Studioairjournal_663139_Hao Jia by Jiajia

STUDIO AIR

2016, SEMESTER 1, Finnian Warnock Hao Jia_663139

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STUDIO AIR HAO JIA 2016

FIG.1 2

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Table of Contents 4

Introduction

A.1. - Design Futuring 8

Case Study 1

10 12

Case Study 2

A.2. - Design Computation 13

Case Study 3

Case Study 4

A.3. - Composition & Generation 22

Case Study 5

Case Study 6

A.4. - Conclusion

A.5. - Learning outcomes

A.6. - Appendix - Algorithmic Sketches

B.1. Research Field - Patterning

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 and Outcomes

B.8. Appendix - Algorithmix sketches

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Introduction

A 3rd year student at the University of Melbourne pursing her Bachelor of Environments Degree major in Architecture. An avid for taking photos, much of her free time spends in the gym and traveling to maintain a healthy lifestyle.

She was born and grow up in China where she spent much time experiencing different styles of architecture and listening their stories. The development of architecture is quickly, so when I was young, I think I grow up with most of building in China.

Well, learning software tools such as Rhino and Grasshopper is out of my comfort zone. I firstly tried to use Revit and Rhino in my Water studio. And I developed my skills in a Chinese architectural office during my summer holiday. I am look forward to taking a more advanced in computation design form Studio Air. I believe that creativity starts when you are not afraid of exploring new things.

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A.1. - Design Futuring

FIG.1

What might future skyscraper look like? It might be under the earth or suspending on the water or floating in the air. What kind of symbols might be hyper-urbanization? It might consider more on computation design and the characters of sustainability. Architecture is not an art or sculpture any more but starts to response to its own natural, economic, cultural and social conditions. It is time for architects to explore a new dynamic system with new materials, new structures, new technologies and new ways of thinking. I will introduce a few building to prove my argument in the following case studies.

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Case Study 1 - Fibrous Tower By Kokuggia

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Firstly, structural skin is used instead of load bearing external wall to carry structural load. Fibrous Tower by Kokuggia demonstrates that structural skin is not for decorations but to be used to response spatial organization. This project also uses similar patterns of other structural skinâ&#x20AC;&#x2122;s projects, which is Voronoi-like structural shell. No any columns exists inside the building only using structural skin and floor plates to do load carrying, which is new rules for 21st architectural design contrast with Le Corbusierâ&#x20AC;&#x2122;s five rules of architecture. The Marsa Dubai by Zaha Hadid also uses structural skin, but unlike other projects using Voronoi-like pattern, it uses Islamic geometrical motif, which shows structural skin is flexible and benefits for cultural expression. Furthermore, the Times Eureka Pavillion by Nex architects also applied structural skin, but they used timber as their own materials.

FIG.4 8

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PROGRESSION OF S T R U C T U R A L S YS T E M PAST

PRESENT

FUTURE

FIG.2 - Load bearing exterior and internal wall - Fixed spatial organization

- Load bearing columns - Limited spatial organization

- Load bearing external wall - Free spatial organization

FIG.7

Kokuggia also applies systematic functions for the facade, for example, bigger aperture and less dense will benefit for sunlight. In this part, Soma advanced to add more programatic functions on it. For example, Figure 7 shows that Modeled on the unfolding of flowers, there are “biomimetic lamellas” like mechanism flowers, which can respond to weather conditions rather than only learning from nature by opening or closing themselves to protect inhabitants 10 when they walk around the structure biomimetic lamellas overhead [1]. In Soma’s project, a flexible PV system will be placed on the outer structural skin of the entire tower, so then it will transform this local landmark into a solar absorber. As we can see, architectural’s technology and techniques move forward in a rapid speed. Parametric design is used to generate the building’s outcome.

FIG.2 FIG.6

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Case Study 2 - BanQ Restanrant Boston, MA,USA, office dA architects, 2006-2008 BanQ Restaurant is located at the base of old banking hall in the old Penny Savings Bank. The restaurant was divided into two segments, the front served as a bar and the large hall behind as the dining area. In the dining hall area, the space was formed as â&#x20AC;&#x153;Zâ&#x20AC;? axis between the ground space and services in the ceiling, which is formed satisfying the aesthetic feeling of the ceiling and wall, and at the same time to enable different segment to own its functions [2]. When designing restaurants, it will be considered more about flexible to movement because sometimes the numbers of serving people is related to parties and other events, sometimes for two seaters, sometimes for fours, or sixes. So most services such as the structure, drainage, mechanical equipment, sprinkler system, lighting and the acoustic systems in ceiling instead of concealing into the walls are more freedom.

FIG.10

This project demonstrates that the form follow functions, because in the historic setting of the building always used wallpapers or some pictures to decorate spaces, instead in this project, it uses a striated wood-slatted system as the ceiling systems to organize the relationship among different spaces to enable different parts functional. Furthermore, the project is related to ceiling design for PartC. Firstly, the materials is Neopolitan Strand Bamboo Plywood, which creates a warm atmosphere. Secondly, in this project, it is made of multiple planar surface places in sequence, which can be created by offset a curve at the bottom, then extrude into a series of planes and finally use section box to analyze surfaces and divide parts as tool paths for CNC milling.

FIG.9 10

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A.2. - Design Computation The terms computerization is different from computation. Computerization describes anything operates by computers, but computational design is used to help designers to solve complex problems, such as material optimization, digital materially, digital fabrication and efficient construction process [3]. Computer enables drawing and modeling to be more quickly and accurately, and also can analyse possibilities into reality whether the ideas can work or not, which makes architects work more freedom and easy to try different formal possibilities [4]. Computation Design assist architects in digital fabrication and construction.

