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content

Page 1 Introduction x

PART A

A 1.0 Design futuring x

A 1.1 Case Study 1 : Pabellón de la Sed x A 1.2 Case Study 2 : Qatar Education City Convention Centre x

A2.0 Design Computation x

A 2.1 Case Study 1 : Migrating Formations x A 2.2 Case Study 2 : PS_Canopy x

A 2.3 Case Study 3 : La Familia Segrada x

A 3.0 Generation versus composition x

A 3.1 Case Study 1 : The FabPod - RMIT Design Hub x

A 3.2 Case Study 2 : P_Wall x

A 3.3 Case Study 3 : The Parasite x

A 4.0 Conclusion x

A 5.0 Learning Outcomes x

A 6.0 Appendix - Algorithmic Sketches x

A 7.0 References x

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01 03 05 BACKGROUND

02 04 06

2014, Studio Water - Alvaro Siza inspired proposal of Studley Park Boathouse, Kew.

Autodesk Revit & Rhino 5 for massing

2014, Studio Earth - Architectonic study for Herring Island Pavilion

Rhino 5 & Sketchup

2013 , Designing Environment - Proposal for South Lawn

Rhino 5 & Sketchup

Author’s own work. Digital sculpture - “Affection” , Grass-hopper scripting with Vray ren-dering

2014, Studio Water - Alvaro Siza inspired proposal of Studley Park Boathouse, Kew.

Digital sculpture - “My heart is frozen” , Grasshopper scripting with Vray rendering

Digital sculpture - “Glass toffee” , Grasshopper scripting with Vray rendering

I N T R O D U C T I O N

rt & Architecture has always been my passion. After working in engineering and computing for a while I decided to pursue my passion knowing that this would be my last opportunity to do so at my age.

I brought with me my maturity, established work ethics, experience in engineering and computing to this endeavour. Strong discipline and time management with razor sharp focus in my intention had helped me to explore architecture with vigour and enthusiasm.

My philosophy in architecture are to be critical and observant to the surrounding that gives us our inspiration, material and wisdom. Simplicity is paramount. Ornamentation is excess. Structural clarity is the holy grail.

Coming from the computing field, I understand the potential and possibilities of digital and generative design. I see design software as tool to enable exploration. Equally important for architecture students, manual drawing skills allows more expressive work to rather sterile computer generated images. A good balance of computer work couple with expressive drawings , in my opinion, will be able to explain the technical aspects of my design but also the emotive component which can relate better at the human level.

A In view of this balance, I have taken the initiative to self-learn major design tools such as Adobe Creative Suite (Photoshop, Illustrator and InDesign) as well as digital painting tools and software i.e. Corel Painter and Wacom digital tablet. As I also enjoys photography in my free time, I am able to include this as part of my overall creative offerings.

In addition, I am improving progressively in major 3D modeling and rendering tools such as Rhino 5, Autodesk Revit, 3DS Max, Maya and Vray/Keyshot/Maxwell for rendering. I am also exploring visual programming knowledge through Grasshopper, Processing 2 and Dynamo(+Vasari) however it’s a new frontier to me ,I look forward to finding opportunities to use some of these tools not just for form finding, performance analysis and generative art.

Digital and parametric design in architecture provides new and exciting area which I have vested interest in. In my opinion it’s the new style or ‘ism’ in architecture which is becoming more and more prevalent style post post-modernism. Computation work in architecture further extend the capability of comtemporary design to be more responsive to its context and environment thus contribute toward the overall sustainability of the planet.

“ I seek creative freedom, explore new possibilities and innovation in my second coming.

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d e s i g n f u t u r i n g

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ur contemporary culture and how we design for our living is heading us towards destruction. Tony Fry in his book “Design Futuring : Sustainability, ethics and new

practice” pose us, the design community, with a challenge; to change our mindset and our design values to support sustainable future [15].

