STUDIOALVINA LAY 558471

2015, SEMESTER 1 TUTOR: ALESSANDRO

AIR

CONTENTS

INTRODUCTIONS

ABOUT ME & PREVIOUS WORKS

PART A: CONCEPTUALISATION

A.0 DESIGN FUTURING

A.1 DESIGN COMPTUTATION

A.2 COMPOSITION/GENERATION

A.3 CONCLUSION

A.4 LEARNING OUTCOMES

A.5 APPENDIX ALGORITHMIC SKETCHES

PAGE

6 - 7

8 - 13

14 - 19

20- 25

26

27

28 - 29

CONTENTS

PART B: CRITERIA DESIGN

B.1 RESEARCH FIELD

B.2 CASE STUDY 1.0

B.3 CASE STUDY 2.0

B.4 TECNHIQUE: DEVELOPMENT

B.5 TECHNIQUE: PROTOTYPES

B.6 TECHNIQUE: PROPOSAL

B.7 LEARNING OBJECTIVES AND OUTCOMES

B.8 APPENDIX - ALGRITHMIC SKETCHES

REFERENCES

30 - 31

32 - 35

36 - 39

40 - 43

44 - 45

46 - 49

50

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INTRODUCTIONABOUT ME

I am presently undertaking my studies within the Bachelor of Environments majoring in Ar-chitecture. It is definitely a field that I have great interest in and am always motivated to explore and take it further throughout the years that pass.

Currently I am also working with the Australian Institute of

Architects under their subsidiary company called Archicentre. I continuously enjoy working and communicating with a large number of architects and clients on a daily basis. Getting to know what clients are after and seeing the work that architects with many years of experience are able to produce makes me grateful to have an insight into what I may be involved with in the future.

Throughout this course I have broadened my understanding of the history of design and it is clear to see we have progressed extensively over the years and it is clear to see that it is only going to keep moving forward. We have all these new tools and our skill set is expanding with all these programs made available to explore our creativity within a digital context of design. I have familiarised myself with a num-ber of programs which include InDesign, Photoshop, AutoCAD, Revit and now I will be look-ing more into Rhinoceros and Grasshopper.

PREVIOUS WORK

The most recent studio I under-took prior to studio AIR was studio WATER. Throughout this subject I broadened my knowledge with the use of programs such as Revit and Sketchup. It was a new learn-ing curve but was definitely one that needed to be explored.

The aim of the project was to design in the manner of a great architect in which I had been as-signed Alvaro Siza.

Siza was a simplest when it came to his designs but this concept was more to do with the external façade, when you lookat the in-ternal work it played a much more sophisticated role in the design. He is able to do a lot with very lit-tle in the way he plays with simple geometry and frames perspective views and these were a few of the factors I took on board with my final design.

DESIGN FUTURINGARCHITECTURE AS A DISCOURSE

Architecture as a discourse communicates by way of interpreting our ideas, thoughts and emotions and creativity into a built form. It allows architecture can communicate effec-tively to evoke different emotions.

By physical form it acts to be influential and holds an innovative appeal which communi-cates to its audience or users.

Architecture allows one to express their ideas and thoughts to others through various means beginning with sketches, notes and expanding colours, textures, materials, lighting and various other forms found within this idea of design futuring.

The following two precedents chosen are built projects that show us that this move towards a digital form of design is possible and is something that architecture is mov-ing towards. The two projects explored were designed and constructed in 2012 so they were not a revolutionary as this process of digital architecture has been in play for quite some time now but of course is bettering itself year after year with all the advancements. Furthermore, new light is being shed on how people view architecture; it is growing and moving away from dense and monumental styles in architecture to innovative projects such as the Shellstar Pavilion and the Drift project precedents.

The Shellstar Pavilion is a space created close by to popular festivals to draw in people to bring them into a different dimension of space; it acts as a spatial vortex that draws many passers-by in. It was produced through the use of parametric software including Grass-hopper and Kangaroo.