FIG.12

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FIG.13

Case Study 3 -Great Court at the British Museum London, UK, Foster + Partners architects, 1994-2000

FIG.14

The glass roof was designed to create an indoor space as a centralized circulation to connect all the wings of museum. The roof is made of metal frame structure. The whole heavy structure is divided into various smaller panels of glass and metal frame work. Fosters and Partners say â&#x20AC;&#x153;Its unique geometry is designed to span the irregular gap between the drum of the Reading Room and the courtyard facades, and forms both the primary structure and the framing for the glazing, which is designed to reduce dollar gain.â&#x20AC;? So these designs and forms are created with computation design and parametric modeling, which are not only to achieve aesthetics form but also to reduce energy usage of the building. In the construction process, the grid of metal roof choose clockwise and anti-clockwise spiral lines and radials to construct the stable triangle grids instead of quadrilateral grids for their instability. The form is more complicated and possibilities, which allow large space with less columns by weaving those steel.

Computation design was used as a platform for designers to do formal experiments with relevant materials and hierarchy organization, not copying traditional patterns but considering more external factors. For construction, human do not need consider more details or rationalization of geometry, but considering how to control and transfer those data. Additionally, the glass roof uses the method in construction 3D mesh form 2D grid, which is more general and convenient in design and computation when compared to the williamâ&#x20AC;&#x2122;s methods [5]. Those glass panels are easily manufactured in straight panels while being able to panelize along the curves of the structure. Architects learn this kind of new language to meet their creative potential, which is also a new challenge in profession on computation design. Combining design and fabrication together encourages sustainable development and changes in architecture culture.

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Case Study 4 - ICD & ITKE Pavilion 2011

FIG.15

ICD and ITKE Pavilion is a research by University of Stuttgart, which tried material-oriented computational design, and production process with biological structure. This project focus on development of a modular system which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints. The sand dollar was chosen as a modular system to form a polygonal plates. Firstly, by using computation processes, it makes it efficient to create different geometries related to materials (sheets of plywood)’ properties and biological structure’s principles. At the same time the application of new design and fabrication processes are not only performance driven, but also open up a new architectural repertoire regarding spatial quality, structural articulation, and level of detail.

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Secondly, for scripting, Burry [6] explains “At its simplest, scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.” Those outcomes have already considered with material possibility and structural limitation to enable the design more efficiently. In this project, teachers and students write specific scripts to achieve high-level performance requirement, not just making scripting as a cloning tool. Designers who have learnt scripting can use computers to control design and final outcomes, which means they can be easy to modify scripts to create an initial project.

FIG.16

Lastly, computation design can be used as a time-saver, utilizing various combinations of relevant information to allow construction and fabrication to follow the design. Nature structures with material efficiency and functional integration like ICD & ITKE can be found in the current building construction. Computation Design can combine and analyse complex geometries and different material properties to form into biological structures. In other words, architects use computational design to efficiently achieve constructionally to get accurate result and behaviors. Lastly, computation design can be used as a time-saver, utilizing various combinations of relevant information to

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FIG.19 16

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FIG.20

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A.3. - Composition & Generation

FIG.23

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COMPOSITION COMPOSITION CAN BE EXPLAINED THAT DIFFERENT GEOMETRIES ARE COMBINED TOGETHER TO FORM DIFFERENT SPACES, WHICH IS A KIND OF EXPRESSION OF ANCIENT ARCHITECTURE USING SPECIFIC DECORATIONS AND FORMS TO CREATE A HARMONY RELATIONSHIP BETWEEN FORMS AND FUNCTIONS FOR BUILDINGS.

GENERATION NEW TECHNOLOGIES AND SOFTWARES ENABLES DESIGNERS TO EXPERIMENT DIFFERENT FORMS AND DIFFERENT STRUCTURES EFFICIENTLY. FOR EXAMPLE, SOFTWARES CAN ANALYZE STRUCTURAL LOADS OF SPECIFIC MATERIALS OR FORMS AND SIMULATE EARTHQUAKE OR OTHER NATURAL DISASTERS BASED ON LOCAL CONDITIONS, WHICH MAKES THE BUILDINGS’ DESIGN CONCEPTS EASY TO TRANSFER INTO REALITY. ADDITIONALLY, COMPUTERS CAN HELP US ANALYZE SOLAR PATH AND WIND PATTERNS TO GENERATE A SUSTAIN FORM. BASED ON COMPUTATIONAL TECHNIQUES, IT IS EASY FOR ARCHITECTS TO GENERATE VARIOUS OUTCOMES.

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FIG.24

Shift CAD softwares firstly meets the shift between composition and generation to create and generate design concepts easily and quickly into reality. The shift removed those traditional symbolics, geometries and decorations to achieve futurism. The important example is Frank Gehryâ&#x20AC;&#x2122;s Guggenheim Museum in Bilbao which utilizes design and digital production. FIG.25

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Algorithmic thinking Algorithmic thinking needs to kick in when similar problems have to be solved over and over again [7]. For example, Grasshopper can analyze wind pattern, and it has a code which can be used every time except for changing a few components and numbers. So algorithmic thinking makes computation design more logically into different segments.

Parametric Modelling Parametric design is a new logic of digital design thinking. Additionally, parametric modeling is similar to ecosystem where individual parts can interact each other to create a new form. In other words, the movement of each particle can be affected by the neighbor and also can affect its neighbor, which means they have a close relationship between objects and their parts-and-whole relationship. The basic rule can generate infinite numbers of possible forms and solutions which give architects more choices to pick up and give more opportunities to put designed forms or concepts into reality efficiently and accurately.

