a i r i n d i a
m c k e n z i e
B
p a r t
criteria design
B.0 research: site visit B.1 research field: geometry B.2 case study 1.0 B.3 case study 2.0 B.4 technique development B.5 technique: prototypes B.6 technique: proposal B.7 learning objectives & outcomes B.8 references + algorithmic sketch
B.0 research: site visit
CERES centre for education and research in environmental strategies During a tour of the site with the grounds manager, we were introduced the the various areas of the park land. Covering a sizable pocket of land bordering the Merri Creek, the site is self described as a.. “place for community-based learning and action to create environmentally beneficial, socially just, economically satisfying, culturally enriching and spiritually nurturing ways of living together.” It’s organic, not only with their harvesting but their general site develop that sprawls in various levels of refinement. The entrance boasts a well executed cafe, nursery, grocery store and office spaces acting as the central hub. The rolling valley beneath encapsulates the raw and humble aspects of this dynamic site. The playground and adjacent venue space was identified as a key area of potential for the introduction of a structure. The key function of the installation is to provide shade and shelter for the occupants thus performance being the primary criteria. The client also specified that the structure should compliment the theoretical messages of the park and has the potential to be a catalyst for the delivery of key educational messages. The opportunity to collaborate with the students of the University of Melbourne appeals to the clients’ sense of incorporating community into the development of on-site projects. A critical aspect of the input is that a sense of craftsmanship comes through to the outcome so that the hand of the creator is felt within the structure. The client also expressed the fluidity of the space and reinforced the “ephemeral” nature of the site in that it changes regularly with user interaction and through the seasons. The site is humble, interactive and ripe for a creative installation to add to the rich cultural tapestry that is CERES.
B.0
The playground and adjacent venue space was identified as a key area of potential for the introduction of a structure. The area identified consists of a substantial hill-side children’s play ground running alongside the train carriage with the adjacent venue space opening up to a sizeable patio where events are held regularly involving the erection of marquees. The pavillion is the key structural feature that delineates the area with a rustic rock wall rising up on the opposite side to encircle the space and creating natural extents to the space. Given the diverse use of the pavillion for various events, the educational, conceptual themes of the park are much more subtle with neutral structural elements. Conversely, the playground is imbued with the spirit of the park and its design is explicitly based on the concept of biomimicry and it’s imitative designs emulate the structures of nature ie. the larger than life winding earth worm built with anotomical features to scale. Although this is not my elected research field, the concept is synonymous with the values of the park and therefore is likely to be a central theme across all proposed installations in this specific site. I feel this site has an untapped creative potential with an opportunity for a vivid, dynamic structure with a form driven by the geometry of computational design and brought to life with the tactility and authenticity of appropriate material selection.
criteria - performance - educational - ephemeral - craftsmanship
The shade structure over the sandpit was identified as an incongruous element within the theme of the playground and thus I would hope to replace this with a more thematically relevant and visually appealing shade structure that would perform as not only a much needed shade structure for the occupants of the area but also add another dimension to the themes of biomimcry and the ephemeral nature of play and interaction that is encouraged within this site.
B.1 research field: geometry
My investigations into geometry in parametric design and built works lead me to an exploration of rule based designs using minimal surfaces that express functionality as well as design essence of the building. In particular Kolarevic discusses how the selection of materials can influence the design ‘effect’ as distinct to the ‘affect’ on the user/viewer. As a somewhat aradoxical outcome, the development of digital designing tools has enabled not only the creation of complex geometric organisational designs but also a revival of sense of craft in particular through using materiality for effect and extracting a sense of quality and refinement into the product. This new design tool has enabled a revival into the limitations of materiality with experiements in non-traditional construction materials used in innovative ways. Described as the “mutability” of materials, Kolarevic also highlights how the transformation and decay of building materials is being exploited as a design opportunity in contrast to the historic propensity for pristine surface as a symbol of design refinement. This exploration of decay in materials emphasises a shift in understanding and manipulation of design effects whereby surface textures are subject to weathering and transformation from the environment. This is commonly expressed in digitally designed perforated metal skin facades materials that transform when exposed to the elements thus creating a fusion of materiality and the rhythms of nature. There is an opportunity for strengthening the connection between the studio intent and the design outcome, by acknowledging and represting the interaction of ‘air’ in architecture and materialising this relationship through the tactility of the surface finish when exposed to the air.
