Architecture Studio: AIR JOURNAL PART A| S1 2017 | Qing Chwen Jackson Zeng

STUDIO AIR QING CHWEN JACKSON ZENG 762075 SEMESTER 1, 2017 TUTOR: MEHRNOUSH KHORASGHANI

TABLE OF CONTENTS PART A: CONCEPTUALISING A0 INTRODUCTION 02 A1

DESIGN FUTURING

DESIGN COMPUTATION

COMPOSITION GENERATION

A4 CONCLUSION 16 A5

LEARNING OUTCOMES

APPENDIX - ALGORITHMIC SKETCHES

A0 INTRODUCTION

JACKSON ZENG I AM CURRENTLY A SECOND YEAR STUDENT IN THE BACHELOR OF ENVIRONMENTS COURSE AT THE UNIVERSITY OF MELBOURNE. LOOKING TO PURSUE A DOUBLE MAJOR IN ARCHITECTURE AND PROPERTY. FROM A YOUNG AGE I HAVE ALWAYS ENJOYED THE EXPRESSION OF ART IN MANY FORMS. ARCHITECTURE WAS A NATURAL PATH FOR ME WHERE I COULD EXPLORE CREATIVITY WHILE ENJOYING THE SYSTEMATIC FLOW OF TECHNICAL THINKING.

ARCHITECTURE STUDIO: EARTH

SKETCHING MY WAY THROUGH HIGHSCHOOL, MY REPUTATION LEAD TO STUMBLE INTO MY FIRST JOB AS A FREE LANCE GRAPHIC AND FASHION DESIGNER FOR A RETAIL STORE DURING MY FIRST YEAR OF UNIVERSITY. CONSTANTLY ENTICED BY CHANGE AND NEW EXPERIENCES, I TOOK A SEMESTER BREAK TO WORK IN REAL ESTATE SALES, WHERE MY CREATIVE INTUITION LANDED ME IN A BUSINESS MANAGEMENT POSITION AFTER A FEW MONTHS. IN THIS ROLE I EXPLORED ENTREPRENEURIAL ENDEAVOURS IN DIFFERENT WAYS TO MARKET PROPERTY. I HOPE TO BRING CREATIVE TRAITS TO EVERY INDUSTRY I EXPLORE. IN 2016, I DESIGNED THE RETAIL FACADE OF THE BELLE PROPERTY INTERNATIONAL OFFICE RECEPTION SPACE. RETURNING TO UNIVERSITY IN 2017, I HOPE TO COMPLETE MY DEGREE AS A DOUBLE MAJOR IN ARCHITECTURE AND PROPERTY TO BRING AN UNDERSTANDING OF THE IMPORTANCE OF DESIGN TO THE ECONOMIC WORLD. I HAVE ZERO PRIOR EXPERIENCE WITH RHINOCEROS, BUT MY MODERATE EXPERIENCE WITH GOOGLE SKETCHUP IS HELPING ME WITH THE TRANSITION.

PROFESSIONAL GRAPHICS WORK

Project: Air-Stalagmite Location: High Air Pollution Areas Architects: Changsoo Park, Sizhe Chen Project Year: Unbuilt Source: Evolo Skyscraper Competition 2016

[ 1 ] AIR STALAGMITE 4

CONCEPTUALISATION

A1 DESIGN FUTURING Changsoo Park and Sizhe Chen’s Evolo 2016 Skyscraper Competition entry challenges the resistance of major economic and political powers’ recognition of the air pollution problem driven by the globalization of industry in the late 20th century [1] . Awarded an honourable mention, the Air-Stalagmite is beacon structure built over time by a 3D printer on its tower frame as an active log of air pollution levels. The tower base vacuums up the particles and uses it as a composite building material to form the 3D printed air stalagmite, creating an undisputable record of atmospheric particulate levels. In congruency with Tony Fry’s opinion, the beacon breaks away from the trend of design used to conceal materiality [2] from the masses through a literal representation of both materiality and ecological impact. The air-stalagmite also seeks to minimise the damage from public illiteracy of sustainability by the emergence of “design democracy” [3] as the ever-present beacon forces viewers to adopt the first step of the designer’s problem solving process: to identify the existence of a problem. The tower’s use of collected waste as a construction material is a radicalisation of Fry’s concept of the relation between creation and destruction [4] . The utilisation of destructive matter simultaneously

