Chan elaine journal by Elaine Chan

A I R ABPL30 0 48 ARCHITEC TURE DESIGN STUDIO: AIR 2017

l STUDIO 10 MANUEL MUEHLBAUER SEMESTER 1

EL AINE CHAN 67830

A r c h it e c t u r e St ud io: A i r E l a i ne C h a n 2017 Tut or: M a nue l Mue h lb aue r

CON T E N TS

4 I nt r o duc t ion 8 C onc ept u a l i s a t ion PA RT A C r it e r i a D e s ig n PA RT B D e t a i le d D e s ig n PA RT C R E F E R E NC E S

INTRODUCTION About Me

am a third-year Bachlor of Environments student majoring in Architecture. In my designs, I like to experiment with a range of materials and ﬁnd creative solutions to address the brief. I believe that architecture is like art, it should have a message to convey to its users. My work is also inﬂuenced by my interest in art and sculpture. I am inspired by the works of Ai WeiWei, Toyo Ilto and Kazuyo Sejima. My current understanding of digital architecture mainly revolves around the famous works of the late Zaha Hadid, architecture in fashion, and 3-D food printing. I am amazed by the grand designs of Hadid. The smooth curves, fluid and elegant shapes of her towers were made possible by the development of digital design tools.

FIG.1: EXPLODED AXONOMETRIC DIAGR AM

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I am also fascinated by “architecture” in fashion - clothes that were digitally fabricated using smaller modules. Interestingly, I am amazed by recent trend of 3-D printing of food in restaurants. I have had some experience with digitial design tools, as I often use Rhinocerus and Autocad to develop my designs. I find them very helpful as they allow me to visualise an environment that I am incapable of drawing by hand. I also use Photoshop to edit and render photographs. In the subject “Digital Design and Fabrication”, my group and I designed a sleeping pod using Rhino and laser-cutting. I aware that digital design tools are becoming more vital in the industry as designers push the boundaries of their designs. It seems that the digital tools we use in architecture can also benefit other fields such as fashion, art and culinary.

FIG.2: SECTION DR AWINGS OF BOAT HOUSE

FIG.3: SLEEPING POD, DIGITAL DESIGN AND FABRICATION

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Co n cep t ua lis a t ion

PA RT A C ONC E P T UA L I S AT ION

8 16 22

D e s ig n F ut u r i ng A .1. D e s ig n C omput a t ion A .2 .

D e s ig n C omp o s it ion/G e ne ra t ion A .3 . 30 32

C onc lu s ion A . 4 .

L e a r n i ng O ut c ome s A .5 . 34

A pp e nd i x A .6 R e fe r emc e s

A.1. Design Futuring Wind and Rain Bridge

ndeed, modern architecture consistently contributes new ideas to existing architectural knowledge, technical workflows, our ways of living and ideals. This idea is illustrated by the “Wind and Rain Bridge” (2016) in Peitian Village, China, which was constructed for the purpose of re-connecting communities after a flood destroyed most of the infrasture in early 2014.1 While its main purpose was to provide shelter for the people, villagers also use it to socialise and relax. A bridge is conventionally used as a vehicle for crossing, however, the designers and users have appropriated its function, redefining the functions of a bridge. Hence, architecture is able to facilitate social and historical connections, as well as provide a practical benefit for its inhabitants. The bridge pays tribute to traditional construction methods. Its design is based on interlocking structures without the use of mechanical fasteners, and was assembled by traditional carpenters.2 which prioritises speed and precision.

Its use of traditional design and construction principles reinforces the importance of ancient architecture, and their contributions to the modern architecture that we have today. It showcases the craftsmanship of the few-remaining traditional carpenters, which is often forgotten in this digital age of architecture. This project was able to successfully reconcile the old and the new, by integrating traditional construction methods with digital design methodologies. Many complex assemblies were tested using digital software in order to achieve the complexity of the design. Hence, this project promotes the idea that Architecture is a compilation of past and present knowledge that contributes technical and creative ideas to designers, and practical and social beneﬁts to the users. However, both designers and users may appropriate this knowledge according to the times and their ways of living.

1. No author, ‘Wind and Rain Bridge / Donn Holohan - The University of Hong Kong’, Archdaily < http://www.archdaily.com/790993/wind-andrain-bridge-donn-holohan-theuniversity-of-hong-kong > (accessed 3 March 2017) 2 No author, ‘Wind and Rain Bridge...’.Archdaily.

