Air journal Part AA

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STUDIO AIR JOURNAL2015, SEMESTER 1, TUTOR: SONYA PARTONJASON VUONG

CONTENTS Introduction

Part A Conseptualisation

A.1/ Design Futuring

A.1.1/ Precedent study 1


A.2/ Computation design



A.3/ Generation and composition



A.4/ Conclusion

A.5/ Learning outcomes

A.6/ Algorithmic sketches

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4 CONCEPTUALISATION CONCEPTUALISATION 5

My name is Jason and I am a third year Bachelor of Environment student here in the University of Melbourne. I was born in Melbourne but grew up in Kuala Lumpur, at age 18 I decided to come back to Australia to pursue a higher education. I enjoy drawing, and watching TV , I support Arsenal and I love to fish.

Initially I had wanted to become a vet but realised I didn’t want to be a vet I just liked animals . I was also just starting to really enjoy illustrating and was introduce to the notion of being an architect through a family friend who had shown me a few hand drawn plans of his projects . The professionalism and detail on that piece of paper really stuck on me and i never looked back since.

Being a fan of the works of Louis Kahn and Tadao Ando my previous studio works showed strong linear aspect, that coupled with my lack of rhino and grasshopper skills and me being more comfortable with the more traditional methods of rendering has led me to be rather intimidated by this studio. However I am willing to experiment and broaden my knowledge a lot more with this semester.

INTRODUCTION

Through our ignorance and evolved self-centeredness as a race we have manage to overtake this planets ecosystem, plagued its air and water, yet billions wake up every morning to do nothing but contribute to the growing problems nudging the minute hand slowly but certainly to our expiration. No one a firmer believer in this than the author of ‘Design futuring : Sustainability, ethics and new practice’, Tony Fry.

In response to these actions Fry establishes the importance of recognising design as a solution to curbing the Earth’s declining health and how the majority of us design without a cause and our sights are too attached to the aesthetics of an object. He also states that we need to understand that we are no longer in the position to approach this growing issue with a purely biocentric mindset and sustaining the future of the matter beneath our feet

“Depends on ecologies of the artificial, mind and image as well as

the natural.”[1]

A.1 DESIGN FUTURING

FIG.1: (SHANGHAI AT NIGHT)

FIG.2: (PHOTOGRAPH TAKEN FROM WITHIN THE MEMORIAL)

A.1.1 PRECEDENT 1MEMORIAL TO THE MURDERED JEWS OF EUROPE

First conceived of by Architect Peter Eisenman and sculptor Richard Serra during the late 1980s and picked as winning design for a memorial dedicated to the victims of the Holocaust.[2] The project did not begin construction till early 2003 and was inaugurated almost 3 years later. Located in Germany the site takes up an area of 4.7 acre and sits between East and West Berlin, it is defined by a wavelike outline rendered by 2711 concrete modules. [3]

Being a memorial linked to one of the worst form of human conducts in history, the site slowly due to its permeability and location began to adapt and attract a consistent gradient of visitors and soon enough these features enabled a memorial park shrouded by its linkage to a past so sensitive to evolve into a structure which has accepted all forms of recreation ranging from official visitors to children succumbing to their curiosity.

After completion the site was pursued by criticism described as being too abstract and showing a lack of historical information behind the Holocaust even members of the Jewish community coming and stating the park to be ‘unnecessary’[4], yet on the other end of the spectrum other individuals state that the site “resembles a vast field of nameless tombstones and captures the horror of the Nazi death camps.”[5] Eisenman himself stated that he wanted the users to feel the ‘loss and disorientation that Jews felt during the holocaust.’[6]

In more ways than one this construction lack any innovation for sustainability in the ecological sense not so much because of it’s form (the idea abstractly demonstrate permeability to natural elements) but more so because of it’s function as a huge monumental memorial which primary function is to remind. However maybe there is such a concept as futuring in the social aspect, maybe it outlines the evolution of human understanding and acceptance to one another and sustains it, and hopefully it taboos indecent social behaviours and activities, which may or may not indirectly influence our thoughts on the planets sustainability.