The Drift entrance contributes to the site by allowing users to relax and be covered by the shading provided from the inflated tubes and to also transition the users into different spaces. Due to the choice of materiality, a dense suspended design was made possible and is another stepping stone to the future of algorithmic architecture.

DRIFT

Architect : Snarkitecture, 2012

Location : MIAMI BEACH, USA

Designed by Snarkitecture, this entrance pavil-ion constructed for Design Miami in 2012 mar-velled many with its “floating environment”1. It is constructed with five hundred long cylindri-cal inflated tubes made of white vinyl which of course blended in with the rest of the exhibi-tion space made with the same material. These tubes are grouped together in suspension to form a floating topological landscape. Due t the filtering of the light that passes through these tubes creates a “space both interactive and contemplative.”2 As the material is light-weight it has enabled easier and faster instal-lation but it has also allowed for a dense mass of the installation to be put into suspension.

This design is simplistic however it is effective, it is a unique transition through space and it’s a movement in the positive direction of algorith-mic computation. It resonates with the idea of an innovative design and showcases perfectly what you can expect throughout the Design Miami exhibition of modern and contemporary design.

The Shellstar Pavillion allows the audience to perceive architecture in a different light. It is an exploration of circulation and geometry through computerisation aided with the use of Grasshopper and Kangaroo. These programs enable architecture of today expression with-out limits, these two dimensional ideas can be transformed into these three dimensional virtu-al spatial organisations in a short span of time.

From an idea to fabrication of the final creation the complete process took six weeks. It is a de-sign composed of one thousand five hundred in-

dividual translucent corrugated plaster cell-like-structures, nylon cable ties, PVC, steel reinforce-ment arches and steel foundation. There was minimal structural material used and this allowed for a free flow and optimized the surface area.

It clearly displays a change from past architec-tural forms and has turned it into an abstract and intriguing form which it uses to draw pas-ser-by’s attention and interest. It attracts them through this spatial vortex that journeys one through a different dimension of space but brings them back out into the larger scale site.

SHELLSTAR PAVILION

Architect : Matsys & Andrew Kudless, 2012Location : WAN CHAI, HONG KONG

DESIGN COMPUTATION“New architecture have become more subtly attuned to the differentiat-ing potential of topological and parametric algorithmic thinking and the tectonic creativity innovation of digital materiality” [pg 7, Oxman, 2014]

Computing design has vastly changed the process of the way we de-sign; it has allowed us a substantial amount of freedom and flexibility to

produce forms that are curvilinear, complex in geometry and has also pushed for a better understanding of topological spaces.

There are ongoing changes that are taking place and this is something that will continuously take place. During the first decade of computation design Rivka and Robert Oxman look at how the evolution of the digital within that time frame focussed more on “material shift and fabrication”

1 being the dominant contributors but talks about how in this second phase our aim is in designing naturally with influence from the natural

world.

To be provided with an opportunity to engage with contemporary com-putational design techniques benefits architects by allowing us generate form that is informed by performative design, tectonic models and dig-ital materiality. This continuity in the design process and the further de-velopment of these systems between these models and concepts allows

us to better understand the principles of nature and to build towards this idea of a second nature.

This 2012 project resulted from a four day work-shop at the University of Minnesota School of Architecture. It was a project looking at nature specifically structures of shells and allowing the students to explore the digital realm of design so that they could get a better grasp on how it would be possible to build structures within four days.

Through these programs they looked at the “design, simulation, and fabrication of a con-temporary thin shell structure”3 and were able to produce a shell structure made from cor-rugated cardboard within only four days. This just shows us how far architecture has come, from the initial idea through to the assembly of the final design the turnover time has been reduced drastically with the aid of computa-tional design and new fabrication methods.

CATALYST HEXSHELL

Architect : MATSYS, 2012Location : MINNEAPOLIS, MINNESOTA

The design of the ‘Bubble’ by Franken and Ar-chitekten in 1999 saw an innovative movement in the world of architecture. It was one of the first few built structures to be built from the use of com-putational/digital mediums from the initial idea through to the construction of the final design.

