Architecture Design Studio: Air ABPL30048
Eliza Materia 539 632 Studio 2
contents 02 introduction
03 part A: expression of interest case for innovation 04. A.1. architecture as a discourse 07. A.2. computational architecture 12. A.3. parametric modelling 15. A.4. algorithmic explorations 18. A.5. conclusion 18. A.6. learning outcomes 19. A.7. Bibliography 22 part B: expression of interest design approach 23. B.1. design focus 25. B.2. case study 1.0 27. B.3. case study 2.0 31. B.4. technique: development 33. B.5. technique: prototypes 37. B.6. technique proposal 41. B.7. algorithmic sketches 41. B.8. learning objectives 42. B.9. Bibliography 00 part C: gateway design project project proposal C.1. gateway project: design concept C.2. gateway project: tectonic elements C.3. gateway project: final model C.4. algorithmic sketches
virtual environments During first year University I studied the subject Virtual Environments, which introduced me to the concept of digital design. This subject enabled me to experiment with the program Rhino, and use its skills to aid and enhance the design process, in order to produce a wearable lantern. I began with an initial natural and involuntary process of blinking, and focused my attention upon the change in shape of the eye through time. This concept lead me to an array of differing oval forms, that would increase and decrease dynamically with ease. This inspiration, along with the help of Rhino, lead me to produce a four piece wearable lantern (below), that extruded from behind the head, to hang in front of the eyes. This piece could be seen through by the person wearing it, and the separate spheres hanging from string created constant movement which replicated the original process of blinking.
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part A expression of interest case for innovation
architecture as a discourse Architecture is moving into a technology driven world, where new, unique and complex designs are established via the aid of advances in programs and the use of materials. Due to this new way of thinking, architecture can easily become more separate from the surrounding natural world, and instead of utilising it sufficiently, in many cases trees etc. are removed because of the apparent inconvenience they cause. However, what isn’t always obvious is the extreme impact nature has upon design; whether it be harvesting particular views of the landscape by manipulating the locations of windows in a building, or physically changing materials to fit into the natural surroundings. As a result, I personally view the discourse of architecture, as something that constantly responds to the natural world, either purposely or in some cases accidently. Regardless, this idea is crucial in creating a successful and pleasing design that will remain present, in the ever fast moving world of architecture. 4.
nature as a building block In this surreal design interpretation by Atkin’s Architecture Group1, it portrays nature as the complete idea and force that shapes the actual design itself. As a result the constraints and abilities of the project are set by the landscape and site that it’s set in. This concept results in the natural world becoming the focal point of the architecture, rather than it being manipulated to fit certain design decisions, simply for convenience. Not only is the design physically shaped and limited to the country side in China, but the actual rock face and grass filled landscape aids the design. This is done by using the natural materials with ease, and harvesting the advantages of the site itself, instead of using completely foreign and sterile materials that will detract from the beauty of the surroundings. The overall design accentuates and truly encompasses the world of nature as a vital and influential part of architecture.
1 ‘What is Next Nature,’ Next Nature, 2007, <http:// www.nextnature.net/2007/04/waterworld-china/> [accessed 25 March 2013]
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the driving force of nature This futuristic home purposely focuses upon angular, and modular shapes2 and geometry, which seemingly oppose all concepts of the natural and free form flow of nature, and itâ&#x20AC;&#x2122;s natural processes. However, this somewhat sterile design works in juxtaposition with the beautiful landscape surrounding it, which therefore accentuates both aspects of the home and site. The house, which some may see as neglecting nature, is actually harvesting and emphasising the amazing views that can be obtained from a site such as this. Therefore, this design uses the beauty and natural forms of its surroundings as a driving force for the design itself, which creates a holistic feel between a technology driven future, and the appreciation of the natural world. 2 Gruber, Bryce, â&#x20AC;&#x2DC;Decor Spotting: The Home of the Future,â&#x20AC;&#x2122; The Luxury Spot, 2012, <http://www. theluxuryspot.com/decor-spotting-the-home-ofthe-future/> [accessed 25 March 2013]
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computational architecture Computational design within architecture can be undertaken with a variety of different approaches, which affect whether or not computation is viewed postively or negitvely within the design process. In some instances computation becomes the primary driver of the design, which in many instances eliminates creativity and unique design. It can also be quite limiting and extremely affect the design outcome. However, if computation simply acts to aid the actual design itself, and accelerate the design process, then this technique is an assett to the future of architecture. As a result, imaginations and norms will be stretched; allowing new and dynamic architecture to be created at a faster rate.
