I am Lexi Baikie As a Tasmanian baby, I grew up exploring, seeing and learning to love nature. I had never experienced driving any longer than 10 minutes for city, work, or school before I moved to Melbourne. I took for granted the fresh free range eggs from our chickens, the fresh air, open spaces and mountains views. My parents would load me and my two sisters into the car and take us to the most magical and diverse locations across the small island state. Growing up I was always painting, drawing and sewing. I liked studying sociology and economics, as it takes a big picture view of individual, society and global issues. The Bachelor of Environments combined both my individual strengthens and interests as I began at the University of Melbourne. I was interested in all the majors, in particular Landscape Architecture, Urban Planning and Architecture.
“The greatest threat to our plant is the belief that someone else will save it� R.Swan.
I am dedicated to designing spaces and places for environmental sustainability. I hope to take on the overarching responsibility of sustaining our future on this earth by using my knowledge, and skills in designing more environmental architecture. I am passionate and excited about the future of architecture and how environmental psychology can be used in design along with technological advancement that has the ability to create more sustainability. I have dabbled recently in the world of digital design, tools and theory, in particular CAD, and Photoshop, although in full disclosure I often avoid it. It was not until last year I started to discover the technological potential of digital design. I was amazed to realize that MAX LAB IV landscape project, designed by Snohetta, was constructed by programming digital designed data into a bulldozer, which then uniquely excavated over 20,000 square meters without manual labor. The Al Bahr Towers, another favoured architecture of mine, uses parametric design to create a shading system which responds to sun exposure moving around the tower, resulting in 40% lower carbon emissions. I am excited to take Studio Air as a opportunity to jump into digital design with a two feet and begin using technology to its full potential in architectural studios.
The Thread is an aerial robot thread construction developed by a group of master students in London studying at the AA School of Architecture1. The design and construction of Thread combines the multi disciplinary world of design from textiles, aerial robotics, structural engineering, digital design, architecture and coding. Fabricated in-situ the 3-dimensional weave spans over space and sits in tensile strength2. The project can act as a further developed example of how to use robotic aided construction methods to expand the architectural industry. The question of whether the construction industry will remain human run is raised in the introduction of robots and digitally run design3. Although the drones’ ability is limited, drones can not carry dense weight and natural elements such as wind can disrupt flight patterns. Thread was conducted in a control space with no external factors and within a series of trial and error projects. The theory of connectivity, weaving and bundling within a complete system was the overall concept for the project4. The combination of structural advances, aerial robotics and tensional weaving was perused with individual knotting, which was then represented in a single form across a spatial environment. The concept of aerial robotics and robotic aided construction may suggest a revolutionary, radical movement. However, with the current capacities the use of drone architecture may in this present age, be artistic and experimental and be developed in the future. In the field of Architecture and urban design, technology is continuing to develop and immerse into the world of digital design. For instance, it was not until 2009, a commercial and affordable 3-dimensional printer was made available in the design industry5 and now it is an essential item for any larger firms and schools. The reality of fabrication will continue to develop and become more affordable and accessible over time, increasing the demand and interest. The Thread uses technology to assist in their creation of beauty and composition.
1 AA School of Architectur, “AADRL BEHAVIOURAL PRODUCTION: THREAD”, Kokkugia.com, 2013 <http://www.kokkugia.com/filter/ swarm-printing/AADRL-aerial-robot-thread-construction> [accessed 16 March 2016]. 2 ibid 3 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 4 AA School of Architectur, “AADRL BEHAVIOURAL PRODUCTION: THREAD”, Kokkugia.com, 2013 <http://www.kokkugia.com/filter/ swarm-printing/AADRL-aerial-robot-thread-construction> [accessed 16 March 2016]. 5 3D printing industry, “3D Printing Industry”, 3dprintingindustry.com, 2013 <http://3dprintingindustry.com/3d-printing-basics-freebeginners-guide/history/> [accessed 16 March 2016].
