Part a by Ariel Ye

DESIGN STUDIO: AIR

SEMESTER ONE 2015

YUANYUAN YE 613901 TUTOR: BRAD Elias TUTORIAL TIME: FRIDAY 12pm

CONTENTS INTRODUCTION

1-2

PART A. CONCEPTUALIZATION A.0 DESIGN FUTURING A.1 Design Computation A.2 Composition/Generation A.3 Conclusion A.4 Learning outcomes A.5 appendix - algorithmic sketches Reference list

4-8 9-14 15-20 21 22 23-24 25-26

INTRODUCTION My name is Yuanyuan Ye. I am a third year student under the Bachalor of Environments, major in Architecture. I come from China and spent most of my life there until I was 17. I made a big dicision at that time that to study abroad because I believed this must be an extraordinary experience for my life and my future, thus I came to Melbourne alone as an international student.

The first experience inspired my confidence and interest about this subject was the final parade of â&#x20AC;&#x2DC;Virtual Environments'. It was my first time that learned about digital design and our task was to make our own lantern within Rhino. That was a big challenge for me as I've never touched those thing before. I started with thinking about the shape design, idea generation and draft modelling. Every time I got a new idea, a sense of achievement that came up with my heart. When I brought my final lantern performed in the parade, I was really excited and talked to myself: that's architecture!

Traced back to the time before entered university, I spent lots of time assuming the major and got confused. And I finally chose architecture as it seems like aâ&#x20AC;&#x2DC;safe' major -no need of complex calculation and excessive essay. Therefore, in the begining of my early studies I actually did not take the subjects seriously and that's why I got frustrated during the first semester. I found I should change my attitude and then reconsider about architecture.

The most interesting thing of architecture is the process: thinking, sketching, making and displaying. I am eager to learn more and improve my skill of digital design of architecture.

DIGITAL DESIGN EXPERIENCE

As I mentioned before, the first digital design experience was gained in the subject â&#x20AC;&#x2DC;Virtual Environments'. I learned Rhino with paneling tool at that time which is a very good computing software for 3D modelling and parametric design. For my lantern, I firstly create a surface and then developed it into a solid object through loft, paneling and some other options. And using paneling tool to create several types of the surface, finally import the statistic and scale into fablab to cut the separate shapes out. Then established the model. I have not touched Grasshooper before but I know it's a plugin program that helps Rhino control the parameter of the design. I still have a long journey to explore more about digital design and look forward to studying more about Rhino.

PART A. CONCEPTUALIZATION

A.0 design futuring The society where we live today could be considered as a whole and all of other elements including human being, plants, animals and architectures are the essential parts which exist correlatively.

your gaze (beyond the design process, design objects and designâ&#x20AC;&#x2122;s current economic positioning), engage the complexity of design as a world-shaping force and help explain it as 1 such." Sustainability is another big issue that human being has to integrate within the design process. Design is not merely to break the tradition, but to benefits the environment, society and next generation. Therefore, it needs us to create, to generate and certainly, to innovate.

The separate element presents an associative relationship and brings implicative impacts with each other. However, we could say human being stands in a leading position as we have ability to think and create thing. And this status entrusts a responsibility for us that to refine the environment, not merely for now but the future.

In regarding with the architectural design, the shift from conceptualization to the visualization on technology is an extrodinary innovative revolution. The digital technology is capable to develop more achievable and expectable design techniques within the production, and it means there are more possibilities will be explored in the future. If architects attempt to evoke an innovation, there is a broad scope should be considered such as structure, material, aesthetics, function and context. It is inspiring to integrate contemporary existing technology within architectural design to expand future possibilities.

Design, itâ&#x20AC;&#x2122;s a direct manner to fulfill this dream. It is a sophisticated theory which should not be considered only to design something based on aesthetics without any useful function. Fry gave a further explanation that

"forget design as a territory and practice that can be laid claim to (the drive of professionalization), stop talking to yourselves (the internal dialogue of design events), give up on repackaging design within design (codesign) and start talking to other people, other disciplines; broaden

1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3.

