STUDIO AIR_DESIGN JOURNAL_PART A

STUDIO AIRdesign journal

2014_semester 2_Philip Beleskyng Hann Clive_594870

2 CONCEPTUALISATION

CONCEPTUALISATION 3

Conceptualization

CONTENTS

A

Design Futuring

Design Computation

Composition Generation

Conclusion

Learning Outcomes

Algorithmic Sketches

7

12

18

24

25

26

4 CONCEPTUALISATION

Why architecture? To be perfectly honest, it is my parents’ decision for me to enroll in this course. It is never something that I would dedicate my lifetime to pursue.

Sooner that I realized I’m totally wrong,

In the realm of architecture, not only that I found that it is a canvass where my imagination can be expressed into real, but it is also an intimidating beast that forced me to become stronger and better in person. Although there are tough times that pushed me to the edge of mental breakdown, it is precisely the blood, sweat and tears that make me addicted into architecture.

Thanks to the amazing course provided by The University of Melbourne as it is so challenging that I’m still struggling to adapt even though it is already my third year battling architecture.

To quote Bruce Lee,

‘Do not pray for an easy life,

Pray for the strength to endure a difficult one.’

After all, Architecture Studio: Air would definitely be a stepping-stone leading me towards a clearer perspective of parametric design. I’m looking forward and excited to explore the unknown lying ahead of me.

iNTRODUCTiON

“Hey there, I’m Ng Hann Clive from Petaling Jaya, Malaysia. When I was young, I always desire freedom away from home. Now, I really miss home. How ironic.”

CONCEPTUALISATION 5

PREViOUS PROJECT

Inspired by Michelangelo’s Sistine Chapel: Creation of Adam, a love pavilion is designed for lovebirds in Argyle Square, Melbourne. Sculpture-like form is greatly appreciated in order to create a streamlined design.

It is called Nicolé Momentó as a name to reminisce every moment being with love.

PaRT

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liza

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6 CONCEPTUALISATION

DESiGNfUTURiNGPaRTa1

CONCEPTUALISATION 7

8 CONCEPTUALISATION

From the reading, Fry’s emphasize heavily on the complex phenomenon where relatively more people are ‘designing’ in present days but that design becomes increasingly trivialized and reduced to appearance and style.[1] People have forgotten what is initially important for architecture. Many have neglected the most fundamental aspect of architecture, which is creating a livable space for people. It is simple as that.

As many already know, the most primitive and sustainable architecture origins from nature, thus it is always a wise decision to get inspiration from our mother nature. By looking at The Wind Fountain, although being generated by digital designing software, it is obvious to see that the architecture form has a strong resemblance with palm trees. In the case study, the team avoids an abstruse design form, which is inappropriate and unsuitable to the context and users; but rather a more practical form, which promotes sustainability.

1

FIGURE 1.1 WIND FOUNTAIN USING THE SITE AS ADVANTAGE TO HARVEST STRONG WIND AND SEA BREEZE FOR ENERGY PRODUCTION.

“THE WIND FOUNTAIN PORTRAYS A STRONG AMBITION OF REVOLUTIONARY DESIGN THAT BLENDS BOTH ARTIFICIAL AND NATURE TOGETHER TO ACHIEVE A FUTURISTIC IDEALIZATION. WITH THE ABILITY TO HARVEST RENEWABLE ENERGY, IT HAS INCORPORATED SUSTAINABILITY INTO DESIGN AESTHETIC.”

the Wind Fountain

Bandar Seri Begawan, BruneiSukkahville 2013 Competition Entry

Gembong Reksa Kawula

CONCEPTUALISATION 9

By incorporating parametric design with inspiration from nature, this design changes the perception of people towards digital generated architecture. The idea of combining the best of both worlds (parametric and nature) is promoted through creating a space where both aesthetics and sustainability is expressed.

Without having artificial technology to an extreme nor nature influence at superlative, the continuity of a balance relationship between human beings and nature is preserved.

In futuring design, it is not only desired to allocate scarce resources efficiently to the welfare of human being, but also avoiding the sacrifice of benefits by any circumstances of the future generation.[2] Hence, a giant visually appealing sculpture cannot be mistaken as an architecture as many factors has to be put into consideration. Particularly we are now on the cusp of one of the most dramatic changes in our mode of earthly habitation, enormous use of resources just for the sake of aesthetic purpose is unfavorable.

