2017, SEMESTER 1, FINNAN WARNOCK JULIANNA JIN JIE TONG
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CONCEPTUALISATION
TABLE OF CONTENTS
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A.0 INTRODUCTION A.1 DESIGN FUTURING CASE STUDY 1 CASE STUDY 2 A.2 DESIGN COMPUTATION CASE STUDY 3 CASE STUDY 4 A.3 COMPOSITION / GENERATION CASE STUDY 5 CASE STUDY 6 A.4 CONCLUSION A.5 LEARNING OUTCOMES A.6 APPENDIX - ALGORITHMIC SKETCHES A.7 BIBLIOGRAPHY
A.0
SELF INTRODUCTION
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i, my name is Julianna, i am a second year bachelor of environments student majoring in architecture. i have always been a person who loved to create, as a child i was constantly engaged with the idea of imagination and creating something of my own, therefore i have decided that i wanted to pursue architecture at the university of melbourne. i have always had huge passion on digital programming after having done visual communications in year 12, therefore i was really happy to learn that i was going to be using great programs throughout this course. learning the programs was not so easy, and took a lot of effort but i have learnt so much about 3d modelling and how much they can help to define an idea. with studio air i know that i will be taking on a new challenge as i will be taking on the journey to learn grasshopper but i am excited to see what the future holds. i am honestly just excited to learn new things, i believe that what we create in architecture can really change the future, i cant wait to explore new programs
A.1 DESIGN FUTURING W
ith such advanced technologies and an ever-growing economy, we are viewing the world as a place of many possibilities, but these possibilities are creating dangerous consequences to the future. As Tony Fry says “the omelette at the cost of the egg, the table at the cost of the tree�(1). We are constantly treating natural goods as an infinite resource, exchanging it for what we desire, but in-fact it is limited, and we must begin to design a sustainable future. We humans take on a big role in shaping the future, we must design the future together and create new experiences and ideas for future generations. (1) Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008), pp. 1-16.
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1 CASE STUDY 1
NINGBO MUSEUM // WANG SHU // 2008
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n 2017, we are constantly surrounded by great architecture built with new, innovative materials that we have completely disregarded many famous building techniques in history. Those techniques in our history were overridden with our new methods and innovations, and although we believe this is moving forward, sometimes taking a step back can result in a more sustainable future.
With the Ningbo museum, the Wapan tiling method was used. This method is a very traditional Chinese way of constructing, and is labelled as a form of slow architecture (4) it is a lot more sustainable than the modern buildings in china right now not only saving cost but also energy to produce as this tiling method only require manual labour. After Wang Shu was able to win the noble 2012 Pritzker architecture prize(5), Wang Shu was able to bring to light historical ways of building through the Ningbo museum, the idea that you do not need to continue to innovate new and more stable materials, instead you can try find a way to reuse the old, instead of wasting such precious old materials, why not use it to create something new. Though this architectural building Wang Shu was able to prove not only to the civilians but also the government that there is a more sustainable way of building and that new may not always mean the best.
Ningbo museum is designed by Wang Shu and built though-out 2003-2008. It became the “no memory area” After the demolishment of 15 villages in the Ningbo region. Wang Shu wanted to create an area of reflective nostalgia (2) to rememorate these villages, therefore he utilised ruins of those villages to create the Ningbo museum. This was Wang shu’s way of preserving history and culture, by using the recycled materials of those villages, not only was this honouring the historical aspect of the culture but educate new architects about preserving culture and history, it was also a great way of showcasing the Chinese culture and the innovative ld techniques of building could ideas of architecture using recycled be more sustainable, and provide us materials. The buildings bring the new with a better future, what if the future and old directly in contact with each was to move back into history? other, consisting of the new modern concrete with bamboo textures with the old recycled material of brick, wood and ceramic tiles (3). Wang Shu expressed his concerns with china growing too large too fast (4), instead of focusing on short term goals, Wang Shu believes in long term sustainable buildings and loved to explore the creative opportunities
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2. Hing-wah CHAU, “Architectural Culture And Reuse”, Unmaking Waste 2015, 2015 <http:// u n m a k i n g w a s t e 2 015 . o r g / w p - c o n t e n t / uploads/2015/09/UMW_Session_12.pdf> [accessed 7 August 2017]. 3. Dezeen, Wang Shu’s Ningbo History Museum Built From The Remains Of Demolished Villages, 2017 <https://www.youtube.com/watch?v=lgSvdJxAy_0> [accessed 7 August 2017]. 4. Ong, “Asian Architecture: Ningbo Historic Museum”, Slideshare.Net, 2016 <https://www.slideshare. net/euxuanmackenzie/asian-architecture-ningbohistoric-museum> [accessed 7 August 2017]. 5. ”2012 Pritzker Prize: Wang Shu”, Archdaily, 2012 <http://www.archdaily. com/211941/2012-pritzkerprize-wang-shu> [accessed 7 August 2017].
