air studio part b

STUDIO AIR2016, SEMESTER 1, FINNIAN WARNOCKJUN HAW LIU

TABLE OF CONTENTS

Introduction

Part A. Conceptualisation

A.1. Design Futuring

A.2. Design Computation

A.3. Composition/Generation

A.4. Conclusion

A.5. Learning outcomes

A.6. Appendix - Algoritmic Sketches

Part B. Criteria Design

B.1. Research Field

B.2. Case Study 1.0

B.3. Case Study 2.0

B.4. Technique: Development

B.5. Technique: Prototypes

B.6. Technique: Proposal

B.7. Learning Objectives and Outcomes

B.8. Appendix - Algorithmic Sketches

4

Having myself raised in a multicultural country, I am glad that I able to see different kinds of architectural styles buildings, ranging from the Islamic Architecture to the Chinese Architecture. I am always amazed by those iconic building around the world, that I have a dream to travel accross the globe to capture the beauty of architectural design.

When I first started my architecture degree in University of Melbourne, I came to know that the study scope of architecture is really broad. I had gained a lot of knowledge from the past 2 years of studying, and I wish to futher sharpen my skills in my final year of bachelor degree studies, especially in this Design Studio, Air.

In this Air Studio, I am greatly exposed to digital design, which is a challenge for me. This studio mainly focuses on the software, called Rhino, with the plugin Grasshopper. Previously from the subject Visualizing Environments, I learnt how to use Rhino in a basic level, and I further developed my skill in Rhino in other studio classes. However, Rhino with the Grasshopper pugin is something new to me. It looks like you are doing computer programming with Grasshopper, but you are actually designing by implementing a series of codes. By the end of the semester, I hope I can master the basic of Grasshopper, and this in turn bring my Rhino skill to a much more advanced level.

INTRODUCTION

Hi! I am Jun Haw. At the age of 17, I left my home country, Malaysia, to pursue my further studies in Melbourne, Australia. Currently, I am a third year Bachelor of Environments, majoring in Architecture, student.

When I am still young, around 13 years old, I got the interest in drawing. The drawing I produced at that age is kind of abstract, and no one understands what I am drawing, even myself. In the process of growing, I started to understand what is design. Design in fact means a lot more than just drawing something you never see before. Not only it involes the aesthetic value, but also the functionality.

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Water Studio: Studley Park Boathouse

2.

CONCEPTUALISATION

8 CONCEPTUALISATION

A.1.

DESIGN

FUTURING

CONCEPTUALISATION 9

With the growth of the population in this world, the human beings are currently facing a critical moment of unsustainability. In fact, the defuturing situation of unsustainability is still accelerating, and the only thing human can do is to design against the undergoing deteriorating process. However, most of the designers thought that designing is only creating the tangible. This is not exactly true, because designing involves problem-solving on how to make the world a better place to live as well. It is important for the designers to have that critical skills, as this is what “design futuring” is presently focusing on.

According to Fry, “design futuring” should approach two crucial tasks: slowing the speed of defuturing and redirecting human beings towards a far more sustainable manners of planetary habitation.1 Thus, human beings are bound to source the resources in a smart way, and think about the possible consequences that will leave on the society with every move they made.

1 Tony Fry, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008).

Voussoir Cloud

Centre Pompidou-Metz

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4.

Voussoir Cloud• IwamotoScott

10 CONCEPTUALISATION

5.

Voussoir Cloud was constructed in Los Angeles, and was done in 2008. IwamotoScott aimed to explore the structural archetype of pure compression integrated with ultralight material system. The design is a system of vaults, relying on each other. There are three walls helping maintain their structural integrity to preserve their pure compressive form. The overall design is based on Antonio Gaudi and Frei Otto, where they used the hanging chain models for form-finding. The process to find the efficient form also integrated with computational hanging chain models as well as form-finding software. Working on this project, the material and structural strategies are intentionally confused. Every vault consists of a Delaunay tesselation that both confounds and capitalizes on the structural logics. The upper vault of Voussoir Cloud is more loosens and increase porosity, while at the column base, siezeable cell density of minor connective petals gang together. With respect to the process, arch form was created by the petals, where in this situation, the petals are re-evaluate to be built with paper thin material.1

1 “VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com, 2016 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD>.

CONCEPTUALISATION 11

The outcome of this design heavily relies on parametric modelling tools, as this is difficult to be done with traditional design tools. The repetitive pattern makes it hard to be either hand-drafted or computer-drafted, but with parametric design tools, it is possible and also easy to reciprocate. In present days, the technology is advance, and it can help the fellow designers when they face some serious issues. This suggests that the designers are potentially heading towards a much more sustainable future.

Simple geometry constitutes of four different kinds of triangular petals are interconnected to form the Voussoir Cloud, and this is done by RhinoScript, a 3D modelling tool. Before the construction of the structure in reality, the geometry that affects the stability and the materials to be used can firstly discovered with the aid of the computer. This is to ensure the sustainable form can be produced before it is too late. Thus, when the construction of the structure is commencing, there will be minimum to no changes, so no waste will be made. The process of designing Voussoir Cloud strongly supports the idea of “design futuring”, and helps to slow down the defuturing activities.

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7.

Centre Pompidou-Metz• Shigeru Ban


8.


The seamlessness between the interior and the exterior is achieved by using parametric modelling. The laminated wood roof, with a haxagonal pattern, is made according to the fabric configuration of the Chinese bamboo-woven hat. Telfon-coated fiberglass membrane covers the vast timber roof. This is to allow the natural light to be filtered into the interior. A series of cantilevering kind of rectilinear tubes (floating above the ground) is shown in the main gallaries.

The timber roof structure took around ten months to prepare. It took another four months for the installation of timber mesh. Every single beam is in unique proportions, because they were CNC-machined. Moreover, the hexagon geometry concept is applied, as it is effective in joining the beams. This allows maximum roof tensility. The bolts usage for the joints provides the movement allowance as a precautionary step.1

1 “Centre Pompidou-Metz / Shigeru Ban Architects”, ArchDaily, 2014 <http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>.

