Studio Air - zhu

a i rSTUDIO

ZHU YI579956

ME.

I loved drawing, painting and creating since I was a kid. So when the time came, I knew it had to be architecture.

I was born in China before moving to Singapore shortly at the age of 4. There I spent my growing years before moving to Melbourne years later to write my latest chapter.

I also love video games, film and most of all, European football.

PAST WORKS

I was first tapped on digital modelling in my first semester before being formally introduced to it during virtual environments of my second semester. It was a haunting experience but fulfilling experience.

We were required to create a second skin project through the use of Rhino 3D. The idea is to use digital fabrication to create an equipment of sort to wear - exhibiting the idea of personal space. There was a huge struggle in creating a digital model that was actually able to be fabricated in the digital lab and a couple of failures easily bumped the material and cutting costs over hundreds of dollars.

However the mistakes and positive experiences learnt through the course helped me and I also used Rhino extensively in Studio Water to create curved designs and break up elements to review circulation.

I’m currently trying to familiarize myself with AutoCad and Revit. Unfortunately I’m still fairly unskilled with photoshop which I would look to improve on soon. Studio Air seems to be an exciting journey. Parametric modelling provides and exciting opportunity to expand my skill set and widen my creative horizons

CONTENTS1 Introduction

4 A.1 Design Futuring

5 Precedent Work - House R128

10 Precedent Work - The Phaeno Science Center

12 A.2 Design Computation

14 Precedent Work - The ICD/ITKE Research Pavilion 2013-14

16 Precedent Work - Sagrada Familia

18 A.3 Composition/Generation

20 Precendent Work - Espriss Café

22 Precedent Work - Endesa World Fab Condenser

24 Conclusion

25 Appendix

26 Algorithmic Sketches

28 References

DESIGN FUTURING

HOUSE R128 Stuttgart, Germany

HOUSE R128 is a dramatic glass house built in Stuttgart, Germany by architect Werner Sobek in 1999/2000.

The house impresses far beyond its aesthetic capabilities but through innovation in light-weight structural elements, Sobek is able to engage creatively with the facade and load bearing elements. Its use of lightweight materials or new materials in general exhibit the ability and desire to push the boundaries of architecture. It results in the reduction of costs and frees up more control in the building’s facade and structural elements. (3)

Sobek also describes this building as completely recyclable and self-sustainable. It produces no emissions and is able to power itself and sustain its heating requirements through the use of solar cells.

Yet more importantly, Sobek and his team considered this structure a mere

European Investment Bank, Luxemburg(2007) (4)

experimentation on the techniques and materials available to them at the time - allowing larger and more complex

solutions in the future. Such visual clarity was translated to larger scale buildings like the European Investment Bank in Luxemburg (2007) and also provided psychological insights in living spaces of overwhelming transparency.

Sobek is able to achieve transparency and penetration of light through all 4 stories. The transparency termed by Sobek and his team extends beyond visual sight lines in the sense that many of these windows can be opened - allowing fresh air through every level of the building.

The construction of House R128 went beyond the what was required of a simple residential architecture but provided basis and evidence of the possibilities of future designs.

THE PHAENO SCIENCE CENTER is built by Patrik Schumacher of Zaha Hadid architects in Wolfsburg, Germany from 2000-2005.

The towering science centre is described by Schumacher as an expression of elegant complexity and an emphasis on the fluidity of architecture. (7)

The structure reflects the interactive science center it houses through its relationship with the artificial topography surrounding it. The fluidity becomes evident in the lack of cutting corners in the supporting trapezoids - creating a melding effect into the underbelly of the overwhelming structure. As described by Zaha Architects, this area seemingly becomes playful and unpredictable - falling in with the interactive concept of the science centre.

Patrik also describes the building in as part of the new movement of contemporary architecture elegancy. There is a marked contrast between the elegance of previous

minimalistic architecture as opposed to the architecture of today.

In many sense, the architecture falls in line with the increasing expectations of the contemporary world - resolving complex issues with elegant solutions.

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Creativity. One of the most important contributors in the human evolution to where and who we are today. It is this trait, together with another essential element in the form of communication that allowed us the ability and foresight to invent and create. In many ways the core of our creative resolutions came from our mastery of the sciences. Drastic improvements over eras in the complexity and superiority of our tools is a result of humanity’s prowess in mathematics and engineering. It was not until the 20th century that our abilities and speed in calculations were overthrown by mechanical marvels like the Turing Machine (first conceptualized in 1936). (8) The Turing Machine played a major role largely in the proceeds of World War II but much of its significance had seeped on to today.

Today the Turing Machine’s modern counterparts excel in

brute calculations. Yet they are still extremely lackluster in resolving problems by themselves. Regardless of the magnitude of calculations computers are capable of, they are limited to the scope of equations and known factors. Their inability to judge and decide means that humanity alone still resides on the throne of creative resolution. However without any doubt, the emergence of computers have allowed humanity to tackle problems in ways impossible before.

In architecture, we took advantage of the paradigm shift by allowing digital processes to resolve our engineering and calculations. The shifted from hand drawn plans and sketches to digitized versions in programmes such as AutoCad, Illustrator and the likes allow saving data digitally and efficiently. The precision of computed digital drawings also relayed the possibility of clearer presentations and communication in

architecture concepts. The adaptation of this is called computerisation - relaying information precisely to computers.

Even so, computerization of drawings is still shifting today due to the difficulty to communicate with computers. Smarter programming started the implementation of data onto pre-set parameters - allowing computation to do the bulk of the work while we frame and guide the solutions. Systems such as BIM technology has changed the way in which architects and engineers approach design. (9)Updates on digital values are reflected real time by BIM onto plans, sections and 3D models of the building. In a sense, new technology of computerization is not merely about faster and bigger numbers but rather bridging the gap of communication between humanity and machines. (10)

DESIGNCOMPUTATION

Architects today also involve themselves deeply in the programming to achieve the precision and feasibly they anticipate in the geometrical properties of new structures - allowing flexibility and new possibilities previously untapped before computation.(11) This is computation- architects writing broader rules for machines to operate instead of micro-management. There is increasing demand for free, flexible and precise shapes in today’s industry. The need for new programming to relate to different geometrical properties also boosted simplified algorithmic and parametric design systems like Grasshopper 3D which we are learning in this course. Geometric capabilities becomes apparent when we view Achim Menges’ incredible research pavilions

and the reverse engineering for Gaudi’s Sagrada Familia.

