Ontological shift of Architectonics - Analyzing using Chaos theory

Ontological shift of Architectonics - Analysing Sagrada

Familia and ICD/ITKE Fibrous pavilions (2014-2015) through the lens of Chaos Theory

Abstract

Question: How will the Chaos theory be helpful for Architectural tectonic Substantiation? How can the implication of understanding order and chaos influence the Architecture Design methodology?

Tectonics is a recurring ground-breaking concept that is constantly evolving based on the Ontology of Architecture, structural characteristics, sophisticated engineering innovations, material properties, Culture, and Aesthetics over time. The constant shift in the connotation of Tectonics over the period is caused by the evolution of human thinking and theories from simplicity to complexity.

The objective of this essay is to provide synthesis through comparative analysis of Sagrada Familia in two different periods (1883-1988,1989-2022) with the ITKE Fibrous pavilion of the period (20142015) using the line of thought of Chaos theory. Through which the evolution of analog tectonics towards digital tectonics and its interdependencies, its history of usage in the built environment, its contemporary evolution over time, and its possible future trajectory in creating something new can be understood.

This suggests the existence of contemporary tectonics is subconsciously or unintentionally prescient at the start of Sagrada Familia (1883-1990). After the advent of more complex ideal forms than before resulted in a higher degree of tectonic substantiation along with allied factors determining the tectonism.

Keywords: Tectonic substantiation, Chaos, Parametrics, Ontology, self-similarity, emergence, morphogenesis, complexity

1 Introduction

Fifty-Nine years old Chaos theory was formulated in 1963 by Edward N. Lorenz. During this time, it started to influence various disciplines which in turn induced more interdisciplinary exploration in which the collaboration between Computation, Mathematics, Engineering, Design, etc. caused the emergence of Parametrics in architecture Which serves as an important influence in the contemporary tectonics of architecture.

The etymology of the word ‘Tectonics’ has many different usages in the 1650s it was rooted in the Greek word ‘tekton’ meaning builder or carpenter In PIE root *teks- means “to weave,” or “to fabricate”. During the 1850s it was regarded as the “Art of building or constructive arts in general”. 1 Fig 1.1 represents the tectonic thinking of the late 18th century. which is the motto of the Architectural Association School of Architecture.

2

1891 designed

two people sitting on the letter AA one is a designer and the other is a builder and saying Design in Beauty and Build in Truth respectively holding a chalice together which is prescient to interpret tectonics. 2 © Architecture Association School of Architecture

Temple Expiatori de la Sagrada Família, Barcelona started its construction in 1882 by Architect Francesc Del Villar. Due to disagreements, Del Villar resigned, and Antoni Gaudi was hired to the project in 1883, on which he worked for 43 years until 1926 when he died The magnum opus by

1 Douglas Harper, “Online Etymology Dictionary,” accessed December 11, 2022, accessed 11 December 2022, https://www.etymonline.com/word/tectonic.

2 “Design With Beauty, Build In Truth” (Architectural Association Independent Radio, December 19, 2005), accessed 12 July 2022, https://www.mixcloud.com/ArchitecturalAssociation/design-with-beauty-build-intruth/.

Fig.

Walter Crane in

the logo of

Antoni Gaudi with his successors is considered a case study for both Analogue and Digital Tectonics as it pertains to evolving and has shifted from analogue to digital tectonics. Through the Cloud of short perception and judgment of Sagrada Familia as an epitome of Art, Curvilinearity, Aesthetics, Form, and Colour. There lies design thinking and realization of the existence of work beyond the mortality of a human and the modus operandi Gaudi formulated to achieve that So, the paper divided the Sagrada Familia into two periods based on the ideals used.

To understand Digital Tectonics- ICD/ITKE Fibrous pavilion (2014-2015), Stuttgart - a project which seems to be in disorder with Antoni Gaudi’s Sagrada Familia has an ontological relationship to it. The usage of the more evolved time-based modeling, unconventional material, and innovative formwork. But apart from that, it achieved the coherence between Architecture and Structure as a single entity.

This synthesis was provoked by two books, a lecture, and a conference article. Starting from Edward. N Lorenz’s “The Essence of Chaos”, Mark Burry’s “Between surface and substance” in “Surface Consciousness” and Patrik Schumacher's keynote lecture at Digital Future Conference, Shanghai 2017, Tongji University “Tectonic Articulation in the Context of Architectural Semiology”. “The Connotation of Tectonics in Architectural Theory” by Hoda Al-Alwan and Yusur B Mohmood(2020) at the IOP conference series: Material Science and Engineering.

