A I R A B PL 3 0 0 4 8 A R CH I T EC T U R E D E SI G N S T U D I O : A I R 2017 S T U D I O 10 M A N U EL M U EH L BAU ER SE M E S T ER 1 EL A I N E CH A N 6783 01
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
PA RT B C R I T E R I A DE SIGN
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R e s e a r c h F ie ld B.1.
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C a s e St ud y 1.0 B.2 .
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C a s e St ud y 2 .0 B.3 .
Te c h n ique: D e ve lopme nt B. 4 .
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Te c h n ique: P r ot ot y p e s B.5 . Te c h n ique: P r op o s a l B.6
L e a r n i ng Obje c t i ve s a nd O ut c ome s B.7 A pp e nd i x - A lgor it h m ic Ske t c he s B.8 R e fe r e nc e s
B.1. Research Field Patterning
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he development of computer technology has allowed patterns to be integrated in architecture to create dynamic, innovative and biomimetic designs. However, pattern design in architecture also has limitations in terms of constructibility and materials. Pattern design is able to re-invent the use of humble materials like brick and optimise the building’s environmental performance. Intricate patterns may be created using digital fabrication and modelling tools. We see this in the Gantenbein Vineyard Facade (by Gramazio & Kohler), which used a robotic arm to place bricks in a precise angle to create a dynamic facade.1 The undulation and cavities in the wall is optimised to provide appropriate light and air permeability. Hence, pattern design can interact with the natural environment 1. No Author, ‘Winery Gantenbein / Gramazio & Kohler + Bearth & Deplazes Architekten’, in Archdaily <http://www.archdaily.com/260612/ winery-gantenbein-gramazio-kohler-bearth-deplazes-architekten> (accessed 24 March 2017)
In the reading, Robert Woodbury contended that parametric design changed architects’ design process and their design thought process. His ideas are particularly relevant to pattern design.2 Firstly, parametric programs allow architects to “conceive data flows”, which is especially useful in patterning design, as architects have control over the data that flows through a parametric model, from independent to dependent nodes, generating a pattern. As patterning is based on repeating elements, without parametric modelling, the creation of a pattern would be repetitive and time-consuming. In the Gantenbein Vineyard Facade, the final projected image of grapes on the facade is dependent on the angle of each brick. The angle is defined by parameters set by the architects. Therefore, pattern design and parametric design processes combine to form creative design solutions.
2. ‘How Designers Use Parameters’ in Theories of the Digital in Architecture, ed. By Robert Woodbury, Rivka Oxman and Robert Oxman (London; New York: Routledge, 2015), pp. 153–170.
FIG.1 BRICK PATTERN IN THE GANTENBEIN VINEYARD FACADE.
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FIG.2 BRICK PATTERN FORMS THE IMAGE OF GR APES.
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arametric modelling also allowed threedimensional patterns to be structurally optimised. This is demonstrated by the 253 40 Bond, Apartment Building by Herzog de Meuron. The gate is a collage of graffiti tags which were translated into the third-dimension using computer technology. The thickness of the graffiti strokes was defined by the requirements of the casting process. The computer program optimised the distribution and density of the tags according to the gate’s structural requirements.1 However, material qualities and fabrication processes may impose limitations on pattern design. The graffit-inspired gate by Herzog de Meuron varied the thickness of grafitti
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Therefore, pattern designs influence the selection of material and vice versa. In the reading, Woodbury also suggested that a limitation of parametric programs on pattern design may be its inability to allow architects to quickly “sketch” out their ideas.2 This may be a limitation on the exploration of a range of different patterns. Essentially, pattern designs integrates with computer technology for environmental optimisation, structural optimisation and produce pattern variations in a timeefficient manner. However, it is important to keep in mind the limitations of pattern design which may include material and construction restrictions. 1. No author, ‘253 40 Bond, Apartment Building’, in Herzog & De Meuron <https:// www.herzogdemeuron.com/index/projects/completeworks/251-275/253-40-bondapartment-building.html> (accessed 24 March 2017) 2. ‘How Designers Use Parameters’. By Robert Woodbury, 2015.