The material used in this project is mainly timber. Timber is inexhaustible and it is an easily recycled material. The evolutionary principle in this project is the fusion of parametric design and the notion of sustainability. This perfect combination suits the concept behind “design futuring”. Parametric modelling is efficient, and it is applied via the utilization of interconnecting beams. This produces a seemingly expanding roof, which caters the function of Centre Pompidou-Metz as a museum. It also make much more space to display the artworks. Parametric design is effectively used for maximum efficiency to be achieved, as it has the ability to create a complex digital design through timber panelling tools. In short, parametric design can indeed redirect human beings to a much more sustainable living environments.

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10.


A.2.

DESIGN

COMPUTATION


With the advancement of technology, designing process is mostly aided by computer. In fact, computer helps to realise the concepts and ideas from the architects besides following the designers’ instructions. However, that creates an issue, because computer can only do what the human is asking for. Thus, human must put creativity into the computer, and this shows that the relationship between human and computer is important, so that a design can be produced.1

The development of technology is opening the opportunity for the designers to produce a unique outcome. The association between computers and designers helps to bring the ideas into realisation, as well as transforming the ideas and concepts into reality. This is often defined as computerisation. It is vital to know that computerisation is not constraint by the skills know by the designers, it is only limited by the imagination of the designers. It is clear that computer softwares are just tools for the designers to convey the ideas in a visual manner.

1 Kalay, Yehuda E.: Architecture’s New Media : Principles, Theories, And Methods Of Computer-Aided Design. - Cambridge, Mass. : MIT Press, 2004.

Shell Star Pavilion

Mercedes-Benz Museum

11.

12.

Shell Star Pavilion• Andrew Kudless / Matsys


Shell Star Pavilion is a temporary pavilion. It is lightweight and it maximizes the spatial performance while putting the material and structure to minimum. This pavilion is located in Hong Kong, and it is created to be a gathering place for a special festival in December 2012. The concept behind this design is making a spatial vortex, so that the visitors will have the feeling of being drawn into the centre of the pavilion, and subsequently feeling drawn back to the larger festival site.1

1 “Shell Star Pavilion « MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/category/projects/shell-star-pavilion/>.

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This pavilion is parametrically-modeled, so it can maximize the spatial performance while minimizing structural support and material usage. The designing process is broken down into different stages. This is enabled by computational skills.

Grasshoper, one of the Rhino plugin, and Kangaroo, physics engine plugin, are used for the form-finding process. It is arranged into catenary-like thrust exterior surfaces, that alligned for the structural vectors. Hence, the minimal structural depths can be calculated. After that, the surface was optimised producing cells that compose the form which is able to move by bending a bit during construction, so that the curvature can take shape.

The introduction of parametric design has made the design process becomes much more easier, especially generating a complex form. The design outcomes and what human able to create have been increased significantly with computational tools. This actually encourages creativity, in turn leading to a doorway of opportunities.

Although computer helps to simplify complicated process that the human brain cannot easily interpret, it is still human who controls the how the design should look like. Also, the successfulness of a design is judged by the human instincts. It is true that computer can help us in design, but the final design outcome still depends on the designers.

Mercedes-Benz Museum• UN Studio


17.

Mercedes-Benz Museum uses sophisticated geometry to synthesize programmatic and structural organizations. This results a new landmark architectural building, where it celebrates a remarkable car. The geometric model rests on the trefoil organization. The program is scattered over the surfaces where it rises incrementally from ground level, and spiraling around the central atrium. The experience of the Mercedes-Benz Museum starts when the visitors are traveling up via the atrium to top level from where they proceed to the two main ways that unfold in a chronological manner as they go down through the building. There are two main trajectories. One is the truck and car collection and the other is the historical displays (Legend rooms). The trajectories spiral down on the perimeter of display platforms. They intersect with one and another at several points ,and this allows the user to change routes.1

1 “Mercedes-Benz Museum By Unstudio”, Unstudio.com, 2016 <http://www.unstudio.com/projects/mercedes-benz-museum>.


Mercedes-Benz Museum is actually an example of computerisation. As told earlier, ths museum is based on the trefoil idea. The musuem space creates a chronological timeline, where it circulates the building from the top to the bottom. Before the use of computers in visualizing the design, some features such as the infrastructures, programmes and sometimes even structures are thought using strong physical design model. Now, with computer-aided modelling tool, the large column-free space and the twisted concrete work can be achieved within the architectural design to suit its main purpose as a display platform.

Both of the computer softwares as well as the human minds can be thought as an on-going development. The word “computation” slowly overtakes the word “computerisation”. Computation allows the imagination and creativity of the designers to go wild. By design computation, it is meant to generate some design using softwares without having initial thought to the design. It allowas the exploration and the generation of some unexpected outcomes. For example, a mroe creative, complex and playful geometry may be formed without being limited by some unforseen factors.

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A.3.

COMPOSITION

/

GENERATION


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20.

Subdivided Columns - A New Order

Khan Shatyr Entertainment Center

Living in the modern days, this era is machine-driven, and thus leading the designers and the architects to explore new generation of language and form. The age of digitisation helps improving the construction methods and fabrication and the design process.1

Compostion-based era, where the design revolved around space and mass, has slowly moved to generation-based era. Generating with unique and unexpected results activates the mind of the designers, thus allowing their imagination to run wild and freely. When a designer uses computation purely to design, further options can be discovered through modification work that alters with the model. This process is known as “sketching by algorithm”. Algoritm is a technique or recipe in doing something. Therefore, designers have to adapt the concept of algorithmic thinking to understand the process and final results of the code generated. Also, it is important to know how to change the codes to discover new options as to achieve new design potentials.

The abstract relationship occuring around us leads human to imitation and the exposure of new concepts and propaganda. Via the exploration of the digital tools with parameters, tectonics and materials of production machinery, designers could produce a much more responsive design. They also explore how the surroundings respond.