This was designed for the BMW group and the initial idea was taken from the form of a water drop and this idea of moving in a more sus-tainable manner of clean energy found in water.

Bi-directional contouring was the method used to produce this curvilinear form which involved subtractive methods for the CNC production. It was a ground breaking movement that saw ar-chitects in a different light by bringing making these architects masters of building and design.

BUBBLE

Architect Firm: Franken/Architekten, 1999Location : FRANKFURT/MAIN, GERMANY

COMPOSITION/GENERATION

This shift from composition to generation shows a movement from simply modelling the design to the modelling of the logic behind the design. Through the generative processes of algorithmic thinking, parametric mod-elling and scripting cultures we have seen this shift take place with ease. The use of these new techniques by architects can allow us to gain more control over the final form of the design and it also allows for much complexity.

With any digital tool or techniques found within algorithmic thinking, par-ametric modelling and scripting cultures there will always be factors that need to be considered. This digital realm may provide us with more insight and freedom into structural and material aspects of the design but with any digital tool, the software cannot control aesthetics and this will still be in the control of the architect. In combination with all these new digital tools we are able to see the architect’s role expand and grow as the “master builder.”

The following precedents look onto the generative approaches of design and looks at the issues we may face but can overcome with the help of algorithmic thinking, parametric modelling and scripting. These tools al-lowed for the design of the Heydar Center to overcome complex issues circulating around the buildings envelope and it allowed for the Research Pavilion to be built with the use of fibre reinforced polymer structures.

GENERATION

The Center, designed to become the pri-mary building for the nation’s cultural pro-grams, breaks from the rigid and often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express the sensibilities of Azeri culture and the op-timism of a nation that looks to the future.

The concept idea derives from a want and need to create a space of continuity and fluidity, the developmental process of the exterior façade/skin was the “most critical yet challenging el-ements of the project.”4 The architects want-ed to create a continuous flow throughout the building that I would seem homogenous.

o achieve this homogeneity, the project team explored a range of digital tools that allowed them to look at “different functions, construc-tion logics and technical systems”5 so that they can incorporate them all together to achieve the exterior envelope that was desired. This is where we find that advancements in technol-ogy where design is relevant hasenabled this scripting culture to look for varying “func-tions, construction logics and technical systems among the numerous project participants.” 6

HEYDAR ALIYEV CENTER

Architect : Zaha Hadid Architects, 2013Location : BAKU, AZERBAIJAN

This is another research pavilion by ITKE and ICD showcasing the possibility of “nov-el design, simulation and fabrication pro-cesses.”7 This project went from concept to finished construction within the time span of a year and a half, it was a collaborative ef-fort of professionals ranging from “biologists, palaeontologists, architects and engineers”8

This material design focussed on the use and development of “novel robotic fabrication methods for fibre reinforced polymer struc-tures.”9 The idea was to allow as much ge-ometric freedom as possible by using materials that bring formwork to a minimum and with

that they underwent extensive analysis. They looked into biomimetic analysis, logic of dif-ferent materials and structures, robotic wind-ing processes and then went into prototyping.

Conclusively the project team constructed the final design with thirty six individual fibre rein-forced polymer structures which were based on structural principles surrounding an elytra beetle. It is a movement in the direction of a continuous link in our computation process of design that starts from a file to factory production or CNC production, it’s moving forward in the way we design by looking to create a “second nature.”10

ICD/ITKE RESEARCH PAVILION

Architect : Archi Menges, 2013-2014Location : STUTTGART UNIVERSITY, GERMANY

CONCLUSIONLooking at architecture as a discourse has enabled me to see how one can com-municate in various forms our ideas thoughts, emotions and creativity to drive our initial concept right through to completion. Looking at design computa-tion I have gained a better understanding of how it has changed the way in which we design, compose and generate. It has provided us to think and de-sign in an algorithmic format, parametrically model our work and has changed scripting cultures. We have revolutionised the role of the architect with the use of these performative skills and simulation techniques which has brought us to a new level of not only design but also functionality and optimisation.

