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Introduction A1 Design Futuring
A2 Design Compu
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utation A3 Composition- Generation A4 Conclusion A5 Learning Outcomes
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“In the depths of winter, I found that there was within me, an invisible summer.� Albert Camus
I
I am Han Li. I was born in a small seaside town in China. Growing up in the sun by the sea was the happiest memory, and is carried within me along the way. I am interested in a number of things, art, theatre, music, history, and architecture. Studying architecture for me is a way of understanding the world. I am now a second year student. In the first year of my studying, I was pretty against using digital tools to draw, or to render. I hope through this semester’s study, I will learn how digital designs assist to further explore our imaginations.
A 1 DESIGN FUTURING
On Space Time Foam This is an art installation piece done by Tomas Saraceno, which is composed by three layers of membranes hanging 20 meters above the ground.[2] When we think about architecture, it seems to be related to static space that avoids changes in the natural environment.Saraceno was experimenting with the relationship between people and the space around. In his interactive installation, space follows people’s activities instead of shaping their activities. Space opens, folds, disappears as people move around. Additionally, his work also experiments with the idea of living free of gravity.[1] Can architecture floats, and we live within the layers of clouds. Nowadays, we talk about the intergration of architecture and nature. Saraceno’s project inmitates the uncertain,and flexible quality of nature, and frees architecture from being static.
A 1 DESIGN FUTURING
Teshima Art Museum Teshima Art museum is designed by Ryue Nishizawa, We often discuss what is architecture, and it is always too arbitrarily defined as a shelter. In this project, it seems that architecture is used as a medium that connects its users with the spiritual world. Essentially, what Nishizawa created is an atomosphere that allows the audience to realise one’s insignificant existance within a vast environment. There is no clear boundary between the inside and outside. Users are immersed within this atmosphere. It does not only provides a nice space to be in, but a provoktive space. In my opinion, this is when architecture becomes sacred. It is definitely revolutionary as it is not only a problem solving process like conventional architectural design, but an experiment that explores the potential function of architecture.
void When architecture becomes sacred
A 2 DESIGN COMPUTATION
Outcome 1
Outcome 2
Figure 1: Geometry Smoothing Process
Figure 2: Construction Method
Taichung Metropolitan Opera House
Taichung Metropolitan Opera House is designed by Toyo Ito, which distinguishes itself from the unprecedented form and construction method. In the development process of the opera house, design decisions and structual system correspond to each other. In Ito’s design, there is no clear boundary between wall, ceiling and floor.All structural elements merge together to form one surface. This structure of united wall, ceiling, and floor requires strong stability, in which computational softwares come in use. For example, geometry smoothing process is used to figure out the angle of curvature that provides the best structural performance. In the diagram, the 1st outcome of this process, the angle between mesh edges are too small, which results in steep, and rush transition between wall and floor, leading to high compression and instability. In the 2nd outcome, a more efficient set out is calculated in algorithm to serve its structural strength.(Refer to Figure1) Computational process was used to find out the most efficient structure as well as achieving an aesthetic pleasing form. Unlike Zaha Hadid, where computing is only used as a tool to generate forms. In this case, computing makes it possible for form and construction to go hand in hand. It also provides a comprehensive overlook upon the whole process from designing, engineering, to construction. Patterns, support conditions and material data analysis are all included in the processed model, which helps to gap the disconnection between architects’ visions and practicability. As a result,this digital analysis process makes complex geometry forms possible to construct. It also helps architecture to move towards sustainability and efficiency as everything is accurately calculatedd, so no materials will be of waste.
A 2 DESIGN COMPUTATION
Kakamigahara Kakamigahara Crematorium Crematorium
Initial shape
Evolution in process
Final shape Figure3:Structure Optimization process
Kakamigahara Crematorium is designed by Toyo Ito. As I do more research. I found that he is a very forward-thinking architect, and keeps trying to use advanced technologies to expand the potential of architecture. This design is composed by a free-curved surface supported by thin columns hovering above the main structure of the building. The form was first sketched,and determined by the architect. Computational tools were then used to supoort the form with a stable structure. This structure may be easy to realise at the scale of a model, but it requires a strong structural stability to realise it in the physical world. In order to achieve this light weight, thin, fabric-like roof. The structure is investigated and analyzed to identify the weak points on the surface. Then, computing structural optimization method is followed to improve the load distribution on the surface. The whole surface is divided by triangular grids,and optimized in order to achieve the best performance of the structure. (Refer to Figure 3) The role of digital tools in this process is called computerization, where it is only used as a method to translate architect’s idea into the physical world.