The sculptural glass facade of the MyZeil Shopping Mall, by Studio Fuksas. Image from: Vinnitskaya, Irina, â&#x20AC;&#x2DC;MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily.com/243128/ myzeil-shopping-mall-studio-fuksas/> [accessed March 30 2013]
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informed computation The MyZeil Shopping Mall by Studio Fuksas in Germany, represents a dynamic and unique design,3 which is achieved by the knowledge and use of the new technologies of computational design. However, the original design and the overall concept stems from nature and its geography and topography. This enables an original form and flow to be established, through the inspiration of the earth, rather than one completely subjected to the limitations and possibilities of a certain technological program. As a result the process of design becomes informed from an original area, which can then be further manipulated and trialled within the computer. Finally, the Mall is also purposely orientated to optimise sunlight, through the glass panels upon the facade, which further highlights the dependance the computational design has upon the surrounding natural environment and architecture as a spatial experience4. 3. Vinnitskaya, Irina, â&#x20AC;&#x2DC;MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily. com/243128/myzeil-shopping-mall-studio-fuksas/> [accessed March 30 2013] 4. Richard Williams, â&#x20AC;&#x2DC;Architecture and Visual Cultureâ&#x20AC;&#x2122;, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh 9. University Press, 2005), p. 102
focused computation Luke Novotny and Peter Ung were awarded the AIA 2009 Partridge Partners Award for their project below, within the Computational Media course.5 This piece of architecture displays the unique geometry that can be developed when focusing upon computational techniques and programs. The complexity of the panels/skin upon the facade demonstrates the refinement skills, and endless possiblities that stem from using an efficient technology, which enables original forms, patterns and joining techniques to be established with ease. Itâ&#x20AC;&#x2122;s unknown whether the original concept for the design began on the computer or by initial sketches, yet, the effortless relation between the complex structural form and the architecture itself, displays a well thought out and trialled solution to the design problem. 5 â&#x20AC;&#x2DC;Awards/Publications/Exhibition,â&#x20AC;&#x2122; Technicart, <http://technicart.org/?page_id=195>
[accessed March 30 2013]
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FabPod project at RMIT Image sourced from: Burry, Mark, ‘Ageing Design Challenge 2012,’ RMIT University, 2009 <http://www.designresearch.
rmit.edu.au> [accessed April 2 2013]
parametric modelling Parametric modelling relies upon equations of explicit functions, which are used with inputs and outputs to produce a final outcome, (in terms of architectural design), of something exceptionally complex, and reliant upon individual and unique parameters and equations. This way of modelling allows immediate potential designs to be visualisd and intepreted with ease, however, it can be limiting in some respects and cause setbacks in particular areas. Using complex formulas within programs, such as Grasshopper, may make sense to the individual whom created it, but to someone else the equation may not make sense. Therefore, limiting the people who can work on certain areas, and alter particular things. This complexity of the parameters can also make it exceptionally difficult to make significant changes on the project, since it can break the model and create something unsolvable. Regardless, this new form of modelling enables unique projects to be created with ease, through the simplest equations.
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parametric from the beginning
of pattern. This initial unknown outcome
The Dermoid project above,
original idea or design intent that the
began with the simple formation
technology is doing all the work, but
of patterns via the use of
without complete knowledge of specific
parametric modelling. As a result,
parameters and equations that will
there was no known form that
actually work, it’s impossible to come up
these patterns would undertake
with a solution.
