STUDIO AIR 2017, SEMESTER 1 TUTOR: MANUEL MUEHLBAUER NOUR EL-LEISSY
PART A
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Table of Contents A.0. INTRODUCTION A.1. DESIGN FUTURING A.2. DESIGN COMPUTATION A.3. COMPOSITION/ GENERATION A.4. CONCLUSION A.5. LEARNING OUTCOMES A.6. ALGORITHMIC SKETCHES
A.0. INTRODUCTION Hi, i’m Nour. Born and raised in Melbourne, i am a 20 year old third year architecture student at the University of Melbourne. From a young age, before knowing architecture was a career path i knew i wanted to design spaces for people. I fell in love with the idea of being able to translate thoughts into a tangible reality. I was mostly fascinated by the way different spaces made you feel a different way. As a result i developed an interest in the psychological aspects of design and the techniques used to impact our feelings in different ways. I knew i wanted to devote my life to finding new ways to create different spaces. To me, computation is about finding new techniques to help us create spaces we never knew could be created. Despite my limmited experience with programs such as rhino and grasshopper i truly believe that not only do they provide unique and efficent ways of designing but alow us to create spaces we never knew were possible, opening the door to further research and providing constant growth in the field. I see digital design as a tool for effient growth much needed in a world rapidly devloping in its technology
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A.1. DESIGN FUT
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TURING As Fry in ‘Design futring’ discusses for many years we have designed for our human selfishness, treating the planet as an infinite source of materials. We are now in a stage where we are reconsidering the way we design and the way we use sacred materials. Unlike previous times where we were designing for a fanatical future, we are currently designing ‘anthropocentrically’ meaning we are designing for our existence 1. Fry does not argue against designing for a fanatical future but rather suggests we find sustainable ways of designing so that these structures can be constructed and demolished without having a damaging impact on our environment. As discussed above today’s dreams have been replaced with the fear of not becoming extinct. We find only recently the notion of designing to ‘not become extinct’ has been associated with innovative designs rather than existing as an efficient design. Design futuring allows us to design in more efficient ways not only in the way we use materials but in the way we design efficient spaces which serve multiple purposes. We find ourself creating innovative spaces which we did not think they could function together. These projects help us to hold on to our fanatical future without having to fear for our extinction.
1 Fry, Tony (2008). Design Futuring: Stainability, Ethics and New Practice, pp. 1–16 CONCEPTUALISATION 7
A.1. CASE STUDY 1 PROJECT: GARDENS BY THE BAY
Inspired by the Eden project in Cornwall, Grants associates Garden by the Bay contributes to design futuring by highlighting the possibility of transportable ecosystems. This created opportunities for new ways of thinking in terms of designing for sustainability through environmental management. The structure demosntrates the idea of transportable ecosystems through its environments for tropical flora that would normally perish in Singapore’s heat1 .
1 Gardens by the bay, ‘sustainability efforts’ <http://www.gardensbythebay.com.sg/en/ the-gardens/sustainability-efforts.html> FIGURE ONE: GARDENS BY THE BAY SUPER-TREES
The phyical structure itself consists of two dome conservatories which run off sustainable ‘super trees’. The domes replicate cool dry and cool moist conditions (uncommon to Singapore) needed for Mediterranean tropical plants to grow.
These domes are powered by super-trees which mimic the ecological function of trees through advanced technologies, acts as vertical gardens while also serving as shading and rain water collectors1. The trees are also embedded with sustainable energy and water technologies integral to the cooling of the cooled conservatories’ 2.
1 Wilder utopia, ‘Gardens by the bay’ <http://www.wilderutopia.com/sustainability/land/singaporegardens-by-the-bay-sprout-supertrees-and-horticultural-conservatories/> 2 Arch daily, ‘Gardens by the bay Grants associates’ <http://www.archdaily.com/254471/gardens-bythe-bay-grant-associates>
The project is revolutionary as it defies the idea that such a space would require large amounts of energy to function in an era where resources are limited. As a result it is a working example of sustainability in action.
