AIR
2018, Semester 1 Cheong Kah Yi, Fern 813508
contents page introduction ........................................................................
4-5
A.1 Design Futuring ...........................................................
6-7
Botanical Garden Precedent .............................................
8-9
A.1 Precedent ....................................................................
10-11
A.1 Design Task ...............................................................
12-13
A.2 Computerisation vs Computation ..............................
14-15
NGV vs Botanical Gardens ...............................................
16-17
A.2 Precedent 1..................................................................
18-19
Neri Oxman Death Mask precedent ..................................
20-21
A.2 Design Task .................................................................
22-23
A.3 Composition Vs Generation .......................................
24-25
A.3 Precedent 1 ...................................................................
26-27
A.3 precedent 2 ..................................................................
28-29
A.3 Conclusion and learning outcomes...............................
30-31
Bibliography ......................................................................
32
HELLO, My name is Fern and i am a third year Architecture Major student. I come from the sunny islands of Singapore, roughly about 7 hours away from Melbourne. Although the dependency of technology in singapore is pretty advanced, I personally am not exceptionally good at manipulating technology to do what i tell it to do. But, co-existing amongst my many other hobbies such as photography, cooking and wandering around aimlessly, is learning new skills that are useful for the future and myself. Therefore i feel like this course is going to be exceptionally interesting. In terms of my designing skills so far, i have learnt how to use many basic functions over a range of programmes such as InDesign, Adobe Illustrator, Lightroom, Rhino, AutoCAD and my favorite, photoshop. Hopefully after this course i will be ready to add grasshopper into my list as well. Although i am still relatively new to the world of design, i have come to understand the importance of both technological and intellectual advancement mutually, in a balanced process. This studio provides insights into the world of computational design that utilises both mentioned aspects and therefore i am excited to experience and document my journey in this journal.
A.1
Design Futuring What is Design Futuring? What the future holds depends on how we design it. we do not mold the future but rather the future molds the present. Design Futuring is the act of taking into consideration our inherent damage towards our finite earth and designing solutions to stop or at the least slow down our descend into chaos.1 In other words, we design so that we actually have a future. how does this concept apply to the brief? This brief promotes the increase of wildlife activity at Merri Creek by instructing us to design a new habitat space that embodies proper wildlife habitat characteristics. To do so we must also design something that is sustainable and long lasting so that we can actually make an enduring impact for our future. We can start this journey of discovery by incorporating the concept of Design Futuring. By taking into consideration the impacts of what our design would have in the future for both animals and the environment, we are better able to adjust our direction and creation into one that would be the most appropriate design for Merri Creek and maybe even other wild life habitats.
1 Tony Fry, Design Futuring: Sustainability, Ethics and New Practice , english edn (New York: Berg, 2009), p. 1-16. https://app.lms. unimelb.edu.au/bbcswebdav/pid-6607413-dt-content-rid-31767173_2/ courses/ABPL30048_2018_SM1/ABPL30048_2017_SM2_ImportedContent_20170705121450/ABPL30048_2014_SM2_ImportedContent_20140709012321/Fry%20-%20Design%20Futuring%20_2009_%2C%20 pp.%201-16%281%29.pdf, [Accessed 2 March 2018]
How would Design Futuring affect how we might design? I personally feel like the design should have an adaptable quality should it start to become more and more arbitrary in the future. This is because we never know what the future holds but we can speculate, form theories about the “idea of possible futures and using them as tools to better understand the present�.1 Therefore, by thinking of the future we are better able to mitigate these negative effects and further improve our design.
2 Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (Cambridge, Mass., United States: MIT press Ltd, 2016), p. 1-9, 33-45. https://app.lms.unimelb.edu.au/bbcswebdav/ pid-6607413-dt-content-rid-31767206_2/courses/ABPL30048_2018_ SM1/ABPL30048_2017_SM2_ImportedContent_20170705121450/ ABPL30048_2015_SM2_ImportedContent_20150619100215/Dunne%20 -%20Speculative%20Everything%20_2013_%20_chs.%201%2C%20 3_%281%29.pdf [Accessed 2 March 2018]
http://www.architectmagazine.com/technology/lar-
TREE HABITAT PRECEDENT Sketch 1 and Section 1 I noticed this Fungi perched on the side of an Eucalyptus tree when i first entered the botanical gardens. I did some research and found that in fact this fungi is a parasitic bracket fungi that destroys its tree host whilst it continues to grow.1 I then started to imagine a living micro environment or perhaps a small “city” where insects and micro organism would thrive but because this city is using up all of the tree’s “resources”, the host slowly starts to die as well. I thought it would be interesting to parallel the natural world and ours just to gain a new perspective on the situation and perhaps a new insight on how we might “design a better fungi” that would not be parasitic and still provide a home for the residences (insects).