FIG.26

Advantages and shortcomings Although there are a lot of advantages to explore different forms, one of the major problems is that there is a gap between initial deign and final products because of poor algorithmic scripting skills. So it is better to develop computational design techniques to improve the knowledge in scripting to follow the trend of digital architecture.

Scripting cultures Burry (2011) explains â&#x20AC;&#x153;At its simplest, scripting affords a significantly deeper engagement between the computer and user by automating routine aspects and repetitive activities, thus facilitating a far greater range of potential outcomes for the same investment in time.â&#x20AC;? Scripting is a not cloning tool, but using them to achieve a high-level performance. Designers everywhere should improve their techniques to make accurate calculations and experimentations, only relying on othersâ&#x20AC;&#x2122; scripting and just changing a bit. FIG.27

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Case Study 5 - Beijing National Stadium Beijing, China, Herzog and de Meruon architects, 2004-2008 Parametric design enables architects to complete a programmatic complexity form, which can be translated into the exterior (the steel system) connecting with the interior (Stadium seating). That form cannot be achieved by conventional and traditional method, but it is easy to control by parametric modeling and algorithmic thinking. With scripting techniques and parametric modeling, designs will not exist limitations whether for structures or construction process and those designs are extremely stable after accurate calculation of natural disasters.

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Case Study 6 - Guangzhou Opera House Beijing, China, Zaha Hadid architects, 2009-2014 The design of Guangzhou Opera house brings ideas from natural landscape like most ZaHa projects, such as Wangjing SoHo-the design of Wangjing SoHo tries to connect commercial buildingâ&#x20AC;&#x2122;s exterior look with traditional Chinese brush drawing. All the ZaHa projects, she makes exterior or interior environments full of fluid continuity of planes and surfaces. The glass was fabricated similar to Great Court at the British Museum where glass panels are easily manufactured in straight panels while being able to panelize along the curves of the structure. Different glasses have different angles, which was calculated by computers. In addition, softwares are used to simulate structural analysis to meet the design initials.

FIG.29 24

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A.4. - Conclusion

Different buildings and design have been shown in PartA. Those buildings all utilized digital aids to create their forms and structures. Computers as a drivers make shifts from composition to generation. Architects use those tools to solve problems to meet their creative ideas accurately. Those problems can be simulated by computers easily, while impossible for calculating by conventional and traditional method. Furthermore, those tools can save architects a lot of time and at the same time it can save money and save energy consumption. So thatâ&#x20AC;&#x2122;s why those great architects use software and digital aids for their projects. These works have similar features which they all utilized structure as a part of aesthetics. They all do structural analysis while forming into final product. I will focus on materials and structural stability and use software to do force analysis.

A.5. - Learning outcomes Within three weeks, I realized that softwares and computational aids will be used commonly in future and those are really beneficial to achieve human innovative ideas. I can widen my imagination and thinking of various forms and try to develop those ideas into reality.

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FIG.

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A.6. - Appendix - Algorithmic Sketches

In this selected Sketchbook, I use attrators to change my pattern on the plan and the height of extrude. Then different colors can different outcomes clearly. Different colors make us easy clear to choose which outcome is more relevant to your initial design. Different attrators present different situations in reality, so it is important to be familiar with them and control them. Additionally, if I want to create a ceiling, definitely I should find a structure or grid or surface, so I try some structures in grasshopper in the pictures presented on the right. Although now they are lines, but after I add “pipes“ component, it will be turned into 3D which I did not show. But now I haven’t try different geometry and using “section“ component to generate ceiling like BanQ reastanrant.

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B.1. Research Field - Patterning Patterning and ornamentations in architecture can produce not only spatial possibilities but also different perceptions and experiences of architecture1. Historically, ornamentations are complex to present the symbolism of specific culture or religionâ&#x20AC;&#x2122;s powerful spiritual aesthetic. They are different with decoration. A decoration can be an ornament, but an ornament is not always a decoration. Decoration can be described as an attached components, which were used to add aesthetics, while ornamentation can be seen as an element interacting within a system to create a holistic aesthetic presentation.

FIG.33

FIG.34 FIG.12

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FIG.13

FIG.35

Haggis Sophia is an example of patterning for Christian churches and this is a patterning associated with nature2. The interior of church decorates flowers and birds in the spandrels of the gallery and mosaics of angelic figures and relative christian symbolism. Leon Battista Alberti defined ornamentation as necessary for beauty, which can be found in nature. â&#x20AC;&#x153;Beauty is a form of sympathy and consonance of the parts within a body... the absolute and fundamental rule in nature.â&#x20AC;?3 Here the relationships and associations he de nes is of an abstracted nature, which creates pattern. Interestingly, pattern is also linked to artin its expression of directly perceivable form which communicates and manifests the ideas of the world in a given period.

Ornament is to meant to communicate a sense of community. Surface pattern is independent of the architecture in content and form. and have nothing to do with th spatial or structural elements.

With the evolution of design computational software, patterning takes on new roles and meaning through the logic of generative computational systems by using grasshopper. My design focus is to explore design possibilities from variable patterning to create a strong visual, emotional and physiological architectural space. Except for visualizing, I also want to make my patterning is a functional application. With parametric designs, it provides unprecedented freedom form not only due to spatial layouts and component dimensions, but also in material composition and surface articulation (). Paramatricism allows to integrate design and construction, so it makes easy to achieve aesthetic and functional together.

1. MOUSSAVI, FARSHID AND MICHAEL KUBO, EDS (2006). THE FUNCTION OF ORNAMENT (BARCELONA: ACTAR), PP. 5-14 2. Garcia, Mark. Patterns of architecture. n.p.: London : John Wiley, 2009.