The tower’s form is a physical representation of the past and the present, thus revealing a trajectory towards the probable outcome of air-pollution reduction which political powers commonly speak of but rarely meet. In parallel with Anthony Dunne and Fiona Raby’s ideas, the inherent never-complete nature of Park and Chen’s design makes viewers intuitively visualize the possible and plausible future outcomes [5] of both the structure and the environmental state of the future as a basic form. It subsequently serves to develop a greater sense for the need of dramatic change as the form diverges from the optimistic expectation set by illusory ideas of progress. The beacon is proposed to be erected in heavily polluted areas across the world. The skyscraper’s form becomes unique to the site, varying in thickness dependant on the volume of particles absorbed. It serves as a constant reminder to work towards a preferable future [6] as it rises through the years becomes a profoundly primitive representation of a nation’s ability to enact their responsibility to the environment. Indexed against other Air-Stalagmites, they can be used recognise and direct pressure towards highlighted critical areas.

removes its negative impact and creates a positive one; a conceptual challenge to limits of sustainable practice. Additionally, the incorporation of a 3D printer as a component of architecture, extends beyond the still emerging concept of 3D printing as a construction method. This concept could inspire future ideas of architecture with the growing potential of expansion over time in parallel with the changing needs of its users.

[ 2 ] AIR STALAGMITE DETAILS

[ 3 ] AIR STALAGMITE DIAGRAM [1] “AIR-STALAGMITE: A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES-EVOLO”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/ COMPETITION/AIR-STALAGMITE-A-SKYSCRAPER-TO-SERVE-AS-A-BEACON-AND-AIR-FILTER-FOR-POLLUTED-CITIES/> [ACCESSED 13 MARCH 2017]. [2], [3], [4] FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 [5], [6] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 CONCEPTUALISATION 5

A1 DESIGN FUTURING Grimshaw and Samoo Architectâ&#x20AC;&#x2122;s Ecorium in the National Ecological Institute is a series of greenhouses containing various natural biome replications in South Korea built to become an education and research hub for conservation. I chose this as a case study as it is a natural evolution of the preceding Eden Project [7] from Grimshaw. The existence of this project is proof of design futuring success from its precedent. Utilising design computation, simulations of various iterations of the form were tested for air-flow and water management to optimise energy efficiency. I found this project to be an interesting comparison between the finititude of natural ecologies and that of humanity. [8]

The ecorium serves to allow visitors to experience the diversity of nature and stress the fragility and importance of conservation. While conditions are artificially controlled, biomimicry is at the heart of its design, replicating conditions of the natural word in separate biomes while arranged to incorporate the regional connections between climates. The project challenges the industrialised perception of nature as a separate entity protected and preserved from human activity in the form of an ecological system entirely dependent on the artificial enclosure. The project acts as an exploration into the plausible [9] interdependence between nature and man, to facilitate the planning a probable and preferable outcome for human sustainment.

Project: Ecorium of the National Ecological Institute Location: Seocheon-gun, Korea Architects: Samoo Architects & Engineers, Grimshaw Architects Project Year: 2013 Source: Archdaily

[ 4 ] ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE

[ 5 ] ECORIUM LEVEL ONE

[ 6 ] ECORIUM GROUND FLOOR

[7] “ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE / SAMOO ARCHITECTS & ENGINEERS + GRIMSHAW ARCHITECTS”, ARCHDAILY, 2013 < HTTP://WWW.ARCHDAILY.COM/423255/ ECORIUM-OF-THE-NATIONAL-ECOLOGICAL-INSTITUTE-NBBJ-IN-COLLABORATION-WITH-SAMOO-ARCHITECTS-AND-ENGINEERS-GRIMSHAW-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [8] FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 [9] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45

