Piggybacking off the axiom that sex sells and anything Beyoncé-related has the potential to break the Internet, Australian architecture firm Elenberg Fraser has nabbed planning approval for a “Beyoncé tower” inspired by the superstar’s hourglass form. The Premiere Tower in Melbourne features an undulating shape that swells in and out at various points – purportedly a concession to “structural efficiency” in response to climate, wind, and “the limitations of the site.” To develop the unique form, the architects used parametric modeling, a type of responsive, computer-guided design where users can program in site-specific data so that the design corrects itself proportional to site constraints. “This project is the culmination of our significant research. The complex form – a vertical cantilever – is actually the most effective way to redistribute the building’s mass, giving best results in terms of structural dispersion, frequency oscillation and wind requirements,” Elenberg Fraser insists in a statement. More specifically, the 68-story structure is inspired by the dancers in Queen B’s music video, Ghost, released separately from her single ‘Haunted’ off her 2013 self-titled album. In it, naked dancers attempt to escape from cocoons of stretchy white fabric that adhere to their svelte figures, creating – if one were to really push it – amorphous towers of curve and sinew. Jokes have abounded over the Internet about the appealing possibility of living in Beyoncé's famous posterior. “For those more on the art than science side, we will reveal that the form does pay homage to something more aesthetic. We’re going to trust that you’ve seen the music video for Beyoncé’s Ghost,” say the architects. Located at 134 Spencer Street at the west end of Melbourne’s central business district, the tower will contain 660 apartments and 160 hotel rooms. The entire structure will be mounted on a stepped podium to be occupied by retail tenants. Public house the Savoy Tavern, which reopened in 2014 after being derelict for nearly 20 years, will be demolished to make way for the tower. Presently, the entire precinct will be replanned, with the goal of respecting its heritage buildings. “The whole precinct is designed with a more long-term view to urban design, creating a self-sustaining development,” says Elenberg Fraser. Construction for the $350 million project is estimated at 40 months, with no completion date yet announced. Meanwhile, controversy has ensued over the building’s potential to overshadow nearby Batman Park and the north bank of the Yarra River. The skyscraper, whose “spiraling curves recall the twists and turns of a woman dancing in black cloth,” joins the dubious leagues of MAD’s curvaceous, twisting skyscrapers in Mississauga, Canada, dubbed the “Marilyn Monroe towers” by local residents. The Chinese firm insists that the design arose as an “organic” antithesis to the boxy typology of urban buildings. With backup dancers becoming the architectural inspiration du jour, perhaps we can next expect a building modeled after Katy Perry’s Left Shark, AKA the Super Bowl Halftime Shark, which recently spawned a lookalike iPhone case designed by Perry herself.
Posts tagged with "Parametric Design":
The motto of Houston architecture, civic art, and product design firm METALAB is "finding new and better ways to build things." In addition to forming the core of his professional practice, this mission aptly describes principal Andrew Vrana's work with the Texas digital design and production network TEX-FAB. "We align emerging designers working with contemporary digital design techniques with companies who are experts in digital fabrication to build experimental architectural assemblies that push the capabilities of all parties," he explained. At next week's Facades+AM Houston symposium, Vrana will share his perspective on new techniques and materials in high performance building envelopes through the lens of TEX-FAB's annual design and fabrication competition. The theme of each TEX-FAB competition reflects the community's commitment to exploding the limits of conventional architecture practice. "We have recently been interested in materials that allow for plasticity in form and performance," said Vrana. Hence the title of the 2014 competition, PLASTICITY. The winning project, by computational design specialist Justin Diles, is called Plastic Stereotomy, and explores the use of composites in construction. After taking first prize in the small-scale prototype round, Diles teamed up with Kreysler & Associates to build a full-scale pavilion for this year's TEX-FAB conference in Houston. (The pavilion also traveled to the AIA convention in Atlanta.) Past competition winners have similarly paired with industry experts to bring their concepts to fruition. For the 2013 SKIN competition, for instance, TEX-FAB put the winning team—a group associated with the University at Buffalo, with materials sponsor Rigidized Metals—in touch with Zahner "to construct an innovative facade prototype using patterned sheet metal folded into complex origami-like modules," explained Vrana. Hear more about TEX-FAB's approach to digital design and fabrication at Facades+AM Houston June 18. Register today and see a full list of presenters on the event website.