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FIG.36

An example of the use of patterning in architecture is the Water Cube in Beijing, China. It is a simple box that features a complex three-dimensional bubble patterning which is called Weaire-Phelan structure. This regular three-dimensional pattern was sliced with nonaligned, slightly rotated rectilinear box to produce the seemingly irregular patterning effect on the exterior. The wall was to be made without wasting floor areas. The materials filled into the wall is ETFE which is translucent and white to enhance the affect of patterning. When I design my ceiling, I want to try some modular structural system such as polygons and Wearie-Phelan to improve my visual effects. If one layer of this patterning cannot take emotional response, I will try two layers of patterns. http://www.arup.com/projects/chinese_national_aquatics_center/watercube_overview_1 FIG.12

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FIG.38

Another example is McCormick Tribune Campus Centre designed by OMA in 2003. Patterning, in the McCormick Tribune Campus Centre, is used on the curtain wall of the Welcome Centre. Some small diagrams, in the form of pixels, are used to represent human normal activities such as sleeping, sitting, studying and so on. The only two colors are used in the project. When seen from a larger scale, the smaller diagrams just disappear to leave place to a bigger holographic image, the ‘pixelated’ portraits3. It was made possible due to the arrangement pattern of the various pixels. These patterns are a visual mean of communicating to the students but also provide aesthetic values to the facade and partition panel and that both from a close range where we can only see an arrangement of small diagrams to a further range where the portraits appear. Moreover, the same patterns also act as a shading device thus reducing glare inside of the building.

3. ‘McCormick Tribune Campus Center’, Wikipedia, last modi ed 1 April 2014, http://

en.wikiarquitectura.com/index.php McCormick_Tribune_Campus_Center#Concept

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B.2. Case Study 1.0 In this weekâ&#x20AC;&#x2122;s case study 1.0, I decided to analyze De Young Museum as my particular project. The following matrices have shown some attempts to move away from the original definition, and create my own design. By understanding and learning the workings of the grasshopper definition in its components, I tried to demonstrate maximum innovative variation and potential possibilities for patterning. The patterning material system of Herzog & De Meuronâ&#x20AC;&#x2122;s De Young Museum in San Francisco is good for ceiling installation. As it uses the techniques of pixillation and unit assembly to create multiple aesthetic and functional purposes - the copper screen, which is not only a decorative architectural element, but also a rain screen, sun shade and a facade screen that hides the external mechanical ventilation system. The first step of experimenting with the provided Grasshopper definition involved simply changing and modifying each parameter to understand what each component was responsible for. Based on my design criteria of pixellation and aesthetics, my second step involved adopting different image, scaling with different attractors and changing its initial circles into different geometries to test the possibilities of new and exciting patterning systems. Lastly, I tried to use the patterns generated to create related 3D forms by directly extrusion geometries with different attractors and by using weaverbird. For this part, I still explored how to use kangaroo, so just one made by kangaroo.

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B.2. Case Study 1.0

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B.2. Case Study 1.0

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Geometric Differentiation The use of the image sampler influences the radius of each geometry to change the whole geometric pattern, which can enable base surface to creates a beautiful visual complexity. These geometries could be used for visual and functional purpose such as circles in the de Young Museum. The pattern is made of circles which can be used in the ceiling surfaces to deal with acoustic effect to reduce noise above ceiling. In addition

Shape Transformation

This specie explored the possibility of a pattern extruded out from one shape into another. Architecturally, this could be very interesting as one could establish distance based transformations. This would enable a design to gradually transform from one type of pattern to a completely different one from end to another.

Extrusion & Surface Orientation

This provides many directions for material experimentation. This is because the iteration itself does not offer much in terms of inhabitable space, but more on tactility and surface materials. It would create a very interesting effect when affected by wind movement for example. Its structure also could follow similar technique to the Seed Cathedral by Heatherwick Studios.

Heightmap Sampling

The surface extrusions when done in conjunction with a multitude of other variables, can create very interesting surface tectonics. Here, a wave like structure has been created

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IMAGE

SCALE

USING DIFFERENT

SCALE +IMAGE

USING DIFFERENT

IMAGE + SCALE + GRAPH MAPPER (PERLIN)

IMAGE + SCALE + GRAPH MAPPER (SINE)

USING DIFFERENT

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T IMAGE

TWO IMAGES + SCALE

CHANGE INNER AND OUTER GEOMETRIES’ BOUNDARIES -- 8

T IMAGE

TWO IMAGES + SCALE + EXPRESSIONS

CHANGE INNER AND OUTER GEOMETRIES’ BOUNDARIES -- 6

T IMAGE

TWO IMAGES + SCALE + CULL PATTERN

CHANGE INNER AND OUTER GEOMETRIES’ BOUNDARIES -- 6 & 3

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TRIANGLES FOR INNER AND OUTER SURFACE

ALL SURFACES ARE TRIANGLES, BUT UP IS MOVE ON X-AXIS TO FORM UP’S GEOMETRIES.

