STUDIO AIR JAKE BOURKE SEMESTER 1, 2017
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STUDIO AIR JAKE BOURKE | 761273 | MEHRNOUSH SEMESTER 1, 2017
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TABLE OF CONTENTS PART A: CONCEPTUALISING
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A.O: INTRODUCTION
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A.1: DESIGN FUTURING
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A.2: DESIGN COMPUTATION
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A.3: COMPOSITION GENERATION
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A.4: CONCLUSION
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A.5: LEARNING OUTCOMES
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A.6: APPENDIX—ALGORITHMIC SKETCHES
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PART A:
CONCEPTUALISING
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A.0: INTRODUCTION JAKE A. BOURKE 20 Y/O
Currently, I’m completing my third year of the Bachelor of Environments, majoring in Architecture & Property, with an aim to start a property development firm with a strong focus on sustainable design.
Although, my experiences in rural Victoria were not all limiting, the school I attended ran a terrific technical program, allowing me to study a certificate II in engineering as part of my VCE. In this subject I received a perfect score of 50, and the Premiers award for excellence. The skills learnt about fabrication in this program have been invaluable for architecture, allowing me to excel in the construction subjects of my degree.
My history with design began early on, from as early as age 11 I would draw nothing but floor plans, eventually designing large, intricate buildings using early versions of SketchUp. At age 15, I submitted a proposal to the local council for a new Skate park, complete with elevations, renders and a 3D model. This design was later used as a main point of reference in the construction of the new Skate Park.
Since beginning University, I have focused mostly on using physical models and hand drawing to communicate my ideas, so Rhino and Grasshopper are very new to me. My knowledge of digital architecture is very low, and I aim to expand this over the duration of this semester.
From this point onward, I tailored my studies to focus on achieving my goal of studying architecture. The main hurdle was overcoming the social and economic boundaries set by my rural public school to achieve a score which would grant me entry into Architecture at Melbourne University.
I am interested in the use of programming to achieve mathematically logical outcomes in architecture, and look forward to establishing a new and exciting skillset in this subject. I believe this is the future of architecture.
Project Example 1: Designing Environments - S1 2015 / SketchUp + Indigo Render 8
PROJECT EXAMPLE 2 STUDIO EARTH - S1 2016 PHYSICAL MODEL
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A.1: DESIGN FUTURING
NAGAKIN CAPSULE TOWER
Kurokawa’s Metabolist tower is a key example of how architecture can be considerate of the future. It achieved this by utilising replaceable capsules, which could be removed and refurbished over time.1 This concept was extremely groundbreaking at the time, for the architect considered a life cycle system for the building, rather than the conventional buildand-leave approach. This revolutionary tower is extremely popular in architectural history discourse for its considerate approach to life cycle. In this week’s lecture, life cycle is a point of focus when considering how buildings can be sustainable. This project has likely influenced many Metabolists to consider the life cycle of their designs, and will do so into the future. Being built in 1972, the tower is now at a point where the pods should be replaced. This has not taken place and as a result the tower has fallen into a state of disrepair.2 This brings forth conversation about how it could have been designed to make the replacement of the capsules feasible. Tony fry discusses the issue of human responsibility for “sustainable modes of planetary habitation” and to reduce the speed of ‘defuturing’.3 Kurokawa’s design was perhaps one of the first to consider the future impacts of their design. This design not only considers the future, but uses prefabrication as a construction technique, allowing the building to be constructed quickly and with less energy than a conventional tower. These aspects make the Nagakin Capsule Tower an important contribution to sustainable architectural design. 1
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"AD Classics: Nakagin Capsule Tower / Kisho Kurokawa", Archdaily, 2011 <http://www.archdaily.com/110745/ad-classics-nakagincapsule-tower-kisho-kurokawa> [accessed 2 March 2017]. 2
“ “ Archdaily, 2011.
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Tony Fry, Design Futuring: Sustainability, Ethics, And New Practice., 1st edn (London: Oxford, Berg, 2009), p. 6.
