Journal Magazine

Semester 1, 2017

by ARIANNA GARAY

/ABPL30048: ARCHITECTURE DESIGN STUDIO AIR/

bend. fold. twist.

No. 1

“A design isn’t finished until someone is using it.”

- Brenda Laurel

COURSE COORDINATOR: Rosie Gunzburg LECTURER:

Brad Elias

TUTOR:

Finnian Warnock

THIS SUBJECT WAS CREATED BY THE UNIVERSITY OF MELBOURNE UNDER THE BACHELOR OF ENVIRONMENTS COURSE, CURRENTLY AFFILIATED WITH THE MELBOURNE SCHOOL OF DESIGN AND THE ARCHITECTURE, BUILDING, AND PLANNING FACULTY. Any photographs, parametric drawings and edIted pictures that appear within this submission belongs to the student, unless listed otherwise.

All items taken from the internet or within university sources are citated and sources can be found either within the page or in the bibliography at the end of the journal.

table of contents INTRODUCTION 6 PART A. CONCEPTUALISATION

A.1 DESIGN FUTURING 14

A.2 DESIGN COMPUTATION 22 A.3 COMPOSITION/GENERATION 30 A.4 CONCLUSION 38 A.5 LEARNING OUTCOMES 40

A.6

APPENDIX: ALGORITHMIC SKETCHES

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BIBLIOGRAPHY 48

5

about me

Hello.

My name is Arianna Garay.

A little bit about myself. I am a student at the University of Melbourne’s School of Design (MSD) and a third year in the Bachelor of Environments course; the last of a dying breed, to which I am doing a double major in both Architecture and Urban Planning and Design.

The reasons for this is that I believe that these two elements of go hand-in-hand and without exceptional design from both, we are simply unable to function properly and efficiently as a society. Each aspect also affects our social behaviours and can greatly affect our moods throughout the day. I believe that we take amazing designs for granted and only notice the flaws in another. After all, if no one is complaining about your work in this industry, then you most likely have done the right thing.

In any ‘about section’, we are asked to describe our identities, yet identity is such a peculiar thing as we constantly go through many experiences in life that will change our perception of it; so that we may also change the very elements that create our ‘identities’ as well.

That concept of ‘changing through experience’, I believe, is an important basis for architecture; the imprint you create on your mind about a certain building changes as you constantly create new experiences through it. When I was a child, I simply loved buildings and exploring them. When I became a teen, I wanted to know how they worked and how they worked and how to design them. At the end of my secondary education, I wanted to study architecture and now as an architecture student, I understand that architecture not only requires design, but a creative and intuitive insight for the future.

I want to become an architect for the future.

7

previous. works.

My experience as so far as a student has brought me to work towards exploring and creating projects of design using a digital medium.

Many aspects of design today find themselves coming into contact with technology of many functions, from scanning a drawing to enhancing a photograph.

In terms of technical skills, I have experienced and proficiently used Adobe programs such as InDesign, Illustrator and Photoshop to develop most of my current projects and work. I have always been keen to learn new programs, especially those relating to design, and am looking forward to seeing what other possibilities I can explore in the futures.

A

CONC

CEPTUALISATION

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“We live in a very different world now . . .

We need more pluralism in design, not of style but of ideology and values.�

- Anthony Dunne and Fiona Raby, Speculative Everything

a.1 design. futuring.

W here D esign N eeds T o G o

FIGURE 1. THE CURRENT PROCESS OF UNDERSTANDING THE BRIEF AND CREATING THE DESIGN

‘Answering the “design futuring” question actually requires having a clear sencse of what design needs to be mobilized for or against . . . it means changing out thinking, then how and what we design’.

- Tony Fry

Currently, design goes through the process of obtaining a brief and processing it through this series of questions (Fig.1): What does the client want to achieve? and How can we achieve it?