from the beginning, it was purely based on the concept
enabled no preconceptions to be made about the final form, which allowed a variety of ideas to be trialled with the parametric modelling tools. However, some may argue that since there’s no
Images sourced from: Burry, Mark, ‘Design Research Institute,’ RMIT University, 2013, <http://www.designhub.rmit.edu. au/design-research/box2.html> [accessed April 4 2014]
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not only architecture Parametric modelling is not only efficiently used within the field of architecture, but also amongst other design areas, where a varierty of different conditions, limitations and parameters need to be taken into consideration. This form of design allows Rhino and Grasshopper to be utilised to generate surfaces that respond to particular instances and circumstances. Below is a set of points that come together to create a surface, which displays the pressure field of wind for the design of a sail.6 This allows not only the actual form to be optimised and enhance performance, but also makes it possible to analyse the ranging stresses and strains across the entire sail. Therefore, parametric modelling is able to advance, not only the area of architecture, but also a range of different regions within design that result in fluid and successful representations. 6. â&#x20AC;&#x2DC;Laser Cutting Folded Textiles,â&#x20AC;&#x2122; Paper Rabbits, 2011, <http://alymai.wordpress.com/author/
alymai/page/2/> [accessed April 4 2013]
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algorithmic explorations
Trial amateur image above, sourced from: Balogh, Brett, â&#x20AC;&#x2DC;Normal Flipping in Grasshopper, Grasshopper, 2009, <http:// www.grasshopper3d.com/ forum/topics/normal-flippingin-grasshopper> [accessed April 4 2013]
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algorithmic trials When
first
using
Rhino
be displayed immediately. However, it became apparent that certain parameters didnâ&#x20AC;&#x2122;t and
Grasshopper I tried the curve tools and functions with three simple curves that i drew in Rhino. This technique allowed me to use trial and error to see the different affects
have any visible affect or changes upon the form. This was either due to inexperience or inefficient connections to both inputs and outputs. The unique Rhino form below was created from the
Grasshopper that certain parameters had upon underneath. the lofted curves. The connection to
algorithm
trialled
Grasshopper also allowed quick and easy dramatic changes to be made to the curves, and the results of this to
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algorithmic trials Once I had used the curve tools, I moved towards 3D forms and attempted to play with the traditional cuboid form that was generated from a grid. I decided to bake the basic form, which enabled me to delete and remove certain elements to create a unique shape. This shape seemed to replicate a natural rock form, which is the reoccuring theme within my journal and itâ&#x20AC;&#x2122;s something I want to investigate within this technology, to see how computational design and nature can work hand-in-hand to create an informed and new design, which responds to its surroundings and keeps up with new parametric modelling.
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conclusion
My design approach throughout the journal has focused upon nature and its relevance within architectural design today, and how it’s moving towards digital and technological driven design techniques. This concept forces people to initiate nature within design and its importance, and whether or not the design intent or the limitations of nature come first. Depending on what’s preferred by certain people and the initial program being used, nature can influence the design dramatically, and doesn’t necessarily become less relevant due to new parametric modelling techniques. In fact, in some cases the specific new technology will allow more environmental and natural limitations and factors to be taken into consideration , and as a result, directly affect and manipulate the actual design.
learning outcomes
My original thoughts on the practice of architectural computing was initially quite negative, since the generalised opinion that comes from most people is that the programs are doing the designs for you. However, after my own use of Grasshopper and Rhino, along with the extended knowledge from the readings, it’s clear that a design cannot completely be stemmed from a computational program. Without knowing how to actually use the programs, and how certain parameters will affect the outcome, an actual design cannot be achieved. 18.
bibliography Awards/Publications/Exhibition,’ Technicart, <http://technicart. org/?page_id=195> [accessed March 30 2013] Balogh, Brett, ‘Normal Flipping in Grasshopper, Grasshopper, 2009, <http://www.grasshopper3d.com/forum/topics/normalflipping-in-grasshopper> [accessed April 4 2013] Burry, Mark, ‘Ageing Design Challenge 2012,’ RMIT University, 2009 <http://www.designresearch.rmit.edu.au> [accessed April 2 2013] Burry, Mark, ‘Design Research Institute,’ RMIT University, 2013, <http://www.designhub.rmit.edu.au/design-research/box2.html> [accessed April 4 2014] Gruber, Bryce, ‘Decor Spotting: The Home of the Future,’ The Luxury Spot, 2012, <http://www.theluxuryspot.com/decorspotting-the-home-of-the-future/> [accessed 25 March 2013]
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‘Laser Cutting Folded Textiles,’ Paper Rabbits, 2011, <http://alymai. wordpress.com/author/alymai/page/2/> [accessed April 4 2013] Richard Williams, ‘Architecture and Visual Culture’, in Exploring Visual Culture : Definitions, Concepts, Contexts, ed. by Matthew Rampley (Edinburgh: Edinburgh University Press, 2005), p. 102 Vinnitskaya, Irina, ‘MyZeil Shopping Mall/Studio Fuksas, Archdaily, 2013, <http://www.archdaily.com/243128/myzeil-shopping-mallstudio-fuksas/> [accessed March 30 2013] ‘What is Next Nature,’ Next Nature, 2007, <http://www.nextnature. net/2007/04/waterworld-china/> [accessed 25 March 2013]
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Image sourced from: Jorge Mahauad, ‘Shark success: It’s All In The Scales,’ Underwatertimes, (2010) <http://www. advancedgalapagosdiving. com/2010/11/shark-successits-all-in-scales.html> [accessed 18 May 2013]
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EOI: ll design approach
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design focus biomimicry As a design focus we have chosen to This unique surface has been used already take our inspiration from the area within the field of biomimicry design, of Biomimicry, and how this can be since, “The architectural pattern of the translated architecturally, into successful, Galapagos shark’s skin keeps bacteria innovative and environmentally friendly from landing and adhering,”2 which is designs. This topic has a close relationship perfect for surfaces within hospitals, and with the Wyndham district, since they other bacteria prone places/areas. With have a strong connection with the natural this in mind, we thought of ways to link environment, and are striving to increase this specific function of the surface to our this bond as the region is developing. Gateway Project and the key messages This “...new methodology of engineering Wyndham would like to send to the wider design, Biomimicry Design, introduces a community. We have re-interpreted this completely logical and intriguing way of by using the impermeable barrier to thinking,”1 which we’re aiming to apply keep in and magnify the pollutants from to our Gateway Project.