The works of Frei Otto, explored in more detail below, speak to the role of temporal understanding in architecture. The german architect, most famous for the roof stucture of the 1972 Munich Games stadium, spoke to a new age of architecture that upended the reverence of permanence and monumentality exemplified in the nazi architecture and instead lead the way for lightweight, tensile and membrane structures that spanned large distances with minimal impact and material usage. These inspiring and innovative works formed part of a new commentary on the role of architecture as a living, dynamic embodiment of space. This is a particularly relevant concept to the client of our project and the transient and seasonal nature of the CERES site whereby the rhythms of the environment are continually shaping the program of the park, most directly with the seasonality of produce. Even within our site visit, our guide highlighted the ephemeral nature of the playground that is allowed to decay and transform at the whims of it’s creative and free-spirited young occupants as well as being left subject to the elements with exemplified with the progressive rot that continues to corrode and give an authentic character to the log retaining walls that delineate the sand pit. The materiality of the site plays a large role in the conceptual understanding of the ephemeral landscape and the continual growth and decay of natural elements. Geometry in computational design lends itself well to an exploration of materality and I hope to fuse this design opportunity with the concept of the ephemeral landscape and culture of the CERES environmental park.
Ephemeral adj ective D e ri vi n g from t h e g re e k w o rd ε φ ή μ ε ρ ο ς – e p h e m e ro s , m e a n in g lit e r a lly “ la s t in g only o ne da y” i s t h e c on c e p t o f t h in g s b e in g t r a n s it o r y, e x is t in g o n ly b r ie f ly. Ty p ic a lly the ter m e ph e m e ra l i s u se d t o d e s c r ib e o b je c t s f o u n d in n a t u re , a lt h o u g h it c a n d e s c r ib e a wid e ra n ge of t h i n gs, i n c lu d in g h u m a n a r t if a c t s in t e n t io n a lly m a d e t o la s t f o r o n ly a t e m p o r ar y pe ri od, i n orde r t o i n c re a s e t h e ir p e rc e iv e d a e s t h e t ic v a lu e . B e c a u s e d iff e re n t p e o p le m ay va l u e t h e pa ssa g e o f t im e d iff e re n t ly, “ t h e c o n c e p t o f e p h e m e r a lit y is a re la t iv e o ne”.
B.1
Ventricle, Southbank installation SOFTLAB NYC 2016 This captivating and geometrically complex installation engages the user of the space immediately. With mirrow film aluminium leaves, the glint of light and the fractals of colour are dizzying. Intended to maximise the sun rays coming through to the lobby space the hangin net structure refracts the light and projects a weaving of colours into the interior space. The integration of light, materiality and form are a triumph in geometrical computational design. The complex system of refractions is only made possible by the optimisation of the hanging structure that is said to mimic the weaving of cultural influences on the tapestry of british life. The interaction of form and materiality triumph to create an effect repetition on a theme. The system of connecting identical aluminium panels within the geometric hanging net system allows for the language of the design to be read explicitly but the variation of colour highlight the tone and depth to the design. The technique used here are similar to what I’ve explored in my research of the kangaroo plug-in. The hanging tensile structure enacts on gravity with the tubes stretching towards an attraction point. The image of the underside of this installation shows a similar aspect to that of the top viewport in rhino and I can envisage how the control points have been manipulated from the base plan in order to create the form. Photographs: Alan Tansey
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FRAC Centre Jakob + Macfarlane Orleans, France, 2013 This striking and visually dynamic building exemplifies the use of geometry in computational design. The organic expansion of the tubular metal structure stretches towards the city. The faceted nature of the buildings exterior stands to contrast against the urban fabric surrounding it where the ‘symmetry and sobriety’ reign supreme. The Turbulences is the antithesis of this and stands as a marker for a new shift in the architecture of the region. The structure consists of the exterior cladding panels and a secondary supporting structure behind it. The exterior panels are aluminium whilst the interior panels are wood, creating an inside-outside dualism. The complex facade of this building was enabled through digital design tools and the metal tubes were pre-fabricaed in the factory before completing the on-site construction. Jakob + Macfarlane described this design “as ‘living’ architecture permeable to urban ebbs and flows.... [and] thus becomes the emblem of a place devoted to experimentation in all its forms, to the hybridization of disciplines, and to architectural changes occurring in the digital age.” In conjunction with the joint winner of the design competition, the artistic duo Electronic Shadow consisting of Niziha Mestaoui and Yacine Aït Kaci, the design team developed a “skin of light” that interacted with incoming data from the surroudning urban environment that was to be grafted onto the skin of the building in real time through a computer generated facade lighting system. In order to “develop a state of resonance with it’s environment” the lighting system projects incoming climatic data thus the the buildings surface will be informed by the world around it. Described as the “merger of image and matter” The Turbulencess elevates itself into a living entity and becomes “immaterial architecture”.
