Chapter 10

TOWARDS A FULLY ASSOCIATIVE

ARCHITECTURE
BERNARD CACHE

10.1. Philibert De LOrme Pavilion (2001), designers

Objectile.

10.2. Stone interlacing in the Saint Etienne du

Mont Church in Paris, designed by Philibert
de LOrme.

10.3. The projective cube.

10.4. Constructing the

curvature of the wall panels.

Projective Cube

10.5. The connecting parts are parametrically defined.

10.6. Assemblies are constructed from mutually associated parts.

10.8. Trajectories for machining operations are

automatically computed and are fully associative.

10.7. Control points define the geometry of the assembly.

Connecting Parts

10.9. The wall panels can be defined as a coherent whole.

Whats the Point?

Euclidian and Cartesian

Chapter 11

Between Intuition and

Process:
Parametric Design and
Rapid Prototyping
Mark Burry

There are two main obstacles to the takeup of parametric design beyond the
industries that encouraged its
development: first, the relatively high cost
of the packages, and, second, an implied
design process that appears to be the
enemy of intuition

PARAMETRIC DESIGN AS AN
ASSOCIATIVE GEOMETRY PROCESS
What is Parametric Design?

the parameters governing the

size, shape and position of the
cone can also be tied directly to
the activities which inform the
change in relationship between
the sphere and the box.

 This ability to form associations between

entities has especially useful
opportunities for formalizing design, as
these relationships can be revisited and
revised during the design process itself.
But there are also times where design
process is undefined and cannot be
fulfilled that known as over-constraint

Designing the Design

(metadesign)
the designer is required to think about
the full range of possibilities for all
aspects of the design before committing
to building a parametric model

A CHALLENGE TO THE SOLE

AUTHOR PARADIGM
In summary, parametric design suits the following:
designers committed to working in groups with
fluid sharing of material;
designs that are able to adapt to the advantages
parametric design offers in enhancement through the
parametric process itself, which allows considerable
iterative design development during the design
process, albeit within a given set of protocols
developed as part of the metadesign process; and
above all, teams that are prepared to spend
sufficient time to develop the design as a construct,
that is, prepare the metadesign prior to making
more firm commitments during design refinement.

Reciprocal Frame Truss

Continuum of
mutual
dependency

Sagrada Familia

Flexibility of a
commited digital
approach
Accelerated
Production times

Chapter 12

SCOTT POINTS: EXPLORING

PRINCIPLES OF DIGITAL
CREATIVITY
MARK GOULTHORPE|dECOi

Poetics (Book)
necessity for reimagining not simply form but cognition itself

The Poetics explores a range of spatial

conditions, from familiar inhabited space
(the cellar, the attic, the corner, etc.)
before investigating uninhabited spaces
and the projected imagination required
for their habitation (the shell, the nest,
miniature).

IN THE SHADOW OF
LEDOUX

It is a smooth, limitless surfacepart

public, part private

Ether/I

HYSTERA PROTERA (STUDIES IN THE DECORA(C)TING

OF STRUCTURE)

Pallas House

Swiss Re

Gateshead Music Centre

understanding of the surface geometries

Aegis Hyposurface

Mechanical
electronics
into design

Paramorph
where sound and
movement models
have been taken as
environmental
samplings to
generate form

chapter 13
MAKING IDEAS
JAKOB + MACFARLENE

the digital has influenced the very way we

invent and think through a project and our
ideas that come are also to be influenced,
reformed, reworked, etc
But we cannot just discuss technique.
Surely, digital architecture will be
completely useful when it works for
cultural, social, economic and ecological
concerns.

 Architecture now is about creating the

event. we now have much greater
precision to not only generate bulding
technical kinds of responses, but also to
generate even more to the events. Bt the
help of digital. Communicate more
complex idea.

MAISON T
(pre-digital project)

plenty of aspects in
this project that we
could not have taken
further unless we
had had more
advanced
technology.
many problems of information transfer,
and structural and skin definition due
to these basic methods.

RESTAURANT GEORGES
we could not intervene on any of
the other surfaces but the floor, so
we conceptualized the project by
eventually appropriating the
existing systems. It was an
appropriation of the ceiling system
and an intervention or deformation
of the floor system.

three years ago we

were trying very hard
to find a way in which
we could volcanically
develop the form,
deform the grid and let
the gridlines essentially
become deformable by
the volume itself.

FLORENCE LOEWY
BOOKSHOP, BOOKS BY
ARTISTS
Our problem was to
create a shelving system
as well as stock system
in the same space
modeled an imaginary
circulation route that
was then overlaid over
this matrix
Books are presented on
the outside of these
stacks to the public,
while storage for the
books is found on the
inside

One square equal one

dimension of book

MAISON H
to develop this
private house for a
client on the island
of Corsica.
He wants to be able
to live in different
parts of the site in
terms of the
seasons and in
terms of his
interests.
to take the existing
topographic lines
across the complete
site, and then work
with the resulting
mesh

chapter 14
DESIGNING AND
MANUFACTURING
PERFORMATIVE ARCHITECTURE
ALI RAHIM

Technology is not merely technical; it is an active

and transformative entity resulting in new and
different cultural effects.
Technology, in this sense, is not an efficiencyoriented practice measured by quantities, but a
qualitative set of relations that interact with
cultural stimuli.

14.2. Programmatic fields, driven by variance in

intensities.

14.3. The Confluence of Commerce (2000)

project, Karachi, Pakistan, architect
Contemporary
Architecture Practice. 204

14.4. Confluence of Commerce: spinal hierarchy research using inverse

kinematics
chains.

The relationship between the

mold, the raw material placed
in it and the object it produces
is static and predictable. This
represents
a
mode
of
conceptual understanding, and
defines
characteristics
of
objects as their constancy with
respect to certain cognitive
actions.
The
isomorphic
relationship between concept
and object is deterministic and
cannot be projective as it
continually
draws
upon
existing
material
that
is
readily
usable,
having
a
limited number of possibilities
and hence limited outcomes.

In
order
for
this
project
to
evolve
indeterminately outside the influence of specific
images of hierarchical economic structures,
materiality and form, we used generative
machines as content and technique engines
simultaneously.

14.11. Variations (2001), residence for a fashion designer, Surrey,

UK, architect
Contemporary Architecture Practice.

14.12. Variations:
programmatic
variation.

14.20. Variations:
material variability.

14.22. (far right) Variations:

structural variability.

These contemporary techniques develop a new sensibility, one of geometric

ambiguity, new composite forms and new ways of occupation in space.
This spatio-temporal organization guides the subjects experience with mixtures of
different programs creating new events, differentiated spaces and composite
materials to organize experiences that affect the subject.
This organization influences the behavior patterns of the subject qualitatively,
resulting in the transformation of culture altering cultural development, and
reformulates consequent effects to produce new techniques.