In order to position The Wind Foundation on an architectural standard parallel with the philosophy of futuring design, revolutionary constructing materials are incorporated. With the use of carbon fibre reinforced resin pole as main construction materials, high flexibility of the structure can be achieved, allowing the design embodies the movement of real trees in which they sway and move depending on the wind direction.[3] With the introduction of piezoelectric effect, vibration generated by wind can create enough stress and strain on piezoelectric crystals to generate electric current. Piezoelectric effect is a well-known property of certain materials to produce electrical power when they undergo strain and stress. [4]

2 3 4

FIGURE 1.2 WIND FOUNTAIN EMMITS FLUORESCENT LIGHT USING WIND ENERGY PRODUCED.

10 CONCEPTUALISATION

The two questions, ‘How is the future being understood?’ and ‘What is meant by design?’ are mentioned by Fry to stress on the importance of creating a design that would allow us to foresee a bright future.[5] Architecture is a critical factor to determine the living standard and pattern around the world throughout human history. Instead of exaggerating on a futuristic design, Maple Leaf Design is a project designed for the benefits of future generation. As a leaf generates indispensable energy and oxygen from to mankind, the Maple Leaf Design structures generate electrical energy from sunlight and utilize methane gas obtained from buried waste.[6] By transforming a wasteland into a recreational park which not only promotes interaction between urban community but also creating awareness centering the topic of energy allows people to foresee a better quality of living in future generation.5 6

FIGURE 1.3 PLAN VIEW OF THE DESIGN INDICATING THAT LIGHT IS EMMITED DURING THE NIGHT WITHOUT ANY ENERGY REQUIRED.

“MAPLE LEAF DESIGN IS INSPIRED BY THE NATURAL PHENOMENA OF PHOTOSYNTHESIS, THE MOST CRUCIAL BIOLOGICAL PROCESS ON EARTH THAT CAN NEVER STOP ITS CYCLE UNLESS WITHOUT SUNLIGHT. HENCE, BECOMING THE CORE OF FUTURING DESIGN TO CREATE AN ETERNAL SPACE THAT GENERATE INFINITE AMOUNT OF RENEWABLE ENERGY.”

Maple leaF

Stillwater, USALAGI 2012 Competition Entry

phil Choo, Chulho Yang

CONCEPTUALISATION 11

Gradually, instead of using them as a stepping-stone to achieve a higher level of architecture, designers become blinded with these softwares. In Fry’s reading, it is mentioned that a design has to have an aim or goal rather than pure aesthetics.[10] In the case study, the organic shape of Maple Leaf emerged by creating a linear mapping of the gas-extraction wells in the North Park area. By combining a lattice structure with refined linear design and connecting the pillars of covered gas-extraction wells, the Maple Leaf Design became a stable structure inspired by nature and the infrastructure of Fresh Kills Park. Furthermore, the lattice structure allows electricity to be generated by solar panels and to travel through the vein structure to distribute energy into the electrical grid as if a plant produces glucose using sunlight and sends it to the root and other parts of the body. Solar panels after 25 years of life will be decommissioned in a safe and environmentally friendly manner and will be replaced by newer solar panels having best performance at the time of replacement.[11] Aligning with Fry’s philosophy of futuring design, Maple Leaf Design is a parametric architecture that produce positive outcome to both present and future inhabitants. 10 11

It is important for a designer to measure his own understanding against the fact of design’s continually growing importance as a decisive factor in our future.[7] Nature alone cannot sustain us. We are too many and have done too much ecological damage. In the case study, decomposing waste with high toxic level on site was initially a design challenge. However, this site’s disadvantage factor is transformed into a good source of renewable energy by installing 600 gas-extraction wells in the park area resulting in a significant amount of methane gas can be extracted and put into use.[8] Apart from harvesting renewable energy, this project successfully dismantles the harm of toxic waste to the community. This project positively convey the message that energy can be generated simply from the waste we have created when nature can no longer satisfy our demand. This resource is less cost and proportionally meets the energy demand of human population at any time.

