ADS:AIR Journal by Darcy Zelenko

ADS3: AIR Design Journal Darcy Zelenko 358747

Contents

I Expression of Interest I.1 Case for Innovation

II Project Proposal II.1 Project Interpretation

I.1.1 Architecture as a Discourse I.1.2 Computing in Architecture I.1.3 Parametric Modelling I.1.4 Case for Innovation: Conclusion

II.1.1 Research Techniques

I.2 Research Project

II.2.1 Construction Process

I.2.1 Scope of Possibilities

II.3 Project Presentation

I.2.1.1 Input/Association/Output Matrix I.2.1.2 Reverse-Engineered Case-Study I.2.1.3 Material Effects I.2.1.2 Assembly Methods

II.2 Project Delivery

II.4 Project Proposal Conclusion III

Learning Objectives & Outcomes: Final

I.2.2 Research Project Conclusion I.3 Expression of Interest Conclusion: Competitive Advantage

III.1 Personal Background & Learning Objectives III.2 Learning Progress III.3 Learning Outcomes III.4 Future Work References Image Sources

i.1_Case_for_Innovation Architectural Discourse

Mob-ile Parliament by Andrew Maynard Architects

This conceptual idea of a publicly manipulable parliament house (complete with integrated opinion polls) gives us the ability to literally ‘shape’ the space in which our elected officials practice their craft. Mob-ile Parliament Puts pressure on politicians to interact with the general populous and media through what AMA calls ‘The Gauntlet’, a long walkway from the structure to the escape of an awaiting car that gives a reporter plenty of time to question the politician about their day’s activities and the public’s reaction to these also. What lies at the core of AMA’s interpretation of a more open democracy that encourages public participation is the public’s ability to increase or decrease the inside views and the actual size of the building itself. A favourable decision in parliament would lead to a possible increase in floor space and sunlight for those inside whilst an unfavourable decision would lead to a decrease. This carrot and stick encouragement system certainly let’s those in power know what the country thinks of them (or at least those who occupy the outside space anyway) . Would this building lead to better governance? I don’t know. Would it lead to some increase in populist politics in order for parliamentarians to gain a better view? Possibly. Whether or not this system would lead to better governance isn’t the main motive behind AMA’s design. It is meant to add to the architectural discourse. Specifically how the public views buildings of power and the disconnect between the public and their elected officials inside.

Vals Spa by Peter Zumthor, Graubünden, Switzerland The Vals Spa exhibits temporal change over time due to the water flowing over certain cement leaving a red-ish oxide. “...the material thus seems to “breathe” with the natural elements, following their changing rhythms.”

The National Art Center by Kisho Kurokawa, Toyko, Japan Designed by one of the world leaders of the Metabolist movement, Kurokawa has used many different design and fabrication techniques to create a space that by it's very definition is constantly changing to meet the needs of exhibitions held within. All while maintaining an orchestrated flow of efficient and practical movement. Kurokawa has made use of parametric design revolving around Madelbrot's fractal geometry to come up with a glass facade that wraps around the bulging truncated cone shapes that make up part of the structure that sits on an incredible 1.5m thick 'super slab'. Visitors move through the entry cone and are greeted by a smart umbrella storage system before making their way into the complex. Skylights illuminate the seven large galleries that have the ability to be divided into several smaller ones by large, bulky internal partitions that despite their size, can be easily manipulated using two people. The cone shape is used throughout the building to draw attention to restaurants and coffee shops that also provide views of the entire complex, especially the many concrete panels that have been used in the construction of the different forms of the Centre. I think this building brings a lot to the architectural discourse. Kurokawa's way of creating paths for people to follow and small additions of doing this more efficiently create a good precedent for future designers to look at. His use of certain geometry algorithms in the design also shows that architects are quite capable of using computational mathematical design successfully and showing that it definitely more

Computing in Architecture In her interview with digital design guru Greg Lynn, Ingeborg M Rocker gives a good overview specifically in regards to parametrics, but i think it also gives an excellent synopsis of the unique innovations presented by contemporay computational design techniques. “...The most interesting thing about parametrics [...] is the ability to fuse the hierarchy of parts and whole to produce a deeply modulated whole as well as infinitesimal variation among parts.” This statement illustrates three key points that really sum up some of the ways that computational design techniques can have a positive effect on architecture. The Ability to Fuse the Hierarchy of Parts and the Whole Computational design techniques allow us to establish an inter-connectedness among many aspects of a design. An example of this is the Integrated Project Deiivery (IPD) concept by the AIA Californica Council**. This approach re-aranges the traditional timeline of prjoect delivery putiing more emphasis on efficiency through all stages of design, fabrication and construction. Parametrics can help aid this process...