2 Tectonics of Sagrada Familia (1883-1988): Seed to Digital Emergence

Fig. 3 The protagonist’s perception of Analogue tectonics, The procedural analysis of Classical/Analogue tectonics by Hoda Al-Alwan and Yusur B Mohmood(2020).

Based on Fig. 3 The classical/Analogue tectonic is characterized by three major agents such as Technique which involves construction. Its technology and representation, Culture which is characterized by handcraft and Art, and Material which represents Structure, ontology, and science. 3Based on the theories of Karl Botticher (1852), Gottfried Semper (1851), Eduard Sekler (1965), Kenneth Frampton (1995), Liu and Lim (2009), and Yonca Hurol (2022), analysis of Classical/Analogue Tectonics of Sagrada Familia will be done based on the following framework: tectonic thinking, Ideals, Details, Material, Structure, Construction, Interaction, and affects 4

3 Hoda Al-Alwan and Yusur B Mahmood, “The Connotation of Tectonics in Architectural Theory,” Materials Science and Engineering (IOP Conference, Baghdad,Iraq: IOP Publishing Ltd, 2019), 6, https://doi.org/10.1088/1757-899X/745/1/012161.

4 Yu-Tung Liu and Chor-Kheng Lim, New Tectonics : Towards a New Theory of Digital Architecture; 7th Feidad Award (Basel,Switzerland: Birkhauser Verlag AG, 2009), 103.

Antoni Gaudi States that “‘Do you want to know where I found my model?’ An upright tree; bears its branches and these, in turn, their twigs, and these, in turn, the leaves. And every individual part has been growing harmoniously, magnificently, ever since God the artist created it.” 5

Tectonic Thinking: Gaudi focused on nature as an inspiration for a novel approach to the making of the building. Gaudi wanted his building to be an urban forest. The columns of the Sagrada Familia are varied in the parameter of thickness and color to mimic the forest. He discovered the double rotating columns from the branch of Oleander, the columns at Passion Façade were inspired by Sequoia tree trunk, and the Magnolia leaves served as an implication of water draining function to the undulated roofs of the school. 6

Ideals: Gaudi used mathematics and 3d physical models for which he created 3D drawing machines such as plaster models to variate parametrically through subtraction. He also had an interest in Second order geometry He used a limited number of Ruled geometries such as helicoid, hyperbolic paraboloid, and a hyperboloid of revolution for ease of construction as they are easily developable surfaces. 7

Details: Gaudi prototyped the 3d plaster models in two different scales 1:10 and 1:25 8 Gaudi maintained a proportion relationship in dimension. The distance between the aisle columns is 7.5 meters which are doubled the distance between the columns at the width of the nave (15 meters). Further doubling will give the height of the aisles (30 meters) and central nave (45 meters) 9

Material: It was the key influential aspect of Sagrada Familia as the columns of Sagrada Familia were based on the height and color used porphyry stone for the four main red columns, the dark grey column is made with Basalt, the light grey with Granite and the column at Aisle are made aisle sandstone Concrete is used at the top of the towers and vault of the nave 10

5 Izabella Laba, “La Sagrada Familia and the Hyperbolic Paraboloid,” Personal Blog, The Accidental Mathematician (blog), June 14, 2009, accessed 12 October 2022, https://ilaba.wordpress.com/2009/06/14/lasagrada-familia -and-the-hyperbolic-paraboloid/.

6 “Nature and Its Influence on the Sagrada Família: Three Examples,” official blog, BLOG SAGRADA FAMÍLIA (blog), March 11, 2020, accessed 12 September 2022, https://blog.sagradafamilia.org/en/divulgation/natureon-the-sagrada-familia/.

7 Neil Leach, David Turnbull, and Chris Williams, Digital Tectonics (Wiley-Academy, 2004), 24.

8 Marwan Halabi, “The Sagrada Família: The Starting Point of CAD/CAM in Architecture,” in SCIENTIFIC COOPERATIONS WORKSHOPS ON ENGINEERING BRANCHES (Istanbul,turkey, 2015), 13, accessed 12 July 2022, https://silo.tips/download/the-sagrada-familia -the-starting-point-of-cad-cam-in -architecture.

