Unit 5

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
CONTEMPORARY PROCESSES IN ARCHITECTURE
NOTIONS Study of ARCHITECTURE VIA COMPUTER

MODAL
•Type and instances
•Ideal type notion • The computer mediates
•Mulity-type of • Topology
performance • Time
envelope • Parameters
• Size,position,rotation,
direction,speed are determined
by elemenof design.
• Surface results from elements
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
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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.
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.
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Shared : Creating openings by means of duplicate control curves.
Strand: Creating spaces as bundles of lines
Lattice: Creating space grid structure
Rapid porotyping and CNC milling techniques.
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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.
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.
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The 88000- sq.ft.Factory building was originally constructed as a two floor laundry facility with 15’ clear
hight ceilings and large three story boiler room provide power in 1932.
It was described by the architectural and cultural critic,Lewis mumford as Americas best example of
misplased monumentality due to south façade.
The architectural approach to The re-use of the factory buildings as a church was to retain the
industrial vocabulary of the existing building and transform its interior spaces and exterior massing
into a new kind of religious building.
In addition he exploits eccentricities of the existing structure which is divided in to rough its scale
and industrial vocabulary reflect the importance and uniqueness of the church congregation.
The form of the two areas
The first is a large shed structure with repetitive long span open areas .
The structural system of steel elements to the south vary greatly in lenth,depth,and
orientation.
Two types of construction
The first is a long span shed structure that is clad in metal and has an undulating shape
following the rail lines.
The second forms are stucco clad entry tubes whick snake between existing structural bays
vertically through the building.
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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.
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ARTIST SPACE EXHIBITION DESIGN -1995
Artist Space Gallery –Soho, New York city,New York
The exhibit consists of two kinds of materials,
The First is virtual and mobaile in the form of computer generated animations.
The second is concrete and inert in the form of both mainiature models and the full scale
exhibition space itself.
The installation space was a concrete printout of the virtual exhibition, in various plastic materials.
The virtual designs are viewed at a micro

scale within a space that exhibits the
qualities and characterstics of the space
presented in miniature.
There are no plans or section drawings

presented,as the topologycal space and the
animation techniques with which they
were conceived is best presented on
television.
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The exhibition present design processes with five videotaped animation sequences accompanied
the five groups of miniature models.
The complex organic forms of the projects are realized directly through 3-d plots from computer files
using varius rapid prototyping and 3-d printing techniques including laser cut metal plates and
streolithography.
These models are extremely small (less then 10” squre) yet maintain a high degree of details.
The models were extremly small (less then 10” sequre) yet maintained high degree of details within
a micron.the same design scheme or diagram was used for both the design of the oslo space and
the artist space gallery, an exhipition which took place one year previously in new york citiys.
Because the context of the exhipition space was different the design technique yielded very
different results.
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CRADIFF BAY OPERA HOUSE -1994
Design competition ,cradiff bay,wales,united kingdom
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The siting of the welsh national opera house on the now defunct industrial water front of the lnner
harbor of Cardiff bay mandated a new concept for
waterfront urban space that would nonetheless be
continuous with the history of the site and cradiffs
waterfront.
The proposed project utilized the empty shell of the

defunct technology of the oval basin ,
Note as a mounument to a bygone era but as the

generator of a new waterfront civic institution that is an
interface between land and water.
The oval basin becomes the chrysalis out of which the opera house emerges.
As 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.
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The graving docks that floated the volums of the hulls on cradle suppots the opera.
House programe are housed in volumes thatare supported above the reservoir.
The project is structured through two systems. Portalized
wall fins and rib structured hulls…
these two systems are sheathed in a