FIG.3: (MEMORIAL) FIG.4: (VISITORS PAYING TRIBUTE TO THE MEMORIAL)


This temporary structure was Sou Fujimoto’s proposal to the Serpentine gallery invitational request, the structure is a collection of 20 mm white steel poles fixed perpendicularly to one another forming grid like pattern. The varied lengths of the poles coupled with their specific location renders a shape which takes on organic properties despite the linearity within itself.

The structure was build with the intent of being a cafe open to the public, and since then has attracted the attention of various passerby which either explore it with curiousity or use it as a social space. The formation of multileveled terrace is made possible with polycarbonate sheets which allows the user to explore the form 3 dimensionally and be shaded from rain and excessive sunlight, additional shading is also provided by polycarbonate disc.

A.1.2 PRECEDENT 2 SOU FUJIMOTO SERPENTINE GALLERY

‘IT IS A REALLY FUNDAMENTAL QUESTION HOW ARCHITECTURE IS DIFFERENT FROM NATURE, OR HOW ARCHITECTURE COULD BE PART OF NATURE, OR HOW THEY COULD BE MERGED... WHAT ARE THE BOUNDARIES BETWEEN NATURE AND ARTIFICIAL THINGS’ - SOU FUJIMOTO[7]

The intent Fujimoto had with this layout of condense grids which stems out into exposed pole members was to form a transparent formation which would permeate into the coexisting environment.[8] In his eyes the Kensington Library grounds was something valuable, a speck of green amongst the unfamiliar monotone and he wanted to capture as much of the elements as he could and also for the visitors to test and analyze what the site has to offer from within a structure.

This project has further instigated and led Fujimoto to be known for his ideology based around a structure’s permeability and the effect on it’s user and environment. Projects prior to the serpentine gallery such as the NA house shows this effect in a more commercial scale the increase of light input renders the use of artificial lighting during the day to null and the aesthetic lightness in contrast to its neighbouring concrete masses forms a very interesting but no doubt a visually appealing setting. In much of today’s urban settings the opportunity to do what Fujimoto had the chance to do is abundant, and the outcome potentially , a building with less material and greater light input would surely outperform its adjacent cousins. However the room for error greatly multiply with issue such as glare and overheating and we find ourselves once again trying to please our own generation at the cost of our livelihood.

His idea of steel pipes also brought back to memory about the discussion during tutorial brought up by Sonya about xylem as a form of biomimicry architecture. The idea of using the steel pipe with the same application as the xylem cells, a medium between an evaporating water source and the Yarra river seemed interesting.

FIG.5: (SOU FUJIMOTO’S SERPENTINE GALLERY AT NIGHT)



FIG.8: (a structural revit model of the formation a product of planning in rhino.)

In the past 10 years the advancement of computers in the architecture industry has grown exponentially, aiding in areas such as analytical thinking where we fall short and allow us a lot more convenience in this line of work. However during the majority of this time frame it was mainly used to aid the architect in digitally profiling and storing their ideas a process known as computerization. In contrast computation can define as the “use of a computer to process information through an understood model which can be expressed as an algorithm.”[9] This multiplies the designers skill set and are enables them to approach more complex problems furthermore the connection of algorithms in a computed design allows them to explore other ideas simultaneously. With the exposure to this new form of design, as Picon stated we can no longer look to the computer as a replication of what we are already capable of but as an extension to our knowledge.[10]

In addition to the design aspect of computation the incorporation of simulation tools such as BIM (building information modelling) allow the architect to analyse the building performances during the design process in different areas such as structural, material and even environmental factors. If so this would expedient in aiding the architectural industry create a better system in place revolved around sustaining a better future.