B.1
Works of Frei Otto The theoretical and structural systems of Otto’s work remains key to the form finding process of my design. His obsession with tensile structures represents the essential form of minimalistic design whereby the lightest materials and most efficient form has been derived from the simple principles of gravity and geometry. Having been exposed to an incredibly harsh and sparse environment whilst help captive as a prisoner of war in the first world war, Otto’s experience with “building with less” in the real world has become the basis for his body of works that commonly represent scaled up tent-like structures. Bordering the line between engineering and architecture, Otto’s sweeping canopies and light-filled volumes were easy to assemble and disassemble. Having built just as many temporary structures and permanent buildings, Otto’s design methodology allowed for the transience of his construction, thus taking on an ephemeral quality. This references back to the criteria design established from the site visit and strengthens the theoretical works of Otto with the brief of the design. Similarly, the bulk of his research into these lightweight structure centred around biomimcry and understanding the patterns of nature such as the way the wings of a bird catch the air to create flight. His designs were beyond his years and stood in stark contrast to the monumentality of the strict Nazi Regime. The construction methodology of the Third Reich in Germany spoke to a singular world order of dominance through sheer size and solidity. In contrast, Otto’s creations were lightweight, open to nature, democratic, low-cost and frequently temporary- the antihesis of the culture surrounding him.
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Jewish Museum Daniel Libeskind Berlin, 1999 The poetic use of light and shade is what makes the Jewish museum such a moving an emotional place and creates an environment appropriate to the dark subject material it houses. In particular, the outdoor component of the ehxibiton, consisting of a square grid of solid concrete columns soaring skyward with a delicate canopy above, creates a sombre and contemplative mood which enables to occupant to reflect on the atrocities inflicted on jewish people during World War 2. The simple and regular geometry of the installtion is what defines the space and the affect on the visitor resonates with undistilled power. The simple use of materials allow for the space to express itself in a tonal variation of light and shade which results in a deeply emotive experience. The use of concrete has also been selected with an understanding of its connotations as a common material of prisons and bunkers. The simplicity achieved through the relationship of materiality and form gives the space an overwhelming profundity. The design has intent, and depth without being over bearing or over done. It seeks no further glorification or ornamentation, it simple speaks for itself and I beleive that expression in form is at the core of geometry.
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Jewish Museum Daniel Libeskind Berlin, 1999
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SOFTLAB Ventricle The pore like perforations on this alien-like structure give it an other wordly feel as it oozes and curls like coral swaying in the tides. The form itself carries significance and has a wondererous affect on the occupant with it’s dynamic stretching manner however the effect of the perforations is what elevates this piece. In creating the light and shade effect, the internal space and feeling is touched by the relationship to the external environment and the interaction between inverses is explored. There is a playfulness and a sense of movement in this piece that appeals greatly to me and I feel like would be an appropriate form finding technique for that of a children’s playground shading device. It has quirks, loops and spills, gaping voids and narrowing hollows, and the billowing cores take on an imitative tone when considered in the context of biomimcry in representing the spores of a mushroom or the shoots of growing leaves. The rationalisation on the adjacent page adds depth to the understanding of the piece and evidences how triangulation can be used in correct scale to achieve a smoothed aesthetic whilst also being structurally sound. This level of geometric optimisation will need to underpin the algorithm in order to ensure the form is developable.