fig.2 Ningbo Museum, 2017 <https://au.pinterest.com/pin/176484879130786430/> [accessed 7 August 2017].
fig. 4 Dezeen, Ark Nova Interior, 2013 <https://www.dezeen.com/2013/09/26/ark-nova-by-arata-isozaki-and-anish-kapoor-completes/> [accessed 7 August 2017].
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1 CASE STUDY 2
ARK NOVA // ANISH KAPOOR & ARATA ISOZAKI // 2011
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rchitecture is about constructing ideas into the real world, therefore we have always built architecture to be permanent, but what if it was not? What if we could make it temporary over and over again? Design by Arata Isozaki and Anish Kapoor Ark nova was the first ever inflatable mobile concert hall built in 2011(6). In 2011, a very powerful earthquake and tsunami hit the east of japan and claimed 18,000 lives and evacuated 160,000 from their homes due to radiation poisoning (7). After the country broke into despair the project of art nova was created to bring musical relief to the victims of this tragedy. The building aimed to provide the victims a get-away option, a place where concrete structures do not exist, a place where the invisible sadness of the city is perceived and recognized with. The form of ark nova resembles organic human organs by its smooth outer appearance, the interior is surrounded by a red glow created by the filtered sunlight penetrating the purple exterior walls, this red glow was believed by Anish Kapoor to have a revitalizing effect to individuals with post tragedy trauma(7). Kapoors smart use of colours through natural sunlight was a very innovative method when creating this design, it is something that considered the context and function of the concert hall making this a critically thought out deisgn.
The ark nova was inspired by Anish Kapoors earlier design of the “giant 4 armed balloon” which was a monument that explored the relationship of the unexplored physical realm (8) This project was able to introduce and bring to light the concept of temporary architecture, not only was this structure able to inflate or deflate within two hours, it was able to be transported to anywhere that it is needed. This arena served as a musical centre to bring love and joy back into those victims of the Japanese earthquake, by hosted many famous acts in japan. The music arena comes fully equipped with sound equipment and a stage, making it a very efficient when it comes to preparing stages. This concert hall is made from PVC coated polyester and can reach 120ft long also hold 500 attendees (6), this amazing number shows the possibilities of temporary architecture.
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Amy Frearson, “Ark Nova Inflatable Concert Hall By Arata Isozaki And Anish Kapoor”, Dezeen, 2013 <https://www. dezeen.com/2013/09/26/ark-novaby-arata-isozaki-and-anish-kapoorcompletes/> [accessed 7 August 2017]. Leon Tan, “Culture In Motion”, Forecast, 2014 <http://unitec.researchbank. ac.nz/bitstream/handle/10652/2988/ Leon%20Tan.pdf?sequence=5> [accessed 7 August 2017]. The Diplomat Jonathan DeHart, “Ark Nova: World’S First Inflatable Concert Hall Debuts In Japan”, The Diplomat, 2013 <http://thediplomat. com/2013/09/ark-nova-worlds-firstinflatable-concert-hall-debuts-injapan/> [accessed 7 August 2017].
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2.DESIGN COMPUTATION
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ith the help of technology/computation, we can test many different types of designs or geometries a single element or form can create, this is done fast and simple through easy algorithms that can be created and altered to fit needs. We love to rely on technology because we trust in its functions, just as Kalay says â&#x20AC;&#x153;They will never tire, never make silly arithmetical mistakes, and will gladly search through and correlate facts buried in the endless heaps of information they can storeâ&#x20AC;? (9) maybe because of this reliance, technology/computation has become inseparable with architecture.
(9) Yehuda E Kalay, Architecture's New Media (Cambridge, Mass.: MIT Press, 2004).
