STUDIO: AIR
ABPL30048 2016, SEMESTER 1 WEIRAN WU
692252
CONTENTS PART A: CONCEPTUALISATION
A0. INTRODUCTION A1. DESIGN FUTURING A2. DESIGN COMPUTATION A3. COMPOSITION/GENERATION A4. CONCLUTION A5. LEARNING OUTCOME A6. APPENDIX - ALGORITHMIC SKETCHES A7. REFERENCE
PART B: CRITERIAL DESIGN
PART C: DETAILED DESIGN
INTRODUCTION I really like a version talking about architecture, “learning architecture is knowing about everything”. Although we don’t have to be excelled in all fields, it is beneficial to know a bit about everything. Learning architecture in University of Melbourne allows me to involve in all parts of design process, from its beginning to its finishing, from proposal to design to construction.
B
eing a third-year-student majoring in architecture, my passion toward architecture and built environment might be influenced by what I was constantly seen and heard when I was a little girl. I was born and raised in a small town, witness the changing skyline of the city. Having parents who love travelling, I started my journey when I was two, and continuing to explore different cities, meet their people, learn their culture, try their custom, enjoy their landscape, and always attached to their unique built environment. Apart from travel, my interests don’t stray too far from the design field – I love all sorts of crafting and have a great enthusiasm for photography. I used wanted to be a fashion designer for such a long time, but my passion to architecture suddenly triggered when I first time personally experience the affect that an architecture brings to me. I still can remember the feelings when I step into the magnificent architecture that I thought I could only dream of and experience its interior. Hence, architecture for me is all about the experiences and its relations with the users – either interactive or repulsive.
When I first attended the studio, I realise the importance of the digital design theory and tools, which is exactly what I am lacking off. Hence, I begins with no experience on digital design tool in Earth Studio, which is my first time learning Rhino by myself, and gradually improve my skills on design software like AutoCAD and Rhino through Water Studio. Some basic skills of presentation tools, such as InDesign, are also developing along with the project presentation. Hence, computer programs are used as an assisting tool or a platform to visually show my design idea apart from physical model. Entering Studio Air, a new software plug-in – Grasshopper will be introduced, working along with Rhinoceros, focusing on digital parametric design. This concept is not as new to me as I have encounter this concept of digital architecture during my participation in one of the AA visiting school last year. For me, it seems to be a trend for future architecture, which also boosting the growth on building technology, like 3D printing. I hope I can gain a more comprehensive idea about digital architecture during this studio, and discover my interest in digital design.
A1. DESIGN FUTURING Heydar Aliyev Center Baku, Azerbaijan, 2012 By Zaha Hadid
Before going deeply into the project, I
believe it is critical to know about Zaha Hadid, who uses digital technology in a very innovative way with the design of her buildings. Many of her buildings’ contribution in the architecture design industry attributed to her interest in interface between architecture, landscape and geology as the practice integrates natural topography and human-made systems that lead to experimentation with cutting edge technologies. Consequently, this process might often result in unexpected and dynamic architectural form, such as this Heydar Aliyev Center which feature Zaha’s signature elaborate curves and undulations.
Heydar Aliyev Center shows us that a
digital designed architecture can firmly attached to cultural, historical and regional notions of the country. Its design is a departure from the rigid and often monumental architecture of the former Soviet Union that is so predominant in Baku, aspiring instead to express the sensibilities and diversity of Azeri culture1. In addition, the continuity and fluidity of the design establish a confluent relationship between its surrounding plaza and the building interior, modifying the surface to create an architectural landscape serving the function of the building1. The undulations, folds and inflection1 blur the conventional differentiation between architecture and landscape, interior and exterior.
Figure 1. Front view
Figure 2. Side View with landscape
Although fluidity in architecture is not a new concept in this field, Heydar Aliyev Center indeed relates the historical understanding of the ground they inhabit to the architecture1. In addition, its contemporary design also express the optimism attitude looking in to the future. It is revolutionary for Zaha to establish these relations, not through the use of mimicry or iconography of the past, but with a firmly contemporary interpretation with digital design.