BIM According to Chuck Eastman BIM is the representation of building information which stored in a computer readable form allowing the building’s 3D form, spatial organisation, materials, parts and structures to be interpretable to a computer thus simplifying the design process.[11]

“THE COMPUTER IS THE OTHER OF THE HUMAN MIND, NOT ITS MIRROR.” -ANTOINE PICON[12]


A.2 DESIGN COMPUTATION & COMPUTERIZATION

FIG.9: (WORK BY RC4/ FILAMANTRICS.)

A.2.1 PRECEDENT 1: SOHO GALAXY ZAHA HADID ARCHITECTS / BEIJING, CHINA

A.3.2 PRECEDENT 2: CENTRE POMPIDOU-METZ SHIGERU BAN & JEAN DE GASTINES/ METZ, FRANCE

The Soho Galaxy was built as a multi-purpose complex consisting of four separate bodies flowing through to one another in the forms of bridges connected in a continuous flow. The courtyard centre of the four elements was inspired by traditional Chinese architecture to recreate an ‘internal world of continuous open space’.[13] The main body was constructed with concrete and insulated with 3mm thick aluminium, glass and stone materials while the interior comprises of glass, terrazzo, GRG, stainless steel and gypsum.[14]

During the past 2 weeks experimenting with grasshopper i could see how this building would not have been as successful in recreating this specific composition if computation was limited or out of the picture, each layer is split with similar effect as the contour and sectioning command in grasshopper and externally shown. The main bodies itself looks to be lofted with the levels connected to each other in a endless loop. Programs such as BIM were utilised shortening the design process and producing a more effective and sound end result.

However ever since its opening in 2012 this structure has been criticised by the locals for destroying heritage sites more specifically ‘hutongs’ and that its interpretation of a traditional Chinese courtyard maybe all too abstract to be understood and accepted by the locals. The Chinese local were also afraid of the site catalysing under heritage sites in the area to come under threat from developers.[15]

Opened in May 2010 the Centre Pompidou-Metz was designed as an exhibition centre for the arts and comprises of an auditorium, a studio,a resource centre, a restaurant, a cafe and a shop. The idea followed the Bilbao effect a trend which uses architectural work to increase the tourism of the area and decentralization especially important in Metz where the mining industry is declining.[16]

The main thing which stood out in this structure was the waved roof structure encapsulating a contrasting linear main body. The two part structure incorporating a timber mesh which stems off into columns which tapers slightly at the bottom. A second membrane comprised of white textile sheet manufactured in Tokyo forms the top layer, a hexagonal tower in the middle provides additional support. Timber was used for its recyclable and was woven into place instead of the use of metal joints to avoid added volume and complexity to the structure. The woven design through the intersection of six beams formed a hexagonal pattern.[17] The architect was initially inspired when working alongside Frei Otto and coming across one of his works (the Institute for Lightweight Structures and Conceptual Design) and decided to incorporate his style into his own architecture but chose laminated timber instead of metal wires for both its tensile and compressive properties. He worked on 5 major projects (such as the Atsushi Imai Memorial Gymnasium) for development before engaging the project in Metz.

The geometry of the subject was found with a ‘proprietary form-finding program’[18] and some sort of plug-ins to generate the beams formation.

FIG.15:(CENTRE POMPIDOU-METZ TIMBER MESH DIGITAL DRAWING)

FIG.14: (CENTRE POMPIDOU-METZ.)


FIG.10: (COURTYARD OF SOHO GALAXY AT NIGHT.)

FIG.11: (SOHO GALAXY AT NIGHT.)

FIG.12: (SOHO GALAXY STRUCTURAL DRAWING.)

FIG.13: (CENTRE POMPIDOU-METZ.)

