ARCHITECTURAL DESIGN
STUDIO AIR JOURNAL
PART B
ong simnan | 731491 | semester 1 /2015 TUTOR: SONYA
PART B
criteria design
B.1
research field
material system- biomimicry
Biomimicry is literally from the Greek ‘bios’ that meaning life, and ‘mimesis’ means imitation.1 It is a new principle that offers designs, science, and industry a new way of accessing nature’s time-tested patterns and strategies in order to solve human challenges by taking imitation from the nature.1
Moreover, biomimetic architecture design is seeking solutions for sustainability in nature. It does not only replicate the natural forms, but also understand the rules governing the forms by looking at the nature as model.1 The design solutions will optimize by the inspiration from nature forms, process, systems and strategies.
Biomimicry provide a wide range of source of inspiration as well as unleashing a new breeding ground for sustainable research and development, this process has demonstrated successful solutions to many of the problems that we are facing today. Thus, biomimicry provides opportunities that could transfer natural theories to design innovations which at the same time lead to more advanced technology for solutions.
With the fast-paced development of technology nowadays, the practicalability of generating biomimetic architecture has been risen. The computer technology facilitates the design and construction of complex forms that were almost unachievable in the past. Integration of biologically inspired process in computational design creates opportunities of new ways of designing approach by developing natural process as an algorithmic process. There are wide variety of biomimetic projects are in development or in use now, included students like us are also getting approach to it.
1. ‘biomimicry’, last modified 2010, http://www.designboom.com/contemporary/biomimicry.html
Airspace Tokyo Location: Ota-ku, Tokyo, Japan Function: Multi-family dwelling unit Floor Area: 35.66 sqm Designing Period: July, 2007
Airspace Tokyo is a representative example of biomimetic architecture which shows how nature helps designer to solve the problem. The idea of having facade which look like trees’ foliage came from the abundant surrounding vegetation of the previous building. Since the entire site is to be razed to accommodate construction for the new larger development, the design invents an architectural system that performs with similar characteristic to the demolished green strip.3
The facade not only take the inspirations from the nature for aesthetic purpose, it has significant function to the building too. This ‘artificial vegetation’ could perform similarly to the previous facade, providing shading and reflection of excess light away from the building.1 It is made up of four layers of metallic surface of porous. Functionally, it also works as a screen to provide a sense of privacy to the occupants. The densities could change by the open-celled meshwork as it moves across the facade.1 The Voronoi pattern of the unique facade of Airspace Tokyo is generated in collaboration with Proces2 Design in San Francisco using parametric software.2
The panels that made from composite metal panel material are attached by a matrix of think stainless steel rods which threaded from top to bottom in order to ensure that the cellular mesh visually float.3 Hence, the supporting structure is appropriately being hidden. In short, biomimicy provides opportunities for many designer to innovate creative structure with similar qualities as the previous site rather than defeating the nature. It is very encouraging to see more and more of these schemes actually being built. Tokyo Airspace is an example shows how nature inspired designer and affects the designs of the building, it has directly create an artificial linkage of nature and architecture.
1. ‘Airspace Tokyo | Faulders Studio’, last modified June 27, 2012, http://www.arch2o.com/airspace-tokyo-faulders-studio/ 2. ‘Artificially blended with nature’, last modified 11 Jun 2007, http://www.worldarchitecturenews.com/project/2007/1142/thom-faulders-beige-architecture-and-design/airspace-tokyo-in-kitamagome-ota-kudistrict-tokyo.html 3. ‘Airspace Tokyo by Faulder Studio’, last modified March 15, 2010, http://travelwithfrankgehry.blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html
Canopy by United Visual Artists Location: Toronto, Canada Function: Canopy Area: 90 metres x 3 metres Designing Period: 2010
United Visual Artists (UVA) created a permanent installation for Maple Leaf Square in Toronto, Canada. Given a pedestrian sidewalk as the site for the work, they wanted to create a work that people could connect to, immerse themselves within, and almost escape momentarily from the hard environment of the city. This permanent architectural installation is one of the example of a project that explores the influence of nature. It is made of thousands of identical modules, organized in a non-repeating growth pattern.1 Their form, abstracted from the geometry of leaves, reflect nature.2 Furthermore, in the daytime, light is allowed to shine through the modules illuminating the street below, while at night, LED lighting shines from each cell in flowing patterns that resemble a light breeze shaking the leaves of the forest.3 It is similar to walking through a forest with the sun coming through the trees. Canopy is a meditation on the essential unity between what we think of as ‘artificial’ and ‘natural’ processes. The particles thrive or perish according to the whims of larger, cloudlike regions of energy that sweep across the canopy. This project expresses the capacity of natureinspired thinking to generate parametrically designed form, at the same with the case of biomimicry as our approach.