cars on the underside of the Gateway,
The particular area we’re using to inform however
the
exterior
will
remain
our design is the skin of the Galapagos pristine. This will force drivers to take Shark. This system consists of individual note of the affect their cars have on the rigid scales that overlap, to create an environment, and will represent the key impervious surface, which aids and allows connections with the environment and for the sharks to make dynamic, and growing community that Wyndham is flowing movements through the water. striving to achieve. 1 Jillian Du, ‘Biomimicry: sustainable design guided by nature,’ Click Rally Magazine, (2011) <http://www. clickrally.com/biomimicry-sustainable-design/> [accessed 16 May 2013]
2 Jillian Du, ‘Biomimicry: sustainable design guided by nature,’ Click Rally Magazine, (2011) <http://www. clickrally.com/biomimicry-sustainable-design/> [accessed 16 May 2013]
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The image above displays the translation between the unique shark scales and the antibacterial surfaces it’s been used to inspire. Image sourced from: ‘Tactivex: Nature’s Bacterial Protection,’ Aseptik LLC, (2013) <http://www.aseptikllc.com/ home/tactivex-natures-bacterialprotection/> [accessed 15 May 2013]
Galapagos Shark skin
These Rhino sketches we used to investigate the scales on the shark’s skin at a closer scale, and analyse the connections they have with one another.
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case study 1.0 matrix The design project i chose to manipulate and transform into a variety of new and exciting
Above: Slider A = 4 faces Slider B = 0.363
structures was Aranda Lasch’s ‘The Morning Line.’ This was done by simply changing the parameters of the specified algorithm within Grasshoppper. I first approached the task by changing the various number sliders, and viewing the affects those particular systems
Above: Slider A = 4 Slider B = 0.533
had upon the overall form. The first slider (A) defined the polygon size and number of sides, while the second (B) modified the scale to create tetrahedrons at vertices and truncate initial tetrahedron in iterations. The final (C) drew a pattern on each face via
Above: Slider A = 3 Slider B = 0.674
analysing the geometry and drawing curves, which seemed to have minimal affects on the overall form when altered. Due to this, I left slider C the same, so the affects of the other 2 sliders would be consistent and easy to see. Above: Slider A = 3 Slider B = 0.194 Image left sourced from: Matthew Ritchie, ‘The Morning Line,’ Yahoo, (2013) <http://www.flickr.com/photos/arandalasch/ sets/72157612286717885/> [accessed 15 May 2013]
Above: Slider A = 4 Slider B = 0.076
Above: Slider A = 4 Slider B = 0.271
Above: Slider A = 4 Slider B = 0.609
Above: Slider A = 3 faces Slider B = 0.434
Above: Slider A = 4 Slider B = 0.476
Above: Slider A = 3 Slider B = 0.577
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case study 2.0
Image sourced from: â&#x20AC;&#x2DC;The worlds first Dynamic Architecture Building,â&#x20AC;&#x2122; IClickfun, (2013) <http://www. iclickfun.com/the-worlds-first-dynamicarchitecture-building/> [accessed 16 May 2013]
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dynamic tower David Fisher’s ‘Dynamic Tower’ is a moving surrounding natural environment. skyscraper, yet to be built in the cutting edge city of We replicated the form of the skyscraper in Dubai. The concept of the design is to incorporate Rhino and Grasshopper, by beginning with both residential and commercial sectors, within the simple rectangular form split into levels, an 80 story building, that’s capable of completely and then applying rotation to the entire rotating 360 degrees in only 90minutes.3 A tubular structure. Eventually, after a few trials we concrete core constructually allows each floor were able to rotate each level independently. to rotate independently, while maintaining it’s 3
‘Dubai Travel Guide,’ DubaiShortStory, (2010)
structural integrity. This revolutionary building <http://www.dubaishortstay.com/blog/dubai-tours/5amazing-facts-of-dynamic-tower-dubai/> [accessed 18 May
is powered by solar and wind generators, and 2013] therefore having a decreased impact upon the
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development The
rotating
tower
concept often result in curved shapes, with