As part of the larger design community, I propose the following broad ideas for our ‘design futuring’ :

1. Design is an agent of change and the community must be empowered to lead the transformation towards sustainability. [16]

2. Design must not hide behind the triviality of appearance and ‘style’ [17]

3. Sustainable design must depend on combination of nature and man-made ecology and not each in isolation.

4. We must foster design intelligence that have the ability to analyze forms and its context and make important decisions as part of the design process to improve futuring potential. [18]

5. We must support, participate and influence creation of design intelligence through design research and critical designs [19].

In view of the above, 2 case studies attached are precedents that display the capability and techniques gained through design intelligence. As suggested by Patrik Schumacher, Architecture as autopoietic system of communication[], these examples form cycle of new ideas which becomes the basis of critiques and provide further improvements to the existing or generate new ideas which is necessary for architecture discourse.

The vitality of architecture as a field depends on its community to continuously produce critical designs [Dunn] as ‘artefacts’ [schumacher] and means of us to communicate to the wider public (outside of the autopoietic system of architecture) while enriching internally the architectural discourse.

BACKGROUND

ps canopyferda KOLATAN+erich SCHOENENBERGER, partners[20]

Design Futuring : A manifesto towards a sustainable future.

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his pavilion was built for 2008 Expo Zaragoza in Spain to promote water conservation and sustainability. It was conceptualised from the molecular structure of salt and strongly

represented by the form as well as its conceptual implementation of the salt mountain. The architects, Cloud9 and Enric Ruiz Geli were inspired by the water droplets on top of the salt mountain represented by the transparent bubbles on the structure [10].

The thematic approach of sustainable design not only reflected in the form but also its functions, construction material, process and technology. The structure was realized using pre-fabricated steel components and assembled using common construction techniques and technology [10]. This was intended to be easily assembled and disassembled after completion of the expo.

The sustainability theme is further extended to its use of material. The external geotextile skin, pneumatic ETFE panels are recyclable. Additionally ETFE has various advantages in comparison to other common building material such as glass. Its super lightweight, controllable light transmission qualities and has good insulation properties. [7]

The ETFE panels coupled with brine watering system and a cooling system for the air-filled pneumatic panels allows the structure to offset the heat gains from visitors and equipment [10]. This improved the cost of operating the building and more sustainable than the traditional air conditioning

T system. This is the same approach implemented for the Beijing National Aquatic Centre at a larger and permanent scale. [7]

I have chosen this example to illustrate few observable trends in contemporary modern architecture. The field of architecture has progressed alongside computer technology as means of form finding and no longer isolated as tools for drafting and modelling.

Computation works in architecture allows for performance analysis and optimised form finding. New research and leading edge technology allows design to response to its surrounding context.

The outcome of such research and new technology brings about a new ‘ism’ in post-modern architecture ;

Performalism = Form + Performance. [4]

The convergences of engineering, architectural sciences , mathematics and art have generated new building style that are dynamic as well as environmentally responsive.

The Thirst Pavilion, is one of many new breed of architecture testing and challenging the status quo by offering unique design that is responsive to

its environment, implementing a total sustainable solution through building material, construction method and reduction of energy usage. Innovative design like this provide critical design example for the broader architecture discourse that continues to improve upon itself moving forward.

c a s e s t u d y 1

P a b e l l ó n d e l a S e d

The Thirst Pavilion, the International Water Expo Zaragoza 2008, Zaragoza, Spain

Figure 1 : Salt watering system [11]

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Design

Cloud 9 : Enric Ruiz Gelli, Edouard Cabay, Patricio Levy, Miguel Carreiro, Andre Macedo, Rosa Duque Casas

Structural Engineers

Boma S.L. Augusti Obiol, Guillem Baraut, Antoni Orti

P E R F O R M A L I S MPritzker Architecture Prize winner Thom Mayne introduced the idea of performalism as separating the exterior skin of a building to response to the climate (form follow environment) [5] while the interior focuses on program/function. However, Neuman and Grobman [4 ] proposes the idea of computer based architecture that changes the idea of function to performance. Through computation, form in performative architecture is an outcome of performance analysis.