[ 7 ] FACADE UNIT FOLDING DIAGRAM

The façade of the Al Bahr Towers is a direct performative response to the intense heat conditions of Abu Dhabi. Aedas has created a dynamic façade based on a Masharabiya folding lattice [10] using parametric design to form a mechanical shading system composed of repeating hexgonal units each subcomposed of triangular sections that folds in and out (Refer to FIg. 7) to block sunlight in accordance with the sun path. Dynamically reducing glare and solar heat gain where it is needed at different times of the day, parametric design has revolutionized performative architecture to allow for structures that do not have to compromise for an average condition like passive thermal design.

The use of parameters allows for the efficient analysis [11] of pattern composition, surface permeability and unit size of the dynamic façade. Functional parametric design such as this shows clear characteristics of scientific rationality above artistic intuition, shifting the architect’s role and making the collaboration between architects and engineers more intertwined.

[10] “THE AL BAHR TOWERS’ SUSTAINABLE GEOMETRIC FAÇADES REACT TO SOLAR RAYS”, ARCHITIZER, 2014 <HTTP://ARCHITIZER.COM/BLOG/AL-BAHR-TOWERS/> [ACCESSED 13 MARCH 2017]. [11] KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25

[ 8 ] AL BAHR TOWER FACADE 8

CONCEPTUALISATION

A2 DESIGN COMPUTATION PROJECT: AL BAHR TOWERS LOCATION:ABU DHABI, UNITED ARAB EMIRATES ARCHITECTS: AEDAS PROJECT YEAR: 2012 SOURCE: ARCHITIZER

[ 9 ] AL BAHR TOWERS

CONCEPTUALISATION 9

[ 10 ] HARBIN OPERA HOUSE SKYLIGHT

PROJECT: HARBIN OPERA HOUSE LOCATION: HARBIN, HEILONGJIANG, CHINA ARCHITECTS: MAD ARCHITECTS PROJECT YEAR: 2015 SOURCE: ARCHDAILY

CONCEPTUALISATION

A2 DESIGN COMPUTATION The graceful fluidity of MAD Architect’s Harbin Opera House is an example of a structure made possible by the emerging technological innovations in design and construction. The sloping white form is a contextual response to the frigid climate [12] . Numerically Controlled fabrication enables the curvilinear geometries of the Harbin Opera House which can be modeled by Non-Uniform Rational B-Splines (NURBS) to be fabricated at a level of precision not possible by traditional methods. [13] These curvatures can then be adjusted parametrically to find the acoustically-optimal form through analysis by acoustic engineers such that geometry can now be justified on a rational level [14] beyond the intuition of an artist.

Design computation’s capacity for an endlessly wide range of design outcomes revolutionizes the performance capabilities of architecture. The computer begins to play a major role as the creator and the designer takes on board a role more akin to an analyst while traditionally, the architect acts as the sole creator, and the computer a tool. The ability to easily and rapidly adjust on an almost infinitely divisible level to a variety of factors means practice can evolve to a more frictionless collaboration between architects and engineers, and specialised consultants, as the process has been made far more efficient, with time and resources being spent on assessing a range of outcomes for performance rather than drawing the pre-envisaged form. The outcome becomes a far more efficient and rational product.

[ 11 ] HARBIN OPERA HOUSE

[12] “HARBIN OPERA HOUSE / MAD ARCHITECTS”, ARCHDAILY, 2015 < HTTP://WWW.ARCHDAILY.COM/778933/HARBIN-OPERA-HOUSE-MAD-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [13] OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10

CONCEPTUALISATION 11

[14] KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25

[ 12 ] OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY

PROJECT: OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY LOCATION: WUXI CITY, JIANSU PROVINCE, CHINA ARCHITECTS: LAYTON REID, ADRIAN JIMENEZ ESCARFULLERY, SAKIB HASAN, BRYAN RUIZ, MILOT PIVERA PROJECT YEAR: 2016 (UNBUILT) SOURCE: EVOLO