On the other hand, different to many
others digital design projects, this gets to be built successfully with the advanced technological support as well as the progressing interest on digital fabrication. Additionally, the extended boundaries of the strictly design allows changes, imaginations and inspiration for searching future design methodology.
Heydar Aliyev Center might be cutting edge, but its design form is not as radical nor controversial as some of the parametric design at the time. Its clear and fluid outline and the dominated clean white surface allows imaginations flow freely with given material expression. Zaha’s design is an example which encourages designers opens up all sorts of possibilities in architectural form finding, and allows discussion, debates and collectively definitions to a preferable design future to a given group of people. I believe, one of the many reasons that makes this building so successful is the designers working with the experts2 throughout the whole process of the project. This therefore allows continuous appreciation for the project from the local and continue to use and value this building.
1. Zaha Hadid, “Heyder Aliyev Center”. 2. Archdaily, “Heydar Aliyev Center Zaha Hadid Architects”.
Starbucks Coffee at Dazaifu Tenman-Gu Fukuoka, Japan, 2012 By Kengo Kuma
Before getting to know the design, it is
vital to consider the site itself, its location, its surrounding and its history. I always believe that a good design, no matter bygone or prospective, should response to the surrounding environment, either in a harmonious or contradictive way. Kengo Kuma, an noted Japanese architect, retains and adapt the traditional Japanese concept between nature and built environment to the modern context and design. In this case, the project aimed to make a structure that harmonize with the Dazaifu Tenmangu – one of the moset major shrines in Japan, as it stands on the main path to the shrine with traditional Japanese building surrounded, using a unique system of weaving thin woods diagonally3.
With the assistance of digital design
technology, the diagonal weaving wood sticks arranged in a certain composition with complicated joint to avoid concentration on a single point3, in order to bring in a sense of direction and fluidity.
Wood is a major element in Kengo
Kuma’s design, which reveals a sense of traditional Japanese architecture, however, represented in a modern and contemporary architectural design. His design renovate Japanese architecture, allow tolerance in architectural materials.
Different to some of the digital parametric design which is just some random investment in art with no meanings, this project create an environment that provide a sense of place on this small street that leads to a historical shrine where two million visitors pass each year3. I believe this project will be continuing being appreciated by the publics, users and owners, as Kuma uses materials in a way that honoured the history of Japanese building techniques4 that harmonizes the surrounding environment.
Figu
Figu
Figu
The marriage of contemporary with tra-
ditional in all aspects of design were appreciated. Interestingly, Kuma still captures a multitude of Japanese tradition while using the latest technological advances in both digital design as well as material exploration. His uses of basic bacterial is intriguing, creating a feeling of motion as well as a
This bold, imaginative design on a street that leads to an ancient structure makes the whole project unique, and expand the future possibility for the field to explore this concept. In addition, Kuma’s techniques on space creation and human experience in built environment inspire many new generation, who might trying to combines culture and history with modern and abstract style, and redefine the relationship between human and built environment.
ure 3 (Top). View from the interior
ure 4 (Right). View form the street / entrance
ure 5 (Bottom). Details on timber sticks arrangement
3. Archdaily, “Starbucks Coffee / Kengo Kuma & Associates”. 4. Carla Aston, “Anakyzed & Admired / Starbuck’s genuine appreciation of great design”.
A2. DESIGN COMPUTATION Guangzhou Opera House Guangzhou, China, 2011 By Zaha Hadid
When we think of digital design,
we always tend to think of all the intricate composition and fancy parametric architectural form, which brings out the question that if digital design can actually solve design problems in architecture. The Guangzhou Opera House, I believe, is a great example of successfully use of computation in the architectural design process. Graduated from Architectural Association School of Architecture, Zaha firstly adopted computation design in her practice and use it widely in all her projects. Guangzhou Opera House is one of the recent work done by Zaha Hadid, and built with the benefit from emerging technologies on production as well as material creativity on fabrication.
The location of the Opera House was
set at the heart of Guangzhou’s culture development area, surrounded by the skyscrapers and financial centres, overlooking the Pearl River5. In order to harmonise with its riverside location and unifying the adjacent high-rise contemporary buildings, this complex architectural form illustrate the twin boulder-like configuration in a stream smoothed by erosion5.
