S T U D I O A I R Melissa Tokkuzun
PA R T A CO N C E P T U A L I Z AT I O N
Contents 4-5
IA0 NTRODUCTION
6-9
A1 DESIGN FUTURING
10 - 13
A2 DESIGN COMPUTATION
14 - 17
A3 COMPOSITION / GENERATION
18
A4 CONCLUSION
19
A5 LEARNING OUTCOMES
20 - 21
A6 APPENDIX - ALGORITHMIC SKETCHES
22 -23
REFERNCE LIST - IMAGE LIST
A0 INTRODUCTION
About Me My name is Melissa and I am a third year student at the University of Melbourne. I am currently studying the Bachelor of Environments degree, majoring in Architecture. I enjoy spending time with my family and friends and believe that these moments I share with my loved ones make life worth it. I enjoy swimming and playing the flute and I hope to travel as many places as I can, to experience the diverse cultures the world has to offer. I was always confused as to what I wanted to study; however, I always knew it was related to construction or architecture. The Bachelor of Environments provided me with the chance to explore both fields in first year, before selecting my major. I undertook various construction subjects along with studio subjects and developed a greater interest in this field. I always viewed both industries as a separate unit. Although, my lecturer in first year said, “there is no architecture industry, there is a building industry�. I questioned this idea and I now see how these two professions compliment one another and must be considered simultaneously rather than two separate entities.
1
4
My existing knowledge in digital architecture in relation to computational design and modelling is limited. I am excited to experience this subject to take part in learning practices that go through computational iterations of design. This is a new way of thinking and I am looking forward to experiencing an area that will broaden my skill and knowledge in design.
About Me Over the pass few years I feel that I enjoy designing spaces with functionality as the underlying purpose. Design has the power to control the mood and alter the experience one goes through in a given space. Understanding how people interact in spaces and designing areas that work well is important. Working with a brief and resolving designs, is in fact a stimulating process. During my time at university, I have been required to develop a range of skills in a short period of time, which has been particularly challenging. I have developed some skills in software’s, such as AutoCAD, Google Sketch Up and a few programs in the Adobe Suite. Although, I have never used Rhino or Grasshopper and frankly this makes me nervous about Studio Air. I am yet to perfect my computer aided skills and am looking forward to learning a new set of skills and design.
2
3
5
A 1 D E S I G N F U T U R I N G
6
Our current architectural practice is shifting towards a futuring concept. It is a concept, which aims to increase time for human existence by negating systems, and actions that take this time away. A formal approach to this can be through understanding what is required to head towards a futuring design practice. Sustainability plays a large role in this component of design as it has the ability to improve environmental conditions through improved designs. The natural world ‘cannot sustain us’ as we have become ‘too dependent on this artificial world’ [1] . To overcome this issue, it can be argued that the way we design should shift towards a future where the traditional approaches to design are re-focused on become an agency of sustainability. This can be achieved and has been undertaken by many designers through the process of integrating human systems with natural systems so both entities work as a unified whole. In doing this, architectural design should redirect its knowledge towards an area that will assist in designing a more efficient future.
7
OLYMPIC SCULPTURE PARK WEISS / MANFREDI
of the city, and using the continuous Z-shaped landscape with tilted planes to create a new urban edge, which offers an area for future users and practices. This design responds well to its context and successfully integrates several functionalities in a unified manner.
The Olympic Sculpture Park, located in Seattle was a winner of an international design competition, and is a principal form in Seattle’s urban setting. The design was proposed as a new ideal for an urban environment, located on an industrial site at the water’s edge. The design creates a continuous constructed landscape, forming a Z-shaped “green” platform that connects the urban environment with the natural system of the waterfront [2] .
Whether you have an industrial space or a residential site, there are several ways to use existing lands. This particular project restores the land with a public resource that flawlessly mergers the built environment with the well maintained natural world. It demonstrates the mutual respect and complimentary nature of both the urban and natural world, creating psychological nourishment in the form of art and natural views [6]. Manfredi believed that this project can take the form of ‘recovering the illness’ [7], as envisioned design can work towards understanding the broader context of design.