As the age of ‘design democracy’ rises, many designs are produced with form and aesthetics that have never been achieved before.[9] Many are celebrating the fascinating outcome that computer software could produce. 7 8 9

FIGURE 1.4 LATTICE STRUCTURE OF THE DESIGN WHICH EFFICIENTLY HARVEST ENERGY FROM THE GROUND.

DESiGNCOmPUTaTiONPaRTa2


With the aid of computer in recent years, architecture has blossomed into an exciting field for the architects. New technologies such as digital modeling and 3D prefabrication has revolutionized the world of engineering and design, creating a larger piece of canvass to allow more complex creativity to be put into real. In the field of architecture, computation design methodology is the key to explore different attributes and complexities that were initially unimaginable.

Distinct attributes can be spotted between computerization and computation. An obvious transition between hand drawing and digital design occurred after the introduction of computation in recent years.[12] Unlike computation, computerization softwares such as AUTOCAD and RHINO serve as a catalyst to speed up production without sacrificing precision. These programs aid in making designers easier to satisfy enormous industrial demands. On the other hand, computation is established using new design approach in which digital production methods such as mathematical ideal, logical algorithm and scripting are the factors directly affecting the design outcome.[13] In another words, computation based software like GRASSHOPPER can be described as an artificially intelligence designer that takes order directly from a human designer.

Computer design rebels the idea of expressing creativity through sketching and drawings. Thus, computation-modeling software favors algorithmic approach when generating design.[14]

12 13 14



FIGURE 2.1 REFINED DETAILS FRABRICATED BY 3D-PRINTER.

“THE DIGITAL GROTESQUE IS BETWEEN CHAOS AND ORDER, BOTH NATURAL AND THE ARTIFICIAL, NEITHER FOREIGN NOR FAMILIAR. ANY REFERENCES TO NATURE OR ExISTING STYLES ARE NOT INTEGRATED INTO THE DESIGN PROCESS, BUT ARE EVOKED ONLY AS ASSOCIATIONS IN THE EYE OF THE BEHOLDER.” HANSMEYER

the diGital GRotesque

2013

hansmeyer & dillenburger


This ambitious design strikes a delicate balance between the expected and unexpected, between control and relinquishment. Thus, creating visual surprise, which I believe, surpass the standard of any conservative architecture not forgetting setting a milestone for computer design.

In the Digital Grotesque Project, algorithms are used to create a form that appears at once synthetic and organic.[15] This project intends to design a space, which express the optimal level of digital technologies. With an reminisce composition of Gothic’s style, this design challenges the conventional stigma where computation design method and conventional architecture design are two different character that do not linked. Problem solving flexibility and rational decision-making skills possess by designers are uniting with computation’s ability to analyze and interpret each and every data, parameter, etc. given in this project. I strongly believe that a bottom-up methodology is practiced to generate this design. Bottom- up is a trending design method in which computer serve as an initiation to generate design forms, and designers would refine the design outcome after to ensure its real life constructability.[16] As a result, extreme standard of complexity in forms and geometries that is traditionally inconceivable to designers are successfully realized with the aid of computation design.

15 16

FIGURE 2.2 HIGH COMPLExITY GENERATED USING COMPUTATIONAL DESIGN APPROACH.


FIGURE 2.5 CLOSE-UP VIEW FOCUSING ON THE TExTURE AND MATERIALITY OF THE DESIGN.

‘God’s Eye’ initial design concept expanded on the requirement for a sky opening, an integral element of the traditional Sukkah. This precedent undoubtedly demonstrate the practice of computational design where a mathematical algorithm is logically organized which eventually evoked the final form of ‘God’s Eye’ as an aesthetic design to satisfy Sukkah’s competition criteria.

FIGURE 2.3 THE ExTERIOR OF THE DESIGN.

“UNDERLINING THE IDEAS OF AFFORDABILITY, EPHEMERALITY AND FRAGILITY, THE TWISTING CONFIGURATION OF THE PROJECT RESULTS IN TWO ENTRANCES/ExITS ENABLING THE VISITOR TO PROGRESSIVELY ExPERIENCE A PROTECTED SPACE WHICH CELEBRATES THE CONNECTION BETWEEN THE EARTH AND THE SKIES. “

God eYe’s

Toronto, CanadaSukkahville 2013 Competition Entry

Christina Galanou & Koufopavlou

FIGURE 2.4 DIFFERENT TYPES OF ALGORITHM INPUT RESULTED IN FORM OF PATTERN GENERATED.