I will intend to design with respect to the users and existing surrounds of Mer-ri Creek, looking at material design and studying this thought of a ‘second na-ture’ and how it can be applied into my final piece. I will further my research and look into more precedents and proceed with more explorations on Grass-hopper to improve my skills in design computation specifically in paramet-rics. The use of this medium will allow me to expand my design capability and hopefully produce something that is aesthetically appealing and functional.

LEARNINGOUTCOMES

Going through these precedents and learning more about the theories and practice of architectural computing I have found that there is a different way of architectural thinking and that this method can give us a continuum from design to production. This digital realm allows us to control the aesthetics but it pushes us to also renew our “interest in materialization and fabrication.” All these var-ying processes of architectural digitization worked together push one’s ability to design with greater knowledge of the principles of our natural environment.

Had I looked more into these concepts and models with my previous stu-dio work, I definitely could have taken on a much better approach it would have allowed me to overcome quite a few limitations that tectonics of mate-rial design may have clarified. I feel it definitely would have allowed me more creative freedom and would have bettered my understanding of how a de-sign process can flow much more than my staggered previous approaches.

APPENDIXALGORITHMIC SKECTHES

These are a few of the algorithmic tasks that I have experimented with however there is still a lot of further experimentation required on my behalf. Here I look at scripting to alter vases by shifting sliders, then I look at grids and play with image samplers and finally I explore voronois.

TESSELLATIONLooking into the idea of tessellation present in Architecture it can be found in a two dimensional form and also a three dimension form. It is the repetition of certain geometries interlocking with one anoth-er filling up 360 degrees which forms simplistic symmetrical works and even more distinct patterns.

Natural forms of tessellation act in various manners, in dense formation it can increase sur-face area, allow for more strength and can act better in compressive stress. Where it pro-vides a more porous effect, these can by way act for storage such as what is found in beehives, allow for natural sunlight to beam through and for air to cicrulate easier. Tessel-lation in terms of performance allows for multiple benefits and freedom for manipulation.

RESEARCH FIELD

The final design outcome can be influenced by these ideas which are naturally occurring in bee hives, fish scales and pineapples to name a few. Many opportunities are provided through tes-sellating forms as there are many aspects that can be explored within this style which allows for translations, rotations and reflections to take place to challenge the final design form. It inter-twines the ideas of geometry and patterning and really allows for a much more flexible approach.

In terms of fabrication concerns when it comes to tessellated surfaces, materials con-sidered will prove cost effective items that is durable in which are able to form stur-dy connections with one another with minimal additional reinforcements re-quired. Prefabrication is an option to allow for a much quicker construction phase.

Tessellation in three dimensional/buildings are made possible with the use of programs such as Rhino and Grasshopper. These buildings such as Melbourne’s Federation Square Building and the interior frame of London’s King’s Cross Railway Station show an aes-thetically pleasing and stimulating façade that draw in users and onlooker’s attention.

VOUSSOIR CLOUD

Architect : LISA IWAMOTO & CRAIG SCOTT, 2008Location : LOS ANGELES, UNITES STATES

“It is a light, porous surface made of compressive elements that creates atmosphere with these lumi-nous wood pieces, and uses this to gain sensorial effects”

Structural Concept:The concept revolves around the structural para-digm of pure compression with the use of ultra-light material systems. It is placed within a gallery and envelopes the space with vaults which can be expe-rienced by visitors from within and also from above. Denser areas are formed and migrate to the entry soffit and two long gallery walls. The vaults rely upon one another and the walls to retain its pure compressive form. There are fourteen segmented pieces that form the five columns and the support

and computational hanging chain models were also used. The petal shaped modules are found in greater density at the column bases and at the vault edges forming stronger ribs whilst the up-per vault has a more loosened effect which gains porosity.