The collaboration of the built and natural environment is one that is incorporated in many design concepts, and is an aspect of design that is changing the way design integrates human and natural system. This particular project successfully demonstrates the relationship between both of these worlds. Sustainable landforms are designed with relations between art and the city, the city and nature, and organic and inorganic forms [3]. This theme allows the design to develop its form from its surrounding landscape fabric, creating a subtle yet empowering landscape. Tony Fry says, ‘forget design as a territory and practice that can be laid claim to … and start talking to other people, other disciplines; broaden your gaze’ [4] . This is evident in this design, as several industry leaders have joined to ‘suggest a more materially grounded objective and agency’ [5].
Throughout the park, landforms and plantings collaborate to direct, collect, and cleanse storm water as it moves through the site before being discharged into Elliott Bay. As a ‘landscape for art’, the park defines a new experience for modern art outside the museum. The deliberate unrestricted layout, invites new understandings of art and environmental engagement, reconnecting the ruptured relationships of art, landscape, and urban life.
It transforms the city scope by capturing the energy
4
8
5
6
THE WATER CUBE PTW ARCHITECTS
The winning design of an international competition, the Water Cube, is a well-resolved project developed by PWT Architects, with the assistance of China State Construction Design (CCDI), CSCEC and ARUP [8]. The structure was founded using lightweight construction and derived from the arrangement of bubbles in the state of aggregation found in foam. The use of technology and materials create a remarkable, energy-efficient, and ecologically friendly building. Theoretically, the overall box like form are cut out of an unconstrained cluster of foam bubbles, which denotes a condition of nature that is altered into a condition of culture.
tive’ and ‘dream new dreams’ [12]. Based on the unique geometry of bubbles, the repetition of shape is set out in an organic and random manner. The building is a simple regular form, with very complex geometry in the façade, which is visually appealing. It can be viewed as an imaginative thinking process and can be the means of developing and influencing a journey into the possible future of design thinking. 7
This thinking process evidently highlights the idea of speculative design as the designers of the Water Cube ‘redefine our relationship with reality’ [9]. Desires and dreams are redirected towards a more speculative and critical design practice that focuses on a sustainable design future. The highly sustainable arrangement uses translucent ETFE (ethyl tetra fluoro ethylene), which is a strong, recyclable material, weighing only one percent of an equivalent sized glass panel [10]. The bubble cladding allows more natural light to travel through the façade compared to glass, with improved insulation capability that is more resistant to the weathering. It was aimed to act as a greenhouse, allowing natural daylight into the building, making use of the sun to passively heat the structure and pool water [11]. Anthony Dunne says that, ‘one is to design as a means of speculating how things could be specula-
8
9
A 2 D E S I G N CO M P U TAT I O N
Design computation has formed a new approach to thinking about the design practice. It allows for a variety of new design ideas and solutions, which can assist, designer to produce unique work, by computing algorithmic codes. This approach is discussed as an aspect of architecture that forces design to become a way of thinking about architectural generation with the use of algorithmic coding [13]. Parametric modelling has allowed for this new design system as technology provides designers with the opportunity to integrate software’s into the design process. This style of thinking about architecture enforces designers to think about materially and therefore constructability of the structure. Understating materiality is a component of this paradigm between architecture and construction. This new form of practicing architecture forces us to question what the future of architecture will be. This has developed a new world of forming well resolved and complex forms, and is yet to provide enhanced designs in the years to come.
11
SHEZHAN BAO’AN INTERNATIONAL AIRPORT MASSIMILIANO FUKSAS / KNIPPERS HELBIG
Computation is a driving energy across many disciplines and the benefits of computer systems have made computer programming relevant to a wide range of professions, including the field of design [14]. It offers a scope of diverse ideas and new techniques to solve problems.