9 God’s Architect: How Gaudí Designed the Sagrada Familia (Barcelona: Manuel Bravo, 2022), accessed 12 November 2022, https://www.youtube.com/watch?v=1kowM6vT-0o&t=1s.

10 God’s Architect: How Gaudí Designed the Sagrada Familia.

Fig. 4 Process of Making Plaster model, rotating plaster on a section of paraboloid curve template, “Virtually Gaudi” in digital tectonics

Structure: Gaudi’s “Variable Traverse shape” column had a motion to it that no other buildings achieved during his time. At the top of the column, it branches out into 2-5 smaller columns based on the self-weight of the vault to divide the load. He used Euclidean Geometry to obtain a natural structure with small straight lines through self-similarity resulting in the imitation of fractals. 11

Construction: Sagrada Familia is a Testament to various Construction techniques and Technology the wooden pulley is used to make the crypt of the temple later it was replaced by metal jib and chains.

Until 1934 the pulley cranes are used to construct the Nativity façade during which it was completed Due to small jibs, the cranes were not efficient sometimes doing the period of Gaudi So, they used rail carts to transport the load from the workshop to the base. 12

Interaction: The hyperbolic paraboloid windows helped in getting ample light as “the light travel in straight lines.” It's because they are constituted with ruled surfaces formed from straight lines The towers of the nativity façade have louver openings that act as bell amplification windows which Gaudi intended. the details of the three major facades of Sagrada Familia: Nativity, Passion, and Glory are abstract to convey the cultural aspects.

Affects: The key tectonic affect that played a major role in the realization of tectonic is mortality by Gaudi which is a metaphysical constraint In addition to this Domination of form, Image making, timeliness, Innovation, and Futurism.

uses robots to wind fibers between two specialty steel frame effectors. “Through this method, hundreds of feet of resin-impregnated fibers were woven together in super complex, beetle-inspired patterns.” 13 © ICD/ITKE University of Stuttgart

11 Lorenzi Marcella Giulia and Franca Viglia Mauro, “ART & MATHEMATICS IN ANTONI GAUDÍ’S ARCHITECTURE: ‘LA SAGRADA FAMÍLIA,’” Journal of Applied Mathematics III, no. 1 (2010): 125–46.

12 “How Was Construction Done in Gaudí’s Time?,” official blog, BLOG SAGRADA FAMÍLIA (blog), October 31, 2018, accessed 9 November 2022, https://blog.sagradafamilia.org/en/divulgation/how-was-constructiondone-in-gaudis-time/.

13 “ICD/ITKE Research Pavilion 2014-15 / ICD/ITKE University of Stuttgart,” ArchDaily (blog), July 20, 2015, accessed 12 May 2022, https://www.archdaily.com/770516/icd-itke-research-pavilion-2014-15-icd-itkeuniversity-of-stuttgart.

Fig. 5 (left) construction of flat-brick ceiling for the central nave: the reinforcement follows the ruled -surface of the hyperboloid done manually by workers, Mark Burry, "Gaudi Unseen: Completing the Sagrada Familia."

Fig. 6 (right) Earlier in ICD/ITKE 2013-2014 fibrous pavilion used the “coreless robotic winding method” which

3 Digital Tectonics of ICD/ITKE Fibrous Pavilion (2014-2015)

Based on Fig. 7 The Digital tectonic is characterized by three major agents as Assembles which indicate the method of fabrication of Building Elements, Articulation which are characterized by poetic, cultural, and aesthetics, and Tool which characterize the complex programs and technical specifications. 14 Based on the theories of Zaha Hadid, Neil Leach(2004), Patrik Schumacher, Beesley And Seebohm, Liu and Lim (2009), and Yonca Hurol (2022), analysis of Digital Tectonics of ICD/ITKE Fibrous Pavilion (2014-2015) will be done based on the following framework: tectonic thinking, Ideals, Details, Material, Structure, Construction, Interaction, motion, generation, Information, Fabrication, and affects 15

The aim of the construction of ICD/ITKE research pavilion is to understand the fiber tectonics and implement in a large-scale architectural prototype with a pneumatic formwork that will later act as the envelope of the pavilion. In Addition to this it achieved the creation of architecture and structure as single layer rather using Architecture as a Flat sheet.