Sketch 2 and section 2 I first observed this cut off branch section of the tree whilst i was looking to the sky, trying to find the source of the bird sounds i have been hearing. I thought it looked interesting because of the little hole in the middle which suggests a hollow cavity on the inside. I imagined larger insects like fat larvae or larger species of beetles and caterpillars to reside in this small cavity. In the section i also imagined the way these insects might move and drew curved compartments to house several types of animals.
1 Jackie Rhoades, Tree Bracket Fungus - Learn about Prevention and Removal of Bracket Fungus (2018) <https://www.gardeningknowhow. com/ornamental/fungus-lichen/tree-bracket-fungus.htm> [accessed 8 March 2018].
Sketch 3 section 3 This particular sketch was of a hollowed out root with a crack in the wood that perfectly flips out like an entrance. Initially i had thought that this was a fallen tree that, over the years of degredation, became a hollow habitat for small mammals like possums or rabbits. As it happens, it was actually still connected to the tree beside it. I Imagined the section as a result of the “years of degredation” to form only the necessary “columns” to keep the structure up in shape. I also personally found it interesting to think about how, the more it decays and dies, the more useful (at least to the animals that might reside inside) it becomes. Contrary to what we built in the human world where the depreciation of buildings are not seen as a welcoming sight. Sketch 4 section 4 I discovered this large hole as i was looking at a myriad of small holes surrounding the whole tree. As i was speculating whether or not these small holes are a tiny habitat in itself, i noticed a large lopsided hole only visible from a certain angle from the ground. I immediately suspected that a possum might be making use of this hollow as his home. Because of the size of possums and their family members, i imagined the section as large compartments with shelves that stick out so that they could climb and perch on these shelves when resting.
ARCHITECTURAL PRECEDENT This is the Amdavad ni Gufa, built in 1995 by Balkrishna Vithaldas Doshi. It is located near Ahmedabad where Doshi spends most of his time. The exterior of this building was built to mimic tortoise shells that is held up by slanted columns that emit an organic almost habitat like space in the interior. Interestingly, this project was designed in response to a conversation he had with the collaborating artist about climate and sustainability.1 Doshi himself explains that the Amdavad ni Gufa was designed as an art gallery but transformed and became a “living organism”.2 In addition, this building was also designed using computer aided design and was ultimately built by local crafts people using waste products. I chose this building because it was a good example of Design Futuring whereby Doshi responded to the issue of climate change by designing an innovative and locally sourced “habitat” with the help of CAD that also mimics nature and captures the organic feel to it. When looking at Doshi’s work, i find it interesting the way he mimics not only the form of the “tortoise shell” but also subtlely the function of it, whereby it is cool and shaded , naturally ventilated, crookedly but naturally arranged. Furthermore, the shell is also technically the tortoises’ habitat. These aspects make the whole project very useful to the brief about habitats and how to design one that meets aspects from design futuring as well. 1 Balkrishna Doshi, Amdavad Ni Gufa (2018) <http://www.architectmagazine.com/project-gallery/amdavad-ni-gufa_o> [accessed 14 March 2018]. 2 Balkrishna Doshi, Amdavad Ni Gufa (2018) <http://www.architectmagazine.com/project-gallery/amdavad-ni-gufa_o> [accessed 14 March 2018].
Interior
exterior
https://www.dezeen.com/2017/07/10/balkrishna-doshi-key-projects-influential-indian-architect-ahmedabad/
GRASSHOPPER 5 lofts
loft 1
loft 2
loft 3
loft 4
loft 5
These are the first few self made lofts that i designed using grasshopper, The brief was about creating lofts that linked to what we sketched at the botanical gardens, however i found it difficult to protray the different shapes and tectures that each sketch contains using only lofted surfaces. The first 2 lofts i experimented a little bit because i was not quite satisfied with the product. My favourite would be the second and fourth loft as i feel i captured the natural unevenness of the trees better than the rest.
