ABSTRACT
Facade is positioned alongside other terminology such as envelope and skin, before distinguishing this research from kinetic structure and operable interiors. The fourth term, pattern, when considered in relation to kinetics for the particular context of a facade, is more diffi cult to defi ne at the onset. This emerges, through critique of precedent in the kinetic arts and when developing design variables, which are argued to be the most infl uential in its formation. Multiple permutations of kinetic pattern, as evident through close examination of animation experiments, provide further insight. The distinctive qualities of kinetic pattern for architectural facades, and the compositional potential these afford, are central themes that shape the inquiry.
