vary with ideas held in common,and evolve as the ideas
mature or dissolve”.
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Generic algorithmic
Composition.
superimposition,making,and filtering processes.
Two algorithmic compositons in variation of two algorithmic
Cyperspace. Compositions.
math cave block hr(model of
“liquid architecture”).
VOICE 3=4MAZE.BLUE(model of “liquid
Architecture”)
MARCOS NOVAK WORKS
ARCHILAB,FRAC CENTRE:
Location:
75 Rue du colombier,45000 Orleans,France...
INTRODUCTION:
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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 tele
Scope 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….
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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
audiovisual 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.
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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 continually
describes 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……...
242
WORKS OF ZVI HECKER
City Centre of Ramat HaSharon - Ramat HaSharon, Israel, 1984-1986
The town of Ramat HaSharon is situated eight kilometers north of Tel Aviv. Once an agricultural
community, it lost much of its pastoral countryside to become a suburban satellite town. The local
municipal authorities, concerned with losing the town's identity, became more open to non-
stereotyped design but however did not accept his design.
The Gozo Citadel at Ferrara, as an isolated fortress, became the center of a large sunflower, radiating
its spirals over the entire design.
The Emancipation of Form
One of the most important objectives of a design process is to free the design from known
stereotypes and personal preferences. The result should look as if we were never involved in its
creation.
243
Spiral Apartment House
Ramat Gan, Israel, 1984-1989
It is a work of incomplete precision. Because it is so precise it can't be really finished. No limit to the
precision one can achieve.
The Spiral's incompleteness is also its poetry, because poetry is the most precise expression of our
need for precision.
Expressive as it is, the Spiral can't be fully understood. It speaks to many languages at one and the
same time.
It speaks Arabic about the human condition. It argues in Hebrew about the sheer necessity to bring
the muscles and materials together, but it is quite fluent in Russian when construction becomes
architecture. Its Italian is very Baroque, as spoken in Piemonte by Guarino Guarini.
Construction:
reinforced concrete, white stucco, slate stone, mirrors and corrugated steel.
244
245
246
247
PETER EISENMAN
Eisenman developed a three dimensional functional model which serves as a basis for all elements -
topography, buildings, streets, flora, lighting, etc - in all dimensions.
The central conceptual element for the Rebstockpark plan is the fold - derived from the mathematical
model of the fold concept contained in the chaos theory of René Thoms and Gilles Deleuzes´ concept
of folding. The familiar orthogonal organizational system is replaced with an expanded one that is
not restricted to right angles. The terrain is modeled by two grids each of which is a twist of one of
the Cartesian planes that are used to model property borders. The relationship of individual
buildings to another as well as that of the buildings to free space is determined by the
fold. Rebstockpark and it´s surroundings with the "large grid" and the "small grid"
248
THE IDEA OF FOLDING AND UNFOLDING.
The multidimensional grid as basic design principle. two grids were modeled, both of which are
dependent on another. The "small grid" is spread over the construction site. The "large grid" is
determined from the geometry of the "small grid" and the area occupied by the entire terrain. The
concept consists of two basic aspects: requirements resulting from building height and usage, as
well as those resulting from topography and the borders of the parcel as determined by its bordering
streets.
The following six steps are a somewhat simplified description of the derivation of the "small grid":
1. First, the border of the construction site is framed with a rectangle that is formed by expanding a
rectangle which encompasses the area of existing construction until it completely contains it.
2. The outer and inner rectangles are each overlaid with a grid formed with 7 horizontal and 7
vertical lines (7 is derived from Thom´s chaos theory), forming a 6 x 6 raster.
The two grids
249
3. The raster points from the inner and outer grids are then connected. This is a two dimensional
depiction of a three dimensional network.
4. This network acquires its spatial dimension in that it is assigned height coordinates which are
derived from the maximal building height restrictions.
Grid projected onto building area outline

5. The result is a continuous, folded, spatial network. The rectangular building forms are then
projected onto this network, and thereby acquire a trapezoidal form.
Connecting points with their project points