CONCEPTUALISATION

A3 COMPOSITION GENERATION The Osteon Cumulus Vertical City: Kilometer-High City is an entry awarded honorable mention in Evolo’s 2016 Skyscraper Competition. It’s composition of repeating units is characteristic of an algorithmically generated design [15] . Using rules for the optimisation of lightweight stability, its form mimics the biology of the banyan tree. Spaced out lightweight vertical elements minimise the footprint while providing stability [16] . Additionally, its lightweight diagrid form mimics that of the porous structure of bone to provide structural strength yet remain lightweight. For a potential project of such complexity, the use of computational design is a necessity to generate forms of optimal structural strength and minimal weight.

The design entry explores the potential of arranging the units and structure to form an energy generator, based on the geometry of a radiator. The range of generated structures would need to be tested against simulations [17] for numerous structural factors as well as energy efficiency, sunlight and air flow simulations. Located in Wuxi, Jiansu, China, the project links back to previous topics of design futuring. The Kilometer-High City seeks to answer the impending issues of displacement through the exploration [18] of the possibility of livable energygenerating structures. It is becoming increasingly clear that if design is to facilitate the sustainment of humanity, then computational design is a core necessity for its performatively proficient functionality.

[15] DEFINITION OF ‘ALGORITHM’ IN WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 12 [16] “OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/COMPETITION/ OSTEON-CUMULUS-VERTICAL-CITY-KILOMETER-HIGH-CITY/> [ACCESSED 13 MARCH 2017]. [17] PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15

[ 13 ] OSTEON DETAIL

CONCEPTUALISATION 13

[ 14 ] GREAT COURT AT THE BRITISH MUSEUM

PROJECT: GREAT COURT AT THE BRITISH MUSEUM LOCATION: LONDON, UK ARCHITECTS: FOSTER AND PARTNERS PROJECT YEAR: 2000 SOURCE: THE ARCHITECTâ&#x20AC;&#x2122;S JOURNAL

CONCEPTUALISATION

[ 15 ] GREAT COURT GLASS CANOPY

A3 COMPOSITION GENERATION Foster and Partners’ alteration of the British Museum in 2000 to incorporate a glass canopy transformed the courtyard into a useable space in any weather condition. Joining a circular roof and a rectilinear one with a curved surface at the time was no small feat. While it predates grasshopper, the glass canopy of the Great Court at the British Museum, helped popularise the curvilinear glass canopy seen in projects such as the Harbin Opera House, MAD Architects (2015), and the Glass Canopy at Chadstone Shoppping Centre, Victoria, Australia, Bates Smart and Buchan Group (2016). Foster and Partner’s glass canopy is an example of composition that predates generation. While the end form remains familiar, the emergence of generative design tools shifted the process from a singular composition to the generation of many surfaces through adjusting parameters.

As design process shifts, so too does construction. Due to the precision required in the complex geometries, design computation has lead designers such to take part in the fabrication of materials [19] Foster and Partners Specialist Modelling Group. The flexibility of design computation is not restricted to entirely new buildings only. The digitalisation of design had allowed for the architect to precisely measure the existing geometries to produce a new space without the destruction of the existing building.

[18] DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 [19] PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 CONCEPTUALISATION 15

A4 CONCLUSION THE MASSIVE OUTPUT CAPACITY OF DESIGN COMPUTATION HAS REVOLUTIONIZED THE DESIGN PROCESS. THE EXPLORATION OF PARAMETRIC FORM CAN NOW BE MEASURED FOR PERFORMANCE ON A PRECISE LEVEL WITH SIMULATIONS. THE VAST POTENTIAL OF GENERATIVE DESIGN HAS SHIFTED THE DESIGN AWAY FROM INTUITION AND TOWARD RATIONALITY. THE EFFICIENCY OF PARAMETRIC AND GENERATIVE DESIGN HAS SHATTERED TRADITIONAL LIMITATIONS AND ELEVATED THE DESIGNERâ&#x20AC;&#x2122;S ABILITIES IN PROBLEM SOLVING. AS THE ENVIRONMENT BECOMES INCREASINGLY DISTURBED, THE NEED FOR SUSTAINABLE PROBLEM SOLVING GROWS. THE AVAILABILITY OF DESIGN COMPUTATION HAS OPENED PATHWAYS TO SUSTAINABILITY BREAKTHROUGHS, AND THUS I WILL PLACE PERFORMANCE-FOCUSED THINKING AT THE CORE OF MY DESIGN PROCESS TO EXPLORE AVENUES OF PROLONGING AND IMPROVING HUMAN SUSTAINMENT.