FIGURE 2.5 CLOSE-UP VIEW FOCUSING ON THE TExTURE AND MATERIALITY OF THE DESIGN.

The membrane, serving structural and sheltering purposes, was realized by interweaving recycled single-sided corrugated cardboard strips, of variable widths, on the secondary structural system. A computational model enabled the calculation of the strips’ width and length thus eliminating waste and facilitating construction.[19]

By practicing computational method, not only that the team are able to generate numerous prototypes for improvisation without sacrifice a significant amount of time and cost, but also making prefabrication stage to turn into a highly organized and convenient process.

19

‘God’s Eye’ is subsequently fragmented into two inter-depended systems – The Structure (Primary and Secondary) and the Skin (Weaved Cladding).[17] Both systems were continually developed through experimentation, digital simulation and Full Scale Mock-Ups. Two such mock-ups were built and tested in Cyprus prior constructing the project in Canada.[18] If the use of conventional method is put into practice, this project would be almost impossible to achieve in terms of its curvature forms and precision to attain the complexity of the outer layer of cladding. The integral system was continually developed through a series of virtual and physical simulations incorporating digital design techniques as parametric design and computer programming.

17 18

COmPOSiTiON &GENERaTiVEPaRTa3



With the emergence of highly convoluted architectural style to satisfy modern living standard; simple digital based designs are no longer worthy production if they remain unresponsive towards rocketing demands from various aspects such as aesthetic, spatial organization, sustainability, functionality, constructability etc. To wrestle with the age of digitalization, architecture has repetitively given rise to new and newer types of innovative design approach.[20] Decades have been taken to give rise to digital architecture, which result in an interesting shift from hand design to computer generative design. Today, however, it only takes months for architects and designers to develop an entirely new program to generate a revolutionize outcome in respond to clients’ demand.

With the use of computation-based programs, there are two types of approaches known as compositional and generative when design strategies are concerned. When compositional design techniques are put into use, designers are often the dominant character that manipulates computational software to refine design ideas that has been decided prior, may it be sketches or physical model.[21] In other words, computation program simply serve as a booster to improvise what has been conventional design.

On the other hand, for designers, which favor generative approaches, they regularly insert an amount of data or information that eventually forms an algorithm. An ‘algorithm’ refers to the method of doing something and is made up of a set of procedures that are generally easy to follow. Then, it is the computer’s responsibility to logically apply these algorithms to generate a series of products. Sometimes, an enormous amount of outcome would be produced, and designers will have to select the most suitable product in which it performance is the best.[22]

Instead of focusing on the surface qualities of design aspects, computation design at advance level focus on wider and deeper range of design possibilities and freedom. By indulging oneself to understand the mechanism behind computation programs, passionate exploration in the digital realm allows designers to manipulate scripting language and mathematical algorithm that result in producing customized forms as their outcome. If designers move one step further, it is not impossible for them to develop the own computation software of their own to assist in widening their design possibilities. Aligning with Brady Peter’s writing, “we are moving from an era where architects use software to one where they create software.” [23]

20 21 22 23


Phosphorescence is a very good example to describe generative strategies in computation. Inspired by mathematics of electro-magnetic fields, magnetic fabrics are stitching the site into the city whilst bringing the city and its inhabitants to the water, as an adaptive master plan.[24] Precise calculations together with appropriate data input at correct sequences are required to generate this design. Without the practice of generative strategies, designers alone are not able to generate such complex form from scratch, based on the movement of electro-magnetic force.