Computer programs are being used in the design process, not only assisting designers by taking care of smaller or larger parts of the design process such as drafting and modelling as architects started in decades ago, but also propose design solutions for appraisal and further development by human designers6. The design evolved from the concepts of a natural landscape and the captivating interaction between architecture and nature, considering as an ‘organic’ architecture. In addition, it also involves the concept of geology and topography within the architectural form itself influence by the rivers and the original landscape5. Therefore, the continue development on computation design system and media change the original way of architecture design practice, which allows digital media engage from design idea generation to architectural form production, and expanded access to information6, opened up the design process for people in other department working together for a better and practical design solution.
In addition, computation design free
the constrain of walls, columns, windows and others architectural elements, and start to re-discover the spatial relationship between all these elements as well as the connection between architecture itself and the surrounded site. In Guangzhou Opera House, the fold lines in the landscape define its terrains and dramatically cut the interior and exterior valleys for circulation, lobbies and cafes, which allowing natural light to penetrate deep into the building5.
In this case, I believe the form formation has been analysis and calculated by the computer program to form an optimised result or guide the process toward a particular solution for architect to further develop. Hence, conceivable and achievable geometries will be mutated towards an unexpected or unconceivable geometries for designers to explore on that, which changes the means of creativities.
Figure 6. External view
terials all worked together in Guangzhou Opera House to ensure a pleasant journal and acoustic feast for the public. This was achieved with the progressing emerging technologies and material experimentation along the way. For instance, custom moulded glass-fibre reinforced gypsum units have been used for the interior of the auditorium to continue the architectural language of fluidity and seamlessness5. This leads to the changing relationship between design firm and construction industries, as they tend to working as a whole to for optimise solution to the current architectural issues.
Figure 7. Internal View
Furthermore, form, function and ma-
Hence, computation gives unique opportunities for contemporary architects, Zaha in this case, to harmonize contextual urban relationships, fulfil the design goals such as involving cultural traditions in a contemporary functionalised architecture, and given ambition to create a new architectural future.
5. Archdaily, “Guangzhou Opera House / Zaha Hadid Architects”. 6. Kalay, Yehuada E, “Architecture’s New Media”.
ICD-ITKE Research Pavilion 2013 - 2014 By ICD-ITKE University of Stuttgart
The continuing development on com-
putation media and emerging technologies have become constant driving force for architects and researchers to explore the application potentials of computational design and fabrication process in architecture8. ICD-ITKE research pavilion was a collaborative project between two institutes in order to develop a winding technique for modular, double layered fibre composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom7. Therefore, design and fabrication strategies were used to study biological construction processes for fibre-reinforced structure and achieving material-effective and functionally integrated7.
For this research pavilion, the architec-
tural potential has been expended into the field of nature and using biomimetic investigation to gain inspiration, in this case, the underwater nest constructed by water spider7. Hence, this construction process and pattern has been examined and analysed, abstracted and transferred into a technological fabrication process through the use of robotic method7. The development of the cyber-physical method allows constant feedback between actual production and digital control on robot7, which provides new opportunities for adaptive robotic construction process. Also, this transformation from biological creation sequence into a building construction application through the use of computation totally changed the original way of idea generation, design and construction8. In addition, this form finding process also allows opportunities in architectural innovation to achieve unconceivable geometries presented by computation.
Figure 8. ExternalView
Figure 9. Robotic Fabrication
This application of novel computational
design, simulation and robotic fabrication process is a great testing ground for experimentally prototype projects and innovative technology. It contributes opportunities for design and construction industries, open up possibilities and potential for future architecture design. The fabrication process for this pavilion was custom made robot tool, which also posed challenges for the material system that integrated with the architectural design. However, in reality, this amount of time investment and capital input indicates the problems of inefficiency if apply in commercial architecture, which is the major market and common setting for nowadays practice.
Figure 10. Internal view
Hence, although both this research pavilion done by institutes and the Guangzhou Opera House are designed by computation process, they still various in a way in terms of practicability in real life situation. Since Zaha Hadid is a branded practice in computation architectural design, the construction process will be relatively industrialising without enormous expense as the progressive experimentally project.
7. Archdaily, “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart”. 8. Oxman, “Theories of the Digital in Architecture”.