9
10 11
The Shezhan Bao’an airport design was an outcome of an international competition in 2008. Massimiliano Fuksas and Knippers Helbig, developed a honey-comb like terminal structure, allowing natural light to seep through the 25,000 openings across the double-skin facade, which is supported by a system of slender [15]. The first stage of design development used clay models by Fuksas, which was then implemented in Rhino 3D [16]. Following on, Helbig commenced the discretization of the surfaces with the use of parametric software tools. The openings and directions of the glass were proportionate to each other as were the daylight and energy input. Developing the geometric design required the structural arrangement of the steel composition along with the coordinates of all facade components. The use of computational programs allowed for easier iterative optimization of the façade design in a shorter period of time [17]. This evidently highlights the advantages of engaging in computational design practices, as the total time of the traditional design process can be greatly reduced, improving time efficiency. This parametric design is a ‘new form of logic of digital thinking’ [18]. Rather than producing specific design representations, the designer uses a set of r`ules that define a system capable of producing many outcomes. Computerization enriches our ability to challenge organic forms and the future of design and construction is the improved ability to construct buildings, which employ challenging geometries and forms.
12
EXPANDABLE SURFACE PAVILLION PABLO ESTEBAN ZAMORANO / NACHO MARTI / JACOB BEK
Material-based design computation is established and anticipated as a form of computational strategies accompanying the collaboration of form, material and structure. This is achieved by integrating physical form-finding strategies with digital analysis and fabrication. Integrating materiality and technology within the driving force of computer and architecture, digital variety is further developed. In the world of computational design, materiality defines shape. This approach to design conveys that materiality effects structural and overall form. This can be seen across many research based material computation designs and built forms, which envision a new way of thinking about architecture and its form [19]. Architects Pablo Zamorano and Jacob Bek, and designer Nacho Marti coordinated a research project, demonstrating a new experiment in testing the limitations of an efficient, and sustainable construction method of a natural sheet of material. The design took the form of an exhibition and meeting room pavilion, whilst examining the multifaceted geometries created by simple patterns cut into a material sheet.
like Rhino, Grasshopper and VB Script were collaboratively used to produce a 16m2 design proposal [20]. To understand the built structure of this project, the team explored structural and geometric digital analysis to understand and anticipate the reaction between the material and pattern, finding ways to digitally control material properties. This process was then studied and revised by findings resulted from structural analysis. Nerri Oxman states, ‘material is not considered as a subordinate attribute of form, but rather as its progenitor’ [21]. Thus, understanding the material properties resulted in a successful research project. Design computation is related to designing for material efficiently, reduced construction waste, and low energy means of fabrication, transportation and assembly. In rethinking contemporary modes of construction, this proposal aims to achieve zero material waste. Less than two percent waste is produced during fabrication. The logical and geometric design is implanted in the material directly, without an additional support system.
One of the largest inefficiencies in building systems is the lack of integration between building elements. The Expandable Surface System looks to integrate all elements into one – structure, facade and shading while developing a sustainable mode of fabrication. Software’s
This project can cess of design vilion questions a unified and
12
13
be viewed an innovative proand construction, as the pamodern practices focus on sustainable building process.
13
A 3 CO M P O S I T I O N / G E N E R AT I O N
14
With the development of technology there has been a shift from composition to generation in the regime of architectural practice and literature. Computerization can be referred to a ‘drafting board … to increase the precision of drawings’ while computation refers to the ‘ability to deal with highly complex situations’ [22]. Peters further distinguishes these two components, as does Kostas Terzidis. Personally, I would support this mentality; though I would defend it by stating that computerization forms the basis of this new computational design practice. The necessity of understanding drawings and computers should assist in the era of computation as a process of information communicated through the use of a tool, which is then expressed as an algorithm. Even though it may appear that design has shifted towards algorithmic thinking, understanding this idea of computerization can potentially assist designers enhance their ability to comprehend this new approach. It is fair to state that computation does in fact allow designers to explore new ideas and solve more complex designs, and is evident in many buildings across the world. Algorithms form part of computational designs as it acts as ‘a set of rules or operations’, which define a structure and allows a new thinking process; algorithmic thinking [23]. This thinking process can be defined as ‘a means of taking on a interpretive role to understand the results of generating code, knowing how to modify the code to explore new options, and speculations on further design potentials’ [24]. The algorithmic thinking has allowed for conceptual changes, as it provides designers with the ability to explore simple geometries to form complex structures. Computing and coding has assisted and continues to assist many architects in using computations and parametric modelling to enhance building performance. Given that design futuring is a concept of importance for the sustainability of our world, this element allows for the experimentation of building performance to improve efficiency.