Material Strategy:The petal modules are formed through the fold-ing of thin wood laminate along curved seams which forms a concave form with flanges to hold the shape in place. This allows for structural po-rosity within the limitations of using sheet mate-rial. Each of the petal modules behave differently depending on its size, edge conditions, and posi-tion within the overall form.

SPECIESIT

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CASE STU

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tetraMIN

Architect : BALL STATE STUDENTS, 2011Location : INDIANA, UNITES STATESStructural Concept & Timeframe:

This design is structurally dependant to its at-tached counterpart. It is a hanging screen ag-gregate which consists of Grasshopper gen-erated tetrahedron geometry. Zip ties were strategically placed in certain areas to allow for structural stiffening.

The final design from computation to assembly took the nine member team of Ball State Uni-versity architecture students a total of one hun-dred and eight hours within one week.

Material Strategy:

Materiality involved the use of laser cut polytet-rafluoroethylene (PTFE) scraps, wth each forming a minimal surface, and this is circulated into a regular pattern by use of mirroring and reflecting the sur-face.

The material was recycled material originally from the former roof material from the RCA Dome which was a large pneumatic roof stadium that was to be demolished.

Equipment used primarily consisted of laser cutters and the teams decided on a tab-and-slot method for its connecting system.

BEGIN WITH THE CURVES LOFT THE CURVES INTO A SURFACE

SET A SERIES OF POINTS ONTO PLANE WHICH AL-LOW FOR GRID ADJUST-

MENT

SET A SERIES OF POINTS TO THE SURFACE AND LIST THE LENGTH AND ITEMS TO ALTER IT FROM A TRI-ANGULATED GRID TO A RECTANGULAR/SQUARE

GRID

01 02 03

Working out a way to form the tetraMIN surface with reverse engineering allowed me to understand the benefits of working backwards. Through the aid of Grasshopper I was able to make minor and ma-jor adjustments very simply. This included the adjustment of sliders to change grid points on the plane or to move curve lines to change the form. When creating simple geometry and using the morphing tool to change up aesthetics it was made simple although I had a lot of trouble trying to morph the

object to the left into the boxed surface so I opted for a more simplified geometric pattern.

CASE STUDY 2.0REVERSE ENGINEER

SET A SERIES OF POINTS TO THE SURFACE AND LIST THE LENGTH AND ITEMS TO ALTER IT FROM A TRI-ANGULATED GRID TO A RECTANGULAR/SQUARE

GRID

APPLIED A SURFACE BOX TO THE LOFTED SURFACE WHICH ALLOWED THE AREA TO BE EXTRUDED UP

OR DOWNWARDS

EXPLORED VARIOUS GEOME-TRIES AND FINALLY MORPHED

THEM INTO THE SURFACE

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TECHNIQUE:DEVELOPMENT

50 ITERATIONS

50 ITERATIONS

TECHNIQUE:DEVELOPMENT

50 ITERATIONS

50 ITERATIONSThe base form generated in these iterations began with the use of the sine formula, through the use of this it enabled form changed through the range which allows for change to the wavelength, no. of points, frequency, amplitude. This allowed for representation of flow.

TECHNIQUE:PROTOTYPES

PROTOTYPE 1Studying the Voussoir Cloud, I wanted to recreate the curved surface connection through the the method of flanges.

I created a quick curved surface in Grasshopper and unrolled the surface, printed it out and glued it togeth-er.

The outcome was successful as the curvature was held in place with the flanges/tabs glued together.

This was a method I wanted to explore if wooden el-ements specifically were going to be used in the final design.

PROTOTYPE 2

The second prototype I looked into how my curved seated surface could be attached to the base concrete support.

In this instance I experimented through the use of a steel T-joint connection. The top of the T-joint would allow for the curved surface to be bolted into place using steel plates attached to the seat. The position and measurements for the joint is only indicative and will of course change with the surface.

Prototyping allowed me to realise that there would be a requirement of a base when con-structing the steel frame and timber tessellated surface due to the scale of it.

Below are the three various tessellated surfaces I explored.