BACKGROUND

Figure 3 : Pabellón De La Sed [11]

Figure 2: Pabellón De La Sed in the evening. [9]

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idra tree, native to Qatar, a holy symbol to Islam and represent knowledge of the divine was the concept behind this entrance structure to the convention centre. The architect, Arata Isozaki, uses the structural optimisation approach in arriving to the optimal form

desired, mimicking the tree for the form desired.

Optimisation method known as extended evolutionary structural optimimization (EESO) allows for sets of criteria i.e. material, loading profile and sites to compute the best and most optimal performing shape with least amount of material use. The optimization algorithm using the finite-element analysis to progressively remove unnecessary material and add material to support loading at load bearing points in repetitive computation cycle.

Similar automated form finding and optimization algorithms are now being used in larger architecture firms such as SOM

S (Skidmore, Owings & Merill),Figure 8, as well as Foster + Partners. It’s no longer a novelty approach in form finding nor it’s reserved for structural analysis alone.

Through its origin from the engineering field, architects and structural engineers are now collaboratively workimng together in form finding. Collaboration between these groups is critical to jointly define parametric constraints and performative goals of the projects.

I have chosen this example to highlight new collaborative workflow in the quest for new design and form in architecture. In this example, architecture and engineering had to come together to come up with a nature inspired design out of an engineering based analysis tools. Similar collaborations in the fields of mathematics and arts for examples had came out with interesting solutions to design problems .

q a t a r e d u c a t i o n c i t y c o n v e n t i o n c e n t r e

Arata IsozakiDoha, Qatar

Figure 4 : Qatar Educational City Convention Center , in the evening .[13]

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Figure 5 : Sprawling steel columns mimicking the Sidra tree [11]

Figure 6 : Atrium [11]

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Figure 7 : The evolution of form in the EESO application [14]

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Figure 8 : SOM, Commercial development project in Shanghai using gradient based optimisation algorithm[12]

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he pervasiveness and availability of computing system and computing power has begun making significant inroad in all aspect of human

civilization including design as many feared. As design process consists of 4 interrelated phases [Kalay], see fig xx

by which all has been completely automated or highly influenced by computing. The question is if what Kalay [] is saying that design is the symbol of intelligence, has computers taken over our unique characteristic as intelligent being and we are succumb to the power of computation work in all of our design process and form finding in architecture?

Computerisation to Computation

From its early appearance, computers have been instrumental in shifting our traditional 2D drawing into an automated mode. This is recognized as “computerisation” and greatly involved in the communication

phase of the design process. However computation is beginning to play a significant role in problem solving phase with advancement in knowledge system and technology such as BIM as well as scripting and environmental tools for performance analysis. To our advantage, computation work had taken over the processing of vast amount of data and converting them into meaningful analysis that influence architectural design process. This analysis allows for further explorative study for new ideas and provide the basis in the next stage of the design cycle i.e. the solution synthesis<kalay p11>.

As solution synthesis is an intuitive process of human intrinsic ability, computation work is now able to assist in expanding designer’s capability to solve even more complex problems by giving a wider spectrum of perspective for more informed decision and creative insights <ad, computation work p10>. This is where we must not give in to computation work to give us cold, sterile design from the form finding process but

rather use the “suggestive” forms as informed creative “insights” that we can develop along with our creative expression.

Performance Oriented Design

As part of the strive for “Design Futuring” where we must consider our built environment in sustainable fashion,this is where the role of computation becomes clearer. Computation work had led to new area in architecture called performalism (Performance and form design) or performative architecture . Performance-oriented design uses the vast computation power and scripting tools to create customise analysis for optimal solution that is climate responsive and while offering aesthetic innovation.

New collaborative workflow Computation works have also redefine how architects works. New breed of architects with programming and scripting skills not only generate 3D models but

TD E S I G N C O M P U T A T I O N

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D E S I G N C O M P U T A T I O Nalso provide existing archtectural practice new approach in design exploration, performance simulation and analysis and fabrication. In addition, design computation also foster multidiciplinary participations in research and design from different areas such as engineering, biology, arts and mathematics. No longer just in the domain of research or specialised field, tools such as traditional FEM (Finite element method) tools originating from the structural engineering field had also cross-over as an architectural form-finding tool. This creates new culture of collaborative between architects and engineers instead of working in isolation.