“I could do in a morning what used to take me a month” - J parrish, director of Arup

Greg Lynn has long been an inovator in computational architecture. He explores different approaches that computational dsign can take advantage of. Lynn took the invention of calculus and applied it in his design of the Alessi Tea & Coffee Towers (2003). This approach to design containers for various substances used in making the hot beverages that the towers are named after is quite radical because calculus-based design systms were used in the creation of their forms. Parametric design is a useful problem solving approach to design. It was used successfuly in the design of the outer ‘shell’ of the Beijing National Aquatics Centre colloquially knows as the Water Cube. The form was inspired by the collection of soap bubbles and parametric modelling was used to generate 34 different prototypes before the final one was chosen.

Produce a Deeply Modulated Whole Through paremetric modelling one is able to blend together the parts with the whole to create something that is more open to customisation as it greatly increases the ability to see these changes in action and how they relate to other aspects of a design Infinitesmal Variation Among Parts With paramentric comes the new benefit of being able to create rapid prototypes of a design. This opens up many opportunities for designers and fabricators alike. The ability to make slight changes to one aspect of a degin and see them replicated sometimes instnataneously provides incredible possibilities for architects.

I think this project is a great example of how scripting in regards to generating form can be successful in architectural design. I also think that scripting has been used to efficently sort through a large body of data collected to establish design parameters that combine materiality with a highly efficient structural system influenced by nature to create a form that is highly innovative. It should be looked at by the scripting community as a way to teach students the benefits of using computational design techniques as it combines many different fields and re-iterates Neil leach’s comments in Burry’s ‘Scripting Cultures’ that “...we need to lose the old fashioned notion of the architect as some top-down demiurgic ‘designer’ and reconfigure the architect as the controller of processes.”

Introduction to Parametric Modelling The ICD/ITKE Research Pavillion located at the University of Stuttgart illustrates how computational design principles can have real world applications that are more than decorative. This inspiration for this project comes directly an example of an efficient structural form found in the shell of the Sand Dollar sea urchin. This marine animal’s outer shell or ‘test’ consists of a number of plates that are connected together in an efficient manner using finger joints. The designers took this concept and applied it in the design of the research pavillion. Achieving something like this without utilising some of the benefits of scripting would be almost impossible as the complexity in undertaking something like this is quite large.

In regard to the Expression of Interest document it think that this project should be an example cited as some of the major themes such as ‘efficiency in design’ and ‘innovation’ can be taken away from this because they parallell what the Wyndam City Council wants in their Gateway project.

The designers undertook a number of experiments and investigations to push the boundaries of birch plywood which would be the sole material used in the structure. They then used their results to generate the constraints of their design, in this case 6400 lines of code to generate a structural analysis and work out how the structure would be fabricated. The structure itself consists of 500 individual ‘plates’ of plywood mimicing the shell of the Sand Dollar connected using 80 different patterns of finger joints. Paramentric design principles have been applied here to simplify what would have been an overly complicated task and the rapid prototyping abilities that come with parametric design would have allowed the designers to make sense of the forms that were generated using the parameters they coded into their program.

I.2_Research_Project I.1.4_Case_for_Innovation: Conclusion

After looking at various case studies, our group took some of the principles behind the previous precedents among others to move into the research project stage. These concepts were: Growth & Decay, Temporality, and the underpinning philosphy of the designer losing control

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Dior Ginza Building The perforations of the outer layer are a series of circle shapes cut at two different radii arranged to form the burberry tartan pattern that is featured on the Lady Dior handbag, a product that Dior is famous for making. The inner printed layer also features the tartan pattern but the radii of the circles are 70% of the cuts on the outter layer. In the gap between the two skins exists a lighting system that operates during the night. When combined with the patterning this is what really makes the Dior building standout as it helps to sharpen up the image created by the overlapping patterns. The Dior building has been described as â&#x20AC;&#x153;â&#x20AC;Śthe iPod of Tokyo architecture.â&#x20AC;? This statement really encapsulates what the final product is. The designers took the iconicism that the Dior brand has been associated with and literally replicated it into built form.

