Theories of the

digital in
architecture
Oxman, R. & Oxman, R. (2014). Theories of the digital in architecture / [edited
by] Rivka Oxman and Robert Oxman, Routledge, Taylor & Francis Group.
 THE IMPORTANCE OF UNDERSTANDING RELATED THEORIES

To avoid using digital tools as drafting tools. Rather, advanced holistic design
thinking tools which we have expanded from historical point of view (on week 2) and
think-draw-make collaborations we discussed (on week 3).

Photo by Georgia de Lotz on Unsplash

 21

Glossary of
terminology
https://miatedjosaputro.co
m/2020/02/22/digital-
architecture-glossary/
Theories,
concepts and 03 CONCEPTS AND MODELS

models

01 ONTOLOGY
04 TECHNOLOGIES

02 COMPUTATIONAL PROCESSES

05 EPISTEMOLOGY
 23

DISCLAIMER
Most concepts do not fit exactly to one of the
schema above. Instead, you will recognise that
they interlace and are combinable. Emerging
concepts are consisted of a mixture of these
concepts.
 24

01
ONTOLOGY

THEORY

Photo by Levi Midnight on Unsplash

 25

01
ONTOLOGY
THEORY

 One of the most profound architecture

publication in 1990s.
 Functioned as an antithesis of
Deconstructivism.
 Offered theoretical and operative
alternative to Deconstruction.

Lynn, G. (1993). Architectural Curvilinearity, The Folded, the

Pliant and the Supple. Architectural Design, 8-15.
 26

01
ONTOLOGY
THEORY

 Architecture’s response to complex,

disparate, differentiated and
heterogeneous cultural and formal
contexts were:
1. Conflict and contradiction, or
2. Unity and reconstruction
 Lynn suggested an alternative:
smoothness.
 Smoothness accommodates both
contradiction and unity.
 Architectural Curvilinearity.
Lynn, G. (1993). Architectural Curvilinearity, The Folded, the
Pliant and the Supple. Architectural Design, 8-15.
 27

01
 A concept in non-standard architecture,
ONTOLOGY is called “Objectile”.
THEORY
 Precursor research in computational
architecture.
 Further developed by Gilles Deleuze in
Fold (1988).
 Cache was the first to theorise that
custom-designed and fabricated, can be
future architecture.
 He predicted architecture- towards a
seamless integration of concept,
algorithm, software, machine language
and production.
Cache, B. & Beauce, P. (2011). Towards a Non-Standard Mode of Production.
Projectiles (Architectural Words), Londres: Architectural Association.
 28

01
ONTOLOGY
THEORY

A new definition of object,

it is a mathematical
function that takes its
place within a
“continuum through
variation”; rather than
having an essential or
definitive form.
(Left)
Cache, B. & Beauce, P. (2011). Towards a
Non-Standard Mode of Production.
Projectiles (Architectural Words), Londres:
Architectural Association.
(Right)
https://www.cca.qc.ca/en/events/34442/obj
ectile
 29

01
ONTOLOGY
THEORY

In Objectile software, forms are

not drawn, but calculated.

www.archilab.org/public/1999/artistes/obje01en.htm
 30

01
ONTOLOGY
THEORY

 Non Standard Architectures exhibition

(2003-04), curated by by Frédéric
Migayrou and Zeynep Mennan; at the
Centre Pompidou.
 Works of 12 contemporary architects.
 Innovative use of digital technologies.
 The exhibition tried to break boundaries
of the: traditional understanding of
rationalism, rationalisation, technicism
and engineering.

Migayrou, F. & Mennan, Z. (2003). Non standard

architectures. Editions du.
 31

01
 It has meaning in two fields of
ONTOLOGY knowledge:
THEORY
1. A refusal of normalisation,
standardised mass production, the
What is determining principle of Modernism
2. In mathematics (Abraham Robinson’s
non- publication in 1961), is related to
standard? infinitesimal calculus.
 “Mutations of matter”, which geometry
and production begin to occur
Migayrou, F. & Mennan, Z. (2003). Non simultaneously.
standard architectures. Editions du.
Migayrou, F. (2014). The Orders of the
 In 2011, Migayrou said “the architectonic
Non-standard: Towards a critical takes place in the extreme tension
structuralism. Theories of the Digital in between algebraic and the organic”.
Architecture, London, Routledge.
 32

01
ONTOLOGY
THEORY

Current
theory:
Picon (2010)

Picon, A. (2010). Digital culture in architecture.

Basel, Switzeland: Birkhauser.
Read on Issuu:
https://issuu.com/birkhauser.ch/docs/picon
 33

01 Questioning:
What is digital architecture?
ONTOLOGY Tendency to confuse digital and
THEORY
experimental.
Ambiguity with the rapidly growing
Current computer-aided design.
theory:
Picon (2010) In a narrow sense, DG is production
using the computer in experimental
perspective.

Result: Alternative geometries.