A.2
computational design Computerisation VS computation In the past, it was natural for designers to visualize the design in their minds, portray them on paper and then digitize it either by scanning or modelling it in 3D. This was computerisation. The act of design first, then transferring it into a digital platform. Nowadays, designers rely directly on digital softwares to portray their designs in real life. It makes use of the computer’s ability to provide a variety of “solutions” that could be used to “solve” in a way the issue of what would be the best design. The design can also be tested against a set of constraints or parameters until a satisfactory result appears.1 what is the significance of computation? We as the human race are in a unique postion in history where technology has never been more prevalent as compared to the prevalent deforestation of trees and other natural habitats. This is especially significant in design because many prominent designers of the past looked to nature for inspiration due to the inherent “rightness” about nature AKA the way everything should be. But what should happen when there is no more “Nature” to turn to? We were inspired by nature but now we are given the task to inspire nature. One way to do so, i believe, would be through computation and design. 1 Yehuda Kalay, Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT press Ltd, 2004), p. 5-25 in , <https:// app.lms.unimelb.edu.au/bbcswebdav/pid-6607358-dt-content-rid-31767175_2/courses/ ABPL30048_2018_SM1/ABPL30048_2017_SM2_ImportedContent_20170705121450/ ABPL30048_2014_SM2_ImportedContent_20140709012321/Kalay%20-%20Architectures%20New%20Media%20_2004_%2C%20pp.%201-25%20COMMENTED%20-%20 SR%281%29.pdf> [accessed 5 March 2018].
Vespers exhibition | Neri Oxman
http://matter.media.mit.edu/environments/details/vespers-second-series
NGV vs Botanical Gardens
The atmosphere at the Neri Oxman exhibition in contrast to the botanical gardens was that of an alien type art. This kind of aesthetic paradigm appeals to specific senses such as visual and sound. In contrast to the all natural fields of grass and flowers at Botanical gardens, This exhibition adheres to the visually striking shapes and colors that almost resemble something organic and yet because of the parametric design that limits each design and shapes it to be so unique in its own way, it leaves the viewers wanting to see more just to catch a glimpse of what this concept could be like on a wider scale.
In contrast, The atmosphere at the botanical was all such a familiar sight and therefore the architectural paradigm is more widely known. The picturesque charm of the garden was although still very alluring (especially when you donâ&#x20AC;&#x2122;t go out much), the types of feelings and senses evoked were less harsh as compared to the Neri Oxman exhibiton.
Natural VS Natural?
A.2 Architectural Precedent
This is the Parametric Pavillion in Monterrey, Mexico. It is designed by Lejandro Rodriguez Design together with students from Tecnologico De Monterrey. The algorithm was created by one of the students by placing pyramidal shaped components onto the surface of a vaulted component.1 This algorithm was created using Rhino and Grasshopper plugin. From the diagrams above, i can see that the algorithm used is similar to the ones that were taught to us in week 2 , perhaps creating 2 curves , forming arcs and then creating geodesic curves between 5 points on each curve.
1 website admin, Parametric Pavilion in Monterrey, Mexico (2015) <http://www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/> [accessed 14 March 2018].
I feel like this project would be extremely usedful for the â&#x20AC;&#x153;computational sideâ&#x20AC;? of this course due to it being a prime example of what you can physically produce out of Rhino and Grasshopper even if you are just an undergrad. Looking at this project i am excited to experiment with different approaches in Grasshopper to create a beautiful habitat for the animals in Merri Creek.
all images taken from: http://www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/
Neri Oxman Exhibition at the NGV Sketches
“Organic, alien-like forms, mask, growing organism, beautiful” Are all the words that came to mind when i was looking at these beautiful sculptures. Vesper’s
Death
Mask
Created by Neri Oxman and members of the Mediated Matter Group, these death masks were created with the notion of them being a cultural relic that “explores the transition between life and death”.1
These beautiful masks are the pinnacle of how a relationship between computation, design and nature can be combined to form such complex structures. And if applied differently, could open up a whole new realm of design for future projects that could be of an even larger scale. For example the computational “growth” could be programmed and used to grow variations of natural habitat moulds.