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2 CASE STUDY 3
DRIFT PAVILION // SNARKITECTURE // 2012
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rift pavilion was constructed as an entry pavilion to the 2012 design Miami exhibition by snarkitecture in partnership with inflate(10). Designer and artist Daniel arsham from snarkitecture said “we’re always trying to make objects perform in unexpected ways and do things that they shouldn’t really be doing” he also added that the idea behind the pavilion was “a limited palette, a limited range of materials”(11) By creating a digital version of the structure, the creator can decide how many elements and where the elements are placed to achieve the best result. The drift pavilion consists of a singular inflated cylinder vinyl tube that is placed at different heights next to each other, this would have been decided through the use of digital modelling which helps when deciding on where the tubes are to be connected next to each other to create the most variation and depth. These tubes are designed and placed in way that would allow minimal natural light to shine through as they bounce off each tube along the way (12), this can also be supported through technology as spatial qualities can be detected digitally. Technology is able to preview how the sunlight will transmit through the structure, allowing more precise designs that if it were not for technology would take trial and error, time and energy.
They are secured in place using a metal frame which is proving that the high ceiling space is not supported with many solid loadbearing structures, giving the design a lightweight impression (13). The material used is the same material as the tent allowing the structure to merge with the main complex. Together this design creates a decorative opening for a place of conversation and interaction. This pavilion being the opening to an important exhibition has been recognised through its design, not only is photography used to display such aesthetics, digital modelling images were released to help the audience understand the experience of the pavilion. All these factors all contribute to an easier more precise design for the drift pavilion. As such proven results have been produced through this pavilion, technology takes a step ahead into the architecture society, by using technology we are able to preview a project and its outcomes with less energy and time consumed.
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“Totally Tubular: Snarkitecture’s Inflatable “Drift” Pavilion Will Welcome Visitors To Design Miami”, Architizer, 2012 <https://architizer. com/blog/totally-tubular-snarkitecturesinflatable-drift-pavilion-will-welcome-visitorsto-design-miami/> [accessed 7 August 2017].
11. Xanthia Hallissey, “Drift Pavilion By Snarkitecture At Design Miami”, Dezeen, 2012 <https://www. dezeen.com/2012/12/09/drift-by-snarkitectureat-design-miami/> [accessed 7 August 2017]. 12.
”Snarkitecture’s Drift Pavilion Welcomes Visitors To Design Miami”, Designboom | Architecture & Design Magazine, 2012 <https://www. designboom.com/architecture/snarkitecturesentrance-pavilion-welcomes-visitors-atdesignmiami/> [accessed 7 August 2017].
13. “Drift Pavilion - Pvcconstruct”, Pvcconstruct. Org, 2012 <http://www.pvcconstruct.org/en/p/ drift-pavilion> [accessed 7 August 2017].
fig.6 Drift Pavillion Built, 2012 <https://au.pinterest.com/pin/287315651199113372/?lp=true> [accessed 7 August 2017].
Italian Pavilion, 2015 <http://www.domusweb.it/content/domusweb/en/news/2014/05/08/expo_italy_pavilion.html/> [accessed 7 August 2017].
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2 CASE STUDY 4
DRIFT PAVILION // SNARKITECTURE // 2012
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uildings after much consideration, are artificial and when coming in contact with the environment can never help to sustain, but can only worsen situations, but what if we were to change that relationship, what if we could create something that could be part of nature, something that can give and take to nature? The Italian pavilion in Milan, Italy was built in 2015 by Nemesi & Partners architect firm. It consists of 6 levels with an area of 14,498 square metres and is used for exhibitions and meetings (14). In our current times, architects design for the aesthetics or function of the building, making buildings nowadays a separate word from the environment, buildings exist artificially, they are not sustaining the environment, instead they are providing an aesthetic relief. The idea of the Italian pavilion was to showcase that although building is artificial, we can find a way to symbolise nature or build something that is able to constantly exchange with the environment. The Italian pavilion resembles a forest, by using many different panels that represent branches, it surrounds the building showcasing never seen before textures because of the many panels used that overlap each other to represent the forest texture (15). By bringing in this idea of nature the building acts a cohesive tie, or what Nemesi would like people to believe is their home or where the community can come together (16). Nemesi believed that buildings should always be an exchange with the environment , he believed that there should be a constant exchange of air and energy between the two, therefore a new material was invented to achieve that.