This year’s TEX-FAB symposium in Houston continued the digital fabrication alliance’s exploration of new frontiers and technologies in the field by investigating the latest developments in 3D printing and composites. The three-day conference ended on March 26, where top designs from TEX-FAB’s Plasticity competition were identified and displayed at the University of Houston Gerald D. Hines College of Architecture, with a spotlight on winner Justin Diles’ Plasticity Stereotomy. The project explores cohesion and stacking of stereotomic blocks traditionally used in masonry. Enlisting FEM software, Diles, assistant professor of architecture at Ohio State University, created asymmetrical “bricks” from fiberglass composites to explore different volumetric tessellations. “The brick is the most obvious stack. He’s looking at a different strategy of stacking,” said Kory Bieg, TEX-FAB co-director and assistant professor at the University of Texas at Austin’s School of Architecture. “Because of the form it distributes the load differently and you don’t need the joints and glue that a brick uses. It’s also very lightweight.” Keynote speaker Ronald Rael, CEO of self-described “make tank” Emerging Objects, presented his latest experiments with using concrete, wood and even salt from the San Francisco bay in 3D printing. “Because they brought the price down so much they’re able to print [items] on an actual building scale,” said Bieg. This year’s digital fabrication and design workshops for students and practicing architects aimed to present the latest research on parametric modeling within academic, professional and fabrication communities. Sophisticated new software, such as Monolith, enables architects to generate 3D models that contain instructions for fabrication, thereby eliminating the disconnect between ideas that look great on paper or on AutoCAD and those that hold water once fabricated. “You can draw circles all day in CAD but you don’t know if the location in space is correct in relation to the other parts. The way this software works is it uses a node-based computer language or interface. What that means is instead of drawing a circle using AutoCAD, you create the circle based on parameters. And because you input all the data precisely into the design of these forms and shapes, the computer will give you feedback along the way and tell you if something’s wrong in the algorithm,” said Bieg, who taught a workshop called Introduction to Grasshopper.
Höweler+Yoon combine cutting-edge tech and age-old craft to complete the Sean Collier Memorial at MIT
On April 18th, 2013, the Boston Marathon bombers went on a crime spree that included the killing of Officer Sean Collier who was shot in the line of duty on the MIT campus. In honor of the slain MIT patrol officer, the university commissioned Boston-based Höweler+Yoon Architecture to design the Sean Collier Memorial—a somber, grey stone structure that marks the site of the tragedy. The heaviness of the unreinforced, fully compressive masonry structure is meant to convey the concept of “Collier Strong,” or strength through unity. Thirty-two solid blocks of granite form a contemporary version of a five-way vault. "Our goal was to not post-tension the structure, to make it compressive and use solid blocks," Höweler + Yoon principle Meejin Yoon told AN, "It could have been built out of concrete or steel, but we wanted solid blocks." The large stone pieces were digitally designed and fabricated to work as a self-supporting structural system. Forces are translated into form via a robust combination of cutting-edge computational processes and ancient techniques for making masonry structural spans. The stones were precisely milled within a .5 millimeter tolerance, so that they fit together perfectly to form a compression ring with a keystone that caps the shallow masonry arches. In the center of the buttressed vaults is a covered space for reflection. The buttresses act as walls that extend out to the surrounding campus context. The novel concept required many moving parts to work in harmony. "It is very pure. It is a simple idea," Yoon said. "It took so much collaboration to make this simple idea have the integrity that it did. There were students from 8 degree programs, including a PhD student, undergraduate architecture, undergrads in building technology, and grads in engineering and architecture." Engineering and design were intricately linked form beginning to end. The whole design process was influenced by a feedback loop of physical, analog, and digital models as well as digital simulation. Massive quarried blocks of stone were cut with a single-axis robotic block saw, then with a multiple axis KUKA 500 robot. Robotic milling processes made the tiny tolerances possible. Some of the blocks took as long as seven days to carve, with machines running 24 hours. Often, the cutting tools would wear down, causing the tolerances to change mid-fabrication. The team compensated by altering the digital model and then the next piece would change to match what had been previously carved IRL. Sensors were placed at each joint as the project was assembled on site. As stonemasons placed the high-tech monoliths into the 32-part final assembly, the structure was a choreographed symphony of new technology and timeless craft. The legible visualization of forces is parallel with the MIT ethos of openness and transparency, while the poetic nature of a dry masonry vault represents togetherness of the community in recovery. The project team also included structural engineer Knippers Helbig- Stuttgart, masonry consultant Ochsendorf DeJong and Block Consulting Engineers, landscape architect Richard Burck Associates, civil engineer Nitsch Engineering, geotechnical engineer McPhail Associates, lighting designer Horton Lees Brogden Lighting Design, and electrical engineer AHA Consulting Engineers.