EACH POINTS HAS TWO GEOMETRIES: ONE IS SMALL EXTRUDE UP, THE OTHER IS EXTRUDE DOWN + USING GRAPH MAPPER TO CHOOSE WHICH ONE NEED TO BE EXTRUDE UP (SINE)

SURFACE(UP-DOWN): TRIANGLE- 6 SIDES- TRIANGLE

EXTRUDE UP AND DOWN +USING GRAPH MAPPER TO CHOOSE WHICH ONE NEED TO BE EXTRUDE UP (SINE)

SURFACE(UP-DOWN): TRIANGLE- 8 SIDES- TRIANGLE

EXTRUDE UP AND DOWN +USING GRAPH MAPPER TO CHOOSE WHICH ONE NEED TO BE EXTRUDE UP (SINE)

SURFACES ARE ALL SQUARE +CHANGE THE GRID OF BASE SURFACES + CHANGING HEIGHT FACTOR

EXTRUDE UP AND DOWN + USING ATTRACTORS TO INFLUENCE THE HEIGHT OF EACH SURFACE

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EXTRUDE UP AND DOWN + CHANGING GRAPH MAPPER + WITHOUT ATTRCTORS + EXTRUDE FOLLOWING VECTOR OF EACH POINT

WEAVEBIRD - CATMULLCLARK SUBVISION

WEAVEBIRD - CATMULL-CLARK SUBVISION + ADD MORE GRID OF BASE SURFACES

WEAVEBIRD - LAPLACIAN SMOOTHING

WEAVEBIRD - LAPLACIAN SMOOTHING + REDUCE GRIDS OF BASE SURFACE

KANGAROO

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ATTRACTOR CHANGING

ATTRACTORS, AND INCREASE HEIGHT

ATTRACTOR CHANGING

ATTRACTOR

EXTUDE TOWARD ONE TRIANGLE

EXTRUDE TOWARS ONE TRIANGLE, EXTRUDE TOWARS ONE TRIANGLE, EXTRUDE TOWARS ONE TRIANGLE, CHANGE HEIGHT CHANGE HEIGHT CHANGE HEIGHT

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B.3. Case Study 2.0

Another interesting project was the Dragon Skin Pavilion by Architects Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla, and Sebastien Delegrange. Like Gehrys â&#x20AC;&#x2DC;Fishâ&#x20AC;&#x2122; this is a lead and edge factory design. The only material used in this project was post-formable Grada Plywood (). It is a new material that can be heated and compressed into forms. This was revolutionary in the eld of moldable plywood. As well as the use of new materials, CNC machines manufactured the joins that connect each individual board. This project shows the importance to combine material performance and computation design together, especially when creating complex forms by simple geometry.

With parametric modeling, the thin wooden panels have slots that allow each to interlock with each other without any connections to hole the bending form workable. The interlocking system if the structure was configured through computational programing, analyzing where slots hold be placed to create the connections between panels prior to fabrication. Digital modeling allows the understanding of material performance such as internal forces or limitation of bending.

The dragon skin pavilion is a good example to explore the possibilities of new material

FIG.41

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B.3. CASE STUDY 2.0 Reverse two times:

First trial:

The Dragon Skin pavilion has a different structure to reverse engineer. The main concept was difficult to enable individual panels to be intersected rather than morphing on a certain panel. Attempt 1: Draw panels with picking up points from surfaces

1. Surface from curves The first step was to attempt to create a surface similar to that of the actual pavilion.

2. Divide surface into individual small panels Isotrim was used to divide the surface into small individual panels in UV directions at the same time.

3. Deconstruct individual panels To show individual panelâ&#x20AC;&#x2122;s vertices, deconstruct brep was used.

4. Pick up vertices and drawing lines perpendicular with surface UVâ&#x20AC;&#x2122;s directions 4 times for each group of vertices List item was used in the step to find the same position or points on the individual surfaces which has already been grouped into 4 coz each individual base panel has 4 points, into showing in one group, which has already been grouped into 4 coz each individual base panel has 4 points. Deconstruct Brep - list item (Start points) surface closest points - evaluate surface (to find the perpendicular direction from each points)

5. Choose points on those perpendicular lines one by one 6. create panels based on points on the curves (lines) 7. scale them to realize intersections between panels

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FIG.43

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B.3. CASE STUDY 2.0

1. Surface from curves

The first step was to attempt to create a surface similar to that of the actual pavilion.

2. Creating diagonal web

The step is different from isotrim grid, which is creating a diagonal web line.

3. Creating surface within diagonal web

Picking up points to create a surfaces which built from 4 points.

4. Normal Morph - create target box on the surface

5. Prepare geometry, which was used to morph.

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It must also be taken into consideration that the Box Morph technique in grasshopper is inaccurate in some situation, as it divides an individual geometry along a surfaceâ&#x20AC;&#x2122;s domain. This means that if the surface divisions are bigger or smaller in certain areas, then the geometry will be morphed directly to it. So sometime after morphing some areas are bigger or stretched. But I still found the box morph is very interesting as an aesthetic because of those inaccuracy. And it built from lines but merged lines to form different patterning. I use box morphing technique to sketch my installation.

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B.4. Technique: Development Forms Generation via graph mapper

I used graph mapper to divide surfaces into UV divisions. Graph mapper is used to control UV divisions. For case study one, my research field is patterning, so I firstly want to change the patterning of the surface , which i show in the graphics below. I used box graph in this species to demonstrate box morphing aesthetic because of inaccurary. Because some areas of surface are small or bigger, it resulted different forms.

Movement effect can be shown in those graphic, which inspied me to give a ceiling installation a kind of movement in 3D dimensions rather than focusing on a surface, which is a little far away from my design intension coz I want to design a ceiling installation by using single modular geometry. But each graphic below has w

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B.4. Technique: Development

In This species , i continue useing box morph to explore the form. I explo box to achieve the movement of 3D pattern. The bottom is the most suc connections beween each one, which only one surface connects with ea in one direction connects with each other in case one surface is broken r

SURFACE BOX IN TWO DIFFERENT HEIGHT IN ONE VECTOR DIRECTION

SURFACE BOX IN FOUR DIFFERENT HEIGHT IN FOUR VECTOR DIRECTION

SURFACE BOX IN TWO DIFFERENT HEIGHT IN TWO VECTOR DIRECTION

SURFACE BOX IN TWO DIFFERENT HEIGHT IN THREE VECTOR DIRECTION

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ored different height and vectors of surface ccessful iteration because it enhances the ach other in previous trial, now a few sufaces resulting the whole structure is collapse.

