Jones Rhiannon 557484 partB

TUTORS: HAS LETT GROU NDS AND BRA DLEY E LI AS

ABPL30048 - A R C H I T E C T U R E DES IGN STUDIO: AI R

RHIANNON JONES - 557484

DESIGN STUDIO AIR

JOURNAL

TABLE OF CONTENTS Introduction

02 - 03

Part A. Conceptualisation

04 - 15

A.1 Design Futuring

05 - 08

A.2 Design Computation

09 - 11

A.3 Composition and Generation

12-14

A.4 Conclusion

15

A.5 Learning Outcomes

15

Part B. Criteria Design

15 - 36

B.1 First Case Study

17 - 18

B.2 Second Case Study

19 - 20

B.3 Reverse Engineering

21

B.4 Technique: Development

22 - 25

B.5 Technique: Prototypes

26 - 29

B.6 Technique: Proposal

30

B.7 Learning Objectives and Outcomes

36

Part C. Detailed Design C.1 Design Concept C.2 Tectonic Elements C.3 Final Model C.4 Additional LAGI Brief Requirements C.5 Learning Objectives and Outcomes

References

37 - 38

INTRODUCTION My name is Rhiannon. I am a third year student at the University of Melbourne, majoring in Architecture.

I was born in England, however I only lived there for four short years. I grew up in Belgium, which I now consider my home. I was educated in French. I also speak Spanish and Dutch.

I have a deep love for travel, I thoroughly enjoy learning about other cultures by visiting their cities and getting lost in unknown places. I also love being able to meet new people, trying new foods and.

I’m always up for trying new activities. Or if I went looking for secret Except bungee jumping. And anything to passageways. do with spiders. My other main hobbies are photography and reading.

When I got a bit older we travelled further abroad, where I got to be in It was through my travels as a child that contact with cultures and architecture I discovered my interest in architecture. that were fundamentally different to We would regularly go away for a few what I’d previously been exposed to. I days or a week somewhere in Europe found it exciting to witness how people and end up visiting multiple middle- lived differently and how their ways of age castles and wandering through life were reflected through their buildings. the historical cities. My parents would always lose me in the rooms where the architectural drawings were displayed.

Page 2

Finally, it was due to a year’s volunteer program with an NGO called “Le Défi Belgique-Afrique” that I decided to study architecture. We spent a year meeting up regularly on week-ends and having discussion where people would come and talk to us about their living conditions in Africa. We covered topics such as the woman’s situation, woman’s health, children’s health, education, the economy, how Europe is portrayed to them, how they give up everything to go to countries such as Belgium and then endup with nothing when they get there...

The year ended with a three week trip to Burkina Faso where we got to meet the locals and work together in planting trees to fight the advancing desert, go teach in schools and live the simple life. When I came back from that trip, the western civilisation seemed so rich, wasteful, complicated, unhappy.

That’s when I decided I wanted to do something that could influence people’s lives. However I did not see myself as capable of being a doctor or a teacher.

I eventually remembered my love for architecture and decided it was the right choice for me.

Page 3

My only experience with digital design is Virtual Environments in first year, where we were required to create a lantern using Rhino. Although I found it hard at first to get my head around the computer program and the commands, I did enjoy being able to create something digitally. I found it amazing how you could modify their design in ways that you wouldn’t necessarily imagine if you restricted yourself to designing by hand.

The best part for me was definitely being able to print out the model and build it.

The joints were so crisp and clear, it all fit together perfectly, giving the lantern a real astonishing finish.

PART A

CONCEPTUALISATION “Conceptualization begins to determine WHAT is to be built [...] and HOW it will be built.”1

A.1 DESIGN FUTURING

“Design Futuring - Sustainability, Ethics and New Practice” by Tony Fry (2008).

‘Problems cannot be resolved unless they are confronted and if they are to be solved it will not be by chance but by design.’

We have to ask ourselves how we are going to solve the problems of the future through design. We want freedom. We want a future. Therefore we need the ability to sustain ourselves, to provide for ourselves. We currently are living in an unsustainable way; nature alone cannot sustain us.

Design futuring is a new design intelligence. We can no longer maintain the ideal that people have a power of deciding how they want to live and changing their environment to accomplish it. We need to look at our environment and live accordingly by making critical decisions. We cannot afford to reduce design to its aesthetical facet.

Page 5

POWER BUBBLE2

A1.01

Power Bubble is a design that uses two Solar panel technology is used to convert

types of renewable energy: the sun and the gasses emitted by landfill (principally methane).