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Orange Cube Jakob + Macfarlane Lyon, 2010 Such a distinctive presence on the architectural scene needs little explanation as with Jakob and Macfarlane’s gloriously bold ‘Orange Cube’. Taking on the 29 x 33 m framework of the site, the structure itself is whole in it’s cubic form and hollowed out in places, punctured delicately in others, to create an industrial quality of modernist monumentality. It’s defining bright orange shade structure is perforated with a pixelised abstraction of water droplets, tying it to it’s wharf side locale and referencing it’s roots. This technique (image sampling) is an excellent idea for referencing meaning into pattern and I intend to adopt this into my own designs in order to strengthen the association of form, materiality and meaning. The abstraction of the patterns of nature is a common theme in architecture and will tie back into the sites key themes. The techniques used here can be applied on the scale of the site to create a similarly effective aesthetic whilst mimicing the performance characteristics of the cladding shade structure. There are a number of literal connections of technique that I can draw from. The incandescent orange brings a playful character to the structure, and I was immediately attracted to the wholesome application and unity that is created by the singular colour. It’s cubic form and monochromatic scheme delivers a bold design with no lack of personality. This elusive characteristic is something that would fit well into the brief and engage with the playful, creative and imaginative aspect of childrens play.
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B.2 case study 1.0
spec ie s one: co ne Beginning with creating a conical form, I repeated the form through a series of points which I generated randomly within the boundary geometry. From here I adjusted the input parameters to create multiple iterations based on the same form. This varied the diameter of the two ends of the cone as well as regenerated thickness, the number of points/cones, as well as regenerated the populate command. I think extended the form using extrude, loft, arc and piping commands to create more complex geometries. Elements of this technique could be used for my shading structure as part of the design of the perforation patterning. I liked the way the cones interacted with each other and the intersection of the planes adds complexity through a simple rule.
B.2
Pro Pro Pro
B.2
spec ie s two: i m ag e s am pl i ng 2D Using images taken at the site, I projected these onto a surface to create a pattern of points attributed to the brightness levels of the image. I was then able to adjust the magnitude of the likeness but found that my image and scale of experiementing was too low resolution for my image to be discernible. Nonetheless it forms the beginning of a meaningful pattern. Attaching these points to a circle component, I then adjusted the diametre of the circles to be related to the data image as well which strengthened the connection between the image and the projected circles. These circles could be an excellent way to create a pattern for perforating the shade structure. It also has scope to be explored three dimensionally which I will do next.
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B.2 case study 1.0
spec ie s thr ee : i m ag e s am pl i ng 3D Using the image sampling circles, I extended the species by bringing it into 3D. Using the pipe and extrude commands, I was able to give depth to the circles and alter the parameters to effect the density and diametre of the pattern. This is certainly a critical aspect worth considering in my design as the materiality selected will require depth and there is scope for a unique approach to the perforations that will intersect the plane of the shade structure.
B.2
B.3 case study 2.0
B.3
Re ve r se Engi neeri ng Fr ei Otto, M uni ch O l y m pi c S t adi um I chose Frei Otto’s Munich Olympic game stadium structure to explore through parametric modelling. The kangaroo physics plug in proved critical as it optimised the mesh relaxation form dependant on the control/anchor points identified in the structure. I began by developing a surface similar to the profile of Otto’s staidum and converted this arc into a mesh in rhino before referencing this into grasshopper. From there, I simplified the mesh and creating the square panels across the surface. Creating a network of points along the junctions as well as referencing the base structure, I was able to anchor the vertices into the kangaroo component. Through using the toggle component I was able to simulate the draping characteristic as the unanchored points were attracted back to key control points.
B.3
Analysis The first iteration of my reverse engineering produced a faceted face system that didn’t have the draping quality of Otto’s work. Whilst I understand his structure consisted of a number of square panels as well, there was not enough complexity within the base mesh and therefore the panels are scaled too large to acheive the same effect.
Solution In order to overcome the oversimplifcation of the mesh I experimented with multiple input parameters to make the base mesh more complex. The most triangulate component achieved the desired aesthetic but it was the diagonalise component that recreated the draping effect most consisently.
Outc om e The diagonalise componet results in the draping form that most closely represented Otto’s design and reduced the level of aesthetic difference between my reverse engineered design and the original. Whilst there are certainly differences in proportion and form in my design, I am confident that I have enabled the kangaroo component to create a relaxed mesh that best mimics the technique of Otto’s design.