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN TWO DEGREES

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN THREE DEGREES

1/3 PI & 1/4 PI

1/3 PI & 1/4 PI & PI

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN THREE DEGREES

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN FOUR DEGREES 1/3 PI & 1/4 PI & 1/2 PI & PI

1/3 PI & 1/4 PI & 1/2 PI

ADD ROTATING SURFACE BOX FROM LAST SPECIES IN SIX DEGREES IN SERIES STARTING WITH 1/3 PI, THE SURFACES ON THE LEFT RESULT FOR ROTATING EACH DEGREES.

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B.4. Technique: Development

CHANGING GEOMETRY INTO POLYGON - EACH POLYGON V

First row: Morphing polygon in diagonal web grid. Then cha of geometry just meet with each other and I cull pattern a few

Second row: Following previous species, morph surfaces are

Third row: Following previous species, rotating those surface vector continue rotating different degrees to be target surfac

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VOLUMES INTERSECT WITH EACH OTHER

anging the surfaceâ&#x20AC;&#x2122;s size. The last one enables each line w ones to locate services or flexible using.

changed into different vector to extrude those box.

e box extuded in different ce boxes.

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B.4. Technique: Development CHANGING TRIANGLE INTO TRIANGLES

In this part, I have dicided to explore something about paper fold and triangle can be seen in any method paper folding, and behaviour of triangle can be easily achieved by plywood. I still continues made those triangles intersected with each one. Finally, I chose the one on the right side to be a sucessful one, which can benefit for my design. Although that one is not sysmmetry, it has rhythm becasue of arranges of triangles showing in the peak side of triangles, which will show in my design.

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B.4. Technique: Development

Before continuning to development my design combined with tessellation, I consider more about material perfprmance. Wood ususally is used to domonstrates history and also can be used to represent a kind of livable. So I tried to use weavebird and kangaroo connecting the ceiling installation with nature to give people a kind of feeling that the ceiling is growing everyday.

WEAVEBIRD’S CATMULL-CLARK SUBVISION, WEAVEBIRD’S MESH WINDOW WEAVEBIRD’S CONSTANT QUADS SPLIT SUBVISION,

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B.4. Technique: Development

THE REASONS FOR ME TO COMBINE TESSELATION INTO MY DESIGN

Architecture should take nature as a resource engine from structures, patterns and shapesâ&#x20AC;&#x2122; aspects. Nature itself is full of various irregular shape and form which is capable to develop through parametric design, which I tried in case study one to explore different patterns or geometries combined with nature(Figure 11 demonstrates tree trunk, while Figure 12 demonstrates flowing of gas or liquid). After those trials, I focus my design on trees trunks and the petal of flowers, which have large span and cantilever-like structure, which enabled e to consider my design with structural skin mentioned in Part A (Figure 13 is a structural skin of Fibrous Tower by Kokuggia demonstrates that structural skin is not for decorations but to be used to response spatial organization. ).

Way of generating structural skin varies. In this case, I will specialize in Tessellation which is one of the skin generative techniques. So I changed my design focus on tessellation. Tessellation is an installation approach that breaks up of complex surface into multiple repetitive elements. As a curvy organic geometry is hard to create and out of efficiency, it is feasible to develop a surface using the method of panelization. These segments provide lots of possibilities and flexibility of creating continuous geometry. Tessellation can generate free-transformed geometry that is twisting, bending or folding. The performance criteria for tessellation skin are seeking the balance of form making and structure optimization, which is very suitable for the ceiling projects.

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FIG.44

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B.4. Technique: Development

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For tessellation, I reverse another project to learn how to tessellation by using kangaroo. ICD/ITKE Research Pavilion 2011

The project explores form-finding through the integration of biomimetic principles, manufacturing constraints and physical simulation. I want to learn how it formed from a flat mesh into a geometry by using a gravitational force. I want to implement this method into my project, so I tried firstly reverse this project, chose a final geometry which is suitable to be a geometry for my project, and finally combined with “dragon skin” project.

1. Create the hexagonal pattern and curves of the pavilion by using Voronoi 2. Convert the pattern into a mesh by creating triangle surface in each polygon surface and join them together into a mesh 3. Prepare for Kangaroo forces’ setting from SpringsFromline, Pressure, Force, CurvePull. Turn pattern into an elastic web with SpringsFromline, inflate pattern and increase volume with pressure, set force to lift pattern with Unaryforce, fix inflated pattern to the initial curves made and finally gather all forces into one force data. 4. Convert curves extruded from Kangaroo in a mesh

Then to achieve second skin, it would scale the curve and move curve by Z direction, loft and cap all extrude polysurfaces, but I did not do that step coz I only need one skin for my project.