The computation of architecture is also not a purely digital concept. Never before have we the ability to fabricate our designs precisely to the accuracy of lasers and 3D printing. The ease to communicate files from machine to machine makes it possible to construct high quality model making and actual construction pieces for architecture systems.

In combining our problem solving creativity and computation’s cold and rational engine, we no longer have to endure complex and arduous planning in construction and engineering. In the futurist movement of modern architecture in the 1930s, the involvement of computation

would likely have broken down the difficulty and complexity of the fascist Casa del Fascio - churning down the numbers in record time. Computation allows us to go beyond our biological limitations - carrying our ideas digitally and resolving them physically.

The ICD/ITKE Research Pavilion 2013-14 is a fascinating example of the advantages computation architecture exhibits where it was impossible before. The subject of this research pavilion was that of a biomimetic investigation. The inter-disciplinary research group studies the biological structure of beetle shells as a role model for lightweight construction.

The ICD/ITKE Research Pavilion 2013-14

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The research compares the fiber layouts and tomography of the beetle shell at microscopic level through digital scanning. Multiple species of flying beetles were scanned and compared to understand the intricacies of fiber connection and structure. Micro computed fiber shell structures helped determine the directional structure lines of the pavilion with the spatial setup of openings and enclosures of shells, optimizing the potential structure. (16)

The resultant optimum structural form for the pavilion was then abstracted down to geometrical shapes digitally and re-analyzed. Computation allowed features like the anticipated stress levels in different parts of the structure and the force vectors concerned.

The digital file was then communicated to robots in order to coordinate the load bearing and control points of the pavilion. Precision in fabrication was more easily achievable through the stability and support of robotic arms

and the components could be prefabricated easily before attaching them together. The more winding glass concept is also only made possible by robotic movements due to the sheer precision and repetitions required to complete the task.

This amazing piece of architecture is only able achieve its individually unique components and complex biological design through the advantages of computation and would be impossible without it.

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Sagrada Familia One of the most famous buildings in the world. Antoni Gaudi was appointed the design and construction of this building in 1883 but was unable to see out his magnificent vision and design before his untimely death.(18)His desire for complex three dimensional shapes of hyperboles, parabolas and conoids etc resulted in the difficulty and delay in the construction of the building.

After his death, the building had been incomplete for more than a century due to the complex plans associated with it at the time. It was difficult to replicate Gaudi’s vision and imagination before the introduction of computation software to reverse engineer the structure. Contemporary computation software allowed modern architects and engineers to understand the complexity of structural geometries and the ability to envision the complete building. Fabrication techniques like 3D modelling allowed deeper understanding of the interacting structural forces and is now further accelerated through 3D printing.

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Parametric modelling and BIM also allows professionals of different disciplines to come together to collaborate easily. Allowing the deliverance of the old master’s masterpiece - highlighting the strengths of modern computation.

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COMPOSITION/GENERATION

Continuing from before, the paradigm shift of contemporary architecture started with the introduction of algorithmic systems.(22) In essence, architects are changing from using computers as stationeries to accepting them as a core part of their design program - transiting from a micro process to a relatively more macro one.

Algorithmic systems relinquishes precision and instead create rules or recipes to allow computation to carry out our ideas.(23) The communication between humanity and machine thus becomes a essential element in the resolution of contemporary p r o b l e m s . Architecture films adapts by embracing computer language, or coding, some even establishing separate departments to create ‘recipes’ like Grasshopper 3D, Firefly and Weaverbird.

Coding and the sharing of codes between architects allow customized shapes that we want. It allows the fuller unity of the rational and the artistic. We now have the chance through algorithmic p r o g r a m m i n g to evolve with c o m p u t e r s , closing the gap in communication - in doing so cementing our ideas not through others but ourselves.

Espriss Caféby the Hooba Design Group in Tehran, Iran is a wondrous use of parametric design to fill a small space of 28sq2.

The essential concept of the architecture project is the layering of terra-cotta bricks in an intergrated geometrical continuation from the exterior to the interior. (27) Through parametric design, the architecture piece is able to reflect a contemporary outlook while using traditional material.

This design also enable different visual compositions of the brick work to the customers in relation to their position. The generation of design through algorithms allow the complex looping shade to be present in its interior. The 3D spatial diagrams associated better communicate design concepts and resolve complex problems in simple ways.

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Endesa World Fab Condenseris an experimental thermodynamic prototype built in Barcelona.

The architect describes this project as the exploration of the links between parametric design and environmental solutions through CNC production. Its renewable and organic materials are fabricated in laboratories locally - creating possibilities in cheap and sustainable solutions in the future.(32)

More importantly in terms of algorithmic architecture, this prototype was written in code in 2 months before being fabricated in 5 days and finally assembled in 4 days. By bridging the communication gap through generation, astonishing speeds of construction and deconstruction become possible.

Much like computation, the geometric shape of the construct mutates and changes as the climate demands it. The walls of the project achieves this property though ballon like expansions - similar to sail-like geometries.

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CONCLUSIONThe architectural industry had started to differentiate the differences between computerization and computation. There exists a potential transformation of the industry towards algorithmic designing and through it harnessing the advantages in embracing algorithmic architecture, While this school of thought had been very different from what I’ve been involved in so far, I see the potential in using related technology. Parametric architecture allows the creation of architecture previously difficult to conceive. In transferring the load of computation to computers, architects free themselves and through better communication - able to achieve better results.

I fully intend to use algorithmic architecture in the future. I recognise its unique capabilities in spite of what I find a steep learning curve, Learning to generate algorithmic code is extremely difficult and alien to me. However I feel that the significance in this adaptation not only provides me with unprecedented flexibility in my designs but like some of the precedent examples before me, allows renewability in our designs. Its ability to work with new materials and the ease of fabrication convinces its capabilities.

LEARNING OUTCOMESPersonally, the hectic pace of being an architecture student is often all consuming and it had been the case for me so far in this semester. We are shoved and pushed into the seas of knowledge and exposed ourselves to complex and exciting architectural theories and software. We dragged ourselves through the waves of Grasshopper tutorials along with the stringent demands of our other subjects - struggling to stay afloat for weeks and surely as much for the months ahead. Yet it is ironic that in the midst of rushing through the semester’s first assignment, we are forced to contemplate what we’ve learnt.