Design Futuring needs to create a process at which designers will be led from thinking about the final outcome first, to thinking and constantly returning to the aspect of the why? The “why” needs to be incorporated constantly within every aspect of the design process in order to achieve a better outcome to the design (Fig.2). An outcome that would greatly improve negative aspects of an unresilient future. And thus, designers must ask?

Why would achieving this design be important, not only for the client, but also for the future?

Despite the fact that resilience is not an element of importance that is always brought up in terms of design, the practice, has fallen on to being presented on multi-disciplinary platforms. It is accounted for in many technological aspects of various disciplines, albeit at times, mentioned casually.

With this, the leap into thinking about the design, to thinking about how and why we need to design for the future is just a stone’s throw away and the resources that we would need to achieve this lies within the many disciplines at which design and resilience thinking has now incorporated itself in.

This chapter looks upon the following case studies, the Crystal Palace and the Landesgartenschau Exhibition Hall; how the former had affected the designs of the 20th century and how the latter might affect and inspires us to speculate about the possibilities of the future, or as Dunne and Raby has so carefully put it,

FIGURE 2.

INCORPORATING THE WHY TO THE WHOLE DESIGN. IT MUST BE THE CENTRE POINT OF THE DESIGN PROCESS.

‘Design speculations can act as a catalyst for collectively redefining our relationship to reality’.

PART A: CONCEPTUALISATION

15

C ase S tudy O ne :

the crystal palace

/1/ THE LAST PICTURE OF THE PALACE, TAKEN DURING THE FIRE.

TOWARDS THE TURN OF THE CENTURY

In the middle of the 19th century, the discovery and growing use of steel as a structural element as well as the ability to construct larger panes of glass, saw to the creation of Sir Joseph Paxton’s ‘The Crystal Palace’.

/2/ ON OCCASION, THEATRE SHOWS OR SOCIAL GATHERINGS WERE HELD AT THE CRYSTAL PALACE.

“We neared the Crystal Palace, the sun shone and gleamed upon the gigantic edifice, upon which the flags of every nation were flying....

The tremendous cheering, the joy expressed in every face, the vastness of the building, with all its decoration and exhibits, the sound of the organ… all this was indeed moving.”

- QUEEN VICTORIA, May 1st, 1851

At the time, this monumental transparent monolith of glass and steel was reveled by its peers and paved the way for future iconic monuments like the Eiffel Tower and the early marvels of the Modern Movement. The design contributed to the use of steel as a supporting structure, compared to the use of timber, as well as using glass in the form of ‘curtain walls’, alike to those we see on the facades of modern day skyscrapers.

Another aspect of this design that made it revolutionary was the fact that it could be taken apart, like Lego, due to its structural elements. It was essentially fabricated off-site.

In 1855, it was moved to Sydenham from its original exhibition grounds in London and this process was completed in the course of 5 months4. Patrons of ranging socio-economic statuses, as well as aristocrats, could then enjoy this structure along with its manicured and decorative garden at its new site within the year.

Despite all these innovations, a fire consumed the palace in 1936 and melted it down to the ground. It was never rebuilt, but the gardens it was on are still maintained to this day.

1. “File:Crystal Palace fire 1936.jpg,” Wikimedia Commons.

2 & 3. “Progress of the Crystal Palace at Sydenham,” Heilbrunn Timeline of Art History, The Met Museum.

4. Tietz. The story of architecture of the 20th century. Pg. 7 16

PART A: CONCEPTUALISATION

“Progress of the Crystal Palace at Sydenham,” Heilbrunn Timeline of Art History The Met Museum. (3)

PART A: CONCEPTUALISATION

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“Inside the Landesgartenschau Exhibition Hall,” Achim Menges, Divisare. (1)

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PART A: CONCEPTUALISATION

C ase S tudy T wo :

landesgartenschau exhibition hall TOWARDS FABRICATING “MORE FROM LESS”

/2/ PICTURE OF THE EXHIBITION HALL’S EXTERIOR.