FIGURE TWO: SUPER-TREES AND DOMES WORKING ECOCYCLE DIAGRAM
Its super-trees and closed domes instigate the ways an ecosystem can function as a self-sufficient ecosystem without having a damaging effect on its surrounding ecosystem The project provides a precedent for future possibilities in terms of how selfsufficient sustainable ecosystems can be incorporated with architectural design. This can be developed further into a new style of architecture which works with and gives back to the environment rather than trying to occupy it.
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With the super-trees itself standing as a work of design, it can be used as a prototype for further designs through using/ developing the basic principles of the super trees. This could then be expanded so that it works on larger scales or developed so that it fully functions on smaller local scales such as inner city parks etc. The project inspires people to imagine a future where environments are self-sufficient. In a city filled with man- made high rise structures, these domes fulfil the human need to be around nature through a space efficient and sustainable manner. As a result, this project functions as a recreational space, an architectural structure and a living ecosystem.
FIGURE THREE: WATERFALL INTEGRATED INTO DOMES
FIGURE FIVE: EXAMPLE VEGETATION AND ARCHITECTURE WORKING TOGETHER
FIGURE FOUR: EXAMPLE OF RAINFOREST VEGETATION
FIGURE SIX: DIFFERENT VEGETATION MADE POSSIBLE DUE TO DIFFERENT CLIMATES
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A.1. CASE STUDY 2
FIGURE SEVEN: BUILDING/ PARK BIDS EYE VIEW 12
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PROJECT: THE ISLAND CITY CENTRAL PARK ARCHITECT: TOYO ITO
Similarly to Gardens by the Bay, the man made island city central park also attempts to imitate and work with nature. The environmentallyfriendly green park creates a link between two different structures with it being described as ‘a park like a building, as well as a building like a park.’1 This connection is done criss-cross of people, light and air through a series of curves 2. The line between ground and roof is erased, it also erases with it any formality associated with boundaries, allowing people to use the space freely as they like. Through a series of walkways people are lead above, over and underneath the shells creating a new sense of user experience.
1 Open buildings, ‘Island City Central Park GRIN GRIN’ <http://openbuildings.com/buildings/island-city-central-park-grin-grin-profile-2817> 2 Open buildings, ‘Island City Central Park GRIN GRIN’ <http://openbuildings.com/buildings/island-city-central-park-grin-grin-profile-2817> CONCEPTUALISATION 13
FIGURE EIGHT: JOINING OF ROOF AND GROUND LINES
FIGURE NINE: JOINED CURVED PATHWAYS
Structurally the building is composed of three shell like structures, the choice in shape comes from its attempt to merge into the surrounding topographic landscape. Through the use of computer stimulation the bending stress and structural aspects can be tested prior to building. Computer stimulation allows for the repetition of this process until a structural and aesthetically pleasing design is reached.
Environmentally the shell like structures protect the fauna from the summer sun, automatically controlled skylights aid in ventilation. During the winter months the skylights allow for the entry of sun to achieve the tropical temperature required for the fauna.
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The island city central park creates a ‘recreational and natural space in the midst of an economic hub’1. It successfully imitates nature despite it being man made. The structure provides an insight to the ways ‘man can sculpt out of nature’2. Outlining the potential future where man made buildings and nature can function as one.