Even so, with the looming deadline, and all the other assignments following tightly, there is an authentic moment of clarity and appreciation. Regurgitating the reading and extra research materials, despite the rush and tiredness I do feel reinvigorated through the exploration of AD magazines and journals. There is a certain enjoyment in the research of these materials that pushed me to learn about the computation of architecture. The Grasshopper tutorials had been extremely helpful while crushing at times. I feel that there is a lot that can be learned and have to be learned. Vray, Revit, Grasshopper and 3Ds Max are only a few of many software I feel I have to be accustomed to. However the sense of fear is also often contrasted with a sense of excitement - eager to learn and explore the future of architecture.

Algorithmic SketchesSome interesting outcomes.

References1. The Architectural League NY, 2009 <http://archleague.org/main/wp-content/uploads/2009/09/Sobek-R128.jpg> [accessed 20 March 2015]

2. Williams, Joe, 2011 <https://s-media-cache-ak0.pinimg.com/736x/2a/a2/88/2aa2885ee545e38f4c88efefee45f053.jpg> [accessed 20 March 2015]

3. Sobek, Werner, ‘Radical Sources Of Design Engineering’, AD, 80 (2010), 25-33

4. Open Buildings, 2012 <http://c1038.r38.cf3.rackcdn.com/group1/building3941/media/mtkt_2.jpg> [accessed 20 March 2015]

5. <http://blog.kofashion.com/public/05_-_Zaha_Hadid_-_Phaeno_Science_Center_Germany_-_Photographer_Werner_Huthmacher.jpg> [accessed 20 March 2015]

6. <https://eliinbar.files.wordpress.com/2010/07/dave03.jpg> [accessed 20 March 2015]

7. Huthmacher, Werner, ‘Arguing For Elegance’, Elegance AD, 77 (2007), 28-37

8. Turing.org.uk, ‘Alan Turing: A Short Biography - 3’, 1995 <http://www.turing.org.uk/bio/part3.html> [accessed 20 March 2015]

9. Castle, Helen, ‘Editorial’, AD, 79 (2009), 4

10. Kalay, Yehuda E, Architecture’s New Media (Cambridge, Mass.: MIT Press, 2004), p. 4

11. ‘Towards A Programming Culture In The Design Arts’, Programming Cultures AD, 76 (2006), 8-10

12. - 15. ArchDaily, ‘ICD-ITKE Research Pavilion 2013-14 / ICD-ITKE University Of Stuttgart’, 2014 <http://www.archdaily.com/522408/icd-itke-research-pavilion-2015-icd-itke-university-of-stuttgart/> [accessed 20 March 2015]

16. Menges, Achim, ‘Achimmenges.Net - Achim Menges Design Research Architecture Product Design’, Achimmenges.net, 2014 <http://www.achimmenges.net/?p=5713> [accessed 20 March 2015]

17. , 2015 <http://www.lifo.gr/uploads/image/606502/la_sagrada_familia.jpg> [accessed 20 March 2015]

18 - 20. Mamou-Mani, Arthur, ‘Marc Burry, The Sagrada Familia And The SG11 Sound Responsive Wall’, WeWantToLearn.net, 2011 <https://wewanttolearn.wordpress.com/2011/10/17/marc-burry-the-sagrada-famillia-and-the-responsive-wall/> [accessed 20 March 2015]

21. Wikimedia, 2015 <http://upload.wikimedia.org/wikipedia/commons/b/ba/Sagrada_Familia_nave_roof_detail.jpg> [accessed 20 March 2015]

22. Peters, Brady, Computation Works, 8-13

23. Wilson, Robert A, The MIT Encyclopedia Of The Cognitive Sciences, 2nd edn (Cambridge, Mass.: MIT Press, 2000), pp. 11-12

24 - 27. ArchDaily, ‘Espriss Café / Hooba Design Group’, 2014 <http://www.archdaily.com/568603/espriss-cafe-hooba-design-group> [accessed 20 March 2015]

28 - 32. ArchDaily, ‘Endesa World Fab Condenser / MARGEN-LAB’, 2014 <http://www.archdaily.com/549830/endesa-world-fab-condenser-margen-lab/> [accessed 20 March 2015]

Part B

biomimicry

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Architecture had represented the core of artificiality where the terraforming of the environment creates comfortable habitats for humans regardless of the consequences of its entity. From simple huts in the dawn of humanity to the mega cities of New York, Shanghai and London today, our web of concrete and steel had sprawled aggressively through the landscape.

Yet paradox arrives with humanity’s contemporary epiphany for the need to coexist with nature. From the late 18th century to the early years of the 20th century, increasing appreciation for the natural manifested through a variety of artistic and architectural movements. Frank Lloyd Wright(2) described the natural system as a complex and enlightened process of design where the sophistication is toned down to a clear and simple system. Contrastively, Antoni Gaudi abstracts biological forms away from Wright’s geometrical depictions into whimsical and organic architectural buildings like Casa Batllo(3) in Barcelona.

In Biomimetic design, natural abstraction is further extended and studied. The high level of integration throughout the isotropic structure of(4) biological systems between forms, texture and its organic construction organizes itself into sophisticated yet efficient products.

biomimicry

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On the other hand traditional artificial design and architecture revolves around the generation of form for the optimization of performance. This results in limited integration with its materials due to the anisotropic(5) natural of artificial products and perhaps a loss of efficiency in both resources and structure. With environmental issues one of the key areas of concerns in the contemporary era, it is of little wonder organic efficiency becomes all the more enticing.

However due to the paradoxical nature of architecture and nature, there was still a large difference between shallow abstraction and genuine adaptation, The introduction of parametric modelling appears to have bridged parts of this gap. Much like Frank Lloyd Wright’s abstraction of natural system into his hearth revolving ‘Windmill’ open-plan,(6)parametric design explores biomimicry through computational algorithms’ generalization. Micro design decisions becomes transformed into macro solutions where there is a strengthened commitment on the integration of aspects of a design – intertwining and influencing a more isotropic outcome. The ability to consider the larger picture in my opinion, emulates organic design and as a result improves the design’s capabilities to effectively utilize its assets.

Outside architecture, other design developments into the potential of Biomimicry demonstrates the value of this school of thought. Designs such as(7) the Velcro, designed in 1955, Peter Agre’s water filter in 1990 and various forms of streamlined high speed transports today exhibits the world of possibilities of Biomimicry.

velcro

casa batllo

bullet train

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Architecture however, falls behind comparatively. While it is unreasonable to describe Biomimicry as an alien concept in Architecture, significant involvement in contemporary design had only begun in recent years; likely due to the development of better parametric designing tools. Even so, the limited yet sophisticated projects created still illustrate the potential of Biomimicry.