The Al Bahr Tower’s shading system design was inspired by a native desert flower. The parametric design was developed through the digital technology of grasshopper. Designed to be a reactive and adaptive system, where the dynamic shading system will open, close and move around the building to reduce the solar heat gain through solar radiation into the commercial space. Commercial spaces in Melbourne use their higher percentage of energy on active cooling systems. A passive design strategy has the potential to reduce a commercial building energy by 60%1. The Al Bahr Towers have developed an active shading system, which allows for natural light and resulted in a 50% reduction of energy consumption and 80% reduction in solar gain2. “Al Bahr Towers represents the first time this technology has been successfully used on this scale and opens up an exciting new direction in building design3.” Aedas architects even implemented tinted glass to reduce glare of natural sun light and 2000 photovoltaic module panels to harvest solar energy4. The concept of developing a site specific shading system is not new, but the process of making an active, multiple outcome, parametric design is. Al Bahr Towers is an example of a built structure that has used a digital design process to build with increased sustainability. The increasingly environmentally focused buildings provide encouragement, a precedent and an experiment for future construction. The importance of reimaging the commercial tower is vital in the move towards a sustainable future and the era of mass energy consuming glass high rises needs to be a part of our architectural history. Environmental design is opening the door for innovation and a greater sense of responsibility to the earth. Splitterwerk Architect in Germany designed a building with is partly powered and shaded by their algae shading system5. Council House 2 Building in Melbourne was designed to provide a healthier internal environment which will increase productivity as well as a reduction of energy consumption6.The CH2 uses natural passive strategies along with solar power generation, chilled beam system and sewage water recycling7. The technology and research of present day society has the ability to reduce the current un-renewable energy consumption in building and redevelop past architecture for a more sustainable future. This project, along with others, will inspire the underlying concept of my design with the hope of creating something beautiful along with practical and environmentally sustaining which can benefit the area of Merri Creek and reduce the water pollution.
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Alison G Kwok and Walter T Grondzik, The Green Studio Handbook (Oxford: Architectural, 2007). Adrian Welch, “Al Bahar Towers - Abu Dhabi Buildings - E-Architect”, e-architect, 2013 <http://www.e-architect.co.uk/dubai/al-bahar-towers-abu-dhabi> [accessed 16 March 2016]. Adrian Welch, “Al Bahar Towers - Abu Dhabi Buildings - E-Architect”, e-architect, 2013 <http://www.e-architect.co.uk/dubai/al-bahar-towers-abu-dhabi> [accessed 16 March 2016]. Karen Cilento, “Al Bahar Towers Responsive Facade / Aedas”, ArchDaily, 2012 <http://www.archdaily.com/al-bahar-towers-responsive-facade-aedas> [accessed 16 March 2016]. Donna Taylor, “”Algae-Powered” Building Opens In Germany”, Gizmag.com, 2013 <http://www.gizmag.com/algae-powered-building/27118/> [accessed 16 March 2016]. Rob Adams, “Council House 2 ( CH2 ) A Video Tour | City Of Melbourne”, YouTube, 2008 <https://www.youtube.com/watch?v=vJV0wnbAZ6M> [accessed 16 March 2016]. ibid
MAX LAB IV landscape project by Snohetta
Computing can effect the design process from the human directed drafting and modeling to inputing data, and having an output with a range of solutions1.The analysis stage of design could be most benefited with computer aided processes2.The ability to input a range of goals, constraints, site factors, a design hierarchy, and client opinions to find the most feasible design outcome is very useful in removing human bias and connection. However, considering a human is still managing the information inputted, they could still subtract and adjust data to influence an outcome. The MAX LAB IV landscape project, designed by Snohetta demonstrates the true benefits of digital and computing design, and the capacity it has in construction3. The landscape project was constructed by programming digital designed data into a bulldozer, which then uniquely excavated over 20,000 square meters without the use of manual labor. The sheer magnitude of the project’s excavation would have never been thought of, let alone completed without current technology, programming and the ability to GSP coordinates. As the digital link between computer and building in reality becomes stronger, the essence of an architect’s work is returning to the ‘master mason’ by regaining more control over the construction phase of their design. The Canal House by Dus Architects in Amsterdance, aim to complete the ultimate print-your-own-home project4. The 3-Dimensional House is printed via smaller counterparts, layer by layer and blinded together5. A similar project in China used the same digital technology and 3-Dimensional printing to construct houses6. The 3-D printing technology is more commonly used with prototyping, although the potential of this material and construction is advancing with speed and ease and moving into multi-disciplinary practice such as architecture, medicine and science. Commonly used programs have the ability to aid digital design and advance the site analysis stage of design. GeoMaps, for instance, hold catalogues filled with information on native site specific animals and vegetation, flood zones and water tables, historical sites and current buildings. Site specific design should not be lost in the world of digital design, instead it has the ability to be used to enhance the next generation of designers to become more involved in the environmental context and aspect of project.