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B.4
BASE GEOMETRY
MESH
WB: EXTRACT MESH EDGE
DIAGONALISE
T R I A N G U L AT E
DECONSTRUCT MESH
VERTICES
B.4
REST LENGTH PA R A M E T E R
SPRING FROM LINE
KANGAROO S O LV E R ANCHOR POINTS
MESH
B.4 technique: development
ite r a tions Using t he scr i pt f rom B. 3 ( re ve rse e n gi n e e ri ng ) , I proceeded th e c h a n ge t h e fol l ow i n g va ri a b le s :
anchor point s e l e c t i on Keeping t he ba se ge om e t ry poi n t s a s a n c h o r s , I used a random se l e c t i on c om pon e n t t o se le c t point s wit hin t h e m e sh a n d m a n i pu l a t e d t h e s e point s wit hin t h e x, y a n d z a xi s t o c re a t e n e w fo rms. The ka n ga roo c om m a n d a l l ow e d m e to alt er input com pon e n t s a n d t oggl e i n orde r to produce mult ipl e i t e ra t i on s ba se d on t h e sa m e script ing seque n c e . Th rou gh c h a n gi n g t h e select ion o f a n c h or poi n t s a n d t h e va ri a n c e o f t he rest lengt h fac t or f or spri n g W it hin t he kanga roo pl u gi n , t h e spri n g compo nent al l ow e d m e t o a l t e r t h e re st e ff e c t t hus creat ing di ff e re n t t h re sh ol ds w i t h i n t h e anchor point s a t t ra c t i on . By a l t e ri n g t h i s paramet er, I wa s a bl e t o t i gh t e n or l oose n t he effect of t he a n c h or poi n t s w h i c h e n h a n c e d t he draping effe c t w h e n t h e f a c t or w a s highest (neare st 1. 0) or l oose n e d a s t h e fa c t o r approached 0 .
relat ionship o f a n c h or poi n t s Despit e being t h e m ost pri m i t i ve or ba si c alt erat ion, by si m pl y m ovi n g t h e a n c h or poi nt s along t he axise s, I w a s a bl e t o c re a t e t h e m o s t visually not ab l e di ff e re n c e s i n t h e form s. Th i s will be a cr it ic a l f a c t or w h e n c on t i n u i n g t h e develo p t he sc ri pt for t h e f i n a l de si gn ou t c om e .
B.4
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mesh alterations As identified in the reverse engineering process, the behaviour and complexity of the mesh has a critical impact on the draping habits and overall aesthetic of the shell. I experimented with the diagonalise and triangulate mesh components and then continued to adjust the parameters and maintain the script structure established early on. This wil also help me continue to develop the script for my design as I can simply construct a mesh more to the scale of my shade structure and use the mesh altering components to help guide the form through geometric computer algorithm form finders.
B.4
The effect of the mesh behaviour ie. rectangular into diagonal alters the draping effect through increasing complexity of the mesh face.
B.4 technique: development
The vivid contrast of the orange outer skin and in the white inner pith, in combination with curling forms of these mandarin creates a bold form that from which i’ll derive the basis of my conceptual design for the shade structure.
B.4
This architecture business is hungry work, thankfully so, as it was during a snack break that I was struck by the intricate patterns and incredible dual structure of my mandarin skin that peeled off in glorious strips of electric citrus orange perforated with tiny irregular pores with the velvety pith clinging to the flesh of the fruit beneath. The two elements create a wonderful enclosure for the delicate segments inside it and I loved the cathartic process of derobing my mandarin. The result was an rather deflated yet inspiring cemetery with the strips of peel and strings of pith splayed out haphazardly before me. In the same way that the peel protects the delicate fruit enclosed within, the shade structure would mimic this performance and provide sun protection to the children who occupy the sandpit beneath. The skin also had a structural quality in itself acting as both the structure and the enclosure. The malleable strips developed dimensional strength when curled against the planes. There is scope here for the skin itself to support itself. This could be possible to develop through parametric modelling in order to devise a structure that is stable in and of itself and therefore not requiring further structure. Otto’s draping forms generally depend on uplifting structures beneath the centre point of the form. I plan to experiment with self-supporting structures. Rather than using a draping technique, I will create the illusion of Otto’s design paradigm by geometrising the shade structure. Using the triangulate and diagonalise components, I will give my draping form geometric rigidity by using triangular panels.