Production In order to model these extremely intricate masks digitally, Neri Oxman and the team created a custom software that “allowed them to model high-resolution and complex shapes based on data.”.2 Additionally, the colors that are found “swirling” within the masks were made from natural minerals and was used to symbolize the wearer’s “last breath”. These masks were purposefully digitally modelled to “grow” computationally, in order to create such organic and dynamic results for each mask. Interestingly, these masks were also modelled to be the same resolution as nature which might be the reason ,besides a whole myriad of other reasons, that this collection is so compelling. It is digitally printed using mostly artificial material and yet it comes off as it was naturally made and polished. 1 Christopher Bader, Dominik Kolb, James Weaver, Prof Neri Oxman, Vespers: Series II (2018) <http://matter.media.mit.edu/environments/ details/vespers-second-series#prettyPhoto> [accessed 14 March 2018]. 2 Alice Morby, Neri Oxman creates 3D-printed versions of ancient death masks (2016) <https://www.dezeen.com/2016/11/29/neri-oxmandesign-3d-printed-ancient-death-masks-vespers-collection-stratasys/> [accessed 15 March 2018].
side view
front view
back view
Design task A.2
A.3
Composition/Generation What is compositional architecture? Compositional architecture is architecture whose form is being composed by someone in a purposeful manner. Whereby it’s shape is often informed by political symbolism or other ideological purposes. Some forms might even be formed out of a whim. But However it is formed, there would most likely be a rough idea on how the form is going to be. Generational architecture and the L systems In contrast, Generational architecture are most likely generated through computational processes in order to produce variations of the design. new parameters are introduced and governed by a set of rules which can produce almost an infinite number of designs, which we could then compare and contrast the results and produce the most viable design that contains all the good characteristics we were looking for. One example of such a system would be the Lindenmayer system produced by Aristid Lindenmayer. This system was modelled after the generative study of how algae grew1 and it became a system where we can now generate iterations of trees and other Fractals- which are never ending geometrical shapes or curves that contain repetitive patterns at a “progressively smaller scale” such as a snowflake. 2
1 Christopher G. Jennings, phD, Lindenmayer Systems, Natural processes as computation (2017) <https://cgjennings.ca/articles/l-systems. html> [accessed 15 March 2018]. 2 Fractal Foundation, What are Fractals (2018) <https://fractalfoundation.org/resources/what-are-fractals/> [accessed 15 March 2018].
The L-system basically revolves around an axiom which acts as a starting point or the “seed” of the whole tree/fractal and the idea of rewriting which is what makes the whole project “grow”. In the example on the right with the generation of the snowflake, the first triangle would be the axiom, the pattern that follows would be the “production” which is one set of rules that this triangle has to follow.1 When the production is applied to the axiom, the six tipped star shape would be generated. This would form the first iteration. The L-system therefore works in a way that allows you to form as many iterations and technically “grows” it into a fractal that you are satisfied with. The L-System as a syntax The mechanisms behind turning a set of data or “strings” into images did not start with Lindenmayer. There were several attempts to create such systems before the L-system. One such man that did so was Noam Chomsky. The system he created was further studied upon but with disappointing results2 . Fortunately, the arrival of Lindenmayer and his L-systems continued to pave the way into the science of linguistics with more than satisfactory results. This language that Lindenmayer used had a direct correlation to plants and algae since he used their regeneration as the basis of his study into creating this syntax. This inspiration from nature is of another level and is certainly one to inspire all of us. Especially in this brief, Perhaps the 1 Przemyslaw Prusinkiewicz & James Hanan, Lindenmayer Systems, Fractals, and Plants, ed. by S. Levin(New York: Przemyslaw Prusinkiewicz, 1989), p. 5-20 in , <http://algorithmicbotany.org/papers/lsfp.pdf> [accessed 15 March 2018]. 1 Przemyslaw Prusinkiewicz & James Hanan, Lindenmayer Systems, Fractals, and Plants, ed. by S. Levin(New York: Przemyslaw Prusinkiewicz, 1989), p. 5-20 in , <http://algorithmicbotany.org/papers/lsfp. pdf> [accessed 15 March 2018].
Image taken fom: http://algorithmicbotany.org/papers/lsfp.pdf
Precedent 1 Composition to Generation
This is the Cardboard Parametric Shell pavilion located at the Wien Museum Quarter in Vienna. The overall concept of the pavilion was derived from the interest of the â&#x20AC;&#x153;mediating quality of light and reflectionâ&#x20AC;?.1 Each cardboard unit was composed based off the marble paterns of the onyx marble wall in the American Bar by Adolf Loos and transformed into a 3D pattern making up the pavilion. The whole form of the pavilion was then optimized using Rhino, Grasshopper and Karamba. Different forms for structural analysis was generated and the one that performed the best was used to physically fabricate the pavilion.
