Part A by Cassandra Tom

AIR 2017 SEMESTER 1, STUDIO 8 FINN WAI YAN CASSANDRA TOM 767899

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CONTENT 6

A.0 Introduction

A.1

Design Futuring Case Study 1 Case Study 2

A.2 Design Computation Case Study 3 Case Study 4

20 A.3 Composition/ Generation Case Study 3 Case Study 4

A.4 Conclusion

A.5 Learning Outcomes

A.6 Appendix - Algorithmic Sketches

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Digita

Studio

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Studio

A.0

al Design Fabrication: Sleeping Pod

o Earth: Secrete on Herring Island

o Water: Boathouse inspired by Master

Introduction Hi, my name is Cassandra Tom, a third year in architecture, grown up in Hong Kong, a tiny little city full of hustle and bustle. There are dozens of reasons that makes me choose Architecture, but it has first came to my interest at 4 when I knew that architects have the ability to build the home like a castle. I am not sure whether which reasons I am doing it for right now, perhaps it’s because I find it challenging and interesting in the way it transform ideas into living sculptures… perhaps it’s because it’s a profession of creativity… just one thing for sure, and that is I love what I am doing, and I enjoy it!

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A.1 8

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Design Futuring Design futuring is not merely technological improvement in finding better alternatives for building techniques and materiality, more importantly, architecture has to concern invisible problems in ways of either expands the current scope of problem solving or changing the perspective of handling problems.

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A.1 Case Study 1

The Arcus Centre, Kalamazoo, 2014 Designing and reimagining buildings for the future requires the engagement of inhabitants [1] . The future is not a reality objectively independent of our existence [2] . Whether or not a design is being sustainable does not merely dependent on technological development and embracement on nature, it is moreover a social issue, a thing about people. However, people were often bounded by fixing wicked problem [3] yet without realising problems were unfixable and what truly matter is the value and attitude that uphold our society. This then amplify the

Fig. 2

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unsustainability of our city’s future, and entered the ‘auto-destructive mode’ [4] . Instead of fixing practical problems, this project treats architecture as a relationship builder, and look into redirecting people’s attitude and values to improve unfixable problems through the architecture. In achieving the purpose of the space for social justice relationship, it begins with the investigation on relationship between spatial arrangement and the pattern of people’s engagement. The building’s tri-axis organization addressing three surrounding

contexts â&#x20AC;&#x201C; the campus, grove, and neighbourhood, anchored with a fireplacand kitchen at the centre [5] . Glass facades at the three ends create visually opened space has given a sense of openness and informal atmosphere for people to gather and have a casual meet up. This project breaks the traditional way of handling problems, it blends connection of people from different groups around the community of context through its strategic spatial arrangements, bring in new insight with the materiality, and make architecture a channel of relationship connection. In varies ways it has expressed the ideology of architecture that put forward positive social effects is the key to open up possibilities to the improve problems for the future.

Fig. 1 [1] Gang, Jeanne, Buildings that blend nature and city, 2016 < http://www.ted. com/talks/jeanne_gang_buildings_that_blend_nature_and_city> [assessed 2 March 2017] [2] Tony Fry, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16 [3] Anthony Dunne & Friona Raby, Speculative everything design, fiction, and social dreaming ( MIT Press: 2013) p. 1-9, 33-45 [4] Tony Fry, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16 [5] Gang, Jeanne, Buildings that blend nature and city, 2016 < http://www.ted. com/talks/jeanne_gang_buildings_that_blend_nature_and_city> [assessed 2 March 2017]