/3/ PICTURE OF THE FABRICATION PROCESS.

/4/ PICTURE OF THE BUILDING PROCESS. A LIGHTWEIGHT BUILDING FRAME WAS ERECTED IN ORDER TO GUIDE THE CONSTRUCTION PROCESS AND WAS REMOVED AFTER THE INTERIOR SHELL WAS CREATED. 1-5. “Achim Menges. Landengartenschau 2014.” Divisare.

Information from “Achim Menges. Landengartenschau 2014.”

Divisare..

The Landesgartenschau exhibition hall was commissioned by the Europian Union and the State of Baden-Württemberg in 2014 to Achim Menges and his design students at the University of Stuttgart.

It was completed in a class called “Robotics in Timber Construction,”. The design was completely innovative that many of aspects of a typical construction process was completed by the students themselves, from fabrication and cutting the materials, to surveying the site and understanding the effect of the weather on the materials.

The hall consists of lightweight, recycled 50mm plywood plates and are designed using grasshopper and grasshopper plugins. The design also went through several tests to encure that all connections are under compression in order to maintain it’s shell-like structure to function as the building’s facade and

/5/ PICTURE OF THE EXHIBITION HALL’S INTERIOR. THE FIXTURES ARE DESIGNED TO IMITATE FINGER JOINTS, ALIKE TO WHEN TWO HANDS ARE JOINED TOGETHER.

framework, completely supporting itself.

Due to the building’s biomimetic lightweight design, the building achieves a ‘more from less material’ ideology. One of the design goals of this building was to create a future passage into resource efficiency, to which it has clearly achieved.

PART A: CONCEPTUALISATION

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“Design is a process we engage in when the current situation is different from the desired situation, and when the actions needed to transform the former into the latter are not immediately obvious.”

- Yehuda E. Kalay, Architecture’s New Media: Principles, Theories and Methods of Computer-Aided Design

a.2 design. computation.

A nd S o , E nters C omputation

Albeit the fact that architecture has always been a craft of precision within the built form, ‘buildings, prior to the Renaissance, were constructed, not planned. (Kalay, 2004) Elements of the built form, architecture of the brick-and-mortar era, were cut, layed, chipped etc. within the actual site of construction, and at times, upon the building itself.

Computational works have greatly changed that, from the architecture medium engaging in complicated planning and mathematical compositions within the 14th-15th century, to the introduction of the metric system in 1670, these creations in history have greatly change the profession from one of construction to one of planning. Even the smaller inventions, like the pencil in 1795 meant that mistakes could be erased and designs could be changed.

But the most important invention that greatly changed the practice of architecture is the creation of the computer, and all of the programs that aid mathematical computation, courtesy of the 20th and 21st century.

Through computer-aided design, architecture made the change to the digital world and can now incorporate a multi-disciplinary approach, as well as significantly take away from the architect the mundane task of

having to come up with multiple solutions to a problem presented within the design brief. The processing time for this is also cut significantly, taking processes that may take a lifetime to that of hours and minutes.

Therein lies the beauty of computational process; the creation of solutions through speed and through various pathways.

As we launch ourselves forward into the 21st century, Oxman and Oxman have claimed that the direction of architecture will become ‘a new and comprehensive domain of architectural theories,’ that will ‘emerge in the intersection between science, technology, design and architectural culture.’

CREATION OF SOLUTIONS BEFORE COMPUTATION

PROCESS OF ARCHITECTURE NOW

1

2

4

3

SELECTION CRITERIA + THE SOLUTION THAT FITS BEST. LIKE A PUZZLE PIECE.

PART A: CONCEPTUALISATION

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C ase S tudy O ne :

infundibuliforms

COMPUTING THE RATIONAL POSSIBILITIES

/1/ 3D PRINTED MESH STRUCTURE PROTOTYPE BEING TESTED IN ORDER TO OBTAIN DATA ON THE LIMIT WEIGHT THE DESIGN CAN WITHSTAND FOR THE FINAL STRUCTURE.