“As informed performative design evolves to include generative architectural schema within parametric algorithmic design then design thinking will actually produce digital architectural form in response to environmental context7.”
1 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 2 ibid 3 Snohetta, “Max Lab IV LUND – Snøhetta”, Snohetta.com, 2015 <http://snohetta.com/project/70-max-lab-iv-lund> [accessed 16 March 2016]. 4 Colin Grant, “3D-Printed Canal Home Takes Shape In Amsterdam”, BBC News, 2013 <http://www.bbc.com/news/technology-22152212> [accessed 16 March 2016]. 5 Colin Grant, “3D-Printed Canal Home Takes Shape In Amsterdam”, BBC News, 2013 <http://www.bbc.com/news/technology-22152212> [accessed 16 March 2016]. 6 K Campbell-Dollaghan, “How A Chinese Company 3D-Printed Ten Houses In A Single Day”, Gizmodo.com, 2014 <http://gizmodo.com/how-a-chinese-company-3d-printed-tenhouses-in-a-single-1557613229> [accessed 16 March 2016]. 7 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
The Canal House by Dus Architects Nevertheless, the Canal House isn’t finished, GeoMaps required a human to input a hierarchy and the MAX LAB IV landscape design still require the driver to sit in the bulldozer throughout the construction of the build. Design digital and technology is fantastic but I am very doubtful that it will ever replace the role of the designer. Benjamin Franklin1 did not have access to a computer to produce a datasheet which gave him the plausible and probable outcomes of how the kite experiment was to end. He took a kite and a key into a thunder storm and discovered electricity. Humans will still be the originators, thinkers, motivators, inventors; risk takers and creators. I think the role of digital design is to aid the designer, just as speculative design in the past has guessed how the future will look2, and often it is only speculative. Unfortunately, or fortunately the human race has proven to be slow adapting, functionalist and although there has been bursts of racial change throughout the past, the societal need for shelter and conformity to consumerism seems to be main driver in design. Barker and Bearce described our contemporary era as the ‘end times3’ and the President of the United States calls us to “act before it’s to late4” on climate change, yet Melbourne still burns huge amounts of unrenewable resources and the metro sprawl of new developments continues every day. The danger of increasing the use of digital design fabrication and creation is that the ‘younger generation of architects will rely on the scripting of algorithms5’ and the reproduction of parametric design. Designing is a multi-disciplinary approach, and although only a single architects’ name or firm is glorified and advertised across the new building, it took a team of architects, landscape architects, consultants, engineers, construction works, digital and computer aided functions and data, interior designers and various influences and inspirations from the past, present and speculative future to create a single design. Design has been, is currently and most likely always will be a collective, imaginative, impulsive and calculative process. 1 Tom Herny, “History Of Electricity”, Code-electrical.com, 2016 <http://www.code-electrical.com/historyofelectricity.html> [accessed 16 March 2016]. 2 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 3 D. C. Barker and D. H. Bearce, “End-Times Theology, The Shadow Of The Future, And Public Resistance To Addressing Global Climate Change”, Political Research Quarterly, 66 (2012), 267-279 <http://dx.doi.org/10.1177/1065912912442243>. 4 Barack Obama, “Climate Change”, The White House, 2015 <https://www.whitehouse.gov/climate-change> [accessed 16 March 2016]. 5 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10
No longer is algorithm composition and generative design deemed as only instructing a computer what to do through a set of rules or recipe1. It is so much more in terms of a design process. There is a high connection between algorithms and computation which has developed a potential for virtual computer to be more present in architecture firms2. The concept around sets of rules, recipes or method in architecture has been around since from the beginning of the profession, with Vitruvius’ Ten books on Architecture3. Since the ancient years of Roman architecture, the rules of architecture have been regulated from the column orders to the proposition and decoration of external facades as well as the internal spatial arrangements4. Even through more rebellious movements such as Modernism and Futurism, architecture was governed by a set of rules, such as the ‘messaggio’, which regulated materials, form and function of a building.