1 Brady Peters and Xavier De Kestelier, Computation Works.

Subdivided Columns – A New Order• Michael Hansmeyer


21.

“The traditional notion of an architect having a vision of a building and then drawing it either on paper or on a computer and then constructing it isnt really how architecture works, and

in reality, the computer has a lot of influence on design.”

“[There are] unseen objects that await us, if we as architects begin to think about designing not the

object, but a process to generate objects.”

-Michael Hansmeyer


In designing the structure of the Subdivided Columns, Michael Hansmeyer involves the creation of algorithm. A generative dessign process is used, and the algorithms are tweaked each time, so the result of the columns follow an identical aesthetical rule, but they do not actually motifs or surfaces in common. They together create a cohesive language, that shared in their fabrication and and materiality process. Unlike conventional architecture, the creation is holistical and down to its tiny surface details imitates a single process.

Clearly, these form cannot be imagined by human rationale and it is beyond human limits. Hansmeyer also explores the nature processes and later extracts them into an algorithm to produce something new. He experiments the columns with an input which perform the subdivision process, so they are different among the individual components. Initially, four cylinders were used in the algorithmic definition. However, each cylinder has its own local parameter settings. Running the process again and again with different parameters can create infinite numbers of columns. They can later combined together to form new columns, eventually form new generations of columns.1

1 “Michael Hansmeyer - Computational Architecture: Subdivided Columns”, Michael-hansmeyer.com, 2016 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0#undefined>.

1mm sheets (in a contouring model) are used to constrcuct a full scale model. Poles, which run through a core, hold them together.

To sum up, Hansmeyer’s work is more than just producing complex sculpture, but he also uses the method of computation to design and construct structures. It also explores the efficiency of materials and the way to maximise structural integrity through the integration of materials and mathematics.

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Khan Shatyr Entertainment Center• Foster + Partners


24.

Khan Shatyr Entertainment Center is a massive transparent tent. It is located in Astana (capital city of Kazakhstan). It is constructed in neofuturist style. This project was disclosed by Nursultan Nazarbayev, the President of Kazakhstan on December 9, 2016.


The Entertainment Centre comprises a cable net structure. It forms an envelop which encloses a three levels base building with retail, entertainment and leisure facilities.

To generate a wide range of enclosure forms, parametric design tools were utilised. An algorithm was written for the form-finding process. The algorithm is used to simulate the structural strength of the cable net form structure. This is later developed into the final form.

There are difficulties with computational design and generation. One of them is that the forms and the outcomes are very complex. It is hard to represent them in 2D documentation and physical model. However, 3D printing has the potential to overcome this issue. In this project, Foster + Partners used 3D printing extensively for the first time. This help to facilitate rapid prototyping. Hence, several design choices could be created every day.1

In a nutshell, design generation aids the design team to quickly produce more than a few design options in a shorter period of time. The algorithm behind it was used for further developing and to define the building from.

1 “Khan Shatyr Entertainment Centre | Foster + Partners”, Fosterandpartners.com, 2006 <http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/>.

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A.4. CONCLUSION

In fact, the future lies in the hand of the person who designs and creates. Algoritmic thinking and parametric design creates a new fashion of thinking. Firstly, human must think of the future in order to have the ability for designing the future. As designers who bring new ideas, we must change the operating way as we are the person who can bring most impact to our surrounding.

With the advancement of parametric and computational design, desginers can now produce things which are beyond our limitations. Also, they can experiment and simulate with the new technology before bringing the design into reality.

When computation is used to conceptualise an idea, it is important to have a thought about the materials as well. Designers have to think about the way on how to work with the materials, as this can greatly reduce wastage, cost and time. With the aid of computer softwares, an interactive relationship which brings benefits to the design process can happen. It becomes more easier to understand as we are no longer restricted by the limtations of human minds. We just have to change and modify things via a set of parameter.

We are not only design in a sense with just practical involvement, but also a strong concept is vital to help guiding designers through the design process. It is not being constraint by the design concept. However, we have to continue generating and exploring the best idea by using computation.


A.5. LEARNING OUTCOMES

Unlike previous studios I had attended, Air Studio is completely different. This studio is almost entirely based on concept, and I think this is interesting. From researching a numbers of precedents, I learnt that the range of possibilities for architecture is really broad. It inspires me to think more critically and analytically about the significance and methodology of design.

Conventional processes have become increasingly archaic, which I think this is an ignorant way in designing. Based on my experience on Grasshopper as a first time user, I feel overwhelming, but I believe that this is an insightful learning experience. The design outcome is always beyond my expectation, which I never apply this skill in my previos studio. If I had the chance to improve the past design, I would definitely incorporate the knowledge I learnt and going to learn during this semester.


A.6. APPENDIX - ALGORITHMIC SKETCHES

Single attractor point is used as the parameter to create this form. It looks like a contour form, and I believe further tweaking this form, for example loft it so they become a smooth surface, can generate contour digital model.


Despite the messy look, I found this form has the potential for my future design project (ceiling design). It is generated by using series, so it will produce an array of different design form combined together.

This is created by multiple attractor points. This form is created when I placed the points not only at xy-plane, but also the z-plane. It represents a twisting movement, and I feel amazing when I generate this form unexpectedly.


REFERENCES

“Centre Pompidou-Metz / Shigeru Ban Architects”, ArchDaily, 2014 <http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects>.

Fry, Tony, Sustainability, Ethics And New Practice (Oxford: Berg Publishers Ltd, 2008).

Kalay, Yehuda E.: Architecture’s New Media : Principles, Theories, And Methods Of Computer-Aided Design. - Cambridge, Mass. : MIT Press, 2004.

“Khan Shatyr Entertainment Centre | Foster + Partners”, Fosterandpartners.com, 2006 <http://www.fosterandpartners.com/projects/khan-shatyr-entertainment-centre/>.

“Mercedes-Benz Museum By Unstudio”, Unstudio.com, 2016 <http://www.unstudio.com/projects/mercedes-benz-museum>.