I.2.1.1_Input/Association/Output Matrix

i.2.1_Scope_of_Possibilities

Instead of trying to see the whole picture at once or every single combination in detail we deliberately isolated an entire row or column, one at a time. By adopting this evaluative technique it allowed us to look at specific combinations in the context of a smaller data set. We were able to make sense of the great body of data we had created in a meaningful way. 14

I.2.1.2_Reverse-Engineered_Case-Study After completing the Reverse-Engineered Casestudy we took the design features of this project which were the double-skin facade and the patterning created by a series of different circles.

This was accomplished in Grasshopper by dividing a simple surface into a rather large grid before performing a Boolean operation with the intent of making the final pattern clearer. From there we used the Image Sampler with a small multiplication component to model a simple representation of intersecting lines. We then connected the output to the Using Sets associative technique and decided on circles of three different radii to present our image. This overall process was replicated and transformed in the z-axis using the Overlapping Patterns Input to construct the dual skin of the faรงade.

I.2.1.3 Material Effects

We started playing with the notion of decay, where one skin would naturally disintegrate to produce something completely different. The outer layers of our model would be constructed out of untreated wood and the inner layer would be structural steel. Over time the would decay leaving behind a steel skeleton and the decayed wood would aid in the development of a possible new green space around the structure to symbolise the designer losing control. The idea for this form came from looking at the sine and cosine function. As time progresses they go throw many changes and stages only to end up back at the same place. As Wyndham is growing at a relatively fast rate we wanted to replicate this in form but being inspired by the mathematical functions. As Kalay suggests that design is an open ended search generating many possibilities, we experimented with our grasshopper definition to look at different forms.

We wanted to investigate different lighting effects that would be generated by the headlights of cars passing the site as well as the existing petrol station during the night

As parts of this model were intended to decay we wanted to investigate other ways in which we could experiment with material decay. These images show the outer panels of the model after they’ve undergone different decay ‘simulations’. The first was trampled on while the panel was covered dirt and leaves. this resulted in a rather gritty final product that had started to break down somewhat. The second was slightly charred before being submerged in water for a short period of time. After being allowed to dry it was then kinked to investigate the bending properties of the material.

I.2.1.4 Assembly Methods Having not used a laser cutter before I wasn’t able to anticipate how much detail it could go into. After being informed that my original submission would cost over four figures to cut I had to work out a way to produce something meaningful from the work I had already done. I decided upon cropping sections of the original screen I constructed which gave a favourable result.

These are the two skins of our experimental prototype model. The left panel is the wooden outer and the right is the structural steel inside. This model was not too complicated to fabricate and I also designed a stand that supported all of the skins which mimiced a concrete footing. 20

I.2.2 Research Project Conclusion

ii._Project_Proposal From undertaking this research we were able to solidify the concepts driving our design and some of the results we wanted to achieve. These results were directly inspired by the models we made. The iconicism of the Dior buidling paralleled what the Wyndham City Council wanted in their design. Although our final design has no solid form yet weâ&#x20AC;&#x2122;re confident that with further work we can produce something that fulfils our design intent.

II. Project Proposal - An Introduction Our proposal for the Wyndham City Gateway Project drew upon the knowledge developed during the Expression of Interest stage. Our proposal was moulded and changed overtime to get to our final design. Using our overall concept of growth & decay we developed Wyndham City Council likes growth In our Case for Innovation and Research project we investigated the different ways we could represent growth that was reflective of the growth that Wyndham was currently experiencing. We looked into different examples of growth in nature such as the growth of an ecosystem and learnt that with growth comes a decay process before more growth. We seeked to emulate this in sculptural form informed by parametric design principles. During the research project we looked at ways wood decomposes over time. In a forest trees naturally decay and their remains are returned to the earth which composts and turns the trees into soil that is rich in organic matter to grow more trees. This natural system is extremely effiicient and reaps great results. Our previous designs focussed on the decay process instead of looking at the big picture that included what comes after decay.