The shell structure of beetles
A 3. COMPUTATIO - GENERATION
ICD Pavilion ICD Pavilion is a multidisciplinary computational architecture project that involves researches from fields such as biology, architecture, and engineering. This project uses a typical bottom-up computation design approach, as no form was preconceptualised by architects. Instead, the form of the pavilion is generated during the research process.The group of researchers studied the shell of beetles in searching for a lightweight, efficient structure, and materials that can build it. Through morphologic analysis, they found that natural fibre material weaving together in the way of beetle shell structure allows for geometric freedom while maintaining sturctural stability. Construction method, material used and the overall form are developed simultaneously.They are closely related,and cannot be seperated from each other. Alberti was the first architect that seperated the concept of architect from building. Maybe in this new ear where architects actually push the developement of technologies, computation design apporach will unite researchers from all fields together to explore the possibilities of architecture. In this project, ideas are borrowed from nature, and through the support of computation, maybe we will be able to create the 2nd nature, which will largely help to solve contemporary issues.
類
生
物 MICHEAL HANSMEYER
A 3. COMPUTATION - GENERATION
Unlike computation architecture, “emergence� is the fundamental characteristics of generatiion architecture. Micheal Hansmeyer takes the architectural form to a level that is beyond imagination. He advocates architects to design process instead of forms, and awaits forms to generate themselves with a predetermined underlying rule. Hansmeyer borrowed ideas from nature. He was inspired by the fundamental principle of nature, morphogenesis of cell division. He then developed a process starting from a basic form of sphere, same division process was operated repetitively. As the process goes on, forms evolve, and different outcomes are produced. The above two pictures are alterations generated from the same object at different stages. Yet this type of expression using forms is not a new idea. Dating back to 17th century Baroque, and 20th century expressionism were all exploring the idea of using forms as statements and expressions. However, Hansmeyer’s research used a simple rule, leading to the unimaginable world of architecture. What distinguished him from the previous masters is that it is the process that he designed, not the forms themselves, This technique of designing process leads to new possibilities of architecture. In terms of how can we use these forms in reality to solve practicle probelms are yet to be explored. In my opinion, these objects themeselves stand as artworks that prove the theory of conceptual art, where every object is naturally embeded with systems, and relationships.
CONCLUSION
Design futuring, computation and generation architecture are not happening until we starts looking at the world from a different perspective. Design futuring is about free architecture from what it is thought before, and not letting norms to be the obsticles of imaginations. The emerging new digital technologies unites all discplines together, bringing architecture new possibilities with a broad range of foundations. In this ear where technologies develope faster than culture, we could utilize computing to interprete the surroundings, make meanings out of it, and create culture.
LEARNING OUTCOMES
Through these three weeks of research, I realise the profession of architect is not all about architecture. A wide of range of knowledge is crucial for a designer. As designers, we should not just be designing, but thinking independently, and freely about us, and the world. At the start of the semester, I thought architectural computing is all about the plastic forms, which look cold and fake. As I do more research, I realise that famous, well published projects are not the ceiling of digital design, but just one form of it. There is a whole new virtual world awaits to be revealled.
NO MAN IS AN ISLAND
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B1 Research Field B2 Case Study 1 .0 B3 Case Study 2.0 B4
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Technique: Development B5 Technique: Prototypes B6 Technique: Proposal B7 Learning Objectives and Outcomes
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B 1.0 RESEARCH FIELD STRIP & FOLDING
“Without mathematics we cannot penetrate deeply into philosophy. Without philosophy we cannot penetrate deeply into mathmatics. Without both we cannot penetrate deeply into anything.” [1] ---- Leibnitz
There might be a boundary between which knowledge belongs to which field, but it is hard to draw a clear boundary between what a subject, or a creation is influenced by. The intergration of a variety of disciplines working together is an answer to comprehensive solutions and new possibilities of current issues. Strip and folding in digital designs is not merely an aesthetic choice, but a medium derived from physics and maths into a design solution. Flexibility and repetition as two important qualities of strip and folding allows formation of organic circular space.
