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Air

RONG CHEN

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DESIGN STUDIO AIRRONG CHEN

2014 / SEMESTER 1

TUTOR: BRAD & PHILIP

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Contents

Introduction 6-7

A.1 Design Futuring 9 Loop 10-11 Pizoelectric Generator 12-13 A.2 Design Computation 14 Spanish Pavilion 15-17 Research Pavilion 2012 18-21

A.3 Composition/Generation 22 Shellstar Pavillion 23-25 Guangzhou Opera House 26-27

A.4 Conclusion 28 A.5 Learning Outcomes 29

A.6 Appendix 30

References 31

PART A

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PART BB.1 Introduction 32

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Introduction

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My name is Rong Chen (Renee), a third-year architecture student at the University of Mel-bourne. I come from China, and have been in Australia for six years. I am interested in architec-ture as it is a course that involves comprehen-sions of various fields, such as arts and technolo-gies, enables me to develop holistic design skills.

My first experience with digital design tool was Rhino in the Virtual Environment. The lantern model is the realisation of the abstractive idea of expressing the natural process of mimosa pu-dica. From ideation to fabrication, the process was challenging for me, but it was surprized to see my concept transformed into a real product.

However, I have limited skills on CAD and Sketch Up. It was difficult for me to learn the computer software as I never ever used design software before I studied in Uni. I think the air studio provides a great oppor-tunity for learning the software and innovation de-signs, and it will be useful for my design career path.

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Part AConceptualisation

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“It is not just that many contemporary practices harm the world of our dependence but also that so few of them deliver the means to actually know the consequences of their activities beyond a ho-rizon of immediate concern”1

1. Fry, Tony, Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg, 2008), p. 25

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2012 Land Art Generator Initiative EntryArtist Team: AMIR KRIPPER, MICHAEL GROGAN, CHRISTOPHER LI, KRISTEN BARROW, ALENA PARUNINAArtist Location: Boston, USA

This project proposal is designed for the Fresh-kills Park, which aims to dissolve the traditional boundaries between landscape, architecture, public art and renewable energy infrastruc-ture.

This building can be treated as a design for the future, as it generates renewable energy by mounting a system of flexible solar panels on construction. In fact, this installation can gen-erate around 1.20 MW of power which can provide electricity to more than 1,200 homes annually.2 Aesthetically and functionally de-sign a sustainable architecture where installa-tion corresponds to the unique topography of

the site, rather than a single landmark. Further-more, as every built construction has impacts on environment, Loop uniquely designed the circular planters that are able to collect the rain water which filtered and returned to the creek, significantly mitigate the effects of water runoff.

Loop is an excellent example of design which integrate sustainability, nature, and design into a whole one. Visitors not only enjoy the leisure time in the park, but also inspired af-ter discovering the installation and engag-ing with the amazing views, the journey be-comes a transformative experience for visitors.

A.1 DESIGN FUTURINGLOOP

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Moreover, this proposal established as a learn-ing facility which provides visitors great oppor-tunities to interact with state of the art technol-ogy and renewable energy while discovering a new built environment.3 They can be edu-cated about the process of clean energy, and be conscious of benefits of sustainability. Over-all, the Loop is a unique sustainable, athletic, functional and educational design, engaging the public in the reinvented FreshKills Park in an unprecedented way.

Figure 1 Loop ELevation

2.”Loop,” Land Art Generator Initiative, Last Modified 2012, http://landartgenerator.org/LAGI-2012/LP360012/

3. ”Loop,” Land Art Generator Initiative, Last Modified 2012, http://landartgenerator.org/LAGI-2012/LP360012/

Figure 2 Analysis of Loop

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“Convert mechanical strain into electrical energy. They can be inserted into shoes or in walk-way pavers to harvest the ener-gy of walking or jumping”

Piezoelectric generator is one of the kinetic energy harvesting. The mechanical strain har-vested by this technology, which comes from human motion, low-frequency seismic vibra-tions, and acoustic noise, can be converted into electric current or voltage. However, the amount of produced power is small, ideally supply for low-energy electronics, such as pe-destrian lighting, way-finding solutions and ad-vertising signage or be stored in a battery.4

Figure 3 Havested Energy

A.1 DESIGN FUTURINGPIEZOELECTRIC GENERATORS

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As an emerging technology, the use of piezo-electric materials to harvest power has al-ready become popular. Piezo elements are being embedded in walkways to recover the “people energy” of footsteps, and one of the great examples is the Pavegen systems paved in a London sidewalk.5

The energy harvested by the Pavegen tile can immediately power off-grid applications, and have ability to send wireless data using the energy from footsteps and can be interred with API as a key technology for smart cities. Recyclable materials are used for majority of the flooring unit, 100% recycled rubber utilized for the top layer, and slab base is constructed from over 80% recycled materials.6 It has ability to withstand harsh outdoor locations with high footfall, and waterproof to efficiently operate in both interior and exterior.

The technology is interactive as it offers the tangible way for people to engage with re-newable energy generation and to provide live data on footfall wherever tiles are.

Even piezoelectric generator has limitations on energy production, and requires certain amount of movement, it greater benefits for the nature as environmental friendly technol-ogy, and sustainable for future generations.