Our tutors pushed us to use compost as a building block to create a sculptural representation of growth and decay as it framed a holistic approach to emulating our design. In order to achieve this we needed to emulate composting on an industrial scale. A windrow composting system is a low technology solution to producing large amounts of compost. The system involves the build-up of long piles of organic matter to create compost. We took the principles of the windrow compost and used them to create a basis for our system. Our research indicated that Wyndham did not currently have a green waste recycling facility as their was no current infrastructure to support one. Currently all their green waste is going into landfill. Our compost system would be fueled by the green waste from the growing community of Wyndham. The community would be able to see their green waste being recycled on site that would be used to create a new topology that would form the basis of a new green space in future. To help the residents of Wyndham visualise the new landscape a series of dividing walls was designed that would also aid in the housing of the windrow composting system.

II.1 Project Interpretation Responding to feedback in studio, we pushed our concepts of growth and decay further and wanted to create something that would demonstrate noticable change over time in a meaningful way. Using parametric design concepts we aimed to take site specific data that would inform our final design. Creating a new topology over such a vast space presented constraints. These were: Grasshopper was used to input our data collected from site then under inspiration from the matrix we produced earlier in the semester. We took the principles of the maths function and the offset and rotate techniques further by using them to create geometric forms that resembled a new topology for our site. Because the offset technique moves the generated geometry off the referenced surface (our site) we devised a way of returning it accurately.

Height: the design couldnâ&#x20AC;&#x2122;t be monsterous Shape: using compost as a building material means that there canâ&#x20AC;&#x2122;t be any real intricate shapes Existing Conditions: Working on a site that is so near to a highway meant that we had restrictions on how close to the road we could encroach. Restraints caused by our Infrastructure: Our infrastructure collects green waste from the community, mulches and churns it on site before distributing it between the dividing walls where it will compost and overtime create a new topology.

Using Grasshopper we visualised how the topology on site would grow over time as more compost was added and the new contours were built up

Due to the sheer size and complexity of the geometry we created we weren’t able to loft the entire surface at the same time without killing Rhino or the whole computer. This presented problems that would persist with us for the rest of the semester.

After each wall segment was created they were then assembled digitally on site. From looking at the below image it is possible to see how over time, the contours will be built up to the full height of the walls. This is the visual effect we wanted to achieve by having the walls act as a ‘measuring stick’ that people who pass the site can use to see how the project is coming together.

In order to create our wall system that spanned the entire site we had to loft small parts of our new topology and generate the curve of each wall that way. Below are the individual lofts of each dividing wall for part of our final design.

II.2 Project Delivery

It was necessary to model how the new topology would be formed over time. This series of models was created to aid in the visual presentation of our new topology.

EXPLOCIT GRIDS + ATTRACTOR POINTS

We investigated using Grasshopper to alter the appearance of the series of dividing walls. This was achieved using principles derived from the Matrix compiled earlier in the semester.

II.3 Project Presentation

EXPLOCIT GRIDS + CURVE ATTRACTOR

EXPLOCIT GRIDS + IMAGE SAMPLER

EXPLOCIT GRIDS + MATHS FUNCTION

We created multiple iterations but decided they weren’t approrpirate and the best approach was to use a traditional fence-like structure with steel U-beams acting as columns and 200x200x2000 timbler sleepers slotted inbetween them.

Placement of retaining walls

Robotic System: Distribution Paths

Contour growth: a change in the landscape

3 designated set areas for waste distribution across Site A 10 meter distance seperating each retaining wall

Where the path begins, working backward End of route

The building of a new composted topography, encased within retaining wall structures and informed by existing site contours

Location Site A 10m perimeter boundary to avoid spill

Compost footprint : Area 1

Distibution Path : Area 1

OVERLAPPING PATTERNS + ATTRACTOR POINTS

OVERLAPPING PATTERNS + CURVE ATTRACTOR

We modelled a section of the dividing wall to illustrate the construction techniques used in the assembly to present a simple approach to creating a low-technology solution.