Riverside Museum Architect: Zaha Hadid Location: Glasgow

The Riverside Museum in Glasgow is designed by architect Zaha Hadid. This architecture is well-known for its zig-zags roofline in folds clad with patinated zinc panels. The Riverside Museum derives from its context. One significant thing this architecture contributes to us is its connection between nature and design, in which combines the environment into an integral unity. The design flows from the city to the river; symbolizing a dynamic relationship where the museum is the voice of both, connecting the city to the river and also the 2 transition from one to the other . The museum is situated in very context of its origins, with its design actively encouraging connectivity between the exhibits and the wider environment.

Fig 1: Top view of Riverside Museum

The most representative and inspiring feature is the design of the roof which shapes like cresting waves runs the length of the structure, giving the building a sculptural appearance. Refer to the sustainability, the roof is able to collect the rainwater and bring it inside through a network of pipes, also has to be transmitted through the concealed conduits. The building is also capable to contribute to the low energy services strategy. It provides a very low level of air leakage and substantial insulation to reduce extremes of temperature which, in turn, reduces the demand for heating 3 or cooling . This function significantly

sustainable to the local environment and the technology implemented within the roof is a great innovation of architecture.

Fig 2: Roof section

The museum positions itself symbolically and functionally open and fluid, engaging its context and content to ensure it is profoundly interlinked with not only Glasgow’s history, but also the future elements. Here Zaha Hadid made a detailed explanation about the museum: “through architecture, we can investigate future possibilities yet also explore the cultural foundations that have defined the city…The design, combining geometric complexity with structural ingenuity and material authenticity, continues Glasgow’s rich engineering traditions and will be a part of the 4 city’s future as a center of innovation.” What The Riverside Museum conveys to us is its iconic facade which symbolizing the dynamic relationship between ship-building and Glasgow. I like the design that transfers the architecture to the site fluently and the contrast between the metal material and soft roofline. I think that's the idea what Hadid eagers to contribute: to create an innovative future. 2. Frearson Amy. Riverside Museum by Zaha Hadid Architects (June 10, 2011). <http://www. dezeen.com/2011/06/10/riversidemuseum-by-zaha-hadid-architects/> [accessed 12 March 2015]. 3. BuroHappold Engineering. Riverside Museum, Glasgow (2015). <http://www.burohappold.com/ projects/project/riverside-museumglasgow-76/> [accessed 12 March 2015]. 4. Frearson Amy. Riverside Museum by Zaha Hadid Architects (June 10, 2011). <http://www. dezeen.com/2011/06/10/riversidemuseum-by-zaha-hadid-architects/> [accessed 12 March 2015].

Fig 3: Riverside Museum with lighting

56 Leonard Street Architects: Herzog and de Meuron location: new york city The tower of 56 Leonard Street is one of the iconic skyscrapers in New York which is a 56-storey residential building designed by architects Herzog and de Meuron. This tower contributes some new concepts and ideas to the ongoing disciplinary discourse. The architects intend to design a skyscraper which is able to preserve the spirit of traditional style but also contain new 5 structural possibilities . The most well-known design of this tower is its special feature of “houses stacked in the sky”, which residents look forward to seeing through the remarkable glass curtain façade. ^Fig 4: 56 Leonard Street <Fig 5: Building composition

Herzog & de Meuron has replaced the usual extrusion of traditional skyscraper floor plates with a staggered progression of structural slabs turning slightly off axis by degrees, creating constant variety among 6 the apartment floor plans . This structural arrangement of floor plates at 56 Leonard Street will create an irregular flurry of cantilevered terraces up and down the building, making plays of light and shadow that give the tower a shimmering, animated appearance on the skyline and widely 7 varying interiors .

Due to Herzog and de meuron have paid special attention to the building’s impression on ground level, they create an interesting piece of metal object which performs as the upholder. It is a mirrored stainless steel which makes a sense like appears to be wedged into an opening at the foot of the building. This design breaks the tradition of a normal column or an ordinary supporting, instead, designed with a brand new concept that makes people reconsider the way we originally think about architecture. People appreciate the design of 56 Leonard Street building which strikes an uncanny balance between strict refinement and pure invention, 8 practicality and the sublime .