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A.1 Case Study 2

Homefarm, Singapore, 2014 “We focus on architecture’s potential to contribute positively to the experience of city.” – Spark Architect. Unnecessarily built projects, conceptual design could also call for instigation of a change in design approach for a city’s future. Homefarm, a concept design of retirement housing combining apartments, senior facilities and vertical farming, is an example of expressing what architecture to be like as design futuring. The project based on Singapore as the preliminary location. Unlike conventional retirement housing as a place of hedonism or a growing health care burden to the society, the project aims to put forward social issues of rapid aging population and food security into a self-sustainable cycle, making architecture a treatment to heal the city’s future. The project taken urban farming as focus, on one hand, agricultural waste to create biomass energy to generate electricity and nutrients back to farming creates a low carbon cycle self- sustainable food system; on the other hand, the urban

farm serves as another community for the senior to reconnect and contribute the society [6] . I find it innovative in the way it turns existing problems into an opportunity, it expressed design intelligence of having the abilities to draw content of the existing environment to designing under the increasingly more unsustainable world [7] . The way Homefarm proposed in addressing social issues of a place and the fortune of living environment, critiques architecture to deliver awareness in the current and ongoing environment, and expressed thoughts of environmental and social cohesion as the path to unlock new perspective and inspiration in approaching city’s sustainability.

Fig. 3

[6] Spark Architects, ‘Homefarm singapore concept design’, 2014 < http://www.sparkarchitects.com/portfolio_page/homefarm/> [assessed 9 March 2017] [7] Tony Fry, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16

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Fig. 4

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A.2 14

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Design Computation Before the evolution of digital technologies, building techniques were derived through complex mathematical testing, physical experiments, and even more, lessons learnt from failure. Limitation of knowledge and time consuming process of testing has long been a barrier to design possibilities, which past design ideas were geometrically and methodically bounded by these constraints. Then the development of computation has put the above frustrations into history, and move forward to a new era of design methodology. Parametric design redefines the practice as a thinking generation through logic of algorithm [8] . Through simulation of structure and material, it allows a more time-efficient and cost-effective testing of greater variety. Hence, engagement of computation in architectural practice has taken advantages of expansion in form-finding possibilities and efficiency in fabrication process. [8] Rivka Oxman & Robert Oxman, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10

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A.2 Case Study 3

ICD/ITKE Research Pavilion 2012, Germany, 2012 For consecutive years from 2010, the ICD and ITKE have conducted and tested computational materials over a series of full-scaled pavilions. Looking into their research pavilion in 2012 on investigating fibrous composites, they have undertook a computational approach in understanding and deploying the complex fibrous behaviour, with conjunction the pre-stress induced by robot testing the application of fibre [9]. Formation of the pavilion gradually emerges through the interaction of fibre applied on a minimal scaffold during a robotic filamentwinding process, forming a self-supportive thin composite shell, and surface texture made out of black glass- and carbon-fibre roving emerges from the computationally modulated material-formation process [10] . Materiality has always been an important part of the design process, it determines

the range of geometries it could possibly create, it defines how the design structurally supports, and it manipulate the results of whether a concept could be brought in reality. The ability of structuring material system could significantly contribute to the contemporary architectural practice as the shift focus of material design in the architectural process redefines architecture as a material practice [11] . From the aspect of utilizing amputation to efficiently understand different material composite properties and test out of the new material performance, the project has been an example of showing computational approach could unlock potential in possible innovation materially that were unreachable before evolution of digital simulation. In such, through strategic exploration and experimentation, it pushes boundary outwards the conceivable and achievable geometries by materiality limitations.

Fig. 5 [9] Achim Menges, ‘Computational Material Culture ‘, Architectural Design, 86 (2016), p. 76-83 < http://onlinelibrary.wiley.com/doi/10.1002/ad.2027/abstract> [10] Achim Menges, ‘Computational Material Culture ‘, Architectural Design, 86 (2016), p. 76-83 < http://onlinelibrary.wiley.com/doi/10.1002/ad.2027/abstract> [11] Rivka Oxman & Robert Oxman, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10