Area 1: 130m Distribution Path : Area 2 Compost footprint : Area 2

80m - 10m boundary / 70m 35 m

Distibution Path : Area 3

Area 1: 130m

Compost footprint : Area 3

Area 2: 150m

OVERLAPPING PATTERNS + IMAGE SAMPLER

80m - 10m boundary / 70m 35 m

OVERLAPPING PATTERNS + MATHS FUNCTION Area 1: 130m

40 m

Area 2: 150m

OVERLAPPING PATTERNS + MULTIPLE MATHS FUNCTION

Area 3: 120m 45m - 10m boundary / 35m

OVERLAPPING PATTERN + USING SETS

The above diagrams illustrate the path that our ‘robot’ would take to disperse the compost on site. It operates over three main areas to gradually build each up to achieve the desirable result of creating a new topology

Images from a created stop-motion movie illustrate how the robot builds up the topology over one of the three sections

34 Elevations - South East looking North West 1:1000

Elevation images showing how the toplogy of the site changes over three different time periods: 20 months, 29 months and 48 months

II.4 Project Proposal Conclusion

Our design proposal for the Wyndham City Council is quite radical. We believe that it is the best solution to expressing our concepts of growth & decay with an underpinning philosophy of the designer losing control. Not only providing an answer to Wyndham’s need for a roadway sculpture that is representative of the community it also tackles Wyndham’s need for a green waste recycling facility.

iii._Learning_Objectives_&_ Outcomes:_Final

We created a sustainable method of using the green waste generated by the growing community of Wyndham in a hollistic system that enables the community to see how they’re actively shaping a new topology along one of their main roadways. Over time the green waste would have composted leaving an abundance of organic matter which will provide the framework for a new green space. With the added possibility that the robot that dispersed the organic matter could be given sentience and could act as a groundskeeper.

III.1 Personal Background & Learning Objectives

III.2 Learning Progress

This project gave me a large amount of skills for working as part of a group. During the first part of the semester you would hear about other groups that had fights and broke up and changed more than the characters on TV shows like Home & Away. I didn’t know why they couldn’t move past some of the politics that should have been left behind at highschool. Our group was relatively care free which became our downfall. As the semester progressed it became clear that some emmbers were putting more effort in than others. Our project was the opposite of straight foreward and commanded full time devotion from every member which didn’t happen. Small fights within the group occured but I persevered to continue along and get this project finished. At the end of the day that’s what got this project over the line. Not giving a damn about group politics and concentrating on the task at hand. When I started this subject I thought that I was going to create something aesthetically beautiful. I was wrong. I created something that isn’t exactly what people consider aesthetically pleasing. But it is beautiful. I feel like the character Gepetto from the movie Pinocchio. We didn’t just create a new topology for a stretch of land along a highway. Our project gave that area life. It would dramatically change the landscape for the better in a sustainable way. Not ‘sustanaible’ in the way that big business has hijacked the word. But actual sustainability, the kind that our year studied in our first year of this course. And I’m proud of the final result.

I had never been taught about parametric design before and had only had it mentioned to me by a couple of tutors in other subjects that were studying it as part of their masters. Over the course of the semester I’ve learnt an enormous amount about Parametricism and how it can be applied to architecture. I learnt how to create forms using parametric modelling in Grasshopper that were informed by strong design intent, rather than creating something that looks beautiful or interesting for pure aesthetic reasons. The gateway project provided me with a framework in which to explore these principles using real world design constraints. Coming into this subject I had very primary knowledge of Rhino let alone Grasshopper. I didn’t think I was doing anything I would actually use when I was going through the notions of watching the weekly tutorial videos and following along, other than to complete the weekly quizzes. That was until the second half of the semester when I needed to do complex things in grasshopper. I really reaped the rewards of my hard work because the tutorials were more helpful than I had previously thought. I really realised this when I successfully restructured some data using the Path Mapper. Last semester I was dazzled by concept of laser cutting and seeing some of the installations around the Architecture Building by some of the Masters level studios. This subject helped me discover how some of these geometries had been created and how I could prototype my own. To create some of my models I had to quickly become versed in the concept of nesting and visualising how my models would come together as well as what they were trying to represent. As the rest of my classmates were doing the same thing the Fab lab became inundated with jobs and I had to become resourceful in trying to get things fabricated elsewhere. Our group acted like a company and had to be resourceful and quite convincing when approaching outside fabricators in relation to getting our work cut in a short amount of time. There’s no point in constructing a beautiful looking model if you can’t document it properly. In the space of a couple of days I went from using a digital camera on automatic mode to being versed in a DSLR on manual mode and creating my own photography studio to achieve some great results that couldn’t be accomplished by using Instagram.