A.3 GENERATION AND COMPOSITION

We have stepped into a period within this new era where not just professionals but people outside the field are starting to see the benefits of computation, like the time when classicism was overtaken by modernism we may now be witnessing the rise computational design. We cannot argue with logic, it is a system which has been tried and been effective, is recognised by the largest architectural firms in the world and is yet still relatively new and the population of a skilled workforce with high computation design experience is small relative to the rest of the industry so it unknown to us how far the full capabilities of design programs lay. Though computation main difference at first glance is the aesthetics of the output it is what’s in-putted that’s important, these new age designer aren’t just creators of detailed and complicated 3-D models ‘they distil the underlying logic of architecture and create new environment in which to explore designs and simulate performances’.[19] This not only makes the design process a lot shorter but also provide feedback to the user thus preventing mistakes earlier on and having a higher chance of succeeding real life application.

FIG.16: (RC4 WORK FILAMANTRICS.)


A.3.1 PRECEDENT 1: URBAN LOBBY MRGD ARCHITECTS

This precedent was a research project conducted by the MRGD as redevelopment of Centre Point office tower located in London. The aim was to combine infrastructure and architecture.[20] Its main aim is to improve the connectivity within the surrounding area and at the same time accelerate the movement within the atrium itself while having gathering areas in the midst of the circulation. In the section (fig.) you see the formation of levels and paths running through the structure like nerve cells each individual carrying information. The architects used the hair system’s algorithm, highlighted the primary tunnels which were structural and secondary lines that formed circulation paths.[21]

The idea though visually very interesting came under heavy criticism for lacking efficiency and it’s lack realism in terms of project budget. The odd angles and free flowing tunnels seems very unrealistic and potentially a large amount of wasted material and space. This would defeat the purpose of using computation as a mean of sustaining the planet resources if architects chooses to abuse parametric design to choose form over function.

A.3.2 PRECEDENT 2: VAULTED WILLOW MARC FORNES AND THEVERYMANY Borden Park, Edmonton, Canada

This piece by Marc Fornes was designed more as structural experimentation on lightweight, self supported shells ‘The project’s aim is to resolve and delineate structure, skin and ornamentation into a single unified system’ [22] as in to eliminate any need for a secondary support system. The shingles work together to form stiffness and are designed with parameters such as rest length, angle constraint, strength and so on, and also differ in types such as straighteners and tensioners so that when they are assembled in the right order they retain a rigidity in a certain geometries. In order to help increase connectivity and transfer loads stripes are located at the edge of the shingles, furthermore the holes increase in size the further up you go to allow additional light to permeate through.[23]

The project utilised structural form finding and descriptive geometry in the design process to conclude this design form. They also pre-tested the design structurally to test it under static and dynamic loading. [24]

The potential path for this architecture formation would be interesting if maybe it could incorporate larger shingles which in theory would allow a larger overall structure and used to replicate something like the Centre Pompidou-Metz but without all the secondary supports. If possible it would save a lot time during the construction and prefabrication and the amount of materials used would be minimised.

FIG.17: (URBAN LOBBY DIGITAL PERSPECTIVE.)

FIG.18: (URBAN LOBBY SECTION.)

FIG.20: ( END OF URBAN LOBBY MAIN BODY.) FIG.19: (URBAN LOBBY CONCEPT IDEA.)

FIG.21: (VAULTED WILLOW WHOLE SHOT.)

FIG.22: (VAULTED WILLOW CLOSE UP.)

FIG.23: (VAULTED WILLOW STRUCUTAL TEST.)

FIG.24: (VAULTED WILLOW STRUCUTAL TEST.)

CONCEPTUALISATION 17

A.4 CONCLUSION

A.5 LEARNING OUTCOMES At the beginning of this subject I had started with no concept about computation but have slowly grasp the idea surrounding it, and having a limited digital background to draw on I found the exercises tedious but enlightening, not only that but my comfort with architecture with strong linear aspects has made this process surprisingly exciting maybe due to the fact that it’s still so new to me. Hopefully my progress speeds up in the next few weeks as I get more comfortable with the digital.