Getting the blessing of the New York City Landmarks Preservation Commission can be a tricky thing. Typically, your best bet is to go contextual: stick with historic materials and keep the modern ornamentation to a minimum. That is clearly not the approach that SYSTEMarchitects' Jeremy Edmiston took for a parametrically designed Tribeca townhouse in search of facelift. The existing two-story structure 187 Franklin is not historically significant, but since it sits within a historic district, Edmiston didn't have carte blanche for the owners requested two story addition and setback penthouse. While the architect nods to Tribeca’s history with a primarily brick facade, he doesn’t try to replicate the building’s neighbors. At all. Instead, he assembles a new facade in such a way that it makes the new townhouse appear as if it is entirely engulfed in flames. Home-y? Maybe not. Interesting? Undeniably. Landmark Preservation Commission approved? Unanimously. That approval came back in 2011 and now the Tribeca Citizen is reporting that the project "is back." Edminston told AN that construction is already underway and that the project is slated to be completed in December. The structure’s parametric facade frees bricks from their expected pattern and weaves them into what appear as dancing flames. Between these “flames” are angled windows intended to bring in light while preserving privacy for the family of four. Each floor also gets a steel, mesh-like balcony.
In an effort to make math appear exciting, London's Science Museum has tapped Zaha Hadid to design its new mathematics gallery. According to the museum, the new multi-million dollar, Hadid-ian space will "tell stories that place mathematics at the heart of our lives, exploring how mathematicians, their tools and ideas have helped to shape the world from the turn of the 17th century to the present." If that doesn't sound absolutely riveting to you, well maybe some math-themed architecture can help. Good news, that is exactly what Hadid has planned for the space. In a statement, she said, “the design explores the many influences of mathematics in our everyday lives; transforming seemingly abstract mathematical concepts into an exciting interactive experience for visitors of all ages." The centerpiece of Hadid's design is a 1920s-era Handley Page airplane that is surrounded by undulating forms that appear like visualized turbulence. "The gallery's design will bring this remarkable story of the Handley Page bi-plane to life by considering the entire gallery as a wind tunnel for the aircraft," explained the architect. The gallery is expected to open in 2016. [h/t bdonline]
Forget about the Sharknado, New York–based designers at SOFTlab have created a vortex of flowers that has taken over one Manhattan shoe store, bringing SOFTlab's signature parametric forms to the modern shoe brand, Melissa. The Soho store already grabbed design headlines when it opened its flagship location decked out in a custom-fabricated Corian interior by architecture firm Eight and Associated Fabrication. This latest design intervention is part of Melissa's "We Are Flowers" campaign that used organic shapes and colors to inform its shoe line. SOFTlab was the chief designer behind “We Are Flowers” and, as the title suggests, created a looming art installation of synthetic flowers right inside the Melissa flagship. Using bright colors and familiar natural forms, the installation creates an aesthetic meant to appeal to both shoppers and pedestrians just passing by. And with 20,000 distinct flowers, it's difficult to miss. The installation, as it happens, is an encompassing, immersive one that hangs over the top of the store in its entirety. This is achieved by suspending the flowery panel from a hand-bent metal frame. The underlying digitally-designed mylar structure that supports the flowers is comprised of fastened, laser-cut pieces that give the final product its curving shape. The flowers are also laser cut and individually hand-fastened to the delicate netting. The process is detailed in the installation video above. The final product is a gleaming interior garden at Melissa that winds its way through the entire store. The We Are Flowers installation is currently on view at Melissa's Manhattan flagship at 102 Greene Street.