1 Architecture revieved, ‘Grin Grin Park, Island City Fukuoka Japan’ <architecturerevived.com/grin-grinpark-island-city-fukuoka-japan> 2 Architecture revieved, ‘Grin Grin Park, Island City Fukuoka Japan’ <architecturerevived.com/grin-grinpark-island-city-fukuoka-japan>
FIGURE TEN: BUILDINGS COURTYARD FUNCTIONING AS A PLANT HOUSE
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A.2. DESIGN COMPU
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UTATION Design as described by kalay, is a process we go about with when our current situation is different from the desired situation and the actions needed to make this transformation are not obvious1. This is where design computation comes into the picture. Following a similar ideology of the renaissance ‘where buildings were constructed and not planned’2 computation looks to take the actions needed to make that transformation and produces a wide variety of design outcomes which fit both the aesthetic brief and the structural brief. One of the benefits of design computation is its emphasis performance thinking in architecture. This raises the connection of architecture and constructution , allowing for a devlopment of construction methods results in the development of more innovative materials which can be used to make innovative computation designs possibile. Despite its creative nature this way of designing is not seen as a rational process. Rather it is a way of designing through finding solutions that conform to the required specification in a mechanical matter3. This is where the controversy of design computation lies. Many designers of time debate that computation takes away from the designs artistic and unique touch, seeing computational designs as meaningful structures. Despite how innovation they may be these structures lack a sense ‘artisticness’, however recently many projects have been built through computation which provide this ‘artistic’ element and hold symbolic meaning proving computation and classic design can work together to provide an efficient way of designing. This design is seen as innovative, efficient yet still holds symbolism.
1 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture, pp. 1–10 pdf 2 Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture, pp. 1–10 pdf 3 Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design CONCEPTUALISATION 17
A.2. CASE STUDY 1 PROJECT: RESEARCH PAVILLION 2010 ARCHITECTS: INSTITUTE FOR COMPUTIONAL DESIGN AND THE INTSTITUTE OF BUILDING STRUCTURES AND STRUCTURAL DESIGN
The research pavillion created in colaboration of ICD/ITKE is part of a yearly project to which ICD/ITKE put together a pavilion in an attempt to find new ways of designing through new design methods. The pavillion design process explores ‘material computational design, simulation, and production processes in architecture.’1
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Computation design a technique that is becoming more popular year by year. It has created inovative design possibilties which defy the traditional ways of designing. The flexiblity of compuration designs helps designers acheive better goals while designing as the goals are constantly changing opening doors for better designs. However, as this popular method of design is rising there is also a need for development in materials and how these materials can be developed to suit these inovative designs.
The research pavillion 2010 demonstrates this posibility of exploring material performance through computation in order to generate forms. A computational design model is first crated which explores the material behaviour/ features in parametric principles. As a reult a structure was created which consists of a ‘bending- active’ structure which is made of thin elastic plywood strips1. The design is directly driven by physical behaviour and material charecterists.
1 Arch2o, ‘Icditke research pavilion (2010) <http-//www.arch2o.com/icditke-research-pavilion-2010/arch2o-icd-itke-research-pavilion-2010-16> CONCEPTUALISATION 19 FIGURE ELEVEN: TEMPORARY PAVILLION IN FINISHED FORM
The innovation of the design is in the design process. Unlike most design processes this light weights structures design process began by the testing of the materials bending properties. This was then put into a program which found the ‘numeric simulation of the structural frame’1. The morphological differentiation of the joints was then also calculated through computation. As a result of the mathematical computer stimulation of joints and bending capabilities, it was possible to produce a material efficient ‘extremely light yet stiff structure’2. Due to its adjustable pre-calculated bends and joints the structure has an option of construction methods. In this case both design machines and people where used to work together in order to construct the design. This is an example of the ways in which computation can develop construction methods.
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FIGURE TWELVE: PAVILION AS VIEWED INTERNALLY
1 Simonschleicher, ’Teaching University of Stuttgart’, (2010) <simonschleicher.wordpress.com/category/ teaching-university-of-stuttgart/page/3> 2 Simonschleicher, ’Teaching University of Stuttgart’, (2010) <simonschleicher.wordpress.com/category/ teaching-university-of-stuttgart/page/3>
FIGURE THIRTEEN: COMPUTATION USED TO TEST MATERIAL BENDING STRENGTH
Despite its success the design process raises the controversial debate of architecture becoming a solely computer based job, and a result architecture would loose its artistic touch. On the other hand, the algorithmic script is a created by designers, therefore we should see computation as a tool to which designers use to improve their design goals. Computation also allows for new architectural and structural possibilities which can be used towards creating innovative sustainable designs.