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FIG.1 FRONT VIEW OF THE BOND APARTMENT BUILDING.
FIG.2 EXTENDS FROM THE EXISTING GR AFFITTI ON THE WALL. CRITERIA DESIGN
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B.2. Case Study 1.0 Species 1 - Size & Density
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Increased the density of the circles.
Reduced the density & increased size.
Changed pattern spacing.
Changed geometry of pattern to hexagon.
Four-sided diamond pattern.
Three-sided triangular pattern.
Changed density of dimpled surface pattern.
Reduced density of dimpled surface pattern.
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Species 2 - Input Image
Input image #1, testing gradient effect.
Input image #2, testing gradient effect.
Input image #3, testing sharp black & white contrast.
Input image #4, testing the effects of midtones.
Varying pattern size with input image #4.
Overlaying dimpled surface on input image #4.
Dramatically increasing pattern size to create overlaps.
Dimpled surface pattern with input image #4. CRITERIA DESIGN
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Species 3 - Pattern Overlay
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Overlay dimpled surface on grid of circle â&#x20AC;&#x153;cut-outsâ&#x20AC;?.
Increased circle density.
Increased circle size.
Allowing holes pattern to dominate (with density).
Allowing both dimpled surface and holes pattern to dominate.
Increasing size of both patterns.
Allowing dimpled surface to dominate (in size).
Widen base of dimpled surface.
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Species 4 - Portrait
Small circle patterns for a faint impression.
Increasing pattern size.
Increased pattern size & density.
Creating the same effect using dimpled surfaces instead of circle “cut-outs”.
Changed input image, and used “Red Channel”.
Using “Colour Hue” channel.
Used “Colour Saturation” channel.
Using “Green” channel.
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Selection Criteria, Successful Iterations & Design Potential
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explored the script of the De Young museum and discovered 4 different species with multiple iterations for each one. For species 1, I explored the effect of size and density on the final pattern. The iteration I selected as the most “successful” had a contrast of small and large geometry (hexagon). What contributed to its success was that the larger geometry were grouped together, allowing it to “pop” out of the page in the sea of smaller hexagons. For species 2, the most successful input image used had a gradient and a smooth transition between black and white. This allowed the circles to gradually decrease in size, creating a more interesting, almost 3-dimensional effect. For species 3, I overlayed the dimpled surface pattern on top of the circle cut-outs pattern. The most successful iteration had a dense dimpled pattern as well as circle cut-out pattern.
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Although there were two dominating patterns, they complimented each other and created an interesting effect. For species 4, the “Colour Saturation” channel worked well with a coloured portrait photograph. I liked the larger circles that “pop” out of the page, highlighting particular features of the portrait. The effect is quite quirky. The pattern was used as a facade for the original project (De Young Museum), a circle pattern was cut out of a dimple surface, creating an intricate overlay of two patterns. After this experimentation with the script, I think this technique would still be used to create a pattern on a surface. It can be used in interior architecture to provide different degrees of screening, acoustic, air and light qualities while having an interesting and meaningful pattern. strokes based on the casting process.
FIG.1 SPECIES 4.
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B.3. Case Study 2.0 Hitoshi Abe’s Aoba Tei Resaturant
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he Aoba Tei Restaurant has a spectacular designed by Hitoshi Abe. It is an example of the integration of patterning in architecture to create an innovative, biomimetic design solution. The interior of the restaurant is lit with a realistic pattern of zelkova trees, inspired by the zelkova trees lining the boulevard outside the restaurant. The pattern was created from photographs taken outside of the zelkova trees.1 The photos were made into a digital model and then pixellated and applied to the interior surfaces of the restaurant via “texture mapping” in computation programs like Grasshopper and Rhino. Holes of varying sizes were then drilled in sheets of steel. Through parametric modelling, Abe was able to control and vary the size of the holes in the tree pattern using parameters, allowing for a realistic pattern.