The building innovative use of photovoltaic glass in the roof and the newly invented material for the branched façade help the building to be more sustainable, the facade consists of over 700 active biodynamic concrete panels that help to transform the pollution in the air into inert salts when light was to hit the façade, therefore reducing the smog levels in Milan (17). Technology was what made this possible (3) without our advanced technologies, the material of the building would not be tested and proved before the actual structure was built, therefore saving cost and energy. Computation would have been able to suggest how the building can achieve its desired façade and how it combines with the photovoltaic glass roof on top. It is able to provide information on the position and number of panels needed and allow the easy visualisation of different panel placements from not only the exterior but also the interior. With the innovation of the new material through the Italian pavilion, this introduction can show architects a different way of materials in design, a material that is able to adapt, change and sustain the environment instead of being an artificial structure.
14. "Italy Pavilion Milan Expo 2015", Architizer, 2015 <https://architizer.com/projects/italy-pavilionmilan-expo-2015/> [accessed 9 August 2017]. 15. Amy Frearson, “Italy Unveils Permanent Milan Expo Pavilion”, Dezeen, 2014 <https://www.dezeen. com/2014/05/13/italy-milan-expo-pavilion-nemesiair-cleaning-facade/> [accessed 9 August 2017]. 16. Michele Molè Of Nemesi & Partners Explains The Italy Pavilion At Expo 2015, 2015 <https://vimeo. com/127054816> [accessed 9 August 2017]. 17. “Italy Pavilion – Milan Expo 2015 / Nemesi”, Archdaily, 2015 <http://www.archdaily. com/630901/italy-pavilion-milan-expo2015-nemesi> [accessed 9 August 2017].
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3 COMPOSITION/GENERATION
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ow has computation changed us? How will it change us? We do not know, but that is not a bad thing. We should believe that computation is allowing more possibilities for the future, thus making the future ambiguous but interesting. By deriving from the modern ways of designing we are setting the new norm of design, we are showing a more efficient, precise, detailed way of designing and this will thus change many things about architecture. People have already evolved into this change without even realising it, because that is how much digital computation has combined with design, if we are here now, where could we reach in 10 years?
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3 COMPOSISTION / GENERATION
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omputation has begun to completely change the mode of composition in the architectural world. By being able to create simple algorithmic sequences we can explore new options and search for future design possibilities. As Brady peter says “ the making of these custom tools takes place within the design process, and becomes integral to the design itself “ (18) this means to me that although computation was once used as a way to custom our designs, it has now become the design itself and that design is always going to be related to this new technology. Computation has thus integrated greatly into the design process, modern designs are not created without the help of computation, this is because computation provides security, precision, options and information that help to make the design fit to the brief. It is a form of experimentation that allows feedback to come from the design to analyse our design choices, because after all designs all need to fit to the public world, an idea drawn out on paper will never provide enough information about how the structure will act with all the natural surroundings and incidents.
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Brady Peters and Xavier De Kestelier, Computation Works, 2013, pp. 8-13.
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Achim Menges and others, Fabricate, 2017, pp. 286-293.
ARMADILLO VAULT // ALEJANDRO ARAVENA // 2016
he armadillo vault is a great example of computation versus modern design. Created by Alejandro Aravena it is an unreinforced and freeform vault that is made possible by the complex geometries created though computation. Spanning 15 meters, the vault uses compression to keep up the shell shape of 399 limestone panels weighing at 24 tonnes. By creating a digital force flow Alejandro could manipulate the number of panels and their cuts. She explains that “since there is no mortar between the voussoirs, which could have compensated for tolerances, the interfaces between stones had to be flush and therefore precisely cut and set”(19) this information was gathered through the help of the digital work flow, by analysing the stability of each panel, Alejandro was able to find the correct cuts needed for each panel to be able to successful slot each panel into each other to create compression and the hold the form up.
Achim Menges and others, Fabricate, 2017, pp. 286-293.
Achim Menges and others, Fabricate, 2017, pp. 286-293.
Armadillo Vault Block Model, 2016 <https://vimeo.com/blockresearchgroup> [accessed 9 August 2017].
During the construction of this vault, a scaffolding structure was produced to help ease the construction team into how to build together the vault, this structure would have been easily produced with precision through the use of computation.
Armadillo Vault Diagrams, 2016 <http://www.domusweb.it/en/news/2016/10/06/armadillo_vault.html> [accessed 9 August 2017].