Tectonic Thinking: The revolutionary construction technique inspired by the creation of the water spider's underwater nest is demonstrated in the ICD/ITKE Research Pavilion 2014–15. At the start,

14 Al-Alwan and Mahmood, “The Connotation of Tectonics in Architectural Theory,” 10.

15 Liu and Lim, New Tectonics : Towards a New Theory of Digital Architecture; 7th Feidad Award, 103.

Fig. 7 The protagonist’s perception of Digital tectonics, The procedural analysis of Digital tectonics by Hoda Al-Alwan and Yusur B Mohmood (2020).

flexible pneumatic formwork is gradually made stiffer by adding carbon fiber reinforcement from the inside using a revolutionary robotic production process. The resulting pavilion has distinctive architectural features and is made of a super material effective lightweight fiber composite shell. 16

Ideals: Based on information gained through observations of ten spiders' bubble-making and fiberreinforcing behavior, the water spiders' reinforcement technique has been abstracted to reveal its basic principles. A comparison of the spider behavior in controlled and gradually changing surroundings was done to analyze the photo and video data. The project also used time-based computer modeling, scripting, finite element analysis, agent-based modeling, and form generators. 17

Details: Nine prepreg carbon fiber rovings are arranged in parallel during manufacture. On a 5 km long robot path, 45 kilometers of carbon roving were laid at an average speed of 0.6 m/min. This additive construction method reduces construction waste related to generally subtractive construction methods and permits stress-oriented positioning of the fiber composite material. 18

16 “ICD/ITKE Research Pavilion 2014-15 / ICD/ITKE University of Stuttgart.”

17 Gundula Schieber et al., “Integrated Design and Fabrication Strategies for Fibrous Structures,” Springer International Publishing Switzerland, Modelling Behaviour, 2015, 239, https://doi.org/10.1007/978-3-31924208-8_20.

18 Maria Yablonina, “ICD/ITKE Research Pavilion 2014 -15.,” Personal portfolio, Maria Yablonina (blog), accessed May 12, 2022, accessed 12 May 2022, https://www.mariayablonina.com/pavilion-2013-14.

Fig. 8 The key process mapping that lead to the final form of the pavilion, Schieber et al., “Integrated Design and Fabrication Strategies for Fibrous Structures.”

Material: To identify appropriate material which can provide support in laying fibers from inside opposing forces of gravity. 0.2mm thick ETFE(Ethylene tetrafluoroethylene) is used for formwork. Carbon fiber is used as reinforcement which is prepreged with epoxy resin. Various kinds of resins and adhesives were tested before finalizing with epoxy resin. 19

Structure: During the inflated phase the final form of the ETFE membrane was divided into stripes and projected flat to prevent wrinkles. Self-weight analysis of the shell with primary, secondary, and tertiary beams was simplified into shell components. During the inflated phase the structure experience tension and when deflated experiences compression The physical properties of carbon fiber were tested by the ‘three-point bending test’ and ‘tensile test’. 20

Construction: The platform and robot are first installed, followed by the inflation of the ETFE membrane to serve as a pneumatic formwork, the placement of epoxy resin-impregnated carbon fibers on the ETFE membrane in the third phase, the deflation of the pneumatic structure, the formation of the fibers' load-bearing structure, and the use of the ETFE membrane as an envelope in the fourth phase 21

Interaction: The interaction between machine and machine is established to create a more dynamic pavilion.

Motion: The fabrication setup with a six-axis robot in the center provides a working zone that defines the design space, but the water spider can move freely around, manufacture, and deposit continuous silk fibers at any location of the bubble. The robot's reach and initial axis, which is not continuous and can rotate between 185° and 185°, are its significant limitations. 22

Generation: Conventional digital fabrication methods are often configured offline using static instruction-based directives. Due to the characteristics of inflation and the applied loading during the fiber laying process, this specific product configuration was very dynamic. Online communication between the robot and the secondary devices of the bespoke robotic effector directly permitted the live change of an anticipated fiber path, providing the required flexibility. 23

Information: To maintain the conditions for fiber extrusion on the active pneumatic membrane, online adaptive instructions negotiate crucial construction information (such as force input from inbuilt sensors). 24

Fabrication: Custom-made end effector with the sensor attached as a real-time feedback system. It also comprised of a roller, attachment to spray for epoxy resin, and extruders. The fabrication is done using an Adaptive Online robotic process. 25

Affects: The key tectonic affect that influenced are range of the inverse kinematics of the five-axes robot, time-based simulation, live mapping of the deviation(chaos), course correction algorithm, lightness of the structure, details of joints, and biomimicry.