“Michael Hansmeyer - Computational Architecture: Subdivided Columns”, Michael-hansmeyer.com, 2016 <http://www.michael-hansmeyer.com/projects/columns_info.html?screenSize=1&color=0#undefined>.

“Shell Star Pavilion « MATSYS”, Matsysdesign.com, 2016 <http://matsysdesign.com/category/projects/shell-star-pavilion/>.

“VOUSSOIR CLOUD - Iwamotoscott”, Iwamotoscott.com, 2016 <http://www.iwamotoscott.com/VOUSSOIR-CLOUD>.


IMAGES

1. Personal Image

2. Personal Image

3. http://adbr001cdn.archdaily.net/wp-content/uploads/2012/06/1339693868_ voussoir_cloud_1307120287_isar_vc_3144jt.jpg

4. http://images.adsttc.com/media/images/5332/4e2e/c07a/80cb/6b00/008f/ large_jpg/POMPIDOU_METZ_292.jpg?1395805731

5. http://payload.cargocollective.com/1/4/140786/1871783/ISAR%20VC%203141JT_1_1040.jpg

6. http://www.bdonline.co.uk/Journals/Graphic/p/r/g/21petal.gif

7. http://payload.cargocollective.com/1/4/140786/1871783/VC%20Petal%20Formation_12_1040.jpg

8. http://www.centrepompidou-metz.fr/sites/default/files/imagecache/ gallery_home_780x800/gallery-home/web-rh1896-0229parvis_0.jpg

9. https://upload.wikimedia.org/wikipedia/commons/c/cb/La_ charpente_du_Centre_Pompidou_Metz_(4925751298).jpg

10. https://upload.wikimedia.org/wikipedia/commons/c/cb/La_ charpente_du_Centre_Pompidou_Metz_(4925751298).jpg

11. http://ms00.mask9.com/mt0x0001/10015/image/201211/1121/work-shellstar-pavilion-by-andrew-kudless-and-riyad-joucka-p1-mask9.jpg

12. http://s.embark.org/0.9.0/media/820x400/Germany/images/ Stuttgart/mercedes-benz-museum-stuttgart-germany.jpg

13. http://matsysdesign.com/wp-content/uploads/2013/01/ShellStar-7849.jpg

14. http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-1.jpg

15. http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-2-620x388.jpg

16. http://matsysdesign.com/wp-content/uploads/2013/02/ShellStar_Diagrams-3-620x387.jpg

17. https://upload.wikimedia.org/wikipedia/commons/1/1a/Mercedes-Benz_Museum_201312_02_sunset.jpg

18. http://www.dutchdesignevents.com/dutchartevents/wp-content/uploads/image-import/_ NAfjRvSvsIg/TO617DXiQtI/AAAAAAAAAzE/Nj6j8QdslXU/s1600/Mercedes_Benz_Museum.jpg


19. http://www.michael-hansmeyer.com/images/columns/columns_m1.jpg

20. http://hf00ycdnev-flywheel.netdna-ssl.com/wp-content/uploads/2014/08/01_2011FD24_443.jpg

21. http://www.michael-hansmeyer.com/images/columns/columns1.jpg

22. http://1.bp.blogspot.com/-d46ixA7EMwI/TZeYWoTsI7I/AAAAAAAAEeQ/TmTUPETqNfw/s200/slice1.gif

23. http://4.bp.blogspot.com/-kE8qehiC9ss/TZeYXWSJs0I/AAAAAAAAEeU/VH941nswbrM/s200/slice2.gif

24. http://www.archello.com/sites/default/files/imagecache/media_image/ KZAstanaEntertainment%20Center%20VF%20Matt%20Wilson2012.06.04.jpg

25. http://www.bradypeters.com/uploads/1/6/2/9/1629522/5418720_orig.jpg

CRITERIA DESIGN

36 CRITERIA DESIGN

B.1.

RESEARCH

FIELD

CRITERIA DESIGN 37

As previously discussed in Part A, materiality and its method of construction are crucial aspects when utilizing parametric modeling. It is due to the fact that material can directly affect the buildability and aesthetical feature of the final result. It is a challenge to explore the material performance within the digital model. However, this offers broad opportunities to architects and designers in their design at the same time.

The concept of material performance is mostly explained as enhancing the capabilities of the materials or employing the properties of the materials to inform the design. Nevertheless, a second approach is arising with the help of parametric design tools. In fact, it is unnecessary to improve the material properties, that are being researched, but it is important to take advantage of the properties of the materials in the form-finding activity.

According to Achim Menges, design computation gives a powerful intervention for both informing the process of design via specific material characteristics and behaviour, and later informing the organisation of material and matter across multiple scales rest on the feedback from the environment.1 This approach is called “morphogenetic design”, where the materials form the shape in time.

1 Achim Menges, Material Computation (Hoboken, N.J.: Wiley, 2012).

Timber products are the main focus in my design studio. Different timber products have different purposes, for example, different furniture and tools, and different parts of houses. Today, timber materials are mostly treated with chemicals. If this is not done, the timber structures might keep changing all the time. Although this is one of the design flaw, this actually can be overcome by using the parametric design tools, so that the nature of the timber materials can be fully utilised.

Material Performance

Dragon Skin Pavilion

HygroSkin

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Dragon Skin Pavilion• Emmi Keskisarja, Pekka Tynkkynen, Kristof Crolla (LEAD) and Sebastien Delagrange (LEAD)

The Dragon Skin Pavilion explores and challenges the tactile, spatial, and material possibilities architecture with the help of advanced digital fabrication technology. Its higly porous and expressive skin questions the conception of boundary. The views and light are filtered, dampened and softened towards the interior, and the interior is more hesitantly and slowly revealed outwards.