FIGURE FOURTEEN: ALGORITHIMS IN DESIGN PROCESS
FIGURE FIFTEEN: PYHSICAL MODEL AS BUILT
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A.2. CASE STUDY 2 PROJECT: SOMA ARCHITECTURE ARCHITECTS: SALZBURG TEMPORARY ART PAVILLION
The Salzburg temporary art pavilion is a prime example of the way computation can be used through rule and variation. Similarly to the first case study the design process is unlike conventional design processes. It begins with developing a repetitive form which works as the base element, in this case aluminium sticks. This element is then played around with until ‘a possible range of rules for accumulation and the definition of the targeted architectural effects’.1 The designed pavillion is used as a temporary art pavilion which is used for multiple functions/ events. As a result a flexible structure was needed. The designers opted for a structure consisted of single sticks merged to an irregular mass form, due to the material properties the structure ‘changes its appearance during the day according to different light conditions’2. The beauty of the structure lies in its irregularity, where it creates ‘oscillating spatial effects’. Depending on the viewers distance it allows the viewer to focus on either the single membranes or the mass as a whole.
1Karamba, ‘White noise’ (2016)< http://www.karamba3d.com/projects/white-noise/> 2 Karamba, ‘White noise’ (2016)< http://www.karamba3d.com/projects/white-noise/> 22
CONCEPTUALISATION FIGURE SIXTEEN: INTERIOR OF PAVILION LOOKING OUT TO SURROUNDINGS
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The structure takes a new form of building interpretation. Unlike the conventional architecture where it represents forms and meanings, the repetition of irregular forms allows the reader to come up with their own interpretations. Its pattern calls for our minds to constantly try and take apart the figures thus targeting ‘the creative character of our perception’.1
Despite the ‘limitation’ one may face when using computation to design (in-terms of interior space) the pavilion caters for interior flexibility through the adjustable floor and removable interior membrane 1. On a larger scale the pavilion caters for flexibility as it can be ‘divided into individual segments to adapt to different locations’2. This ensures that the temporary pavilion can be recycled enhancing its sustainability.
The structure consists of a parametric model built in grasshopper to allow for multiple solutions. The tool karmba was used to find a solution that stuck to the aesthetic criteria and was also structurally functioning. As a result the maximum deflection of each individual piece could be calculation ensuring the maximum performance capability was reached, this was done through ‘combination, selection and mutation over many generations’2 . The end product resulted in a structure ‘simultaneously optimized with the help of genetic algorithms’3. The solution was based on a set of algorithmic parameters that calculated the minimum amount of sticks which best held the load bearing capacity.
FIGURE SEVENTEEN: SECTION ONE
FIGURE EIGHTEEN: SECTION TWO
1 Evolo, ‘Repetitive Assemblage In Salzburg’, (2013) <http://www.evolo.us/architecture/repetitive-assemblage-in-salzburg-temporary-art-pavilion-by-soma-architecture/> 2 Design boom, ‘Soma music pavillion’, (2011) <http://www.designboom.com/architecture/soma-musicpavilion-salzburg-biennale-2011/> 3 Design boom, ‘Soma music pavillion’, (2011) <http://www.designboom.com/architecture/soma-musicpavilion-salzburg-biennale-2011/> 24
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FIGURE NINTEEN: PATTERNS GENERATED THROUGH ALGORITHIMS
Design boom, ‘Soma music pavillion’, (2011) <http://www.designboom.com/architecture/soma-music-pavilionsalzburg-biennale-2011/> 2 Design boom, ‘Soma music pavillion’, (2011) <http://www.designboom.com/architecture/soma-music-pavilionsalzburg-biennale-2011/>
CONCEPTUALISATION 25 FIGURE TWENTY: PAVILION AS VIEWED FROM EXTERIOR
A.3. COMPOSITION/ G
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GENERATION Algorithmic architecture is a form of complex systems which produce intriguing projects. Unlike conventional design methods which rely on sketches and precedents etc. computation design is formed from a range of possibilities which is calculated by the imputation of required performance specifications. This is made possible through the articulation of generative logic using computational methods1. The use of algorithms is beneficial as it allows the user to create/ access an algorithmic database which allows for multiple iterations on the design by adjusting the interrelated information. This allows for computation design to be useful and adaptive, allowing algorithms to be recycled. This efficeincy in the design process provides potential to analyse material systems and building environments. This results in a much faster and efficient form of material devleopment. This links back to the ideolgy of aiming to design without having to worry about extention. Design generation allows us to calculate the environmental impact of the building/ structure prior to its constructution, thus becoming a more sustainable way of designing.