interpreted by David Fisher in the an elegant and natural appearance.”4 ‘Dynamic Tower,’ as well as our focus However, we wanted our form to on the Galapagos Shark skin and represent flexibility, yet rigidity, its flexibility enabled us to produce which is encapsulated within the a spiral-like form. The concept skin of the Galapagos shark, rather was for this form to rotate on an then something too curvaceous and axis or bottom plate to create an elegant. illusion that the form was moving With this new take on the design up and down. This shape enabled and our original concept being movement in circular and vertical unsuccessful, we began to reanalyse directions, in order to maintain a the key aspects that make the fresh and vibrant feel, similar to the Galapagos Shark skin unique, and growth and development taking the ways in which its elements work place in Wyndham. We also had to together. consider the view drivers would have when passing by the Gateway and the affect it would have on them. It
4 Daniel Under, ‘Space Symmetry Structure,’ (2012) <http://spacesymmetrystructure.wordpress. com> [accessed 18 May 2013]
soon became apparent that, “Formfinding and physics-based-modeling
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Above: Grasshopper algorithm used to create our original Rhino form below/ left.
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Image sourced from: Themethodcase, ‘Strandbeest by Theo Jansen,’ The Method Case, (2013) <http://www. themethodcase.com/strandbeest-by-theojansen/> [accessed 16 May 2013]
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technique
prototypes
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theo jansen precedent
Theo Jansen designed a series of would be suitable for our design to also ‘Strandbeests,’ which consist of unique respond to the wind, so it’s position can forms capable of walking in response change and alter over time, to keep the to the wind and other environmental gateway feeling fresh and new. Ideally, attributes.5 In order for this design to be the spiral form we have produced would successful various trials of the form and provide enough extruded surface area the connections between all components to catch the wind, and allow it move. needed to be considered. This form of However, we require some form of axis, movement and flexibility between the or rotating base for this to occur. skin and structure, are elements we wish to focus upon and analyse within our design for Wyndham. We think it
5 ‘Theo Jansen’s Strandbeest,’ BBC One, <http:// www.strandbeest.com/beests_storage.php> [accessed 16 May 2013]
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model of gears With this movement in mind, we dynamic movements, which would gained inspiration from gears that be similar to that of the skin on the can be placed below the structure, Galapagos Shark; where weâ&#x20AC;&#x2122;ve taken while maintaining the integrity of the our biomimical inspiration from. It also designed shape. We produced a sketch became apparent that the movement model (below) to analyse how the two from the wind and cars could cause gears will interact with one another, the gears to move opposing ways, and and whether or not the movement therefore prevent any rotation from will flow or be staggered. Upon occurring. With this in mind, we began analysis of the gears, it became clear to review the ways in which our form that these would only allow circular could move in response to the site, as movement, rather than a variety of well as our overall form.
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technique proposal technique proposal frank gehry precedent
Frank Gehry designed and produced a shapes to create a form, which range of Fish Lamps in 1984, out of a penetrates light into different shades, “...new laminate product ColorCore.”6 is an area we wish to investigate and The scales were produced when translate into something applicable to the
material
accidently
fractured the site of Wyndham, and our interest
into shards replicating this unique of biomimicry. This application of shape. This material was then able elements and structural composition to translate the fish imagery, due to we decided to use and transfer to the the assembly method, and its ability to create a curved structure. This technique of overlapping diamond
6 Nicholas Tamarin, ‘Frank Gehry’s Fish Lamps,’ Designwire Daily, (2010) <http://designwire. interiordesign.net/products/lighting/2051/frankgehry’s-fish-lamps-on-view-at-new-york’s-jewish museum> [accessed 18 May 2013] 37.
http://designwire.interiordesign. net/products/lighting/2051/frankgehry’s-fish-lamps-on-view-at-newyork’s-jewish-museum
concept of the Galapagos Shark skin, rigidity and flexibility within the form and it’s specific flexibility, yet rigidity. we looked at ways in which these two With this in mind we began to analyse aspects could collaborate to produce a the relationship between a structurally form that would change over time, to sound form, that can be influenced keep interest for drivers, but also work and dependent upon the wind, while uniformly to display a pleasing and creating
an
impermeable
surface, unique skin for the Gateway.