Achim Menges’s Landesgartenschau Exhibition Hall(12) like the 2014 research pavilion, embraces Biomimicry in its designs. The key approach of the design extracts the efficiency of nature’s morphological differentiation. In this case, the exhibition hall integrates the structure of organic plate shells as the part of the structure - imitating nature’s ability to create strong structures with considerably less resource.

During the 2005 Japan Expo, FOA created this Spanish Pavilion(14). The use of colours and contrasting hexagons outline the possibilities of parametric and biomimetic design. Hexagon shapes differ ever so slightly from each other - creating organic illusion on the architecture.

Through the exploration of pre-set definitions, I hope to understand more of the potential of biomimetic design through a bottom-up approach,

biomimicry

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Case Study 1.0FOA Spanish Pavilion

To properly utilize the capabilities of the Grasshopper algorithm provided, it is vital to understand the purpose of each grasshopper function.

Each of the major functions which I tested with are grouped and highlighted - labelling my understanding of their functions above.

This first series of Grasshopper functions largely influences the core forms of the patterning cells. Scaling can be controlled through the slider while the Y and X digits relate to cell volumes. ‘Cell Vector’ translates the direction and magnitude of cells while ‘Cell Patterning’ seem to rearrange vector angles.

The series of Grasshopper focuses on groups of cells instead of individual ones. ‘XY Row and Column’ controls the number of groups in the X or Y plane. The ‘Generic Orientation’ appears to change the direction the groups arrange themselves while ‘XY Compression’ determines how far each group of cells are spaced apart in the X or Y direction.

Series 3 on the other hand derives the patterning and volume of offsets in different cells. ‘XY Cull Displacement’ changes the offset positions in the X or Y direction while ‘Cull Patterning’ sets offset patterning limits and thus changes the resultant pattern. ‘Cull Offset’ simply determines the distance of offset patterns.

dissect 1.0

Deriving and understanding these principles allows me to exercise more precise control over the resultant pattern. Different iterations of the original pattern was created based on changing some of the core principals of the pattern and the se changes can largely be arranged in the following groups:

1. Vanilla experiments.

2. Cull experiments.

3. Grid-shape experiments.

4. Composition experiments.

dissect 1.0

layout inspired by Donovan Ong (17)

Vanilla

Composition

4 GroupsVanilla explores with the pre-set dials. Observing the changes in cell orientations from smaller to larger digits. The degree of resultant changes reflects the scaling of numbers in both negative and positive directions.

Cull experiments mainly on the offset cells. I experimented on the patterning of cells and the degree of offset. Offset degrees created more significant and eye-catching graphics.

Grid-shape is the replacement of the original hexagonal grid to other grids to recreate such changes. Due to the fundamental nature of changes, some Vanilla and Cull experiments were repeated to create new results.

Composition changes largely plays with the assembly style of the cells. It dictates its vertical and horizontal spacings and through it represents previous experiments in concise or sparse ways.

ReviewThe four groups labelled are different in their nature but in no way are they disconnected. The experiment follows through an overlapping use of the previous function to create graphics more absurd than the one before. As the elements and functions of the algorithm get pulled apart, replaced or mutated, it becomes easier to understand these functions. In the process moving past the abstract languages of mathematics and computer coding and perceive the capabilities of algorithmic architecture in graphical terms.

What then do we do with these experimentations and wild creations for surely not all of them are feasible? Kurt Forster(18) describes his firm’s architecture as ‘strongly conceptual’ but balanced by pragmatic construction. These experimentations follow this idea - wild graphical iterations of potential pragmatic products. We identify the interesting parts of these iterations and associate them with various constructible elements. The ‘success’ of an iteration largely depends on its feasibility in today’s technology. Reflecting the original design, ‘success’ is judged on its function as a wall cladding design.

The lofted versions of the vanilla experimentations showcases an organic wave-like structure, performing a complex yet coherent cladding design. The two iterations below however brings the design complexity to different levels. It imitates the organic layout of a bee hive but is hybridized with inorganic patterns and structured geometry, providing unique yet feasible designs. That said, evolving technology in the future may provide further uses of more complex and absurd shapes. The wholesomeness of parametric design amplifies this and allows a more in-depth analysis of construction capabilities.

Case Study 2.0ZA11 Pavilion

Understanding the ProjectMoussavi(20) believes that architecture captures the essence of culture through the use of materials which shape modern society. The ZA11 is a biomimetic construct created by parametric methods. Its contemporary materials are the computation and generation methods which produces its organic structure. It reflects the culture of today through the mixture of the organic (biomimetic) and the artificial (parametric design). It contrasts the architectural style of its surroundings and appears distinct in its historic surroundings - performing its function as an urban attraction through exploiting its unique structure in an architecturally consistent area. Its hexagonal parts resolve into urban spaces, encouraging people to meet or seek shelter.

By examining the design process of the pavilion, I gained some insight into how the process of parametric design progressed. The 6 step progress on the right describes the thought process in which the algorithm was designed. From this alone, we can easily imagine the flexibility of parametric design Through changing the lofted pattern, the geometrical shape printed or even the density of geometry, it is likely that the resultant model can change fundamentally. This suggests the bottom-up approach of computation and generation.

Parametric modelling also contributes to relatively simple and cheap pre-fabricated designs. Efficiency is also inherent in the construction. The full size structure consists of only 746 unique pieces(21) - fabricated through CNC milling. Pieces can be assembled with relative ease - creating its fantastic form where the rigidity of hexagon geometries creates an organic form.

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In the reverse engineering process, I followed their 6 step process and attempted to create the structure through Grasshopper.

1. I initially created a lofted surface from two lines.

2. I then added hexagons to the surface through DigitalSubstance’s Honeycomb on Closed Surface(24) I downloaded from the internet.

3. I then created a smaller scaled model, almost as an offset to the original model.

4. The weave component is used to create a matching series for each hexagon in the bigger model to match an identical one in the smaller model. It is then lofted to create the panels as seen in the picture.

5. The fifth step is similar to the 3rd step of the original ZA11 pavilion but I could only create it after the step 4 was complete. This step was not necessary for my final result.

6. The panels created were then transformed into the resultant patterns through one of WeaverBird’s patterning algorithms.

7. Similar structure.

Similar to case study 1, the algorithm used to create the model is dissected and examined. Each major function is thus group and named.

‘Base Shape of Imprint’Previously noted during the introduction of pavilion ZA11, the manipulation of the base shape of the model reflects fundamental changes to the resulting product.

