STUDIO AIRABPL30048 // ARCHITECTURE DESIGN STUDIO : AIRSEMESTER 2 // 2014NADIA PUTRI

DESIGN JOURNAL

STUDIO AIRSTUDIO AIRABPL30048 // ARCHITECTURE DESIGN STUDIO : AIRSEMESTER 2 // 2014NADIA PUTRI // 565084TUTOR : FINNIAN WARNOCK

DESIGN JOURNAL

STUDIO AIRABPL30048 // ARCHITECTURE DESIGN STUDIO : AIRSEMESTER 2 // 2014NADIA PUTRI // 565084TUTOR : FINNIAN WARNOCK

DESIGN JOURNAL

CONTENTS

PART A CONCEPTUALISATION

6-7 INTRODUCTION8-9 CONCEPTUALISATION 10-11 A1.0 DESIGN FUTURING12-13 A1.1 HYGROSCOPE14-15 A1.2 CENTRE POMPIDOU-METZ16-17 A2.0 DESIGN COMPUTATION18-19 A2.1 LOUIS-VUITTON POP-UP STORE20-21 A2.2 BESANÇON ART CENTRE AND CITÉ DE LA MUSIQUE22-23 COMPOSITION/GENERATION24-25 ICD/ITKE RESEARCH PAVILION (2010)26-27 SMITHSONIAN’S ROOF28 CONCLUSION29 LEARNING OUTCOMES30-31 APPENDIX : ALGORITHMIC SKETCHES32-33 REFERENCE LIST

666

INTRODUCTION

NADIA PUTRIBACHELOR OF ENVIRONMENTS // UNIVERSITY OF MELBOURNE3RD YEAR ARCHITECTURE STUDENT

When I was young, I like to read books, in particular the field of literature, from Alice in Wonderland to Robert Frost's poems. I also like to arrange my toys and things in an orderly manner. I like to

run, cycle, laugh and have fun.

Why do I say all these things? It is because these make up the daily routine that make me as I am today. Hence I start to ponder;

"How do people think of these things?"

From ideas to the written book, from thinking to the pragmatic.

There is no answer to that, only that I discover ideas are needed in this world for variety and for exploration, as well as future

enhancements.

How do people, or I achieve that? It is a question of creativity, in which is not free. I have always wanted to explore different things without being afraid of discovering them, similar to the concept of

Schrodinger's Cat.

Because the result of discovery is not necessarily a good one, however if it enhances experience, expands my knowledge and provides the potential to learn, I will be more motivated to do so.

I have always been looking for ways to explore creativity in my mind, in which I found the answer, and in which I hold this

principle tightly in my life;

Creativity is not an eureka moment, but it is a moment in which you discover an idea as a result of an accumulation of information,

ideas, knowledge and experience.

I hope through this subject, it allows me to do just that; to expand my creative thinking in terms of design and technical skills to

realise the potential of design exploration.

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“creativity is intelligence having fun.”

albert einstein

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CONCEPTUALISATIONPART A.

CONCEPTUALISATIONPART A.PART A.

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DESIGN FUTURINGA1.0

Design in itself is able to impact the world globally; deciding on the future of cities and the population . However, the world is facing an environmental crisis, eventually leading to the ecology endangered for the future generations. How then should we act in accordance to this matter?1

People assume that design is unable to change anything as humans have committed extensive damage to the environment, with nations wanting to be more and more economically progressive, hence resulting in further destruction of forests and other important ecological systems2.

The brief of LAGI is attempting to address this problem of designing a project that can aid in promoting sustainability. This project is to be integrated not only to be sustainable, but also by incorporating art and creative thinking to possibly create renewable energy through the design3 .

The purpose of the brief is also to encourage not only designers and architects, but also engineers, scientists, as well as landscape architects to produce a design that responds to this 21st century energy challenge while also coming up with aesthetics and pragmatic solutions towards the design4.

The importance of sustainability in the current environmental context is inevitable as to ensure the future is also sustained, as nature plays a crucial part in providing a better place to live for future generations.