FIG.45 CRITERIA DESIGN

B.4. Technique: Development PICK UP THREE POINTS TO FORM INTO TRIANGLE ----- CHANGE THE SCALE OF TRIANGLE TO BE MORE CLAERLY

PICK UP FOUR POINTS TO FORM INTO RECTANGULAR SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF RECTANGULAR BIGGER AND CHANGE THE UV DIVISION OF BASE GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF GEOMETRY BIGGER TO ENABLE THEM TO BE INTERSECTED

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE UV DIVISION OF BASE GEOMETRY AND SCALE DRAGON GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- FIND THE BEST PATTERN ON THE GEOMETRY

LAST ONE TO FIND ANOTHER LAYER ABOVE AND THEN USING KANGAROO

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B.4. Technique: Development TOP VIEW PICK UP THREE POINTS TO FORM INTO TRIANGLE ----- CHANGE THE SCALE OF TRIANGLE TO BE MORE CLAERLY

PICK UP FOUR POINTS TO FORM INTO RECTANGULAR SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF RECTANGULAR BIGGER AND CHANGE THE UV DIVISION OF BASE GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE THE SCALE OF GEOMETRY BIGGER TO ENABLE THEM TO BE INTERSECTED

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- CHANGE UV DIVISION OF BASE GEOMETRY AND SCALE DRAGON GEOMETRY

PICK UP FOUR POINTS TO FORM INTO GEOMETRY SIMILAR TO DRAGON SKIN ----- FIND THE BEST PATTERN ON THE GEOMETRY

LAST ONE TO FIND ANOTHER LAYER ABOVE AND THEN USING KANGAROO

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B.4. Technique: Sucessful interation

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The structure of this trial has already tested by kangaroo, so the whole form can be achieved following design intension. The connections are just attached each one not influencing the whole form. The whole form is similar with ICD pavilion with an opening, so services for screen can be located. In addition, when I built this form, six small geometry was built from one point (top view can show clearly). Thus, it can be achieved paper foldingâ&#x20AC;&#x2122;s movement if I add a force (maybe some sensors ) in those points.

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B.5. Technique: Prototypes

“MAKEING IS THE MOST POWERFUL WAY THAT WE SOLVE PROBLEMS, EXPREE IDEAS AND SHAPE OUR WORLD.” ---DANIEL CHARNY, ‘ THINKING THROUGH MAKING’

It is very important to consider the relationship between architecture and material performance. Different materials will result different visual effects and different forms based on itself material performance. Using parametric design, it can be solved during pre-digital petriod, for example, tesing structure can be achieved by using kangaroo or other components to give a workable struccture. Thus, it gives more opportunities for designers to build their complex geometry by fabrication and materlisation combined with computional process.

The process of designing and manufacturing the surface, use flat pieces of laminated thin media wood (in fact, we use plasterboard instead, and the material if so soft, it would be not suitable for this installation, coz those geometry intersected with each one after bending, which means the materials should give a force in tension or compression together to avoid falling), square shaped, which, have made them the slits required to resolve in lace with each other, the slits are different depending on the position and shape of the prototype, and subsequently bent following appling patterns in the surface instead heating process shown in dragon skin.

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B.5. Technique: Prototypes

Then we explored a few patterns applied on our surface to achieve bending performance. We prototyped two, one is workable, the other is easy to crack. The difference between those two panels is the axis of bending. The first one is rotating the pattern in different directions and in this axis circles, rectangle, edges of small geometry, points together to achieve bending, while the second oneâ&#x20AC;&#x2122;s axis is the same geomtry and directly bends at the edge so it is difficult to bring into effect.

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B.6. Technique: Proposal

The project is to create a wooden ceiling installation, proposed for a 6000*4000mm space surrounding by glass wall at three sides and a leather laced wall at the forth side, where is a meeting room of an office. The target for this installation is not just to hide services such as ducts, pipes and wires but also to consider room functions with this installation, for example, the lighting would be served by the screen by the movement of the ceiling. Being parametrically designs, the complexity of the design elements in non-standard form are to represent the technology innovation and creative ideologies while achieving optimum performance in the designs.

Design Concept: Learning from the ICD pavilion 2011 with its the integration pf natural principles into architecture design, for this project I form the whole structure by uisng natural principles. And the whole form can be folding by adding forces maybe manually or add some new technology to achieve different form during meeting time. In addition, the lighting can be changed by those movements. For patterning, we still continue using one simple geometry learned from dragon skin, but we add some pattern on it to meet acoustic effect similar to the autrim at msd. Although during the whole design process I tried some complex patterns, those are beautiful visually and are difficult to be fabricated. The connections are also learned from dragon skin paviliion. The connections avoid the structure failing. For functional analysis, we firstly considered how to hide ceiling services such as ducts or pipes, because the timber is different from concrete. If the ceiling is concrete, ducts maybe need not hidden coz they are not belonging to warm color. Thus, timber must find a way to hide those services pipes.

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B.6. Technique: Proposal

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B.6. Technique: Proposal

I am fascinated by conceptualization of â&#x20AC;&#x2DC;Fermidâ&#x20AC;&#x2122;. Fermid is a kinetic sculpture created by Behnaz Babazadeh that uses technology and parametric design principles to combine living organisms from natural environments with human perception. I found the overall geometry is quite interesting as the surface can be deformed by human movement. It seems like the geometry is breathing. The movement of one small piece leads to the move of adjacent piece is right because it is using tessellation technique. In parametric design principles, it is efficient to design a panel-based installation. The resulting movement is seducing and engaging a viewer to explore.

Fermid is similar with our design intention to create a installation by repeating basic pattern unit at similar scales producing an interesting overall pattern. But this project is made of polymer material, easily to biomimetic movement, which is very different with plywood.

Futhermore, by watching video of fermid, I was still very interested with breathing in-out, so I thought I can produce a pattern seems like breathing, seems like the ceiling wants to interact with human, seems like open-or-close.