Power Bubble is a live system that is continuously changing. It reacts to the quantity of gas released as well as the amount of sun captured by the solar panels. This makes it interesting for visitors and can entice them to visit multiple times. Additionally, the bubbles are alight at night time.

Page 6

solar energy into electrical energy in an efficient way.

In addition to this, the methane is collected and turned into energy or used for boilers. If methane is let into the atmosphere it can be harmful, however reusing it can be very beneficial for the environment.

SWIRLING WATER PARK3

A1.02

The Swirling Water Park is a design that is based on water vortexes.

The description of the design is unclear as to how the park would function fully but it mentions that there are vortex machines, swirling large volumes of water around creating water motion. This can then be used as a river or for water

slides. The tops of these machines can be supplying energy that can be stored on used as bird nests which is good for the the grid. biodiversity of the site.

If the energy created by these water vortexes could be harnessed and turned into electricity, the water park would not only be providing its own energy but

Page 7

A1.03

KINETIC ENERGY (PAVEGEN HARVESTING TILES4)

Pavegan are a company that create materials. They can be placed in already Various case studies have already been

energy harvesting tiles that are activated by footfall. This means that every step that lands on a tile produces energy, 8W to be exact. The energy collected by the tiles can be used immediately or stored for future use.

The tiles are most effective in areas where many people will be walking as it is each step that creates energy.

The tiles are made of rubber and recycled

completed floorings or made especially for a particular project or design.

The slabs are durable and created to resist harsh weather conditions. They are therefore functional outdoors as well as indoors.

The drawback is that the tiles do not provide a very large amount of energy, not enough to power a city for example.

Page 8

conducted with the tiles. In 2013, the annual marathon in Paris had a section of the track covered in the tiles. 40.000 runners then ran across them collecting only enough energy to power a light bulb for five days5.

The tiles were also used in Sydney6, in the Westfield shopping centre. The tiles permitted the Christmas tree lights to be lit uniquely through kinetic energy.

A.2 DESIGN COMPUTATION

“Theories of the digital in architecture”

by Rivka and Robert Oxman (2014).

In digital design it is performance that dictates form an permits architecture to respond to its environment.

Digital architecture is a direct produce of digital design. Through the use of parametrics, one can modify the outcome of a design as a whole by changing its individual parts.

“Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design” by Kalay, Yehuda E.(2004).

When designing it is important to identify ALL the elements of a problem.

Each step of the design must be re-evaluated as to whether it is solving the problem.

Page 9

SAGRADA FAMILIA

A2.01

The Sagrada Familia is a basilica situated in Barcelona, Spain. It was designed by Antoni Gaudi in 1882 and is an example of Catalan Modernism.

The design of the building permits stone to appear as an organic and fluid structure.

Page 10

However, the building is not yet completed. Today, Gaudi's work is continued by new architects who are

using digital programs to visualise the final outcome of the temple. This

permits more people to understand the complex geometries and organic forms of the building. Additionally, a video was recently created to show the world what the Sagrada Familia will potentially look like once complete7.

A2.02

IT’S IN YOU NATURE, I’M LOST IN PARIS

Francois Roche’s house ‘Lost in Paris’ is all about a modern vision of nature.

A nature that is created by humans and upon which we depend. Lost in Paris develops a type of ecological architecture through which technology is intertwined. The facade is overrun by plants turning it into a green monster.

The objective of the house was to create a design that was great mechanically whilst being completely swamped by nature8. Bacteria is grown on the facade that kills the surrounding plants9.

Fancois Roche has been using computers to design since the first programs came out in 1995. The appeal was being able to metamorphose the design progressively, building upon the design.

Francois Roche specializes in architecture that flows, where the individual parts form a whole and are indistinguishable from one another9.

Page 11

A.3 COMPOSITION AND GENERATION “Computation Works: The Building of Algorithmic Thought” by Brady Peters (2013).

Computational design is more that just creating fancy 3D models. It extracts the essence of architecture. It permits new design possibilities to be explored and performance to be simulated.

Computation is not to be confused with computerisation. Where the later is simply putting a completed design into digital form computation is the process of design itself. It allows flexibility, permits the architect to push the boundaries and generate something complex. It also lets the designer predict how the final product will interact with users. Computation is also useful once the building is complete to update how the building evolves and changes according to feedback from users.