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3 CASE STUDY 6
MUMBAI AIRPORT TERMINAL // LARSEN & TOUBRO // 2014
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omputation is part of the architecture identity now (20), it is the new normal, we are constantly relying on the new technology programs like Autocad, Grass hopper etc to create visual imagery of our ideas. Back in the days, drawings were an expressive tool that allowed users to communicate ideas, but with the introduction of computing and technology we are now able to create simple and complex geometries through algorithms and simple digital modelling. Computation can also be identified as a new hack towards architecture, with it things are more simpler detailed and informative (21), also it allows us to communicate our ideas better.
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or example, the Mumbai airport terminal is a perfect example of the use of complex algorithmic in architecture. It could be the largest cable wall ever used to build a canopy, with the help of technology, this canopy utilised a geometrically non-linear static analysis (22) to test the deflection and axial force of each cable, therefore being able to locate and measure how much cable needed to be in each detail. Many other details including the structural framing, concrete slab all relied on computation as the pre-informative medium to allow for understanding before the structure was built. This example perfectly represents just how much technology/computation has become the new norm.
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"The Past, Present And Futures Of Drawing", in Drawing Futures (UCL Press, 2016), p. 3 <http://www. jstor.org.ezp.lib.unimelb.edu.au/stable/pdf/j.
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Witt, Andrew. “Design Hacking: The Machinery of Visual Combinatorics.” Log, no. 23, 2011, pp. 17–25. JSTOR, www.jstor.org/stable/41765683
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Charles Besjak and others, “Chhatrapati Shivaji International Airport— Integrated Terminal Building”, Structural Engineering International, 23.1 (2013), 8-13 <https://doi.org/10.2749/101686613x13363929988296>.
Mumbai Airport Terminal 2, 2014 <http://www.skyscrapercity.com/showthread.php?t=780406&page=15> [accessed 9 August 2017].
Chhatrapati Shivaji International Airport, 2014 <http://architectsandartisans.com/2014/02/a-hive-of-activities-at-the-new-school/> [accessed 9 August 2017].
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4 CONCLUSION
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ase studies throughout this section, I have focused on temporary architecture, renewable architecture, architecture that transmits air with the environment, tubes that digitally planned to have the best performance, architecture with no structural support and lastly the amazing geometries that can be created using computation. Through the research I can identify what has interested me and what I thought was innovative about the design, I was able to conclude in each of my case studies what I thought could potentially make out future better. I believe that computation is a great leap within architecture, not only has it allowed us to create more aesthetically pleasing geometries, it has also allowed us to create new and better ideas to further sustain the environment. The readings for this section were very theory based and it has allowed me to have a broader understanding of computation, designing the future and the importance of our actions.
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5 LEARNING OUTCOME
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hroughout section A I was amazed at the involvement of technology/computation throughout architecture, I believe architecture is something that is constantly evolving and made better of but also on the other hand I believe the future of architecture should also be sustainable. With such advanced technologies available, architecture for the future should not be an artificial piece of work but instead it should be something that belongs to the nature by either using the nature as a resource or being able to constantly have a give and take relationship. Through this not only will the audiences be able to live in a more sustainable environment, it allows the environments to experience a more natural change of landscape. At the beginning of this course, I had always known that the future is unknown, but after researching through the case studies I want to believe that we can shape the future through our architecture. By combining my new knowledge of temporary architecture, renewable architecture, the importance of computation and how computation can bring us to our future, I was able to see the importance of technology and where it can potentially lead us. Two fields that I am very interested in so far are temporary architecture, so something that can extrude when it is needed and retract when it is not, I believe this is a very innovative idea that could potentially change the way we think about architecture. To make this idea a reality, the material would have to be retractable, or if there was a system that could allow panels to fold together into a smaller surface that would also be my idea of temporary architecture. The second field that I am very interested in, is architecture that can withhold by itself. So after researching through the armadillo vault, I thought it was really cool that a vault could without its self with no structural support, unlike the historical caves where heavy mortar was used to created arches, this system uses computation to figure out the exact slots of how each panel fits to each other to be able to carry load, I believe I would love to explore that further by creating my own panels that can connect with each other and rely off each other. These two fields of design are very interesting and would be what I would like to further research on towards.