^Fig 6: Stainless steel under the building <Fig 7: Building panorama

It is a revolutionary architecture that apparently apart from the traditional skyscraper. It is still under construction but would be the tallest buildings in the Tribeca area. The tower alters the panoramic view of New York City. Herzog and de Meuron aimed not for virtuosity but innovation in terms of the broader 9 culture and art for inspiration . This building aims to improve the living environment of its residents. The structure intertwines and shifts according to the internal organization of the floor plans, providing the opportunity for each apartment to have its own panoramic view of 10 Tribeca area . 5. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 2015]. 6. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/new-york/56-leonard-street> (accessed 12 March 2015). 7. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/new-york/56-leonard-street> (accessed 12 March 2015). 8. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 2015]. 9. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www.dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 2015]. 10. Basulto David. 56 Leonard Street, New York / Herzog & de Meuron (September 16, 2008). <http://www.archdaily.com/6268/56-leonard-street-new-york-herzog-de-meuron/> 12 March 2015].

12 March

12 March 12 March [accessed

A.1 design computation

Computer today plays as an inseparable part of our lives continually contributes its strength to every domain. As a precise and quick-response tool, the speed is one of the biggest reason that computers becomes essential in human being’s life. Computation allows alteration during design formulation and gives architects immediate response, as well as capable to accommodate these developments therein the design process. The accuracy of computational design also significantly lessen the burden of designers in terms of logically automatic operation. It is a rational process that to find, analyze and solve problem. However, it is exparte that recognize computer is merely a problem-solving machine. Peters explained a bit further: “computation augments the intellect of the designer and increases capability to solve complex problems.”11

The methodology of computation within the generation of architectural design process not merely brings a brand new statement of theory but also the innovations. It leads to produce more far-reaching significant outcomes in the design process of architecture. Computational design also has the ability to create potential possibilities. Parametric design is a logical form of digital design thinking which is able to fabricate more conceivable and achievable geometries through setting a chain of rules systematically. Oxman here stated that “parametric design as a facility for the control of topological relationships enables the creation and modulation of the differentiation of the elements of a design.” 12 And this is the unique function what computational design presents for today’s society.

Canopy of aggregated porosity design by professors and students of hunan university’s school of architecture Location: Hunan, CHINA This canopy was produced by students and architecture professors of Hunan University in China. This program was inspired by the concept of ‘aggregated porosity’, engaged with “an exploration of dynamically changing density and the lines of intersection between skeletons and solids”13. The design process of the canopy itself includes program formulation, parametric setting and laser-cut affixing that done with computational generation. It involved manipulation and refinement determined by computer modeling programs which is more efficient to adjust the custom panels and reappropriate off-the-shelf hardware components. The porosities of the canopy are the major elements within the design, through continually testing the size and relevant staffs such as the joints connection and hexagonal panel arrangement, a dynamic and fluid form is systematically created without any illogical constraint.

The set of six curving and laser-cut plywood ribs are cross-braced which running parallel to the ground, which assembled into a customized circular joint. Digital design is capable to ensure those panels are precisely positioned on the three axes which could be easily set for construction. Not only the property of logic that computational design provides, another essence what we call ‘creativity’ of computation should not be ignored with. The form of the separate panel was rationalized into a grid of hexagonal components, each with a unique shape. Its overall innovative S shape geometry of this digital architecture consists of the lower curve which formed a bench and the upper curve to 14 create a canopy . The computational design plays as a creative platform which has the ability to fulfill what designers tend to do on the design of modeling.

Fig 8: three progressive stages of design: responding to need for shade; incorporating bench; creating a dynamic, fluid form and rendering of canopy

Fig 9: laser-cutting the plywood Fig 10: detail on wire mesh and joints Fig 11: final construction of canopy

13. Filippetti Jenny. Digital architecture laboratory: aggregated porosity (August 27 2011). < http://www.designboom.com/architecture/digitalarchitecture-laboratory-aggregated-porosity/> [accessed 15 March 2015]. 14. Krichels Jennifer. Aggregated Porosity Canopy: Digital Architecture Laboratory (September 9 2011). <http://blog.archpaper.com/2011/09/ aggregated-porosity-canopy-digital-architecture-laboratory/> [accessed 15 March 2015].