Seroussi Pavilion designed by Biothing is an example of this approach. In this project, maths and physics are only only utilized in the construction process, but were involved from the early design process. “Shapes are diagrams of forces” D’arct Thompson[1]. Strips are generated through the magnetic forces in between each point, Attraction and repulsion forces of neighbouring points allows the free flowing form of strips[4].
NO MAN IS AN ISLAND ----JOHN DONNE
B 1.1 RESEARCH FIELD STRIP & FOLDING STRUCTURE ORNAMENT
seperated
bone(structure)
skin(ornament)
“Ornament is a crime.” Adolf Loos[2] At the tail of 19th century, architects started thinking about the relationship between structure and ornament. It was thought that architecture was coated with peotic imagery, which was unnecessarily luxurious[2]. The heavy ornament of expression has taken over the essence of architecture. Adolf Loos believed that culture does not evolves through the excessive ornament, but is associated with the deletion of it. [3]
depends o
The progress of digital design struction of architect’s ideas. A design process, architects now algorithmic design and structu stallation designed by Roland exploration. The installation is ponents, whom cannot stand b iment proves that the combina achieve stuctural stability[5]. C ed from studying the behavior serves as a key in structure, as
on each other
tools aided the physical conAs it is more involved in the w rethink the relationship of ure. The composite swarm inSnooks is an example of this make up of two fragile comby themselves[5]. The experation of the two together can Components logically generatof swarms and social insects s well as aesthetic ornament.
merge as one
Seroussi Pavilion As mentioned before, vector fields of the pavilion are generated through the magenetic forces[4]. Each vector is affected by its neighbor, and adjusts its orientation accordingly. This generative design has included physics and maths from the start, thus making the structure more physically achieveable. In this case, ornament and structure of the are not seperated, but united into one. As more explorations are done in digital design, structure no longer has to be rigid, and ugly, the nature of architecture can be ornamental. Strip and folding is one of the many ways to achieve it.
B 2 CASE STUDY 1.0 BIOTHING PAVILION ITERATIONS
Species
S1 lines affected by its neighbor
S2 Wrapping & self intersecting
S3 organic quality space
S4 line charge
B 2 CASE STUDY 1.0 BIOTHING PAVILION ITERATIONS
Species
S5 Voronoi creates bounded freedom for the flowing lines
S6 Spiral charge creates rythm
B 2 CASE STUDY 1.1 SELECTION CRITERIA
Personal Isolation Towards oneself Towards Illusion Towards darkness
1
2
Outcomes of the iterations varies largely from each other, which suggests the potential strip and folding has towards new forms. Each iteration has unique spatial quality. The four outcomes I have selected based on criterias as such: -quality of space -relativeness to my idea The 1st selection explores on the idea of wrapping, within which private space is created. The 2nd selection mimikes the form of mushrooms. Each unit is different, and is responsive to the surrounding. Also, its flexible quality is also very interesting as if it floats in the air. The 3rd selection is a combination of first two The 4th selection plays with void and semi-open space, within which users can experience changes in the level of privacy in space.
3
4
B 3 CASE STUDY 2.0 Her Secret is Patience. Phoenix. Arizona Janet Echelman
The project I chose to reverse engineer is this art installation piece designed by artist Janet Echelman. It floats in air, which redefines art in the atmosphere. Hanging above a public park, it conveys a sense of tranquility. The project may be easy to fabricate on a small scale, but most of Encelman’s net sculpture spans more than 75,000 square feet, which then needed the aid of computational design in its realiztion. The scultupre defines gravity, and is influenced by the local climate. Therefore, every sculpture involves a comprehensive analysis of site. Additionally, the fomed of each sculpture is also shaped depnded on its surrounding. I chose this project because it has the two features of my intended design: - flexible space that is responsive to its surroundings - division of space that creates privacy “Adopt the pace of nature; her secret is patience.” ----Ralph Waldo Emerson
B 3 CASE STUDY 2.1 REVERSE-ENGINEER Matrix + Diagrams
CURVES-- LOFT--BREP
UNARY FORCE--KANGA TURN BREP INTO MESH
AROO
EXTRACT CENTRAL BREP
CHANGE POSITION OF ANCHOR POINTS
APPLY TENSIL FORCE USING KANGAROO
B 4 TECHNIQUE: DEVELOPMENT REVERSE-ENGINEER ITERATIONS
S1
S2
S3
S4
S5
B 4 TECHNIQUE: DEVELOPMENT SELECTION
Personal Isolation Towards oneself Towards Illusion Towards darkness
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2
Selection Criteria: -unique spatial quality -division of space Design Potential: What I found really interesting in this iteration exercise is the inflation and deflation of the volumn. The transformation of forms can serve certain function, and evolves into kinetic architecture.