‘The processing of information and interaction between elements which constitute a specific environment, it provides a framework for negotiating and influencing the interrelation of datasets of information, with the capacity to generate complex order, form and structure.’ Ahlquist and Menges5. Algorithms and generative design can be used in contemporary architecture to solve complex problems and calculate a series of inputs into a range of output solutions. In architectural practices, computing is either separate from design teams, outsourced for the design team, fully integrated or outreaching as software engineers to bring programs back to the architectural firms6. Algorithmic thought and generation can be seen as a collective form of design, where designers share, adapt and accumulate definitions across a wide data base7. One of the most beneficial results of computation is the ability to use data and coding to see simulations and performance feedback at all stages in the design process8. An advanced and accurate simulation technology could be instrumental in solving constructional site mishaps and issue and saving added expenses and increasing safety on site by creating more responsive designs.
1 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 2 ibid 3 Vitruvius Pollio. and M. H Morgan, Vitruvius (New York: Dover Publications, 1960). 4 Mark Cartwright, “Column”, Ancient History Encyclopedia, 2009 <http://www.ancient.eu/column/> [accessed 16 March 2016]. 5 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 6 Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 7 ibid 8 ibid
Loom-Hyperloic by Liebinger & Barkow
The Loom-Hyperbolic by Liebinger and Barkow, in Marrakech, used a native weaving technique to paradigm wooden frame loom installation1. The rigid wooden frame was designed using hard geometry in digital design and simulation techniques2. The Loom-Hyperbolic used beautiful organic materials to create a respectful sentiment to the past of Marrakech. In a time of complex forms and compressed timeframes3, the design process and composition was made possible with the ability of computing and algorithm geometry in Rhino and Grasshopper. Liebinger and Barkow’s design concept as well as site information provided a set of rules which the conflicting geometry of rigid wooden frame and soft woven cotton was constructed. Peters suggest how there is potential for virtual computing to receive continued feedback and make adaptations to the design even after the construction period has ended4. This idea of moveable and adaptive architecture has been experimented with by Barkow and Liebinger in the Kinetic Wall, in Venice. The same architecture team as the Loom-Hyperbolic installation, developed an ever-changing rhythmically design, which has a surface that expands and contracts mimicking the way humans breathe5. The surface is made from a synthetic membrane hiding the motorised nodes behind6. “Kinetic Wall offers an alternative future, an architecture that is materially and spatially dynamic of both natural and synthetic/recycled materials,” Barkow Liebinger, and Liebinger7 The Kinetic Wall may be a prototype artistic installation but it represents the potential of moveable, adaptive architecture in the future while still connecting back to the humanisation with rhematic similarities and the link to the natural world through materiality.