4. “Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology

5.“Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology

6. “Pavegen system” Pavegen system, Last Modified 2014, http://www.pavegen.com/technology

Figure 4 Pavegen Tile

Figure 5 London Sidewalk

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A.2 DESIGN Computation

With the evolution of the digital technologies in architecture, computation as a computer based design tool has changed the design methods in an efficient way, and the compu-tational design as a process supports design exploration rather than design confirmation.

In the use for the design process, computa-tional techniques help represent the design graphically and numerically, fabricate and construct the resulting, and capable to mod-el the structure of material system, provid-ing powerful paradigm for material design.7 These breakthroughs provide architects the knowledge and expertise to discover differ-entiating potential of topological and para-metric algorithmic thinking and the tectonic creativity innovation of digital materiality. Furthermore, it allowed more people to be-come involved in the design process, inte-grate process in a holistic manner to the re-alisation of the design. 8

7. Oxman, Rivka and Oxman, Robert. Theories of the Digital in Architecture, (London; New York: Routledge,2014), 5.

8. Yehuda E, Kaylay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge,

MA: MIT Press, 2004), 17.

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The Spanish Pavilion was constructed in 2010 for the World Expo in Shanghai, and demol-ished after the event. The abstract idea of this pavilion is an expression of the climate of Spain on architecture. It is characterised by the highly complex curvature form, and the utilization of the wicker materials.

Digital in architecture support the emergence of certain distinctive geometric preferences and aesthetic effects.9 The unique complex geometry of the pavilion was manipulated using the Rhino software, but computational techniques not only create the desired ge-ometry surface, also help in finding solutions for design where the challenge of structure

was solved by experimentation of structures to find a metal system that meet the complex geometry. Furthermore, the ability to model the materials system provides architects op-portunities to determine various materials densities and orientations of the panel along the surface, experiencing the performance in simulations method.10

The 3D models were also used as a system of communication between the architecture, engineer and the manufactures in the work-shop. It enables the explorations of the struc-tural expression, by this process, the archi-tects and engineer simplified the structure by adapting variable curve that was produced to a limited number of different curves, which reducing the complexity of fabricating the elements. 3D model graphically presents the design idea and efficiently formulates a spe-cific solution through manipulating the pre-set parametric, allows the complex form to be achieved with readily available materials and a streamlined assembly process at mini-mal cost, instead of the traditional trail-and-error methods.11

Figure 6 Exploration of Structure and Material9. Oxman, Rivka and Oxman, Robert. Theories of the Digital in Architecture, (London; New York: Routledge,2014), 6

10. “Spanish Pavilion for Shanghai World Expo 2010,” World Buildings Directory Online Database, Last Modified 2010, http://www.worldbuildingsdirectory.com/project.cfm?id=2681 11. Rivka and Robert, Theories of the Digital in Architecture, 6

A.2 DESIGN ComputationSpanish Pavilion

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Figure 7 Spanish Pavilion

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Figure 8 Research Pavilion

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Research Pavilion 2012 by ICD/ITKE

The Institute for Computation Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed the pavilion that is entirely robotically fabricated from car-bon and glass fibre composites in November 2012.12

The inspiration of the project comes from the exoskeleton of the lobster, as a source been analysed in greater detail for differentiation of local materials in order to explore a new composite construction paradigm in archi-tecture by simulate method. By utilizing the computational techniques, architects are capable to transfer the biomimetic design principles to the design of a robotically fab-ricated shell structure based on a fibre com-posite system.13

12. “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, Last Modified 2012, http://www.achimmenges.net/?p=5561

13. “Research Pavilion 2012 By ICD/ITKE,” A As Archi-tecture, Last Modified 2013, http://www.aasarchitec-ture.com/2013/05/Research-Pavilion-2012-ICD-ITKE.html

19Figure 9 Model of Researcj Pavilion in Matrix Principle

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In this way, architects are able to explore possibilities of using the shell structure as computation conceptualises how the struc-ture will work, and preciously analysis mate-rial properties through parametric values, as a way in achieving the spatial arrangement of the carbon and glass fibres, as well as as-sisting in realization and assurance structure functionality in a productive 3D simulation.

The computational design process optimized the material and form generation regarding to the biomimetic principle, and ensures ar-chitect’s creation met the desired

Architects directly coupling of geometry and finite element simulations into compu-tational models allowed the generation and comparative analysis of numerous variations. The ability to model the structure of mate-rial system as tectonic systems in computing enables the determination of fibre orienta-tion, fibre arrangement, stiffness and layer arrangement, integrating the material and structure design in the process, thus complex-ity of interaction of form, material, structure and fabrication could be distinctively com-municated to the architects and engineers.

Figure 10 Fibre Orientation

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geometry through evaluating process in computations, reduces the likelihood errors. If the project communicates in traditional pen-and-paper ways, the complexity of ge-ometry is less efficient to present, as there are concerns with time consumption, difficulties of obtaining accurate measurements of ma-terial hence lack of performance preview, which results in reducing the variability of design options. Thus the synergy of modes of computational and material design, digital simulation, and robotic fabrication provides opportunity for exploration of the completely new architectural possibilities, and lead to development of highly efficient structure with minimal use of materials.1

Computational techniques enable the cre-ation and modulation of differentiation of the element of a design, it advanced envi-ronment for interactive digital generation and performance simulation. It is beneficial for designers to acquire new knowledge of computational techniques which neces-sitates a design strategy to be developed at the initial phase of the design process. In the LAGI project, by utilizing of computation, performance of energy installation will be obtained which helps evaluating the sustain-ability of the design project.