“In this situation, design either goes on becoming trivialized,

technocratic, invisible and elemental to the unsustainable,

or it becomes a pathfi nding means to

sustain action countering the unsustainable while also creating

far more viable futures.“

Tony Fry, Design Futuring: Sustainability, Ethics and New Practice

DESIGNING FOR SUSTAINABILITYBRIEF: LAND ART GENERATOR INITATIVE (LAGI)COPENHAGEN, DENMARK

Deforestation is one of the leading causes of unsustainability. This impacts wildlife, which then will affect the ecology and ultimately the future

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HYGROSCOPE A1.1

HYGROSCOPE : METEREOSENSITIVE TECHNOLOGYACHIM MENGES // IN COLLABORATION WITH STEFFEN REICHERTPOMPIDOU CENTRE, PARIS // 2012

The wooden panels fabricated with exact precision of the thickness and width, hence enhancing efficiency ; this is difficult to achieve if one is merely using traditional documentation and fabrication methods in 2D. The use of parametric modelling is used to create innovative design that can be a platform for future development of digital modelling, in terms of efficiency and effectiveness through careful mathematical calculations.

This project introduces the technology in which may aid future energy production without having the use of machines or any other equipment to control its productivity; hence it is self-sufficient. The use of material is also creatively crafted to utilise what seems to be timber's drawback of contraction and expansion into something useful.

Figure 1. Morphogenetic Design Experiment Permanent Collection, the appearance of the closing panels

Achim Menges with Steffen Reichert created a novel project called 'Responsive Architecture'. This project explores material instability of food with its associated moisture content to create a climate-responsive architectural morphology. The model is suspended within a humidity controlled glass case as the model contracts and expands in response to climate change, hence there is no need for any other equipment; the model itself is the 'machine'5.

The responsive capacity is based on the material's inherent behaviour (hygroscopic) and anisotropic characteristics. Anisotropy refer to a material's characteristic in regard to direction. In this case, the wood's grain direction6. This reflects on the notion of nature in itself being complex and structured at the same time. Nature changes through a set of principles that it goes with, thus the order.

This project contrasts with existing parametric modelling and design, in which the design is normally stagnant. However, since it is climate-responsive, the material itself is engineered to react according to the set of rules set in the computational software.

The aim of parametric design is, in addition to efficiency, is the ability to foresee future problems as the software has identified the problems or errors in the first place. This quickens the design and construction process of the model. However, can this be used to produce energy, in this case, from responding to the climate to producing energy that is renewable. Ecological design is also said to be improved by 3D design, in which better planning can be done.

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Figure 2. The opening up of the timber panels in response to climate change with moisture content

Figure 3. The close-up of the panel movement; each responding individually to the climate. From the left, the panels are slightly open and expand even more as seen on the right

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CENTRE POMPIDOU-METZA1.2

SHIGERU BAN ARCHITECTS and JEAN DE GASTINESMETZ, FRANCE // 2010

Shigeru Ban with Jean de Gastines used parametric modelling to achieve seamlessness between the exterior and interior of the Centre Pompidou-Metz. The roof is made from laminated wood in a hexagonal woven pattern that is formed according to the composition of a Chinese bamboo-woven hat. The vast timber roof is covered in a Teflon-coated fiberglass membrane and allows natural light to filter into the interior. The main galleries consist of a series of 90mx15m cantilevering rectilinear tubes that float above the ground, and their glass window ends point in the direction of the cathedral and other monuments of the city7.

For the timber roof structure, it took ten months to prepare and four months to install the timber mesh, which comprises 18 kilometres of glue-laminated timber beams. 95% of the roof timbers are made from Austrian or Swiss spruce; with mixtures of beech and larch. Every single beam was CNC-machined to unique proportions. This enabled both the production of multi- directional curves and the perforations for the final assembly (node points, pins and braces). Timber is chosen as it is an inexhaustible and easily recycled material8.

The concept of the hexagon is effective in connecting the beams which allow for maximum tensility that is needed for the roof. Also, the use of bolts for the joints allow for expansion of the beams to cope for movement as a precautionary step despite being protected by the fiberglass membrane.

The evolutionary concept of this project is the combination of parametric design which combines the notion of sustainability by using easily recycled materials, in this case timber. The efficiency of parametric design is applied through the use of interconnected beams to create a seemingly expanding roof that caters to the function of the building as a Museum, and that is to make as much space for the artworks.

The use of parametric modelling is effectively used in the context for maximum efficiency, space and a distinctive kind of aesthetics that is only evident in digital design. The ability to produce complex design through timber panelling utilises wood's properties in terms of it's tensile and compressive characteristics.