‘Hexagon Density’Much like the definitions of case study 1 which controls the density of cells, this definition too allows easy adjustment of cells.

‘Interior Patterning’This controls the smaller model that is being offset from the original model. As a result it controls the resulting connection lines and the amount of space in the middle of the model.

‘Connecting Exterior & Interior’While there is not much room to maneuver for this function, it represents the fundamental connection between hexagons in the larger and smaller model

‘Shape Printed onto Surface’The WeaverBird function controls the patterning style associated with each individual panel of the structure.

‘Offset Distance of Imprints’Controls the size of the holes the WeaverBird pattern prints onto each panel.

dissect 2.0

Different iterations of the original pattern was then created based on core changes and explored for feasibility of construction and relevance to the brief.

While this definition is relatively short with fewer core components, the adjustment of a few of its cores results in drastic and fundamental changes.

dissect 2.0

hexgon density

WB fram

e thicknessW

B mesh patterning

offset Z vistance

iterations

hexagon density &

offsetbase curve Z value

circular base surfaces

iterations variaty of function m

ixtures

pipes and voronoi voronoi

offsetting surfaces

iterations variaty of function m

ixtures

weaving

voronoi

offsetting surfaces

Review The distinct difference between reverse-engineering and the adaptation of someone else’s definition is clarity. Definitions we create ourselves often lack the direction and certainty which come alongside pre-existing definitions. The reconstruction of the unknown, much like the exploration of subsequent iterations, demands understanding and in-depth considerations for potential issues. As a result, the wholesome and bottom-up nature of parametric design becomes ever clearer.

Since these designs are largely structures as opposed to the wall-cladding systems of Case Study 1 previously, it requires a new criteria for selection. I believe there needs to be a strong relationship between the design and water. Merri Creek stretches widely between demographics and activities but the association to water never changes. Thus iterations are tested against not just their potential to work with water but the abstraction of water in their forms.

Each model distances itself from rigidity and achieves harmony with water in different ways. All models present hollow patterning which coincide with osmosis to create an open sentiment. The first model resembles the fluidity of fish in water. The second embodies the natural lights of the deep seas - emitting and attracting. The third expresses our essential need for water through its exoskeleton appearance. More importantly, the structure of these iterations allow clear and easy flow of water. Unobstructed monuments in organic landscapes - expressing their potential to work with nature.

Development 1The construction method for the first and second iteration is the largely same due to a similar repetition of patterns. As a result, more than one method of construction was experimented with in an attempt to better understand the possible iterations.

The initial plan was to create the model through 3D printing. It made sense at the time as the layering on its surface seemed too complex to create by hand. However since there were no thickness in the surfaces and that the hexagon shapes had overlapping surfaces, this option was tossed aside.

As a result I followed the technique of the original ZA11 Pavilion where ridges between individual panels are created to form combine the hexagons.

To create this, I used grasshopper to reduce the complexity of the structure. Then the surfaces were unrolled with ridges at consistent parts of each surface. Some of the panels were simplified in their ornamentation due to structural weakness. I deem this iteration development successful due to it’s strength of connection and also it’s additional gaps. It also achieves a higher level of flexibility.

However one of the issues might be the tediousness of construction where additional parts are to be created in conjunction with the basemodel.

Development 2This construction method has a larger focus on strength and rigidity as opposed to the previous iteration.

Surfaces were unrolled onto grasshopper and tabs were added to accommodate laser cutting. However there was no easy way to add the tabs due to the panels being polysurfaces instead of a single surface. This created tabs everywhere and created a lot of problems. The polysurfaces also resulted in tiny pieces of exploded surfaces being unrolled as opposed to the piece of large polysurface i wanted.

In trying to resolve the issue, I used grasshopper to retrieve the exterior lining of each intact polysurface and used curve discontinuity to locate the points of individual hexagon panels. This allowed me to use the tab creating tool to create tabs or create it manually with ease.

The resultant product is strong and rigid but is not as flexible or open as the previous iteration.

Development 3The third iteration’s complex bone like structure suggested that I could use 3D printing to create the model. I extracted a wire frame from the resultant Brep and turned the lines into solid through Exoskeleton on Grasshopper. However there were still some overlapping issues with the model and issues with random pipes coming out from the origin. Therefore I decided the best option is likely to explore another method of construction.

It is very possible to create the exoskeleton with pipes and joints. In the pictures I created a single hexagonal piece by using balsa sticks and connecting them with Styrofoam balls. However the problem lies with creating a specific orientation to follow through to create the exact model designed in the modelling space. The usage of Styrofoam ball also somewhat goes against the design brief of a environmentally friendly product (though to be fair this is just a model representation).

The design stands out in its representation as a lightweight structure and resembles the carbon structure which life stems from. It also has extreme permeability - staying in line with the fluidity associated with the potential design.

ReviewAnalyzing the 3 development methods, the first and second method is likely most suitable for creating a water pavilion due to their ability to withstand a certain amount of force. Currently I have not decided on which of the two development methods to follow. However the estimation is that development method two has the highest possible chance of success. The rigidity achieved by the development seems most in line with the possibility of floods and strong currents in the creek.

Overall I feel that these 3 development iterations are successes. Each of them fulfill different requirements and thus allow me to take different directions based on the needs of the project.

ProposalMerri Creek

Furthering the technique discovered before requires its implementation and adaptation to the site of Merri Creek. The creek connects the Great Dividing Range to the Yarra river(26) as it flows through the Northern Suburb of Melbourne. Through it lies a fragile ecosystem which contains some of Australia’s most threatened wildlife and vegetation.

Through the implementation of my technique I attempt to create architecture which avoids influencing the precious ecosystem and also creates a new urban attraction for the community.

vanilla flora & tree density planning & overlay

the site

planning & overlay property allocation infrastructure

urban density

urban density

urban density

The design approach considers the density differences through the Merri Trail and translates architecture design in reference to this observation.

The Ceres Environmental Park, Merri Park and Sumner Park contributes to the majority of density through the area. During my site visit down the path of Merri Creek, there is a noticeable emptiness apart from the occasional cyclist or jogger.

In the Philips Reserve, the density of trees increases sharply. The design stays away from this stretch to avoid influencing the already threatened ecosystem in the area. Instead, the design places itself between Sumner Park and Merri Park - replacing the bridge originally in place.