lightweight tensile membarance that provides
a sheltred but environmentally permeable
space over the building site area.
This image of the 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)
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• Important digital architecture studio in Europe
• Works on Interactive Architectural territory
• Develops Liquefied Forms
• Liquid in Architecture don’t mean turbulent and fluidic geometry
• 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
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• This is due to the Nomadic view(Unboundedness, fluidity) of the world H2O Expo Water Pavilion
Architect Lars Spuybroek
City Vrouwenpolder, Netherlands
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
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• The fluid structure of the inside of the building is a shell for a continuously flowing and
transforming world of water realized both with real water and virtual environments.
• Each individual sound has its own character of movement and speed over the speakers.
• The building exists of two interconnected pavilions: the Freshwater Pavilion and the Saltwater
Pavilion. Each pavilion has its own sound environment.
• The sound environment of the freshwater pavilion is based on metaphors of a river, a water
source and a darker underwater space.
• The saltwater pavilion is inspired by virtual sounding sky, the water surface of the sea and a hydra
traversing these. It's presenting metaphors of different weather conditions.
• The music in the two different spaces is not a fixed composition but has a generative approach
to it and is therefore composed on the moment itself.
• The rules for how sounds can be combined are predefined; the actual decision of what sounds is
made in real-time.
• This way the music will always be different. Partly the visitors can influence the processes via
sensor based interfaces in the building.
• Furthermore the weather conditions outside of the building are used to control part of the
compositional parameters.
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While a traditional concert often aims for a uniform experience of the audience, the Water pavilion
has the opposite approach. It's part of the concept to promote individual experiences. Two persons
visiting the building can have different experiences and when visiting the Water Pavilion a second
time this can lead to again another experience.
• In this pavilion, the organic notion does not come from the shape and structure alone. The
program of the pavilion derives from the desire to explore the qualities of water.
• The interior is an exhibition space provides information about water in its different forms, but
also provides a set of sensual experiences: tactile, visual, and acoustic and, of course, spatial.
• The visitors experience rain and wind, fog and steam, changes in architecture, coupled with
abstract water-like projections.
• Although these qualities are clearly linked to the element, they do not try to replicate it and do
not aim at authenticity - on the contrary, they celebrate the different perspective they provide
on the water phenomenon
• The interior of the object offers an exhibition space that informs its visitors about sensual and
measurable properties of the water and its realm.
• It provides tactile experiences (damp, temperature, wind, fog, steam, rain …) as well as acoustic
or visual (projections), and, not last, spatial.
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• All this qualities are fully artificial and do not try to simulate the overall experience of a natural
environment, whereas each single stimulus can also be experienced in a natural environment.
• Also, one could state that this might be an authentic space, since it provides a synthetic
experience, but one that does not as a whole resemble any existing situation. The whole H2O
Pavilion Experience can only be found at this certain place, which generates something like an
authenticity of the artificial.
• In the end this one space (the interior is uninterrupted and fluid) becomes unpredictable,
different at every moment and flowing, just like the water.
The Water Pavilion is designed to organize information flows from both body and its surroundings.
It is a highly complex, flexible system that is constantly responding to the action and event changes
in the environment.
New information enters the system and is patterned into a continuous feedback loop of energy
transformations. Machine and body synthesize into a single whole.
Architects tend to think in an elementarist way, where elements are the simplest state of being,
defined by internal complexities of organizational properties that in the end determine purpose.
Thus, the Fresh Water Pavilion emerges as one of the preliminary examples of the ‘architecture of
variation’, which has been developed under the initial systems of interactive processes that were
mechanically triggered and hydraulically operating mechanisms.
D Tower
City Doetinchem, Netherlands
Building type Interactive sculpture
Tower Height 12 m
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• 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
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Located in a Large Industrial Park
It is a Public pavilion where people can sit around, eat their lunch have meetings
• A House where sounds live, not a real ‘House’ but a structure that refers to living and the
bodily movements that accompany habit and habitation
• It is an architectural environment with interactive sound installations
• It continuously generates new sound patterns activated by sensors picking the visitor’s
movements
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• Its structure derived from composition of sequential movements of bodies, limbs and hands
that are inscribed on paper bands
• These paper bands are stapled together and the curves directly follow from that there comes
an arabesque of complex intertwining lines
• While we sweep these lines sideways to get a three-dimensional porous structure
• This model is then digitized and remodeled by combining and curling resulting into a complex
model
• There are about 23 sensors at strategic spots to indirectly influence music
The aim is to create permanent interaction between sound, architecture, and the visitors.
The presence, activity and approximate location of the visitors is detected by sensors in the
building
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• It is continuously analyzed and quantified and the output is used to challenge visitors to
reinterpret 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
•
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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
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UN STUDIO
UN Studio is a Dutch architectural practice specializing
in architecture, urbandevelopment and "infrastructural"
projects.
• The practice was founded in 1988 by Ben van

Berkel and Caroline Bos.
• The initials "UN" stand for United Network, a

reference to the collaborative nature of the
practice comprising individuals from various
countries with backgrounds and technical
training in numerous fields.
Vision
Future-proofing the future
• As what we design today is normally built in three to five years’ time, we’re used to working
with the future in mind.
• The future is changing faster than ever before. Even the most accurate predictions can be
made redundant by a sudden advance in technology.
• To ensure we don’t contribute to a waste of materials and investment that is no longer