New geometries, new opportunites

Generative processes performed through algorithmic computation had also introduced new shape and form never before achievable through traditional design process. To assist architects and designers in solution synthesis , generative processes have introduced new shapes and form though topological , non-Euclidean geometric spaces, parametric design

and morphogenesis <Kolarevic p3>. The introduction of free-form non-Euclidean geometries through NURBS (non-uniform B-spline) method supersede the traditional form making based on Euclidean and platonic solids <hklsadfh>. This expanded the geometric vocabulary in digital design giving architects more flexibility and design expression. Furthermore, the new shapes stimulate new material culture and introduces the integrated digital fabrication as part of the architectural design process. Digital Fabrication, New efficiency

Computation technology not only changes the traditional architectural design process, it is making significant impact on the production/construction process. The whole workflow from designing to “making” (fabrication) is now completely within the digital realm<digital fabrication, nick dunn, p>>. The holistic design production and innovative component manufacturing are being explored in multidisciplinary research and development creating new material culture within the architectural discipline as well as other areas

such as biology and mathematic to name a few. This convergence, representation and production, will significantly change the building industry in the very near future once the current technology can be scaled up to practical industrial use.

Digital shift in architecture

Computation work in architectural design process marked a new shift in Architectural expression similar to the preceding shift to Modernism from classical architecture. Introduction of new building material and technology during the Industrial revolution introduced Art Nouveau with its organic and free forms with curvilinear lines from the ideas of Viollet Le-duc, Victor Guimar and Gaudi. Similar shift also can be seen through the work of Mandelsohn, Le Corbusier and Saarinen from 1920s onwards. These precedents justify the profound shift of digital design in architecture and computation work claims its rightful role in architectural design process.

BACKGROUND

ps canopyferda KOLATAN+erich

SCHOENENBERGER, partners[20]

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c a s e s t u d y 1 : D I G I T A L F A B R I C A T I O N

M I G R A T I N GF O R M A T I O N S

Ali Rahim and Hina JamelleNew York, 2008

igrating Formations illustrates the convergence of the designing process with the “making” process where the computation work fed directly into the robotic manufacturing techniques

[performalism p96]. It provides an insight of what is possible in future for architectural constructions. The convergence of design and the making process through the robotic manufacturing technique removes the traditional construction technique i.e. formwork etc. while integrating the structure and the skin into a single form.

This is groundbreaking as digital fabrication reduces material and labor waste by eliminating the construction material and labour required for constructing the formwork. This idea ties back to the whole concept of design futuring and sustainable future.

The design also challenges the traditional concept of a wall by introducing the elements of “formal, spatial and opacity” [performalism,p96] into a single form of a wall. Computation work allows for the designers to control the variations (formal, spatial and opacity) of each sides of the wall to achieve their design goals.

Although the design, in my opinion, focuses only on aesthetic and sensory affects, it’s however offers possibilities in real world applications with the manufacturing techniques and integrated wall system.

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c a s e s t u d y 2 : M o r p h o g e n e s i s

P S _ C a n o p yp l u r i p o t e n t d e s i g n s t r a t e g i e s

su11 architecture+designNew York, 2009

Design

Richard Baxley, Hart Marlow

Partners in charge : Erich Schoenenberger and Ferda Kolatan

S_Canopy is a speculative design meant to instigate critique and explore new method of form finding. Exploring the morphogenetic concept from the Biologist Sean B. Caroll’s “Body Part” where he argues

that in a cell development, a “gene toolkit” generate an algorithm for the cell to create different body parts from the same “instructions”.

Variations in the design outcomes are driven by this parametric dependencies set through the specifications of the local condition and materiality. The different forms generated are meant to challenge the conventional definitions of architectural elements such as columns,

shade/roof and seating/counters. Through the “gene-toolkit” idea, different forms can be explored using the core algorithm.

Parametric modeling also allowed exploration of the performative potentials of the design. Varying the local conditions will result in an optimised shading qualities of the roof.