6. These trapezoidal forms are then projected back on to the original sketch. This defines the building
borders which are to be incorporated into the building plan. The network lines also determine the
route for streets and paths.
The result: a continuous three-dimensional grid
The derivation of the "large grid" from the "small grid":
The "large grid" is derived by doubling the amplitude of the "small grid". Since the proportions of
the entire terrain and that of the construction site are not identical, the large grid is expanded to 7
x 7 segments.
This grid is then projected onto the picture of the entire site and distorted as required by the shape
of the property.
250
Finally, both grids are then merged in that grid points and project points are connected to another.
The connection lines between these items form a new unit - the "large grid".
perspective view of office buildings
perspective view of residential buildings
DIGITAL FABRICATION
It is an interactive process of transferring data from a 3D modelling software to a 3D printer or a

CNC machine.
Fabrication is possible by means of 2D, formative, subtractive and additive techniques.
• 2D fabrication-uses CNC (computer numerically controlled) cutting. Various cutting

technologies such as plasma-arc, laser-beam, or water jet are used.
Laser-cutters are high intensity focused beam of infrared light in combination with a jet of
highly pressurized gas (CO2) to melt or burn the material being cut.
However, large difference lies between these technologies in the kinds of materials or
maximum thicknesss that could be cut.
251
CNC CUTTING MACHINE

LASER BEAM CUTTERS
Laser –cutters can cut only materials that can absorb light energy; water –jets can cut almost
any material. Laser- cutters can cost-effectively cut material upt to 5/8”, whicle water jets can
cut much thicker materials . for example upto 15” thick titanium.
2D fabrication includes contouring, triangulation, 9polygonal tessellation, use of ruled,

developable surfaces, and unfolding, they all involve extraction of 2-Dimensional, planar
components from geometrically complex surfaces or solids comprising the building’s form.
252
A tessellation of a flat surface is the tiling of a plane using one or more geometric shapes,
called tiles, with no overlaps and no gaps. In mathematics, tessellations can be generalized to
higher dimensions and a variety of geometries.
253
LASER CUTTING PROCESS

The laser cutting process uses a focused laser beam and assist gas to sever metallic plate with
high accuracy and exceptional process reliability. The laser beam is generated by a resonator,
and delivered through the cutting nozzle via a system of mirrors.
Advantages of laser technology
Laser technology has the following advantages:
• High accuracy
• Excellent cut quality
• High processing speed
254
• Small kerf
• Very small heat-affected zone compared to other thermal cutting processes
• Very low application of heat, therefore minimum shrinkage of the cut material
• It is possible to cut complex geometrical shapes, small holes, and beveled parts
• Cutting and marking with the same tool
• Cuts many types of materials
• No contact between the material and machining tool (focusing head) and therefore no force
is applied to the work-piece
• Easy and fast control of the laser power over a wide range (1-100%) enables a power
reduction on tight or narrow curves
• The oxide layer is very thin and easily removed with laser torch cutting
• High-pressure laser cutting with nitrogen enables oxide-free cutting
WATERJET CUTTING PROCESS BASICS
The most versatile process for shape cutting
• Highest precision cutting on virtually any material

• Can be combined with plasma or oxy-fuel on the same part
• Most versatile cutting process
Water Jet cutting uses an ultra-high pressure stream of water to carry an abrasive grit. The abrasive
does the cutting through a mechanical sawing action, leaving a smooth, precision cut surface.
Waterjet is the most versatile process, because it is able to cut almost any type of material.
Limitations include materials that are highly brittle, such as tempered glass and some ceramics.
Water jet is a very precise cutting process. It has a narrow kerf width, allowing fine contours to be
cut, and producing high tolerance parts. However, it is a very slow, expensive process when
compared to plasma on most metals.
255
The focusing device consists of either a zinc-selenide lens or a parabolic mirror which brings
the laser beam to a focus at a single point. Depending on the laser beam power, a power
density of more than 107 W/cm2 is achieved at the focus point. The focal length gives the
distance of the focal point from the focusing optics.
The focal point is positioned above, on or below the material surface according to the
requirements of the material. The high power density results in rapid heating, melting and
partial or complete vaporization of the material. The gas flowing from the cutting nozzle
removes the molten mass from the kerf.
The machine moves the cutting head over the metal sheet according to the programmed
contour, cutting the work-piece from the sheet.
256
Laser Cutting Methods