FIG.1 USE OF DIGITAL TOOLS IN DESIGN PROCESS

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FIG.2 ‘BRIDGING’ THE OLD AND THE NEW

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FIG.3 THE BRIDGE AND THE LANDSCAPE

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FIG.4 VILLAGERS SOCIALISING ON BRIDGE

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Micro-housng

ontemporary architecture also reflects the power and influence that we, as consumers, have on design. This notion is reflected by the Micro-housing by the company Getaway. Micro-houses are offered to city folks seeking to get away from the over-stimulation of the city and escape to the rural-side,1 hence they reflect the patterns of living and ways of thinking of the current generation. The simple construction methods and architectural design are synonymous with people’s lifestyles attitudes, being quick and easy to assemble with minimalist and modern designs. This demonstrates architecture’s ability to adapt to the needs of the people. While one of its original purpose was to provide affordable housing, these houses are often overpriced for their size. Therefore, it seems unlikely that they will be used for their original purpose. They mainly offer freedom and user-satisfaction to people seeking a break from city-life, and encourages self-reflection, reinforcing Architecture’s role in fulfilling our “social dreams and ideals and…facilitating alternative visions rather than defining them”. 2 1. Jan Doreteo, ‘A Tiny Luxury: What are “Tiny Houses” Really Saying About Architecture?’, Archdaily, <http://www.archdaily.com/791333/a-tinyluxury-what-are-tiny-houses-really-saying-about-architecture> (accessed 3 March 2017) 2. Speculative Everything: Design Fiction, and Social Dreaming. by Anthony Dunne & Fiona Raby (MIT Press, 2013) pp. 1-9, 33-45 3. Speculative Everything, Dunne & Raby.

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These houses have minimal impact on the environment due to their size and humble use of materials, popularising the return to a more humble way of living and less materialistic lifestyle. They encourages us to live simpler and consume less. As explored by Dunne, Anthony & Raby, Fiona (2013) in the reading, “design can help raise awareness of the consequences of our actions as citizen-consumers”.3 Therefore, we can observe how Architecture can also inspire change in people and the world. Although these micro-houses may not be considered as ground-breaking innovations, the entire house is fabricated off-site in factories, thus exploring and broadening the opportunities for prefabrication in future architecture. We can see how every design adds knowledge and value to Architecture as a design practice.

FIG.1 HOUSE UNOBSTRUSIVE TO ENVIRONMENT

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FIG.2 FLOOR PLAN

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FIG.3 HOUSE INTERIOR

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A.2. Design Computation The Living, Breathing Wall

he use of emerging technologies allow us to design spaces that interact with inhabitants in humanistic ways. It allows easier control of the environment and makes our relationship to surroundings more intimate, hence aiding us in tackling environmental issues that we currently face today. It has led to a rich experimental and performance oriented design culture for architects and designers, re-deﬁning the way they design and practice, as well as instigating change within the broader design and construction industries. This is demonstrated by the “Breathing Wall” (2013-14) installation designed by Behnaz Farahi. It is an interactive wall that changes its shape in response to the hand movements and speech recognition of its users. The installation uses a “Leap Motion” which recognises our gestures and controls motors to operate several types of movements onto the surface.1

The installation reinvents the typical steel frame and glass facade skin-andbone system which we commonly see, by using innovative materials such as spandex for the skin and introducing a “muscle” (shape memory alloy springs) and “brain” (microcontroller) component to the system. Through computerbased research, date gathering, and experimentation, the performance of the installation is maximised to give the most humanistic response. Hence, we can see how traditional design processes of computing may allow material, form and interactive systems of control to be more intimately connected in architecture. 1. No author, ‘The living, breathing wall’, Behnaz Farahi < http://behnazfarahi.com/theliving-breathing-wall/> (accessed 10 March 2017)

FIG.1 USE OF DIGITAL TOOLS TO CREATE CONTOUR LINES ON WALL

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FIG.2 WALL RESPONDS TO HAND GESTURES

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FIG.3 WALL RESPONDS TO OUR VOICE