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Fig. 6

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A.2 Case Study 4

White Noise, Salzburg, Austria, 2010 We engage in the process of design when the current situation is different from the desired situation [12] . Quite often, we begin with analysis and research to explore possibilities to achieving the outcome. This might be a time consuming process and not always driven to the right track in visualizing desirably. Computation, with the characteristics like tangram puzzle, formulating solutions independent from search for solution, simply testing with the given parameters, might be an alternative path to achieve the desired situation. Looking at an example from Austria, the White Noise, a small pavilion project, is a seemingly random load-bearing structure from computation generation. The geometry of the pavilion was parameterized with Grasshopper, and then tested structurally using Karamba [13] . Effectively, it achieves the chaotic shape with uniform aluminium rods calculated and connected in a minimal system. The White Noise is an example of product by the redefined design process using logic of algorithm, and a beneficiary of computational design. The involvement of computational fabrication has developed a new linkage between design concept and production[14] . Architecturally, it releases geometries from limitations of binary/ pure forms to chaotic/ fluid free-forms and arrangements. In terms of construction, computation minimizes error via simulation and speeds up process by means of fabrication. Time-effective process shifted design approach’s time and effort from composition of simple geometries and extensive craftsmanship to strategic sampling of variation in computational generation and fabrication.

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[12] Yehuda E. Kalay, Architecture’s New Media: Principles, theories and methods of computer-aided design (MIT Press: 2004), p. 5-25 [13] Clemens Preisinger, ‘Linkubg Structure and Parametirc Geometry ‘, Architectural Design, 83 (2013), p. 110-113 < http://onlinelibrary.wiley.com/doi/10.1002/ad.1564/abstract> [14] Rivka Oxman & Robert Oxman, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10

Fig. 8

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A.3 20 CONCEPTUALISATION

Composition/Generation The transition from designing composition to generation appears to be phenomenal in the recent decade, and majority in architectural practice adopt digitalization in design process. Indeed, even though there was a heavy practice in computerization, computation is not as common as that. I would say shifting to computational generation design is inevitable, not necessarily replaced composition, but largely, I believe this trend is more benefiting than harming the architectural practice.

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A.3 Case Study 5

Fondation Louis Vuitton Museum, Paris, 2005 In conventional architectural practice, form finding usually begins with conceptual sketches and then composite them into structural-possible form of space. Yet, without precise mathematical calculation, there is always a limit for this approach to go crazy in conceptualizing forms or having complex geometries buildable. In comparison, computation allows designers to extend their capabilities to deal with highly complex situations, it allows architects to predict and simulate architecture more accurately and sophisticatedly [15] . In the project of constructing the Fondation Louis Vuitton Museum, they introduced highprecision design tools to perform simulated rules for form finding [16] , which the approach of computational-based form-finding has Fig. 10

Fig. 9

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allowed a piece of crazy sketchy lines drawing turning into a geometrically complex structure in real life, forming an envelope of panels each alternating differently to specific local geometry. The intelligence brought by computational generation in the project went through the design process from parametrical optimisation to material optimisation. In achieving construction of the envelope, they have utilized robotic fabrication to ensure customised glass and concrete panels were to precise curvature and situation under control. Comparing to conventional composition method, generative approach has enable complexity in geometries and breakthrough barrier of production precision to creation of radical forms.

In react to the shifting from composition to generation, design practice has change in terms of information flow as well. Traditionally, from designing to construction, information flow from one to another step by step, but the introduction of generative system, information is synchronized [17] . With the shared digital models, it has then accelerated and enhanced collaboration of different parties, having different expertise group to work at the same time, being timeand cost- effective. In the sense of the resulting appearance of this project, it does not appear to me as aesthetic in the way as the fluidity expressed the in sketch. Perhaps a drawback of design generation would be that over utilizing tools in production in how you perceive a nice curve in computation blindly. The beauty of this project is more on the way it effectively fabricated the complex geometry, yet in terms of geometry exploration, computation

in this project might not be as success in the sense of aesthetic means.