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B 5 TECHNIQUE: PROTOTYPES PROTOTYPE 1
Assembly
Central Joint
Inner string to control it to open or close
Legs with holes to connect with string and central joint
Outer string to control it to open or close
1st Prototype Material: Polyprolylene Drawbacks: - The way joint is designed does not allow much movement - The material is very flimsy that it does not stand by itself and hard to control - The scale of the model is too small, so joint was not able to properly function
B 5 TECHNIQUE: PROTOTYPES IMPROVED CONNECTION DESIGN
Legs with holes to connect to the movement joint
Movement joint between the central piece and legs
Central joint that determines the gaps between legs
B 5 TECHNIQUE: PROTOTYPES PROTOTYPE 2
2nd Prototype Material: Clear Perspex 2mm The 2nd prototype works better than the 1st one. The joint design enables it to open and close smoothly. Drawbacks: - The material is rigid but fragile, during the transport, several joint cracked - The outcome is very mechanical, it did not achieve the organic quality of opening and closing according to its the changes in the nature. Need to explore more on materiality
B 6.1 TECHNIQUE: PROPOSAL SITE ANALYSIS
Lack of Isolation
I went to the site twice. The first tim ond time on a gloomy day.
The site is very much community bas viding interaction space, such as cafe farms. The site is quite busy, and has
The outdoor park seems to be occupi This reminds me how everyone and e to be social, and to communicate wit much connected. Even when we are nected through internet.
As a result, I want to design someth else, but still connected to the natura
me on a typical Saturday, and the sec-
sed. There are a number of spots proe, bbq spots, planting garden, animal s a vibrate atmosphere.
ied, and even owned by communities. everything in the society is telling me th others. The problem is, we are too on phone by ourselves, we are con-
hing that isolate one from everyone al surroundings.
Community Focused User: family, kids, and communities
B 6 TECHNIQUE: PROPOSAL PROPOSAL 1
SPACE OF SOLITUDE
B 6 TECHNIQUE: PROPOSAL PROPOSAL 2_ After thought
After doing my prototype, I rethought about the scale of my project. Instead of human scale, I could have a series of them on a smaller scale. Because they are subject to changes in the surrounding. They would constantly be in motion, and moves as the environment changes. This could draw people’s attention to the tiny changes that are usually neglected, for example, wind, and humidity level changes. However, the joint system I have now is quite mechanical, and there is a number of issues I need to explore more about in order to achieve the effect.
B 7 LEARNING OBJECTIVES & OUTCOMES
During my study in part B, I am more comfortable using grasshopper to create something unexpected. Before, I thought grasshopper is just another tool of doing digital model, but it actually requires creativity to come up ideas to modify and generate forms because no matter how unexpected the outcomes are, I am the one who think of the logic behind. Doing prototypes is a good way for me to understand more about my own project. I might not know exactly what I want, but when I see the physical model, I realise what I dont want, and improve upon that. Additionally, I found that in my project, there is a big gap between concept and physical constructability. I have been used to ignoring real world problems, and just assume that everything will work. As a result, I will put more thoughts in thinking about how to construct it, and how it is going to work.
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C.0 INTREIM FEEDBACK C.1 DESIGN CONCEPT
C.2 TECTONIC ELEM
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MENT & PROTOTYPES C.3 FINAL DETAIL MODEL C.4 LEARNING OUTCOME C.5 REFERENCE
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C . 0 . 0 I N T R I M FEEDBAC K
Feedback - Needs more complexity - Lack of information of how it will work in reaity - Elaborate on the experience within
Thoughts - What defines isolation from public space, is there a clear boundary? - How to make users interact more with the environment, but not the people - How to make the installation dissolve into the environ ment, a subtle compliment, but not an abrupt interruption
C . 0 . 1 T EAM E XP LO R ATI O N IN T ERACT I VE I N S TALL AT ION
Team Design Setph, Brian & Han Steph: interactive projection Brian: interactive bridge Han: Kinetic isolation space All three of us explored with interactive design that give users unique experience on site In this direction of emphasizing on experience, we started to explore different methods, and materials that allow us to design an interactive installation without being too technical to manage within the timeframe.