Definition of “Algorithm” in the MIT Encyclopedia of the Cognitive Sciences (1999).

An algorithm is made up of a finite set of rules that are clear and simple to follow applied to a set of ‘objects’ and is always computable.

Page 12

SWALLOWS NEST VINCENT CALLEBAUT

A3.01

Computational design was used to create this project. The complex geometry of the structure is produced by the continuous repetition of simple parameters11.

The complexity of the design could The building incorporates photovoltaics not have been produced as effectively for energy production. The environment without the use of digital software to of the building was taken into solve the algorithm necessary. consideration as it is protected against earthquakes and typhoons.

Its objective is to be a zero carbon emission building10.

The cultural centre in Taiwan, also known as the Swallows Nest, was designed

by Vincent Callebaut. The project tries to incorporate ecological and modern living into the building design.

Page 13

ATELIER MANFERDINI

A3.02

Elena Manferdini uses digital design to explore tectonics. She believes it is important to understand architecture as a whole but also as a sum of all its individual parts.

Elena Manferdini has a particular interest in lace as there is a close interaction between the openings between the lace and the lace itself.

The image on the left depicts a SCI-Arc Gallery installation that was about the investigation of the intricacies of lace making from 2008.

The image on the right is an image of the Malpensa Airport entry competition for Milan. The roof is formed by the repetition of the same form connected together13.

Atelier Manferdini appreciates digital design and is currently researching computer-aided design. Digitalization permits designs to be more subtle12.

Page 14

A.4 CONCLUSION To conclude part A. Conceptualization, it is important in a modern world to create architecture that is sustainable and that responds to its environment. It is vital to produce an architecture that is capable of adapting itself depending on the users and how different factors change over time. For this to be possible, the architect has to attempt to predict the different uses and how the building will age.

The architect can be aided at the designing stage by computation. Digital design permits the architect to push his or her known boundaries and to play around with the form of the building in a way that was not possible simply by drawing. The form of the building should now be determined by the use, environment and purpose of the building.

The design process is starting from the other end.

Digital design also permits the designer to produce something that is a lot more fluid and flexible than if they were tackling the process manually.

Digital design does not only permit you to predict how the building will interact with its users but it can then be continued to be used once the building is occupied to see how the building evolves.

A.5 LEARNING OUTCOMES I now have a much better understanding of why digital design is used. At the start of the assignment I would have said I much preferred the manual development of design because it gives a more human feel to the design. I have now learned that computation can help produce designs that are more efficient and responsive to their environment.

I have also learnt that scary words such as parametric and algorithm aren’t actually that frightening and are actually very useful tools in making a complicated design starting with simple geometries.

Page 15

PART B

CRITERIA DESIGN

TESSELLATION

B.1 FIRST CASE STUDY ‘Voussoir Cloud’ 14

by IwamotoScott

Tessellation - when a surfaces

is clad by a repetition of a geometric shape without any gaps or overlaps.

Voussoir Cloud is a structure formed by

a series of vaults and columns patterned with a Dalaunay Tessellation. Laminated wood is folded into individually shaped ‘petals’, which have been specifically calculated through computerisation in order for them to all fit perfectly together and create the overall form.

Page 17

TESSELLATION

‘Rhino and Grasshopper iterations

Page 18

STRIPS AND FOLDING

B.2 SECOND CASE STUDY ‘Double Agent White ‘by Marc Fornes / Theverymany15

Strips and Folding - when a

panels are used to clad a surface.

Double Agent White is a structure

composed of nine spheres that intersect each other. Computational design is used to create a complicated relationship between the pattern existing on the surface and the curvature of each sphere.

This relation permits a small number of components to give freedom of shape and morphology.

Page 19

Page 20

STRIPS AND FOLDING

STRIPS AND FOLDING

B.3 REVERSE ENGINEERING

The first step of the reverse engineering was to create a sphere.

We then created multiple spheres and connected them together to create the base form of the Voussoir Cloud. By using the solid union command we could make it so that each sphere intersected its neighbor.

We then wanted to create patterns on the surface of the design. We tried dividing it into points and from there we tried using arc tool however the arcs just hung vertically around the curved surface. We then tried applying a triangular pattern to the surface and culling it so as to randomly remove sections. These solutions however were unsuccessful as they did not In order for the form to have a flat base we used create random flat patterns on the surface of the a box to trim off the bottom of the brep. spheres.