SEGMENTS OF THE FINAL FORM USING TPE AS THE MAIN MATERIAL. .

Computational processes have allowed us to create forms that may not have been possible, or at times, imaginable. With the power of computation, materials and structures that could be formed can be found easitly when a certain domain is inserted into the design format.

In this design precedence, RTVR has tested and created a kinetic mesh structure by compiling limitation data and calculating the possibilities that could be formed using only Thermoplastic Elastomers (TPE) as the material. printed design includes a zigzag pattern that allows the material to stretch under tension, creating for flexibility. This also allows for constant movement.

/3/ THIS IS A MESH NET STRUCTURE THAT COMPOSES THE FULL FINAL DESIG.N. THE NET HAS BEEN SEPARATED ACCORDING TO THE KINETIC STRENGTH AND LIMIT THAT THE MATERIAL CAN WITHSTAND TO THAT CERTAIN SEGMENT OF THE FINAL FORM. THE MESH HAS ALSO BEEN DIVIDED THIS WAY SO THAT THE ROBOTIC ARM BEING USED TO 3D PRINT THE MESHES CAN DO SO WTHOUT EXCEEDING ITS LIMITATION BOUNDARIES.

24

/2/ RTVR USED A ROBOTIC HAND TO PRINT MULTIPLE COMPUTATED

PART A: CONCEPTUALISATION /4/ ZIG ZAG DESIGN TO ALLOW FOR FLEXIBILITY.

1-4. “Infundibuliforms.” RTVR. 5. “SuperStudio,” Instagram.

Information from “Infundibuliforms.” RTVR..

“Infundibuliforms,” Wes McGee, Geoff Thun, Kathy Velikov and Dan Tish superarchitects@instagram. (5)

PART A: CONCEPTUALISATION

25

“Elisabeth Murdoch Hall,” ARM + ARUP Melbourne Recital Centre. (1)

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PART A: CONCEPTUALISATION

C ase S tudy T wo :

melbourne recital centre REVERBERATION OF RESEARCH FROM CREATION TO OUTCOME

The Melbourne Recital Centre, a joint project by Ashton Raggatt McDougall (ARM) Architecture and Arup Consultants used the power of computation from start to finish.

The topographic design of the Elisabeth Murdoch Halls’ interior facade was created to form recesses that will absorb excess sound from performances, inspired by historic music halls around the world5. ARM also used hoop pine timber, a common material to make instruments with6, as well as settling for its golden effect, typical of ornamented concert halls of the 20th century.

Along with the computational generation of the facade’s design, there is also the aspect of knowing if the design will work. Because of the complicative structure of the design, ARM needed to know if the design will function will work the way it should, along with the hall requirements including seat numbers and performance area.

This is where ARUP comes

/2/ ARUP’S SOUNDLAB IN MELBOURNE HELPED ARM ARCHITECTURE AS ACOUSTIC CONSULTANTS, RUNNING THEIR HALL PANELLING DESINGS THROUGH THE LAB IN ORDER TO FIND THE PERFECT PANELLING FORMATION THAT WILL FIT THE HALL’S ACOUSTIC CRITERIA.

in with their acoustic technologies in SoundLab, where the 3D model of the hall design is run through a series of test where sensors are used to capture exisiting environmental sounds and are overlayed on the model7.

The studio uses 3D recording equipment8 to create a fully scoped sound field and with this joint effort, both ARM and ARUP were able to convince stakeholders that the design was a ‘sound’ decision as the final outcome for the new Melbourne Recital Centre.

1. “Access.” Melbourne Recital Centre.

2. “SoundLab: making sound decisions.” Nick Boulter.

3 & 4. “MTC/MRC The Creative Process - Two New Arts Venues

by Ashton Raggatt McDougall (ARM).” Peter Kohane.

5-6. “Melbourne’s Symphony of Architecture and Engineering.”