Experiment 1: Elastic web forms flexible interactive space inside Con: hard to control
Experiment 2: Inflation & deflation Con: small area inflation relies on strong blowing force
Experiment 3: Straw collection Pros: - react to light changes - sounds like rain when collide
C.0.1 DESIGN DEVELOPMENT INSPIRATION WATER REFLECTION
Shadow of Light Heidleberg Road Bridge
The water ripple reflection on to the underside of the bridge is very intriguing. We were staring at it for a long while, and were inspired to create something that amplifies, and brings more attention to this neglected detail. There are a few bridges along the Merricreek trail, but this old bluestone bridge built between 1849-1852 has a nice dark gray colour and texture that time gave it.
C.0.2 DESIGN DEVELOPMENT SITE ANALYSIS
- water reflection - echo
The site is located at Heidelberg Road Bridge. It creates a vast canopied area over the river and the biking road. The water reflection, the sound of river echoed under the bridge, plus the dark concrete texture behind, creates a sense of tranquility of the site. The majority of users on site are bike riders who pass through this area at a fast speed, resulting in neglecting the atmosphere on site created by all these natural features. Light +Sound
C.1.1 DESIGN CONCEPT LOST & FOUND
Thing you ignore Things you do not normally notice
Day 1 , Go d s a i d LE T T HE RE B E LI GHT
now
modify
We intent to design an installation that modifies the water reflection, creating unique, and ever-changing pattern of light on to the underside of the bridge. Thus, creating an unque atmosphere that wraps users around.
C.1.2 DESIGN CONCEPT TECHNIQUE EXPLORATIONS
Figure: Carlo Scarpa’s window detail Technique: Subdivision Inspiration: - A simple principle developed - play with density & materiality
IDEA 1 IMMERSIVE STRIPS
IDEA 2 FLOATING ICE CUBES
IDEA 3 Combination of the two
C.2.0 TECTONIC ELEMENT & PROTOTYPES CONNECTIO STUDIES
PROTOTYPE 1 Joint experiment- self intersectig joint Method: holepunch Pros: - lightness (visual & physical) - cost effecient - slight sacrifize for light transmission Cons: - hard to construct because it has to be constructed in a certain order - hard to mass produce as straws are not modular, nor in sets of module - unable to withstand wind - looks unfinished in detail
C.2.0 TECTONIC ELEMNT & PROTOTYPES CONNECTIO STUDIES & CONCEPT EXPLORATION
PROTOTYPE 2 Joint experiment-clear perspex joint Pros: - resulting a rigid structure - easy construction method - modular quality allow mass production - perspex material add new feature for light reflection Cons: - joint becomes dominant, taking away some transluscent quality of straws - joints look a bit chunky - the solid perspex material add weight to this light structure
C.2.0 TECTONIC ELEMNT & PROTOTYPES CONCEPT EXPLORATION
PROTOTYPE 3 Straw collection Pros: - a collection of straws produce rain sound - could be a potetial feature adjacent to the main structure - maximum light transmission, creating light effect when channeling light - adding cloudy effect to the overall structure Cons: - It is not part of the structure that generated from the algorithm. It is computational, but not paraetric - time consuming to construct
C.2.0 TECTONIC ELEMNT & PROTOTYPES CONCEPT EXPLORATION
PROTOTYPE 4 mirror perspex Pros: - amplifies light effect - easy construction method - modular quality allow mass production - perspex material add new feature for light reflection Cons: - the material is very artificial, feels forced with the structure - visually and physically heavy - costly to make
C.2.0 TECTONIC ELEMNT & PROTOTYPES DIGITAL DEVELOPMENT & ITERATIONS Technique - Subdivision Explorations: - pattern - different density Rigid vs Explosive
Cloud
C.2.0 TECTONIC ELEMNT & PROTOTYPES FINAL FORM
-
Act as a light amplifier A relatively private space in the open environment Cavity inside for users to explore Realize things that people do not normally notice light and wind changes
C.2.0 TECTONIC ELEMNT & PROTOTYPES PRESENTATION MODEL
C.2.0 TECTONIC ELEMNT & PROTOTYPES PRESENTATION MODEL
subdivision skeleton
dense sound component
C.2.0 TECTONIC ELEMNT & PROTOTYPES CONSTRUCTION METHOD/ TEMPLATE Model is splited into different layers Each layer will be constructed seperately . Layers will then be stacked together
acrylics joint
sets of modular straws
C.2.0 TECTONIC ELEMNT & PROTOTYPES REFINEMENT
Feedback and questios from crits: - if the structure is strong enough to withstand the wind on site develop o finding the most effective length of straws - Sound elements weakens the project - Emphasize more on the light reflection side of the installation - How does the installatio tie on the bridge - How is the model constructed using digital tools
Refinement Direction: - Make the structure stronger - Unify the structure - Develope how light reacts to the installation
Problem 1: Structure buckles
Problem 2: Structure loosen Solution: Put holes on joints to fix straws to joints
Solution: Shorten the longer modules, use flat joint to connect modulesat their effective length into longer modules.