Fig. 9 [15] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p. 8-15 [16] Tobias Nolte & Andrew Witt, ‘Gehry Partners' Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), p. 82-89 [17] Tobias Nolte & Andrew Witt, ‘Gehry Partners' Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), p. 82-89

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A.3 Case Study 6

National Bank of Kuwait, Kuwait City, 2017 “Computation makes possible the experience and the creation of meaning.” – Brady Peters Experimenting with computation in simulating building performance for performance analysis and materiality, tectonics and parameter for fabrication is getting common in architectural practice [18] . The National Bank of Kuwait Headquarters is an environmental responsive building generation driven by entirely an integrated computational design. In reaction to the era of shifting from composition to generation in designing approach, instead of physical observation on site and by intuition of human estimation to response context climate, the Foster used Generative Components (GC) as primary parametric modeling software with various other scripting tools for simulation and prototyping throughout the entire design process [19] . In achieving the project’s focus on responding to maximization of day lighting and views, the Foster have utilized parametric modeling in early design stages to efficiently generate various vertical fins orientation options for prototyping and further exploration. With developed logic of algorithm scripting, the orientation of fins could then remains flexibility in adjustments throughout the design investigation [20] . The application on construction also allows 24 CONCEPTUALISATION

repeat testing for the strength of curvature of elements effectively. The project’s adoption of entirely computational generation approach, on one hand shows the advantage towards the investigation and designing process for complex building, on the other hand, it required involvement of entirely computational expertise to conduct the design process. Yet it is essential to work closely with prototyping to make computational design complete, and ensure that digital simulation is successfully translate into reality.

Fig. 11 [18] Brady Peters, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p. 8-15 [19] Dusanka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Headquarters’, Architectural Design, 83 (2013), p.34-35 [20] Dusanka Popovska, ‘Integrated Computational Design: National Bank of Kuwait Headquarters’, Architectural Design, 83 (2013), p.34-35

Fig. 12

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A.4 Conclusion

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Architects are few of the generalists that could possibly manipulate values and thoughts of living, at the least place, architecture provides a channel that gradually redirect the way people interacts, more in more, possibilities to alter a city’s future. This may not necessarily be meaning existing problems solved, but at least, under the circumstances of a world full of unsolvable issues, our future could prevent generating even more issues, and emerging a self-sustainable cycle. Hence, as a futuristic approach in designing, it is believed that architect has to maintain high social and environmental awareness, and be critical to design at all times. Without doubts, computation to design practice has create a lot of convenience in fabrication and that it opens up more possible forms and materiality, which great utilization of computation tools is beneficial to designing from generating ideas till fabricating ideas to real life. Unlike conventional composition design approach, computational generation could go beyond the intelligence of human and parametric rules that designers created, unexpected computation results, in the could be inspirational innovation or even breakthroughs. Yet, all given that designer is being knowledgeable in algorithmic design skills.

Hence, whether or not computational generation design approach is beneficial to architectural practice is largely dependent on designer’s skills and knowledge regarding the parametric field. Comparing to designing composition, the boundary of generation appears infinite. Indeed, limits are set to the intelligence and knowledge the designer has. It will not work well without the involvement of computational expertise. Therefore, for benefits of both the architectural practice and personal development, it is being more or less an essential thing to have digitalization skills of computerization and computation, such that we as the designer could have the flexibility to which approach to adopt for each and every unique projects, and effectively taken the advantages of parametric design.