Figure 11 Fibre Orientation

14. “Research Pavilion 2012 By ICD/ITKE,” A As Architec-

ture, Last Modified 2013, http://www.aasarchitecture.

com/2013/05/Research-Pavilion-2012-ICD-ITKE.html

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A.3 Composition/Generation

Composition is defined as the rules or process of the architecture. It is the organization of the whole out of its parts, by this process, an ordered expression is created by architects. Throughout the history, the perfect composition architec-ture is characterised by the idea of “balance and contrast” with establishments of primary and secondary focal points and arrangement of climax. However, the composition only forms a traditional architecture that designed based on the order rules, without any design innova-tions in geometries, presentation, and architec-tural elements.

Parametric modelling software like Rhino and Grasshopper, develop the computational simu-lation method that generates the performance of feedback, offers architects an analysed per-formance regarding to the material, tecton-ics and parameters of production machinery in their design drawings, hence providing new design options for architectural decision during the design process. Nevertheless, the genera-tion approach has shortcomings in problem of overly complex forms, which is doubted with its practicality regarding to the limitation of cur-rent construction technology.15

The emerging computational techniques in nowadays has shifted the architecture from the composition to generation. Computation has brought along a new process to architecture, as it augments the intellect of the designer and increases capability to solve complex problems through the ‘sketching by algorithm’.16 In the generation process, the understanding results of generating codes and scripting enabling ar-chitect to write and modify of algorithms that relate to element placement and configura-tion, which generating the exploration of archi-tectural spaces and concepts.

15. Peters, Brady, Computation Works: The Building of Algo-

rithmic Though,(Architectural Design,2013), 12.

16. Brady, Computation Works, 10.

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Figure 12 Shellstar Pavillion

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A.3 Composition/GenerationShellstar PavilionLocation: Hong Kong

Shellstar pavilion is designed as a social hub and centre for the art and design festival held by Detour in Hong Kong in December 2012. The design goal of the project is to achieve the maximized spatial performance while minimizing structure and material in a tempo-rary, inexpensive, and efficient method.17

The design process was completed in six weeks and fully working within a paramet-ric modelling environment that provides the quick development for design. Three parts of design process can be divided by advanced digital modelling techniques: form-finding, surface optimization and fabrication plan-ning.

Figure 13 Shellstar Pavillion Realisation

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Form-FindingBy utilizing parametric programs, Grasshop-per and the physics, the self-organized form is emerged based on the creation of thrust surfaces that are aligned with the structural vectors, it allow for minimal structure depths. The generation approach in this stage allows designer to quickly explore different vari-ables of structure design in a holistic com-prehensive representations, and investigate the results efficiently to single out the appli-cable scheme.

Surface optimizationThe structure is composed of 1500 individ-ual cells, in order to achieve the complex geometry, the custom Python script is used to optimize each cell as planar as possible, which greatly simplifying fabrication. Even though the generation approach limited in directly generating the buildable non-planar cells, the parametric modelling adapted as problem solving tool to deal with material property, enable the feasibility of the design before realization.

Fabrication PlanningThe orientation of shell was analysed, and then unfolded flat and prepared for fabrica-tion with labels on each individual material pieces. The generative approach enables the design outcome successfully construct-ed. 18

Figure 14 Design Process in Computation

17. “Shellstar,” MATSYS, Last Modified 28 April,2011, http://matsysdesign.com/2013/02/27/shellstar-pavilion/

18. “Shellstar,” MATSYS, Last Modified 28 April,2011, http://matsysdesign.com/2013/02/27/shellstar-pavilion/

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Guangzhou Opera House

The Opera House is located in Guangzhou, China. The design evolved from the concepts of a natural landscape and the fascinating interplay between architecture and nature, engaging with the principle of erosion, geol-ogy and topography.

The utilizing of Rhino program generates the outer crystalline, and inner complex and flu-id surfaces inside the auditorium generated in Maya. The organic forms are achieved through logarithm, splines, blobs, NURBs, and particles on organized by scripts of the dy-namic systems of parametric design, which implies that parametric tool gives the possi-bilities of curves. 19

By : Zaha HadidLocation: Guangzhou, China

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Furthermore, development in Maya as NURB surfaces of the auditorium geometry repre-sents the different mathematical species, the parametric tool allows final material be cast precisely based on its unique paramet-ric data. In this way, the parametric design makes the fabrication easier as all material prefabricated in factory and construction on site. Moreover, the generative approach leads to the formation of the continuous, seamless surfaces due to the parametrical design in early stage.20

Overall, in the generation process, param-eters are interconnected as a system. The parametric design creates systematic, adap-tive variation, continuous differentiation, and dynamic figuration from different scales that from urbanism to the furniture.

Figure 15 Guangzhou Operation House

19. “Guangzhou Opera House,” Architect Magazine, Last Modified 28 April,2011, http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx20.”Guangzhou Opera House,” Architect Magazine, Last Modified 28 April,2011, http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx

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A.4 Conclusion

Nowadays, architecture is not only defined as a building or form, it also expresses the re-sponses to the environment regarding to the current facing issues, and the design goal of architecture puts more emphasis on the long-term development and the sustainable future.

With the advanced development of com-putations, architects and designers gained new design approach to find a suitable and efficient outcome, as the computer lets ar-chitects predict, model and simulate the en-counter between architecture and the envi-ronment. The generative approach expands possibilities for architect to explore complex geometry in a productive way that tradition-al pen-and –paper method cannot apply, hence encourages innovations in architec-ture.