1 James Wentworth Park, Shell Pavilion // Wien (2018) <http:// jameswentworthpark.com/portfolio/items/cardboard-shell-research/> [accessed 15 March 2018].
I feel like this project has a little bit of both compositional and generational methods being applied. Because this structure is made out of units, each unit was purposefully composed using methods such as addition and subtraction, forming the ideal shell that allows them to play with light. The whole unit was then structurally generated via computation to ensure that the pavilion is sound. Although i do feel like the arrangement of the units could be all generated via computation, by creating a shell, creating the unit and then generating different possibilities until a one is of satisfactory level. But it is interesting to see how both methods are utilised in this project.
Images Taken from: http://jameswentworthpark.com/portfolio/items/card-
Precedent 2 Generational habitats This is the Double Helix Eco Tower located in Taiwan, designed by architect Vincent Callebaut. The whole form of the structure was generated from the double helix structure of DNA. This tower also aims to host 23 000 trees in an effort to become a pioneer in eco-residential housing.1 The reason i chose this project is because i can imagine the potential of architectural generation into a large habitat space. Its twisting levels enables different openings to be formed for different animals. I understand that the levels are also specifically generated for a 4.5 degree turn for each level, in order to create seperation and privacy for the residence. The amount of trees also play a part in the use of this precedent. I find it interesting to note that eventhough the “pattern” used to generate this tower is relatively simple, i can imagine the curved surfaces formed by the twisting levels, highlighted by the position of the trees, also on a smaller scale, to extend and twist as if it was a open curve geometry in Rhino. The arcs of different heights could then be extended between the curves (verticular edges) made which then a grid could be made to house all the different animals. In other words, provide apartments for these animals. This Precedent has sparked the “axiom” of ideas in my mind and i believe through more research and discovery, i can apply habitat appropriate geometry to whatever future designs i can generate.
1 Patrick Lynch, Vincent Callebaut Architectures’ Double Helix Eco-Tower Takes Shape in Taiwan (2016) <https://www.archdaily. com/800209/vincent-callebaut-architectures-double-helix-eco-tower-takes-shape-in-taiwan> [accessed 15 March 2018].
images taken from: https://www. archdaily.com/800209/vincent-callebaut-architectures-double-helix-eco-tower-takes-shape-in-taiwan
Design Task A.3
Conclusion
To summarise, Part A was a window into different concepts that has helped shaped my understanding of what i should be thinking of and incorporating into my future habitat design. The idea of Design Futuring has pushed me into the direction of allowing my design to exist and be useful for and in the future. Similar to the adaptability of nature and the vespers collection by Neri oxman, i believe that even with the idea of death, we can create projects that incorporate and react to the global issues that we are currently facing, and even more so shape the future into one that is filled with beautiful, functional and sustainable. Through part A i have also understood the significance of computation in the world of design and what we can do with this resource that is readily available for us to use. We have the power to create so much more than previous generations at a much faster speed and i believe that by using computational methods, we will be able to create the best version of our habitats. Lastly, the shift from composition to generation has inspired many complex methods such as the L-system, to create more variations of one thing. Therefore, with these concepts that i have embodied, i intend to approach this design brief as discovering a new type of habitat that fulfills the needs for all the requirements for the animals at the Merri Creek. This new habitat will be informed using computation and the â&#x20AC;&#x153;growthâ&#x20AC;? of how a design could be generated while also encompassing the qualities of sustainable design for the future.
Learning Outcomes
It has only been 3 weeks since starting this course i feel like i have entered a world of new ideas and thinking. The examples given in the lecture were difficult to understand at first but after a little bit of research i find them to be so interesting. Although all these new concepts that i am required to learn does seem daunting at first, but i am confident that i am able to catch up and along with the class, experience discover and create interesting habitats together. In the beginning of the semester i had this image of Air to be filled with programming and weird projects (heard from past students). but now that i am taking this course i feel like this course provides a learning platform to research and spread out into things that interest us as well as teaching us new techniques to computate our designs. Now that i am learning grasshopper, i realise how much extra work i have been doing using only Rhino. Things that i could do in an instant with grasshopper. This is a big leap for me although i am still not the most familiar with grasshopper, i am excited to continue to learn and improve my skills.