A3. COMPOSITION/GENERATION La Sagrada Familia Bacelona, Spain, 1882-on going By Antoni Gaudi
Stepping into the digital era, architec-
tural industries completely changed its design process by the mean of computerisation and more recently, the arising of computation practice. Yet, back to the 19th century, computer design program has not been innovated yet. The architect at the time could only use the method of composition to finding architectural form and investigating geometric configuration. La Sagrada Familia is one of the catholic churches that was designed in that period. However, different to the others churches, La Sagrada Familia is still during construction, which allows involvement of the latest techniques participated for continuing design and production along several centuries.
The Sagrada Familia was designed by
Antoni Gaudi, who worked on the project for 43 years and passed away before the building finished9. Gaudi dedicated himself to this project and developed a unique language for the form and composition of the building9.
Plaster models and methodologies are left for future generation to carry on his work and continuing on the construction work. For instance, the developed strategic methodologies of columns generation and rectangular knots are significant in terms of making complex form by manipulation in simple geometrical rules10. The result of his method and forms analogous to the models produced by parametric and digital scripting that we used in recent computation design, which can be used as a tool to continuing work on the Sagrada Familia. For example, the resulting shape of two superimposed twisted columns performed with Boolean intersection is the actual column as developed by Gaudi9, as shown in Figure 12. Without advanced computation technologies, it is impossible for Gaudi to use Boolean intersection9. However, Gaudi managed to use his novel form-finding composition to design all the columns in the church, varying in sizes and shape for different performance.
Gaudi’s modelling techniques effective-
ly invent a “parametric� design process before the launching of modern computer, with exploring geometric composition.
Figure 11. ExternalView
Along with the computation media development and its assistance, computer programmes are introduced into the construction and design to allow current generation to modify and test the model with different variables to ensure the workable structure and precise geometry generation suggested by Gaudi’s model for the Sagrada Familia.
Consequently, La Sagrada Familia is a
Figure 12. Internal columns
unique project which integrate traditional form generation techniques with modern computation generation as a synthesis. In this case, parametric modelling and scripting are efficient for reiterative experimentation and problem solving.
On the other hand, it is interesting to know that, Gaudi gained his design idea primary from nature, which is similar to contemporary architects who uses computation for idea generation inspired from nature, such as the biomimicry introduced in previous chapter.
9. Carlos, “Thinking parametric design: introducing parametric Gaudi” 10. Burry, “Expiatory Church of the Sagrada Familia”.
Dragon Skin Pavilion Hong Kong, 2012 by Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD)
The dragon skin pavilion is an archi-
tectural installation designed in order to experiment the possibilities use of the post-formable plywood11. With the revolutions in computation design, digital fabrication and manufacturing technologies, they allow opportunities for architects to explore the spatial, tactile and material possibilities with structure challenges12.
Regular, repetitive framework of the
rectangular plywood panel was used to explore emerging patterns and rhythms with structural challenges12. Balance was trying to be achieved between the original material and its gradually irregular interconnection as they constructed the overall form12. In order to incorporate performance analysis and knowledge about material, tectonics and parameters of production machineries in the design, computation was used to simulate building performance13. New custom digital tools and fabrication techniques were used, allowing architects or researchers to execute an accurate construction process without the need of conventional on-site communication method using drawings or plans12. Hence, performance feedback can be received at various stages, allowing alteration or new opportunities for design.
In this pavilion, the materials, tools and
structural performance become the fundamental parameters that can be analysis and calculated by computation for architectural form generation and creation13. Post-formable Grada Plywood was used as the sole material, which is a bendable new material, possible to revolutionise the industry12. CNC routers was used for heating and bending, while the cutting files will be generated by a computer programme, indicated by Figure 14. This process is called file-to-factory, where “algorithmic procedures were scripted to give every component their precisely calculated slots for the sliding joints, all in gradually shifting positions and angles to give the final assembled pavilion its curved from�12. Therefore, the tight connection between algorithm and computation given a new interpretation of design and construction process14.