As the pattern is intricately made from small perforations, it realistically resembles the shadow of zelkova trees, especially when viewed from afar. The use of back-lighting further enhances the illusion of being outdoors. Hence I believe Abe has been successful in replicating the experience of nature (being under the canopy) inside the restaurant. However, material qualities and fabrication processes imposed some limitations on pattern design. The holes had to have a certain size and spacing to ensure the structure stability of the steel sheets. The drilling of holes also required a structurally rigid material like steel. I wonder if Abe could have enhanced the realism of trees if it was not for these structural limitations. Perhaps holes with smaller spacing would produce a higher resolution image and hence, more realistic trees.
1. Graham Barron, ‘Under the Zelkovas: Hitoshi Abe’s Aoba Tei Restaurant’, in Graham Barron <http://grahambarron.blogspot.com.au/2009/10/ under-zelkovas-hitoshi-abesaoba-tei.html> (accessed 24 March 2017)
FIG.1 DESIGN INTENT. USES DIGITAL MODELLING.
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FIG.2 AOBA TEI INTERIOR.
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Reverse engineering / Hitosh
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BREP + UNROLL BREP
DEBREP + LIST ITEM + SDIVIDE + SURFACE CLOSEST POINT + CULL PATTERN + EVALUATE SURFACE + CIRCLE
Base geometry was created and referenced to Grasshopper as a “Brep”.
Circles applied to uv points.
The polysurface was unrolled.
The uv points were referenced back to the original geometry.
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EQUAITY + CU IMAGE SAMPLE COLOUR BR
Used image sample the t
The black and w the image samp and black &
A grid of uv points was applied onto the unrolled surface.
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hi Abe’s Aoba Tei Resaturant
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ULL PATTERN + ER (CLAMP AND RIGHTNESS)
e sampler to tree pattern.
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CLEAN TREE + EXPRESSION + CREATE SET + REPLACE MEMBERS + CIRCLE
CHANGING PANEL VALUES OF ITEMS TO REPLACE WTIH.
Varied the size and spacing of circles to ensure no overlaps.
Further adjusted parameters to find circles of best fit.
hite image used for pler. Used “Clamp” & white tones.
Reference a curved polysurface (created on Rhino) as “Brep” using the final definition. The image in the “image sampler” was flipped to mimic the Aoba Tei Restaurant. CRITERIA DESIGN
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Reflection
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he outcome I produced was quite different from the original. In Abeâ&#x20AC;&#x2122;s design, the pixellation of the trees was a lot smaller with higher resolution. I will have to increase the number of grid points to mimic the same effect. I noticed that the steel sheet that Abe used to drill the holes is a curved polysurface. This way the pattern of the trees is on the ceiling as well. Similarities between my outcome and the orginal includes the image sampling of a tree pattern on a polysurface and using circles as the pattern geometry. I also varied the size of the circles as Abe had to control image clarity and back-light intensity. If I was unconstrained by the original form, I would like to take this definition further by applying image sampling on different polysurfaces, changing the pattern, and exploring the use of texture (e.g. applying a dimpled pattern on a polysurface).
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FIG.1 FRONT VIEW
FIG.2 PERSPECTIVE
FIG.3 SIDE VIEW CRITERIA DESIGN
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B.4. Technique Development Species 1
Baking the pattern from a cube to create a framed enclosure.
Baking the pattern from a curved polysurface .
Trimming circle pattern from curved polysurface.
Increasing the density of uv points to
Baking the pattern from a cylinder to
create overlapping circles.
create a curved enclosure.
Tiling the pattern and changing the range
Tiling the pattern on a curved polysurface.
and domain of image sample.
Changing range and domain of image sample.
Constructing a mesh entirely made from the pattern. Smallest circles in the background to allow pattern to â&#x20AC;&#x2DC;popâ&#x20AC;&#x2122;.
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Applying new pattern technique back on
Changing the opacity of mesh surface by
Aoba Tei curved polysurface.
changing circle size and density.
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Species 2
Dense, overlapping pattern to create an enclosure.
The pattern against a clear/white background.
Inverting the previous iteration. The pattern forming cut-outs from a mesh.