15
THE SAHMRI WOODS BAGOT
The computational process is redefining the structure of architectural practice as it moves towards a more generative process. With the assistance of software modelling programs, architecture is introducing the idea of algorithmic thinking. The South Australian Health and Medical Research Institute (SAHMRI) uses triangulated and textured façade, which represent the collaboration of art, science and innovation. The façade is made of 15,000 triangulated steel frames, which are arranged in a diagonal grid format. Environmental consideration has been thought, using the basic of passive design ideas to control direct daylight. The overall design aims to maximise the natural lighting whilst reducing the glare and energy use with the triangulated system of sunshades [25]. The triangular panels, made of glass, steel mesh and aluminum, are connected at metal points that form an architecturally appealing facade design that integrates the angle of sun exposure. This project was designed to deal with the environment
and to achieve such a successful outcome, parametric modeling process was employed with the aid of rhino and grasshopper to form a point of stability between architectural form and function. This use of software’s assisted the design process as more accurate and algorithmic thinking was employed. To begin with, around 300 variation of this triangulated shape was formed across the whole faced. However, parametric modeling assisted in reducing this to only 20 variations [26], leading to a more efficient assembly. This evidently highlights the benefits of interacting with software’s, which require algorithmic thinking to move towards this generative approach to architectural literature. The use of parametric modeling assisted in testing various layouts before production, to ensure that the system of triangular panels work effectively to achieve an energy and environmental design. The outcome was successful and the design received a gold LEED (Leadership inn Energy and Environmental design) rating [27].
15
14
16
KHAN SHATYR ENTERTAINMENT CENTRE FOSTER AND PARTNERS
One of the worlds tallest tensile structure were produced by Foster and Partners with an envelope of 3 layers, offering shelter to the extreme climates of Kazakhastan [28]. This location is a civic, cultural and social venue where a variety of activities take place across the year. The sheltered design is formed using a generative design approach with the aim to provide a comfortable atmosphere for users. The tent like structure is derived with the use of parametric designing tools to generate several forms. The computer-generated designs where tested against a written computer program to mimic the structural forces, leading to the use of a cable structure with an ETFE (ethylene tetrafluoroethylene) dome. Peters discusses this new era of algorithmic thinking as architects shift away from using software’s ‘to one where they create software’s’ [29] and is obvious in the design process as computer programs were ‘written’ to assist the overall structure. The computational works of this project were a form of algorithmic thought and modelling. Several complex forms were created and tested with the use of prototyping machinery as a design tool. This idea that ‘computational designers…generate and explore architectural spaces and concepts’ [30] is evident in this particular project as 3D models are formed along with the creation of design tools to assist in the design process [31]. This prototyping step allowed for designers to further enhance their understanding parameters of the architectural design. This process implements the computational component of the architectural practice into the whole design process allowing for improved integration and collaboration of the project.
16
17
17
A3 C ONCLUSION
We live in a dynamic world with changes occurring in our technological, social and cultural systems. Architecture is part of this changing world, which affects our future more than people realise. It is a discipline, which has the ability to ‘construct’ or ‘deconstruct’ our future. As our world is changing, it too must adapt to this shift towards design futuring. For this shift to occur, education should be constructed in a way to implement this thinking process as part of a new way of living and thinking. Design practices and design thinking should move towards a futuritive approach, which encounters with the many possibilities of computational design. The world of computerization is one that is changing and it must not be seen purely as a components of design but rather a tool that designers can use as part of this new approach to design to explore new ideas. My intended design approach is to link the natural and human systems together to ensure that the design fits within its context. By using algorithmic thinking practices, I am hoping to find a system, which will benefit all users of the site and contribute to this idea of designing for a sustainable future. Designs have a tendency of focusing purely on appearance
18
and disregard such a vital components in today society; that is sustainability. In terms of architecture and construction, there should be an interdisciplinary thinking approach that will enhance efficiency of the whole design process as each of the components of design work together. Embodied energy can be an element to consider in terms of reducing the amount of energy required to build a given design, and further contribute to this idea of design futuring. Algorithmic thinking and computational design in essence can assist with this idea as materiality should be considered and assist designers to compute competent designs. I personally like this new thinking approach to the architectural practice in term of designing for a sustainable future. Design futuring, design computation and generation/composition are linked in one-way or another. They all form part of this new practise as parametric modelling and algorithmic thinking can assist in producing computational designs with complex geometries that allow designers in exploring new paradigms and design options that will form an interconnectedness with nature.