B.5 technique: prototypes
In order to bring rigidity and self structure to an otherwise smooth flowing design, one must incorporate geometry within the form. I decided to do a simple experiment with paper to illustrate how the increase in geometry faces can provide structure. Where by Otto used a series of props to maintain his anchor points within his design, much like poles in a tent, I believe I can acheive a similar design aesthetic whilst incorporating geometry to perform this function. This will allow me to create an arching shade structure without a prop or support in the middle. The site is already well protected on one side by the tree coverage, therefore to be able to arch from the other side of the sand pit, would allow me to block the harsh morning rays from the east without casting the entire sandpit in darkness for the entire day. Given that the structure only needs to arch over half of the site, a prop in the centre of the sand pit is simply not feasible, therefore the structure must be self supporting, whilst maintaining the ideals of the draping tensile structure. My prototpying illustrates the use of simple folds that create increasing in the face of the geometry. Whilst at a much smaller scale, this is the same concept that I applied to my grasshopper mesh in increasing the mesh faces with the diagonalise and triangulate components. The origami like folds enhance the way the light falls on the space and gives greater depth to the structure. I feel like this prototyping exemplifies the way geometry can be optimised to create a structure that is self supporting whilst simultaneously mimicing Otto’s draping form.
B.5
B.6 technique: proposal
Using the script I developeded in B.3 and my learnigns from B.4, I developed a mesh face that best suited the desired form of my shade structure over the shade pit. First I referenced the equalateral triangle mesh into grasshopper before applying a series of mesh applications on top of each other. The effect was the creation of a more complex geometrical form that would enable the structure to be self supporting as discovered with the folding exercise in B.5 with the paper prototypes. In that case, the folds acted as the geometry that created rigidity in an otherwise flat or draping surface without compromising the overall form and design theory. From here, I plugged the final geometry iteration mesh into the grasshopper script that developed a series of points on the vertices of the mesh and I proceeded to select the anchor points. Once selected, I was able to manipulate the form (as seen in the iterations across the page, to create the desired form. The form arcs over the sandpit and as the height increases, the shape diminishes.
B.6
B.6 technique: proposal
Once the form was established through the manipulation of the anchor points, the next stage of the design process was the applications of learnings from B.2 using the image sampling techniques to project perforations onto the surface of the structure using the variables in the image brightness to affect the radius of the circle in order to create the mandarin skin aeasthetic with the variable density and size of the pore pattern. Once the pattern was projected onto the base surface, I extruded the circle pattern through the plane of the mesh and used a cutting component to subtract the pipes from the surface, thereby perforating the skin. I then offset the base form to give it thickness.
B.6
B.7 learning outcomes
This was a challenging project and in order to encapsulate all aspects of learning from lecture material, online tutorials, in class discussions, theoretical readings and the development of computational skills, it certainly extended me, not just as a student but as a designer. Rationalizing my design intent through the criteria design gave me structure to go forth with confidence that I could input meaningful data into the computer program and develop an algorithmic design appropriate to the context of the project. Whilst I certainly struggled with the execution of the concept, I feel like my research and conceptual understanding of geometry within computational design has strengthened. I’ve formed a deeper appreciation of the integration of computer simulation in achieving effective, relevant and aesthetically pleasing designs. I look forward to taking these concepts further in the next part and continually to develop my skills in order to better represent my work and ideas.
B.7
B.8 appendix
Kolarevic, Branko and Kevin R. Klinger, eds (2008). Manufacturing Material Effects: Rethinking Design and Making in Architecture (New York; London: Routledge), pp. 6–24 Ventricle, Southbank, London by SOFTLAB NYC http://softlabnyc.com/portfolio/ventricle/ Photographs by Alan Tansey The Turbulences FRAC Centre, Jakob + Macfarlane, Orleans, 2013 https://www.dezeen.com/2013/08/01/the-turbulences-by-jakob-macfarlane-at-the-fraccentre/ Works of Frei Otto http://www.archdaily.com/tag/frei-otto/ http://www.pritzkerprize.com/2015/works https://www.gizmodo.com.au/2015/03/9-buildings-by-frei-otto-the-architect-whoengineered-the-future/ Jewish Museum, Daniel Libeskind, Berlin 1999. http://www.archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind Orange Cube, Jakob + Macfarlane, Lyon 2010 http://www.jakobmacfarlane.com/en/project/orange-cube/
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