Creating planar surfaces from the circles in the
Gentle gradation of circle size.
background with ‘Boundary Surfaces’.
‘Boundary surface’ of large overlapping circles to create patches of larger surfaces.
Creating planar surfaces from large circles
Applying new pattern technique back on
to create a completely opaque surface.
Aoba Tei curved polysurface.
Increasing density and decreasing size of
‘Boundary surfaces’ to create planar surfaces from
circle to create a curved mesh surface.
the pattern. Contrast of opaque and clear.
FIG.2 AOBA TEI INTERIOR.
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Species 3
Duplicating the pattern, translating it along the
Lofting the background of the pattern.
Increasing the loft distance to create a solid.
Lofting on a curved polysurface.
Decreasing the circle size of one of the patterns to create
y-axis and lofting between the two patterns.
Lofting the pattern on a cylinder.
pointed cones when lofted with the other pattern.
Increasing circle size to create dimpled surface.
Lofting small background circles and larger circles to create contrast of light and dark.
Trimming the lofted surface to create convex surface.
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Trimming the lofted surface to create concave surface.
Species 4
Creating a hexagrid of points.
Lofting the hexagrid pattern.
Lofting between a circle pattern and a hexagrid pattern to create a dimpled surface.
Overlapping hexagonal grid.
Changing the number of grid cells in the x
Offsetting the hexagonal grid.
and y direction in the hexagonal grid.
Extruding the offsetted hexagonal grid.
Decreasing circle size of both patterns.
Overlay of two patterns using two image samplers.
Creating planar surfaces from one of the patterns. CRITERIA DESIGN
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Species 5
Mapping uv points to a scroll-like polysurface.
Changing uv parameters to decrease density of points.
‘Boundary surface’ to create floating circle plates.
Mapping uv points on a polysurface with cut-outs.
Mapping uv points on a polysurface with cut-outs.
Changing parameters of uv points to create a denser pattern.
‘Surface boundary’ to create opaque patches on the surface.
Overlay of two patterns using two image samplers. 24
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Tiling the pattern on the polysurface and creating planar surfaces.
Extruding the pattern on the Aoba Tei curved polysurface.
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Selection Criteria
SPECIES 1 For species 1, the selection criteria is to use patterning to create a mesh/enclosure/structure. I wanted to see if I could take away the surface that the pattern was applied on, and the pattern would still stand by itself. The most successful iteration could be used as a partition wall or semi-permeable wall. The pattern could be made from interconnecting rings made out of wire to make it the structure malleable.
SPECIES 2 The selection criteria for species 2 is to vary the degree of opacity in the pattern. The most successful iteration has an interesting contrast between the opaque circle patterns and clear background. Opaque dotted patterns could be applied to glass facade/windows to vary the degree of privacy of the space.
SPECIES 3 The selection criteria for species 3 is to create three-dimensionality from a two-dimensional pattern. The most successful iteration has a sense of fluidity and movement. This technique could be applied to an undulating wall facade, and may also be structurally optimised for acoustic performances.
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SPECIES 4 The selection criteria for species 4 is to create a compound pattern made from different elements. The most successful iteration combined two patterns (one for the background and one for the tree). This iteration showed both patterns the clearest - other iterations were too cluttered or one pattern was too dominating. This technique is useful in creating a more intricate pattern. Planar surfaces can be applied to one of the pattern for more contrast.
SPECIES 5 The selection criteria for species 5 is to apply the pattern on different polysurfaces to test the limit of the Grasshopper definition. The most successful iteration was created when the pattern was applied to a scroll-like surface. The different layers of the surface overlapped the patterns, creating an interesting effect. This iteration was the most successful as the circles are not too crowded and the pattern can be clearly seen. I like the clear delineation between the pattern and background. This could be mini booths or enclosures that provide people with a semi-private space.