Depending on the material to be cut the cutting methods used differ:
Fusion Cutting ( high pressure cutting):
• The material is fused by the energy of the laser beam.
• The gas, in this case nitrogen at high pressure (10 to 20 bar), is used to drive out the molten
material from the kerf.
• The gas also protects the focusing optics from splashes
This cutting method protects the cut edges from oxidation and is mainly used with stainless
steels, aluminum and their alloys.
Oxidation Cutting (laser torch cutting):

• The material is heated by the laser beam to combustion temperature.
• The gas, in this case oxygen at a medium pressure (0.4 to 5 bar) is used to oxidize the material
and to drive the slag out of the kerf.
• The gas also protects the focusing optics from splashes.
• The exothermic reaction of the oxygen with the material supplies a large part of the energy
for the cutting process.
This cutting method is the quickest and is used for the economical cutting of carbon steels.
PLASMA ARC CUTTING?
Plasma is defined as a ”collection of charged particles ... containing about equal numbers of
positive ions and electrons and exhibiting some properties of a gas but differing from a gas in
being a good conductor of electricity
So that means that plasma cutting is only used for materials that are conductive, primarily
mild steel, stainless steel, and aluminum. But lots of other metals and alloys are conductive
too, such as copper, brass, titanium, monel, inconel, cast iron, etc. The problem is that the
melting temperature of some of those metals makes them difficult to cut with a good quality
edge.
So when using Oxygen or compressed air as the cut gas, the insert is made of a material
called Hafnium. Hafnium lasts a lot longer in the presence of Oxygen, but it still wears a little
bit with each start of the arc.
257
Other specialty gases are sometimes used for other purposes. Argon gas is used when plasma
marking (a whole other subject). A mixture of Argon and Hydrogen is often used when cutting
thicker Stainless Steel or Aluminum. Some people use a mixture of Hydrogen and Nitrogen,
or Methane and Nitrogen when cutting thinner Stainless Steel. Each mixture has its
advantages (improved cut quality) and its disadvantages (cost & handling).
https://www.esabna.com/us/en/education/blog/cutting_systems.cfm
• Subtractive Fabrication refers to material removal processes like multi-axis milling. The CNC
milling has recently been applied in new ways in building industry – to produce the formwork
(molds) for the off-site and on-site casting of concrete elements with double –curved
geometry, as in one of the Gehry’s office buildings in dusseldorf, and for the production of
the laminated glass panels with complex curvilinear surfaces, as in Gehry’s Conde Nast
Cafeteria project and Bernard Franken’s BMW Pavillion.
258
• Additive Fabrication involves a process of adding material, layer by layer fashion. It is often
referred to as layered manufacturing solid freeform fabrication, rapid prototyping, or
desktop manufacturing.
• Formative Fabrication implies reshape or deformation processes, thru mechanical forces,
restricting forms, heat, or steam which is applied to the material to get the desired shape.
For example the reshaped material may be deformed permanently by processes such as
stressing metal past the elastic limit, heating metal and then bending it white it is in softened
state or steam-bending boards, etc.
• Assembly- after the components are digitally fabricated, their assembly on site can be
augmented with digital technology. Digital 3D-models can be used too determine the location
of each component, to move each component to its location and finally to fix each component
in its proper place. New digitally-driven technologies, such as electronic surveying and laser
positioning, are increasingly being used on construction sites around the world to precisely
determine the location of building components.
For example, Frank Gehry’s Guggenheim Museum in Bilbao was built without any tape
measurements. During the fabrication, each structural component was bar coded and
marked with nodes of intersection with adjacent layers of structure.
On site bar codes were swiped to reveal the coordinates of each piece in the CATIA model.
Laser surveying equipment linked to CATIA enabled each piece to be precisely placed in its
position as defined by the computer model. Similar processes were used on Gehry’s project
in Seattle.
259
260
261
Bibliography
http://www.precious7.com/precious-findings/2014/1/6/walt-disney-concert-hall
http://www.e-architekt.cz/digiarch/ecaade-01paper.pdf
http://www.noveformy.cz/blob/blob-reference/the-bubble-bmw-pavilion/
http://www.franken-architekten.de
http://www.vitruvius.com.br/revistas/read/arquitextos/05.060/460
262
http://www.zvihecker.com/#projects:
http://web.mit.edu/edgsrc/www/#
3D PRINTING
Saravanan
Design Engineer, Next generation 3DPrinter Pvt LTD
9566164393 | Saravanan@nexgen3d.com
http://www.nexgen3d.com
##24/A, West canal bank Road, Kotturpuram, Chennai -600085.
263