Bibliography 1. Tony Fry, Design Futuring: Sustainability, Ethics and New Practice , english edn (New York: Berg, 2009), p. 1-16. https://app.lms.unimelb. edu.au/bbcswebdav/pid-6607413-dt-content-rid-31767173_2/courses/ABPL30048_2018_SM1/ABPL30048_2017_SM2_ImportedContent_20170705121450/ABPL30048_2014_SM2_ImportedContent_20140709012321/Fry%20-%20Design%20Futuring%20_2009_%2C%20 pp.%201-16%281%29.pdf, [Accessed 2 March 2018] 2. Anthony Dunne & Fiona Raby, Speculative Everything: Design Fiction, and Social Dreaming (Cambridge, Mass., United States: MIT press Ltd, 2016), p. 1-9, 33-45. https://app.lms.unimelb.edu.au/bbcswebdav/pid-6607413-dt-content-rid-31767206_2/courses/ABPL30048_2018_ SM1/ABPL30048_2017_SM2_ImportedContent_20170705121450/ABPL30048_2015_SM2_ImportedContent_20150619100215/Dunne%20 -%20Speculative%20Everything%20_2013_%20_chs.%201%2C%203_%281%29.pdf [Accessed 2 March 2018] 3. Jackie Rhoades, Tree Bracket Fungus - Learn about Prevention and Removal of Bracket Fungus (2018) <https://www.gardeningknowhow. com/ornamental/fungus-lichen/tree-bracket-fungus.htm> [accessed 8 March 2018]. 4. Balkrishna Doshi, Amdavad Ni Gufa (2018) <http://www.architectmagazine.com/project-gallery/amdavad-ni-gufa_o> [accessed 14 March 2018]. 5. ehuda Kalay, Architectureâ&#x20AC;&#x2122;s New Media: Principles, Theories, and Methods of Computer-Aided Design (Cambridge, MA: MIT press Ltd, 2004), p. 5-25 in , <https://app.lms.unimelb.edu.au/bbcswebdav/pid-6607358-dt-content-rid-31767175_2/courses/ABPL30048_2018_SM1/ ABPL30048_2017_SM2_ImportedContent_20170705121450/ABPL30048_2014_SM2_ImportedContent_20140709012321/Kalay%20-%20 Architectures%20New%20Media%20_2004_%2C%20pp.%201-25%20COMMENTED%20-%20SR%281%29.pdf> [accessed 5 March 2018]. 6. website admin, Parametric Pavilion in Monterrey, Mexico (2015) <http://www.evolo.us/architecture/parametric-pavilion-in-monterrey-mexico/> [accessed 14 March 2018]. 7. Christopher Bader, Dominik Kolb, James Weaver, Prof Neri Oxman, Vespers: Series II (2018) <http://matter.media.mit.edu/environments/ details/vespers-second-series#prettyPhoto> [accessed 14 March 2018]. 8. Alice Morby, Neri Oxman creates 3D-printed versions of ancient death masks (2016) <https://www.dezeen.com/2016/11/29/neri-oxmandesign-3d-printed-ancient-death-masks-vespers-collection-stratasys/> [accessed 15 March 2018]. 9. Christopher G. Jennings, phD, Lindenmayer Systems, Natural processes as computation (2017) <https://cgjennings.ca/articles/l-systems. html> [accessed 15 March 2018]. 10. Fractal Foundation, What are Fractals (2018) <https://fractalfoundation.org/resources/what-are-fractals/> [accessed 15 March 2018]. 11. Przemyslaw Prusinkiewicz & James Hanan, Lindenmayer Systems, Fractals, and Plants, ed. by S. Levin(New York: Przemyslaw Prusinkiewicz, 1989), p. 5-20 in , <http://algorithmicbotany.org/papers/lsfp.pdf> [accessed 15 March 2018]. 12. James Wentworth Park, Shell Pavilion // Wien (2018) <http://jameswentworthpark.com/portfolio/items/cardboard-shell-research/> [accessed 15 March 2018]. 13. Patrick Lynch, Vincent Callebaut Architecturesâ&#x20AC;&#x2122; Double Helix Eco-Tower Takes Shape in Taiwan (2016) <https://www.archdaily. com/800209/vincent-callebaut-architectures-double-helix-eco-tower-takes-shape-in-taiwan> [accessed 15 March 2018].