This precedent illustrate the role of computation work, allows for experimental exploration of new expressions in Architectural forms through morphogenetic parallel. Intrinsic to the exploration is the analysis of performative potentialities as part of form finding.

PThe evolution of forms occurs through changes in development

Sean B. Caroll

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c a s e s t u d y 3c o n t i n u i t y a n d p a r a m e t r i c m o d e l l i n g

s e g r a d a f a m i l i a

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Parametric Modeling for La Familia Segrada

Digital fabrication - robotic cutting machine use for the project

The vaultss of the central and lateral nave.

Antoni GaudiBarcelona, Spain

a Familia Segrada is an architectural artefact as well as an ongoing development and could be finished some time in the first third of the

21st century (). Antoni Gaudi’s innovative form finding method for this chucrh has been the basis of form fining study and with the advent of parametric design it has been precedent of choice in the field.

Parametric design is being used to intrepret Gaudi’s and “reverse engineer” his original model and continues his legacy and preserving h

Inspired by rock formations of the Spanish mountains, Gaudi was able to work-out the complex three dimensional form through mathematics some 133 years before idea of parametric design even exist.

With the help of parametric computer modelling techniques, Mark Burry, the executive architect was able to complete Gaudi’s vision while preserving his design intentions.

Parametric modelling also allows for production of building material (stones)from an off site pre fabrication using computer driven machinery.

As the construction is funded through donation, the design development is part of a joint multi-diciplinary research and design collaboration involving “parametric model sharing” where collaboration of dispersed design and research teams worked on the same parametric model to come up with an optimised design. This highlights the new collaborative workflow culture as an outcome from computation work that promote efficiency and multidisciplinary collaboration.

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g e n e r a t i o n

omputation work has begun making significant inroad into problem analysis phase. With advancement in knowledge system and technology such

as BIM as well as scripting and environmental tools for performance analysis, computation work had taken over in processing vast amount of data and converting them into meaningful analysis that influence architectural design process. This analysis allows for further explorative study for new ideas and provide the basis in the next stage of the design cycle i.e. the solution synthesis<kalay p11>.

As solution synthesis is an intuitive process of human intrinsic ability, computation work is now able to assist in expanding designer’s capability to solve even more complex problems by giving a wider spectrum

of perspective for more informed decision and creative insights <ad, computation work p10>.

The pervasiveness of computation work had led to new area in architecture called performalism (Performance and form design). Performance-oriented design uses the vast computation power and scripting tools to create customise analysis for optimal solution of the architectural form. Traditional FEM (Finite element method) tools originating from the structural engineering field had also cross-over as an architectural form-finding tool. This also creates new collaborative workflow between architects and engineers instead of working in isolation.

Generative processes performed through algorithmic computation

had also introduced new shape and form never before achievable through traditional design process. To assist architects and designers in solution synthesis phases, generative processes from computation work had introduced new shapes and form though topological , non-Euclidean geometric spaces, parametric design and morphogenesis <Kolarevic p3>. The introduction of free-form non-Euclidean geometries through NURBS (non-uniform B-spline) method supersede the traditional forms in architectural form making based on Euclidean and platonic solids <hklsadfh>. This expanded the geometric vocabulary in digital design giving architects more flexibility and innovative form exploration. Computation technology not only changes the traditional architectural design process, it is making

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significant impact on the production/construction process. The whole workflow from designing to “making” (fabrication) is now completely within the digital realm<digital fabrication, nick dunn, p>>. New holistic design production and innovative component manufacturing are being explored in multidisciplinary research and development creating new material culture within the architectural discipline as well as other areas such as biology and mathematic to name a few. This convergence, representation and production, will significantly change the building industry in the very near future once the current technology can be scaled up to practical industrial use.

Computation work in architectural design process marked a new shift in Architectural expression similar to the preceding shift to Modernism

from classical architecture. Introduction of new building material and technology during the Industrial revolution introduced Art Nouveau with its organic and free forms with curvilinear lines from the ideas of Viollet Le-duc, Victor Guimar and Gaudi. Similar shift also can be seen through the work of Mandelsohn, Le Corbusier and Saarinen from 1920s onwards. These precedents provides the basis of the digital shift toward computation work in architectural design process.