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6 ALGORITHMIC SKETCHBOOK
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7 BIBLIOGRAPHY
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archdaily,”2012 pritzker prize: wang shu”, 2012 <http://www.archdaily. com/211941/2012-pritzker-prize-wang-shu> [accessed 7
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amy frearson, “ark nova inflatable concert hall by arata isozaki and anish kapoor”, dezeen, 2013 <https://www.dezeen.com/2013/09/26/
august 2017]. ark-nova-by-arata-isozaki-and-anish-kapoor-completes/> [accessed 7 august 2017].
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amy frearson, “italy unveils permanent milan expo pavilion”, dezeen, 2014 <https://www.dezeen.com/2014/05/13/italy-milan-expopavilion-nemesi-air-cleaning-facade/> [accessed 9 august 2017].
4.
brady peters and xavier de kestelier, computation works, 2013, pp. 8-13.
5.
charles besjak and others, "chhatrapati shivaji international airport—integrated terminal building", structural engineering international, 23.1 (2013), 8-13 <https://doi.org/10.2749/101686613x13363929988296>.
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dezeen, wang shu’s ningbo history museum built from the remains of demolished villages, 2017 <https://www.youtube.com/ watch?v=lgsvdjxay_0> [accessed 7 august 2017].
7.
“drift pavilion - pvcconstruct”, pvcconstruct.org, 2012 <http://www.pvcconstruct.org/en/p/drift-pavilion> [accessed 7 august 2017].
8.
hing-wah chau, “architectural culture and reuse”, unmaking waste 2015, 2015 <http://unmakingwaste2015.org/wp-content/ uploads/2015/09/umw_session_12.pdf> [accessed 7 august 2017].
9.
"italy pavilion milan expo 2015", architizer, 2015 <https://architizer.com/projects/italy-pavilion-milan-expo-2015/> [accessed 9 august 2017].
10. “italy pavilion – milan expo 2015 / nemesi”, archdaily, 2015 <http://www.archdaily.com/630901/italy-pavilion-milan-expo-2015nemesi> [accessed 9 august 2017]. 11. leon tan, “culture in motion”, forecast, 2014 <http://unitec.researchbank.ac.nz/bitstream/handle/10652/2988/leon%20tan. pdf?sequence=5> [accessed 7 august 2017]. 12. menges, achim, bob sheil, ruairi glynn, and marilena skavara, fabricate, 2017, pp. 286-293 13 michele molè of nemesi & partners explains the italy pavilion at expo 2015, 2015 <https://vimeo.com/127054816> [accessed 9 august 2017]. . 14. ong, “asian architecture: ningbo historic museum”, slideshare.net, 2016 <https://www.slideshare.net/euxuanmackenzie/asianarchitecture-ningbo-historic-museum> [accessed 7 august 2017]. 15. ”snarkitecture’s drift pavilion welcomes visitors to design miami”, designboom | architecture & design magazine, 2012 <https://www. designboom.com/architecture/snarkitectures-entrance-pavilion-welcomes-visitors-at-designmiami/> [accessed 7 august 2017]. 16. the diplomat jonathan dehart, “ark nova: world’s first inflatable concert hall debuts in japan”, the diplomat, 2013 <http://thediplomat. com/2013/09/ark-nova-worlds-first-inflatable-concert-hall-debuts-in-japan/> [accessed 7 august 2017]. 17. "the past, present and futures of drawing", in drawing futures (ucl press, 2016), p. 3 <http://www.jstor.org.ezp.lib.unimelb.edu.au/ stable/pdf/j. 18. tony fry, sustainability, ethics and new practice (oxford: berg publishers ltd, 2008), pp. 1-16. 19. “totally tubular: snarkitecture’s inflatable “drift” pavilion will welcome visitors to design miami”, architizer, 2012 <https://architizer. com/blog/totally-tubular-snarkitectures-inflatable-drift-pavilion-will-welcome-visitors-to-design-miami/> [accessed 7 august 2017]. 20. witt, andrew. “design hacking: the machinery of visual combinatorics.” log, no. 23, 2011, pp. 17–25. jstor, www.jstor.org/stable/41765683 21. xanthia hallissey, “drift pavilion by snarkitecture at design miami”, dezeen, 2012 <https://www.dezeen.com/2012/12/09/drift-bysnarkitecture-at-design-miami/> [accessed 7 august 2017]. 22. yehuda e kalay, architecture's new media (cambridge, mass.: mit press, 2004).