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B.5. Prototypes
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everal prototypes were created using the grasshopper definition that I have been developing with image sampling. I chose to laser-cut the patterns out of a an Ivory Card 290GSM and Optix Card Black 200GSM. Two colours of the medium was chosen as I wanted to test their effect against a white background (BIGBANG studio interior) and their interation with light. A flexible material was chosen to test a variety of different forms (curved and linear). However, I found that paper was still not flexible enough, and it was diffcult to create smooth curves. A plastic material may be more suitable. The prototypes were self-supporting, but I had to use stickytape to restrain the curved surfaces. Different patterns with different circle density and size were also created to test their effects under different lighting conditions.
FIG.1 ASSEMBLY
Laser-cutting the circles was extremely efficient. It would be near-impossible to cut the same amount of circles with the same precision by hand. However, the laser-cutter burned/ stained the ivory card. Many of the circles were still semi-attached and required me to remove them manually. The maximum size of material that can be laser-cutted is 900 x 600 cm. I used the full 900 cm length to form structures from folding and bending.
FIG.2 FABRICATION LAYOUT IN RHINO
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This prototype tested a basic curved form with black paper and dense pattern. I like the contrast of black against the white background and interplay of light with the pattern cut-outs to create dynamic shadows.
The screen is is permeable (lets light, air and views through). It is less permeable in some areas due to smaller cut-outs. This creates an interesting/mysterious effect. The twisting screen provides layers to the pattern and varies the degree of privacy within the pavilion.
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This prototype tested a less dense pattern. The circle size seems too big in this instance, there is not a gradual decrease in circle size. I prefer the pattern of the previous prototype, which also had more interesting shadows.
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CONCEPTUALISATION
The laser-cutter was used to cut out strips of the pattern with decreasing widths. I experimented with a more â&#x20AC;&#x2DC;openâ&#x20AC;&#x2122; pavilion form and using the screens to create paths and semi-enclosed spaces. I like how the wall seems to disintegrate into thin air as its height decreases, gradually changing the space from enclosed to open.
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I also experimented with white paper and angular forms. Although the pavilion does not contrast as much with the background, it offers a very â&#x20AC;&#x2DC;cleanâ&#x20AC;&#x2122; aesthetic. This relates to the idea of air being invisible, yet present at all times. Paper is a lot more suited to folding these angular forms. No tape was used and the structure was self-supporting.
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The shadows that are created changes drastically when the form of the pavilion changes. The angle and direction of the light source also created some very interesting and dramatic effects.
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Strips of the pattern were overlapped to create a light and open pavilion. Due to the lightness and stiffness of the material, the structure could be easily stacked/overlapped. I quite like the form of this structure as it creates dynamic spaces (open, closed, overhanging, low on the ground...etc). The overlapping, perforated structure looks weightless - like air.
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High, spotlighting is crucial to making the pattern stand out! This fits well with the brief as the site is the interior of the BIGBANG photography studio which has flexible lighting conditions.
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B.6. Design Proposal Site Analysis
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he site is the interior photography/ ďŹ lm studio space of the BIGBANG studio. The space has an area of approximately 80 square metres and a 6m high ceiling, a concrete backed white cyclorama wall (17m wide, 5.5m high) and black concrete ďŹ&#x201A;oor. The BIGBANG studio has a heavy focus on light and sustainability and is surrounded by the nature, overlooking Merri Creek.
The opportunities for the site include: the big, white canvas of the cyclorama providing a blank canvas for any pavilion, high ceiling (approximately 6 metres high), a variety of artificial lighting options, and load-bearing beam which can be used for the hanging of structures. Some constraints may be: the curved edge of the cyclorama wall, limited natural lighting, circulation pathway with black concrete floor (including the ramp) should not be blocked by the pavilion.
Site boundary
Circulation
Load-bearing beam
Noise concentration
FIG.1 SITE ANALYSIS
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CONCEPTUALISATION
FIG.2 PERFORMANCES AND LIGHTING EFFECTS
FIG.3 BIGBANG STUDIO INTERIOR CRITERIA DESIGN
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Design Concept
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ir is light, dynamic and ďŹ&#x201A;uid. The proposed design is a pavilion that is permeable to light, air and views/ sight. The shape of the pavilion is fluid and connected. The visitors have free circulation within the open pavilion they are air themsleves. The pavilion uses the technique of image sampling to create perforations on surfaces to let light/air/views through. The theme of permeability runs through the design, there is not a single area in the pavilion that is completely private, the screen is permeable and you can be seen by others at every point. Similarly, air is everywhere and surrounds us, there is no escape from it even though it is unobtrusive and invisible. The pavilion also frames spaces for performances. Parametric modelling allows me to control the density, shape, size and the exact placement of the pattern to achieve the effect of permeability through the pavilion from every angle. I can also create my own pattern to use in the image sample, the pattern possibilities are endless.