Similar to the Research Pavilion by
ICD-ITKE, the time and capital investment are huge and the long experimentation process causes inefficiency if in commercial settings. However, these computational tools and techniques will become more significant, affecting the process of design, fabrication, construction, and also altering the traditional definition of architecture, moving toward a more digitalised future.
Figure 13 (Top). Overall view Figure 14 (Middle). Fabrication process diagram Figure 15 (Right). Internal connection details
11. LEAD, “Dragon Skin Project”. 12. Archdaily, “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD)”. 13. Brady, “Computation Works”. 14. Wilson, “Definition of Algorithm”.
A4. CONCLUSION The concept of architecture is kept
changing along with the emerging technologies. The launching of computer cause the architectural industry changed from traditional hand-drawing to computerisation, in regards to assisting design process, allowing alteration on drawings, and speed up the whole industry process from design to construction. Yet, this is just simply digitising existing procedures or process that are preconceived in our mind. Moving toward 21st century, digital tools was developed by architects to create opportunities in design process, fabrications and construction, which starting to redefine the practice of architecture. This is what we called computation, which extend designer’s ability to solve complex problems and process information to be expressed as an algorithm.
Computation allows the parametric
design to bring efficiency into practices, and allowing generation of complex form that used to be unconceivable. It opens up all sorts of opportunities for architectures to use it for idea generation, building performance analysis, digital fabrication process, as well as collaboration between architects and engineers.
However, according to the case studies, the concept of computation is controversial, regards to its appropriateness and rationality in terms of responding to the site.
In my cases, computation free the
limitation on spaces and geometries, not restricted by the topographic and formality, and allowing exploration in innovative fabrication. Having the site in Meri Creek, aiming to restore the fauna living condition and provide habitation for animals from the water to the sky, allows the use of parametric modelling and scripting to generate complex order, form and structure to deal with this complex design situation. It has the potential to, in turn, provide inspiration for designers through the generation of unexpected result.
A5. LEARNING OUTCOME In the past few weeks, we have been
introduced to the basic theories of computation design in related to architecture idea generation. Before getting in touch with those emerging digital technologies and computation programmes, I mainly use computer as an assisting tool for drafting and idea presentation, which is already conceived in my mind. This conventional method of using computers is called computerisation, such as the use of AutoCad. Entering this studio, it pushed us to understanding another concept called computation, which reflected in software such as grasshopper. Unlike computerisation with rational abilities, computation allows creativities for idea generation based on the data imputed and design generated through algorithm. There is an interesting debate during the tutorial, focusing on computerisation and computation. After I follow the online tutorial on grasshopper and get to play around it, I realise the convenience and efficiency in form generation compare to only using rhino. Computation’s form generation always expand the limit on spaces and geometries, giving unconceivable results for architects to further explore on it. However, I believe the use of computation should be rational in terms of appropriate site responding as well as the importance of concept behind the form.
It seems to me that some of the current practice using computation is simply trying to achieve intricate fancy form, without any strong concept and reasons behind their generated form.
Nevertheless, I believe computation is
a trend for future architectural design, especially in terms of form generation, digital fabrication and construction process. For instance, in tradition architectural industries, architectural drawing was provided for construction companies to generate another set of structural drawing, then communicate on site with builders. However, in Zaha Hadid Architect, construction team working simultaneously with the design team on the same 3D model in software. Hence, computation technologies enable builders to build off 3D model instead of 2D drawing for Zaha, which allows efficient production for her complex geometries.
No matter how, it is a great and ex-
citing experience for me to learn about grasshopper and attempt to do some parametric design. It would totally change my idea generation if grasshopper would be used for my Earth studio’ pavilion, which would provide enormous possibilities and access to whole range of geometries for me to explore
A6. APPENDIX Algorithmic sketches Studio Air Week 1 - Week 3
In this exercise, five different techniques have been used to construct a vase. The simple lofting and extrution are similar to the rhino process, however, revolving techniqes and the 3D voronoi are quite interesting for exploration. Revolved curve is just an simple command, which makes the process simplier compare to the rhino process. On the other hand, the Voronoi vase in this case is much complicated, but it allows complex geometries to be achieved by using simple rules.
The using of grasshopper makes it much easier for geometric generation as well as creating pattern on surface. It broaden the opportunities on unconveivable geometries and design outcomes. In addition, it also enable creativities with alogrithem scripting by giving imput and generate design outcomes for you.