CONCEPTUALISATION

A5 LEARNING OUTCOME THE LAST FEW WEEKS I HAVE GRASPED THE CORE UNDERSTANDING OF GRASSHOPPER PROCESSES FROM A FOUNDATION OF NO PREVIOUS RHINO KNOWLEDGE. I NOW UNDERSTAND THE POTENTIAL OF DESIGN GENERATION AND SELECTION OF ITERATIONS, ADOPTING THE NEW RELATIONSHIP BETWEEN THE DESIGNER AND THE COMPUTER. MY PROCESS OF DESIGN THINKING HAS NOW SHIFTED FROM HOW CAN I CREATE MY ENVISIONED FORM TO HOW I MANIPULATE AND SELECT PARAMETERS TO FIT THE GENERATED FORM AS A DESIGN SOLUTION. WHILE MY PREVIOUS DESIGNS WERE A LINEAR PROGRESSION TOWARD THE FINAL PRODUCT, MY NEWFOUND SKILLS IN COMPUTATIONAL THINKING COULD HAVE VASTLY CHANGED MY PREVIOUS ARCHITECTURE STUDIO: EARTH OUTCOME, AS I HAD PRODUCED A MODULAR STRUCTURE THAT I HAD SHAPED MANUALLY AND ON INTUITION. THE USE OF GRASSHOPPER COULD HAVE RAPIDLY ACCELERATED THE PROCESS OF ADDING AND ADJUSTING UNITS INDIVIDUALLY AND ALLOWED FOR A MUCH MORE COMPLEX FORM.

CONCEPTUALISATION 17

2D PATTERNING: I EXPERIMENTED WITH THE HEXAGONAL GRID AND MADE ALTERATIONS IN SIZE BASED ON THE PROXIMITY TO A NURBS CURVE DETERMINED BY RANDOMIZED CONTROL POINTS. USING MULTIPLIERS AND MIN/MAX COMPONENTS I COULD CONTROL THE HEXAGONAL PATTERNâ&#x20AC;&#x2122;S SENSITIVITY TO THE CURVE.

CONCEPTUALISATION

A6 ALGORITHMIC SKETCHBOOK WEEK 2: 2D & 3D PATTERNING

3D PATTERNING: I EXTRUDED THE 2D SURFACES INTO 3D FORMS AND THEN MOVED THEM USING THE SAME RULE THAT DICTATES THE SURFACE SIZE, ADDING A MULTIPLIER TO CONTROL Z-AXIS MOVEMENT SENSITIVITY.