19 Schieber et al., “Integrated Design and Fabrication Strategies for Fibrous Structures,” 240.

20 Schieber et al., 243.

21 Schieber et al., 240.

22 Schieber et al., 242.

23 Schieber et al., 244.

24 Schieber et al., 244.

25 Schieber et al., 241.

4 New shifts in Tectonics – Sagrada Familia (1989-2022)

William J.Mitchell states that “In this new Architecture domain, joints just don’t matter. Surfaces have no thickness, and they can be fitted together with mathematical precision.”

Some Retired and Rewired with new sophisticated tools as a need for achieving the complexity in Architectonics. Handcraft, physical tools, physical prototypes (plaster models), and material are rewired with Digital modeling (CAD/CAM), Software, Genome, NURBS, and Virtual Reality (VR) 26The drawings and plaster models were destroyed during the Spanish war (1936-1938) causing the need to restore the prototype to decode the thinking of Gaudi to continue the project. Which brought forth the implication of rewired digital techniques and technology employed.Information: Even without the autobiographical support that many use to understand a person’s ideology as Gaudi has not written about the driving force in creating Sagrada Familia nor his concept or methodology. The current work of Sagrada Familia is carried out successfully by 3D datasets extracted by Mark Burry’s

Fig. 9 Procedural boolean subtraction of surface from the surface of clerestory window, “Virtually Gaudi” in digital tectonics.

26 Liu and Lim, New Tectonics : Towards a New Theory of Digital Architecture; 7th Feidad Award, 17–18.

brief research under “Spatial Information Architecture Laboratory (SIAL)”, Melbourne using complex shipbuilding software such as CADDS5 and CATIA. 27

Fabrication: The Stone parts are made through a numerically controlled system from 1989 with twoand-a-half-axis to five-axis robots currently. Even after post digital period, Sagrada Familia finds its balance between machine and human. To construct a spiral Staircase a ‘roving system’ was created to move metal rails to lay a stair slab. They also used the Prefabrication technique for column parts and moved by Cranes. The plaster models were shifted towards the 3d printing the models for prototyping of the façade and column 28

Generation: For the Construction of the highest tower and the remaining five towers in the Sagrada Familia the structural design is carried out by Arup since 2014 They employed pre-Stressing masonry panels which can resist wind and earthquakes. They created a model for a finer level of construction attributes to run a finite element analysis of the structure. 29

This project forced them to reconsider what occurred in the fields of architecture and technology between the 1950s and 1980s when all tools were developed. For instance, over the years, computers and numerical control machines have been developed and employed in a wide range of industries as one of the many fundamental design tools. It's true that until recently, architects couldn't access this technology. However, the adoption of modern technology in architecture has been somewhat slow. There is always a huge gap between the development of science and Technology and Architecture. 30

The concept of abstraction in biomimicry can be understood using the chaos theory as in fig. 10. The degree of abstraction of nature is lesser in the analogue phase of Sagrada Familia but least in the digital phase of Sagrada Familia. As the advancement of technology and perception of similarity in the chaotic system increased more novel design interventions occurred.

27 Mark Burry, Gaudi Unseen : Completing the Sagrada Familia (Jovis Verlag GmbH, 2007), 12.

28 Mark Burry, Gaudi Unseen : Completing the Sagrada Familia (Jovis Verlag GmbH, 2007), 143–47.

29 “Completing La Sagrada Familia: A Collaboration in Digital and Stone,” ARUP (blog), accessed October 12, 2022, https://www.arup.com/projects/sagrada-familia.

30 Schieber et al., “Integrated Design and Fabrication Strategies for Fibrous Structures.”

Fig. 10 Old Boarding house in Barcelona, Spain: (a) the elevation photo of the tenement in the 1990s (b) the Ideal form of the elevation (c) the true complexity and chaos is analyzed using a sophisticated computer tool. Pawel Rubinowicz, “Journal for Geometry and Graphics,” International Society for Geometry and Graphics.

5 Conclusion

In Conclusion, this essay has explored the shift in the realization of tectonics in Architecture concerning time and the emergence of understanding toward complexities through Sagrada Familia and Fibrous Pavilion (2014-2015) using the analytical tool developed as the synthesis of tectonic theories.