Picon, A. (2010). Digital culture in Investigation of shapes in complete
architecture. Basel, Switzeland: contrast with limited vocabulary of
Birkhauser.
modern architecture.
 34

01
ONTOLOGY
THEORY

Current
theory:
Burry (2011)

Burry, M. (2011). Scripting cultures:

Architectural design and programming,
John Wiley & Sons.
 35

01  Investigation on why designers

ONTOLOGY choose to script
THEORY  Mark Burry argues on two
motivations: productivity and
control
Current  He discussed this through:
theory: 1. His own work on Sagrada Familia
2. Thought experiments
Burry (2011) 3. Interviews of 30 experts
 He views scripting as a conduit to
enhance design process: to iterate
faster or to break free from the black-
boxed drafting software.
Burry, M. (2011). Scripting cultures:  Scripting as part of many cultures of
Architectural design and programming,
John Wiley & Sons. design practice.
 36

01
ONTOLOGY
THEORY

Current
theory:
Schumacher
(2011)

Schumacher, P. (2011). The Autopoiesis of

Architecture, Volume I: A New Framework for
Architecture, John Wiley & Sons.
 37

01  Autopoiesis (Greek, means self-

ONTOLOGY production). The concept is applied to
THEORY architecture, with reference to German
sociologist Niklas Luhmann (1927-1998)
on “social systems theory’’.
Current  The concept of autopoiesis reflects that
theory: architecture can be theorised as a
distinct system of communications.
Schumacher  Central thesis: phenomenon in
(2011) architecture is fully grasped when is
analysed as autonomous network
(autopoietic system) of
communications.
Schumacher, P. (2011). The Autopoiesis of
 Communications being: drawings, texts
Architecture, Volume I: A New Framework
for Architecture, John Wiley & Sons. and built works.
Summary provided by Schumacher, click here
 38

01
ONTOLOGY
THEORY

Current Patrik Schumacher’s lecture

theory: and Q&A on Autopoiesis of
Schumacher Architecture:
https://youtu.be/v428Hc_nd2A
(2011)
https://youtu.be/h0ztygedlvI

Schumacher, P. (2011). The Autopoiesis of

Architecture, Volume I: A New Framework
for Architecture, John Wiley & Sons.
Summary provided by Schumacher, click here
 39

02
COMPUTATIONAL
PROCESSES

Photo by Levi Midnight on Unsplash

 40

02.1 In traditional logic:

FORM AND Configuration of its physical
GENERATION: matter, apart from actual material
ARCHITECTURAL properties (Mcleod, 2003)
FORM
New logic:
The emphasis of procedural and
generative

The shift from

spatial/configurative to material/
procedural knowledge
 41

02.1
FORM AND
GENERATION:
6 MODELS OF 1. Mathematical Form Generation
FORM 2. Tectonic Form Generation
GENERATION 3. Material Form Generation
4. Natural or Neo-Biological Form
Generation
5. Fabricational Form Generation
6. Performative Form Generation
 42

02.1
FORM AND
GENERATION:
6 MODELS OF
FORM
GENERATION
1. Mathematical : The use of mathematical
Form formulae as the basis of
Generation generative procedures.
Example: WaterCube, Beijing.
Based on Weaire-Phelan foam geometry
https://architectureau.com/articles/practice-23/
 43

02.1
FORM AND
GENERATION:
6 MODELS OF
FORM
GENERATION
2. Tectonic Form : The use of tectonic pattern as
Generation the basis of form generation.

Example: 2002 Serpentine Pavilion by Toyo Ito and Cecil Balmond

https://vimeo.com/102108416
https://www.archdaily.com/344319/serpentine-gallery-pavilion-2002-toyo-ito-
cecil-balmond-arup
 44

02.1
FORM AND
GENERATION:
6 MODELS OF
FORM
GENERATION
3. Material Form : based on three-dimensional
Generation models of material structures.

“Techniques that operate on material levels”

 45

02.1
FORM AND
GENERATION:
6 MODELS OF
FORM
GENERATION Hwang, I. (2006). Verb natures, Actar.

4. Natural or : exploitation of a natural form,

Neo-Biological phenomenon, process, procedure or
Form biological principle as a basis of a
Generation model of form.
There is a developing interrelationship between the first four
mentioned models.
 46

02.1
FORM AND
GENERATION:
6 MODELS OF
FORM
GENERATION
5. Fabricational : the use of fabricational design logic
Form and technique.
Generation
Iwamoto, L. (2013). Digital fabrications:
architectural and material techniques, Princeton
Architectural Press.
 47

02.1
FORM AND
GENERATION:
6 MODELS OF
FORM
GENERATION
6. Performative : ecological factors such as the physical
Form data of the context provide input for the
Generation design process.

Computational unison of generation

and analysis
 48

02.2
PERFORMATIVE
DESIGN:

From analysis Performance based design:

to informed Analysis and understanding how
synthesis environmental context may inform
complex processes in design synthesis
 49

02.2
PERFORMATIVE
DESIGN:

Three concepts:
1. Simulation
2. Performance evaluation
parameters
3. Evaluative criteria
 50

02.2 Simulation involves:

PERFORMATIVE an instrumental toolset
DESIGN: which enhances
analytical procedures.