24

FIGURE 3.1 DESIGN BLENDS IN WITH THE SITE, BOTH URBAN AND NATURE(WATER)

“SONAR PHOSPHORESCENCE: A NEW VERSION OF ICONIC RESONATING WITHIN THE CURRENT CULTURES.”

phosphoResCenCe

Kaohsiung,TaiwanCompetition Entry 2010

alisa andrasek & Jose sanchez


On the other hand, even though generative approach, in this case, has the capability to produced a relatively satisfying outcome, but designers would still need to concentrate on the shortcomings that needed to be altered. Although computation seems to be dominant in generative approach, designers still holds a crucial position, as many challenges cannot be overcome without human intelligence.[26] In this case study, designers play an important role to create adaptability for the design to suit the site. Being close to the waterside and urban area, this design has to be scaled or cropped into the most desired and efficient form without sacrifices its aesthetic, functionality and compliancy with local community. All these above, would definitely be the key factor to produce an favourable architecture in real.

26

With attractive vibrant colors and light, polychromatic shimmer qualities are introduced to the site to enhance spatial relationship between both land (urban inhabitants) and water (nature or under water inhabitants). The design team has incorporated biological phenomenon in which phosphorescent glow is detected while brain neurons are transmitting information to the brain, together with the light landscape of Taiwanese streets, night markets etc. to design the best lighting possible for the site.[25] Again, this is something that is unachievable if using compositional strategies. Enormous data are to be collected for computer interpretation to form a chain of algorithms that produce a highly refined parametrics design which eventually realizes the conceptual glowing qualities of the project.

25

FIGURE 3.2 DETAILS FOCUSING ON SHIMMER QUALITIES OF THE DESIGN


Zaha Hadid, a Pritzer’s Prize award winning architect who frequently transforms her primitive ideas into fascinating design outcome with the assistance of computation. Sketches or hand drawing that Hadid primarily produced served as a structural skeleton for this design. Then, Patrick Schumacher and his team use Autodesk® Maya® software as a conceptual sculpting tool to refine her designs.[27] In this case study, the tower’s exposed exoskeleton reinforces the dynamism of the design. Expressive and powerful, this external structure optimizes the interior layouts and envelops the building, further defining its formal composition and establishing relationships with the new Cotai strip.

27

FIGURE 3.3 THE ExOSKELETON-LIKED ExTERIOR OF THE DESIGN

“IN ANOTHER WAY, I CAN BE MY OWN WORST ENEMY. AS A WOMAN, I’M ExPECTED TO WANT EVERYTHING TO BE NICE, AND TO BE NICE MYSELF. A VERY ENGLISH THING. I DON’T DESIGN NICE BUILDINGS - I DON’T LIKE THEM. I LIKE ARCHITECTURE TO HAVE SOME RAW, VITAL, EARTHY QUALITY. “ ZAHA HADID

CitY oF dReaMs hotel toWeR

Cotai, Macau 2017

Zaha hadid

FIGURE 3.4 SHOWS THE FACADE OF THE TOWER DESIGN


This project that is expected to be complete in 2017 depicts a high standard of compositional approach of architectural computation as spatial organization, design aesthetic, site and client consideration, innovation construction technologies etc. have been unify together in harmony.

FIGURE 3.5 COMPLEx INTERIOR DESIGN FIGURE 3.6 LOBBY IS DESIGNED BY PARAMETRIC DESIGN APPROACH

From previous case study that appreciates generative strategies is being understood as an efficient way of design only if human intelligence is incorporated. The same goes for compositional strategies. Designers should be responsive towards the possibilities that computation approach can contribute. Filling in gaps and polishing design imperfection are not the only aspects that computation software can provide, but also merging innovative engineering and formal cohesion into design spaces. The rectangular outline of the site is extruded as a monolithic block with a series of voids which carve through the its center of the tower, merging traditional architectural elements of roof, wall and ceiling to create a sculptural form that defines many of the hotel’s internal public spaces.[28]

28

CONClUSiONPaRTa4


In this age of architecture bottleneck when almost every kinds of geometry has been thoroughly experimented, designers unconsciously crave for extra possibilities and more complex forms to satisfy their creativity during design process. Innovative designs have forward so quickly until the method of computerization is no longer able to handle the demand of contemporary architecture. As computational approach allows the production of forms that are initially inconceivable, designers can produce numerous outcomes within a short period of time. Complementing with advanced fabrication technology, computational design now does not only exist in the world of virtual but in the world of reality, acknowledging our age to welcome a broader horizon of architecture.