CONCEPTUALISATION 19

BIBLIOGRAPHY “AIR-STALAGMITE: A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES-EVOLO”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/ COMPETITION/AIR-STALAGMITE-A-SKYSCRAPER-TO-SERVE-AS-A-BEACON-AND-AIR-FILTER-FOR-POLLUTED-CITIES/> [ACCESSED 13 MARCH 2017]. DEFINITION OF ‘ALGORITHM’ IN WILSON, ROBERT A. AND FRANK C. KEIL, EDS (1999). THE MIT ENCYCLOPEDIA OF THE COGNITIVE SCIENCES (LONDON: MIT PRESS), PP. 11, 12 DUNNE, ANTHONY & RABY, FIONA (2013) SPECULATIVE EVERYTHING: DESIGN FICTION, AND SOCIAL DREAMING (MIT PRESS) PP. 1-9, 33-45 “ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE / SAMOO ARCHITECTS & ENGINEERS + GRIMSHAW ARCHITECTS”, ARCHDAILY, 2013 < HTTP://WWW.ARCHDAILY.COM/423255/ECORIUM-OF-THE-NATIONAL-ECOLOGICAL-INSTITUTE-NBBJ-IN-COLLABORATIONWITH-SAMOO-ARCHITECTS-AND-ENGINEERS-GRIMSHAW-ARCHITECTS> [ACCESSED 13 MARCH 2017]. FRY, TONY (2008). DESIGN FUTURING: SUSTAINABILITY, ETHICS AND NEW PRACTICE (OXFORD: BERG), PP. 1–16 “HARBIN OPERA HOUSE / MAD ARCHITECTS”, ARCHDAILY, 2015 < HTTP://WWW.ARCHDAILY.COM/778933/ HARBIN-OPERA-HOUSE-MAD-ARCHITECTS> [ACCESSED 13 MARCH 2017]. KALAY, YEHUDA E. (2004). ARCHITECTURE’S NEW MEDIA: PRINCIPLES, THEORIES, AND METHODS OF COMPUTER-AIDED DESIGN (CAMBRIDGE, MA: MIT PRESS), PP. 5-25 “OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/COMPETITION/ OSTEON-CUMULUS-VERTICAL-CITY-KILOMETER-HIGH-CITY/> [ACCESSED 13 MARCH 2017]. OXMAN, RIVKA AND ROBERT OXMAN, EDS (2014). THEORIES OF THE DIGITAL IN ARCHITECTURE (LONDON; NEW YORK: ROUTLEDGE), PP. 1–10 PETERS, BRADY. (2013) ‘COMPUTATION WORKS: THE BUILDING OF ALGORITHMIC THOUGHT’, ARCHITECTURAL DESIGN, 83, 2, PP. 08-15 “THE AL BAHR TOWERS’ SUSTAINABLE GEOMETRIC FAÇADES REACT TO SOLAR RAYS”, ARCHITIZER, 2014 <HTTP://ARCHITIZER.COM/BLOG/AL-BAHR-TOWERS/> [ACCESSED 13 MARCH 2017].