The Design methodology of getting iteration from form finding through mathematics and 3D drawing machines by Gaudi to using Finite element analysis by Mark Burry and ICD/ITKE suggests the forward direction of tectonics towards a more sophisticated methodology. The necessity of communication of design to a stone sculptor is shifted to numerical controlled machines. Which saves time and increased productivity. Even though the limitation of the technology can either cause influence tectonic or led to the emergence of recent technology The degree of disorder in the system of Sagrada Familia is high when compared to the fibrous pavilion as Sagrada Familia is constructed over a wide range of periods with different levels of accuracy and mixed usage of technology and material. In the aspect of form generation

Humans are on brink of creating nature From nothing, they started to dwell in nature and then they idealized their architectural experience. Now they are trying to mimic or get inspired by nature at various levels. To achieve this interdisciplinary research is the only way which was evident not just in the Stuttgart pavilion but also in Sagrada Familia where Gaudi relied on mathematics (geometric codex) to create a methodology

Architectural theorists should recognize that tectonics should not be a fixed definition. It should be dynamic enough so that others can redefine tectonics and push the boundaries over time Rather than just retiring old methodology by rewiring new agents, a Holistic approach towards tectonics could be achieved through the Tectonic Articulation caused by the affects of physical and metaphysical constraints. Because the enthrophy of knowledge in the world will always become less than before which in turn causes the ontological shift in Architectural thinking as well as tectonics. In contrast, it is fine to have a comprehensive aspect about tectonics which helps in convergent thinking so far it is seen as a part, not as a whole.

Fig 11: Two compositions: an ordered spot in the chaotic surrounding (left) and a chaotic spot in the ordered surrounding (right).

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Patrik Schumacher: TECTONISM - Part2. Tectonic Articulation in the Context of Architectural Semiology, Keynote Lecture at Digital Future Conference, Shanghai 2017, Tongji University. Patrik Schumacher, 2017. Accessed 24 November 2022.

https://www.youtube.com/watch?v=DpLFR-C6wl4.

Patrik Schumacher: TECTONISM - Part3. Tectonic Articulation in the Context of Architectural Semiology, Keynote Lecture at Digital Future Conference, Shanghai 2017, Tongji University. Patrik Schumacher, 2017. Accessed 24 November 2022.

https://www.youtube.com/watch?v=8eRp9OwkLEo.

Patrik Schumacher: TECTONISM - Part4. Tectonic Articulation in the Context of Architectural Semiology, Keynote Lecture at Digital Future Conference, Shanghai 2017, Tongji University. Patrik Schumacher, 2017. Accessed 24 November 2022.

https://www.youtube.com/watch?v=zweMEiNYePI.

Pierard, Claudio. “Moguls of Chaos,” 2020. Accessed 24 October 2022.

https://cpierard.github.io/projects/moguls-of-chaos/.

PLATO ON: The Forms. The School Of Life, 2016. Accessed .

https://www.youtube.com/watch?v=MgotDFs6cdEhttps://www.youtube.com/watch?v=Mg otDFs6cdE.

Rubinowicz, Pawel. “Journal for Geometry and Graphics.” International Society for Geometry and Graphics, Chaos and Geometric Order in Architecture and Design, 4, no. 2 (2000): 197–207.

https://www.researchgate.net/publication/240759315_Chaos_and_Geometric_Order_in_Ar chitecture_and_Design.

Schieber, Gundula, Valentin Koslowski, Jan Knippers, Moritz Dörstelmann, Marshall Prado, Lauren Vasey, and Achim Menges. “Integrated Design and Fabrication Strategies for Fibrous Structures.” Springer International Publishing Switzerland, Modelling Behaviour, 2015, 237–45. https://doi.org/10.1007/978-3-319-24208-8_20.

Yablonina, Maria. “ICD/ITKE Research Pavilion 2014 -15.” Personal portfolio. Maria Yablonina (blog). Accessed May 12, 2022. Accessed 12 May 2022. https://www.mariayablonina.com/pavilion2013-14.

List of Figures

Figure 1: Different Iteration of Fibre laid based on the feedback system © ICD/ITKE University of Stuttgart

ArchDaily. “ICD/ITKE Research Pavilion 2014-15 / ICD/ITKE University of Stuttgart,” July 20, 2015. Accessed 12 May 2022. https://www.archdaily.com/770516/icd-itke-research-pavilion-201415-icd-itke-university-of-stuttgart.