TECHNIQUE:LOCATION

EXISTING AND POTENTIAL USERSUniversity & High School Students

Qualities/Characteristics: These students would be 13+ in age, majority would be students that attend a school or university within close proximity. Majority of these students would be very fit and can move throughout the area quickly.

Type of Activity: These students may use the site as an area of observation such as other AIR students. They could be there to relax, read, study, enjoy a meal or do many other activities.

Locals (families and elderly)

Qualities/Characteristics: The locals can be of all ages. They could be agile or they could be fragile. They can stroll through the area at a slow pace or at a faster pace. They would live in close proximity to the area.

Type of Activity: They could use this area for its resources, resting spot or possibly as a cut/pass through to wher-ever they really want to get to. They could just want to relax, exercise or walk their dogs.

Visiting Merri Creek, I was drawn to CERES Community Environment Park. It was a very unique yet welcoming space. Walking through CERES park and along Merri Creek, I made a few observations I intend to consider and incorporate into my final design.

PROPOSAL

Athletic People

Qualities/Characteristics: Athletes can be of all ages. They could be agile or they could be fragile. They can stroll through the area at a slow pace or at a faster pace.

Type of Activity: They would most likely be interested in the walkng paths/cyclist paths to exercise.

Workers

Qualities/Characteristics: The workers can be of all ages but the majority would be 18+ in age. They could be agile or they could be fragile. They can stroll through the area at a slow pace or at a faster pace. They would work within close proximity to the area.

Type of Activity: They could use the area as a place to sit and enjoy their meals whether it be by themselves or with a group of other fellow colleagues.

CERES PARK

NICH

OLSO

N ST

CERES PARK

PROPOSED LOCATION

ARTHURTON RD

DESIGN PROPOSALOPPORTUNITIES

MATERIALITY

PROPOSAL

- ATTRACT MORE USERS TO THE SITE- ENABLE USERS TO ENJOY BETTER VIEWS OF THE CREEK- ALLOW FOR BETTER SEATING AREAS FOR THE ELDERLY AND FAMILIES WITH PRAMS- ALLOW FOR A BETTER CONNECTION WITH THE SUROUNDING SITE

- DESIGN AN ENSEMBLE OF SEATING AREA/SEATING BAYS FOR USERS- THE CONCEPT OF ‘FLOW’ CAN BE INCORPORATED INTO THE WAY THE SEATING AREAS MAY BE DISTRIBUTED AND ALSO INTO THE SEATING BENCH- THE SEATING BENCH SURFACE WILL INCORPORATE TESSELLATED SURFACES THAT ALOW FOR THE FLOW EFFECT- SEATING DESIGN MAY VARY THOUGHOUT VARIOUS LOCATIONS

WHY?- THERE WAS LACK OF EVIDENT SEATING AREAS FOR USERS ALONG THE CREEK, IT IS CENTRED MORE AROUND THE CYCLISTS - IN AREAS WHERE IT IS PRESENT, THE LOCATION IS LACKING OR NOT IN DIRECT ACCESS TO THE MERRI CREEK WALKING/CYCLING PATH BUT INSTEAD BLOCKED OFF- HAVING SEATING AREAS IMPLEMENTED CAN ALLOW FOR RESTING POINTS ALONG THE PATHWAY AND CAN ALSO ENCOURAGE MORE USERS TO ACCESS THE SITE- THIS CAN INCLUDE YOUNG FAMILIES AND ELDERLY PEOPLE WHO MAY FIND IT MORE ENCOURAG-ING TO USE THE SITE AS THERE ARE MORE AREAS TO REST AT