Figure 4. The vast roof make room for its various functions of the Museum, hence using parametric modelling can create continuity of the roof itself and precision of the fabrication is essential in connnecting the beams

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Figure 5. The intertwining hexagonal timber beams that show the complexity of the roof that creates the notion of lightness and efficiency

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DESIGN COMPUTATIONA2.0

Design computation has become increasingly important in recent years as to create a different type of form generation. Beyond only being a design technology, parametric design is a novel type of logical digital design thinking. This type of design concentrates on the logical relationship and dependency between object and their counter-part relationships. Formation precedes form, and design becomes the result of the generative process through the logic of algorithm9.

The use of computational design also aid in maximising efficiency in production and communication between the architect and the engineer. An example would be the Swiss Re Building Headquarters by Norman Foster and Arup, hence maximising results as the building is being built through performance simulation software10..

Although it is not a rational process, the synthesis of design solutions benefits from familiarity with precedents, metaphors, reflective drawings, as well as formal knowledge of rules of formation and style. It can be induced by searching through solutions that adhere to the specifications in a technical manner11.. The use of parametric design plays an important part in this process, as it acknowledges the set of rules and logic that the designer is able to set for his or her own design. Thus, it makes it easier for designers to efficiently repeat the same logic through similar algorithms that have been developed for their design.

The intention of parametric design allows the repetition and also individulisation of different components of the design made easier and efficient. This encourages designers, architects and other disciplines to consider computational methods for means of efficiency, convenience and to adapt to the current technological advancements.

“Parametric design as a facility for the control of topological

relationships enables the creation and modulation of the differentiation of the elements

of a design.”

Oxman and Oxman, Theories of the Digital in Architecture

Foster and Associates Swiss Re Building; how computational design aid in enhancing effi ciency in the design and construction process

DIGITAL DESIGN THROUGH PARAMETRIC MODELLING

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LOUIS-VUITTON POP-UPA2.1

MARC FORNES // THEVERYMANY with YAYOI KUSAMASELFRIDGES, LONDON // 2012

the Louis Vuitton pop-up store uses carbon fibre in its entirety so it is able to be self-supported through its composite structure. This creates a light and stiff form in terms of material. The use of parametric modelling plays an important part as the geometric strategy uses compound curvature made from developable stripes of various kinds of costs, with a high performing material-systems (ie: high surface finish, intensive labor, complex molds typical to aeronautics and racing boats).

The result is a very lightweight pleated shell structure made of three types of 'V' units: a standard profile radially distributed, an elongated profile placed pseudo-randomly to blur a repetitive logic and a special flat profile to smooth the pleats across the large main entrance arches.

Every unit is composed out of two ruled surfaces that can be unrolled, nested then water-jet cut into custom pre-finished carbon-fiber sheets produced through vacuum-infusion on large, flat, marble-like formwork. The slices and units are bonded together into macro-parts using ready-made carbon-fiber-straps and temporary foam scaffolding.

The pop up store is the world's first fully carbon-fiber self-supported shell applied to architecture and therefore an important milestone toward larger, economically-sustainable carbon-fiber architectural structures12.

The use of parametric modelling allows the geometry to be formed in a way that it allows carbon-fibre straps for the joints for the structure instead of traditional methods (eg. bolts or welding). This ensures seamlessness in continuity of the structure that eventually affects aesthetics as well.

The use of material is significant in the construction of the pop-up store, as since carbon-fibre is strong, light and malleable, hence the pleated shell form can be achieved. Perforations of circles are also able to be inserted to show Kusama's distinctive style while maintaining the project's structural integrity.The use of tesselations to produce these panels proves how parametric modelling is able to generate repetitive yet a dynamic form through the innovative use of carbon-fibre.

Figure 6. The pleated shell has seamless joints due to the use of carbon-fibre components.

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Figure 7. The efficient structure is able to support the extended suspended geometries to fit the light through the use of material and digital planning.

Figure 8. The exploration of the most efficient form for the pop-up store to maximise output

Figure 9. The panelling of perforations for the shell that is extended for continuity

BESANÇON ART CENTRE AND CITÉ DE LA MUSIQUE

A2.2

KENGO KUMA and ASSOCIATESBESANÇON, FRANCE // 2013

Called the Cité des Arts, the centre consists of the Besançon Art Centre, which includes a gallery for regional collections and an art college, and the Cité de la Musique, a music school with its own auditorium13.

The centre uses solar panels and sedum roof panels to promote sustainability to users and the surrounding environment, in which there is a river beside the centre itself. This corresponds to the section of the LAGI brief in whch it is stated to incorporate sustainable methods and techniques that are able to produce clean energy .