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PROJECT: NAGAKIN CAPSULE TOWER LOCATION: TOKYO ARCHITECT: KISHO KUROKAWA YEAR BUILT: 1972 SOURCE: ARCHDAILY
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A.1: DESIGN FUTURING
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MICHAEL
SCHUMACHER
TOWER
This project is the unbuilt Michael Schumacher Tower, which utilises the benefits of grasshopper to generate space optimised snowflake-like floorplans, and a climate responsive smart façade. The team at LAVA utilised new technology to create a smarter building than the industry standard, which, if effective in practice could be many times more energy efficient and liveable than a standard cost approach development.1 This is achieved by utilising grasshopper’s extensions and optimising the smart façade to react to the environment.2 The design of this skyscraper caters to the modern taste for high rise living whilst utilising new technology to optimise the building. Although not particularly visionary in terms or building typology, this design can be regarded as sustainable. In reference to the lecture content, this building fulfils the need for greater urban density to counteract unsustainable urban sprawl. Perhaps computer optimised skyscrapers have the capacity to achieve greater sustainability than other building types due to the lower carbon footprint of those who live there. The use of a full length smart façade and optimised snowflake floorplan is aligned with Dunne and Raby’s idea of “Radical Design”. This design looks to fully utilise and experiment with materials and design technology to achieve the four P’s mentioned in “Speculative Everything”. Plausible, Possible, Probable, and Preferable.3 1
"MSWCT Snowflake Tower » LAVA", L-A-V-A.Net, 2008 <http://www.l-a-v-a.net/projects/mswct-snowflake-tower-2/> [accessed 2 March 2017].
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"Laboratory For Visionary Architecture Snowflake Tower", Grasshopper3d.Com, 2009 <http://www.grasshopper3d.com/photo/albums/laboratory-for-visionary> [accessed 2 March 2017]. 3
Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, And Social Dreaming, 1st edn (MA: MIT Press, 2013), pp. 3-5.
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PROJECT: MICHAEL SCHUMACHER TOWER LOCATION: ABU DHABI ARCHITECT: L.A.V.A YEAR BUILT: UNBUILT SOURCE: L.A.V.A
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A.2: DESIGN COMPUTATION SPANISH PAVILION, AICHI The Spanish Pavilion utilises the computational aspects of grasshopper to create a building which has a unique façade, and an interior space which is organic in nature, to contrast the rectangular silhouette of the exterior. The pattern shown on the exterior would have taken far longer to generate using traditional methods. Although this method has been used to optimise the façade and generate interlocking sections (pictured at left), the computations used to treat the façade are limited, and by no means could they not be achieved without computational programming. The facade of this building is a result of computerisation rather than computation, as it very hardly varies from the imaginable in terms of form. It is stated that these patterns are inspired by the hexagonal patterns present in Islamic art,1 therefore it can be deduced that the designer had a preconceived notion of how the façade should look, and simply used grasshopper and rhino to model it. This representational approach to design is in contrast with the ideas presented by Oxman & Oxman, who state that the “digital in architecture resides in the roots of architectural culture's attempt to divest itself of the representational”2. This statement is a theory well represented by the next precedent presented. 1"FOA · Spanish Pavilion", Divisare, 2006 <https://divisare.com/projects/272168foa-spanish-pavilion> [accessed 10 March 2017].
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2 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (Routledge, 2014).
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PROJECT: SPANISH PAVILION LOCATION: AICHI, JAPAN ARCHITECT: FOREIGN OFFICE ARCHITECTS YEAR BUILT: 2005 SOURCE: FARSHIDMOUSSAVI 15
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A.2: DESIGN COMPUTATION
VULCAN
PAVILION, BEIJING
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The Vulcan pavilion is an example of computational design, which utilised the most efficient processes to create something that would be near impossible using conventional techniques. This pavilion not only utilises modern design techniques, but construction techniques also, as it is constructed using only 3D printing. 1 This practice re-defining construction technique has only become prevalent recently, alongside the advance of computational design, as traditional methods are far too labour-intensive to produce many computergenerated forms. By using a computational approach, the structure could be optimised along a set of parameters such as weight, light diffusion, air flow, etc., to achieve a more efficient product than previously possible. The architectural stage of “solution synthesis” mentioned in Kalay’s “Architecture’s New Media”2 is nearly completely outsourced to the computation in a design like this, which allows multiple iterations provided by the code to be evaluated by the designer to determine the best fit for the brief. This provides the ability to create hundreds of iterations of a design in a day, all reaching a complexity to the likes of which could years to draft by hand. The benefits in efficiency and form generation presented by computation are plain to see, and like mentioned in the lecture, are not any more “false creativity” than traditional methods of drafting. 1
"VULCAN: The World's Largest 3D-Printed Architectural Pavilion", Designboom | Architecture & Design Magazine, 2015 <http:// www.designboom.com/architecture/vulcan-beijing-design-week-bjdw-largest-3d-printed-architectural-pavilion-parkview-green-10-07-2015/> [accessed 10 March 2017]. 2 Yehuda E Kalay, Architecture's New Nedia, 1st edn (Cambridge, Mass.: MIT Press, 2004), p. 11.