ALGORITHMIC SKETCHES

Here the first two sketches I rendered on grasshopper I drew the curves on rhino first before i lofted them in grasshopper.With the coral to the right i played with the control points to try and render a more realistic surface.

This curves in this sketches was also done on Rhino and lofted in grasshopper. I was not able to loft the whole coral in one notion so I had to do each sub part separately and use the joint function to link them together.

This branch sketch was done on grasshopper I used the interpolate curve function to link the points and lofted the circles generated at each point which I got from the divide curve function. I put in this sketch because it was the first one done completely in grasshopper.

Here I manage to contour my sketch in the y direction using the brep and the contour function and a set distance of 0.033 between each contour. This will be a interesting way to fabricate a model.


Computation has the ability to achieve the inconceivable, the potential to change the way we live and curb the rapid consumption of the Earth’s resources but that is limited to the user and no matter how great a system is the chain of instruction always starts and passes through the human mind and there is always the chance of corrupting this command for the personal rewards be it money or fame. However i do believe with the newer generation of designer being surrounded from an early age on the global warming issues coupled with the capabilities of computation that we have the potential to reverse the effect of our actions.

Like I spoke about in my part A.1.2Precedent the Serpentine Gallery by Sou Fujimoto I want to investigate the path water molecules take during osmosis when it travels up the xylem cell and see if this is can be applied artificially using micro tubes and be used in water filtration seeing as the site Merri creek revolves around the Yarra. If this does not seem plausible I might experiment using pumps activated by human weight to suck water from the Yarra through a filtration system and back into the Yarra. This I hope would improve the water quality in certain areas benefiting the fauna and flora of the area.

REFERENCESIMAGESfig.1- NASA ‘Shanghai At Night: A Growing City’, 2012 (http://earthobservatory.nasa.gov/IOTD/view.php?id=77658). [accessed 07 March 2015]

fig.2- Eva Spirova ‘The Holocaust memorial’, 2013 (https://berlindividedcity.wordpress.com/2013/03/06/the-holocaust-memorial/). [accessed 07 March 2015]

fig.3- Andy S ‘Reapportionment and Randomninity of 3D Cartesian Coordinate System’, 2009 (http://architecture2-0.blogspot.com.au/2009/12/reapportionment-and-randomninity-of-3d.html) [accessed 07 March 2015]

fig.4- Britannica ‘Memorial to the Murdered Jews of Europe’, -- (http://www.britannica.com/EBchecked/topic/1103009/Memorial-to-the-Murdered-Jews-of-Europe) [accessed 07 March 2015]

fig.5- United Visual Artist ‘Serpentine Pavilion Intervention’, 2013 (https://united-visual-artists.s3.amazonaws.com/uploads/e775a4d3-4519-4558-9e39-da850abe0fd6/Serpentine-2_full.jpg) [accessed 07 March 2015]

fig.6- United Visual Artist ‘Serpentine Pavilion Intervention’, 2013 (https://united-visual-artists.s3.amazonaws.com/uploads/c70e593a-c207-41a1-b312-bff90a051fb1/Serpentine-5_large.jpg) [accessed 07 March 2015]

fig.7- United Visual Artist ‘Serpentine Pavilion Intervention’, 2013 (https://united-visual-artists.s3.amazonaws.com/uploads/b92f990b-4813-4ddf-a1cd-8a5cdeffc518/Serpentine_large.jpg) [accessed 07 March 2015]

fig.8- Nemetschek ‘Serpentine Gallery Pavilion 2013’, 2013 (http://nemetschek-scia.com/en/company/references/projects/serpentine-gallery-pavilion-2013-london-united-kingdom) [acessed 07 March 2015]

fig.9- GAD – RC4 ‘Computational design methodologies for large-scale 3D printing’, 2014 (http://www.creativeapplications.net/environment/gad-rc4-computational-design-methodologies-for-large-scale-3d-printing/#jp-carousel-45245) [accessed 13 March 2015]