Page 21

Double Agent White

ITERATIONS AND POSSIBLE DIRECTIONS

B.4 TECHNIQUE DEVELOPMENT

Page 22

Page 23

PROTOTYPES TO FURTHER EXPLORE

25: Circles

43: Layering

A funky design created through the lofting of circles between the two offset layers of our Brep shape. The circles intersect creating a nice pattern on the surface. We have yet to decide how this could potentially renew energy, however it is extremely sculptural. Its sculptural nature is defined by the delicateness which the circles create.

Here, a feathering of layering is created.

This design was selected for its delicacy and flexiblity. A possible direction would be using the petal-le layers to blow in the wind and create wind-energy. Another option would be to use magnetism to create a field as moveable parts draw near to each other.

Page 24

19: Cones

33: Contours

28: Onion shape

This design was chosen for its point of difference in relation to our other examples in the matrix. Using a cone input we were able to move away from a spherical shape. A dynamic design was created through the intersection of these different cones. With further exploration of this design we believe that it has potential to be an interactive and sculptural from as dictated by the brief. We could perhaps make use of its pointed form when connecting it to our energy renewing. Many of the past years examples used a portion of the energy created to allow the structure to do something, usually in relation to light.

We could make the tips of the cones light up when a certain amount of energy has been created.

Another idea to explore is the possibility of the sides of the cone flattening and then rising throughout the day due to the magnetic force somehow created by site users. This will be further explored through prototyping.

Using contours with an attractor input for the distance between them an interesting form was created. It is extremely spherical, however the patterns created by the contour is of interest to us.

Perhaps we could have disks on an axis, shaped like each contour, which move.

As they move and bang into one another they could help to create the magnetic energy which we are trying to create.

An explosive design with lines protruding from a central sphere was created through a map-to-surface input. The shape created is unique and different; we find it extremely interesting and see lots of potential for further interpolation.

The central sphere could be a gathering area for the site, the protruding elements a sculptural design. This would allow users to contemplate the design from within it. Possibly the design could be even more user friendly by allowing it to be climbed. A design such as this one would also allow us to cover a large amount of the site, which itself is actually quite large. The design could be turned on its side or created upright.

This flexibility is appealing as it promotes further exploration.

Page 25

PHYSICAL PROTOTYPING

Prototype 1 This prototype explores the basic form that we have created in Grasshopper and Rhino. It also tests the interaction between spheres and how it would be possible to change the number of components in the overall form.

This iteratative prototype is organic, which creates a soft and relaxed form. It would be an interesting paradigm change have an energy source that is delicate in form as opposed to a machine with harsh edges.

Here we employed flexible twigs to wrap around a central spherical space. This natural material would be easily available at the LAGI site in Denmark, as Scandanavia is famous for its timber.

Page 26

Prototype 2

I

n order to emulate the softness and delicacy of the form obtained in our explorations, we used black tissue paper. If this option were to be further explored however, other possibilities would have to be explored. Thin slices of wood could be used to construct an incredibly beautiful piece. Other options could include using canvas or another waterproof material. An exciting possibility could be to use rubbish and junk from the surrounding waterways to create a space that produces energy and awareness of litter in the sea. This installation could be added to by people who use the site - in a way, a type of community art project.

Page 27

Prototype 3 Two different materials were tested in the creation of this prototype. Firstly a normal paper one, followed by a thicker card. Whilst the thicker card was a more durable and better looking outcome, with the thinner paper I was able to weave the strands into one another to create the form at the top. Both were made in the same fashion, by strips of paper being cut from the edge to the outline of a circle. Due to the issue with sticking the strips together at the top of cone we began think about incorporating the renewing of energy and making the design more user friendly. Perhaps we could design a moving structure where the strips folded down and up during the day dependant on certain factors.

Page 28

Prototype 4 The central sphere in this design, we imagine, would be a gathering area for the site. The area would most likely need to be enlarged. With a rough site cut out (not to scale) we randomly created a nest pattern around the sphere roughly copying the grasshopper prototype we created. However, we turned the grasshopper design on its side when creating this prototype as we felt it would fit the brief better. The point of interest in this prototype is the large footprint of it. By using a random scattered pattern and perhaps increasing the number of domes around the site, most of the site could be incorporated into the design.

Page 29

Prototype 1

B.6 TECHNIQUE PROPOSAL

Prototype 2

We decided to try and develop 33Contours. For this we followed the principle form the AA Driftwood tutorial.

We used our baked sphere as a brep and then used one of the inner contours to be offset and extruded vertically.