- THE MATERIALS TO EXPLORE INCLUDE THE USE OF STEEL AND T-JOINTS CONNECTED TO THE PRE-FABRICATED CONCRETE BASE- THE TESSELLATED SEATED AREA WILL BE MADE WITH STEEL FRAMING AND WHICH ALLOWS FOR FLEXIBILITY IF I WERE TO ADD IN PANELS- THE BENCH TOP AND THE BASE WILL BE BOLTED IN PLACE- THE MATERIALS CHOSEN WERE DUE TO THE POSSIBILITY OF PREFABRICATION WHICH ALLOWS FOR QUICK ASSEMBLY AND ALSO DUE TO ITS DURABILITY OVER TIME- INITIALLY I HAD TIMBER OR PLYWOOD IN MIND HOWEVER THIS REQUIRES CONSTANT MAINTE-NANCE IN COMPARISON TO PRE CAST CONCRETE AND STEEL

EXPLORED DESIGN OPTIONS/TECHNIQUES

APPENDIXALGORITHMIC SKECTHES

LEARNINGOUTCOMES

Overall throughout this phase I have come to understand the benefits of working backwards through the use of parametrics. Designing through standard manual procedures limits our abilities to change the final outcome without having to start over again or to make drastic changes review-ing the previous works. However through the use of computational methods we are able to make minor or major iterations to the final form. It could be as easy as dragging a number slider across its domain to change the form or to morph objects into the the surface to allow for varying panelled surfaces.

Parametric design has opened a door to smart and time efficicent de-sign from computation to assembly. Designing in this manner allows for a techhnique to be explored before anything is set into stone in terms of lo-cation and the final structure. It is a different approach that has been in-teresting to explore and really allows for flexibility in changing form.

REFERENCES1. Snarkitecture, Drift Design Miami, 2012 http://www.snarkitecture.com/projects/drift/2. Snarkitecture, Drift Design Miami, 2012 http://www.snarkitecture.com/projects/drift/3. Matsys, Catalyst Hexshell, 2012 http://matsysdesign.com/2012/04/13/catalyst-hexshell/4. Archdaily, Heydar Aliyev Center, 2013 http://www.archdaily.com/448774/heydar-ali-

yev-center-zaha-hadid-architects/5. Archdaily, Heydar Aliyev Center, 2013 http://www.archdaily.com/448774/heydar-ali-

yev-center-zaha-hadid-architects/6. Archdaily, Heydar Aliyev Center, 2013 http://www.archdaily.com/448774/heydar-ali-

yev-center-zaha-hadid-architects/7. Archi Menges, ICD ITKE Research Pavlion, 2013-2.014 http://www.achimmenges.net/?p=57138. Archi Menges, ICD ITKE Research Pavlion, 2013-2.014 http://www.achimmenges.net/?p=57139. Archi Menges, ICD ITKE Research Pavlion, 2013-2.014 http://www.achimmenges.net/?p=571310. Rivka Oxman & Robert Oxman, 2014 ‘Theories of the Digital in Architecture’ (London, New

York, Routledge), pg 1-1011. IwamotoScott Architecture, Voussoir Cloud, 2008 http://www.iwamotoscott.com/VOUS-

SOIR-CLOUD12. Design Playgrounds, tetraMIN by Ball State Students, 2011 http://designplaygrounds.com/de viants/tetramin-by/13. APA, The Engineered Wood Assocation, Design and Fabrication of Plywood Curved Panels 1990 pg 1 - 24

Image Refences:

Drift by Snarkitecturehttp://www.snarkitecture.com/projects/drift/

Shellstar Pavilion by Matsyshttp://matsysdesign.com/2013/02/27/shellstar-pavilion/dge

Catalyst Hexshell by Matsyshttp://matsysdesign.com/2012/04/13/catalyst-hexshell/

Bubble by Frankenhttp://www.franken-architekten.de/index.php?pagetype=projectdetail&lang=en&cat=3&para-m=cat&param2=21&param3=0&http://www.grasshopper3d.com/photo/bmw-pavilion

Heydar Aliyev Center by Zaha Hadid Architectshttp://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects/

ICD/ITKE Research Pavillionhttp://www.achimmenges.net/?p=5713

Voussoir Cloud by IwamotoScott Architecturehttp://www.iwamotoscott.com/VOUSSOIR-CLOUD

tetraMIN by Ball State Studentshttp://archinect.com/andrepaul/project/tetramin