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PROJECT: VULCAN PAVILION LOCATION: BEIJING, CHINA ARCHITECT: LABORATORY FOR CREATIVE DESIGN YEAR BUILT: 2015 SOURCE: 17
A.3: COMPOSITION/GENERATION
VOUSSOIR CLOUD, [09]
LOS ANGELES
The Voussoir Cloud installation utilises generative processes to achieve a cloud-like form, composed of only four shapes.1 Some literature mentioned in the lecture claims that generative architecture is a sign of the gradual reduction of “true creativity” in architecture. This claim may be supported by certain members of society, but one could argue that because a form such as the Voussoir Cloud is impractical to design without the aid of computation, that the architect’s creativity is expanded rather than limited. This comes without reducing the ability for an architect to design just as would have been the norm 300 years ago. By utilising algorithmic thinking processes, architects can simplify complex forms so that they can be “sketched” easily with the aid of programs such as Grasshopper. These thought processes are generative in nature; for example, an architect might think of a plane, a line and a point as separate components, but algorithmic thinking shows the plane as a product of the line, the line as an extension of the point, and the point as a product of co-ordinates. This likens architecture to a recipe, which can be followed using a “finite set of rules”.2 Although generative or computational architecture can be used to create unique forms, its limited in its architectural drafting capabilities. For many processes, traditional architectural software is much faster and less complicated. Using algorithmic thinking, it’s easy to imagine generative architecture progressing to the point where specific parameters will be input and a complete building will be generated based on these parameters. 1
Amy Frearson, "BIG's Bjarke Ingels Completes Serpentine Gallery Pavilion 2016", Dezeen, 2016 <https://www.dezeen.com/2016/06/07/bjarkeingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 15 March 2017]. 2 Robert A Wilson and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts Institute of Technology, 1999), pp. 11-12.
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PROJECT: VOUSSOIR CLOUD LOCATION: LOS ANGELES ARCHITECT: IWAMOTOSCOTT YEAR BUILT: 2008 SOURCE: IWAMOTOSCOTT
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A.3: COMPOSITION/GENERATION
SERPENTINE PAVILION, LONDON
The Serpentine Pavilion is an example of a complex structure which communicates clear algorithmic processes through its appearance. This structure uses fibreglass blocks in the shape of a brick wall, which is then pulled apart to create space. The theory of this building is juxtaposition, with the open blocks creating a seemingly light and transparent square form as the view from the side, and a solid, free-flowing view from the end.1
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This design concept is simple yet beautiful, and is an example of how computational architecture can be utilised in a way which inspires creativity. This design utilises digital tools to create design opportunities.2 Although this design relies on simplicity as a point of interest, itâ&#x20AC;&#x2122;s the very simplicity that continuously arises in built computational architecture. The constraints imposed by the software used to generate computational architecture mean that very little complex computational architecture is built. Most completely computational architecture is limited to concepts or temporary pavilions.
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"BIG | Bjarke Ingels Group", Big.Dk, 2016 <https://www.big.dk/#projects -serp> [accessed 15 March 2017]. 2
Brady Peters and Xavier De Kestelier, Computation Works: The Building Of Algorithmic Thought, 1st edn (Academy Press, 2013), pp. 8-13.
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PROJECT: SERPENTINE PAVILION LOCATION: LONDON ARCHITECT: BJARKE INGELS GROUP YEAR BUILT: 2016 SOURCE: DEZEEN
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A.4: CONCLUSION
[14] Frank Gehry’s sketch for the Guggenheim Museum, Bilbao — Analogue form-finding
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Part A explores the rise of generative architecture and parametric modelling, and how this allows architects to create forms never-before possible in mere minutes. These models are arguably the future of architecture, and can be a useful tool for form-finding and patternmaking. Part A also explored the effects computation has on design thought and practice. This advance in prominence of computational architecture has removed boundaries which we never even knew existed, and for this reason modern architectural literature has a strong focus on this subject.