fig.10- Iwan Baan ‘Galaxy Soho / Zaha Hadid Architects’, 2012 (http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/508ee07a28ba0d7fde000005_galaxy-soho-zaha-hadid-architects_galaxy_soho_zha_12-10_6462-jpg/) [accessed 13 March 2015]

fig.11- Iwan Baan ‘Galaxy Soho / Zaha Hadid Architects’, 2012 (http://www.archdaily.com/287571/galaxy-soho-zaha-hadid-architects/508ee04f28ba0d7fe4000003_galaxy-soho-zaha-hadid-architects_galaxy_soho_zha_12-10_6481-jpg/) [accessed 13 March 2015]

fig.12- L os Angeles Design Technology Forum ‘ Constructing Parametic Architecture’, 2010 (http://www.ladesigntech.org/images/20100422_08.jpg) [accessed 13 March 2015]

fig.13- Inno Architecture ‘The Centre Pompidou-Metz’ ,2012 (https://innoarchitecture.wordpress.com/2012/06/29/the-centre-pompidou-metz/) [accessed 13 March 2015]

fig.14- Shiguru Ban Architects ‘Centre Pompidou-Metz’, 2010 (http://www.shigerubanarchitects.com/works/2010_centre-pompidou-metz/CPM337.jpg) [accessed 13 March 2015]

fig.15- Live Journal ‘Centre Pompidou Metz by Shigeru Ban’, 2012 (http://ic.pics.livejournal.com/alternative11/13954746/49525/49525_600.jpg) [accessed 13 March 2015]

fig.16- GAD – RC4 ‘Computational design methodologies for large-scale 3D printing’, 2014 (http://www.creativeapplications.net/environment/gad-rc4-computational-design-methodologies-for-large-scale-3d-printing/#jp-carousel-45241) [accessed 13 March 2015]

fig.17- De Zeen ‘Urban Lobby by MRGD architects’,2007 (http://static.dezeen.com/uploads/2007/11/06sq.jpg) [accessed 17 March 2015]

fig.18- De Zeen ‘Urban Lobby by MRGD architects’,2007 (http://static.dezeen.com/uploads/2007/10/05.jpg) [accessed 17 March 2015]

fig.19-De Zeen ‘Urban Lobby by MRGD architects’,2007 (http://static.dezeen.com/uploads/2007/10/03.jpg) [accessed 17 March 2015]

fig.20-De Zeen ‘Urban Lobby by MRGD architects’,2007 (http://static.dezeen.com/uploads/2007/10/07.jpg) [accessed 17 March 2015]

fig.21- Marc Fornes & THEVERYMANY ‘Vaulted Willow’, 2014 (https://theverymany.files.wordpress.com/2011/12/img_6299_ps_fornes_s.jpg?w=500&h=333) [accessed 17 March 2015]

fig.22- Marc Fornes & THEVERYMANY ‘Vaulted Willow’, 2014 (https://theverymany.files.wordpress.com/2011/12/img_6221_ps_fornes_s.jpg?w=500&h=750) [accessed 17 March 2015]

fig.23- Marc Fornes & THEVERYMANY ‘Vaulted Willow’, 2014 (https://theverymany.files.wordpress.com/2011/12/130904_edm_engineer_01_fornes_s.jpg?w=500&h=375) [accessed 17 March 2015]

fig.24-Marc Fornes & THEVERYMANY ‘Vaulted Willow’, 2014 (https://theverymany.files.wordpress.com/2011/12/130904_edm_engineer_02_fornes_s.jpg?w=500&h=375) [accessed 17 March 2015]

REFERENCES

[1] Tony Fry, Design Futuring: Sustainability, Ethics and New Practice, English edn (New York: Berg, 2009), p. 10.

[2] Shawn Partin, Normative Theory: A Look at “The Memorial to the Murdered Jews in Europe” (2014) <http://www.asla.org/ppn/Article.aspx?id=27464> [accessed 7 March 2015].