Fig 12: Library of Sendai Mediatheque

Sendai Mediatheque Architect: TOYO ITO Location: Sendai, Japan This iconic transparent architecture is a library located in the city of Sendai, Japan which was designed by Japanese well-known architect Toyo Ito in 1995 and completed in 2001. It is considered as a revolutionary project in regard to its engineering technology and aesthetic design. Ito’s proposal was conceptually rooted in an idea of “fluid” space of technology discussed in his 1997 article Tarzan in the Media Jungle. Rather than viewing media as a foreign element to nature, Ito embraced new computing as forming an integral part of the contemporary urban environment. By utilizing the new software called “mediatheque”, it helps to redefine the conventional program and integrate it with new functions. This open structure gives the building an inherent flexibility and the space is free to be reconfigured to meet the changing demands or to accommodate unimagined technological 15 developments . The continuity of each floor is rarely interrupted by wall elements. The precise computational generation ideally suited to the design brief’s setting of fluid space. The schematic drawing illustrates the main three elements of the building: floor plates, structural tubes and skin. With the creative design of irregular types of the tubes, the open plan is not intended to create 15 homogeneity but differentiation . Through the subtle parametric setting of multiple various criteria, unique character are effected by the tubes - some places are light, others dark; some lively, others quiet. This active and dynamic design achieved by computational generation stimulating a variety of activities within the design process of architecture.

Sendai Mediatheque Fig 14: Model of Sendai Mediatheque Fig 13: Computational design of

15. OpenBuildings. Sendai Mediatheque (2012). <http://openbuildings.com/buildings/sendai-mediatheque-profile-2580> [accessed 15 March 2015].

A.2 dcomposition/generation

The shift of computation from composition to generation is actually a process of experiment, trial and creation. It requires designers to on the invention of and the improvement which pave the way to generation.

pay much efforts new techniques of their skills, in fulfill the shift to

As computing is formed by a series of programs, a special 'language' is invented only to communicate with computer -- what we call 'code'. This is the first trial to make a generation which helps to create things further. Here Peters gave an extention: “taking an interpretive role in understanding the results of the generating code，knowing how to modify the code to explore new options and speculating on further design potentials.”16

It helps the modifications of design problem through setting a chain of digital operation to generate an algorithmic script and communicate with computer. The algorithmic thinking is a sophisticated analysis which requires us dialectically consider the pro and cons of the generation of algorithm. Parametric modelling is another important generative approach. Through controling the parameter to modify the design of modelling. More possible design potentials could be discovered and generated within architectural design process.

Architects have written more of those programs to apply with existing architectural design software.

With the progress of exploring to the generative outcomes is still ongoing, the design environment around us is changeable. But one thing could be confirmed is that the prominent impacts generation brings.

Algorithm is one of the programs that designers engaged within architectural design proces.

Burry described that “we are moving from an era where architects use software to one where they create software.”17

16. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10. 17. Mark Burry. Scripting Cultures, John Wiley & Sons (Chichester). 2010, p 8.

Grotto Architect: Michael Hansmeyer Location: Zurich, Switzerland This is a 3D-printed grotto designed by German computational architect Michael Hansmeyer who engaged in using computer algorithms to challenge traditional notions of design. Algorithm allows creating complex computergenerated architectural forms which go through none of the conventional stages of architectural design: no front and side elevations; no plans. This generation enables more innovative and free digital form, which permits the possible and creative potentials. The design of the grotto hides an intricate geometry of millions of design facets. “The room’s impossible ornamentation and free-form geometries represent a paradigm shift within the 18 field of digital fabrication.” There are too many faces shown on the columns, however, it is difficult to draw and create by CAD. Algorithms produces this complex 3D geometries through repeating over and over and adjusting the parameters to achieve its perfectness.

Fig 15: Algorithm design of the column

A series of architectural components’ shape, size and density is systematically set by algorithm. It is capable to ensure the precision and improve the efficiency during installation and construction process. Algorith provides its ideal suitability for this Grotto as it allows variable and intricate data setting and adjustment. However, with the logical sequence of algorithmic setting procedure, it’s time consuming if a mistake emerges therein because it is developed firstly into flowchart and then into the computer program which requires a logical process to accomplish the design outcomes. I wonder whether this program is able to achieve its best outcome or not. Because algorithm is a good tool that to control the parameter with high accuracy and precision.Thus, when fabricating such a volumetric architecture with multiple performances occur at the same time, it presents a tendency that do not allow any mistakes. 17

Fig 16: The facade of Grotto

18. Azzarello Nina. Digital grotesque: full-scale 3D printed room realized (September 16 2013). <http://www.designboom.com/ architecture/digital-grotesque-full-scale-3d-printed-room-realized/> [accessed 15 March 2015].