The material used to construct the pavilion is a brand new material, called post-formable Grada Plywood.1 This kind of plywood is profound to bending. A CNC (computer numerical control) router was used to build a wooden mould where preheated flat rectangular slabs were bent into shape. Each of the rectangular components is precisely generated by an algoritmic procedure, all in gradually changing angles and positions to give the eventual assembled pavilion its curved shape. A meticulously prechoreographed montage order required all parts to be distinctively numbered and labelled for dismantling and assembling the structure.

1 “Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, ArchDaily, 2012 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead>.

38 CRITERIA DESIGN

3.

HygroSkin• Achim Menges Architect, Oliver David Krieg , Steffen Reichert

HygroSkin happens to be a climate-responsive architecture1. The wooden skin autonomously acknowledges the changes in weather by expanding and contracting its built in apertures. Here, the properties of the materials control the mechanism.

The travelling pavilion’s wooden skin is produced and designed utilizing the self-forming ability of originally planar plywood sheets to create conical surfaces according to the material’s elastic behaviour. Materially computing the humidity-responsive performance of these apertures drives the practicability for an exceptionally simple yet certainly ecologically embedded architecture. The highly responsive wood-composite skin regulates the porosity in direct response to adaptations in ambient relative humidity. The climatic changes activate the silent, material-innate motion of the wooden skin. The constant yet subtle modulation of the connection between the interior and exterior of the pavilion provides for a peculiar convergence of spatial and environmental experiences.

1 Achim Menges, “Achimmenges.Net - Achim Menges Design Research Architecture Product Design”, Achimmenges.net, 2016 <http://www.achimmenges.net/?p=5612>.

CRITERIA DESIGN 39

4.

40 CRITERIA DESIGN

B.2.

CASE

STUDY

1.0

Voussoir Cloud• IwamotoScott

The 3D petals are shaped by folding the thin wood laminate along the curved seams. A dished and inflected form is produced by the curve. The form relies on the wood internal surface tension and the flanges folded geometry to maintain its form.

The flanges of the concluding concave, dimpled petals pack with each other as compressive elements and push upon each other1. Naturally, this attributes produces vaulted form and led to the overall design initially.

By starting with a material performance of bending using handmade models to investigate geometric relationships of folding across a curved seam, the construction and design process that followed concentrated on improving the relationship of digital made model to physical corollary via iterative empirical testing.

Each of the cells behaves in a somewhat different manner according to its psoition, size, and edge conditions with respect to the overall form.

1 Lisa Iwamoto, Digital Fabrications (New York: Princeton Architectural Press, 2009).

CRITERIA DESIGN 41

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42 CRITERIA DESIGN

SPECIES 1

Number of Holes

SPECIES 2

Size of Holes

SPECIES 3

Depth

N=5 N=7

F=0.12 F=0.30

F=-10.00 F=-7.00

CRITERIA DESIGN 43

N=11 N=12 N=17

F=0.50 F=0.70 F=1.00

F=-1.70 F=-0.11 F=1.20

44 CRITERIA DESIGN

SPECIES 4

Unary Force

SPECIES 5

Projected Force

SPECIES 6

Extrusion

X=0.00, Y=0.00, Z=10.00 X=0.00, Y=0.00, Z=-0.25

X=1.0, Y=0.0 X=1.0, Y=0.5

F=0.00 F=0.11

CRITERIA DESIGN 45

X=0.007, Y=-0.12, Z=0.00 X=-0.17, Y=0.11, Z=0.00 X=0.50, Y=0.60, Z=-0.90

X=1.2, Y=7.0 X=0.7, Y=1.1 X=2.0, Y=2.0

F=1.20 F=1.70 F=7.00

46 CRITERIA DESIGN

Selection Criteria

According to the project brief, the aim is to design a ceiling installion in a room. Despite the fact that ceiling is often overlooked, it is actually an important component in interior designing. Ceiling plays a number of different roles. For instance, visual attractiveness, acoustic solution and moisture control.

My design intent is to focus on the acoustic function of the ceiling. With acoustic ceiling panel design, it reduces noise. This creates an enthusiastic working environment that aids in improving productivity and performance. Besides that, an acoustical ceiling design also enables good hearing. This is vital for clear communication in a room.

A ceiling plays a crucial part in creating the ideal ambience in a room. It is also necessary to create superb visual appeal when installing designed acoustical ceiling in places like theatres, auditoriums, performance hall and restaurants where the aesthetical components are as significant as the acoustical features. Besides absorbing the unwanted sounds effectively, acoustic ceiling with appealing design enhances the appearance as well as adds value to the architecture of the building.

C

A

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B

D

Through the process of exploring different iterations using Kangaroo plugin, the final four most successful outcomes demonstrate the principles of designing an acoustic panel. These four iterations are very different from each other although the Grasshopper definition is the same. They are identified to be the four most successful outcomes because they are constructable besides acquiring the acoustical feature.

In outcome A and outcome B, they directly exhibit the attribute of being an acoustic panel. The great number of holes and the deep displacement depth can significantly help in noice reduction. The sound vibration will not directly reflected by the ceiling wall, but it will travel smoothly across the design. The greater amount of small holes will divert the sound vibration well, while the depth of the ceiling design slows down the sound vibration to the ceiling wall. The vibration is allowed to be absorbed by the acoustic ceiling panel.

In outcome C, the bending shown in the iteration is important to help the flow of sound vibrations. The smoother the surface is, the better the sound vibrations will travel. This will greatly help in the acoustical quality. In terms of constructability, outcome D expresses the idea. The mesh surface is extruded to an optimum scale factor, so it does not look too thick or too thin. As timber product is the only material to be used in the project, the buidability of the design has to fit the characteristics of timber materials, especially the bending capacity. The timber material performance must be taken into consideration when further developing a parametric design.

These four outcomes not only portray on the acoustical aspect, but also the visual impact. It draws on the psychological sense in people too, showing affections of mood, action and emotion. The knowlege required to extend the potential within design process is one of the advantages of parametric design. According to Woodbury, a powerful community can be produced within the design process with different disciplines which contribute to the design1.

1 Rivka Oxman and Robert Oxman, Theories Of The Digital In Architecture.

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B.3.