IMAGE SOURCES [ 1 ] “AIR-STALAGMITE: A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES”, EVOLO, 2016 <HTTP://WWW.EVOLO.US/ COMPETITION/AIR-STALAGMITE-A-SKYSCRAPER-TO-SERVE-AS-A-BEACON-AND-AIR-FILTER-FOR-POLLUTED-CITIES/> [ACCESSED 12 MARCH 2017] [ 2 ] “AIR-STALAGMITE: A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES”, EVOLO, 2016 <HTTP://WWW.EVOLO.US/ COMPETITION/AIR-STALAGMITE-A-SKYSCRAPER-TO-SERVE-AS-A-BEACON-AND-AIR-FILTER-FOR-POLLUTED-CITIES/> [ACCESSED 12 MARCH 2017] [ 3 ] “AIR-STALAGMITE: A SKYSCRAPER TO SERVE AS A BEACON AND AIR FILTER FOR POLLUTED CITIES”, EVOLO, 2016 <HTTP://WWW.EVOLO.US/ COMPETITION/AIR-STALAGMITE-A-SKYSCRAPER-TO-SERVE-AS-A-BEACON-AND-AIR-FILTER-FOR-POLLUTED-CITIES/> [ACCESSED 12 MARCH 2017] [ 4 ] “ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE / SAMOO ARCHITECTS & ENGINEERS + GRIMSHAW ARCHITECTS”, ARCHDAILY, 2013 < HTTP://WWW.ARCHDAILY.COM/423255/ECORIUM-OF-THE-NATIONAL-ECOLOGICAL-INSTITUTE-NBBJ-INCOLLABORATION-WITH-SAMOO-ARCHITECTS-AND-ENGINEERS-GRIMSHAW-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [ 5 ] “ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE / SAMOO ARCHITECTS & ENGINEERS + GRIMSHAW ARCHITECTS”, ARCHDAILY, 2013 < HTTP://WWW.ARCHDAILY.COM/423255/ECORIUM-OF-THE-NATIONAL-ECOLOGICAL-INSTITUTE-NBBJ-INCOLLABORATION-WITH-SAMOO-ARCHITECTS-AND-ENGINEERS-GRIMSHAW-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [ 6 ] “ECORIUM OF THE NATIONAL ECOLOGICAL INSTITUTE / SAMOO ARCHITECTS & ENGINEERS + GRIMSHAW ARCHITECTS”, ARCHDAILY, 2013 < HTTP://WWW.ARCHDAILY.COM/423255/ECORIUM-OF-THE-NATIONAL-ECOLOGICAL-INSTITUTE-NBBJ-INCOLLABORATION-WITH-SAMOO-ARCHITECTS-AND-ENGINEERS-GRIMSHAW-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [ 7 ] “AL BAHAR TOWERS RESPONSIVE FACADE AEDAS”,ARCHDAILY, 2014 <HTTP://WWW.ARCHDAILY.COM/270592/ AL-BAHAR-TOWERS-RESPONSIVE-FACADE-AEDAS> [ACCESSED 13 MARCH 2017]. [ 8 ] “THE AL BAHR TOWERS’ SUSTAINABLE GEOMETRIC FAÇADES REACT TO SOLAR RAYS”, ARCHITIZER, 2014 <HTTP://ARCHITIZER.COM/BLOG/AL-BAHR-TOWERS/> [ACCESSED 13 MARCH 2017]. [ 9 ] “THE AL BAHR TOWERS’ SUSTAINABLE GEOMETRIC FAÇADES REACT TO SOLAR RAYS”, ARCHITIZER, 2014 <HTTP://ARCHITIZER.COM/BLOG/AL-BAHR-TOWERS/> [ACCESSED 13 MARCH 2017]. [ 10 ] “HARBIN OPERA HOUSE / MAD ARCHITECTS”, ARCHDAILY, 2015 < HTTP://WWW.ARCHDAILY.COM/778933/ HARBIN-OPERA-HOUSE-MAD-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [ 11 ] “HARBIN OPERA HOUSE / MAD ARCHITECTS”, ARCHDAILY, 2015 < HTTP://WWW.ARCHDAILY.COM/778933/ HARBIN-OPERA-HOUSE-MAD-ARCHITECTS> [ACCESSED 13 MARCH 2017]. [ 12 ] “OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/COMPETITION/ OSTEON-CUMULUS-VERTICAL-CITY-KILOMETER-HIGH-CITY/> [ACCESSED 13 MARCH 2017]. [ 13 ] “OSTEON CUMULUS VERTICAL CITY: KILOMETER-HIGH CITY”, EVOLO.US, 2016 < HTTP://WWW.EVOLO.US/COMPETITION/ OSTEON-CUMULUS-VERTICAL-CITY-KILOMETER-HIGH-CITY/> [ACCESSED 13 MARCH 2017]. [ 14 ] “GREAT DETAIL: ELISA PARDINI ON FOSTER’S GREAT COURT AT THE BRITISH MUSEUM”, THE ARCHITECTS JOURNAL, 2016 <HTTPS://WWW.ARCHITECTSJOURNAL. CO.UK/BUILDINGS/GREAT-DETAIL-ELISA-PARDINI-ON-FOSTERS-GREAT-COURT-AT-THE-BRITISH-MUSEUM/10015894.ARTICLE> [ACCESSED 13 MARCH 2017]. [ 15 ] “GREAT COURT AT THE BRITISH MUSEUM”, FOSTER + PARTNERS, 2017 <HTTP://WWW.FOSTERANDPARTNERS. COM/PROJECTS/GREAT-COURT-AT-THE-BRITISH-MUSEUM/> [ACCESSED 13 MARCH 2017].

CONCEPTUALISATION 21