Fig 17: The exhibition of Flux

FLUX Designed by California College of the Arts Media Location: California This case is organized by the California College of the Arts Media Lab in 2009. The term ‘flux’ actually means continuous change or movement is an “appropriate appellation for the current state of affairs in architectural practices that try to reconcile the need for iterative or 19 evolutionary design procedures with the ways in which we produce architectural environments.” Such development involves digital technology of parametric modeling approach which provides the flexibility and efficiency for dynamic design techniques. Parametric modeling provides its

flexibility and efficiency while designing the repeating elements of hexagons in the number of sequences.

To achieve the advanced geometry and parametric design, the design team organized and 19 constructed the digital framework driving the formal and spatial layout of the armature . The parametric logic behind is produced by Grasshopper which is used to generate the vertyical MDF (medium density fiber-board) ribs and horizontal HDPE (high density polyethylene) panels 19 for the armature . It greatly simplify and speed up the modeling procedure.

<Fig 18: digital model of Flux >Fig 19: the repeating elements of internal design

Through the use of parametric modeling and a series of custom designed scripts, the installation design could be quickly updated to address new design criteria. For this process, parametric modeling and scripting are both essential to formulate the architectural performances. However, this case is formed by similar custom panels which is achieved by parametric modeling through simply repeating the identical setting. It seems to make a sense of lacking the characteristic of ‘creativity’ during design process. The potential innovations might be missed through utilizing the preset of existing options.

19. Lift Architects. Flux Installation (2009). <http://www.liftarchitects.com/flux/> [accessed 15 March 2015].

A.3 CONCLUSION The conceptualization of architecture is a sophisticated disciplinary discourse which encompasses multiple theories. Integrating the application of computational design techniques into architectural design process is totally a revolution that helps the improvements and refinement of the realm. Innovation is also a big issue within the architectural design process through encountering with the various computational approaches. Regarding to the topic of designing future, innovation reflects future possibility that involved in computational design. This exploration helps designers enter into the era which evokes the generation of new computing methods. The parametric modeling is the approach that I intend to. When we use parametric modelling to design something, it creates a compact relationship between the structure, appearance and characteristic. The incorporation of parameter setting which involves logic and rationality is able to achieve an ideal outcome and provides high precision for designers. Parametric modelling is also an innovative approach which allows intricate geometries and flexible spatial layout for computational design. It will reflect its active capabilities during the process of design and offer its benefits for users.

A.4 LEARNING OUTCOMES

With the experience learning about the theory and practice of architectural computing, what I interested about is it refreshes the traditional way that I used to think about architecture. Through the engagement with the reading and relevant precedents, Iâ&#x20AC;&#x2122;ve discovered that the contemporary architectural design is closely connect with the digital technology. The computational design techniques becomes more powerful today and it has the ability and potentials to change the original way that people used to generate objects in architectural design process. For the improvement of my past design, I would let the traditional thinking of â&#x20AC;&#x2DC;to build what we should buildâ&#x20AC;&#x2122; out of my mind, instead, letting the innovative discovery come in and exploring more possibilities through applying multiple computational approaches in terms of combing both idea of logic and creativity.

A.5 APPENDIX -- ALGORITHMIC SKETCHES

Solar Powered Stadium

This is the algorithmic sketches that created by Grasshopper within the Octree options. It is formed by numbers of cubes that enbraced the main cube in the middle and controled by Grasshopper through adjusting the points and parameters setting.It reflects the flexibile and creative property that creating various kinds of geometries. The shape, size and number could be changed depend on the algorithmic adjustment, in which enables more innovative forms to be generated.