Stephen Crafti.

7-8. “SoundLab: making sound decisions.” Nick Boulter.

/3/ THE BUILDING’S EXTERIOR WAS CREATED SO THAT FROM DIFFERENT ANGLES, ISOMETRIC 3D SHAPES CAN BE PERCEIVED. THIS VIEWPOINT WAS TESTED IN PROGRAMS LIKE RHINO.

/4/ THE 3D GEOMETRIC FIGURES WERE CREATED BY AN ABSTRACT EXPRESSIONIST ARTIST, AL HELD, WHICH WAS CONFIGURATED INTO THE BUILDING’S FACADE. PART A: CONCEPTUALISATION

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“When architects have a sufficient understanding of algorithmic concepts, when we no longer need to discuss the digital as something different, then computation can become a true method of design for architecture.�

- Peter Brady, Computation Works

a.3 composition. generation.

T o D esign W ith I ntent OR T o D esign W ith I nstinct “For computational techniques to be useful, they must be flexible - they must adapt to the constantly changing parameters of architectural design.”

According to Peters (2013), computational processes are constantly redefining architecture, but in order for a computational process to become a necessity and a part of the future of architectural design, the user must learn to know the difference between using it as a method to creation compared to using it as a tool. The final design, to be accepted by society,

must have a semblance of humanity within the design, a social scale that will make everyone accept the final outcome.

It is with this comes the questions; how much of the design will incorporate intent, in which can be defined as the final composition that, from the beginning, already had a set path or outcome. A sort of final vision.

Or, how much of the design will incorporate instinct, in which, throughout the process of the design stage, the designer will allow themseves the creative freedom, free from restraint, to come up with whatever their

skills and mind will come up with.

Similarly, within a computational process, you can allow a definition to come up with a pseudo-random design if you allow yourself to create an algorithm in which the user can enter different data or change the definition’s bounding parameters.

Finding a near-perfect, emphasis on the near, balance between these two mediums will produce a desired result, further creating a symbiotic relationship as the oversight for the design process, at which, harmony between the computer and humanity are born.

THE SPECTRUM OF POSSIBILITIES IN TECHNOLOGIES GEARED TOWARDS COMPOSITION DESIGN WITH INTENT

Architecture GENERATION

DESIRED RESULT

DESIGN WITH INSTINCT

DESIRED RESULT THE GAP CAN BE CLOSED BY TRYING TO UNDERSTAND BOTH MEDIUMS AND BY CREATING A

Symbiotic Relationship WITH COMPOSITION AND GENERATION

PART A: CONCEPTUALISATION

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C ase S tudy O ne :

resonant chamber

DYNAMIC INSTALLATIONS: DESIGNED WITH INTENT, MOVES WITH INSTINCT

/1/ (ABOVE) THE PHOTO ABOVE SHOWS A MONTAGE OF THE SYSTEM’S FORM-CHANGING PROCESS AND HOW IT ADAPTS IN ORDER TO ABSORB MORE SOUND. /2/ (RIGHT) THIS PHOTO SHOWS HOW THE A SINGLE SECTION OF THE RESONANT CHAMBER HAS MANY ELEMENTS OF TECHNOLOGY AND MATEIALS THAT BUILDS UP THE FINAL PRODUCT. /3/ (BELOW) MANY PROGRAMS WERE USED TO CALCULATE THE DESIGN PARAMETERS OF THIS COMPOSITION, AND ONE OF THEM TESTED THE ANGLES AT WHICH SOUND SHOULD COME FROM AND AT WHAT LEVEL, IN ORDER TO ESTABLISH THE SCALE AT WHICH THE DESIGN WOULD MOVE IN.

Resonant Chamber is a project created by RTVR architects to test creations that may be possible in the realms of dynamic architecture. In order to establish the possible parameters of the design, as well as the fabricating the final outcome, the team at RTVR needed to be well-versed in the fields of dynamic spatials, material performance and electro-acoustic technologies.