The architecture attempts to transfer some of the urban density from Ceres Environmental Park to the design site and promotes the use of both Merri Park and Sumner Park.

analysis

urban density

ceres environmental park

merri park

sumner parkdesign site

philips reserve

design site

residents

business owners

native vegetation

design site

stakeholdersnative vegetation

joggers

sports

wildlife migration

It is also vital to address the stakeholders in relation to the designated site.

The size of the circle indicates the approximate size of stakeholders. The distance from the center on the other hand relates to the impact the site could potentially have on them.

Notably due to the proximity of native vegetation, the construction of the site may influence the long term health of the vegetation and thus must be taken carefully into consideration.

Other stakeholders include the sports events held in Sumner Park and also how the potential increased human traffic may influence wildlife migration in the area.

pedestrian bridge for amsterdamamniosya

The Pedestrian Bridge for Amsterdamn(27) is a competition piece by AminosyA Architecture. Famous for their organic and hybrid forms, the AminosyA Architecture considers the wave like interactions between bridge users - forming a similar abstract of the movement. This path also diverges, exploding into multiple paths for different types of pedestrians.

Moreover, the bridge brings forth ecological considerations by transferring vibrations by pedestrians into electricity and illuminating the bridge at night.

The converging and diverging of paths through a wave-like motion is something I would like to emulate in my design.

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The Helix Bridge in Singapore(30) extends the Esplanade to the new Bayfront district.

Its curvature creates an additional point of entry from the highway overlooking the Singapore River. The strong sense of fluidity through the design of the exterior husk guides pedestrian through to the next destination.

The interweaving exterior hugs the bridge and is created with 5 times less steel than a conventional box girder bridge.

The exterior weaving technique might prove useful for my design.

helix bridgecox architecture + architects 61

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design 1

design 2

The architecture technique proposed attempts to integrate and connect Sumner Park and Merri Park. Its position as the bridge between these two locations hopes to draw in larger numbers of people. This could potentially function well in creating a busier urban space.

At the same time, the use of parametric design suggests the unity of the artificial and the organic. The focus of biomimicry as a design field also reflects the cultural identity of the space occupied - the importance of preservation.

design 1 design 2

CurvesFundamental

Shape.

HexagonsApply on Surface

Loft CurvesFundamental

Surface

ScaleCreates Smaller

Model

WeaveConnects Hexagons

LoftHexagon Panels

Created

ConvertBecomes Mesh

FrameWB creates

framed patterns

start

end

NURBSEasier fabrication

Part B absolutely flies off from the theoretical explorations of Part A. By diving into the technicalities and confusing world of parametric design, we are forced to understand each definition, each error and each possibility. While pressurizing, the schedule of the course was optimal as the difficulty increase was steep but forced us to adapt quickly.

While it was probably easier and faster to move from one task to another, I felt it was more important to understand and connect each task to the next. It was interesting to consider how biomimetic design relates to the site and how parametric design might bring forth the quality of it.

Through fiddling with Grasshopper tools, the wholesome nature of parametric design became apparent. The shifting and changing of a single component often changes the entire outlook of the resultant form.

Fabrication of the model was a much harder task than expected as it required a completely different approach. I was forced to accept the difference between what works visually and what actually works. The transformation of modelling definition was the trickiest part of the fabricating process as most of the functions couldn’t work with the mesh model I previously created. Feasibility of the model had to also be considered and to balance between what’s beautiful and what’s constructible.

I had to accept that physical lines might not always tally with digital ones and there might be small complications or deviations in areas I didn’t expect. The materials used also had to be considered not just in relation to the site but cost wise and the time needed to laser cut it. Despite these, it was quite enjoyable in the attempt to create a structure which doesn’t just address the site but also relate to each exercise that I went through.

Though online tutorials, my own meddling in Grasshopper and the couple of tech support sessions I’ve signed up for, it was daunting yet exciting how wide the scope of parametric design can be. I love how each form might be created from different solution paths and how each function influences the entire model.

Parametric design is honestly the most exciting tool I’ve come in touch with so far. In time I hope to fully understand each individual function and also the scripting possibilities of parametric designing.

conclusion

algorithmic sketches

Appendix

gardens by the baygrant associates

Gardens by the Bay is constructed in Singapore near the prime business district along Marina Bay. (34)

This urban project, led by Grant Associations, fuses nature and technology. The biodomes at the top right creates habitats suitable for exotic plants, vegetation and also an artifical environment (split into two domes).

The towering Super Trees allows pedetrian movement between them but also built with sustainable technologies for cooling and night lighting.

Appendix

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References1. Biomimicry 2015 <http://irenebrination.typepad.com/.a/6a00e55290e7c48833019aff26c6ba970c-800wi> [accessed 1 May 2015]

2. Wright, Frank Lloyd, and Robert McCarter, On And By Frank Lloyd Wright (London: Phaidon Press, 2005), pp. 338-340

3 & 10. Casa Batlló, ‘Casa Batlló | Antoni Gaudí Modernist Museum In Barcelona’, 2015 <https://www.casabatllo.es/en/> [accessed 1 May 2015]

4 - 5. Oxman, Neri, Jared Laucks, Markus Kayser, Carlos Uribe, and Jorge Duro-Royo, ‘Biological Computation For Digital Design And Fabrication’, 1-10

6. Curtis, William J. R, Modern Architecture Since 1900 ([London]: Phaidon, 1996), pp. 113-129

7. Bloomberg, ‘14 Smart Inventions Inspired By Nature: Biomimicry: Nature As R&D Lab’, 2015 <http://www.bloomberg.com/slideshow/2013-08-18/14-smart-inventions-inspired-by-nature-biomimicry.html#slide2> [accessed 1 May 2015]

8. Matys, Honeycomb Morphologies, 2015 <http://www.biomimetic-architecture.com/2010/honeycomb-morphologies-by-matsys/> [accessed 1 May 2015]

9. Velcro, 2015 <http://www.designboom.com/cms/images/fiona02/velcro_09.jpg> [accessed 1 May 2015]

11. Harman, Jay, Biomimicry - The Intelligent Optimist, 2015 <http://theoptimist.com/wp-content/uploads/2013/10/Bullettrain_EmileNoordeloos2013_small_CC.jpg> [accessed 1 May 2015]

12 - 13. ArchDaily, ‘Landesgartenschau Exhibition Hall / ICD/ITKE/IIGS University Of Stuttgart’, 2014 <http://www.archdaily.com/520897/landesgartenschau-exhibition-hall-icd-itke-iigs-university-of-stuttgart/> [accessed 1 May 2015]