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Ar. MD.Thulasii Gangaa

AR6014 - CONTEMPORARY PROCESSES IN ARCHITECTURE

UNIT II ASPECT OF DIGITAL ARCHITECTURE

UNIT III CONTEMPORARY PROCESS

UNIT IV GEOMETRIES AND SURFACES

ASSIGNMENT TOPIC LIST – explain with examples- max 7 to 10 pages..a4 size..ms-

1. Influence of media in architecture – Mohamed safiq,

MEDIA IN SPACE AND ARCHITECTURE.

1) the environment is the immediate vicinity-

Categories of potential applications of media technologies in urban spaces

Las vegas – street night view

NASDAQ Building in Manhattan

KPN Façade with displays

4. Recreation and Entertainment

Crown Fountain , in Chicago,

Advantages and disadvantages of media façade in architectural space

• Relationship of elements and narrative - In order to achieve a real integration on an urban

Some MORE EXAMPLES OF MEDIA FACDE

6. Digital Water Curtain - DWC

Circular Digital Water Curtain

Aviary is an interactive environment designed in collaboration with Parallel Development, with a

Additional reference : Media architecture

TECHNOLOGY AND ART

How technology affects art?

There are some of the innovative technological art .

1. The beauty of dirty air

• A Russian artist Dmitry Morozov devised a way to

• First, he built a device, complete with a little

• The sensors translate the data they gather into

4. Finding of inner birds

TECHNOLOGY AND ARCHITECTURE

An overview of the role and influence of digital technology on architecture design

• For example, Zaha Hadid who has been very

Initial sketches of Guggenheim museum transformed to drawings

TECHNOLOGY AS RHETORIC IN ARCHITECTURE.

Architecture uses signs to communicate its function and meaning.

Digital Rhetoric Architecture:

DIGITAL TECHNOLOGY AND ARCHITECTURE

Digital technology & digital architecture

Digital technology has enabled

Three core aspects of Information Technologies to design practices are as follows:

DIGITAL EXPRESSION OF BUILDING FORM

Conceptual manual sketches

Computer generated building conceptual models

Guggenheim Museum in Bilbao, Spain

giant fish sculpture on the Barcelona waterfront

Walt Disney Concert Hall in Los Angeles

The Walt Disney Concert Hall in downtown Los Angeles.

BUILDING INFORMATION MODELING (BIM)

UNIT II - ASPECT OF DIGITAL ARCHITECTURE

CHARACTERISTICS/ ASPECTS OF DIGITAL ARCHITECTURE

1. Topological space (topological architectures),

1. TOPOLOGICAL SPACES - (TOPOLOGICAL ARCHITECTURES)

Topology is opposed to the Euclidean geometrical representation of space. To use an architectural

Mobius strip Kl ei n Bott l e

Mobius house in a residential area close to Amsterdam.

http s: //en .wikip edia.o rg/ wiki/Kle in_b ottle

Alexandros Tsamis, Surrogate House, MIT 2010.

Bejing Olympic stadium

Example: Topological architecture: Gehry’s Guggenheim Museum in Bilbao, spain

ISOMORPHIC SPACES- (ISOMORPHIC ARCHITECTURES)

Formally, an isomorphism is bijective morphism. Informally, an isomorphism is a map that

Isomorphic polysurfaces" in the special effects and