With a multidisciplinary approach, the RTVR team were able to put together a dynamic project that challenged intentional compositions by presenting a project that changed in an instinctual manner.

The Resonant chamber is a structure that changes depending on the surrounding environment’s sound. The structure opens up when audible levels reach a certain point, and will continue to open when audible levels go higher in order to absorb more sound due to the materials used in the design, as well as within the design itself.

1-4. “Resonant Chamber: Material System Protoype (Acoustic).” RTVR. 32

PART A: CONCEPTUALISATION

“Origami In Stereo, The Resonant Chamber” RTVR University of Michigan, Michigan. (4)

PART A: CONCEPTUALISATION

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“Observatory, Air-Port-City Installation View,” Tomás Saraceno, Hayward Gallery, London . (1)

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PART A: CONCEPTUALISATION

C ase S tudy T wo :

cloud cities flying garden SYNERGY THROUGH NETWORKS AND ENGAGED PERCEPTIONS

/5/ VIEW FROM INSIDE ONE OF THE LARGER CLOUD DOMES,

/2/ THIS IS A VISUALIZATION BY TOMÁS SARACENO ABOUT THE POSSIBILITIES AND POTENTIAL THAT COULD BE GENERATED BY CLOUD CITIES/ FLYING GARDEN.

/3/ A PICTURE OF THE LONDON HAYWARD GALLERY INSTALLATION.

/4/ AN IMAGE OF THE FLYING GARDEN INSTALLATIONS.

While case study one, Resonant Chamber, challenges the parameters of what can be defined as ‘intentive design with a dynamic aspect’, Cloud Cities, Flying Garden by Tomás Saraceno can be seen as a ‘dynamic, generative design with an outlying intent’, at which the artist wanted the public to realize the potential of having modular architecture that could expand and extend. The generative design at which the algorithms create during the design process can continue to generate and extend

according to the limits of the specific site.

This design style challenges designs with a more focused final outcome and creates a community aspect to design by allowing synaptic creations throughout the design.

The design also promotes it’s modularity by allowing areas of connection on any side of the pod, allowing a more instinctive generative design. By allowing this, users will also be able to create networks of connections that will incite a different and engaged perception on the possibilities and potentials of generative design and how it could be a good thing for the future of the architecture profession.

1-5. “Cloud Cities/Flying Garden.” Tomás Saraceno.

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“We shape our buildings; thereafter they shape us.”

- Winston Churchill

a.4 conclusion.

D esign F uturing : A R edirected A pproach

In order to redirect the approach at which architecture is currently leading itself, we as arcitects must follow the steps above.

As I continue this subject, I will be following these steps in order to challenge my design and to challenge the approach at which I am defining generative computational architecture and ‘design futuring’.

As innovative as computational processes can be, we must realise what we are doing and the effect it migh have on the future of architectecture. Following that, we must rethink the process of which we are taking in order to redefine the definition of a computational process’s effect on architecture and if what we’re doing is architecture.

To the aspect of this process , we can learn to design and redirect the architecture to the benefit of the people, to which architecture was originally designed for. And as it was originally designed for the people, we can then relive architecture to its previous glory and to its full potential.

PART A: CONCEPTUALISATION

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a.5 learning. outcomes.

U nderstanding T heories and P utting them into P ractice STARTING FROM GROUND ZERO

Just like the parametric lists created in Grasshopper, I believe that I am beginning my journey in this subject on ‘ground zero’ or at the beginning of a long list of parametric levels, of which I, have little to no former experience in coding and architectural computing.

But through careful study and reviews of countless videos, as well as with the exlab tutorials, I am able to create shapes that I would have never been able to create before.

The computational process is a delight to experience, albeit the fact that it is a disastrous quagmire if left misunderstood. I had to learn to trek through every visual component in the programs and needed understand on a deeper level what each component will do; what it will change if values are inserted, and what it can change if added to the script.