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FIG.46

FIG.47

FIG.48

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B.6. Technique: Proposal

FIG.49

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KENGO KUMA’S FOLK MUSEUM FOR THE CHINA ACADEMY OF ART OPENS IN HANGZHOU

The design is topped with discarded roof tiles, giving the museum the appearance of a small local village. the tiles are also used across the structure’s façades, held in place with stainless steel wire. these elevations help control external views, creating a dramatic internal play of light and shadow.

Those tiles can move based on light to form an interesting shadow interior, so I want to connect that concept with our ceiling installation.

Our ceiling installation’s connections are not easy to install movemen, but it also can be improved in some aspects. The method is although they cannot be moved individually, it can be moved in the chain in rows horizontally or vertically, thus the ceiling is divided into different chains which avoid to add wires or addiitonal connections individually, only adding controls on the both sides end of chains.

Finally, the ceiling installation concept is divided into two parts, the one applied at the lappet of ceiling installation below ceiling level is breathing, the other one applied for the ceiling level use chains to control movement.

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B.6. Technique: Proposal

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B.6. Technique: Proposal

LIGHT ACONSTIC FABRICATION MATERIAL PERFORMANCE DESIGN OVERAL COMMENT

FIG.33

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B.6. Technique: Technique:Proposal Proposal

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B.7. Learning Objectives and Outcomes

The learning process was an iterative exercise moving back and forth from one case studies to another case studies. Although one case study was selected at the beginning to understand how algorithimc and programming scripting are used to generate designs, it is often needed to go through other case studies to explore other potential techniques. In this way, various possibilities and limitations of the techniques could be explored and extended into a new design definition. While searching for potential strategies using parameter manipulation, sometimes it might gives unexpected outcomes that could be useful in generating another techniques for the design. For instance, the technique for cuting pattern

. After knowing various potentials techniques, it is easier to come up with an intesting proposal for the project. Hence, the concept of the design was finalised after realising what are the pros and cons of the techniques. Also, the design ideas change constantly throughout the process due to various limitations and possibilities. Although parametric design allows flexibility in various designs, fabrication strategies and the materials system have to be considered along the process to make sure the design is constructable and the materials are not difficult to source. For that, some design ideas have to be changed or dismissed.

To illustrate, although dragon skin cells were used as the patterns studies for the design, polygon structure were used instead in the design for the ease of materials selection in fabrication process. The advantage of the proposed design is that it allows a straight fabrication process due to individual geometry with different sizes. The limitation of the installation is that it would need some props during fabrication process to gather those geometries into a form. Although majority of the work from unrolling digital model into surface to be cut and labelling documenting was generated through scripts there is still a significant amount of work done by hand such as to cut and connect the tubes together. Unlike conventional design process, integrating parametric design can be quite complicated in the beginning, however it is worthwhile to be explored due to its flexibility in design solutions.

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B.8. Appendix - Algorithmix sketches

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B.8. Appendix - Algorithmix sketches

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B.8. Appendix - Algorithmix sketches

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Image references

33. The columns of ancient egypt, 2016 Retrieved from http://www.touregypt.net/featurestories/columns.htm [Accessed 29 April 2016] 34. The Nature of Islamic art, 2016 Retrieved from http://www.metmuseum.org/toah/hd/orna/hd_orna.htm [Accessed 29 April 2016] 35. Hagia Sophia, 2016 Retrieved from http://www.hagiasophia.com/ [Accessed 29 April 2016] 36. Beijing National Aquatics Centre, 2016 Retrieved from https://en.wikipedia.org/wiki/Beijing_National_Aquatics_Center [Accessed 29 April 2016] 37. Beijing National Aquatics Centre, 2016 Retrieved from https://en.wikipedia.org/wiki/Beijing_National_Aquatics_Center [Accessed 29 April 2016]

38.IIT McCormick Tribune Campus Centre, 2016 Retrieved from http://oma.eu/projects/iit-mccormick-tribune-campus-center [Accessed 29 April 2016] 39. De Young Museum, 2016 Retrieved from http://www.decorideas.site/san-francisco-architecture/ [Accessed 29 April 2016] 40. De Young Museum, 2016 Retrieved from http://www.decorideas.site/san-francisco-architecture/ [Accessed 29 April 2016] 41. Dragon Skin, 2016 Retrieved from http://www.decorideas.site/san-francisco-architecture/ [Accessed 29 April 2016] 42. Dragon Skin, 2016 Retrieved from http://www.decorideas.site/san-francisco-architecture/ [Accessed 29 April 2016] 43. Dragon Skin, 2016 Retrieved from http://www.decorideas.site/san-francisco-architecture/ [Accessed 29 April 2016] 44. Fibrous Tower, 2016 Retrieved from http://architizer.com/projects/fibrous-tower/ [Accessed 29 April 2016] 45. ICD Pavilion, 2016 Retrieved from http://www.knstrct.com/art-blog/2011/12/20/icd-itke-research-pavilion-2011 [Accessed 29 April 2016] 46. “Fermid Sculpture”, 2016 Retrieved from http://cargocollective.com/behnaz [Accessed 29 April 2016]

47. “Fermid Sculpture”, 2016 Retrieved from http://cargocollective.com/behnaz [Accessed 29 April 2016] 48. “Fermid Sculpture”, 2016 Retrieved from http://cargocollective.com/behnaz [Accessed 29 April 2016] 49. China Academy of Arts’ Folk Art Museum, 2016 Retrieved from http://www.archdaily.com/782230/china-academy-of-arts-folk-artmuseum-kengo-kuma-and-associates [Accessed 29 April 2016] 50.China Academy of Arts’ Folk Art Museum, 2016 Retrieved from http://www.archdaily.com/782230/china-academy-of-arts-folk-artmuseum-kengo-kuma-and-associates [Accessed 29 April 2016]