1. ‘Maple Leaf Square Canopy / United Visual Artists’, Saieh, Nico, last modified Oct 15, 2010, http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/ 2. ‘Canopy’, last modified 2010, http://uva.co.uk/work/canopy 3. ‘Canopy Brings a Forest to the City’, By Paul Caridad, last modified December 16, 2010, http://www.visualnews.com/2010/12/canopy-forest-sculpture/#SozkWh2kKdoy1Qp0.99
B.2
case study 1.0 THE MORNING LINE ISTANBUL
The Morning Line Istanbul
The exhibition is entitled Youniverse and is dedicated to the convergence of art, science and technology. The Morning Line is the corner stone of this biennial, its elegantly provocative 8 meter high and 20 meter long frame, built of 17 tons of coated aluminum is an intersection for information from various fields, such as art, music, architecture, engineering, mathematics, physics, cosmology and technology.4 Aranda/Lasch divides its projects up into a series of phenomena observed in nature like spiralling, packing, weaving, blending, cracking and flocking.3 Each one is studied, turned into an algorithm or a simple principle and presented as an offering. It is like a lesson in how things might be done differently. Parametric designs by definition have no limit in design regardless of the size, shape or structure. Hence, the outcome of design can be achieved by the simple sliding of a number slider in Grasshopper.
The Morning Line is a portion of a larger structure which made through the application of fractal geometry.1 It is a fractal cycle, a model of the universe that scales up and down while also producing cycles or generations of information. This synthetic process is accomplished largely through drawing, where form and content, geometry and expression can become one.2 The Morning Line is a drawing in space, where each line connects to other lines to form a network of intertwining figures and narratives with no single beginning or end, entrance or exit, only movements around multiple centers that together trace out a dense web of ideas concerning the history and structure of the universe and our place in it.3 The Morning Line reflects biomimicry designs in the geometric shapes of its facade. The pavilion will look different with different angle of view when visitors move across it.
1. ‘AD INNOVATOR: ARANDA\LASCH’, Fred A. Bernstein, last modified Jan 2, 2014, http://www.architecturaldigest.com/architecture/innovators/2014/aranda-lasch-ad-innovators-2014-article 2. ‘the morning line by matthew ritchie with aranda\lasch and arup’, leeji choi, last modified April 5,2009, http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-aranda-lasch-and-arup/ 3. ‘Aranda/ Lasch: Cracking architecture’s code’, By Justin McGuirk, last modified February, 2008, http://www.iconeye.com/component/k2/item/3106-aranda/-lasch-cracking-architecture%E2%80%99s-code 4. ‘Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line’, CAAC, Seville, last modified 2008, http://www.tba21.org/augarten_activities/49/page_2
Biomimicry Matrixes I. Voltadom Voltadom variation
II. Aranda Lasch - The Morning Line Tetrohedrons variation
Number of Tetrohedrons at angles
Variation in the number of sides and tetrohedrons
Pyramid approach: changing the number of segments
Changing the number of segments
Experimenting using the previous geometries
II. Aranda Lasch - The Morning Line Tetrohedrons variation
Number of Tetrohedrons at angles
Variation in the number of sides and tetrohedrons
Pyramid approach: changing the number of segments
Changing the number of segments
Experimenting using the previous geometries
Experimenting with fractured pieces to create the a square pyramid. I like this iteration because there is no core structure outlining its form although the space between the exploded pieces and the pieces themselves define the boundary for this iteration. This iteration would be very difficult to make physically on site in contrast. On the other hand, the idea of floating pieces intrigues me and I might perhaps incorporate elements of this iteration in furthering my design in Part C.