sustainable or appropriate in today’s world, we develop strategies that not only anticipate
the future, but possible changes to that future as well.
• We believe that the key to ‘future-proofing the future’ is knowledge. For the last decade, we
have focused on expanding our understanding of trends and practice in architecture and
beyond.
• Two dedicated teams research every facet of the built environment inside and outside
architecture. Within our network, Knowledge Platforms serve as a database for sharing and
expanding the experience and skills acquired during our design projects.
• Externally, we collaborate with partners including the Harvard University Graduate School of
Design, Microsoft and Mitsubishi in four Work fields that investigate how to improve quality
of life.
• The results contribute to our mission of producing user-centric designs that are adaptive,
resilient and future-proof, whatever the future may bring.
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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.
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• The results contribute to our mission of producing user-centric designs that are adaptive,
resilient and future-proof, whatever the future may bring.
DIAGRAMS..pls refer notes given before
• 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
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contortions and twists in the house beyond the mathematical diagram. Correspond to the movement that
shaped by a new lifestyle characterized by the use of electronic systems at work. Ben van Berkel has
managed to give an additional meaning to the diagram of the Moebius strip, a new symbolic value that
corresponds with the increasingly blurred boundaries between home and work.
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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.
• A similar ramp connects the living area to the master and the children’s bedrooms on the
second floor.
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• 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.
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• 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
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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.
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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
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Visitors immersed in fog.

Longitudinal section of the building
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 Plan @ +11.3m

Level 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
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STYLE:(Biomimicry)
This stadium resembles or express the Birds Nest .
CONCEPT
"China wanted to have something new for this very important stadium that wasporous while also
being a collective building, a public vessel".
• Inspired by Chinese style pottery
• Circular shape represent heaven
Steel Roof
330m x 220m
Weighs 45000 tonnes
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Interwoven steel boxes
STRUCTURE
The Stadium consists of Two Independent structures
 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.
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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
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• 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
BUILDING MATERILS
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• GLASS
• BRICK
• GYPSUM FIBRE PANELS
ACOUSTICS
They used 10,000 Gypsum Fibre Panels (composed of a mixture of natural plaster and recycled paper)
to ensure that the acoustics in grand hall. The acoustics skin was developed by an Architects with the
cooperation of acoustician Yasuhisa Toyota.
GYPSUM FIBRE PANELS
ROOF STRUCTURE
The 7,000-square metre roof of the Elbphilharmonie consists of eight spherical, concavely bent
sections that form a uniquely elegant curving silhouette. In addition, 6,000 shimmering giant sequins
have been applied to the roof. The roof structure, with its steep curves and high peaks, itself weighs
1,000 tonnes and covers the complex star-shaped steel framework that carries the Grand Hall
without any supporting pillars. The roof of the Grand Hall is made up of a steel framework, each
element measuring up to 25 metres in length and weighing up to 40 tonnes, the outer and inner shell,
floors for the technical equipment, the White Skin with the reflector as well as additional loads.
Altogether the roof weighs 8,000 tonnes.
(SOURCE:www.architonic.com)
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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)
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
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The Fukoku Tower, a 737,000 square feet building, is located at a strategic point in Osaka, above
and connected to a major crossroad bringing together subterranean galleries. Perrault’s Tower
takes the shape of a gigantic tree whose roots are encrusted in these galleries. The Tower rises
elegantly from the crossroad below ground, taking its energy from the dynamic activities provided
by the galleries.
Splayed at its base, the tower’s outline tapers elegantly as it rises, gracing the city’s skyline with a
vertical asymptote. The contrast between the structure’s base and upper levels is accentuated by the
treatment of the building’s “bark”. Broad “wood chips” on the lower levels gradually give way to a
sleek and uninterrupted wall. The glass façade is worked into a crescendo of encrusted mirrors at the
base, reflecting the colors of the sky and the surrounding environment.
STRUCTURE
The vast atrium, the Fukoku Forest of Life, features a wide glass wall, measuring 62 x 112 feet. This
wall, which incorporates images of a forest landscape, creates the impression of a green environment
on the doorstep of Osaka’s main train station and is visible from the street.
Perrault plays with the contrast provided by the natural lighting that pours from the ground level into
the crossroad below and the strong artificial lighting of the galleries to create an element of surprise
for passersby.
Fukoku Tower will house offices, shops, university premises and an underground parking. The
building demonstrates clearly Perrault’s desire to connect each of his projects with the situation of
its site, incorporating each scheme into an ongoing geographical context.
DECOI ARCHITECT’S
Mark Goulthorpe (Principal)
Raphael Crespin
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Mark Goulthorpe :
• Mark Goulthorpe is an Associate Professor At MIT Dept of
Architecture, teaching in undergraduate,graduate and
postgraduate programs, and undergoing research in digital
design and fabrication.
• Current research centers on robotic fabrication and a variety
of composite fabrication methodologies, as well as a new
iteration of the dynamically reconfigurable Hypo Surface
• He has two published books
1.―Autoplastic to Alloplastic‖ by Hyx/Pompidou.
2.―The Possibility of (an) Architecture‖ by