We then created a physical model of however in the harbour context of the the prototype, successfully creating the site we feel this does not work. curved surface of the design. This design would potentially have worked with the vortex power we were originally considering using,

We developed 28- Onion Shape digitally and with a physical model. We populated a surface with points and created arcs between those points. There is a sphere at the centre that trims any arcs passing through it.

Page 30

Prototype 3

For our final digital model we decided to fully move away from the spheres that were restricting us so much in the previous proposals. This design was created in Grasshopper using field attractors within a set box boundary. We then piped the lines so as to give them a thickness.

Page 31

Due to the small nature of the elements of the design we decided that using the 3D printer would be the most efficient way of bringing the structure into the physical world. Some of the members were too slender and/or cantilevered too far out and therefore broke as they could not support their own weight. This issue needs to be address for the next part of the designing process.

Page 32

Bathing Culture in Scandinavia

Public baths have been important cultural places for centuries. This tradition continues to exist strongly today in Scandinavia (and other countries in the world too, but we are focusing on Denmark). The Scandinavians celebrate taking care of their bodies and embrace the water, all year round16. Public baths are usually highly ornamented and luxurious buildings. This shows the importance of the buildings17.

Winter Bath at The LAGI competition brief states that the Island Brygge designs should permit users to engage

by BIG18 with the project.

Situated in Copenhagen Harbour, just up stream from where the LAGI site is, the Winter Bath project can be found.

The wooden deck is elevated over the harbour and permits users of the thermal baths and saunas to look out across the water.

Page 33

We wanted our sculpture to produce the hot water for public baths, pools and saunas, situated in the cavity spaces of the structure. This permits the people to be completely emerged and at one with the project whilst also benefitting from the infrastructure.

Concerning the choice of technology to use to produce energy on the site, we originally were planning on using hydraulics and vortex power.

However this technology requires more current force than is available to us in Copenhagen Harbour and therefore is not suitable for the project in this site.

We therefore researched different possibilities that could function well with the design we have generated so far.

We wanted something that could generate energy but we were still interested in staying connected with the water.

We found something called ‘Tubular Solar Panels’. This was perfect for our design in multiple ways.

Firstly our structure is created by the curving of pipes and therefore the tubular form of these solar panels can happily be integrated into the design.

Secondly, this technology creates electricity efficiently through the use of solar panels that are simply curved round. As they are circular, there is always a face of the tube perpendicular to the sun. Additionally, the photovoltaics can create electricity from the diffuse and reflected sun light from the site.

Finally, as a by-product these tubes produce hot water. It is natural for solar panels to heat up in the sun and this diminishes their efficiency.

Page 34

By passing water through tubes located in its centre, this excess heat is collected by the liquid, which is in turn being heated up.

Technology

Tubular Solar Panels19

DC TO AC INVERTER TUBULAR SOLAR PANELS HARBOUR BATHS

Technology

WATER PURIFICATION Tubular Solar Panels, being curved, are always perpendicular to the sun which optimizes energy production, as well as being able to use reflected photons. Water is pumped through the centre to cool the photovoltaics.

METER

GRID

This diagram shows that we plan on using water from the harbour to be pumped around the tubular solar panels in order to cool them and optimize the energy production for the grid whilst also providing hot water for public baths included in the design.

DIRECT SUN

Site Diagram

DIFFUSE AND REFLECTED SUNLIGHT

As the site is situated in a harbour it is important to consider the direction of the current: as the water enters and later exits the bay, pumping direction will have to be inversed.

Page 35

Learning Outcomes

Feedback

B.7 FEEDBACK AND LEARNING OUTCOMES

In order to go forward with our proposal we need to look more into the technology and work out how much energy will actually be produced and if there will be enough to heat up water for thermal baths.

We also need to make sure our structure can support itself, without losing the overall feel of our design proposal.

This part of semester has been very hard for me. I find it extremely difficult to just ‘play around and have fun’ with the computer program. I get stuck on what I want it to do instead of trying to find what it can do for me. Luckily my group mates have been exceptional in helping me with this and have been very patient with my slow progress.

However, once we decided to break away from trying to get a pattern on those nine spheres, things were a lot more interesting as we had more freedom to explore more paths. And from that we were able to create an interesting design to propose. This then made us reevaluate the kind of energy to use for out project as vortex power was no longer an option and we discovered tubular solar panels which I find quite exciting as a concept.

We then chose to use the 3D printer to

Page 36

bring the design into the physical world.