Experimenting with polygonal shapes to form a pyramid. What I think interesting about this iteration was how it utilized the same shape to different scales to generate something grander and something that does not look like the shapes it is compiled of. This form was generated with ease by changing the number of segment of the overall shape had and changing the smaller pieces scale in order to effectively stack to create the triangle.
Experimenting with shapes to create a hexagonal pyramid. What I tried to adopt from the morning line case study in this iteration was to create something with a fractal nature regardless of what scale the iteration was inspected it would still have the same level of complexity. Its repetitive qualities that are quite beautiful and intricate. I was surprise when was able to produce this form asserting the power of computational design.
Experimenting with polygonal shapes to form a ‘upside down’ triangular base pyramid. In order to create this iteration I first defined the number of sides in order to create tetrahedron, and then created more at its vertices. I then reduced the initial tetrahedron to produce this form. In this iteration modularity was explored with the stacking of identical modules. This could be on of the methods later adopted in Part C in order to create a sculptural composition.
B.3
case study 2.0 Times Eureka Pavilion
Location: London, United Kingdom Function: Pavilion/ Garden Structure: Timber sourced from sustainable spruce forests with a glass panelled roof1 Designing Period: 2011 The pavilion demonstrating humanities symbiotic relationship with natural ecosystems.
The temporary garden or pavilion explore the impact of plants to science and society. Plant species chosen for the Eureka Garden reflect their benefits to society including medicinal, commercial and industrial uses underlining the fact we could not survive without them.1 The pavilion design brief was to reflect the same theme. With NEX Principal Alan Dempsey own words: “We extended the design concepts of the garden by looking closely at the cellular structure of plants and their processes of growth to inform the design’s development. The final structure was designed using computer algorithms that mimic natural growth and is intended to allow visitors to experience the patterns of biological structure at an unfamiliar scale.” 1 We could ensure that the pavilion is a great exmaple of biomimicry using parametric design.
The design development of the pavilion focused on the ‘bio-mimicry’ of leaf capillaries being embedded in the walls. Using computational genetic algorithms , the structural geometry was finalized to use primary timber capillaries (300dp x 140wd) to form the basic shape and supporting structure of the pavilion, inset with secondary timber cassettes to hold the cladding.1 Hence, a modular structural grid was formed. Besides, using sustainable material is also important in order to produce a biomimicry design idea. The loadbearing branches are made from wooden spruce panels.2 Recycle plastic strips are coiled into round forms and inserted into the cassettes, transmitting diffuse natural light to the interior.2 The roof is covered in glass and collects rainwater directing it to downwards and into the soil of the garden. The project’s contextual qualities are achieved through a scientific approach in illustrating patterns of biological structures, it would impact on people’s mind that we cannot survive without nature.
1. ‘Times Eureka Pavilion / Nex Architecture’, Archdaily, last modified June, 2011, http://www.archdaily.com/142509/times-eureka-pavilion-nex-architecture/ 2. ‘Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett’, LIDIJA GROZDANIC, June, 2011, http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-byplants-nex-marcus-barnett/
Pattern Study of Eureka Pavilion
1. Voronoi Points For Main Structure
4. Voronoi Points For Secondary Structure & Cassette
2. Voronoi Pattern & Adjustment -Voronoi Pattern created -Determining Openings -Adjusting Matching Lines
5. Voronoi Pattern & Adjustment
3. 1st Amendment -Main Structure (140mm) -Secondary Structure A(50mm)
6. 2nd Ahendment -Main Structure(140mm) -Secondary Structure A(50mm) -Secondary Structure B(20mm) -Secondary Structure(20mm)
A) Folding Generated Patterns
B) Concentric Extrusions
C) Main & Sub Structure + Casette Extrusion
D) Cell Division & Curve Filleting
Trying to recreate pattern of Eureka Pavilion in Grasshopper
1
5
2
6
3
7
4
8
1 Experimenting
a basic Voronoi pattern on a surface with component “Divide Surface” to get the points on the surface. Then, points were flattened to connect with “Cull Pattern” for getting random points. Voronoi component then connected to the culled list. However, the result is not satisfying because there was overlapping intersections of the offset of the pattern of voronoi.
2 The
grasshopper algorithm was altered with a series of component in order to create a perfectly offset and intersecting form.