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Cellular Morphology Facade

his arguement is reinforced by the “Cellular Morphology Facade”, a building skin system proposed by rat[LAB] in an exhibition in New Delhi. It uses computational and parametric design to adapt to multiple climatic contexts and building conditions. It uses a hexagon grid system through an algorithm that alters its density and attraction during the concept design stage. Computer technologies also allowed the team to digitally retroﬁt the proposed building skin onto the facade of an existing building in New Delhi. It maximises light and heat within the building, minimising its production of greenhouse gas, and thus, impact on the environment.1 This demonstrates the idea that parametric design may be evaluated against environmental performance, structural performance, aesthetics and visibility, and then adapt to any climatic conditions with parametric design’s “generative variability” - the capability to create and modulate differentiation in various scales such as the gradation of elements.2 Indeed, we can see from these examples how “formation precedes form” - a shift from “formal and linguistic models of form. 1. Sushant Verma, ‘Parametrically Designed Facades for Climatic Adaptability’, MGS Architecture < http://www.mgsarchitecture.in/articles/facadesglazing/952-parametricallydesigned-facades-for-climatic-adaptability.html > (accessed 10 March 2017) 2. Theories of the Digital in Architecture, eds. by Robert Oxman and others (London; New York: Routledge, 2014), pp. 1–10 3. Theories of the Digital, Oxman and others, 2014 4. Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design. by Kalay, Yehuda E (Cambridge, MA: MIT Press, 2004), pp. 5-25 5. Architecture’s New Media, Yehuda, 2004

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Traditionally, architects were known as the “master builders”, involved in both the design and construction process before the introduction of scaled drawings which became architects’ main source of expression. 4 As demonstrated by Farahi’s wall installation and the cellular morphology facade, modelling programs like Rhino, Grasshopper gives architects the ability to “model the structures of material systems as tectonic systems” and “renew(s) the architect’s traditional role as the master builder empowered with the understanding and ability to digitally create in the material realm”,5 thereby strengthening the relationship between the architect and the structural engineer in the practice of research by design.

FIG.1 USE OF DIGITAL TOOLS TO EVALUATE AGAINST DIFFERENT CRITERIAS

FIG.2 CELLULAR MORPHOLOGY FACADE INSTALLATION

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A.3. Composition / Generation Breathing Skins Project

he shift from formal models of form representation to generative form based on the logic of algorithm has become the recent topic of architectural literature. Algorithmic thinking, parametric modelling and scripting languages have led to modifications in the structure of architectural practices and offer major advantages to the architectural design process, such as structural optimisation, CNC fabrication and innovative biomimetic designs. However, it also introduces the possibility of designers being replaced by computers in the future. Indeed, the growing use of computation has instigated change in the structure of architectural firms. The availability and resourcefulness of computation programs (such as Grasshopper) has led to increased usage of computers in architectural practices. Architects are both utilising and designing the softwares and custom tools during the design process. Hence, the programs have become integral to the design itself. According to Brady Peters, computational design experts may be integrated into a practice in four ways: the internal specialist group, the external specialist consultancy, the computationally aware and integrated practice, and the lone software developer/ designer.1 This has led to dynamic and integrated workplaces where computation is integrated into firms by varying extents. 1. Computation Works: The Building of Algorithmic Thought. By Brady Peters (United States, John Wiley Sons Inc, 2013), pp. 08-15 2. Computation Works. Brady Peters, 2013.

Interestingly, Peters challenges the necessity of having an internal computational design specialist groups in ﬁrms, as codes, tools and ideas are readily shared via computers.1 Indeed, another strength of computational design is its availability and accessibility, allowing architects to conveniently learn from others and update their own knowledge via the computer. Furthermore, computation allows architects to explore new ideas and solve more complex problems. Scripting languages in computation programs go beyond the architect’s intellect, allowing him/her to generated unexpected results. Computational tools allow architects to evaluate their design against structural, material or environmental performance criteria and parameters, and accurately predict, model and simulate the relationships between architecture and the public. Hence, architects can create more responsive designs and innovative design options, as well as analyse the architectural decisions made during the design process. Computation not only allows architects to simulate and convey how the building will be constructed, but also the experience and meaning of the building. In the future, the architect’s digital model (made possible by computation) could be used throughout the entire lifecycle of the building. The performance of the building is constantly updated in the digital model, allowing modiﬁcations and improvements to be made (to the building) where it is needed.2

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This is idea is illustrated by the concept of “natural design”. While a building informed by compositional techniques may merely imitate the appearance of the organic, generative processes may produce a form in response to environmental conditions and context. This is reﬂected in Tobias Becker’s Breathing Skins Project. The facade technology is based on biomimicry, inspired by organic skins that adjust their permeability to regulate internal and external light, matter and temperature. The changing appearance of the facade also forms interesting interactions with the environment.3 The system has been optimised in terms of the chosen material and energy usage using digital tools. Therefore, we can see how generative designs are able to mimic the way organisms evolve in nature and respond directly to the environment in an innovative way.

FIG.1 ORGANIC SKINS DEFLATED.