This was a first for me and I think its amazing the technology we have at our disposition.

References 1. ‘Intergrated Project Delivery: A Guide’, p.24.

2. Chen Z., Yin Kuang C., Wen Wen L., ‘Power Buble’ (2012), <http://landartgenerator.org/LAGI-2012/cykczlww/> [accessed 14th Mar 2014] 3. Seung Hoon L., So Jin P., ‘Swirling Water Park’ (2012), < http://landartgenerator.org/LAGI-2012/sa8216ik/> [accessed 14th Mar 2014] 4. Pavegen Systems Ltd., ‘PaveGen Systems Technology’ (2014), < http://www.pavegen.com/technology> [accessed 14th Mar 2014] 5. Zimmer L., ‘Kinetic Energy-Harvesting Tiles Generate Power from Paris Marathon Runners’ (4th October 2013), < http:// inhabitat.com/kinetic-energy-harvesting-tiles-generate-power-from-paris-marathon-runners/> [accessed 14th Mar 2014] 6. Pavegen Systems Ltd., ‘PaveGen Systems Events’ (2014), < http://www.pavegen.com/experiential> [accessed 14th Mar 2014] 7. Jones, Rennie. “AD Classics: La Sagrada Familia / Antoni Gaudi” 16 Oct 2013. ArchDaily. <http://www.archdaily. com/?p=438992> [accessed 20 Mar 2014 ] 8. John Wiley & Sons Ltd. “It’s in your Nature. Lost in Paris.” 15 Apr 2010. Architectural Design, [Online]. Vol.80/Issue 3, 46-53. Available at: http://onlinelibrary.wiley.com.ezp.lib.unimelb.edu.au/doi/10.1002/ad.1074/pdf [accessed 20 Mar 2014].

9. Kietzmann, N. “Francois Roche, R&Sie(n) Architects”. Crystal Talk. <http://www.baunetz.de/talk/crystal/index.php?lan g=en&cat=Interview&nr=26> [accessed 20 Mar 2014].

10. Iau. “Swallows Nest: Cultural Center for Taiwan by Vincent Callebaut”. 14 Jun 2014. Architectism. < http://architectism. com/swallows-nest-cultural-center-for-taiwan-by-vincent-callebaut/> [accessed 26 Mar 2014].

Page 37

11. Vincent Callebaut Architects. “Swallow’s Nest, Taichung City Cultural Center, Taichung 2013, Taiwan”. Vincent Callebaut Architectures. < http://vincent.callebaut.org/page1-img-swallow.html> [accessed 26 Mar 2014].

12. Cityvision. “Atelier Manferdini”. 28 Oct 2011. CityvisionBeta. < http://www.cityvisionweb.com/mag/atelier-manferdiniinterview/> [accessed 27 Mar 2014].

13. “Atelier Manferdini”. < http://www.ateliermanferdini.com/> [accessed 27 Mar 2014].

14. “‘Voussoir Cloud’ by IwamotoScott with Buro Happold”. 22 Sept 2009. Archivenue. <http://www.archivenue.com/ voussoir-cloud-by-iwamotoscott-with-buro-happold/> [accessed 4 April 2014].

15. Escobedo, Jessica. “Double Agent White in Series of Prototypical Architectures / Theverymany”. 28 Jul 2012. eVolo. <http://www.evolo.us/architecture/double-agent-white-in-series-of-prototypical-architectures-theverymany/> [accessed 11 April 2014].

16. Lee Braun, Margaret. “The Public Baths of Copenhagen”. April 2001. BudgetTravel. <http://www.budgettravel.com/ feature/0103_Copenhagen_Baths,428/?page=2> [accessed 30 April 2014].

17.Hoffman, Anna. “Quick History: Public Baths & Bathing”. 5 December 2011. Apartment Therapy. <http://www. apartmenttherapy.com/quick-history-baths-bathing-146544> [accessed 30 April 2014].

18. ”BIG Vinterbad bryggen - Copenhagen”. 17 Sept 2012. afasia archzine. <http://afasiaarq.blogspot.com/2012/09/ big.html> [accessed 30 April 2014].

19. Emspak, Jess. “ALTERNATIVE POWER SOURCES - Tubular Solar Panels Create Electricity, Hot Water”. 11 April 2012. <http://news.discovery.com/tech/alternative-power-sources/naked-energy-tubular-solar-120411.htm> [accessed 1st May 2014].

Page 38