1Peters, Brady. (2013) â&#x20AC;&#x2DC;Computation Works: The Building of Algorithmic Thoughtâ&#x20AC;&#x2122;, Architectural Design, 83, 2, pp. 08-15 pdf CONCEPTUALISATION 27
A.3. CASE STUDY 1 PROJECT: LIVING BRIDGE GINZA- TSUKISHIMA ARCHITECTS: GEOFFREY W. KLEIN ARCHITECTS
The living bridge by Klein architects is a prime example of the ways algorithmic generation can be solely used to create architecture. In an attempt to create a literal living bridge in terms of its inhabit-ability, the design takes movement patterns of people and vehicles, puts this through an algorithmic generation to generate the ‘turbulent spatial and programmatic structures’1. The design is created by first identifying movement patterns of vehicles and cars in the area, these were then considered as systems of flow and had their interactions modelled through a vector field. This was then translated by decking agents which creating paths for walking, cycling and vehicles. This was organised by components which created the unique design of the bridge based on the turblene of the field.2
1 Geoffrey w. klein architecture, ‘Living bridge’ <http://cargocollective.com/gklein/Living-Bridge> 2 Geoffrey w. klein architecture, ‘Living bridge’ <http://cargocollective.com/gklein/Living-Bridge> 28
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FIGURE TWENTY ONE: PROPOSED BIRDS EYE VIEW
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FIGURE TWENTY TWO: PATHS MADE FOR PEDESTRIANS
By using computation to help find the design form we are able to come up with a list of possibilities that can be combined or taken apart to form new structures. This way of designing is extremly beneficial as all the ranges of possibilities are designed by selected generative computation methods calculated the designers articulation of generative logic. What makes this method most useful is not onlt the range of possibilities it produces, but the range of ways these possibilites can be used. Algorithmic generations are composed of scripts, as a result while creating new designs we are adding to our algorthimic data base, this allows for multiple iterations of the design just by changing parts of information.
One limitation of this design method is the process of converting computation design to physical designs. As shown in the example chosen although it is proven to be a great design it is too ahead of our time in terms of material/ construction method development to be built. As a result computation can easily carry us away, we realise we are building for the far future and not for current states. Although this can be damageable in terms of the designers creativity flow it can also be used as an example of where we should be and lead to further research in these fields bringing the far future much closer and tangible. Despite its debatable limitations, computation through algorithms is a great example of the ways computation can motivate designers to research new ways of construction in order to bring these models to a tangible state similarly to case study one in A.2.2. This method of design opens the doors to many possibilities sparking new waves of creativity at a rate much faster than ever before.