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CONCEPTUALISATION
The technique can also be applied on a range of different surfaces (straight, curved, polysurface). Parametric modelling also allows me to test many different pattern variations and select the best outcome from the selections. Parametric modelling is readily coupled with prefabrication as I explored in my prototypes. This technique is suitable for this site as it requires special lighting conditions that the photography studio can offer. The white walls and floor will fully showcase the shadow patterns. A drawback this technique includes the fabrication process. The laser-cutter at the Fablab has a size restriction (900 x 600 cm). The design will require a larger-scale laser-cutter to cut out the pattern with speed and precision. A possible shortcoming of my design proposal may be that it is too 2-dimensional, while air travels in the third dimension and has volume. I may need to explore more forms such as split levels, allowing people to move more freely across all dimensions.
FIG.1 CIRCULATION DIAGR AM
FIG.2 FORM EXPLOR ATION
FIG.3 DESIGN PROPOSAL CRITERIA DESIGN
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FIG.1 PLAN 1:50
FIG.2 NORTH ELEVATION 1:50
FIG.3 WEST ELEVATION 1:50
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FIG.4 PERSPECTIVES
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B.7. Learning Objectives Learning Outcomes
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y research and work in Part B, Criteria Design has vastly enriched my knowledge of architecture and roles of computation in the design process. I evaluated, tested and selected a parametric modelling technique. I learnt how to generate a variety of design possibilities with my developed technique (image sampling) and algorithic sketches. This was achieved through manipulating parameters and experimenting with the inputs and outputs of components in Grasshopper (Objective 2). After developing a matrix of iterations from the chosen technique (see B.2. Case Study 1.0 and B.4. Technique Development), I selected the best iteration by interrogating the brief. I learnt to analyse the qualities that made one iteration better than another, which are usually formal, site (contextual) or experiential qualities. This process taught me how to narrow down the multiple options that digital technology provides us with (Objective 1).
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I digitally fabricated physical prototypes using the laser-cutter and investigated material qualities, geometry, lighting effects. I encountered and successfully resolved issues relating to fabrication and assembly. This process allowed me to improve my skills in threedimensional media (Objective 3). Through prototyping and class discussion, I now have a better understanding of the relationship between architecture and air, and proposed a relationship in my design proposal (Objective 4). I have gradually improved my ability to make a case for design proposals, as I analysed my proposed design for limitations and discovered that size may be an issue when fabricating the design (see B.5. Prototypes). Being able to foresee shortcomings in the design will allow me to improve the design (Objective 5). Through self-directed learning and casestudy research, I was able to develop my computational techniques, and I now have a broadened understanding of computational design (Objective 6, 7, 8).
FIG.1. PROTOTYPE
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B.8. Appendix Algorithmic Sketches
Different shapes and forms were explored using Kangaroo, Weaverbird and Panelling Optimisation parametric tools. I experimented with changing parameter values, input geometry/surfaces, increasing density of X-Y grid to vary the pattern and form of the resulting model. (Further details of development process may be found in â&#x20AC;&#x2DC;Sketchbookâ&#x20AC;&#x2122;).
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Interesting patterns were generated using these tools in Grasshopper which has been useful in my research and exploration of ‘Patterning’.
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Fluid and dynamic forms were produced using Millipede in Grasshopper (more details of exploration may be found in â&#x20AC;&#x2DC;Sketchbookâ&#x20AC;&#x2122;). It allowed me to see how materials would react under certain condiions (e.g. wind, load...). This tool also produced some outrageous and inventive forms that are difficult to draw by hand. I think Grasshopper is really useful in this regard.