3. Jan Doroteo, ‘Let Your Building “Breathe” With This Pneumatic Façade Technology’, Archdaily < http://www.archdaily.com/789230/let-yourbuilding-to-breathe-with-thispneumatic-facade-technology > (accessed 16 March 2017)

FIG.2 ORGANIC SKINS INFLATED.

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FIG.3 ORGANIC SKIN INFLATED.

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FIG.4 ORGANIC SKINS DEFLATED.

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Wikihouse 4.0

owever, the accessibility of computer programs allows anyone to digitally design and construct a building, challenging the necessity and role of the architect. The traditional compositional design approach required the architect’s artistic intuition in the shape, form, composition of a building. The generative approach is often dependent on technology, allowing anyone to digitally design and fabricate. This is exempliﬁed by the world’s ﬁrst two-storey open-source house “Wikihouse 4.0”. Wikihouse is a Open Community project that allows anyone to upload a design of a house, which is then used by Wikihouse to create drawings that are ready to be CNC milled out of locally sourced plywood. The pieces can be easily assembled by anyone with no construction knowledge and power tools.1 Furthermore, this generative approach design and our increasing dependence on computers may replace some of the need for designers, draftsmen and engineers. As explored in the lecture, computers program the logic behind the intuitive process, but it is designers who write the design programs. Hence, the ideas and intuition still originates from the architect.

The computer merely interprets the logic in a systematic way and eliminates repetitive and mechanical tasks, such as the production of drawings, change lists, client reports and trial and error of design solutions. Therefore, it seems that computers will only replace the menial jobs in the near future, allowing architects to focus on the project’s vision (such as the way the building interacts with its environment) or developing more innovative design programs. Indeed, the shift from compositional to generative design allowed architects to explore a broader range of innovative ideas, especially in terms of structural optimisation, natural design and computer-controlled manufacturing. While the job duties of architects will change and shift with the development of technology, it seems unlikely that computers will be able to completely replace architects in the near future, as architects are equipped with valuable technical knowledge and programs the logic behind digital design and fabrication.

1. Tim Winstanley, ‘Wikihouse: Build Your Own House In 24 Hours’, Archdaily < http:// www.archdaily.com/159064/wikihouse-build-your-own house-in-24-hours> (accessed 16 March 2017

FIG.1. CNC AND ASSEMBLY (LEFT TO RIGHT)

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FIG.2 WIKIHOUSE 4.0 EXTERIOR

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FIG.3 DIFFRENT VARIATIONS

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FIG.4. CONSTRUCTION JOINTS

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A.4. Conclusion

rchitecture is a practice that reflects our way of living, inspires change in our lives, contribute knowledge to the design and construction field and instigates change through innovative techniques and ideas. Architecture provides shelter for us, and fulfils our dreams and ideals. Users may appropriate architecture and use them in a different way than it was intended for, expanding the possibilities and variety that architecture offers to the ongoing disciplinary discourse and culture at large. Furthermore, the use of computers in the architectural design process allow the creation of humanistic and climateresponsive designs that interact closely with its environment and users, creating innovative, interactive and sustainable design solutions that can combat climate change. Computers are also redefining the architects’ role in design, strengthening their relationship with engineers in the construction of the design.

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In addition, the shift from compositional to generative design offers many advantages including structural and energy optimisation. It eliminates menial and repetitive tasks, allowing architects to focus on the core of the design. However, architects may need to continually enrich their knowledge and expand their skills in order to keep up with the advancement of technology and consolidate their vital role in design. Ultimately, my intended design approach for my following design work will be to use computational programs (mainly Rhino and Grasshopper) to help simplify my workﬂow and explore and test a variety of solutions using logarithms against certain parameters such as structural, environmental and aesthetics. I wish to establish a symbiotic relationship between design and the environment, beneﬁtting both the users and the environment.

FIG.1. KAR AMBA SCRIPT

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A.5. Learning Outcome

hrough independent research, readings and lectures, I have broadened my knowledge of architectural computing, and gained a broader understanding of the advantages and disadvantages of generative design, the role and function of computers in architecture and the role of architecture in our society. At the beginning of my learning, I was not aware of the multitude of beneďŹ ts that computers offered to architectural design. I was only familiar with the works of â&#x20AC;&#x153;Starchitectsâ&#x20AC;? like Zaha Hadid and was not aware that computers had such a big impact on the design process, structure of the practices, design outcomes, and design construction. With this new knowledge, I understand the possibility of exploring multiple design solutions by setting constraints in Grasshopper that could have optimised the performance of my past designs. I will use this knowledge in approaching the design task this semester.