14. Ceramic Architecture 2015 <http://www.ceramicarchitectures.com/obras/spanish-pavilion-expo-2005/> [accessed 1 May 2015]

15. Mishima, Satoru, FOA Spanish Pavilion, 2014 <http://s3.amazonaws.com/europaconcorsi/project_images/4752552/FOA-071-aichi-photos-09_large.jpg> [accessed 1 May 2015]

16. Farshid Moussavi Architecture, FOA Pavilion <http://www.farshidmoussavi.com/sites/default/files/styles/full_page_image/public/SpanishPavilion_triptych_0.jpg?itok=8i9LUILm> [accessed 1 May 2015]

17. Ong, Donovan, ‘Iteration Series’, Studio Air Part B, 2015, 40-41 <http://issuu.com/donovanong/docs/studio_air_pages> [accessed 1 May 2015]

18. Peters, Brady, ‘Realising The Architectural Idea: Computational Design At Herzog & De Meuron’, Architectural Design, 83 (2013), 56-61 <http://dx.doi.org/10.1002/ad.1554>

19 - 23 & 25. Jett, Megan, ‘ZA11 Pavilion / Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan’, ArchDaily, 2011 <http://www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/> [accessed 1 May 2015]

24. Digital [Sub]stance, ‘Hexagonal Pattern On Surface Grasshopper Definition’, 2011 <https://digitalsubstance.wordpress.com/2011/02/21/hexagonal-pattern-on-surface-grasshopper-definition/> [accessed 1 May 2015]

26. Mcmc.org.au, ‘About Merri Creek’, 2015 <http://www.mcmc.org.au/index.php?option=com_content&view=article&id=36:about-merri-creek&Itemid=188> [accessed 1 May 2015]

27 - 29. Evolo.us, ‘Pedestrian Bridge For Amsterdam / Amniosya - Evolo | Architecture Magazine’, 2012 <http://www.evolo.us/architecture/pedestrian-bridge-for-amsterdam-amniosya/> [accessed 1 May 2015]

30 - 33. ArchDaily, ‘Helix Bridge / Cox Architecture With Architects 61’, 2012 <http://www.archdaily.com/185400/helix-bridge-cox-architecture-with-architects-61/> [accessed 1 May 2015]

34 - 35. ArchDaily, ‘Gardens By The Bay / Grant Associates’, 2012 <http://www.archdaily.com/254471/gardens-by-the-bay-grant-associates/> [accessed 1 May 2015]

Part C

Moving from Part BIn reflection of the comments for Part B’s proposal, I felt that there was an inherent limitation to how much I could push the form. At the end of 50 iterations, it became apparent that the design had resulted in a dead end and while interesting at the start, any final form had a clear similarity to the original project in which I have reversed engineered from.

Also, as seen clearly from the two diagrams at the side, there are real structural and fabrication issues if I were to pursue my original idea of creating a bridge on the urban site.

Design 1.0 had flexibility and appeared interesting at the start but it still posessed the same design similarities as the other forms i’ve pushed. At the same time, it was also difficult to translate the fin-like patterns into a bridge like structure.

Design 2.0 extends beyong the relatively simplicity of Design 1.0 and it succeeds in the disengagement from the original reverse engineered project but it fails drastically in its ability to bae fabricated. The intersecting faces between each square cube proves difficult to differentiate and unroll plus the complex skeleteon structure makes the joinery system a nightmare. While it is a design I really liked, the geometric rigidity also differs from the biomimetic design concepts which I was pursuing from.

Site MapIn the pursuit of a new design, I found it imperative that the form created was to be based on something with relation to the site.

Highlighting the key elements of the site I’m interested in, I intend to incorporated water and vegetation in my design concept. The natural intersections between the different sources of water and the different types of vegetation suggests another concept I wish to incorporate to create that biomimetic idea that I’m interested in.

The site is also presented in the context of these large scale interactions to create a clearer perspective in the analysis.

flora

native vegetation

merri creek

yarra river

design site

1ceres environmental park

2philips reserve

3merri park

4sumner park

Site AnalysisThe design site is retained from Part B’s analysis and as a result the target goal is still similar.

The design realises the difference in urban density through this small stretch down Merri Creek. There is a large amount of activities in CERES Environmental Park but a lack of in Merri Park and Sumner Park. The location of Philips Reserve means that the design site should not be anywhere near the greenery presented on the diagram for preservation purposes.

As a result the design site is placed between Merri Park and Sumner Park.

design site

urban density

1

2

3

4

Design SiteAddressing the stakeholders as depicted from part B, there is an interest to recreate the bridge connecting Merri Park and Sumner Park.

The idea is to create a new urban landmark which more evenly distributes the urban density across the area and engage more users with Merri Park and Sumner Park.

The design replaces the original bridge with a parametric bridge which better engages the sites.

residents

business owners

native vegetation

joggers

sports

wildlife migration

design

1.

2.

PrecedentsI looked at the Parametric Bench by Oleg Soroko to consider the sectioning of the bridge and the way its form flows as i want along the river. The skeleton frame and bark-like structure is something I would like to imitate during my project’s creation.

The Henderson Waves Bridge suggests an organic flow which I could adopt to align to the shape of the Merri Creek river bank. Its induction into the surrounding natural landscape is also something I’m interested in representing in my design.

These formal concepts are then incorporated into the urban ideas studied upon during the site visits to create not only the form and appearance desired but also reflects the urban data inputed into the design - similar to Part B’s pedestrian bridge for Amsterdam by Amniosya.

1.

2.

3.

Biomimicry

Concept DevelopmentThe bridge’s form is derived from the vegetation and river flow of Merri Creek. As such and as seen from the first site digram, the river and vegetation are extracted out to create the form desired.

Using sectioning in Grasshopper, the following diagrams depicts the mixture and experiements of the two elements - water (shape of the river) and vegetation (tree trunks which the sectioning depicts).

4.

Sketche diagrams

River Abstraction

Fundamental Shape.

Path Finding

Manual Carving

Path FindingVoronoi

BiomimicryKangeroo

SectioningExtrude Planes

SectioningManual Carving

SectioningSurface Split

JoineryPlane Intersection

JoineryPolyline tracing

JoineryRegion Union

Rhino DevelopmentThe river form is abstracted into the fragmented jagged curve below. This form is then extruded and a voronoi is formed based on the shape of the abstracted river. Using this configured form, these voronoi figures were manually extracted to create a path for pedestrians or cyclist.