“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.” – Brady Peters. CONCEPTUALISATION 27

A.5 Learning Outcomes

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The understanding of architectural commutating has actually changed my attitude and views towards parametric designing quite a bit throughout the 3 weeks of research. Before taking this studio, parametric design was to my thought that it was more like a shortcut to create complex geometries through writing formulates, which instead of designing something original, it is more about studying the logic of getting those geometries. And I am rather neutral about it. It is after having understood the foundation of algorithm thinking, and the logic of parametric designing, it started convincing me that designing computation is way more exciting that what I was expecting. It was from the precedent research that makes me realize that parametric modeling is not just a tool of convenience and efficiency. More importantly, it is also a door to exploration of greater opportunities and possibilities. I am often struggles a while during the start of designing, which having the tool of parametric designing, it may be helpful in terms of exploring ideas in a more logical sense. In my past studios, I have probably done things a lot on computerization, making use of software like AutoCAD and Rhino along the way to digitalize ideas to something more visually presentable than sketches. Yet, I have not come across much with computation designing so far. Having learnt these new knowledge, it could have improve in varies aspects of my previous projects. In my DDF: Sleeping Pod project, I previously explored on the geometries to

physical prototyping and then fabrication. As we come to finalize our concept to be a series of foldable panels connected with strings that tailor-made for the dimension of a specific chair, it has been a time consuming process to get through prototype testing in the fabrication process. We have utilized digital tools such as rhino and laser cutter for fabrication with greater accuracy, yet there has been unexpected condition happening in various ways. Such as distance between panels not able to get strings in tension, gradient effects of strings to be modified, and that we are taking a risk of whether the force of the panels get to balance off hinging on the chair. It was a time consuming process, as we have to remodel the entire thing digitally every time when we encounter unexpected conditions. With the application of parametric rules to the geometric shape of the panels and having script written for logic of where strings connected, it could have been more efficiently generate various options on testing the gradient effects of strings. As well as easing the remodeling process without manually trimming thousand of holes I the digital model for where the strings to get through. Moreover, I may have applied other plug-ins, such as kangaroo to test out the physics of whether the material works with the force to balance off on the chair.

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A.6 Algrithmic Sketches

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Attractive point Transformation

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Box Morph Mesh

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Polygon Curve Loft

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Cull Pattern Extrusion

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Image Reference Fig.1 Archdaily, Arcus Center Site Plan, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justiceleadership-studio-gang/54891c0ae58ece8515000067-site-plan > [assessed 17 March 2017] Fig.2 Archdaily, Arcus Center Iwan Bean, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justice-leadership-studio-gang/54891c1be58ecec57200008e-arcus_center_-c-_iwan_baan_07-jpg > [assessed 17 March 2017] Fig.3 Archdaily, SPARK section, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd50fe58ece47940000ec-section > [assessed 17 March 2017] Fig.4 Archdaily, SPARK, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd4cfe58ece47940000eb-0240_01_aerial-jpg > [assessed 17 March 2017] Fig.5 Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136aa04b3fc4b828e000238-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Fig.6 Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a8beb3fc4bf0a8000227-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Fig.7 Architectural Design, Parameterisation strategy for the White Noise music pavilion, 2013, < http://onlinelibrary. wiley.com/doi/10.1002/ad.1564/epdf > [assessed 17 March 2017] Fig.8 Pinterest, KOSICE 2013 The exhibition Äutria DESIGN – Surprisingly Infenious”, 2013, < https://www.pinterest.com/ pin/328973947751122817/ > [assessed 17 March 2017] Fig.9 Frank Gehry, Sketch, 2011< http://www.fondationlouisvuitton.fr/en/l-edifice.html > [assessed 17 March 2017] Fig.10 Thibaud Poirier, Fondation Louis Vuitton night, 2014,< http://thibaudpoirier.tumblr.com/page/4 > [assessed 17 March 2017] Fig.11 Architectural Design, Overall tower geometry showing the different levels of development, 2013, < http://onlinelibrary.wiley.com/doi/10.1002/ad.1550/epdf > [assessed 17 March 2017] Fig.12 CSCEC ICP, National Bank of Kuwait New Headquarter, 2015, < http://sstr.cscec.com/art/2015/11/4/ art_5348_234214.html > [assessed 17 March 2017]