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FIG.2. KAR AMBA SCRIPT

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A.6. Appendix Algorithmic Sketches

01 Setup Loops

04 Twisted Beso Tower

05 Multi Agent Mesh Structure

Increasing the number of points on ‘Populate 3D’ and number of repeats on ‘Loop Start’ for a denser and more opaque structure. Increasing the the number of repeat and reducing the number of points on ‘Populate 3D’ to ‘1’ for one continuous line composed of shorter lines that are perpendicular to each other. Reducing the the number of repeats to ‘1’ on the number slider, and increasing the number of points on ‘Populate 3D’ for disconnected lines floating in a 3D grid.

The twist beso tower can be un-twisted by changing the rotation of the plane around the z-axis. Changing the height and form of the tower. Further experimentation with the form of the tower by changing the ‘Step size’ and ‘Count’ value.

Experimenting with changing the size of the hexagrid. Increasing the number of ‘Loopstarts’. We can vary the thickness of the frame structure by changing the distance in ‘Weaverbird’s Mesh Thicken’ component.

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The algorthmic sketchbook design tasks encouraged me to explore the functions and capabilities of Grasshopper. I was amazed to find the endless possibilities of forms that can be created by algorithims. I manipulated the parameters of the assigned scripts and observed how the structure evolved into a completely new and different form.

Lofting and State Capture

Octree

01 Initial Structure

04 Cocoon

Mesh Geometry

Interesting plane-and-infill structures are modelled by changing the ‘Step Size’ and ‘Count Value’ of the ‘Series’. More interesting forms were modelled by changing the parameters of ‘Concatenate’.

Toggling with the parameters of ‘Curve Charge’. Changing the ‘Cell Size’ and ‘Iso’ of the cocoon.

Applying the ‘Octree’ function to a sphere. Mesh Brep + Mesh Weld Vertices + Face Boundariers to create a mesh from a number of joined spheres.

This reinforced the argument made earlier, as it demonstrates the endless possibilities of design results that computational programs can generate. I chose to include the designs that looked the best, hence Grasshopper allowed me to optimise the aesthetics of the structure.

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BI BL IOGR A PH Y

22 C omp o s it ion/G e ne r a t ion

8 D e s ig n F ut u r i ng

C omput a t ion Work s: T he Bu i ld i ng of A lgor it h m ic T hou g ht . B y Bra d y Pe t e r s ( Un it e d St a t e s , Joh n W i le y S on s I nc , 2013), pp. 08 -1

D e s ig n F ut u r i ng: Su s t a i n a bi l it y, Et h ic s a nd Ne w P ra c t ic e. B y Tony Fr y (O x for d: B e r g, 20 08), pp. 1–16 Sp e c u l a t i ve Eve r y t h i ng: D e s ig n F ic t ion , a nd S o c i a l D r e a m i ng. B y A nt hony D u n ne & F ion a R a b y (M I T P r e s s , 2013) pp. 1- 9 , 33-45 No aut hor, ‘ W i nd a nd R a i n Br id ge / D on n Holoh a n - T he Un i ve r s it y of Hong Kong ’, i n A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/79 09 93/w i nda nd-r a i n-br id ge - don n-holoh a n-t he u n i ve r s it yof-hong-kong > (a c c e s s e d 3 M a r c h 2017) 16 D e s ig n C omput a t ion A me l i a Tay lor -Ho c hb e r g, ‘Aut hor of ‘ I nt e r a c t i ve A r c h it e c t u r e’ on t he bu i lt e nv i r on me nt i n t he a ge of ubiqu it ou s c omput i ng ’, i n A r c h it e c t < ht t p://a r c h i ne c t . c om/ne w s/a r t ic le/ 1 49 950 67 1/aut hor - of-i nt e ra c t i ve a r c h it e c t u r e - on-t he -bu i lt- e nv i r on me nt-i n-t he -a ge of ubiqu it ou s - c omput i ng> (a c c e s s e d 10 M a r c h 2017) A r c h it e c t u r e’s Ne w Me d i a : P r i nc iple s , T he or ie s , a nd Me t ho d s of C omput e r -A ide d D e s ig n . B y K a l ay, Ye hud a E (C a mbr id ge, M A : M I T P r e s s , 20 04), pp. 5-25 Su s h a nt Ve r m a , ‘ Pa r a me t r ic a l l y D e s ig ne d Fa c a de s for C l i m a t ic A d apt a bi l it y ’, MGS A r c h it e c t u r e < ht t p:// w w w.mg s a r c h it e c t u r e. i n/a r t ic le s/f a c a de s - g l a z i ng /952 p a ra me t r ic a l lyde sig ne d-f a c a de s -for - c l i m at ic-a d apt a bi l it y. ht m l > (a c c e s s e d 10 M a r c h 2017) T he or ie s of t he D ig it a l i n A r c h it e c t u r e, e d s . b y R ob e r t O x m a n a nd ot he r s (L ondon; Ne w York : R out le d ge, 201 4), pp. 1–10 No aut hor, ‘ T he l i v i ng, br e a t h i ng w a l l’, B e h n a z Fa r a h i < ht t p:// b e h n a z f a r a h i .c om/t he l i v i ng-br e a t h i ng-w a l l/> (a c c e s s e d 10 M a r c h 2017)