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c a s e s t u d y 1

The FabPod - RMIT Design Hub

RMIT Research Team: Mark Burry, Jane Burry, Nick Williams, John Cherrey, Daniel Davis, Alex Pena de Leon

RMIT University , Melbourne

S_Canopy is a speculative design meant to instigate critique and explore new method of form finding. Exploring the morphogenetic concept from the Biologist Sean B. Caroll’s “Body Part” where he argues

that in a cell development, a “gene toolkit” generate an algorithm for the cell to create different body parts from the same “instructions”.

Variations in the design outcomes are driven by this parametric dependencies set through the specifications of the local condition and materiality. The different forms generated are meant to challenge the conventional definitions of architectural elements such as columns, shade/roof and seating/counters. Through the “gene-toolkit” idea, different forms can be explored using the core algorithm.

Parametric modeling also allowed exploration of the performative potentials of the design. Varying the local conditions will result in an optimised shading qualities of the roof.

This precedent illustrate the role of computation work, allows for experimental exploration of new expressions in Architectural forms through morphogenetic parallel. Intrinsic to the exploration is the analysis of performative potentialities as part of form finding.

P

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c a s e s t u d y 2

P _ W a l l

MATSYSSFMOMA, 2009

igrating Formations illustrates the convergence of the designing process with the “making” process where the computation work fed directly into the robotic manufacturing techniques

[performalism p96]. It provides an insight of what is possible in future for architectural constructions. The convergence of design and the making process through the robotic manufacturing technique removes the traditional construction technique i.e. formwork etc. while integrating the structure and the skin into a single form.

This is groundbreaking as digital fabrication reduces material and labor waste by eliminating the construction material and labour required for constructing the formwork. This idea ties back to the whole concept of design futuring and sustainable future.

The design also challenges the traditional concept of a wall by introducing the elements of “formal, spatial and opacity” [performalism,p96] into a single form of a wall. Computation work allows for the designers to control the variations (formal, spatial and opacity) of each sides of the wall to achieve their design goals.

Although the design, in my opinion, focuses only on aesthetic and sensory affects, it’s however offers possibilities in real world applications with the manufacturing techniques and integrated wall system.

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c a s e s t u d y 3

t h e p a r a s i t e

Antoni GaudiBarcelona, Spain

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c o n c l u s i o n

rchitecture is in a verge of transformation. It’s at a point where the role of architecture is in question. Our built environment and the path we take as an architect at the present

trajectory will lead us to unsustainable future. A new attitude needs to be adopted that require us as the builder of the future built environment to be sustainable in our design. The design futuring aims to build new design intelligence and empower us to become the agent of change. This mindset will instill the idea of using our design as a means to push sustainability.

In doing so, our design must take advantage of computing not just for automation (computerisation) in our design workflow. We have in our disposal the computation work that can augment our creative intelligence to design our built environment to be sustainable and climate responsive while providing efficient use of space and function.

Architecture is also in the verge of transformation of style. A style that is driven by new geometries and computational techniques. Parallel to the shift from classical to modernism, digital design is transforming the way we express our “modernity”. We must not however become complacent and let computation work to express itself though our

A design. We must instead embrace computation work as means to find an expressive form that will perform to function and its environment. Algorithmic thinking, parametric modelling, parametricism and generative design are among many developing approaches that we can use to express our design.

Architecture as an autopoietic system as suggested by Schumacher will thrives with the new shift to digital design. Our speculative and built architectural works will instigate critiques and becomes ‘architectural artefacts’ and will build upon the OUR design intelligence. The case studies in this documents are examples of the deisgn intelligence.

To contribute as part of the design futuring and propose a critical deisgn for critique, I would like to introduce the approach of performative and parametric modeling to resolve one of the Merri Creek environmental problem caused by man-made infrastructure. Using performative design approach, I intend to balance the design aesthetics to the environmental response. The existing built environment has already affected the natural habitat for wild life as well as its human counterpart. The intention is to lessen the impact of man made infrastructure on its natural environment while offering a biomimicry driven design that’s pleasing to the site users.