Today, as construction being one of the highest resource consumption fields in the world, designing architecture for sustainable future gradually becomes a necessity through the passage of time. Being aware that our natural resources are depleting at a rate faster than they could be replaced or recovered, abundant of green technologies are introduced. These technologies, however, are difficult to embody into conventional architecture due to their design limitations. On the other hand, the freedom for producing flexible and complex shape in virtual world of computation becomes an advantage for designers who desire to interweave energy production technologies into their design.

Parametric design will definitely be my intended design approach as it is a powerful tool for designers once familiarize with. It is the flexibility and precision of computation design that allows different experimentation to incorporate both design and green technology into the most pleasing outcome. In another words, creating a design that is able to achieve the optimal level of creativity and functionality. Today, massive amount of encouragement from all over the world to support the trend of green digital architecture has been established particularly in the form of design competitions such as Land Art Generator Initiative (LAGI) .

All in all, through this new form of architecture, human can see faith in our future where nature and human are blend together to live in harmony.

lEaRNiNG OUTCOmESPaRTa5


Despite the fact that I have no prior knowledge concerning about digital architecture design, Task A has been an enjoyable yet productive exercise exposing me towards different computation design approach. Through exploring different precedents, my understanding towards the practice of architectural computing has significantly strengthened. In the beginning of this studio, I always has a thinking that the use of computational design is an architectural approach that would never be applauded by me for its main focus is on futuristic form rather than an continuation of cultural and memories of different generations. As someone whose ambition is to become an influential architect in the future, I certainly believe that the main difference between an architecture designs comparing to design sculpture is the continuity and reminisce of culture and human identity. Initially, I misunderstood that computation design is merely a tool in achieving a more visually striking design. It is until I come across all the assigned readings and precedents that gradually allow me to understand that architectural computing is the only architecture approach, which not only incorporates advance sustainability researches into design process but also manipulating different data to form algorithm to produce different design possibilities for future generations.

Having the first attempt in exploring Grasshopper allow me to experience unimaginable flexibility and complexity that this program can provide to an architectural design. It is indeed a very powerful computation design software. At this stage, I’m still struggling to adapt this new approach of design. Grasshopper has been extremely tough for me mainly due to my insufficient understanding and poor skills in appropriately utilizing different tools in this program. Despite all the challenges, I still remain passionate and trying really hard to seek for improvement. Realizing the fact that Grasshopper would definitely elevate my design skills to a higher level, I’m looking forward to learn more skills in the coming task.

alGORiThmiC SkETChES PaRTa6


Being a simple design with striking colours, this design becomes one of my favourite designs so far. By looking back at Week 2’s exercise, complex forms and strong dynamicity produces by the ‘Pipes’ would seems to be a better design to talk about. At least, there are more aspects that I can talk about. However, after four weeks of conceptualization studies have allow me to be aware an insight of a design. Complexity, at times, may be a burden to a parametric design. Complexity is needed when conventional simplicity is no longer able to cope with architecture’s functionality, particularly when new technologies or construction methods are incorporated by the design. All these I have learnt from the readings. Thus, in parametric design, although I am always fascinated by designs with complex form, simplicity would definitely be a design approach that I would incorporate it into my future research in this studio.


Initially, I have never expected this would work for experimentation triangulation on to a spiral surface was a spontaneous thought. The outcome, however, is very satisfying. By making optimal use of two curvature surfaces, allowing them to twist around as they elevate above the ground level. Due to its spiral-liked characteristic, the tessellation of different colours is expressed better and turns out to be more visual appealing. I realised the fact that in some cases, human’s creativity would enhance aesthetic effect or even functionality of a computational design despite its dominant ability to produce fascinating outcomes.