The roof connects the building and its environment and makes the project blatant. Semi-transparent, the roof symbolises the fusion between built and not-built and act as camouflage when people discover it from the Citadelle which is height overlooking. It is able to attract people to come and seek protection under the roof, hence creating an encounter between the public and the environment through the centre14.

This idea of connecting the environment and the building is one of the main principles of Japanese architecture, in which the environment should be framed for nature's beauty is prominent in our surroundings. This is brought vividly by Kengo Kuma from the checkered facade of the building. The use of parametric modelling should also promote cultural principles if possible, as shown in this building.

The structure below the roof has the two functions that are identifiable by subtle variations in the patterns of the façade made from by wood panels and steel panels. The pattern dimensions are for the FRAC: 5000 X 2500 Horizontal while for the CRR 1625 X half floor height vertically15.

The notion of aggregation is evident in this project in which the checkered panels are repeated over and over, to form this idea of framing the views (timber panels) and structural stability (steel panels). This use of materials is efficient and effective in combining structure and facade into one, in which enhances the concept of sustainability as well. The use of parametric design is used in terms of making the process of creating this process of aggregation quicker in terms of design, formation and construction in reality.

Figure 10. The wooden panels that frame the view which resembles Japanese architecture

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Figure 11. The undulating roof with different sized timber and steel panels to maximise light penetration yet providing shading for the users

Figure 12. The music auditorium in which the panels are mostly closed; this corresponds to the function of the room acoustically

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COMPOSITION/GENERATIONA.3.0

Architects are now experimenting with computational simulation systems in regard to tectonics, material and algorithm exploration. This is to provide more design opportunities in terms of iterations and the possibility of producing forms that are not expected in the first place, adding to the design opportunities. Using computational methods, architecture that connects the building to the public is able to be simulated, predicted and modelled with accuracy and precision16 .

Computation also acts as an integrated art form in terms of creating new environments in which architects can explore new design possibilities and to simulate performance. Computational software is also able to provide performance feedback from the input of the project's complexity in terms of form and constructability17.

Parametric modelling promotes bottom-up design generation, in which formation precedes form. On one side, it is beneficial as the process of creating the form creates many possibilities in which the design can be explored. However, with this type of generative design, the designer's vision of the building or sculpture or pavilion cannot be realised due to the constraints and nature of parametric modelling in itself in which the principle is embedded into this type of system.

We need to look at parametric modelling as not an architectural style, but instead despite its limitation of design formation, it is still more precise and efficient in terms of producing the design and construting if compared to traditional methods of building.

Doris Sung’s ‘Bloom’ that consists of 14,000 biometals that are environmentally responsive that expand and contract with temperature change

DIGITAL DESIGN THROUGH PARAMETRIC MODELLING

“Computation makes possible not only the simulation

and communication of the constructional aspects of a

building, but also the experience and the creation of meaning.”

Brady Peters, Computation Works: The Building of Algorithmic Thought

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ICD/ITKE RESEARCH PAVILIONA3.1

UNIVERSITY OF STUTTGART // ACHIM MENGES and JAN KNIPPERSSTUTTGART, GERMANY // 2010

This temporary research pavilion acts as a platform for the latest demonstration in regard to material-oriented computational design and development. The result is a bending-active structure that is composed of extremely thin plywood strips18.

Material computation can be considered as a result from a system of internal and external pressures and constraints. Its form is determined by these pressures. However, in architecture, digital design processes are rarely able to reflect these intricate relations. Whereas in reality, material of the outer structure is always inseparably connected to external forces, The virtual processes of computational design form and force are usually treated as separate entities, as they are divided into processes of geometric form generation and subsequent simulation based on particular material characteristics19.

Material plays an important part of the process, in this case timber is used due to its tensile properties in resisting loads. The use of digital computation allows precise calculations to be made based on producing and eliminating points or components that are redundant.

Hence, the use of computational technology to create design based on digital processes and not the physical form is a new way of conveying physical geometry and enhancing efficiency as well as promoting sustainable energy production.

Nonetheless, the focus on process and not form does not give a concrete idea of how the design will turn out, and this may reduce the distinctiveness of the architect as the designer, in which the design will enter into the world of parametricism.

The result of this is reduction of creativity in terms of design as parametric design consists of similar panels being used for similar processes, hence limiting the design outcome despite various possibilities that computational design may provide.