COMPUTATION

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l e a r n i n g o u t c o m e s

he readings introduces a critical concept of Design Futuring which I found very relevant in building my architectural philosophy and influence my design expression. The readings also have given

me the distinction between the vatrios terms such as algorithmic thinking, parametric modelling and generative design. I have developed my own perspective on the argument of the role of digital design and computation work in architecture through the selection of case studies .

The class discussions so far was also intrrumental in forming my own opnion about the subject matter. I was able to see through other people’s eyes what is their stand on this matter . As a result I can formulate my arguments better .

This initial experience through the readings and algorithmic sketching solidify my interest in design computation and gave me the enthusiasm and

confidence I needed to move on to the next phase by giving me the “why” and “how” behind the project. Furthermore, it’s quite invigorating be able to explore ideas and forms though the generation instead of the traditional compositional technique I encountered in my other studios. It’s also confronting experience to me the idea of developing forms using scripting without knowing the final form. This is different to traditional design process which I would start by sketching ideas and imprving my ideas with full view of my resolved form .

With clearer view of the tasks ahead, I am quite keen to explore this new way of deisgn thinking....

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augments the intellect of the designer and increases capability to solve complex problems.

- Brady Peters and Xavier De Kestelier

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R E F E R E N C E S

1 Jane Burry, and Mark Burry, The New Mathematics of Architecture (London : Thames & Hudson, c2010., 2010).2 Nelson Garrido, ‘Qatar National Convention Centre’, ed. by dezeen_Qatar-National-Convention-Centre-by-Arata-Isozaki_3.jpg (Dazeen, 2013).3 ———, ‘Qatar National Convention Centre’, ed. by dezeen_Qatar-National-Convention-Centre-by-Arata-Isozaki_5.jpg (Dazeen, 2013).4 Yasha Grobman, and Eran Neuman, Performalism : Form and Performance in Digital Architecture (London Routledge, 2012).5 Lance Hosey, ‘Performalism : A Budding Design Movement Asks: What Does It Mean for a Building to Perform?’, Architect, 06/2010 2010.6 Dimitris Kottas, Achitecture and Construction in Plastic (Barcelona : Linksbooks, [2012]. 2012).7 Annette LeCuyer, Efte : Technology and Design (Basel: Birkhäuser Basel, 2008).8 Brady Peters, and Xavier De Kestelier, Computation Works : The Building of Algorithmic Thought, Architectural Design: [V. 83, No. 2] (Chichester : John Wiley & Sons, [2013], 2013).9 Unknown photographer, ‘Pabellón De La Sed. Zaragoza’, ed. by 02_psed.zgz_.jpg (Madrid: Arenas&Asociados, 2008).10 Luis Ros, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 52.11 ———, ‘Achitecture and Construction in Plastic’, (Barcelona : Linksbooks, [2012]. 2012), p. 54.12 Cameron Talishi and Lauren Stromberg, ‘Som, Commercial Development Project, Shanghai, China 2011’, (Chichester John Wiley & Sons, 2013). p5513 Alexey Sergeev, ‘Entrance of National Convention Centre (Qncc) at Dusk’, ed. by 20.jpg (Doha, Qatar: Alexey Sergeev, 2014).14 Jane Burry, and Mark Burry, The New Mathematics of Architecture (London : Thames & Hudson, c2010., 2010). p13015 Tony Fry, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1-316 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p617 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1018 ———, Design Futuring : Sustainability, Ethics and New Practice (Sydney : University of New South Wales Press, 2009. Australian ed., 2009).p1219 Anthony Dunne, and Fiona Raby, Speculative Everything : Design, Fiction, and Social Dreaming (Cambridge, Massachusetts: The MIT Press, 2013).20 partners ferda KOLATAN+erich SCHOENENBERGER, ‘Ps Canopy’, ed. by PS_Canopy_lg.jpg (http://www.suckerpunchdaily.com/, 2014).

BACKGROUND

Author’s own work. Digital sculpture - “Green tubes” , Grasshopper scripting with Vray rendering

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