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Bibliography Images Archdaily, Arcus Center Iwan Bean, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justice-leadership-studio-gang/54891c1be58ecec57200008e-arcus_center_-c-_iwan_baan_07-jpg > [assessed 17 March 2017] Archdaily, Arcus Center Site Plan, 2014 < http://www.archdaily.com/576630/arcus-center-for-social-justice-leadership-studio-gang/54891c0ae58ece8515000067-site-plan > [assessed 17 March 2017] Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136aa04b3fc4b828e000238-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Archdaily, Courtesy of UCD-ITKE, 2013 < http://www.archdaily.com/340374/icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning/5136a8beb3fc4bf0a8000227-icditke-research-pavilion-university-of-stuttgart-faculty-of-architecture-and-urban-planning-image > [assessed 17 March 2017] Archdaily, SPARK section, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd50fe58ece47940000ec-section > [assessed 17 March 2017] Archdaily, SPARK, 2014 < http://www.archdaily.com/573783/spark-proposes-vertical-farming-hybrid-to-house-singapore-s-aging-population-2/547cd4cfe58ece47940000eb-0240_01_aerial-jpg > [assessed 17 March 2017] Architectural Design, Overall tower geometry showing the different levels of development, 2013, < http://onlinelibrary.wiley.com/doi/10.1002/ad.1550/epdf > [assessed 17 March 2017] Architectural Design, Parameterisation strategy for the White Noise music pavilion, 2013, < http://onlinelibrary.wiley. com/doi/10.1002/ad.1564/epdf > [assessed 17 March 2017] CSCEC ICP, National Bank of Kuwait New Headquarter, 2015, < http://sstr.cscec.com/art/2015/11/4/art_5348_234214. html > [assessed 17 March 2017] Frank Gehry, Sketch, 2011< http://www.fondationlouisvuitton.fr/en/l-edifice.html > [assessed 17 March 2017] Pinterest, KOSICE 2013 The exhibition Äutria DESIGN – Surprisingly Infenious”, 2013, < https://www.pinterest.com/ pin/328973947751122817/ > [assessed 17 March 2017] Thibaud Poirier, Fondation Louis Vuitton night, 2014,< http://thibaudpoirier.tumblr.com/page/4 > [assessed 17 March 2017]

Reserch Source Dunne, Anthony; Raby, Friona, Speculative everything design, fiction, and social dreaming ( MIT Press: 2013) p. 1-9, 33-45 Fry, Tony, Design futuring sustainability, ethics and new practice (Berg Editorial Offices: 2009), p. 1-16 Gang, Jeanne, Buildings that blend nature and city, 2016 < http://www.ted.com/talks/jeanne_gang_buildings_that_ blend_nature_and_city> [assessed 2 march 2017] Kalay, Yehuda E., Architecture’s New Media: Principles, theories and methods of computer-aided design (MIT Press: 2004), p. 5-25 Menges, Achim, ‘Computational Material Culture ‘, Architectural Design, 86 (2016), p. 76-83 < http://onlinelibrary. wiley.com/doi/10.1002/ad.2027/abstract> Nolte, Tobias; Witt, Andrew, ‘Gehry Partners’ Fondation Louis Vuitton: Crowdsourcing Embedded Intelligence’, Architectural Design, 84 (2014), p. 82-89 Oxman, Rivka; Oxman, Robert, Theories of the digital in architecture (Lodob and New York Routledge: 2014), p. 1-10 Peters, Brady, ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83 (2013), p. 8-15 Popovska, Dusanka, ‘Integrated Computational Design: National Bank of Kuwait Headquarters’, Architectural Design, 83 (2013), p.34-35 Preisinger, Clemens, ‘Linkubg Structure and Parametirc Geometry ‘, Architectural Design, 83 (2013), p. 110-113 < http://onlinelibrary.wiley.com/doi/10.1002/ad.1564/abstract> Spark Architects, ‘Homefarm singapore concept design’, 2014 < http://www.sparkarchitects.com/portfolio_page/ homefarm/> [assessed 9 March 2017]

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