Regarding to the proposal for the LAGI (Land Art Generator Initiative) Competition, the computation is useful in determining the performance of energy generating strategy through algorithmic exploration of param-eters, as well as tests the feasibility of the fabrication. Furthermore, utilization of Rhino and Grasshopper in the design process helps in optimizing the structure and material, thus make the sustainable proposal of an land-mark for energy-saving achievable.

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Over the past few weeks, through the read-ings and research on precedents, it broad-ens my new views in architectural design. At the very beginning, my thoughts were limited by the traditional composition architecture and thought that the design of architecture only generates the interesting forms. By look-ing at the precedents that involves the com-putational design, I realized the architectural design is currently shifted to a high level of approach with computation, and concern-ing more on the sustainable solution in re-gards to posted environmental challenges.

Also, the weekly Grasshopper exercises al-lowed me to gain the understanding of the parametric design, it not only a geometry design tool, it also benefits the architectural industry in design performance. I expect that use of this parametric modelling program will significantly contribute to the proposal of the LAGI project.

A.5 Learning Outcomes

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A.6 Appendix

Computational design is very important for designers, it help designer to generate ideas and develop models. When I doing the ex-ercise, I realize that doing parametric design is not only a study for design but also a study for computer program. I get lots of surprise from the computer since it always provides amazing outcomes.

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ReferencesBrady, Peter, Computation Works: The Building of Algorithmic Thought, Architectural Design, 2013.Rivaka, Oxman and Oxman, Robert. Theories of the Digital in Architecture, London: New York: Routledge, 2014Kaylay, Yehuda E, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided De-sign. Cambridge, MA: MIT Press, 2004.

Image ReferencesFigure 1 AMIR KRIIPPER, Loop Elevation, 2012, http://landartgenerator.org/LAGI-2012/LP360012/, (ac-cessed March 26, 2014) Figure 2 AMIR KRIIPPER, Loop Elevation, 2012, http://landartgenerator.org/LAGI-2012/LP360012/, (ac-cessed March 26, 2014)Figure 3 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014)Figure 4 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014)Figure 5 “Pavegen system” Pavegen system, 2014, http://www.pavegen.com/,(accessed March 26, 2014)Figure 6 “Spanish Pavilion for 2010 Expo Shanghai,” World Buildings Directory Online Database, 2009, http://www.worldbuildingsdirectory.com/project.cfm?id=1737, (accessed March 26, 2014)Figure 7 “Spanish Pavilion for 2010 Expo Shanghai,” World Buildings Directory Online Database, 2009, http://www.worldbuildingsdirectory.com/project.cfm?id=1737, (accessed March 26, 2014)Figure 8 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 9 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 10 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 11 “ICD/ITKE Research Pavilion 2012,” Archimmenges.Net, http://www.achimmenges.net/?p=5561 (accessed March 26, 2014)Figure 12 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014)Figure 13 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014)Figure 14 Shellstar Pavillion, 2012, http://www.arch2o.com/shellstar-pavilion-matsys/ , (accessed March 26, 2014)Figure 15 “Guangzhou Opera House,” Architect Magazine, 2011, http://www.architectmagazine.com/cultural-projects/guangzhou-opera-house.aspx

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Part BCriteria Design

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B.1 Research FieldMaterial System - Biomimicry

Biomimicry is literally from the Greek ‘bios’ that meaning life, and mimesis, imitation, it is a new principle that offers design, science, and industry a new way of accessing na-ture’s intelligence in order to solve human challenges by taking imitation from nature.1

Biomimicry provide a wealth source of inspi-ration as well as unleashing a new breeding ground for sustainable research and devel-opment, as nature has refined itself over last millions of years, this process has demonstrat-ed successful solutions to many of the prob-lems that we are facing nowadays, as well as has revealed the survival strategy of the ecosystem which has singled out the fittest organisms.2 Therefore, it provides opportuni-ties that transferring natural theories to design innovations which lead to a more advanced technology for solutions, as well as offers enormous potential to transform our build-ings, products and system.

As a part of biomimicry study, biomimetic ar-chitecture design is seeking solutions for sus-tainability in nature not only by replicating the natural forms, but also by understanding the rules governing those forms by looking at nature as model, which means taking inspi-ration from natural forms, process, systems, and strategies, and then apply it to the man-made in order to optimise the design solu-tions; as measure, by utilizing an ecological standard to assist development of human in-novations while judging the sustainability of the solution; as mentor, values nature that humans can learn from instead of extracting from it.3

Furthermore, along with the arrival of acces-sible computer technologies, biomimetic ar-chitecture become popular. It facilitates the design and construction of complex forms that were almost unachievable in the past due to constrains of physical fabricating pro-cess. Integration of biologically inspired pro-cess in computational design opens oppor-tunities of new ways of designing approach, utilize natural process as an algorithmic pro-cess. A wide variety of biomimetic projects are in development, in testing, or in use now.