1 Barkow Leibinger, “B _ L”, Barkowleibinger.com, 2016 <http://www.barkowleibinger.com/archive/view/exhibition_loom_hyperbolic> [accessed 16 March 2016]. 2 ibid 3 Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 4 ibid 5 DeZeen, “Barkow Leibinger Explores Moving Architecture With Kinetic Wall”, Dezeen, 2014 <http://www.dezeen.com> [accessed 16 March 2016]. 6 ibid 7 ibid
Kinetic wall by Barkow, Liebinger, leibinger
My design concept stemmed from an Aboriginal theory of gathering. When a gather finds a source of food for example, berries, they will leave the first bunch of berries for reproduction of that resource. The second is left for a friend or neighbour, the third can then be taken for yourself and your village. This method ensures the resource remains sustainable, and everyone will have access to berries because it will have the ability to regrow and fruit. In western society, if they found berries to eat they would then proceed to take the first, second and third bunch. Most likely after the berries were eaten they would then cut down the berry bush for firewood and then complained the next day about the lack of berries for dinner. My design intention is to represent this native sustainability theory of three as well as a more a sinister attitude of todayâ&#x20AC;&#x2122;s disconnection with sustainability. I will use the flood levels to demonstrate the disconnection and perception around the issue of sustainability. When the river is at its highest flood level, none of the design will be visible; conceptually this is to represent a mindset of being oblivious or being in denial. The design will consist of three aerial forms that use a research field of material performance and patterning through knotting and weaving. When the creek is at is lowest level all three forms will be visible, demonstrating a confronting perception of full exposure as the three forms will be left covered in rubbish from the urban run off. I hope to take this design further with the material development so it has the ability to attract, feed or shelter birds and butterflies which then immerse, collect and gather within the design, to represent how nature is the overall origin of the land. I hope to discover, test and experiment will water filtration materials that can collect the rubbish pollution rather than the continuous discarding of waste into the next water system or in native vegetation. My design is targeting at three main clients, the Moreland City Council and native Merri Creek animals and vegetation whom benefit from the practical use of water filtration. The design will also provide an educational element, by giving local schools and community groups an artistic and conceptual installation, which depicts different levels of perception from the disconnected attitude of obliviousness to the confronting exposure of human destruction on the environment. I want my design to develop from a significant concept, something that means a lot to me, but also depicts an important current societal issue of environmental destruction. My design will demonstrate innovation through a conflicting concept of subtlety and confronting by using the site theatrically to illustrate perceptions, past and present, towards sustainability.
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Daniel Shiffman, “Flocking \ Examples \ Processing.Org”, Processing.org, 2014 <https://processing.org/examples/flocking.html> [accessed 17 March 2016]. Frank Gehry, “Walt Disney Concert Hall | Ten Buildings That Changed America”, Pinterest, 1997 <https://www.pinterest.com/pin/24418022956226173/> [accessed 17 March 2016].
At the beginning of the semester, I had limited understanding of the potential and current capabilities of digital design, simulation, computation and the interrogational abilities it has into architecture practice. Using and learning the grasshopper and kangaroo alone has expanded my grasp on how generative geometry and algorithm can benefit design. On past designs I could have used my new knowledge to improve and quickly extend the design process to consider more varied solutions. Last semester, in a Landscape Studio I conducted a site assessment on the constraints using GeoMaps to avoid development in restricted, endangered or heritage listed areas. I could see how this process of evaluating continued with more inputs of information and carrying it through a design concept to produce increased feasibility. However, I can also see how this new knowledge could have limited my designing in the past. The organic process of pen and paper, and the influences from sole research, feedback, environment and memory produces a design process that along with trial and error is both an emotional, psychology and a sensory process. I have used collage as a materiality medium, where influences are often spontaneous and ripped and changed on the paper according to no defined rules. Much like Frank Gehryâ&#x20AC;&#x2122;s architectural process, he worked with models adjusting, discarding and restarting as he went a process of rough and spontaneous redevelopment. Not everything is predictable and calculated in the design world, sometimes clients and observers donâ&#x20AC;&#x2122;t understand why they enjoy architecture more than another, it could be a personal memory or a connection to emotions, it could be subconscious or it might not be until they interact with the designer and hear in person the concept behind the form they can decide what they like and desire. The designer has the ability to convey an greater understanding by using the human senses for example touching the sample surface or material. Digital design has the potential and ability to aid architects and designers with technology that expands their considerations, can stimulate a designs performance, demonstrate form finding solutions, even prototyping their concepts before they have developed them.
Although what is digital design without human input, interaction, concept and creativity, we have the technology to find feasibility of a design but in an age of computation and digital generation, without the human collaboration is it really feasible?
Curve_ loft _ bake _Mesh
The Loft: Using grasshopper to experimenting with a lofted to surface. My design intent was to create a moveable space that could be seen as a pavilion or shelter. The folding and weaving could resemble the scrunching of paper or rock erosion.
Geometry _ Populate 3d (Slider) _ Voronoi 3D_ Bake
The craved away Box: This algorithm allowed for the the craving out of cells. The ability to crave away segments created in interesting array, different and faster to previously learnt methods of subtraction.