which is one of the key attributes of the Galapagos shark skin. To maintain 38.
prototype new design Through analysing new precedents and revising the key aspects of Wyndham and our original inspiration of the Galapagos Shark skin, we were able to create a new paneling system. This system portrayed diamond/square pieces compiled and overlapped to create a skin that was connected at various pin points. By joining the elements together in this way, it enabled ease of movement, and particularly a flexible skin, which could be manipulated and changed, based on its surroundings, the wind conditions and the overall ideal structural system put into place to contain this. Three different materials were used; one completely transparent, another with approximately 50% opacity, and the final that was solid and unable to be penetrated by light. This not only created different lighting affects, but also had panels that were different in weight, so the response they had to the light and wind wasnâ&#x20AC;&#x2122;t uniform. As a result, the new paneling system enabled a dynamic, changing and biomimical reflection to be made, which doesnâ&#x20AC;&#x2122;t require a set or limited form to be assembled. With this in mind, we are now able to investigate the limitations this type of fabric has, which will allow us to narrow down an overall ideal structure that will encompass the skin and maintain its flexible and malleable integrity. For this particular prototype the base panels were overlapped and connected with tape on the underside, to create a base surface that was impermeable. Then extra scored panels were added to this with a pin connection at one point to allow 360 degree movement.
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algorithmic sketches Based on the physical prototype we made, we then took this concept into Grasshopper and Rhino, to see how it could be translated into computation and become and application of not just architectural design, but also physics.7 We figured out the ways in which each diamond form reacted with one another, and the amount of each panel that was overlapping with the neighbouring diamonds. We were then able to create a sketch in Rhino (left) that displayed the overall panel, which we can then apply to varying forms and structures to create and decide upon an actual shape for the Gateway into Wyndham. 7 Daniel Under, ‘Space Symmetry Structure,’ (2012) <http:// spacesymmetrystructure.wordpress.com> [accessed 18 May 2013]
learning objectives By making the gear prototype as well as the paneling prototype, it enabled us to visual and physically see how our elements would interact with each other, and whether or not our designs would work. This then gave us the oppportunity to put the design on Rhino and Grasshopper to aid and speed up the design process, rather than continually producing new models, with slightly different features, which would be a very time consuming process. Now we’re able to investigate forms and the most effective way to model our final design.
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bibliography Daniel Under, ‘Space Symmetry Structure,’ (2012) <http://spacesymmetrystructure. wordpress.com> [accessed 18 May 2013]
‘Dubai Travel Guide,’ DubaiShortStory, (2010) <http://www.dubaishortstay.com/blog/ dubai-tours/5-amazing-facts-of-dynamic-tower-dubai/> [accessed 18 May 2013] Jillian Du, ‘Biomimicry: sustainable design guided by nature,’ Click Rally Magazine, (2011) <http://www.clickrally.com/biomimicry-sustainable-design/> [accessed 16 May 2013] Jorge Mahauad, ‘Shark success: It’s All In The Scales,’ Underwatertimes, (2010) <http:// www.advancedgalapagosdiving.com/2010/11/shark-success-its-all-in-scales.html> [accessed 18 May 2013] Matthew Ritchie, ‘The Morning Line,’ Yahoo, (2013) <http://www.flickr.com/photos/ arandalasch/sets/72157612286717885/> [accessed 15 May 2013]
Nicholas Tamarin, ‘Frank Gehry’s Fish Lamps,’ Designwire Daily, (2010) <http:// designwire.interiordesign.net/products/lighting/2051/frank-gehry’s-fish-lamps-onview-at-new-york’s-jewish-museum> [accessed 18 May 2013] ‘Tactivex: Nature’s Bacterial Protection,’ Aseptik LLC, (2013) <http://www.aseptikllc. com/home/tactivex-natures-bacterial-protection/> [accessed 15 May 2013]
Themethodcase, ‘Strandbeest by Theo Jansen,’ The Method Case, (2013) <http:// www.themethodcase.com/strandbeest-by-theo-jansen/> [accessed 16 May 2013] ‘Theo Jansen’s Strandbeest,’ BBC One, <http://www.strandbeest.com/beests_storage. php> [accessed 16 May 2013] ‘The worlds first Dynamic Architecture Building,’ IClickfun, (2013) <http://www. iclickfun.com/the-worlds-first-dynamic-architecture-building/> [accessed 16 May 2013]
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