III.3 Learning Outcomes We don’t like change. Architecture is most definitely a creative field, but the way previous design studios have been ran has led myself and my fellow students into a comfort zone of design thinking and execution. Going through the motions of site analysis, generating ideas, refinement, creating some pretty renderings and models. Many hours of hard work goes into these studios and whilst they present challenges, they’re not challenging. Not in the way that ADS:Air is challenging. A brief look at some of the conversations on the Studio-Air Facebook page earlier in the semester would give a pretty accurate indication of how the hive mind responded to the nature of this studio. We don’t like change. The only conclusion I came to after the first couple of weeks was Adaptation. This studio was sink or swim from the beginning. Weekly readings with lengths on par with those of Arts subjects? Video lectures on programs named after bugs? You either tackle these weekly tasks with an open mind… or you withdraw before the census date. I enjoyed this new approach to design. I found the readings to be mostly interesting and I became that one guy in your studio that has an opinion on every reading while the majority of my fellow classmates stayed silent. The discussions that were had in relation to the readings were paramount in developing the right frame of mind needed in this subject. They also had the bi-product of establishing a studio culture that Stanislav was trying to encourage (despite the sheer number of students making smaller studios impossible). Actively participating in the studios directly correlated to a rich learning environment that was broken up with coffee breaks and tutors showing us cool stuff on the internet other design-related material via online sources. Some people saw their other group members as cell mates in some kind of survival horror movie where they were destined to be the one that made it out alive. I tend to take one idea, one or two buzz words and run with them. My group helped me change up my thinking and adapt as our project changed each week. “Why don’t you try this?” became a phrase that I formed a love/hate relationship with. Our project changed frequently and out tutors continually pushed us to experiment and question the notion of our project dramatically. Throughout the semester we developed a very solid design concept but we were ‘scared to design’. Scared to create something concrete. Our tutors helped us overcome this fear and our final outcome was something quite radical. Seeing all the groups’ work and the great designs they produced over the semester compared with my groups’ design gave me ill feelings at some stages in the semester. They were producing sculptural forms while we were creating something entirely different. I think one of the things that kept me optimistic was the intrigue that classmates had when I told them about my groups’ project. Our design process was definitely not linear with many backtracks before deciding to move in a completely different direction. Our design also suffered from ugly duckling syndrome. When it comes to green waste facilities people don’t associate them with beauty. However once we had established a firm base in the form of a recycling system that solves another problem that Wyndham had I could see our design 40 concept turning into a swan.

III.4 Future Work I developed a number of skills throughout the semester that will greatly benefit me in future. In coming semesters I hope develop my knowledge of parametric design and how it can be applied in the real world at the same time using some of the techniques I learnt in future projects. I feel that my design thinking and ability to critical analyse my work has increased dramatically due to the nature of this studio. With the power to rapidly prototype comes the responsibility to critique each iteration and find the best one to move forward with.

References

Image Sources

Architectural Discourse

1. Mob-ile parliament by Andrew Maynard Architects: http://www.maynardarchitects.com/Site/houses_1/ Pages/Mobile_Parliament.html 2. The National Art Center by Kisho Kurokawa: http://www.kisho.co.jp/page.php/263

Computing in Architecture

http://www.maynardarchitects.com/Site/houses_1/Pages/Mobile_Parliament.html#1 http://www.kisho.co.jp/pageimg/00271_03s.jpg http://www.arcspace.com/architects/kurokawa/nac/nac.html Computing in Architecture

3. ‘Calculus-Based Form: An Interview with Greg Lynn’ by Ingeborg M Rocker, Special Issue: Programming Cultures, Architectural Design,76,4,2006.

http://images.beijing2008.cn/20070516/Img214078153.jpg

‘integrated project delivery: A working definition”, AIA California Council, 2007, http://ipd-ca.net/images/Integrated%20Project%20Delivery%20Definition.pdf J parrish, ArupSport, ‘Generative Design Is Changing the Face of Architecture’ by Angus W. Stocking, 2009, http:// www.cadalyst.com/cad/building-design/generative-design-is-changing-face-architecture-12948 Introduction to Parametric Modelling

Introduction to Parametric Modelling http://www.follybeach.com/sand-dollar-live.jpg

‘ICD/ITKE Research Pavillion at the University of Stuttgart’, DEZEEN Magazine, 2011, http://www.dezeen. com/2011/10/31/icditke-research-pavilion-at-the-university-of-stuttgart/

Roland Halbe - http://static.dezeen.com/uploads/2011/10/dezeen_ICD-ITKE-Research-Pavilion-atthe-University-of-Stuttgart-5.jpg