Composite materials are on display in the undergraduate-built FIBERwave PAVILION.Carbon fiber’s unique properties would seem to make it an ideal building product. Untreated, carbon fiber cloth is flexible and easy to cut. After an epoxy cure, it is as hard as steel. But while the automobile and aerospace industries have made widespread use of the material, it has gone virtually untouched by the architectural profession. Alphonso Peluso and his undergraduate students at the IIT College of Architecture set out to change that with their FIBERwave PAVILION, a parametric, sea life-inspired installation built entirely of carbon fiber. "We want to make the studio an expert resource for people trying to get into carbon fiber in terms of architecture," said Peluso, whose students designed, funded, and built the pavilion this spring. "There’s a studio in Germany that’s in their second year of working with carbon fiber, but I don’t think anyone in the United States is working with it." Peluso’s studio began with an internal competition. Because the spring semester course followed a class dedicated to the exploration of various composite materials, many of the students were already familiar with the pros and cons of carbon fiber. "Toward the end of the first semester we started working with carbon fiber, and it wasn’t the greatest result," said Peluso. "But we knew we had to keep working with it. That played a big part in the selection of the design for the second semester." The students judged the submissions on constructability as well as aesthetics, he explained. "It was interesting to see the students as the pavilions were being presented, see their minds turning on: ‘Okay, this one is feasible—this is one we can actually build.’ Sometimes the design was a little better, but the overall project seemed less possible within the time frame." The winning design is based on a bivalve shell structure. The student who came up with the idea used parametric design software to explore tessellations of the single shell form. "What I was pushing them to do in the first semester was large surfaces that weren’t repetitive," said Peluso. "In the second semester, it was like they intuitively knew there had to be repetition of the unit." As a group, the class further developed the design in Rhino and Grasshopper. But while the students used parametric software to generate the shell pattern, in general FIBERwave PAVILION was "less about designing in the computer," said Peluso. "Most of it was fabrication based." The studio was hands-on from the beginning, when students were asked to submit a small-scale carbon fiber with their competition entries. They went back to Rhino to make the molds. "We had to make six molds," explained Peluso. "Even though it was one identical shell unit we had to produce 86 of these shells. When you make a composite unit, if you have one mold you can only make one shell per day." In the end, the students fabricated a total of 90 shells (including several extra to make up for any defects) over the course of about four weeks. "The actual assembly was pretty quick, the pavilion itself went together in less than a day," said Peluso. Laterally, bolts through CNC-drilled holes connect the shells at two points on either side. The overlapping rows of shells are secured vertically through bolted pin connections. The installation remained on the IIT campus for one month, after which the students disassembled it in just 25 minutes. The Chicago Composite Initiative, which provided crucial technical guidance during the project, has since erected FIBERwave PAVILION in one of its classrooms. The fundraising component of the project was as important as its design and fabrication elements. Peluso initially hoped that the carbon fiber industry would donate materials, but "we didn’t have as much luck as we anticipated because we hadn’t done anything before that would warrant their interest," he said. "That’s one of the goals of the pavilion itself, to create an awareness in architecture that this could be a great material to use." Peluso’s course did have help from West System Epoxy, which provided the curing resin at a discount. To fill the funding gap, the students ran a successful Kickstarter campaign, raising $6,937 from a $6,500 goal. They made incentives for the donors, including 3D-printed necklaces and earrings. "I don’t think we realized how much work was going to go into that," said Peluso. To raise additional funds, the class held bake sales on campus. For Peluso, the process of designing and building FIBERwave PAVILION proved as valuable as the finished product. "The way the students collaborated made the project a success," he said. "Sometimes in group projects you get a few drifters, and some really strong ones. But all twelve students really stepped up. This wouldn’t have happened if they hadn’t all come together as a group."
Zaha Hadid has designed another seemingly-structurally-impossible parametric building form that is set to touch down in Macau in 2017. The building, which could be equally at home in Miami or Dubai, is a large block that has been punctured by three curvaceous openings. The entire mass is encased in an exposed exoskeleton that twists and turns along the structure's contours. The project was undertaken at the behest of Melco Crown Entertainment, casino magnates who have contributed the City of Dreams resort to the gambling-soaked Chinese island. The developers commissioned Hadid to create the fifth hotel located on the property, which will top out at 40 stories and house 780 rooms in over 1.6 million square feet of space. Other expected amenities include luxury retail, specialty restaurants, spa facilities, a roof-top pool, and a number of gaming areas. The external latticework varies in patterning as it crawls up the structure's facade. It is densest at its middle, where it navigates the irregularities of the design's central void, and becomes more elongated at each of the building's poles. The interior is more angular, awash in crystalline glass outcroppings subdivided by triangular grids. These walls collide with the curved base of the structure's opening to create a 130-foot central atrium that welcomes arriving visitors to the hotel. Construction for the newest member of the City of Dreams is already underway.