CASE

STUDY

2.0

Research Pavilion 2010• ICD/ITKE

Material behaviour compute form is the most important concept revolving around the Research Pavilion 2010. In this physical world, the shape and the form together with the external force and the internal force are considered interconnected. The force and the physical form are always interacting with one and another and influencing the manner they perform. Nevertheless, in the area of virtual design, the force involved in structure and the generation of form are treated as two different things.

Research Pavilion 2010 is a very good example to provide people insight on by what means the generation of form is associated to the force applied as well as how this concept is achieved by design computation.

This pavilion is constructed on the core of the most common material behaviour, which is the elastic bending. Birch plywood is used as the main material1. The strips of the pavilion are robotically manufactured planar elements. Subsequently, they are connected to each other in the way that the tensioned and the elastic bent areas alternate along the strips. This is to prevent the bending moment is concentrated at a single point of connection. The connection points between the neigboring strips are adapted to the changes along the strips. Thus, 80 different patterns of strips are resulted, and there are more than 500 unique parts used to build the structure. By adapting the bending properties of the material, the force is stocked in the bending region of every strips. This holds the pavilion structure into shape. At the same time, the structural stiffness and stability also increase.

The design and the construction process of Research Pavilion 2010 is a good reflection to show how the computational method aids designers and architects to accomplish the innovative result, thus allowing a wider range of design possibility. Starting from the initial stage, the prototype of the pavilion is designed using computational tool. The relevant data of material behaviours are integrated as parameter based on both computational and physical test.

1 “ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458>.

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8.

9.

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Reverse-Engineer

A curve line was drawn. The curvature of Research Pavilion 2010 was imitated at its best in drawing the curve line. The curve line was copied and then moved just next to the initial curve line.

Another curve line, which was different from the initial curve line, was drawn. Similar to the previous step, the curve line was copied and moved.

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Two different pairs of identical curve lines were lofted to create two different surfaces. The lofted surfaces represented the strips of Research Pavilion 2010.

An array of the initial set of lofted curve lines was created along a circle. This formed the basic shape of Research Pavilion 2010.

An array of the subsequent set of lofted curve lines was created. This was done to fill in the gap from the previous array. Now, the form produced imitated reasonably close to the real project.

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This simple Grasshopper definition shows how the form of Research Pavilion 2010 can be easily generated. The curvature of the pavilion is the most important aspect to be considered. Despite the fact that the curve lines are manually drawn in Rhino, the curvature of the lines are tweaked by converting the curve lines into polylines. This is to further enhance the curvature of the digital model, so it imitates the original project as close as possible. By reverse-engineering Research Pavilion 2010, Grasshopper, as a parametric tool plugin to Rhino, helps in the process in determining the curvature.

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Final Outcome

The final outcome resembles closely to the real built project. The main aspect of the form generated purely based on curvature is achieved. Moreover, volume underneath the architectural structure is driven from the final result. It was one of the characteristics of the real built structure. The idea of the rotating strip panels is created using an array of circular panels. Nevertheless, the form generated fails to deliver the relationship between the strips. Also, the connection between two strips is not notable from this derivation. In addition, the experience and the atmosphere that the original project creates fail to be delivered as well.

Therefore, an opportunity is given to explore in generating different patterns on the form. To develop the current technique of form-finding, the complexity and the pattern of the structure are being focused on. The study of construction method and material used can be further improved. The interaction of the structure with the visitors will be explored more. For instance, the way it may be tactile as well as how it generates psychological sense in the visitors will be looked at.

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B.4.

TECHNIQUE:

DEVELOPMENT

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Number of Strips

N=14

N=22

N=70

N=112

N=34

Depth

F=0.1

F=0.7

F=1.3

F=1.7

F=2.7

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Width

F=0.5

F=0.7

F=1.7

F=2.7

F=1.4

Density of Points

F=1

F=2

F=3

F=4

F=5

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Segments Geometry

N=5

N=7

N=20

N=27

N=17

Sphere

Plane

Circle

Delaunay Edges

Delaunay Mesh

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Smooth Mesh Radial

S=7

S=13

S=22

S=27

S=17

F=0.1

F=0.3

F=0.7

F=1.7

F=2.7

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Projected Force Extrusion

F=2

F=3

F=5

F=6

F=4

F=1

F=7

F=17

F=20

F=27

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Selection Criteria

As mentioned earlier before, the project intent is to design a ceiling installation that will be fitted in a room. The two most important selection criterias still remain unchanged, which are the acoustic function and the visual appeal. As interaction between users is relatively high in the room space, clear communication and high aesthetical value are extermely crucial aspects to be stressed on.

While performing the iterations, constructability and materiality are constantly the features that are being reviewed. These features affect the overall form of the structure as well as the stability as a whole.

Timber is still the material to be utilised and experimented on during the design process. Timber has long been linked with aging and bespoken approach to construction and craftsmanship. The thickness and the type of timbers directly infleunce the construction outcome. Hence, the material performance of every types of timbers has to be studied and researched, so that the design preconceptions can be made without really testing the real timber material.

C

A

CRITERIA DESIGN 61

B

D

ITERATION AThis complicated appearance can be viewed as one of the perfect solution for acoustic ceiling panel. The bending and the numbers of apertures shown in this iteration are good for noise reduction. The sound vibration will take a longer time to travel across the design, so that it will not be reflected directly, thus minimalise sound echo.

ITERATION BThis iteration is really interesting, because it looks like a pavilion. A pavilion-like ceiling design in a room is a very different approach of design thinking. The form seems fascinating and it resembles the nature, as its form appears to be organic.

ITERATION CDynamism and speed are shown in this iteration. It seems lightweight and modern. The spiralling effect in this iteration resembles the spiral galaxy, where it shows the notion of becoming. It becomes more and more concentrated towards the middle of the design. This may create optical illusion to the users, and they will remember the significance of the design. Hence, it improves the public image of the design.