C.3 FINAL DETAIL MODEL
C.3 FINAL DETAIL MODEL
C.3 FINAL DETAIL MODEL
I am walking my shadow
C.3 FINAL DETAIL MODEL
C.4 LEARNING OUTCOMES
At the start of this semester, we talked about how we use parametric algorithm as generative tool to assist design, not simply a modeling tool. Through my design process in part b and c, most of the time I feel like this parametric tool is not assisting me, but controlling me. I realized that I dont have enough knowledge about parametric tools to be able to know what technique I could use in which circumstances. Comprehensive knowledge is the start, and foundation of basically everything. In part c, Steph, Brian and I worked together in a team. Even though the installation we have resolved has a simple structural system, we have encountered many problems along the way. As a designer, I need to think ahead, not only concept wise, but also foreseeing issues and flaws coming up in the construction process. There were really only 4 weeks for us to work on the final design, but it definitely felt longer than 4 weeks. Thanks to Steph, and Brian. And of course thank you, Chen!
C.5 REFERENCES
Part A [1] Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 [2] Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 [3] Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 [4] Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 [5] Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and associates, pp 1 - 42 [6] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 [7] Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999). The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 [8] Michael Meredith, From Control to Design (london: ACTAR A, 2005), p. 23-27. [9] Blaine Brownell, Material Strategies (USA: Architectur Briefs, 2000), p. 6. [10] TED, Michael Hansmeyer: Building unimaginable Shapes () <http://www.e-architect.co.uk/switzerland/rolex-learning-center-building> [accessed 10 August 2015]. [11] Design bloom, Taichung Opera House () <http://www.designboom.com/architecture/toyo-ito-taichung-metropolitan-opera/> [accessed 12 August 2015]. [12] TED, Tomas Saraceno () < https://www.youtube.com/watch?v=G-ibizwNxn8> [accessed 5 August 2015]. Part A cover photo: screenshot from movie A Zed & Two Noughts
Part B [1] Co-de- IT, Loop_3, accessed 5/10/15 http://www.co-de-it.com/wordpress/loop_3.html [2] Adolf Loos, Ornament and crime, 1908, accessed 10/10/15 http://www2.gwu.edu/~art/Temporary_SL/177/pdfs/Loos.pdf [3] Louis Sullivan, Ornament in Architecture, accessed 15/10/15 http://www.academia.edu/4695761/_1892_Ornament_in_Architecture_by_Louis_Sullivan [4] Roland Snooks, Composite Swarm, accessed 17/10/15 http://www.kokkugia.com/Composite-Swarm [5] Alisa Andrasek, Biothing Mesonic Emission/ Seroussi Pavilion Paris 2007-2009. accessed 16/10/15 http://www.tba21.org/collection/artist/695/artwork/657 [6] Regina Frank, Sculpting Urban Airspace: Janet Encelman, accessed 16/10/15 http://www.sculpture.org/documents/scmag11/sept_11/fullfeature.shtml [7] Janet Enchelman, Her Secret is Patience, Phonix, AZ, 2009, accessed 15/10/15, http://www.echelman.com/project/her-secret-is-patience/ Part B cover photo: Maya fuhr Photography Part C [1] Darebin Heritage, Heidelberg Road, http://heritage.darebinlibraries.vic.gov.au/article/566