A7. REFERENCE 1.
Zaha Hadid, “Heydar Aliyev Center, Baku, Azerbaijan”, (November, 2013),
Http://www.zaha-hadid.com/2013/11/14/heydar-aliyev-center-baku-azerbaijan/ 2.
Archdaily, “Heydar Aliyev Center / Zaha Hadid Architects”, (November, 2013),
http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects 3.
Archdaily, “Starbucks Coffee / Kengo Kuma & Associates”, (February, 2012),
http://www.archdaily.com/211943/starbucks-coffee-kengo-kuma-associates 4.
Carla Aston, “Analyzed & admired / Starbuck’s Genuine Appreciation of Great Design”,
http://carlaaston.com/designed/proof-starbucks-honors-values-great-design-architecture 5.
Archdaily, “Guangzhou Opera House / Zaha Hadid Architects”, (March, 2011),
http://www.archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects 6.
Kalay, Yehuda E., (2004), Architecture’s New Media: Principles, Theories and Methods of
Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25. 7.
Archdaily, “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart”, (July,
2014), http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart 8.
Oxman, Rivka and Robert Oxman, eds (2014), Theories of the Digital in Architecture (Lon-
don; New York: Routledge), pp. 1-10. 9.
Carlos Roberto Barrios Hernandez, “Thinking parametric design: introducing parametric
Gaudi”, Design Studies Vol 27 No. 3 (May, 2006), http://sophclinic.pbworks.com/f/Hernandez2006.pdf 10.
Burry, M (1993), Expiatory Church of the Sagrada Familia Phaidon Press Limited, London
98p 11.
LEAD, “Dragon Skin Project”, (2012),
http://dragonskinproject.com/ 12.
Archdaily, “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla
(LEAD) and Sebastien Delagrange (LEAD)”, (March, 2012), http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead 13.
Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architec-
tural Design, 82, 2, pp.08-15. 14.
Wilson, Robert A. and Frank C. Keil, eds (1999). Definition of ‘Algorithm’, The MIT encyclo-
paedia of the Cognitive Science (London: MIT Press), pp. 11,12.
Figure 1 Hufton+Crow, 2012, “Heydar Aliyev Center / Zaha Hadid Architects” in Archdaily, <http://www. archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects>, [accessed 6 March 2016] Figure 2 Zaha Hadid, 2014, “Zaha Hadid’s Heydar Aliyev Centre is best architectural design of 2014”, http://www.bdonline.co.uk/zaha-hadids-heydar-aliyev-centre-is-best-architectural-design-of-2014/5068075.article, [accessed 6 March 2016] Figure 3 & 4 Masao Nishikawa, 2012, “Starbucks Coffee / Kengo Kuma & Associates” in Archdaily, <http://www. archdaily.com/211943/starbucks-coffee-kengo-kuma-associates> , [accessed 7 March 2016] Figure 5 Earthwalker, 2015, “【福岡】あれっ、これは参拝後にマストで寄るっきゃないっしょ、太宰府天満宮の参道途中にあるオサレなスターバックス”, <http:// www.earthwalkers.info/?p=3186>, [accessed 8 March 2016] Figure 6 & 7 Iwan Baan, 2011, “Guangzhou Opera House / Zaha Hadid Architects” in Archdaily, <http://www. archdaily.com/115949/guangzhou-opera-house-zaha-hadid-architects>, [accessed 13 March 2016] Figure 8, 9 & 10 Courtesy of ICD-ITKE, 2014, “ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University of Stuttgart” in Archdaily, <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart>, [accessed 14 March 2016] Figure 11 PhyreWorX, “La Sagrada Familia” in Historvius, <http://www.historvius.com/la-sagrada-familia-431/pictures/2179/>, [accessed 16 March 2016] Figure 12 Basilica de la Ssgrada Familia, “Geometry”, <http://www.sagradafamilia.org/en/geometry/>, [accessed 16 March 2016] Figure 13, 14 & 15 LEAD, 2014 “Dragon Skin Project”, <http://dragonskinproject.com/>, [accessed 17 March 2016]