ITERATION DThis iteration looks interesting, because it represents the shape which is similar to the petals of a flower. It stimulates an inviting experience that appears to welcome people. Besides that, this iteration provides gaps for the installation of lighting. The integration of lighting with the design may bring an intriguing end result.

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B.5.

TECHNIQUE:

PROTOTYPES

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Main Idea

The basis of the project is to create an interesting 3D surface by designing 2D patterns on a piece of timber material. The 2D patterns will be cut out later, and the piece of timber will be warped by exerting force from each side. The idea behind is that no joint will be used throughout the design process.

Aqua Tower• Studio Gang ArchitectsThe overall form of this project is pretty interesting. The wave-like forms are created by the balcony extrusions. This design got the inspiration from the striated limestone outcroppings, which are typical in Great Lakes area1. When looking at the form individually, it is just a curved platform. When they are put together, it appears to be a curved three dimensional surface. This unique feature is important to be investigated, so that the way the surfaces can be warped will be fully understood.

1 “Aqua Tower / Studio Gang Architects”, ArchDaily, 2009 <http://www.archdaily.com/42694/aqua-tower-studio-gang-architects>.

Research Pavilion 2010• ICD/ITKEThis pavilion is a typical example of an architectural structure that plays around the concept of material performance. This structure is completely based on the elastic conduct of birch plywood strips1. It is done by incorporating material behavioral attributes within parametric principles. This aids in studying the expansion, contraction and bending of a material.

Probotics• AA-DRLThis structure is created by an abstract device that utilises self-organisation to manufacture an adaptive species2. The form itself is really interesting to look at. In fact, this form created revolves around the main idea of the project. Therefore, the technique used to produce Probotics is crucial to be researched, and the same technique may be applied to the ongoing project.

1 “Str.Ucture – Research And Development –”, Str-ucture.com, 2016 <http://www.str-ucture.com/en/what/research-and-development/reference/research-pavilion-icditke-university-of-stuttgart-2010/>.2 “Probotics | AA DRL | Architecture And Urbanism March (DRL) – AA School”, Drl.aaschool.ac.uk, 2016 <http://drl.aaschool.ac.uk/portfolio/probotics/>.

11.

12.

10.

64 CRITERIA DESIGN

Since using a single surface to construct the ceiling is the main direction of the project, it is important to test out a few simple patterns manually by using card cutter, before sending out the real complicated design for laser cutting. Instead timber veneer products, a few cardboards is used for this initial process. The reason why the cardboards are chosen over the timber materials is that the flexibility of the cardboards are much higher than the timber materials, especially the thin one. This helps in observing the 3D patterns, as the cardboards can be pushed from every side without worrying that the cardboards will break into two pieces.

The first few try is not successful. The 3D pattern generated is in fact no different from each other. It is probably due to the lack of understanding on how can the 2D pattern transform into the 3D pattern. Thus, a different approach is being looked at, so the logic behind this type of patterning can be fully understood.

After many tests, the outcome is actually predictable, like what certain cuts would shape the final form. Thus, this is a good starting point to further develop the innovative ceiling design. In the sense of creating unexpected curves and bends, irregular and unique patterns are being played on.

CRITERIA DESIGN 65

This is a fail example. It fails not because of the pattern, but the material used. 3mm medium-density fibreboard (MDF) is used for this prototype. MDF is an engineered timber product made by crushing softwood or hardwood residuals into wood fibres. The pressure compressing the wood makes the MDF looks denser. This indicates that the flexibility of MDF is relatively weak compared to other timber materials, for instance, plywood. Since the MDF is not as flexible, the bending allowance must be really small. It will break into two parts when it reaches its maximum bending capacity.

As timber products are the main and the only materials to be used in the project, this prototype is useful to inform the design limitation. In fact, this prototype cannot really tell what interesting 3D pattern it will generate. Firstly, it is hard to be warped. Secondly, if it is warped too hard, cracks start showing up, and further warping will result in cracking.

In a nutshell, thicker and denser materials are impossible to inform design intent. Thus, material choice is a vital aspect to be researched on.

66 CRITERIA DESIGN

Rhino Model

CRITERIA DESIGN 67

This prototype is said to be the most successful one. The form generated is almost similar to the one shown in the rhino model besides informing the main idea of the design intent. The 3D surface produced shows a sense of hierarchy. The form is pretty interesting, and this 3D surface is actually generated from a plain repetitive 2D pattern. The 3D form is produced by exerting forces from both sides of the 2D surface. The notion of becoming is obvious in the form generated, where narrow becomes broad, short becomes tall. In terms of architectural design, the non-uniformity of the form brings the sense of flow. Viewing this form from different perspectives gives different kinds of emotions. It is kind of innovative design, which can be possibly further developed into a more attractive and functional ceiling panel design.

The material used for this prototype is polypropylene. It is a highly flexible material. The reason that this material is used over than timber products is to first test out the potential 3D form. If the form generated is almost indistinguishable from the expected outcome, timber materials can only be taken into consideration. The characteristics of each timber veneer products will also be researched. This is to figure out the optimum type of timbers that will suit the design.

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B.6.

TECHNIQUE:

PROPOSAL

CRITERIA DESIGN 69

Site Characteristics

The aim of the project is to design a ceiling installation in a room. The room is a 4000x6000mm space surrounded by three glass walls and one leather laced wall.

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CRITERIA DESIGN 71

This form of ceiling panel design is generated by fusing the developed version of iterations from the three precedents as mentioned earlier. The form generated indeed constitutes some of the traits from the precedents. Parametric design tools enable this from happening. This is done by investigating the reverse-engineered Grasshopper definitions. Then, the best part in each of the definitions is extracted, so they can be combined together to form a new definition. The curvature, the strips and the single surfaces of the precedents are significant in this form. The continuos form which extends from the ceiling to the floor is quite unique when compared to the ordinary ceiling design. This form is kind of innovative when fixing joints are totally ignored. This form consists of two different and seperate surfaces. The mechanism used to hold the first surface in place and in shape is the two opposite walls, while the mechanism used to hold the second surface is one of the walls and the floor. This design looks special with really high aesthetical value. It gives users a sense of welcoming, and the design might just leave a deep print in their mind.