FIGURE TWENTY THREE: BIRDS EYE VIEW OF INTEGRATION WITH SURROUNDINGS
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A.3. CASE STUDY 2 PROJECT: KAN SHATYR ENTERTAINMENT CENTRE ARCHITECTS: FOSTER AND PARTNERS
The Khan Shatyr Entertainment Center is an example of how alogrtithmic design can be used to create a building envelope. The centre is designed to be ‘a world within’1 where people can enjoy comfterable climate all year round. Similary to the first case study the buildings algorthmic desin process is based on patterns in this case patterns of weather. Through combing its structural needs and aesthetic needs a tent like structure was produced, the tent was ironic as it has great importaance in Kazakh history as a traditional building form, this proved beneficial as it gave the building a symbolic people. This proves that alogrithmic designs can still be historically symbolic.
The large structure itself closes an area of 100,00 square meters and is 200 x 195 metres proving to be ‘one of the highest peaks on the Astana skyline’2. It consists of a steel tripod structure which holds a suspended net which is clas with a three-layer ETFE envelope. The use of this cladding alows for a very light, economical and thermally efficeient solution. Its material allows daylight to seep through while creating a barier between the extreme weather conditons3.The shape of the net is based on the classic shape of a cone ‘which has been pulled over to one side to better relate to the internal layout’ 4. As a result its unique sloping architectural form is created, this is an example of form following function.
1 Foster and partners, ‘khan shatyr entertainment centre <http://www.fosterandpartners.com/projects/khan-shatyr-entertainmentcentre/> 2 Foster and partners, ‘khan shatyr entertainment centre <http://www.fosterandpartners.com/projects/khan-shatyr-entertainmentcentre/> 3 Foster and partners, ‘khan shatyr entertainment centre <http://www.fosterandpartners.com/projects/khan-shatyr-entertainmentcentre/> 4 Design buildings, ‘Khan shatyr entertainment centre’ <https://www.designingbuildings.co.uk/wiki/Khan_Shatyr_Entertainment_Centre#Structural_design> FIGURE TWENTY FOUR: FACADE OF CENTRE 32
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FIGURE TWENTY FIVE 34
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Algorithmic design was used in order to find a suitable cable net design which was aesthetically pleasing and met the required conditions to create a desired environment. The aim of the design was to come up with a design solution that meant the nets cables were aranged in a way to ‘keep the stresses on the mast equal around the building’s circumference’1. The tripod works as an important point of support as it relives the forces in the cable net and an important element of the architectural design. A form- finding algorithm was used in order to create quick design options for the structure, this then formed a part of the parametic model which was used to develop the buiding form. This is an example of how computation allows designers to develop their goals as they are designing resulting in much better goals than orginally started with.
1 Buldings uk, ‘Kazakhstan building the worlds largest tent’, <http://www.building.co.uk/kazakhstan-building-the-worlds-largest-tent/5002813.article>
How algortithim can be used for weather conditions al This project demonstrates how alogrithim can be used to create complex systems while catering for systems needed in the design. In this case the systems were the extreme weather conditions which had to be catered for. This was done through two ways, the first being the use of ETFE cladding which means in the winter the surface of the cladding would be very cold meaning that warm air that hits the cold surface would cool down and drop back. This however meant the height of the structure where the cladding was used had to be restricted 1. The process of finnding this was done through algorithims.
1Buldings uk, ‘Kazakhstan building the worlds largest tent’, <http://www.building.co.uk/kazakhstanbuilding-the-worlds-largest-tent/5002813.article> CONCEPTUALISATION 35
A.4. CONCLUSION
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The concept of design futuring gives us an insight into how we should be designing in order to accommodate for the coming era. Through the rising popularity of computation more and more innovation design possibilities are closer to becoming a reality. Despite the fact that computation is developing at a rate much faster than material development, computation pushes designers to experiment with materiality in order to create/ modify materials to work for their innovative design. This design process is significant as it is becoming a cycle which results in the constant development and research of materials, construction methods and design methods. Allowing for a faster rate of development, making ideas that seemed possible only in the far future much closer.