3 Each
geometry was listed as an item and connected to component “Boundary” so that an individual surface was assigned to each section. The following step is to create a gird of points within each geometry. The populate 2D component was connected to “Boundary” but it did not work reason being it was creating a grid of points for a rectangular geometry.
4 Then,
I replaced populate 2D component with populate 3D component. However, it did not work as well because it was creating a grid of points for a rectangular geometry.
5I
discovered populate geometry component and it functions perfectly for this pattern by distributing points evenly within the boundary of each surface.
6 The, the voronoi component was then
added to the populated geometries to get the pattern. Voronoi3d component was picked to connect to “PopGeo” component but failed to produce a satisfying outcome because voronoi pattern were developed within each square instead of the boundary of geometry.
7 The
output points of “PopGeo” was being flatten to get rid of the square. However, the voronoi pattern did not stay within the geometry surface as they went freely intersecting the entire surface.
8 vv
B.4
Technique development
case study 2.0/ species Experimenting using component Extrude by extruding of a base curve and created voronoi pattern on surface.
Exploring the potential of point attractors; the patterns of voronoi cell change by the position of point attractors.9vv
Experimenting by creating a voronoi wall with different thicknesses and extrusions.
Exploring 3D voronoi on curve surface
Interesting failure.
Lofting a surface then applied 3D voronoi and offset to get voronoi pattern on a organic surface.
Exploring to get some of the voronoi cell surfaces closed while some of it left hollow.
Mapping of the voronoi pattern over the 3D surface
case study 2.0
Most successful outcomes The first outcome experimented with the mapping of the pattern from the Eureka Pavilion onto a curved surface instead of a flat surface. It was interesting how straight lines were used to create curved surface. A curved surface was lofted and generate which were later extruded using some scale sliders in order to create this interesting form that could perhaps be used as funnels which could potentially be lined with a piezoelectric material in turn producing and harvesting water filtration.
This version has quite a nice rigid quality to it, featuring random openings throughout the structure or surface using the component division and minimum to control the strength and coverage. Weaves component is applied to generate the steepness around the voronoi cell. The feature bridged the gap between computation and cell growth in a simple yet effective way.
This outcome, I was trying to create interchanging open and closed voronoi cells. In order to create the basic structure the curves were lofted to create the desired surface and was then offset with voronoi cells. The Clean Tree component was used to remove all null and invalid data in the center box. The brep | brep was applied to solve the intersection and structure was being offset and extrude.
Finally, this iteration is composed entirely of smaller open areas which could be incorporated in several ways in the proposal. More openings mean that there is the ability to allow for more sunlight inside the structure. Also, this iteration has quite a smooth and flowing form which are quite inviting for potential future users in The Colingwood Children’s Farm.
B.5
Technique: Prototypes
Gluing
1
Folding
2
Stretching
3
The third prototype I made was also a sketch model which in terms of material choice was quite different to those explored earlier. This model was quite experimental in nature I used wires. The materials obviously have very different properties from others. The wire used symbolized the core structure of the sculpture that would not be triggered by mechanical forces such as wind and rain that would be converted into electrical current and send back to the main grid. This prototype also looked at how it projected shadows in this case one light sources were flashed and produced cone like shapes.
Folding + Gluing
4
In this example, it records my explorations and attention were directed more towards creating a curved surface. By this, I tried to create an illusion of a moving surface through the use of straight lines. This model was made manually using 0.6mm thickness of balsa wood which proved to be quite a durable material although upon completing the model I realized that significant bending was occurring. The space between the different members was too large and intermediate supports were needed in order to prevent further deformation.
The first model is a cube minus the top face constructed of voronoi squares. Two dimensional planes are used to make a three dimensional form. This model was constructed from thin one millimeter card, which was developed in grasshopper. The voronoi cube produced shadow that were reminiscent of biomimetic form such as spider webs for instance.
The second prototype was a quick sketch model that seeked to explore how a cheap and fragile material such a paper/card could develop repetitive shapes that resemble cells and their interaction with one another. This very simple model was inspired by a precedent that was explored in B1 which is Canopy by United Visual Artists. The mountain like shapes are clearly inspired by those used to create the canopy. Due to the used of card and masking tape, the structure was fairly weak and light although the base of it was hold by a paper. This structure did not display structural integrity.