Figure 2: Walter Crane in 1891 designed the logo of two people sitting on the letter AA one is a designer and the other is a builder and saying Design in Beauty and Build in Truth respectively holding a chalice together which is prescient to interpret tectonics. © Architecture Association School of Architecture.

“Design With Beauty, Build In Truth.” Architectural Association Independent Radio, December 19, 2005. Accessed 12 July 2022. https://www.mixcloud.com/ArchitecturalAssociation/designwith-beauty-build-in-truth/.

Figure 3: The protagonist’s perception of Analogue tectonics, The procedural analysis of Classical/Analogue tectonics by Hoda Al-Alwan and Yusur B Mohmood(2020).

Al-Alwan, Hoda, and Yusur B Mahmood. “The Connotation of Tectonics in Architectural Theory,” 12. Materials Science and Engineering. Baghdad,Iraq: IOP Publishing Ltd, 2019. https://doi.org/10.1088/1757-899X/745/1/012161.

Figure 4: Process of Making Plaster model, rotating plaster on a section of paraboloid curve template, “Virtually Gaudi” in digital tectonics.

Leach, Neil, David Turnbull, and Chris Williams. Digital Tectonics. Wiley-Academy, 2004.

Figure 5: construction of flat-brick ceiling for the central nave: the reinforcement follows the ruledsurface of the hyperboloid done manually by workers, Mark Burry, "Gaudi Unseen: Completing the Sagrada Familia."

Burry,Mark. Gaudi Unseen: Completing the Sagrada Familia. Jovis Verlag GmbH, 2007.

Figure 6: Earlier in ICD/ITKE 2013-2014 fibrous pavilion used the “coreless robotic winding method” which uses robots to wind fibers between two specialty steel frame effectors. “Through this method, hundreds of feet of resin-impregnated fibers were woven together in super complex, beetle-inspired patterns.” © ICD/ITKE University of Stuttgart

ArchDaily. “ICD/ITKE Research Pavilion 2014-15 / ICD/ITKE University of Stuttgart,” July 20, 2015. Accessed 12 May 2022. https://www.archdaily.com/770516/icd-itke-research-pavilion-201415-icd-itke-university-of-stuttgart.

Figure 7: The protagonist’s perception of Digital tectonics, The procedural analysis of Digital tectonics by Hoda Al-Alwan and Yusur B Mohmood (2020).

Al-Alwan, Hoda, and Yusur B Mahmood. “The Connotation of Tectonics in Architectural Theory,” 12. Materials Science and Engineering. Baghdad,Iraq: IOP Publishing Ltd, 2019.

https://doi.org/10.1088/1757-899X/745/1/012161.

Figure 8: The key process mapping that lead to the final form of the pavilion, Schieber et al., “Integrated Design and Fabrication Strategies for Fibrous Structures.”

Schieber, Gundula, Valentin Koslowski, Jan Knippers, Moritz Dörstelmann, Marshall Prado, Lauren Vasey, and Achim Menges. “Integrated Design and Fabrication Strategies for Fibrous Structures.” Springer International Publishing Switzerland, Modelling Behaviour, 2015, 237–45. https://doi.org/10.1007/978-3-319-24208-8_20.

Figure 9: Procedural boolean subtraction of surface from the surface of clerestory window, “Virtually Gaudi” in “digital tectonics”.

Leach, Neil, David Turnbull, and Chris Williams. Digital Tectonics. Wiley-Academy, 2004

Figure 10: Old Boarding house in Barcelona, Spain: (a) the elevation photo of the tenement in the 1990s (b) the Ideal form of the elevation (c) the true complexity and chaos is analyzed using a sophisticated computer tool. Pawel Rubinowicz, “Journal for Geometry and Graphics ”

Rubinowicz, Pawel. “Journal for Geometry and Graphics.” International Society for Geometry and Graphics, Chaos and Geometric Order in Architecture and Design, 4, no. 2 (2000): 197–207.

https://www.researchgate.net/publication/240759315_Chaos_and_Geometric_Order_in_Ar chitecture_and_Design.

Rubinowicz, Pawel. “Journal for Geometry and Graphics.” International Society for Geometry and Graphics, Chaos and Geometric Order in Architecture and Design, 4, no. 2 (2000): 197–207.

https://www.researchgate.net/publication/240759315_Chaos_and_Geometric_Order_in_Ar chitecture_and_Design.

Figure 11: Two compositions: an ordered spot in the chaotic surrounding (left) and a chaotic spot in the ordered surrounding (right).