Also noted is the possibility of utilising computation to achieve sustainability through structural and environmental optimisation plugins and programs, and through increasing prefabrication and utilisation of new technology such as large scale 3D printing. This exciting new skillset will soon be an integral aspect of all architectural practice, and can be seen emerging in specialist architectural firms worldwide, many of which have been referenced in this section of the journal.
Considering this, my design approach will attempt to expand the uses of computational architecture to provide design solutions for housing birds and fish in unison. This approach aims to increase biodiversity in the site, and create a computational design installation which not only is beautiful in form for enjoyment by humans, but is designed to solve a real issue. .
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A.5: LEARNING OUTCOMES
Throughout the first 3 weeks of Architecture Studio: Air, I have become far more interested in the theories of sustainability as applied through computational architecture, and how complex issues can be solved or partially solved using codes and programming. The first lecture, in addition to the â&#x20AC;&#x153;Design Futuringâ&#x20AC;? reading, was particularly inspiring and informative. This focus on sustainability and computerisation is important to the field of architecture now and will continue to be important into the future.
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Exploring modelling using Grasshopper has also been an interesting exercise, and I feel as if I have picked it up quite well considering my limited background in computer modelling and parametricism. The benefits of computing are clear when comparing the time taken to create iterations in grasshopper versus my previously preferred method, sketching by hand. The complexity achieved in these quick iterations are unmatched by any conventional modelling method in a similar timeframe, which helps for creating a larger pool of choices and ultimately, correctly refining the form of a design.
Iâ&#x20AC;&#x2122;ve also realised that computational architecture has suitable and unsuitable applications, just like any other architectural method. The built precedents studied in Part A show a clear pattern in forms and achievable designs, with focuses on preconstruction and using a small number of identical components to achieve complex forms. By the end of this subject, I hope to be able to model forms such as my digital artwork using Rhinoceros and Grasshopper.
Authors own digital sketch for a complex architectural form â&#x20AC;&#x201D; Analogue form-finding
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A.6: APPENDIXâ&#x20AC;&#x201D;ALGORITHMIC SKETCH
The examples exhibited here are the 3D patterns created by extruding and altering a complex pattern created earlier in week 2, these were included because I feel that they best exhibit the generational nature of Grasshopper, more so than pervious exercises. I feel that these developments could be improved greatly with more knowledge of the program, and projecting such patterns onto a curved surface could create beautiful forms. These sketch-like patterns exhibit the ease of generating unique patterns in short periods of time, a great strength of computation. 1111
Iteration 1 â&#x20AC;&#x201C; altering the size of the origin grid and the number of lines
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Iteration 2 â&#x20AC;&#x201C; lengthening the size of the origin grid and the adding much more connections
Iteration 3 â&#x20AC;&#x201C; shortening the length of the origin grid and altering the points visible in the base pattern
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IMAGE REFERENCES
01 - Nagakin Capsule Tower, 2016 <http://media3.architecturemedia.net/site_media/media/ cache/91/53/915344f26618d1b1396f3546740b11ac.jpg> [accessed 8 March 2017]