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Times Eureka Pavilion, 2011Architect: Nex ArchitectureLocation: London, UK

Times Eureka Pavilion is a typical example of architecture imitating the patterns of biologi-cal structure in a scientific approach, dem-onstrating humanities symbiotic relationship with natural ecosystems.4

The design concept of Times Eureka Pavilion was inspired by looking closely at the cellular structure of plans and their process of growth to inform the design’s development. It fo-cused on the ‘bio-mimicry’ of leaf capillaries being embedded in the walls, the supporting structure of pavilion was formed by the mod-ular structural grid that imitates the growing

patterns of capillaries.5 Moreover, the pavil-ion mimics water transfer found in plant bi-ology, rain water literally runs off the glazed roof cells into the main recessed capillaries and down the walls to the ground.

Furthermore, the structure was generating by utilizing computer to algorithm plan of the garden that was grown by capillary branch-ing and subsequent cellular division. And the patterns of biological structure were con-trolled by a Voronoi diagram in grasshop-per. Level of satisfaction of architectural and structural needs was estimated following

Figure 1

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completion of the 3D modelling, as well as specialist timber fabricator undertook de-tailed analysis.

Figure 2 Figure 3

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Airspace Tokyo is a representative example of biomimetic architecture that imitating na-ture to solve the problem through innovating a new type of facade.

Inspiration of airspace facade solution was informed via old facade that was wrapped by dense vegetation. It artificially blends with the nature as performing like artificial vege-tation that has similar attributes to the green strip. This project not only imitates the organic pattern for aesthetic purpose, but also takes inspirations via the nature process of the cap-illaries actions in forming operations of the facade, including refracted sunlight along its metallic surface; channel rainwater away from exterior walkways.6

The facade contains four over laying layers of the porous, open-celled meshwork that changes densities as it moves across the fa-cade, responding to internal program and providing shading and reflection of excess light away from the building. Moreover, the different unique patterns of each layers skin were generated with parametric software, and fabrication consideration was integrat-ed in the process. In order to ensure the cellu-lar mesh to visually float, the panels that using composite metal panel material are affixed by a matrix of thin stainless steel rods which is threaded from top to bottom, assembled in an aesthetical way as the supporting struc-ture seems invisible.7

As a result, airspace Tokyo derived an archi-tectural system from process of capillaries has shifted to a new atmospheric space of protection to building, as biomimicry pro-vides opportunity for designer to innovate a creative structure with similar qualities as the previous facade, engage and with nature rather than beating the nature.

Airspace TokyoArchitect: Faulders Studio with Proces 2, Studio MLocation: Ota-ku, Tokyo, Japan

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Figure 4 Airspace Tyoko

Figure 5 Exterior Skin

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B.2 Case Study 1.0Aranda Lasch - The Morning LineArchitect: Matthew Ritchie with Aranda Lasch and Arup AGU

The morning line is an experimental project that explores the interdisciplinary interplays between arts, architecture, mathematics, cosmology, music.

The initial idea of collaborators team aims to develop a semiasographic architecture that refers to a non-linear architectural language based on fractal geometry and parametric design, which directly expresses its content through its visual structure, and considered as challenges to architectural convention.8

Based on a radical cosmological theory, the morning line takes the form of an open cel-lular structure that simultaneously generating itself and falling apart rather than an enclo-sure, and further utilizing the fractal cycles through computation to create a truncated tetrahedron module with fractals are fol-lowing a repetitive definition which can be scaled up and down.9 By harnessing the ad-vantages of the parametric design, collabo-rators team pushes the definition to its limits to experiencing the multiple architectural forms that resulted from changes of parameters, to test the boundary of definition.

Figure 6 The Morning Line

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However, there is no final form as there is no single way in or out, an interactive film de-scribes the evolution of the universe as a story without beginning or end, only move-ment around multiple centers. The outcome is an impressive 8 metre high, 20 metre long black coated aluminium pavilion integrates the music and sounds culture within it, recog-nized as a new type of instrument as well as an interactive performance space.10

The morning line project is used as a starting point to explore the possibilities of biomim-icry in computational design, through under-standing of the algorithm process in grass-hopper, it enables capability of exploration with variation of changes, the following pag-es demonstrate the matrix table of explora-tion of definition.

Figure 6 The Morning Line

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Figure 7 The Morning Line

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Figure 8 The Morning Line

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B.2 Case Study 1.0Matrix Table 1

Three Sides Four Sides Five Sides Six Sides

Cluster 0.333

Cluster 0.1

Cluster 0.2

Cluster 0.4

Cluster 0.5

Cluster 0.6

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Seven Sides Eight Sides Nine Sides Ten Sides

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B.2 Case Study 1.0Iteration Table 2

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Matrix table 1 explores the variations with dif-ferent functions and cluster parameters. Based on the original functions that used in defini-tion, the limitation of geometry outcome was pentagon, apply with different mathematical functions, numerous geometry form will be achieved. Also as number if sides increase, the height decreases. Maximum value of cluster is 0.6 for tetrahedron, as long as factor greater than 0.6, the geometry no longer exists, and greater the parameter, more complex the fractals appear.

Matrix table 2 explores radius parameters and component options. There is no limitation of radius and height, thus the scale of polygons can be infinitely increased. The unexpected outcome was achieved by simplified and flatten the parameters, which alternates the points order resulted in new ways of connec-tions.

The selection criteria is based on consideration of interesting and aesthetic form that attracts visitors while relevant and connect to the site at Copenhagen, as well as take potentiality of structure to maximise the ability to harvest wind energy. The selected four iterations are considered the most successful than others, because they are all have interesting features and showed potentials of development in ar-chitectures or landscape installations.