A4 LEARNING OUTCOMES
Before beginning tutorials, I was unsure about what to expect, and somewhat nervous from the workload. The workload is definitely much more than I expected, however, in terms of content, I enjoyed learning about the different topics covered in Part A. I never thought about this idea of design futuring or computation. I knew of these ideas but didn’t look deep into the theory. Studying these ideas has broadened my perspective of what architecture should be and what is shouldn’t. The main aspect I enjoyed was the idea presented by Tony Fry about design futuring. Like Fry, I agree that we must further integrate sustainability into our course structure, as it is an issue that is affecting our future, and it is in our power to control the way in which we design. We must all understand that “nature alone is not enough to sustain us” [32] and look at ways to sustain our future.
ability to shift my design practice and style in ways that will contribute to design futuring. I feel that parametric modelling acts as a tool for designers to explore numerous design options and assist in the transition of traditional design to generative design practices to achieve more sophisticated outcomes. Throughout Part A, I have already learnt a lot about computing and algorithmic designs, and in terms of my past work, I think by understating how rhino and grasshopper works, I would have had the chance to explore various forms, resolve my designs more proficiently and experiment with design solutions that will increase design efficiency.
Learning about architectural computing was and still is a challenge for me. I have never been exposed to algorithmic design practices and I am currently in the process of learning both rhino and grasshopper whilst producing my work. However, I don’t see it as a burden as such, but rather a process of developing my skills in computations to enhance my
19
A5 APPENDIX ALGORITHMIC SKETCHES
This algorithmic sketch was a basic, yet frustrating process to go through. This outcome was achieved with the use of components such as Pop3D, Voronoi3D and offsetting. I encountered many struggles, as the offsetting values would not read the commands. This outcome, reminds me of The Water Cube design produced by PTW architects. This tool can be a process used to explore different ideas and shapes. By adjusting the number slider of the Pop3D component, this should be able to increase the repetitive shapes.
This rigid form was produced through the triangulation component of grasshopper, which was then edited in rhino. It is a similar process as the algorithmic sketch above. However, this was an easier way to produce abstract looking forms. By taking part of this algorithmic exercise, I began to gain an undersigning of how designers actually produce complex forms. Whilst deconstructing the overall form, it was easier to see the relation between some buildings.
20
Complex forms are easily created with the use of computer software’s. This was produced through the exploration of grid shells with the use of the geodesic and shift list command to alter line directions. It is hard to make out what it is, however, with further algorithmic thinking and exploration; a clear design can be reached. Grid shell designs are becoming a well-explored design field and by taking part of this exercise, I can begin to understand the thinking process.