Once I collectively decide on the design/sculptural pathway that I wanted to pursue, I created a fabrication file that was simplified a significant amount in order to be easily manufactured. I choose to prototype this model in particular as I was able to effectively incorporate the use of computation whilst also seeing the potential for the integration of human and animal. In part C of the project, I will explore further the design through the consideration of scale/size of the sculpture to see how to best optimize the design for the respond to farm animal. The model was made using bending, gluing of tabs which proved to be an effective method of model making.
B.6
Technique: Proposal Design concept The design concept is based mainly on the idea of ‘biomimicry’ and the site at The Collingwood Children’s Farm where the sculpture will be installed. The concept revolves around the notion of growth and adaptation like a growing cell to the children’s farm encourage a new awareness and understanding about behaviors and responsibilities of human to farm animals.
Education Yarra track contains varied interpretation pertaining to River Ecosystems and the learning shelter that serve onsite could be used by local students.
Concept Parti Diagram
Proposed site:
The Collingwood Children’s Farm located by Yarra River. The sculpture proposed could delicate relationship creates a space within the landscape – a void that delineates the farm. A new boardwalk circumscribing the river passes through the children farm which also could be called educational zones that explicate the different animals, plants, and habitat found in each. For my design, I have chosen to generate a pavilion integrated into the boardwalk sequence provides shelter for open-air classrooms on the site. With the design’s improvements to landscape, accessibility, and shelter, the site is able to function as an outdoor classroom in which the co-existence of natural and urban surroundings is demonstrated.
Yarra River
The Farm Cafe
Technique:
I strive to create a proposal that has the capacity to function as an outdoor classroom for the children that visit at the farm. In Collingwood Farm, visitors are allowed to walk around the farm to see the farm animals. Through adaptation, my proposal/sculpture will be separated to a few little sites to make sure the visitors have interaction around it while experiencing the joy of getting closer to animals. The innovative and challenging part of the design is to divide the sculpture in different spot of the farm simultaneously develop all aesthetically that is inviting and exciting. I am trying to push the idea of “adaptive capacity” as it is relevant to the farm plan, biomimicry and most of my aim of creating a children shelter that has the ability to adapt to its surrounding, environment and condition. For instance, visitor could climb on the sculpture to have more interesting view of the animal. My proposal utilized the voronoi component in grasshopper to create the openings while will also frame the views of the farm. The window like opening are symbolic of the arbitrary nature of cell growth and development.
Proposal 1:
Experimenting with scale I would also like to discuss the placement of the sculpture. The idea is quite straight forward, I would like the sculpture to act as a shelter that is transparent through the center grid. Therefore the design must be placed in the center of the land provided, facing directly out towards the river. It could attract human traffic coming directly from Yarra Track and also will have a good view out through the center of sculpture.
Predominent wind direction
Proposal 2:
Experimenting with position
Proposal 3:
Experimenting with orientation
B.7
Learning Objectives and Outcomes Studio Air thus far has greatly utilized a whole new world of computation, parametric design and architectural discourse that I have never explored or understood before. The Part B module especially has given me the opportunity to explore the potential of parametric modelling through activities such as creating iterations of Aranda/Lasch’s special polyhedral used for their Morning Line project to reverse engineering NEX’s Eureka Pavilion I have continuously expanded my horizons and found out how powerful computation is in generating forms and designs using Grasshopper. Apart from that, I have developed some essential digital modelling skills and at the same time also enriched my writing and analytical skills through explorations conducted on various precedents especially in Part A. Besides, the generation of iterations and construction of prototypes have also given me an opportunity to practice and display my analytical skills, through activities such as creating selection criteria and pseudo codes. This module, required me to produce models for the interim critique, I expanded my knowledge of digital fabrication and model making material as well which has equipped me with the necessary knowledge to tackle the final part of the journal of Studio Air. The preparation of a design proposal has forced me to use other software programs to create photo montages to give a sense of location, scale and positioning of the proposal using Adobe Illustrator and Photoshop. The photo montages helped me understand how the proposal would interrelate with the site and what changes had to be made in Part C to enhance the integration of the sculpture on site which was brought to my attention in the mid-semester critiques. The mid-semester presentation has given me an experience of how to prepare and layout a presentation as well transforming constructive criticism into design goals through openly discussing the design’s limitations and boundaries. I think that from here on in, my design will have to show deeper analysis of the shelter precedents selected and show how a shelter will influence the Collingwood Children Farm activities. My design explorations have incorporated the use of parametric modelling and analytic diagramming. This has proved successful in generating more design possibilities. More importantly, I have been able to dissect and interrogate the brief. The concept responds to that by providing a gateway installation for Collingwood Children Farm that will do more than just capturing visual interest, but also encouraging reflection and conversation through an experiential richness.