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B.2 Case Study 1.0Successful Outcomes

Selection A

Fractals formed a symmetrical pattern while remain the overall shape of a pyramid, it fea-tures the 3D patterning effect rather than flat 2D pattern that usually applied on wall or floor. It demonstrates the potentiality of fractals ap-plication in other objects, pavilion or architec-ture for aesthetic effect.

Selection B

The form of this iteration shows the possibility of side numbers of geometry. It is no longer definable from the original tetrahedron as no sharp corners on the bottom, demonstrate possibility of curvy form rather than linear-line shape. High density of fractals not only results in an interesting fragmentation pattern, but also further expresses the biomimicry system of natural process through the structure itself.

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Selection C

This Is an abstract concept rather than an intact geometry, as it basically a series of fragmented pieces organised in a pentagon form. The floating sense of fractals is opposite to the original static feeling of selection A and B, if integrate it to the site environment, it will blind into the nature, and offers a different experiences of free structure of the project.

Selection D

Demonstrate an indefinable form that looks like imitation of the universe, the ends of the protruding suggest a sense of deterioration of natural process. Demonstrate potential adoptability for generating basic pavilion form or sculpture.

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B.3 Case Study 2.0CLJ02 - ZA11 PavilionDesigners: Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan, 2011Location: Cluj, Romania

The ZA11 pavilion is designed for the 2011 ZA11 Speaking Architecture event in Cluj, Ro-mania. This design boats strong representa-tional power in order to fulfil the main goal - attracting passers-by to the event, and al-lowing for the sheltering of the different planned events.

Creative exploration was constrained due to the harsh requirements of short time period, limited budget, specified materials and tools, which resulted in limited approaches. Deep hexagonal structure is adopted in the final design to solve the problem by mimic natural structure. 10As the hexagonal structure is

efficient in according to each line length in a hexagonal grid as short as it can possibly be, which means a large area to be filled with fewest number of hexagons. This struc-ture provide possibility for design team to construct a particular geometrical configu-ration that requires less materials while gain adequate strength under compression. 11

In addition, the realization of this unusual spectacular form was realized possible by parametric design techniques, from geom-etry generation to piece labelling, assembly and actual fabrication, process was con-trolled in computational design tools, which

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reduces time consumes in comparison to tra-ditional design way, hence meet the harsh time requirement. As a result, a free-form ring is formed based on hexagonal structure.

Design team combines the biomimicry prin-ciple into the computational design process enables themselves to achieve the goal with limit material and time, thus the project is suc-cessful in meeting design intent.

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B.3 Case Study 2.0Reverse-Engineering

I.Set one base curve and one ref-erence point in rhino.Scale and move the curve to create multiple curves.

II.Loft the curves to get the base surface. Commit closed loft option to ensure the surface is closed

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III.Apply the hexagon cells to the surface

IV.Utilizing reference point as centre to scale the surface that achieved in IIForm an inner surface

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B.3 Case Study 2.0Reverse-Engineering

V.Set both surface to graft optionLoft the corresponding lines of hexagon on the inner and outer surfaces

VIDebrep the loft surface to obtain individual surfaces Apply the pattern to the surfacesDelete the duplicate surfacesRefine the Model

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B.3 Case Study 2.0Algorithim Diagram

Curve

Curve

Curve

Curve

Hexagonal Cells

Scale

Move/Scale

Loft Loft

Point

DeBrep

Hexagonal Cells

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DeBrep Explode

List Item

Line

Point

Joint

Joint

Area

Scale

Line

Line

Line

Line Area

Scale

Solid Difference

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B.3 Case Study 2.0

The combined outcome of different process for each parts in grasshopper has enabled a final definition, creating a successful out-come in reverse-engineering project of the ZA11 pavilion.

The outcome reproduces the overall ring form with deep hexagonal structure that em-ployed by the ZA11 pavilion, and both has the similar triangular pattern that is hollow on each individual pieces of the surface. Even though the appearances are similar, the de-sign process was obviously different. In the process of our outcome, in order to achieve the horizontal surfaces between edges of hexagon, an scaled inner surface is used to line the corresponding points of hexagon corners, then loft the surface.

However, the ZA11 pavilion design process achieved it by using a referencing point to extrude line from surface to a certain length rather than using the inner surface, the origi-nal design process is much complicated than definition that we created.

The next step would be to incorporate differ-ent forms, patterns to the definition, as well as changing the different inputs to test the capability of definition. The existing alforithm could be developed further to achieve a more creative definition.

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Using the reversed engineering project as the starting point, in this section, the definition is further developed with variations of basic shape, the patterns attach to the surface, and the lofting panels options to extend and alter its functionality.

Matrix table 1 – the basic shapes that created in matrix table 1 are inspired by the form and structure of a specific animal or insect, such as caterpillar, peacock, tree trunk, beehive. The rest two shapes are generated through analysing the wind direction at site, pull and push the curve to generate the shape that resulted by effects of wind pressure. By using the Lunchbox plug-in, loft panel is tested with options of hexagon, triangle, rectangle, dia-mond and stegger shapes.

Matrix table 2 – Six basic shapes are selected from matrix table 1, then recreate the defini-tion of pattern section in grasshopper to ex-plore the options of patterning, for instance line different point on two curves by using divide curve command, to produce more outcomes.

Matrix table 3 – based on table 2, six hybrids iterations are selected based on its potenti-ality for further development, and they are most varying from the original. Through alter-ing the parameters, it freely changing the geometry, and shift it to a more dynamic form rather than just utilizing one script.