21
REFERENCE LIST
[1] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16. [2] Weiss and Manfredi, Seattle Art Museum: Olympic Sculpture Park (2014) < http://www.weissmanfredi.com/project/seattle-art-museum-olympic-sculpture-park> [accessed 10 March 2015]. [3] Huber, Nicole, ‘Olympic Culpture Park’, Places, 20.3, (2008), pp.6 – 11. [4] [5] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16. [6] Levit, Julia, ‘Seattle to the Wrold: Olympic Sculpture Park’, World Chanigng Seattle, (2008), in < http://www.worldchanging.com/ local/seattle/archives/008741.html> [accessed 10 March 2015]. [7] Huber, Nicole, ‘Olympic Culpture Park’, Places, 20.3, (2008), pp.6 – 11. [8] Arc Space, Water Cube: PTW (2013) <http://www.arcspace.com/features/ptw/watercube/> [accessed 10 March 2015]. [9] Duner, Anthony and Raby, Fiona, Speculative Everything: Design, Fiction, and Social Dreaming (The MIT Press, 2013), pp. 1 - 45. [10] [11] McManus, David, Water Cube Beijing (2015) <http://www.e-architect.co.uk/beijing/watercube-beijing> [accessed 10 March 2015]. [12] Duner, Anthony and Raby, Fiona, Speculative Everything: Design, Fiction, and Social Dreaming (The MIT Press, 2013), pp. 1 45. [13] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8. [14] Jacobs, Jennifer, Algorithmic Craft: the Synthesis of Computational Design, Design Fabrication, and Hand Craft (United States: Massachusetts Institute of Technology, 2013), p. 1 - 131. [15] [16] [17] Welch, AJ, Shenzhen Bao’an International Arport (2015) <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 12 March 2015]. [18] [19] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8. [20] Singhal, Sumit , Expandable Surface Pavilion in Cologne, Germany by Pablo Esteban Zamorano (2011) <http://www10.aeccafe. com/blogs/arch-showcase/2011/11/29/expandable-surface-pavilion-in-cologne-germany-by-pablo-esteban-zamorano/> [accessed 14 March 2015]. [21] Oxman, Rivka and Oxman, Robert, Theories of the Digital in Architecture (London: New York Routledge, 2014), p. 1 - 8. [22] [23] [24] Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 0815 [25] [26] [27] Keller, Candice, ‘15,000 Pieces to the SAHMRI Puzzle’, Architecture and Design, (2015), in <http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-the-puzzle-that-makes-s> [accessed 16 March 2015]. [28] DeZeen, The Khan Shatyr Entertainment Centre (2010) <http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment[29] [30] [31] Peters, Brady, The Khan Shatyr Entertainment Centre <http://www.bradypeters.com/khan-shatyr-centre.html> [accessed 17 March 2015]. [32] Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (USA: Oxford Berg, 2009), p. pp. 1 -16.
22
IMAGES LIST
1 Personal Photograph - Self Image
2 Personal Photograph - From Studio Water in 2013 3 Personal Photograph - From Studio Water in 2013 4 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015] 5 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015] 6 Wiess/Manfredi, ‘Olympic Sculpture Park’, <http://www.weissmanfredi.com> [accessed 18 March 2015] 7 Shou Ruogu Architects Photograph, ‘The Water Cube’, <http://www.e-architect.co.uk/beijing/watercube-beijing> [accessed 18 March 2015] 8 PTW Photographs, ‘The Water Cube’, <http://www.e-architect.co.uk/beijing/watercube-beijing > [accessed 18 March 2015] 9 Knippers Helbig, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015] 10 F. Colarossi, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015] 11 F. Colarossi, ‘Shezhan Bao’an International Airport’, <http://www.e-architect.co.uk/hong-kong/shenzhen-airport> [accessed 18 March 2015] 12 Courtesy of Pablo Exteban Samorano, ‘Expandable Surface Pavilion’ <http://www.archdaily.com/186069/expandable-surface-pavilion-pablo-esteban-zamorano/> [accessed 18 March 2015] 13 Courtesy of Pablo Exteban Samorano, ‘Expandable Surface Pavilion’ <http://www.archdaily.com/186069/expandable-surface-pavilion-pablo-esteban-zamorano/> [accessed 18 March 2015] 14 Candice Keller, ‘The Sahmri’, < http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-thepuzzle-that-makes-s> [accessed 18 March 2015] 15 Candice Keller, ‘The Sahmri’, < http://www.architectureanddesign.com.au/news/there-are-15-000-pieces-to-thepuzzle-that-makes-s> [accessed 18 March 2015] 16 DeZeen, ‘The Khan Satyr Entertainment Centre’,<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-foster-partners/> [accessed 18 March 2015] 17 DeZeen, ‘The Khan Satyr Entertainment Centre’,<http://www.dezeen.com/2010/07/06/the-khan-shatyr-entertainment-centre-by-foster-partners/> [accessed 18 March 2015]
23