[3] I Lomholt , Holocaust Memorial Berlin (2015) <http://www.e-architect.co.uk/berlin/holocaust-memorial> [accessed 7 March 2015].

[4] , Memorial to the Murdered Jews of Europe (2015) <http://controversies.msa.ac.uk/blogs/memorialberlin/02-first-presentation-of-the-extent-of-dissent/> [accessed 7 March 2015].

[5] Jackie Craven, The Berlin Holocaust Memorial, Memorial to the Murdered Jews of Europe (2015) <http://architecture.about.com/od/greatbuildings/ss/holocaust.htm#step-heading> [accessed 7 March 2015].

[6] Jackie Craven, The Berlin Holocaust Memorial, Memorial to the Murdered Jews of Europe (2015) <http://architecture.about.com/od/greatbuildings/ss/holocaust_4.htm#step-heading> [accessed 7 March 2015].

[7] Serpentine Gallery, The cloud pavillion (2013) <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 7 March 2015].

[8] Ashleigh Davis, “I tried to create something melting into the green”- Sou fujimoto (2015) <http://www.dezeen.com/2013/09/29/i-tried-to-create-something-

between-architecture-and-nature-sou-fujimoto-on-serpentine-gallery-pavilion-2013/> [accessed 7 March 2015]

[9] Peter Brady and Xavier De Kestelier, ‘Computation Works: The Building of Algorithmic Thought’, 2nd edn (architectural design, 2013), p. 10.

[10] Kostas Terzidis, Algorithmic Architecture (Oxford: Architectural, 2006) foreword p.xii

[11] Oliver Hester, Is BIM the future of the UKʼs Architectural practices? (2012) <https://oliverhester.files.wordpress.com/2012/04/oliver-hester-final.pdf> [accessed 13 March 2015].

[12] Kostas Terzidis, Algorithmic Architecture (Oxford: Architectural, 2006) foreword p.xii

[13] Zaha Hadid Architects , Galaxy Soho (2015) <http://www.zaha-hadid.com/architecture/galaxy-soho/> [accessed 13 March 2015].

[14] Designbuild, Galaxy Soho Complex, Chaoyangmen, Beijing, China (2015) <http://www.designbuild-network.com/projects/galaxy-soho-complex-beijing-china/> [accessed 13 March 2015].

[15] Rose Etherington, Chinese heritage group “offended” by Zaha Hadid’s RIBA Award for Galaxy Soho (2013) <http://www.dezeen.com/2013/08/03/zaha-hadid-galaxy-soho-riba-award-lubetkin-prize-chinese-heritage/> [accessed 13 March 2015].

[16] Will Hunter, Centre Pompidou-Metz by Shigeru Ban Architects & Jean de Gastines Architectes, France (2014) <http://www.architectural-review.com/buildings/centre-

pompidou-metz-by-shigeru-ban-architects-and-jean-de-gastines-architectes-france/8600443.article> [accessed 13 March 2015].

[17] Arch Daily, Centre Pompidou-Metz / Shigeru Ban Architects (2014) <http://www.archdaily.com/490141/centre-pompidou-metz-shigeru-ban-architects/> [accessed 13 March 2015].

[18] Rose Etherington, Centre Pompidou-Metz by Shigeru Ban (2010) <http://www.dezeen.com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/> [accessed 13 March 2015].

[19] Peter Brady and Xavier De Kestelier, ‘Computation Works: The Building of Algorithmic Thought’, 2nd edn (architectural design, 2013), p. 15

[20-21] Rose Etherington, Urban Lobby by MRGD architects (2007) <http://www.dezeen.com/2007/11/01/urban-lobby-by-mrgd-architects/> [accessed 18 March 2015].

[22-24] Marc Fornes, Vaulted Willow (2014) <http://theverymany.com/> [accessed 18 March 2015].

20 CONCEPTUALISATION

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