REfERENCES

PART A1 1)Tony Fry, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 (p. 4). 2)Tony Fry, pp. 1-16, (p. 3). 3) Land Art Generator Initiative (LAGI) 2012 Competition Entry: The Wind Fountain, <http://landartgenerator.org/LAGI-2012/wf252rka/>, [11 August 2014]. 4) Land Art Generator Initiative (LAGI) 2012 Competition Entry, <http://landartgenerator.org/LAGI-2012/wf252rka/>, [11 August 2014]. 5) Tony Fry, pp. 1-16, (p. 8). 6) Land Art Generator Initiative (LAGI) 2012 Competition Entry-Maple Leaf, <http://landartgenerator.org/LAGI-2012/40574453/# >, [11 August 2014]. 7)Tony Fry, pp. 1-16, (p. 3). 8)Land Art Generator Initiative (LAGI) 2012 Competition Entry, <http://landartgenerator.org/LAGI-2012/40574453/# >, [11 August 2014]. 9)Tony Fry, pp. 1-16, (p. 10). 10)Tony Fry, pp. 1-16, (p. 12). 11)Land Art Generator Initiative (LAGI) 2012 Competition Entry, <http://landartgenerator.org/LAGI-2012/40574453/# >, [11 August 2014]. Part A2 12) Rivka Oxman and Robert Oxman, Theories of the Digital in Architecture,(London; New York: Routledge), pp. 1-10, (p. 3). 13) Kalay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, (Cambridge, Ma:MIT Press), pp. 5-25, (p.17). 14) Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing, (London;New York: Spon Press, 2003), pp.2- 24, (p.22). 15) Micheal Hansmeyer, Concept: The Digital Grosteque, <http://www.digital-grotesque.com/design_images.html?screenSize=1&color=1>, [13 August 2014]. 16) Branko Kolarevic, pp.2-24,(p. 11). 17) ‘God’s Eye’ – (Pavilion) -Sukkahville 2013 (International Design Competition) – Winning Entry, <http://www.cy-arch.com/gods-eye-pavilion/>, [18 August 2014]. 18 ) ‘God’s Eye’ – (Pavilion) -Sukkahville 2013, [18 August 2014]. 19) ) ‘God’s Eye’ – (Pavilion) -Sukkahville 2013, [18 August 2014]. 20) Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, The Building of Algorithmic Thought,83 (2013), pp. 8-15, (p. 10). PART A3 21)Rivka Oxman and Robert Oxman, pp. 1-10, (p. 3). 22) Brady Peters, pp. 8-15, (p. 10). 24) Alisa Andreasek , Phosphorescence :Repository of Computation Design, <http://www.biothing.org/?cat=23.>,[13 August 2014]. 25) Alisa Andreasek , <http://www.biothing.org/?cat=23.>, [13 August 2014]. 26) Brady Peters, pp. 8-15, (p. 10). 27) Design Visualization: Zaha Hadid, <http://usa.autodesk.com/adsk/servlet index?siteID=123112&id=13462298&linkID=13454855>, [19 August 2014].


28) Zaha Hadid Architects : City of Dreams Hotel Tower, <http://www.zaha-hadid.com/architecture/city-of-dreams-hotel-tower-cotai-macau/>,[18 August 2014].

Image Credit Part A1 Figure 1.1 & 1.2 : Land Art Generator Initiative (LAGI) 2012 Competition Entry-The Wind Fountain, <http://landartgenerator.org/LAGI-2012/wf252rka/>, [11 August 2014]. Figure1.3 & 1.4 : Land Art Generator Initiative (LAGI) 2012 Competition Entry-Methane And Photosynthetic Leaf for Eternal Life At Fresh Kills (MAPLE LEAF), <http://landartgenerator.org/LAGI-2012/40574453/# >, [11 August 2014].

Part A2

Figure 2.1 &2.2 : The Digital Grosteque, <http://www.digital-grotesque.com/concept.html?screenSize=1&color=1>, [13 August 2014] . Figure 2.3,2.4 & 2.5 : ‘God’s Eye’ – (Pavilion) -Sukkahville 2013 (International Design Competition) – Winning Entry , <http://www.cy-arch.com/gods-eye-pavilion/>,[18 August 2014].

Part A3 Figure3.1 & 3.2 : Phosphorescence :Repository of Computation Design, <http://www.biothing.org/?cat=23.>,[18 August 2014]. Figure 3.3-3.6 : Zaha Hadid Architects : City of Dreams Hotel Tower <http://www.zaha-hadid.com/architecture/city-of-dreams-hotel-tower-cotai-macau/>, [18 August 2014].

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STUDIO AIR_DESIGN JOURNAL_PART A