B.4 Technique Development

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Matrix Table 1

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Matrix Table 2

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Matrix Table 3

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B.4 Technique: Development

I.This iteration generates the most interesting dynamic form that based on wind direction of the LAGI site. The wind mainly comes from the south-west direction, the windward side of the shape is curvier than the leeward side, the whole shape is shifted toward to the leeward direction by pressure. Imitating the wind movement and express it through the structure, has patentability to be developed with tensile materials, and suitable for installation of wind energy installation.

II.The basic form of this iteration is also inspired by wind, compared to selection I, it is more static, but the hollow core under the structure skin will direct the wind passage rather than let wind pass over the struc-ture skin. This idea has possibility to offer people with an interesting experience while the structure likely to be a pavilion. It has high poten-tiality to harvest the wind energy.

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III.This iteration takes the shape that is inspired by the height of the sur-rounding buildings as well as wind movement. The scatter locations of posts would create an interesting circulation for visitors. Feasibility of simple structure, and able to harvest the piezoelectricity from visitors’s engagement with site.

IV.The simple form of iteration looks like imitating the bamboo growing process which is in sections. The outcome is interesting as it has least members in comparison to other iterations. Its surfaces potential for harvesting solar energy.

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B.5 Technique: PrototypePrototype 1

The digital model in rhino was unrolled and labelled in order for fabrication process, which significantly reduce time consumes in comparing to the hand-craft. Then it can be print out in multiple options of materials.

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For prototype 1, the selected successful out-come II in B.4, plywood, an eco-friendly ma-terial was utilized to explore the stability of structure and appearance of the design. As plywood is light in weight but has high uniform strength and freedom from shrinking, swelling and warping, it is beneficial for outdoor instal-lation. Moreover, it has capability for fabrica-tion of curved surfaces which provide oppor-tunities for more creative form generation.

“Advantages of Plywood”, accessed on 2 April 2014, http://fennerschool-associated.anu.edu.au/fpt/plywood/advply.html

As shown in the picture above, plywood has possibility to achieve the curve structure and offers not only elegant but also organic feel-ings about the design. However, the thick-ness of the material is a serious concerns in fabrication process, unlike paperwork, as differs the thickness, the structure is altered, which may lead to a collapse outcome.

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B.5 Technique: PrototypePrototype 1 - Connector

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Based on previous research on ZA11 pavilion, a common con-nector type for assembling wood construction in small scale architecture is wood panel connector. It fixed multiple panels together and provides strength to the overall structure in con-ventional way, as it is easy for remove in the future.

As testing outcome of prototype one, it could be seen that the connector provides rigidity to structure as it hold each individual pieces right at their position.

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B.5 Technique: PrototypePrototype 2

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Prototype 2, the selected successful outcome III, is aiming to gain the understanding of overall form of the design. The bal-sa wood was utilized, it was lighter and much softer than the plywood, easy to cut and shape, idealised for small scale proj-ects. It is conceived as sustainable material as its carbon neu-tral qualities ensure an environmentally friendly solution that can help promote Copenhagen as a “Green City”.

This prototype demonstrates an interesting ground area that zoned by the density of the posts, but the design concept is too simply to be recognised as solution for the brief, it still has large potentiality to be developed further.

“Balsa Wood Advantages”, Steve Johnson, accessed on 24 April 2014http://www.ehow.com/list_6727312_balsa-wood-advantages.html

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B.5 Technique: PrototypePrototype 3

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The purpose of prototype 3, the selected successful outcome I, is to test the material performance with the structure. It utilis-es the Perspex material, an acrylic plastic material, which has similar qualities to glass with regards to transparency, but it’s twice as durable and more lightweight than glass with similar thickness. It is conceived as eco-friendly material as Perspex is reusable.

This prototype demonstrate that Perspex form the hexagonal structure of design, the transparent feature of material results in a beauty of cleanness. The connector between individual pieces of Perspex is an important consideration. As in proto-type, in order to form hexagonal cell, steel wires was utilized to fix the position of pieces of Perspex, but it failed to make stable structure, instead, resulted in a loose and flexible structure.

“Perspex glassware: its advantages and disadvantages”, accessed on 29 April, 2014. http://www.perspexad-vantages.sitew.org/#Perspex.A

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B.6 Technique: Proposal

Based on the LAGI brief, it is not only impor-tant to create an attractive energy saving design, but also necessary to invite users to the design and interact and engage with in the design by themselves, through expe-riencing the energy regeneration to raise the awareness. The team attempts to design an aesthetic pavilion which will attract and pro-vide them with an opportunity to get to know the sustainable energy.

Regarding to the Copenhagen site, its windy weather suggests a good condition for the Pizoelectricity system. Piezoelectricity is the electric charge that accumulated in certain solid materials in response to applied me-chanical strees. . It literally means

electricity resulting from pressure, as certain materials have ability to generate current when subjected to mechanical stress or vi-bration. Therefore, when wind moving across the piezoelectricity materials that installed on the structure skin, wind pressure resulting electricity through the material.

Furthermore, as the basic shape of design is generated by wind direction, combine the system into the design will maximise the performance of the energy regenerating whereby the designed structure is respond-ing to the wind movement, piezoelectric ma-terial will vibrate frequently. Moreover, the harvested electricity could be used for light-ing, visitors can see the lights up when there is wind crossing, which will interest visitors to know the system behind it.