BIM continues to transform the process of design and building. Dynamo for Autodesk Vasari is a leading open source visual programming environment that extends the parametric capabilities of Revit and Vasari. April’s facades+PERFORMANCE conference in New York includes two conference tech workshops focusing on Dynamo. Gil Akos of Mode Lab will lead Enhanced Parametric Design with Dynamo (4 AIA CES LU credits). Participants will learn the fundamentals of parametric design within Dynamo, with attention to how the application can be used during every stage of the design process. The workshop will also feature a preview of work-in-progress versions of the open-source software.Workshop attendees will receive a one-month complimentary subscription to Mode Lab, a source for in-person and online education in digital design tools. Mode Lab and Autodesk are also hosting a live Q&A on Dynamo on March 21, 2014. Learn more here. For conference-goers interested in how Dynamo can be used to design for better environmental performance, there’s Solar Radiation and Daylighting Analysis with Dynamo (8 AIA CES LU credits). Mett Jezyk and Ian Keough, both of Autodesk, will lead the workshop. In the morning session, participants will learn how to use Dynamo to evaluate solar radiation on a building exterior and set up a recursive optimization strategy. After lunch, the workshop will focus on using Dynamo as a cloud service to access daylighting analysis capabilities. Both workshops take place on April 25. Register for a facades+PERFORMANCE tech workshop today on the event registration page.
A bespoke aluminum building skin transforms an abandoned war bunker into a high-performing boutique hotel.Restoration hotelier Unlisted Collection recently acquired a historically listed, vacant municipal building in London’s East End that served as a set favorite for film luminaries like David Lynch. The 1910 Edwardian fore building and its utilitarian 1937 addition had served as the town hall of Bethnal Green before World War II. In order to convert the complex into a boutique hotel, Unlisted hired London-based architecture practice Rare and tasked the firm with designing an addition to the existing buildings to add space for more guest rooms and amenities, while unifying the three disparate elements into a single entity. Rare directors and founders Nathalie Rozencwajg and Michel da Costa Gonçalves answered this last charge with an ornamental screen facade that visually ties together the historic and modern buildings while also improving user comfort and environmental performance. “The yellow brick facade of the 1937 building wasn’t finished due to the outbreak of the Second World War, when it was repurposed as a bunker,” Rozencwajg recently told AN. Since the building had suffered no major damage during the war, the designers had to move forward while abiding by the English heritage guidelines for preserving historical structures, including the decorative Eduardian facade along the street front. To expand square footage and enable the building’s function as a hotel, the team designed a fourth-level add-on for additional guest rooms. The addition is enclosed in a double-glazed curtain wall that is screened by a parametrically designed ornamental skin. Working in a custom-scripted plugin for Rhino, the team designed a pattern for the screen wall derived from an old ventilation grill that they found in the 1937 extension. In developing the pattern, the designers divided the project into three major zones. The uppermost level functions as a brise soleil with a tightly defined pattern that blocks most of the southern sunlight that impacts this part of the building. Toward the center, the pattern is varied, more open in some places and more closed in others to accommodate interior programming—guest rooms feature smaller apertures for greater privacy while the public spaces are clad in a more open screen. At the bottom level, apertures are kept small to provide privacy from street-level passersby. Approximately 980 feet of the building’s surface is wrapped in this screen, fabricated from laser-cut, 4-mm-thick aluminum sheets. Eight 7-by-4-foot panels in varying pattern densities are bolted into a frame that hangs from the curtain wall. At the roof level, the panels were designed to conceal the building’s elevator towers, plenum, and pitched roof profiles. Rozencwajg estimated that unique panel shapes make up 30 percent of the screen system. Each panel was numbered for efficient installation and bolts in each of the panels’ four corners prevent damage from wind and other environmental factors. The modularity of the panel system also provides for future design flexibility. “If you rearrange the space internally and want to reconfigure the facade, you can change out the panels for more or less opacity,” said Rozencwajg. The panels are finished with a metallic powdercoat that changes hue based on the sun’s angle. Since the historical listing prohibited the architects from altering the existing building—including the old sash windows—the new curtain wall had to improve overall building performance. The south elevation features double glazing to minimize heat gain and natural ventilation is enhanced with trickle vents and energy-efficient windows on the new level. The combined efforts resulted in a BREAM rating of Very Good.