Rhino DevelopmentThe carved path is melded together with the substructure through boolean union and then processed through Kangeroo to create a smoother and more organic form.

This form is then converted to a mesh to smoothen its edges before converting back to a polysurface for sectioning.

Final Outcome

Rhino DevelopmentIn trying to resolve the issues to actual construction, we first need to identify the various problems affecting the structure of the bridge.

The black arrows indicate the connection points between the bridge and the site. As a result the reacting force from the soil has a tendency to cause bending forces. The long stretch qualities

Bending Action

Soil Action

Bending Action

Extra LoadSoil Action

Bolting and JoineryThe bridge makes use of relatively simple and flexible connections to brace its lateral members with one another.

The lateral joints not only allows its longitudinal members to slot neatly into space but also reduces the slenderness ratio of each of the longitudinal memeber.

FoundationThe bridge is attached with tension cables to padfootings to prevent it from buckling

JoineryMore complex j o i n e r y engagement at the heavier parts of the bridge.

JoinerySlenderness ratio of the bridge is shortened by the lateral joints and these joints also act as bracing.

MembranceThe structure is laid with a layer of glass membrance on top of the skeleton structure for pedestrians to walk on

Site PlanThe bridge sits beneath the trees which flows along the creek and connects Merri Park in the north to Sumner park in the south.

The bridge doesn’t take the most efficient route as it allows its users to walk beneath the trees and along the river at the same time. The increased distance also allows more time for interactions and enables it function as an urban spot.

The material is also chosen as timber to reflect the reference to nature.

1:500scale

Elevation 1

1:200scale

Elevation 2

1:200scale

land removed

Site PlanThe bridge allows for easy traffic from bank to bank and also features a glass membrane on top of the bridge for moving across the bridge but also seeing through it.

fabrication

FabricationThe most difficult part of this project probably came down to the fabrication part. In trying to show the feasibility of my model, I fabricated the part of the model with the interior space as it is the most complicated and tricky part of the model.

While the end goal was rather clear - trying to create a waffle joint system to connect the lateral bracings and the longitudinal members, there were large amount of difficulties due to the irregularity.

This part of the journal narrates the process to the final successful outcome and the difficulties faced along it.

UnrollingPath Mapper

Waffle Lock

Divison & Extrusion

Joint PlacementBrep Intersection

UnrollPython Unroll

DetailsManual

specific part of fabrication

Overextending lateral bracers.

Intersecting pointsfor waffle joints.

FabricationThe provided algorithms both on the LMS and on the internet didn’t work on my grasshopper geometry so I have to figure out and understand the fabricating process on my own.

To first create a waffles structure, it is vital to locate the points of cutting. In this case these points are the intersecting points between the lateral bracers and the longitudinal members.

However these lateral bracers might be too weak if it is connected to the longitudinal members with zero tolerance for error and that it only forms a complete poly surface when over extended. There fore the path mapper is used to extend this and create a better structural system.

These intersecting planes are found using the the Brep/Brep function and those green lines repesent the parts where the waffle joints are to be cut.

FabricationOnce the the waffles spots are located, I used the Python script to unroll my structure. While the intersection joints are reflected onto the Python unrolled surface, they are largely joint lines which extend through the entire structure.

While it doesn’t work as a waffle strip, I decided to fabricate this anyway as a prototype to explore the flexibility of the MDF material used. I etched the intersecting lines which allowed the mdf pieces to bend more easily as a back up in the scenario that the waffle-jointed MDF pieces cannot bend.

Longitudinal LongitudinalLateral

Top Interior

Assembly

Comb-like Details

Manual Calculations

FabricationThis problem is rectified through halving the lengths of the curves that are used by the Python script in conjunction with the Breps of the longitudinal members. These joints as a result are halved and able to accurate represent the waffle joint system.

The diagram at the side shows the comb-like structure of the lateral bracers and these longitudinal members are to slot into them 1 at a time in sequence.

However the issue isn’t resolved as seen from one of the top sections of the interior space of the bridge. The joints cut through the upper joint as opposed to creating an accurate one on the right direction, As a result I had to manually create those myself.

further developmentfurther development

Further DevelopmentFurther development is based on the feedbacks of the presentation and adjusting the design in reflection of that. The key improvements focuses on advanced development on the underside of the bridge and in doing so makes use of its unique light qualities to create another attraction.

The other improvement is to create benches along the curves of the bridge to better facilitate it’s purpose as a urban condenser.

benching areas

Urban UseThe bridge’s functions are now extended as a leisure sitting and meeting area but also the experience of light changes under the bridge as one walks along the river.

1:100scale

Structural ImprovementsIn additional to creating more design solutions, the design also improves its constructability and structural needs.

The underlapping wood which dips into the water below aids in the designs structural feasibility by reducing the momental force experienced by the bridge. Load is transmitted through the steel reinforced timber member and onto sealed bored piers which undertakes the load of the bridge.

ConclusionI felt that the most growth I’ve had through studio air was not through the learning of grasshopper but rather digital fabrication. It is through digital fabrication which forced me to think on my design and the feasibility of it. As amazing as parametric design might be, a poorly thought out design and concept can often lead to dead ends or an inability to formulate it. Through the various different ideas I had and tried over the semester, fabrication held the key to its longeivity and its success. It’s through the intersection of concept and reality that I felt parametric design becomes truly valuable.

Apart from the growth of technical skills and the introduction of myself to so much more content and so much more possibilities in the architecture world, parametric designing personally allowed me to enjoy a form of architecture I previously didn’t think was possible. I’ve never really associated computer scripting with Architecture but I’ve seen now the importance of it and I’m excited in adding it to the growing list of things to learn before I’m ready for my career.

References

1.Soroko, Oleg, Parametric Bench, 2015 <https://m2.behance.net/rendition/Q/13144003/disp/e08d9624c83ac3dc6e78c4fbb576240f.jpg> [accessed 16 June 2015]

2. Henderson Wave Bridge, 2015 <http://imblacknitravel.com/wp-content/uploads/2010/09/henderson-waves.jpg> [accessed 16 June 2015]

3.Evolo.us, ‘Pedestrian Bridge For Amsterdam / Amniosya - Evolo | Architecture Magazine’, 2012 <http://www.evolo.us/architecture/pedestrian-bridge-for-amsterdam-amniosya/> [accessed 1 May 2015]

4. Wechlser, Doug, River Bank Curves, 2015 <http://saltmarshlife.com/image/Saltmarsh%20meanders%202903-66.jpg> [accessed 16 June 2015]

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