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Ja n D or ot e o, ‘L e t You r Bu i ld i ng “Br e a t he” W it h T h i s P ne u m a t ic Fa ç a de Te c h nolog y ’, A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/7 89230/ le t-you r -bu i ld i ng-t o -br e a t he -w it ht h i s pne u m a t ic-f a c a de -t e c h nolog y > (a c c e s s e d 16 M a r c h 2017) R or y St ot t , ‘ W i k i Hou s e Unve i l s World’s F i r s t Two - St or e y O p e n- S ou r c e Hou s e a t L ondon D e s ig n Fe s t i v a l’, A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/550 093/w i k i hou s e -u nve i l s world s -ﬁ r s t-t wo - s t or e y- op e n- s ou r c e -hou s e -a t-londonde s ig n-fe s t i v a l> (a c c e s s e d 16 M a r c h 2017) Ti m W i n s t a n le y, ‘ W i k i hou s e: Bu i ld You r O w n Hou s e I n 2 4 Hou r s’, A r c hd a i l y < ht t p:// w w w. a r c hd a i l y. c om/159 0 64 /w i k i hou s e -bu i ld-you r - ow n-hou s e -i n-2 4hou r s> (a c c e s s e d 16 M a r c h 2017)

L IST OF I M AGES

8 D e s ig n F ut u r i ng [1-4] W i nd a nd R a i n Br id ge 2016, A r c hd a i l y, v ie we d 3 M a r c h 2017, < ht t p://w w w. a r c hd a i l y. c om/79 09 93/w i nd-a nd-r a i n-br id ge - don nholoh a n-t he -u n i ve r s it y- of-hong-kong> [1-3] A Ti ny Lu x u r y 2016, A r c hd a i l y, v ie we d 3 M a r c h 2017, <ht t p://w w w. a r c hd a i l y.c om/791333/a-t i ny-lu x u r ywh a t-a r e -t i ny-hou s e s -r e a l l y- s ay i ng-a b out-a r c h it e c t u r e> 16 D e s ig n C omput a t ion [1-3] T he l i v i ng, br e a t h i ng w a l l 2013 , B e h n a z Fa ra h i , v ie we d 10 M a r c h 2017, < ht t p:// b e h n a z f a r a h i .c om/t he l i v i ng-br e a t h i ng-w a l l/> [1-2] C e l lu l a r Mor pholog y Fa c a de 2015 , MG S A r c h it e c t u r e, v ie we d 10 M a r c h 2017, <ht t p://w w w.mg s a r c h it e c t u r e. i n/ a r t ic le s/f a c a de s - g l a z i ng /952 -p a r a me t r ic a l l yde s ig ne df a c a de s -for - c l i m a t ic-a d apt a bi l it y. ht m l > 22 C omp o s it ion/G e ne r a t ion [1-4] L e t You r Bu i ld i ng “Br e a t he” W it h T h i s P ne u m a t ic Fa ç a de Te c h nolog y, A r c hd a i l y < ht t p://w w w. a r c hd a i l y. c om/7 89230/ le t-you r -bu i ld i ng-t o -br e a t he -w it ht h i s pne u m a t ic-f a c a de -t e c h nolog y > [1-4] W i k i Hou s e Unve i l s World’s F i r s t Two - St or e y O p e nS ou r c e Hou s e a t L ondon D e s ig n Fe s t i v a l , A r c hd a i l y < ht t p://w w w. a r c hd a i l y.c om/550 093/w i k i hou s e -u nve i l s world s -ﬁ r s t-t wo - s t or e y- op e n- s ou r c e -hou s e -a t-londonde s ig n-fe s t i v a l>

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