[Editor's Note: The following review was authored by Gideon Fink Shapiro and Phillip M. Crosby.] A generation’s worth of experimentation with generative digital design techniques has seemingly created a “new normal” for architecture. But what exactly are the parameters of this “normal” condition? On November 14th and 15th Winka Dubbeldam, principal of Archi-Tectonics and the new Chair of the Department of Architecture at the University of Pennsylvania, called together some of contemporary architecture’s most prominent proponents of generative digital design techniques for a symposium, The New Normal, examining how these techniques have transformed the field over the past twenty years. According to Ms. Dubbeldam and her colleagues in Penn’s post-professional program who organized the symposium, digital tools have “fundamentally altered the way in which we conceptualize, design, and fabricate architecture.” Participants were asked not only to reflect upon the recent past, but also to speculate on future possibilities. Even among this select group of practitioners, the shared enthusiasm for digital techniques does not imply an affinity of beliefs or approaches. While Patrik Schumacher (who, notably, lectured at Penn one week later) would have us believe that parametric techniques will triumphantly lead to a New International Style, what the New Normal symposium revealed was not a singular orthodoxy, but rather a rich multiplicity of approaches. On the one hand, one perceives a renewed sense of craftsmanship in which computation and robot-assisted fabrication can "extend the potential of what the hand can do," in the words of Gaston Nogues of Ball-Nogues Studio. On the other hand, ever-increasing computational and 3D-modeling power have nourished a whole field of virtual "screen architecture" that follows in the tradition of conceptual and utopian proposals. In his opening keynote address, Neil Denari discussed several contemporary artists—from Gerhard Richter to Tauba Auerbach—who use or misuse tools to elicit unexpected results. Similarly for architects, the computer should be seen as a filter or intermediary tool between author and work, rather than a seamless executor of authorial will. More pointedly, Roland Snooks of Kokkugia asked, "What are the behavioral biases of digital design tools?" He then suggested that contemporary architects might need to invent and design their own tools (software plug-ins and algorithms) in parallel with the architecture. Simon Kim of IK Studio went so far as to attribute to machines an agency once reserved for humans. And Francois Roche of New-Territories Architects said, "We have to torture the machine" to stretch its conventional functions, teasing out new "erotic bodies" and "ways to tell a story" through playful cunning. Lou Reed, David Bowie, and Jimi Hendrix were all invoked, but not by the speaker who wore sunglasses during his talk—Jason Payne of Hirsuta. Citing previously published remarks by Jeffrey Kipnis and Greg Lynn, Payne urged architects to test the assumed limits of their digital instruments, just as Hendrix pushed the limits of his guitar by playing it upside-down and incorporating electronic feedback in his radical performance of the “Star-Spangled Banner” at Woodstock in 1969. However, Payne cautioned, as he cued a slide of Eddie van Halen, the pursuit of technical virtuosity alone can lead to manneristic excess. Indeed, what made Hendrix's Woodstock performance great was not only his innovative guitar work but also his subversive and liberating rendition of the national anthem at a time of social upheaval, sharpened by his insider-outsider status as an African-American rock star. The point is, instrumentation cannot necessarily be isolated from the substance of a work and the social conditions in which it is produced. Tobias Klein gave voice to the digital zeitgeist in declaring, "We [human beings] are soft, malleable data sets." Yet if everything is now data, including bodies and buildings, how and to whose advantage is that data analyzed and applied? Selection criteria are inevitably human constructs that may take the form of artistic judgment, energy metrics, economic models, or political values. Ben van Berkel of UNStudio hinted at the conundrum of data analysis in his concluding keynote, in which he listed "different scales at which information comes together"—namely the diagram, the design model, and the prototype. But alas the Dutch architect, an acknowledged master of the diagram, did not elaborate on how, exactly, his office wrangles messy information into a clear design mandate. One notable absence from the slate of participants in the symposium was a critic or historian to situate the New Normal within both the history of architectural practice and the wider milieu of contemporary culture. While one of the most prominent theorists of generative design, Manuel De Landa, made important contributions to the discussions, his comments focused not on situating the discourse, but instead on the artistic repurposing of non-linear, morphogenetic tools developed by scientists to create more personalized digital form-finding devices. Also lacking were the voices of women, who numbered only three out of twenty speakers and moderators, including Ms. Dubbeldam. What the relentless experimentation among the symposium’s participants suggests is that, while there may be a new normal for the practice of architecture, it has yet to become normative—and that is a sign of its vitality.