REFERENCE LIST 1. Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 3. 2. Frearson Amy. Riverside Museum by Zaha Hadid Architects (June 10, 2011). <http://www.dezeen. com/2011/06/10/riverside-museum-by-zaha-hadid-architects/> [accessed 12 March 2015]. 3. BuroHappold Engineering. Riverside Museum, Glasgow (2015). <http://www.burohappold.com/projects/ project/riverside-museum-glasgow-76/> [accessed 12 March 2015]. 4. Frearson Amy. Riverside Museum by Zaha Hadid Architects (June 10, 2011). <http://www.dezeen. com/2011/06/10/riverside-museum-by-zaha-hadid-architects/> [accessed 12 March 2015]. 5. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www. dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015]. 6. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/ new-york/56-leonard-street> (accessed 12 March 2015). 7. Wetch AJ. 56 Leonard Street – Tribeca Skyscraper (January 8, 2015). <http://www.e-architect.co.uk/ new-york/56-leonard-street> (accessed 12 March 2015). 8. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www. dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015]. 9. Etherington Rose. 56 Leonard Street by Herzog & de Meuron (September 14, 2008). <http://www. dezeen.com/2008/09/14/56-leonard-street-by-herzog-de-meuron/> [accessed 12 March 2015]. 10. Basulto David. 56 Leonard Street, New York / Herzog & de Meuron (September 16, 2008). www.archdaily.com/6268/56-leonard-street-new-york-herzog-de-meuron/> [accessed 12 March 2015].

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11. Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 10. 12. Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 3. 13. Filippetti Jenny. Digital architecture laboratory: aggregated porosity (August 27 2011). < http://www. designboom.com/architecture/digital-architecture-laboratory-aggregated-porosity/> [accessed 15 March 2015]. 14. Krichels Jennifer. Aggregated Porosity Canopy: Digital Architecture Laboratory (September 9 2011). <http://blog.archpaper.com/2011/09/aggregated-porosity-canopy-digital-architecture-laboratory/> [accessed 15 March 2015]. 15. OpenBuildings. Sendai Mediatheque (2012). <http://openbuildings.com/buildings/sendai-mediathequeprofile-2580> [accessed 15 March 2015].

16. Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2, pp. 10. 17. Mark Burry. Scripting Cultures, John Wiley & Sons (Chichester). 2010, p 8. 18. Azzarello Nina. Digital grotesque: full-scale 3D printed room realized (September 16 2013). <http:// www.designboom.com/architecture/digital-grotesque-full-scale-3d-printed-room-realized/> [accessed 15 March 2015]. 19. Lift Architects. Flux Installation (2009). <http://www.liftarchitects.com/flux/> [accessed 15 March 2015].

IMAGE CREDITS: Fig 1: Riverside Museum. Retreived from http://www.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/ 15 Mar 2015 Fig 2: Riverside Museum Roof Detail. Retreived from: http://www.bdonline.co.uk/the-ups-and-downs-of-zahahadid%E2%80%99s-glasgow-riverside-museum-roof/3094644.article 15 Mar 2015 Fig 3: Riverside Museum. Retreived from http://www.dezeen.com/2011/06/10/riverside-museum-by-zaha-hadid-architects/ 15 Mar 2015 Fig 4: 56 Leonard Street. Retreived from http://streeteasy.com/building/56-leonard-street-new_york 15 Mar 2015 Fig 5: 56 Leonard Street building composition. Retreived from http://www.skyscrapercity.com/showthread. php?t=708580&page=41 15 Mar 2015 Fig 6: 56 Leonard Street. Retreived from http://streeteasy.com/building/56-leonard-street-new_york 15 Mar 2015 Fig 7: 56 Leonard Street. Retreived from http://streeteasy.com/building/56-leonard-street-new_york 15 Mar 2015 Fig 8, 9, 10, 11: Digital architecture laboratory: aggregated porosity. Retrievied from http://www.designboom.com/ architecture/digital-architecture-laboratory-aggregated-porosity/ 17 Mar 2015 Fig 12: Sendai Mediatheque. Retreived from http://openbuildings.com/buildings/sendai-mediatheque-profile-2580 17 Mar 2015 Fig 13 & 14: Sendai Mediatheque digital design. Retreived from https://www.pinterest.com/sophielem/ librarym%C3%A9diath%C3%A8que/ 17 Mar 2015 Fig 15 & 16: Architecture: breaking the mould. Retreived from http://www.ft.com/intl/cms/s/2/41800772-f3fb-11e2-942f00144feabdc0.html#axzz3URHV7uBV 17 Mar 2015 Fig 17, 18, 19: Flux Installation. Retreived from http://www.liftarchitects.com/flux/ 17 Mar 2015