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Moreover, the piezoelectric generators is easily obtainable and economic to construct and maintain, there is no require of bat-tery power, the installation is small and can be designed in an invisible way in structure which aesthetically installed and effective in generating electricity, this proposed system is feasible and efficient, providing a sustainable solution to Copenhagen. The combination of irregular form and innovative technology will form a more sustainable architecture design for Copenhagen and promote it to a “Green City”

“Piezoelecticity“, accessed on 3 May 2014, http://whatis.techtarget.com/definition/piezoelectricity.

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B.6 Technique: Proposal

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B.7 Learning Outcomes And Objective

Through the last few weeks, based on re-searches into precedents, biomimicry tech-nology is now combined into computational design techniques to achieve design intents. It is clear that by understanding the nature process in the ecosystem will generate a new way of thinking in architecture, as well as gain the sustainable solution from the nature.

In addition to the research, the case study 1.0 provides the introduction to the algorithmic Grasshopper definition. By experiment with al-ternating parameters and changing options to push the definition to its limits, I understand that parametric design has high flexibility of alternating changes to the digital model in a conventional way, and it offers architects nu-merous design options in generating design concept as it enable a new set of controls to overlay the basic controls.

Moreover, case study 2.0 pushes me to a higher level in understanding the logic algo-rithm behind the definition through reversing the project. Parametric design depends on defining relationship, focus more on the logic behind the design. It is a complex thinking process, nonetheless, we developed a defi-nition which we could use as foundation for the development of LAGI project.Based on the feedbacks from Part B interim presentation, we unify the energy generating system to the piezoelectricity that can gen-erate electricity once wind move acrossing the structure, rather than previous unclear proposal with two different energy generat-ing system. Furthermore, the idea of energy technology should become the main focus of our design intent when moving towards part C, as well as develop the definition fur-ther as there are still potentials.

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B.8 Appendix

Based on learning grasshopper from the online tutorials for laster few weeks, I become more familiar with the computational technique. It developed both my thinking and skills, the most successful outcome was the reverse engineer-ing, but outcomes from weekly practices were the basic skills that we fundamentally begin with. Those patterns generated in grasshopper and as well as the seroussi pavilion reverse project are considered as best outcomes as they are helpful in tracing the natural forms and process.

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Reference1. “What do you mean by the term biomimicry”, BIomimicry Institue, accessed on 17 April 2014, http://www.biomimicryinstitute.org/about-us/what-do-you-mean-by-the-term-biomimicry.html 2. “Biomimicry”, Designboom, accessed on 24 April, 2014, http://www.designboom.com/contem-porary/biomimicry.html 3. “What is Biomimicry”, accessed on 25 April, 2014http://www.biomimicryinstitute.org/about-us/what-is-biomimicry.html 4. “Time Eureka Pavilion –Cellular Structure Insipired By Plants”, Lidija Grozdanic, accessed on 28 April 2014, http://www.evolo.us/architecture/times-eureka-pavilion-cellular-structure-inspired-by-plants-nex-marcus-barnett/ 5.“Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, accessed on 30 April 2014http://afflante.com/28753-times-eureka-pavilion-nex-architecture-marcus-barnett/ 6. “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014http://www.wallpaper.com/architecture/airspace-tokyo/1778 7.“Airspace Tokyo”, accessed on 29April 2014http://travelwithfrankgehry.blogspot.com.au/2010/03/airspace-tokyo-by-faulders-studio.html8.“The Morning Line Launches in Istanbul” Accessed 28 March 2014, http://artpulsemagazine.com/the-morning-line-

launches-in-istanbul

9. “The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.

http://www.tba21.org/pavilions/49/page_2?category=pavilions

10.“Aranda / Lasch” Nick Clarke, Accessed 28 March 2014. http://www.iconeye.com/read-previous-issues/icon-066-%7C-

december-2008/aranda/lasch

10. “ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://

www.archdaily.com/147948/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

11. “ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,” Accessed on 29 March 2014, http://www.

arch2o.com/za11-pavilion-dimitrie-stefanescu-patrick-bedarf-bogdan-hambasan/

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Image ReferenceFigure 1 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, ac-cessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-archi-tecture-marcus-barnett/ Figure 2 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, ac-cessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-archi-tecture-marcus-barnett/ Figure 3 “Time Eureka Pavilion//Nex Archiecture, Marcus Barneett”, AFFLANTE, ac-cessed on 30 April 2014, http://afflante.com/28753-times-eureka-pavilion-nex-archi-tecture-marcus-barnett/ Figure 4 “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014http://www.wallpaper.com/architecture/airspace-tokyo/1778 Figure 5 “Airspace Tokyo”, Wallpaper, accessed on 28 April 2014http://www.wallpaper.com/architecture/airspace-tokyo/1778 Figure 6 “The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 7“The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 8“The Morning Line, Vienna 2012” TBA21. Accessed 27 March 27 2014.http://www.tba21.org/pavilions/49/page_2?category=pavilions Figure 9“ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://www.archdaily.com/147948/za11-pavilion-dimit-rie-stefanescu-patrick-bedarf-bogdan-hambasan/ FIgure 10“ZA11 Pavilion/Dimitrie Stefanescu, Patrick Bedarf, Bogdan Hambasan,”Megan Jell. Last modified 5 July 2011. http://www.archdaily.com/147948/