B.8
Appendix Algorithmic Sketches
The graphic section video introduced a controlling the flexibility of the charge using graph mapper. Through varying the pattern of Graph mapper, the pattern of curves and series of different sections were achieved. Examples of some of the results that were produced are visible above. I was surprised at how grasshopper is capable of converting graph pattern into form and this exercise was a clear indication of how through the understanding of simple pattern of graph, beautiful forms could be produced using algorithms.
The spiraling video introduced a variety of mathematical parameters such as pie in order to g a series of stimulating results. A series of different forms were achieved via varying the number of turns and number of points. Grasshopper has impressed me of its capable of converting mathematics into form and this video tutorial was a clear indication of how through the understanding of mathematics, form could be made using algorithms.
Gradient descent video introduced me a function of clustering a series of components. Since I started working with Grasshopper, I never needed clustering, I always think that it is an old and effective technique for reducing the visual (not computational) complexity of your definitions. Yet, it helps me save time and space on the canvas after using it. In my case, I have to connect those four inputs again to my points and surface. Then I also created outputs to connect with curve component. The pattern and field of the curve then change according to the number of slider connected to the ‘strength’ of each cluster.
references list 1. ‘biomimicry’, last modified 2010, http://www.designboom.com/contemporary/biomimicry.html 2. ‘Airspace Tokyo | Faulders Studio’, last modified June 27, 2012, http://www.arch2o.com/ airspace-tokyo-faulders-studio/ 3. ‘Artificially blended with nature’, last modified 11 Jun 2007, http://www.worldarchitecturenews. com/project/2007/1142/thom-faulders-beige-architecture-and-design/airspace-tokyo-inkitamagome-ota-ku-district-tokyo.html 4. ‘Airspace Tokyo by Faulder Studio’, last modified March 15, 2010, http://travelwithfrankgehry. blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html 5. 1. ‘Maple Leaf Square Canopy / United Visual Artists’, Saieh, Nico, last modified Oct 15, 2010, http://www.archdaily.com/81576/maple-leaf-square-canopy-united-visual-artists/ 6. ‘Canopy’, last modified 2010, http://uva.co.uk/work/canopy 7. ‘Canopy Brings a Forest to the City’, By Paul Caridad, last modified December 16, 2010, http:// www.visualnews.com/2010/12/canopy-forest-sculpture/#SozkWh2kKdoy1Qp0.99 8. ‘AD INNOVATOR: ARANDA\LASCH’, Fred A. Bernstein, last modified Jan 2, 2014, http://www. architecturaldigest.com/architecture/innovators/2014/aranda-lasch-ad-innovators-2014-article 9. ‘the morning line by matthew ritchie with aranda\lasch and arup’, leeji choi, last modified April 5,2009, http://www.designboom.com/art/the-morning-line-by-matthew-ritchie-with-arandalasch-and-arup/ 10. ‘Aranda/ Lasch: Cracking architecture’s code’, By Justin McGuirk, last modified February, 2008, http://www.iconeye.com/component/k2/item/3106-aranda/-lasch-crackingarchitecture%E2%80%99s-code 11. ‘Matthew Ritchie with Aranda\Lasch and Arup AGU – The Morning Line’, CAAC, Seville, last modified 2008, http://www.tba21.org/augarten_activities/49/page_2 12. ‘Times Eureka Pavilion / Nex Architecture’, Archdaily, last modified June, 2011, http://www. archdaily.com/142509/times-eureka-pavilion-nex-architecture/ 13. ‘Times Eureka Pavilion – Cellular structure inspired by plants / NEX + Marcus Barnett’, LIDIJA GROZDANIC, June, 2011, http://www.evolo.us/architecture/times-eureka-pavilion-cellularstructure-inspired-by-plants-nex-marcus-barnett/