Routledge theorizes.
Rethinking architecture:
Mark Goulthorpe is an architect, writer,
and teacher. To seek models of thought
that might yield new approaches to
designing and constructing buildings. He
uses
innovative materials, processing logics, and computer-aided design.
Seemingly radical praxis :
 The process by which a theory, lesson,

or skill is enacted.
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 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 fabricated as stacked sectional elements
cut from flat plywoodsheets by a single 3-axis numeric command milling machine.
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Unitary Fabrication Logic:

All visible elements of the design,except the glass,have been fabricated as stacked sectional elements
cut from flat ply wood sheets by a single3-axis numeric command milling machine. The
ceilings,walls,floors and static furniture have all been made as striated ply laminated elements,with
functional elements such as ventilation grilles,light pockets,and door handles
formed 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 selfgenerate 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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 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.
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 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 parametrical ly 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:
2. FORM:
1.INTUITION -intuition that parametric modeling (relational geometry) will allow
for complex yet e fficient 3 - d space/form assemblies .
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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.

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:
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3.Design:
FORM
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
ZaeroPolo.
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 and classification by types," FOA's phylogenetic tree reflects its typological thought.
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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.
The striking appearance of the terminal was made possible only by tremendous advances in comput
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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 –
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questions which had already generated interest in a number of practices around the world who were
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.
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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.
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 highrise
typology.
The evolution of the high-rise has involved a process in which the increase in height of the skyscraper
has each time resulted in the concentration of more structure along the periphery of the floors, as the
lateral forces become ever stronger than the gravitational ones
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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...
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INTRODUCTION:
The site being the surface of intervention two predominant grids were identified from the
historic context of the site and the site
Potential/role of FRAC in future.
The FRAC centre is the connecting point or the
Continuum between the past and present.
The treatment of the building is heavily

influenced by the futuristic,deconstructionist
Styles of architecture and the conjuncture of

architecture and digital technologies.
THE TURBULENT EXTRUCTIONS:
Volumes derived from the grids,projected

towards the city,the sley;symbolic to a 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….
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……
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scenographic spaces,the smallest an
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
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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.
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
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architecture with a new presence that

communicates a welcoming,an
opening,and a vision for both the public
and researchers……...
departure for the site,creating an WORKS OF ZVI HECKER
City Centre of Ramat HaSharon - Ramat HaSharon, Israel, 1984-1986
107
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
nonstereotyped 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.
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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.
109
110
111
112
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"
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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
114
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.
115
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.
116
However, large difference lies between these technologies in the kinds of materials or maximum
thicknesss that could be cut.
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.
117
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.
118
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
119
• High processing speed

• 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.
120
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.
121
The machine moves the cutting head over the metal sheet according to the programmed
contour, cutting the work-piece from the sheet.
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.
122
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.
123
• 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
124
position as defined by the computer model. Similar processes were used on Gehry’s project
in Seattle.
125
126
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/
127
http://www.franken-architekten.de
http://www.vitruvius.com.br/revistas/read/arquitextos/05.060/460
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.
128

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UNIT V SEMINAR

He completed his graduate degree in architecture from princiton

Lynn has exhibited his work in numerous exhibitions and conferences.

NOTIONS Study of ARCHITECTURE VIA COMPUTER

Topologecal line is a movement through control pointes

Topological surface is also movement through control

Spiline and Nurbs surface denote influence of vectors.

Curvature of line or surface reflects conditions .

Relations can be studied with animation.

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 is a term that differs from,but is often confused

Moton implies movement and action animation suggests

Virtuality is also a term used to describe the possession of

Two recent models for the modeling of movement in architecture

The first method involves procession and Second involves superimposition.

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

Flower: The transformation of a tube to a plane by increased flattening of section.

Shared : Creating openings by means of duplicate control curves.

Strand: Creating spaces as bundles of lines

Lattice: Creating space grid structure

Rapid porotyping and CNC milling techniques.

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

1.PRESBYTERAIN CHURCH OF NEW YORK 1995-1998

The form of the two areas

Two types of construction

ARTIST SPACE EXHIBITION DESIGN -1995

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

The exhibit consists of two kinds of materials,

The virtual designs are viewed at a micro

There are no plans or section drawings

CRADIFF BAY OPERA HOUSE -1994

Design competition ,cradiff bay,wales,united kingdom

The proposed project utilized the empty shell of the

Note as a mounument to a bygone era but as the

By borrowing the pattern of the gravimg ducks and

The sunken reservoir space with parking and shopping

The project is structured through two systems. Portalized

wall fins and rib structured hulls…

these two systems are sheathed in a

This image of the prjocts of a glowing alien

Of the waterfront without nostalgia

• 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

• But dissolving crystalline or solid forms of Materiality, Functional and Programmatic in