02 - Nakagin Capsule Tower, 2011 <https://architizer-prod.imgix.net/media/1470286864930stringio.jpg? q=60&auto=format,compress&cs=strip&w=1080> [accessed 8 March 2017] 03 - Michael Schumacher Tower, 2008 <http://images.adsttc.com/media/images/55f6/fccc/adbc/01b8/7c00/03d5/ slideshow/080926_concept-of-the-tower.jpg?1442249906> [accessed 8 March 2017] 04 - Michael Schumacher Tower, 2008 <http://www.e-architect.co.uk/images/jpgs/dubai/ michael_schumacher_tower_lava041208_2.jpg> [accessed 2 March 2017] 05 - Spanish Pavilion, 2017 <http://spanish-pavilion-expo-2005-haiki-aichi.html> [accessed 8 March 2017] 06 - Spanish Pavilion, 2017 <http://spanish-pavilion-expo-2005-haiki-aichi.html> [accessed 8 March 2017] 07 - Vulcan Pavilion, 2015 <https://s-media-cache-ak0.pinimg.com/originals/c5/4f/61/ c54f61d2d31530c9aed7dbbc3aa0f7da.jpg> [accessed 8 March 2017]
08 - Vulcan Pavilion, 2016 <https://cdn0.vox-cdn.com/ thumbor/5U1wcxCpPgxIiAwEs_k2GJIHMgE=/0x3:670x506/1400x1050/cdn0.vox-cdn.com/uploads/chorus_image/ image/47871145/VULCAN-largest-3D-printed-architectural-pavilion-BJDW-beijing-design-week-designboom-101.0.jpg> [accessed 8 March 2017] 09 - iwamotoscott, 22/24, 2008 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 14 March 2017] 10 - iwamotoscott, 1/24, 2008 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD> [accessed 14 March 2017] 11 - London | Serpentine Pavilion 2016 By BIG, 2016 <https://b6c18f286245704fe3e905e2055f4cd9122af02914269431c9f6.ssl.cf1.rackcdn.com/8143680_london--serpentine-pavilion-2016-bybig_tc3d40d5.jpg> [accessed 14 March 2017] 12 - London | Serpentine Pavilion 2016 By BIG, 2016 <https://b6c18f286245704fe3e9-
05e2055f4cd9122af02914269431c9f6.ssl.cf1.rackcdn.com/8143680_london--serpentine-pavilion-2016-bybig_tc3d40d5.jpg> [accessed 14 March 2017] 13 - Serpentine Pavilion, 2016 <http://www.metalocus.es/sites/default/files/metalocus_big_serpentine_pavilions_05.jpg> [accessed 14 March 2017] 14 - Gehry, Frank, Sketch Of Guggenheim Museum, Bilbao, 2017 <https:// moreaedesign.files.wordpress.com/2010/09/2006_sketches_of_frank_gehry_014.jpg?w=700> [accessed 15 March 2017]
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BIBLIOGRAPHY
"AD Classics: Nakagin Capsule Tower / Kisho Kurokawa", Archdaily, 2011 <http://www.archdaily.com/110745/ad-classicsnakagin-capsule-tower-kisho-kurokawa> [accessed 2 March 2017]
"BIG | Bjarke Ingels Group", Big.Dk, 2016 <https://www.big.dk/#projects-serp> [accessed 15 March 2017] Dunne, Anthony and Fiona Raby, Speculative Everything: Design, Fiction, And Social Dreaming, 1st edn (MA: MIT Press, 2013), pp. 3-5
"FOA · Spanish Pavilion", Divisare, 2006 <https://divisare.com/projects/272168-foa-spanish-pavilion> [accessed 10 March 2017]
Frearson, Amy, "BIG's Bjarke Ingels Completes Serpentine Gallery Pavilion 2016", Dezeen, 2016 <https:// www.dezeen.com/2016/06/07/bjarke-ingels-big-serpentine-gallery-pavilion-london-translucent-blocks-unzipped-wall/> [accessed 15 March 2017]
Fry, Tony, Design Futuring: Sustainability, Ethics, And New Practice., 1st edn (London: Oxford, Berg, 2009), p. 6
Kalay, Yehuda E, Architecture's New Nedia, 1st edn (Cambridge, Mass.: MIT Press, 2004), p. 11 "Laboratory For Visionary Architecture Snowflake Tower", Grasshopper3d.Com, 2009 <http://www.grasshopper3d.com/ photo/albums/laboratory-for-visionary> [accessed 2 March 2017]
"MSWCT Snowflake Tower » LAVA", L-A-V-A.Net, 2008 <http://www.l-a-v-a.net/projects/mswct-snowflake-tower-2/> [accessed 2 March 2017]
Oxman, Rivka and Robert Oxman, Theories Of The Digital In Architecture, 1st edn (Routledge, 2014) Peters, Brady and Xavier De Kestelier, Computation Works: The Building Of Algorithmic Thought, 1st edn (Academy Press, 2013), pp. 8-13
Wilson, Robert A and Frank Keil, The MIT Encyclopedia Of Cognitive Sciences, 1st edn ([Cambridge, Mass.]: Massachusetts
Institute of Technology, 1999), pp. 11-12
"VULCAN: The World's Largest 3D-Printed Architectural Pavilion", Designboom | Architecture & Design Magazine, 2015 <http://www.designboom.com/architecture/vulcan-beijing-design-week-bjdw-largest-3d-printed-architectural-pavilionparkview-green-10-07-2015/> [accessed 10 March 2017]
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