The theory behind the components helped broaden the capacity of my understanding and I look forward to creating my final design.

PART A: CONCEPTUALISATION

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a.6 appendix. sketches.

W eek O ne - V ases

PART A: CONCEPTUALISATION

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W eek T wo - A ttractor P oints

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PART A: CONCEPTUALISATION

W eek T hree - I mage S ampler

gregory. peck.

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“Give credit where credit is due.”

- Proverb

index 1. bibliography.

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C itations “Access.” Melbourne Recital Centre.

Accessed August 04, 2017. https:// w w w . m e l b o u r n ere c i t a l . c o m . a u / experience/access-/

Kalay, Yehuda E. (2004). Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT Press), pp. 5-25

“Achim Menges, Roland Halbe · Landesgartenschau 2014.” Divisare.

Accessed August 01, 2017. https:// d i v i s a r e . c o m / p r oj e c t s / 3 1 9 142 a c h i m - m e n g e s - ro l a n d - h a l b e landesgartenschau-2014.

Oxman, Rivka and Robert Oxman, eds (2014). Theories of the Digital in Architecture (London; New York: Routledge), pp. 1–10

Boulter, Nick. “SoundLab: making sound decisions,” inside. People, ideas, innovations. Accessed on August 04, 2017. http://inside.arup. com/2016/05/03/soundlab-makingsound-decisions/ Definition of ‘Algorithm’ in Wilson, Robert A. and Frank C. Keil, eds (1999).

The MIT Encyclopedia of the Cognitive Sciences (London: MIT Press), pp. 11, 12 Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 1-9, 33-45 “File:Crystal Palace fire 1936.jpg,” Wikimedia Commons. Accessed August 01, 2017. https://commons.wikimedia. org/wiki/File:Crystal_Palace_fire_1936.jpg Fry, Tony (2008). Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), pp. 1–16 “Hyper-Toroidal Deep Surface Prototype.”

Achimmenges.net.

Accessed August 05, 2017. http:// www.achimmenges.net/?p=5190 “Infundibuliforms: Kinetic Tensile Surface Environments,” RTVR. Accessed on August 03, 2017. http://www.rvtr. com/projects/infundibuliforms Issa, Rajaa ‘Essential Mathematics for Computational Design’, Second Edition, Robert McNeel and Associates, pp 1 - 42

Peter Kohane, PhD. ‘MTC/MRC The Creative Process - Two New Arts Venues by Ashton Raggatt McDougall (ARM)’, Architecture Australia. March (2009), 98 no. 2.

Peters, Brady. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Architectural Design, 83, 2, pp. 08-15

Tomás Saraceno, (2017) ‘Cloud Cities/ Flying Garden,’ Tomás Saraceno.

Accessed August 08, 2017. http:// tomassaraceno.com/projects/cloudcities-flying-garden/ Tietz, Jürgen, Wolfgang Hoffman, and Phillipp Meuser. The story of architecture of the 20th century.

Konemann, 1999.

“Progress of the Crystal Palace at Sydenham,” Heilbrunn Timeline of Art History, The Met Museum.

Accessed August 01, 2017. http:// www.metmuseum.org/toah/works-ofart/52.639/ “Resonant Chamber: Material System Prototype (Acoustics).” RTVR. Accessed August 07, 2017. http://www.rvtr.com/ projects/resonant-chamber Stephen Crafti, ‘Melbourne’s Symphony of Architecture and Engineering’, The Sydney Morning Herald, 15 December 2010. http:// www.smh.com.au/business/ pro p er ty/m e l b o u r n e s- sy m p h o nyof-a r c h i te c t u r e -a n d - e n g i n e er i n g 20101214-18ww4.html “ S u p e r A r c h i t e c t s #researchthroughmaking project “infundibuliforms”. Instagram. Accesses August 03, 2017. https://www. instagram.com/p/BDGbFrkMvNu/

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