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B.7. LEARNING OBJECTIVES AND OUTCOMES

In my opinion, working on Part B is really challenging, particularly when it comes to evolving a concept to a design proposal. Making the link between conceptual to physical is a very challenging task to accomplish. In fact, theory does not always relate well to practice, regardless of all the evaluation and analysis done throughout each stage.

With design computation, technology offers convenience and efficiency. Nevertheless, design computation may cause designers and architects to have a certain degree of dilemma on how to use the design computation technology in a more meaningful way rather than arbitrary manner. The process of developing Part B revolves around iterative design. Using parametrics in designing, it is easy to get agitated with computational technology and let automation override designers’ ingenuity. The digital age may remove the humanistic sense of design, thus weakening the relation between the designer, the tool and the outcome. Many iterations are produced in part B, but a handful of them could be regarded as arbitrary rather than explorative. This happens because of the ease of abandoning one design and carry on towards the next design by just manipulating the parameter. The initial focus of part B is that the use of design computational devices is a questionable approach to conceptualizing and ideation. The contrast of designing using parametric tools and designing by hand is great disparity in outcomes. For example, designing by hand via sketching enables the investigation of the problem space. Subsequently, a solution that satisfies the parameters in the space can be found.

Furthermore, designing with computational tools requires an innate and precise understanding of the connections present in a design. Due to the fact that the solution to an issue in a project brief is still in conceptual stage, these connections are not exceptionally clear. As a result, it is crucial to iterate promptly and tackle each step in abstractive way. Overally, the design process suffers in terms of quality that this sharp precision is not helpful at this point. This is particularly true when developing the reverse-engineered final outcome. It is initially hoped that all the 50 iterations would be extension to the previous iteration. However, the truth is that the iterations ended up culminating towards the finish to create a viable techinique to go forward.

It is especially hard to approach a project brief by paying attention to developing a technique first. After that, the technique is used to find a solution. It brings the feeling of being distracted and forced from generating a meaninful proposal and outcome. To remedy this, the data from the site is integrated into the computational script. On a final note, computational tools should be always considered in designing process, but not get carried away and making the computer complete all the work.

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B.8. APPENDIX - ALGORITHMIC SKETCHES

When seeing William Barak apartment for the first time, I do not understand how this can be done. Then, I came to know the component called “image sampling” in the process of learning Grasshopper. Trying to play around with the component, I figure out the form can actually be constructed in real life by extruding the form generated from “image sampling”.

This form is generated by using the Kangaroo plugin. Using physics to manipulate the parameter is a good form-finding approach. This form is generated by using the components “loads” and “forces”, and the outcome turns out to be a stimulating surface.

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REFERENCES

“Aqua Tower / Studio Gang Architects”, ArchDaily, 2009 <http://www.archdaily.com/42694/aqua-tower-studio-gang-architects>.

“Dragon Skin Pavilion / Emmi Keskisarja + Pekka Tynkkynen + Kristof Crolla (LEAD) And Sebastien Delagrange (LEAD)”, ArchDaily, 2012 <http://www.archdaily.com/215249/dragon-skin-pavilion-emmi-keskisarja-pekka-tynkkynen-lead>.

“ICD/ITKE Research Pavilion 2010 « Institute For Computational Design (ICD)”, Icd.uni-stuttgart.de, 2016 <http://icd.uni-stuttgart.de/?p=4458>.

Iwamoto, Lisa, Digital Fabrications (New York: Princeton Architectural Press, 2009).

Menges, Achim, “Achimmenges.Net - Achim Menges Design Research Architecture Product Design”, Achimmenges.net, 2016 <http://www.achimmenges.net/?p=5612>.

Menges, Achim, Material Computation (Hoboken, N.J.: Wiley, 2012).

Oxman, Rivka, and Robert Oxman, Theories Of The Digital In Architecture.

“Probotics | AA DRL | Architecture And Urbanism March (DRL) – AA School”, Drl.aaschool.ac.uk, 2016 <http://drl.aaschool.ac.uk/portfolio/probotics/>.

“Str.Ucture – Research And Development –”, Str-ucture.com, 2016 <http://www.str-ucture.com/en/what/research-and-development/reference/research-pavilion-icditke-university-of-stuttgart-2010/>.

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IMAGES

1. http://www10.aeccafe.com/blogs/arch-showcase/files/2012/03/DragonSkin-06.jpg

2. http://www.achimmenges.net/wp-content/gallery/frac_hygroskin_01_lowres/HygroSkin_1_21.jpg

3. http://images.adsttc.com/media/images/5005/ e76f/28ba/0d07/7900/21d2/large_jpg/stringio.jpg?1414042726

4. http://www.designboom.com/wp-content/uploads/2013/09/ hygroskin-kinetic-scultpure-by-ICD-designboom-07.jpg

5. http://payload.cargocollective.com/1/4/140786/1871783/P1190716_6_1040.jpg

6. http://3.bp.blogspot.com/_cCooFM-6-9A/S97fa6mzyUI/ AAAAAAAAAGo/sFv35sE7elw/s1600/voussoir_cloud_2.jpg

7. http://payload84.cargocollective.com/1/4/140786/3981577/ISAR%20DSC08370_4_1040.jpg

8. http://i.vimeocdn.com/video/406233481_1280x720.jpg

9. http://icd.uni-stuttgart.de/wp-content/gallery/icd_research_pavilion_2010/pavilion_image_17.jpg

10. https://upload.wikimedia.org/wikipedia/commons/c/cf/Aqua_Tower_Chicago.jpg

11. http://network.normallab.com/wp-content/uploads/2013/01/10_ResearchPavilion2010_008.jpg

12. https://s-media-cache-ak0.pinimg.com/736x/42/50/a5/4250a56c4e95df6ea87d0fa16bafa892.jpg

air studio part b

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