In this research pavilion, the use of parametric modelling is maximised as to create a dynamic form by reducing the number of points on each plywood strip that only the most important points to resist loads are kept to ensure there is no waste in fabricating these panels.

This corresponds to the brief of the LAGI competition in which is to encourage maximum effiency to achieve effectiveness in order to provide a public yet sustainable production of space through material performance.

Figure 13. The precise jointing of different intertwining panels to ensure structural stability to the pavilion

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Figure 14. The maximisation of tensile stresses of the timber panels creates a dynamic form that merges with the colour of gradient brown

Figure 15. To prevent local points of concentrated bending moments, the placement of the connection points between strips needs to change along the structure, resulting in 80 different strip patterns constructed from more than 500 geometrically unique componenents

Figure 16. The stored energy from elastic bending and the morphological differentiation of the joint locations enables a very lightweight system. The entire structure, with a diameter of more than twelve meters, can be constructed using only 6.5 millimeter thin birch plywood sheets.

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SMITHSONIAN’S ROOFA3.2

FOSTER AND PARTNERS WASHINGTON DC, USA // 2004-2007

Designed to do 'the most with the least', the dynamic form, fully glazed roof canopy complies with structural and environmental concepts for the roof20.

The entire roof geometry is designed by digital system. The programme created various detailed roof components and each component is unique and adapt differently to each other in regard to responding to environmental and local conditions (eg weather). The final version of the generating code was 5000 lines in length and had 57 parameters some were numeric values and others switches controlling options. Using only the set-out geometry as input, the digital system produced estimatedly 120,000 elements in about 15 seconds. 415 models were generated over six months21.

Scripting as a mode of designing geometry for a system provides many advantages, including the predicted outcome of the design from 3D to the real world. The analysis of structural, aesthetics, environmental and acoustic development can be easily tracked. This ensures that the process from design, fabrication to construction is made as efficiently as possible and hence reduces costs as well in the long-run.

However, a range of consultants are needed to assess the competency of the structure and the particular fabrication system that is designed by the computational programme. Initial costs may be more prominent compared to the efficiency and effectiveness of the design.

With the design that relies dependently on parametric modelling, the resiliency if the programme fails is much less despite the efficiency it provides. Compared to design that uses non-parametric design typology, the options for repair and maintenance can be more spread out. An example would be if the material that is set for construction is too thin and its stresses maximised, it might have the tendency to go over the designated stress loads due to wind or any form of lateral and live loads. Hence, if the system fails under unexpected circumstances, the replacement for the particular panel will be very limited and also costly to produce if it is vital to replace the particular component.

Through the study of this roof, it provides an understanding on how to correspond to the LAGI brief in terms of combining aesthetic, structural and sustainable measures (solar) by using parametric modelling as a means to achieve such brief.

Figure 17. The double-glazed panels are set within a diagrid of fi ns, clad in acoustic material, which together form a rigid shell that needs to be supported by only eight columns.

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Figure 18. Structurally, the roof is composed of three interconnected vaults that fl ow into one another through softly curved valleys.

Figure 19. Three surfaces, column markers, and a computer script control the entire roof geometry which is undulating

Figure 20. Scripting allowed for the independent development of roof confi guration and individual component strategies as seen in the individual repetition of panels below

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CONCLUSION

The concept of design futuring is vital to sustain the world in terms of

environmental needs. Hence, the use of parametric design is used more

and more in the current generation, whereby it provides efficiency and

effectiveness in generating designs. Parametric modelling is becoming

more significant, as it is able to use less materials to produce forms and

structures that are able to generate renewable energy through advanced

technology. The LAGI brief provides an opportunity for designers to

explore the idea of sustainability and to incorporate it in their thinking

and application in their design process. Hence, the use of computational

system works best if used in a right and orderly manner, in this case

the chance to shift design into a more sustainable vision for the future.

Parametric modelling can benefit various stakeholders and users, the public

and private, as well as the environment; either socially, economically

and culturally. The application of representation and creative thinking in

digital design is being recognised globally, even in more conservative

architectural style, similar to most Asian cultures. The use of materials is

fascinating in terms of how it can be engineered structurally and aesthetically

through the use of digital proramming, in which is an interesting field to

explore in through the use of parametric modelling. Material efficiency

is important as to discover more possibilities to ensure future designs that

are generated are not constrained to wasting the earth's resources due

to economical progress or unidentified errors while designing. Material

engineering in particular natural materials such as timber, that is adaptive

to change due to its inherent nature is an interesting field to explore in.