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Although this exploration of panelling and structure is not directly related to my study in patterning (image sampling), I may be able to incorporate it into my design as a way of producing a more complex form. Experimenting with these scripts introduced in the tutorials has really broadened my knowledge of what I can achieve with Grasshopper.
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BI BL IOGR A PH Y
40 R e s e a r c h F ie ld No Author, ‘ Wi ne r y G ant e n b ein / G ra m a z io & Koh l er + B ea r th & Dep l aze s A rc h i t e k t en’, in A rc h d a ily < h t t p: / / w w w. arc hd ai ly.c o m /26 06 12 / w in er y- g a n t en b ein - g ra m a z io -kohle r - be ar t h - d e p l azes - a rc h it ek t en > (a c ces s ed 2 4 Ma rc h 2 017) ‘How D e s ig ne r s Us e Pa r a me t e r s’ i n 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 . B y R ob e r t Wo o dbu r y, R i vk a O x m a n a nd R ob e r t O x m a n (L ondon; Ne w York : R out le d ge, 2015), pp. 153–170. No aut hor, ‘253 40 B ond , A p a r t me nt Bu i ld i ng ’, i n He r z og & D e Me u r on <ht t p s:// w w w. he r z ogdeme u r on . c om/i nde x /pr oje c t s/c omple t e -work s/251-275/253-40 b ond ap a r t me nt-bu i ld i ng. ht m l> (a c c e s s e d 2 4 M a r c h 2017) 50 C a s e St ud y 2 .0 Gra h a m B a r r on , ‘ Unde r t he Z e l kov a s: H it o s h i A b e’s A ob a Te i R e s t au r a nt ’, i n Gr a h a m B a r r on <ht t p:// g r a h a mb a r r on .blog s p ot .c om . au/20 09/10/u nde r -z e l kov a s h it o s h i-a b e s a ob a-t e i . ht m l> (a c c e s s e d 2 4 M a r c h 2017)
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L IST OF I M AGES
8 R e s e a r c h F ie ld [1-2] Wi ne r y G ant e n b ein / G ra m a z io & Koh l er + Bear t h & D e p l aze s A rc h it ek t en, v ie we d 2 4 M a r c h 2017, <w w w.arc h d ai ly.c o m / 2 6 0 6 1 2 / w in er y- g a n t en b ein g ram azi o - ko h l e r - be a r t h - d epl a z es - a rc h it ek t en > [1] A r c h it e c t u r a l Phot og r aphe r s: F r a n Pa r e nt e, A r c hd a i l y, v ie we d 2 4 M a r c h 2017, <ht t p://w w w. a r c hd a i l y.c om/159 60 6/a d-phot og r aphe r s -f r a n-p a r e nt e he r z og _ 40 _ b ond _ s t _ f r a n _ p a r e nt e _ i mg _ 2038> [2] 40 B ond A p a r t me nt Bu i ld i ng, Pol ic ht a l l i x , v ie we d 2 4 M a r c h 2017, <ht t p://w w w.p ol ic ht a l l i x .c om/pt x /w p c ont e nt /uplo a d s/201 2/03/ I MG _ 087 1- 950x53 4 .jpg> 50 C a s e St ud y 2 .0 [1-2] Unde r t he Z e l kov a s: H it o s h i A b e’s A ob a Te i R e s t au r a nt , v ie we d 2 4 M a r c h 2017, ht t p:// g r a h a mb a r r on .blog s p ot .c om . au/20 09/10/ u nde r -z e l kov a s -h it o s h i a b e s -a ob a-t e i . ht m l 7 2 B.6. D e s ig n P r op o s a l [1-3] BIGB A NG St ud io, v ie we d 18 A pr i l 2017, ht t p:// bigb a ng s t ud io.c om . au *Fig u r e 1 e d it e d b y aut hor, 18 A pr i l 2017 *I m a ge s not me nt ione d a b ove we r e pr o duc e d/t a ke n b y t he aut hor.
CONCEPTUALISATION 49