Three concepts: Environmental design

1. Simulation built upon posteriori
2. Performance evaluation (backward reasoning) to
parameters suggest what building
3. Evaluative criteria does and its effects.
 51

02.2
PERFORMATIVE Multivariate performance
based design methods
DESIGN:
are complex.

Three concepts: Although if simulation

1. Simulation techniques are limited to
2. Performance evaluation physical and
parameters environmental
3. Evaluative criteria parameters; such as
structure, climate and
acoustics factors.
 52

02.2
PERFORMATIVE
DESIGN:
Evaluative criteria: how
they are formulated and
Three concepts: how they are applied in
1. Simulation design.
2. Performance evaluation
parameters Often is associated with
3. Evaluative criteria the term optimisation.
 53

02.3
PARAMETRICS It operates under
conditions of
constraints,
to exploit parametric
modifications
An approach to digital
as means to
design founded upon:
generate variability of
relational or associative
an object (or a system)
modelling
under design.
 54

02.3 1. Differentiation as a
PARAMETRICS medium of form
generation
Three important 2. Integration between:
domains: tectonic design,
1. Differentiation performative
2. Integrated evaluations and
parametric systems generative procedures
and informed 3. Information flow works
tectonic continuously in both
3. Continuities direction: design to
production.
 55

03
CONCEPTS AND
MODELS

Photo by Levi Midnight on Unsplash

 56

03.1
MORPHOGENESIS

Theoretical foundation DIGITAL MORPHOGENESIS

and body of knowledge Related to concepts and
related to evolution of scientific research that have
structure of organisms theoretical implications for
in natural phenomenon. form generation.
 57

03.1
MORPHOGENESIS

BIOMIMETICS
Research and design practice of the modelling of
design principles of biological organisms.
Formally emerged in 1950s, exploiting organic
design as a basis of technological advancement.
 58

03.1
MORPHOGENESIS

Neri Oxman
Material Ecology
A term she coined.
“Top-down form generation
coupled with bottom-up
growth of biological systems
creates previously impossible
opportunities for design that
challenge how buildings and
products are made and how
they perform.”
AGUAHOJA I. Biocompatible pavilion. 2019. MIT Media Lab.
 59

03.2
TECTONICS

Tectonics are: Tectonics in architecture:

generics of a theory of Between material
structuring structure and architectural
Architectonics are: form.
generic condition of the
tectonic content of
architecture
 60

03.2
TECTONICS

Traditional tectonic With computational processes,

relationship is under relationships between form,
revolutionary structure and material
transformation. properties are now capable of
being explicitly informed and
mediated through digital
media.
 61

04
TECHNOLOGIES

Photo by Levi Midnight on Unsplash

 62

04.1
MATERIALISATION

Previously, With computational processes,

materialisation is: it became sources of the
translation of an a inception of design.
priori design
representation to its
material condition
 63

04.1
MATERIALISATION

Material structure:
geometric-structural
field relationship of
the material
 64

04.2
FABRICATION

Fabrication, from the Latin for Fabrication,

making by assembly, is a is generally a
concept that has undergone an computer-
epiphany in the last decade controlled machine
and has rediscovered itself as fabrication
“making through processes, consists
computation” series of technology.
 65

04.2
FABRICATION

Fabrication design: Digital materiality:

derivation of design interrelationship between
formation processes digital and material processes
through design potential in design and construction.
of the tools
 66

04.3
RESPONSIVE
TECHNOLOGY

Responsiveness: Responsiveness is the ability

Interrelated concepts of a system to receive and
that constitute the react to data input provided
theoretical background by the environment.
and technological
territory of responsive
system in architecture
 67

04.3
RESPONSIVE
TECHNOLOGY

Responsiveness is the Mediated architecture:

central concept of: Architecture in a
Responsive + interactive symbiotic, informational
+ dynamic relationship with both its
users and its physical and
cultural context
 68

04.3
RESPONSIVE
TECHNOLOGY
The Kunsthaus Graz, Austria
and its media facade

https://www.arch2o.com/kunsthaus-graz-peter-cook-and-colin-fournier/
 69

05
EPISTEMOLOGY

Photo by Levi Midnight on Unsplash

 70

05
EPISTEMOLOGY
DISCIPLINARY
KNOWLEDGE

Transformation of toolset has led to:

New logic in design thinking
New research-oriented processes of design

Design as research view (in the context of digital in

architecture) enables us to view design as a medium of
knowledge production.
Discussion

F123456
+ Name

Blablabl

Make a short summary (min 200 words) of

one chosen topic:
1. One biomimetic principle to be translated to your
hypothetical design. For example: Mimosa Pudica, the
sensitive plant
2. Find a case study of mathematically generated form and
provide summary
https://miatedjosaputro.com/2020/03/17/week-4-discussion/
 72

Re-iterating aims
and objectives