A4.0

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LEARNING OUTCOMESA5.0

Initially, my knowledge regarding computational design is limited as I

do not have the skills and proficiency in using Rhino and grasshopper.

However, through the learning of architectural computing, I've realised

there are many possibilities in which design can be discovered, and how

throught the LAGI brief I learn how the use of technology can not only

be used for humans' convenience, but also the environment as well. This

opens up the horizon of my knowledge in understanding the advantages

and importance of parametric modelling and how scripting can be used

as an important tool for future sustainable designs. Not only through the

use of computational programming that efficiency can be improved in

terms of design and its construction in the real world, but aesthetically

it provides a different field altogether compared to past designs that

have been created and erected. Researching through precedents is

also significant in the process of discovering design potential and

possibilities of exploration that can be done through bottom-up formation,

whereby process precedes form. The discipline of material performance

is an interesting field to ponder on in which one can learn how to

utilise material's inherent nature to produce an object that is functional.

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APPENDIXA6.0

ALGORITHMIC SKETCHES

Through the video tutorials and algorithmic tasks that have been allocated, I have learnt to use various methods in grasshopper such as extrusion, lofting, pipe, voronoi and others. Even though my knowledge is still limited in grasshopper and rhino, I am looking forward to expand my technique and software skills in regard to using these softwares.

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What interests me most is the Geodesic pattern that is combined with extrusion on the Y-plane to create an interlocking set of planar surfaces. This enhances the curvaceous form into something dynamic.

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REFERENCE LISTA.7.0

1Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.2

2Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p.4

3Ferry, Robert & Elizabeth Monoian, "Design Guidelines", Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10

4Ferry, Robert & Elizabeth Monoian, "Design Guidelines", Land Art Generator Initiative, Copenhagen, 2014. pp 1 - 10

5"Achim Menges: Morphogenetic Design Experiment," Achim Menges, last accesed 21 August 2014 at http://www.achimmenges.net/?p=5083

6"Achim Menges: Morphogenetic Design Experiment," Achim Menges, last accesed 21 August 2014 at http://www.achimmenges.net/?p=5083

7"Centre Pompidou-Metz by Shigeru Ban", Rose Etherington, last accessed 21 August 2014 at http://www.dezeen.com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/

8"Centre Pompidou-Metz by Shigeru Ban", Rose Etherington, last accessed 21 August 2014 at http://www.dezeen.com/2010/02/17/centre-pompidou-metz-by-shigeru-ban/

9Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.3

10Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), p.4

11Kalay, Yehuda E. (2004). Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), p.11

12"Marc Fornes and theVeryMany : 12 Louis Vuitton", Marc Fornes + TheVeryMany, last accessedat 21 August 2014 http://theverymany.com/constructs/12-louis-vuitton-yayoi-kusama/

13"Besancon Art Centre and Cite de La Musique by Kengo Kuma", Amy Frearson, last accessed 21 August 2014 at http://www.dezeen.com/2013/06/12/besancon-art-centre-and-cite-de-la-musique-by-kengo-kuma-and-associates/

14"Besancon Art Centre and Cite de La Musique by Kengo Kuma", Amy Frearson, last accessed 21 August 2014 at http://www.dezeen.com/2013/06/12/besancon-art-centre-and-cite-de-la-musique-by-kengo-kuma-and-associates/

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15"Besancon Art Centre and Cite de La Musique by Kengo Kuma", Amy Frearson, last accessed 21 August 2014 at http://www.dezeen.com/2013/06/12/besancon-art-centre-and-cite-de-la-musique-by-kengo-kuma-and-associates/

16Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83, 2, p.13

17Peters, Brady. (2013) 'Computation Works: The Building of Algorithmic Thought', Architectural Design, 83, 2, p.15

18"ICD/ITKE Research Pavilion 2010", University of Stuttgart: Institute for Computational Design, last accessed 21 August 2014 at http://icd.uni-stuttgart.de/?p=4458

19"ICD/ITKE Research Pavilion 2010", University of Stuttgart: Institute for Computational Design, last accessed 21 August 2014 at http://icd.uni-stuttgart.de/?p=4458

20"Foster + Partners: Smithsonian Institution," Foster + Partners, last accessed 21 August 2014 at http://www.fosterandpartners.com/projects/smithsonian-institution/

21"Smithsonian Institution", Brady Peters, last accessed at 21 August 2014 at http://www.bradypeters.com/smithsonian.html