Through computation designers are constantly trying to find ways to design better as motivated by algorithmic outcomes. Algorithms allows for better client brief response through the analysing of users behaviour which forms the base of the parameters for the computer generation. This can then be used to create multiple iterations of prototyping which can then be tested physically for material performance through design fabrication.
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A.5. LEARNING OUTC
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COMES Through the first three weeks of study i have taken a completely different approach on computation. At the start of the semester i believed computation took away from the true principles of architecture making it an artificial process, however, after researching about computation i realised the amount of possibilities it can give us, not only through aesthetic design but in terms of how the structure functions, how it deals with its environment and its use of sustainable materials. Computation has infinitive uses when it comes to design. However, its most important use should be as a form finding technique and can be used similarly to the way precedents would be used in design. Computation should also be mainly used to deign for efficient material performance and the ways these materials can be used to their full potential in construction. I realised computation is truly an innovative way of designing to which it is a split role between computation and designers, unlike what i previously believed, computation cannot work without human imputation. Computation is a powerful tool to use for design however we should never let it overpower the true principles of design. The knowledge i have gained could have been used in many of my past designs in order to improve sections of my design so that it is more innovative.
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A.6. ALGORITHMIC SKETCHES
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REFRENCES- IMAGES FIGURE ONE: LAUGHINGSQUID.COM/PHOTOS-SINGAPORES-SUPERTREES-SOLAR-POWERED-VERTICAL-GARDENS FIGURE TWO: HTTP-//WWW.GARDENSBYTHEBAY.COM.SG/EN/THE-GARDENS/SUSTAINABILITY-EFFORTS FIGURE THREE: HTTP-//WORLDTOPTOP.COM/GARDENS-BY-THE-BAY-AVATAR-WORLD-SINGAPORE FIGURE FOUR: HTTP-//WORLDTOPTOP.COM/GARDENS-BY-THE-BAY-AVATAR-WORLD-SINGAPORE FIGURE FIVE: RILLIA KATJA - XCYYXH FIGURE SIX: HTTP-//BQ.SG/2014/04/10/GARDENS-BAY-TULIPMANIA-FLORAL-DISPLAY FIGURE SEVEN: ARCHITECTURALMOLESKINE.BLOGSPOT.COM.AU/2013/03/TOYO-ITO-GRIN-GRIN-PARK-FUKUOKA FIGURE EIGHT: ARCHITECTUREREVIVED.COM/GRIN-GRIN-PARK-ISLAND-CITY-FUKUOKA-JAPAN FIGURE NINE: YOKANAVI.COM/EN/SPOT/27027/ FIGURE TEN: ARCHITECTUREREVIVED.COM/GRIN-GRIN-PARK-ISLAND-CITY-FUKUOKA-JAPAN FIGURE ELEVEN: HTTP-//WWW.ARCH2O.COM/ICDITKE-RESEARCHPAVILION-2010/ARCH2O-ICD-ITKE-RESEARCH-PAVILION-2010-16 FIGURE TWELVE: SIMONSCHLEICHER.WORDPRESS.COM/CATEGORY/TEACHING-UNIVERSITY-OF-STUTTGART/PAGE/3 FIGURE THIRTEEN:ARCH2O-ICD-ITKE-RESEARCH-PAVILION-2010-09 FIGURE FOURTEEN: SIMONSCHLEICHER.WORDPRESS.COM/CATEGORY/TEACHING-UNIVERSITY-OF-STUTTGART/PAGE/3 FIGURE FIFTEEN: HTTP-//WWW.ARCH2O.COM/ICDITKE-RESEARCHPAVILION-2010/ARCH2O-ICD-ITKE-RESEARCH-PAVILION-2010-16 FIGRURE SIXTEEN: HTTP-//WWW.DESIGNBOOM.COM/ARCHITECTURE/ SOMA-MUSIC-PAVILION-SALZBURG-BIENNALE-2011 FIGURE SEVENTEEN: HTTP-//WWW.DESIGNBOOM.COM/ARCHITECTURE/ SOMA-MUSIC-PAVILION-SALZBURG-BIENNALE-2011 FIGURE EIGHTEEN: HTTP-//WWW.DESIGNBOOM.COM/ARCHITECTURE/ SOMA-MUSIC-PAVILION-SALZBURG-BIENNALE-2011 FIGURE NINETEEN: HTTP-//WWW.DESIGNBOOM.COM/ARCHITECTURE/ SOMA-MUSIC-PAVILION-SALZBURG-BIENNALE-2011 FIGURE TWENTY:HTTP-//WWW.DESIGNBOOM.COM/ARCHITECTURE/SOMA-MUSIC-PAVILION-SALZBURG-BIENNALE-2011 FIGURE TWENTY HTTP-//CARGOCOLLECTIVE.COM/GKLEIN/LIVING-BRIDGE/- ONE: FIGURE TWENTY- TWO: HTTP-//CARGOCOLLECTIVE.COM/GKLEIN/LIVING-BRIDGE/ FIGURE TWENTY- THREE: HTTP-//CARGOCOLLECTIVE.COM/GKLEIN/LIVING-BRIDGE/ FIGURE TWENTY- FOUR: HTTP-//WWW.FOSTERANDPARTNERS.COM/ PROJECTS/KHAN-SHATYR-ENTERTAINMENT-CENTRE/ FIGURE TWENTY- FIVE: HTTP-//WWW.FOSTERANDPARTNERS.COM/ PROJECTS/KHAN-SHATYR-ENTERTAINMENT-CENTRE/
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REFRENCES- TEXT - Architecture revieved, ‘Grin Grin Park, Island City Fukuoka Japan’ <architecturerevived.com/ grin-grin-park-island-city-fukuoka-japan> - Arch2o, ‘Icditke research pavilion (2010) <http-//www.arch2o.com/icditke-research-pavilion-2010/arch2o-icd-itke-research-pavilion-2010-16> - Arch daily, ‘Gardens by the bay Grants associates’ <http://www.archdaily.com/254471/gardensby-the-bay-grant-associates> - Buldings uk, ‘Kazakhstan building the worlds largest tent’, <http://www.building.co.uk/kazakhstan-building-the-worlds-largest-tent/5002813.article> - Design boom, ‘Soma music pavillion’, (2011) <http://www.designboom.com/architecture/somamusic-pavilion-salzburg-biennale-2011/> - Design buildings, ‘Khan shatyr entertainment centre’ <https://www.designingbuildings.co.uk/ wiki/Khan_Shatyr_Entertainment_Centre#Structural_design> - Evolo, ‘Repetitive Assemblage In Salzburg’, (2013) <http://www.evolo.us/architecture/repetitive-assemblage-in-salzburg-temporary-art-pavilion-by-soma-architecture/> - Foster and partners, ‘khan shatyr entertainment centre <http://www.fosterandpartners.com/ projects/khan-shatyr-entertainment-centre/> - Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 - Gardens by the bay, ‘sustainability efforts’ <http://www.gardensbythebay.com.sg/en/the-gardens/sustainability-efforts.html> - Geoffrey w. klein architecture, ‘Living bridge’ <http://cargocollective.com/gklein/Living-Bridge> - Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25 - Karamba, ‘White noise’ (2016)< http://www.karamba3d.com/projects/white-noise/> - Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10 pdf - Open buildings, ‘Island City Central Park GRIN GRIN’ <http://openbuildings.com/buildings/ island-city-central-park-grin-grin-profile-2817> - Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15 pdf - Simonschleicher, ’Teaching University of Stuttgart’, (2010) <simonschleicher.wordpress.com/ category/teaching-university-of-stuttgart/page/3> - Wilder utopia, ‘Gardens by the bay’ <http://www.wilderutopia.com/sustainability/land/singapore-gardens-by-the-bay-sprout-supertrees-and-horticultural-conservatories/>
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