Curve Geometry _ Move _ Divide Curve _ Rotate _ Entwine _Tangent Curve _Loft (flatten curve) _ Mesh Brep _ Bake
Ribbon ring: The folding in the structure unexpected resemblance to a wall. I aimed to create a series of spaces and passages when as you move through the space elements are revealed and hidden.
Golden thread and membrane: Out of a series of experiments this model stood out to me as the most dynamic. The concept of scrunching membranes between the thread was when the structure experiences a change in climate, such as rain or wind, it would change the structure from tension to a dried texture. Grounding the thread was to create composition and sense of space through an aerial structure.
References: 3D printing industry, “3D Printing Industry”, 3dprintingindustry.com, 2013 <http://3dprintingindustry.com/3d-printing-basics-free-beginners-guide/history/> [accessed 16 March 2016] AA School of Architectur, “AADRL BEHAVIOURAL PRODUCTION: THREAD”, Kokkugia. com, 2013 <http://www.kokkugia.com/filter/swarm-printing/AADRL-aerial-robot-threadconstruction> [accessed 16 March 2016] Adams, Rob, “Council House 2 ( CH2 ) A Video Tour | City Of Melbourne”, YouTube, 2008 <https://www.youtube.com/watch?v=vJV0wnbAZ6M> [accessed 16 March 2016] Barker, D. C., and D. H. Bearce, “End-Times Theology, The Shadow Of The Future, And Public Resistance To Addressing Global Climate Change”, Political Research Quarterly, 66 (2012), 267-279 <http://dx.doi.org/10.1177/1065912912442243> Campbell-Dollaghan, K, “How A Chinese Company 3D-Printed Ten Houses In A Single Day”, Gizmodo.com, 2014 <http://gizmodo.com/how-a-chinese-company-3d-printedten-houses-in-a-single-1557613229> [accessed 16 March 2016] Cartwright, Mark, “Column”, Ancient History Encyclopedia, 2009 <http://www.ancient.eu/ column/> [accessed 16 March 2016] Cilento, Karen, “Al Bahar Towers Responsive Facade / Aedas”, ArchDaily, 2012 <http:// www.archdaily.com/270592/al-bahar-towers-responsive-facade-aedas> [accessed 16 March 2016] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 DeZeen, “Barkow Leibinger Explores Moving Architecture With Kinetic Wall”, Dezeen, 2014 <http://www.dezeen.com/2014/06/18/kinetic-wall-barkow-leibinger-elements-venice-biennale-2014/> [accessed 16 March 2016] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1-16 Grant, Colin, “3D-Printed Canal Home Takes Shape In Amsterdam”, BBC News, 2013 <http://www.bbc.com/news/technology-22152212> [accessed 16 March 2016]
Herny, Tom, “History Of Electricity”, Code-electrical.com, 2016 <http://www.code-electrical.com/historyofelectricity.html> [accessed 16 March 2016] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 Kwok, Alison G, and Walter T Grondzik, The Green Studio Handbook (Oxford: Architectural, 2007) Leibinger, Barkow, “B _ L”, Barkowleibinger.com, 2016 <http://www.barkowleibinger. com/archive/view/exhibition_loom_hyperbolic> [accessed 16 March 2016] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 Obama, Barack, “Climate Change”, The White House, 2015 <https://www.whitehouse. gov/climate-change> [accessed 16 March 2016] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 Snohetta, “Max Lab IV LUND – Snøhetta”, Snohetta.com, 2015 <http://snohetta.com/ project/70-max-lab-iv-lund> [accessed 16 March 2016] Taylor, Donna, “”Algae-Powered” Building Opens In Germany”, Gizmag.com, 2013 <http://www.gizmag.com/algae-powered-building/27118/> [accessed 16 March 2016] Vitruvius Pollio., and M. H Morgan, Vitruvius (New York: Dover Publications, 1960) Welch, Adrian, “Al Bahar Towers - Abu Dhabi Buildings - E-Architect”, e-architect, 2013 <http://www.e-architect.co.uk/dubai/al-bahar-towers-abu-dhabi> [accessed 16 March 2016]