Design Studio Air - Journal A

STUDIO AIR JOURNAL SEMESTER 2, 2018 PATRICK DENNIS 699033 ALLAN BURROWS, T10

FIG.1: Sunrise Tower, Zaha Hadid Architects, Malaysia, 2009.

1

TABLE OF CONTENTS 3.

5.

6.

8.

10.

14.

16.

17.

18.

19.

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A0. Introduction A1. Design Futuring

A1.1. BURST*003, SYSTEMarchitects

A1.2. Gen Y House, David Barr Architects

A2. Design Computation A3. Composition/Generation A4. Conclusion A5. Learning Outcomes A6. Appendix - Algorithmic Sketchbook A7. Bibliography

FIG.2: Heydar Aliyev Center, Zaha Hadid Architects, 2012.

A.0. INTRODUCTION

I’ve grown up almost entirely in suburban Melbourne and have long been exposed to a variety of cultures and architectures - a multicultural influence which I hope will creep into my architectural expression. Most recently, I have travelled overseas and in the process, have further expanded this multicultural architectural awareness.

I am relatively experienced with Rhinoceros 5 through my own curiosity with the program and I feel this will hold me in good stead for this semester. I have had decent exposure to Adobe Indesign and Photoshop programs, but have largely preferred hand-drawing for my submissions thus far. The early signs of this subject suggest that I might glean some useful design tools to develop toward a modern and progressive architectural language.

My name is Patrick Dennis, and I am a third year Architecture student at the University of Melbourne. I am undertaking the Bachelor of Environments undergraduate, with the hopes of one day developing my skills to the point that I might practice in the commercial field - particularly in the design of hospitals.

I am intensely interested in the works of Zaha Hadid Architects in the context of this subject. These projects have been shrouded in mystery for me, and I look forward to understanding the rationale behind these throughout the semester.

I’m really looking forward to Studio Air, as I feel for the first time in this degree, I am learning applicable skills skills that might set me apart in the competitive workplace.

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FIG.3 & 4: Orbis Appartments, ARM Architecture, South Melbourne, 2015.

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A.1. DESIGN FUTURING

Contemporary design thinkers have undergone a radical shift in the way they approach design. Historically, the priority of architectural design has been toward functionality for human use, yet as scientific understanding has developed it would appear that the priority has shifted toward sustainability and establishing a symbiotic relationship with our environments. As it stands, renewable resources are being used 25% faster than they can be renewed - making this approach of ‘design futuring’ vital in achieving an harmonious living with our surrounds1. This idea of design futuring encircles this design shift, wherein potential damage to future generations is mitigated through a careful design approach.

Our best chance to achieve sustainable design futuring is to approach design with critical analysis on the passive functions upon a structure and encourage innovation2. In the current dayand-age, the most efficient way to go about these critical analyses is through computer-aided-design.

Simulations of solar performance, human experience and information modelling will allow for a more specific response in future projects.

The future of design relies heavily on increasing our design intelligence - a process that relies on our relationship with these intelligent systems.

In an age of high-tech and postmodern architectural design, it has become commonplace for architects to prioritise aesthetics and technology over functional, sustainable design.

This makes it incredibly important that we re-establish our priorities as designers toward sustaining human existence. The more elegant solution may prove to be a smooth integration of technology as more of an augmentation to our discourse around sustainable design - rather than as a commercial ‘showpiece’ (refer to FIG. 4 and 5).

1

Fry, Tony (2008) Design Futuring: Sustainability, Ethics and New Practice (Oxford: Berg), p. 4.

2

Dunne, Anthony & Raby, Fiona (2013) Speculative Everything: Design Fiction, and Social Dreaming (MIT Press) pp. 37-43.

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A.1.1 CASE STUDY 01

BURST*003, NEW SOUTH WALES, SYSTEMarchitects, 2005.

Critical design theory has paved way for significant moments in design theory over recent decades. These moments represent paradigm shifts in architecture, and are marked with challenging these preconceived notions within the field. The postwar period saw a critical reflection of the state of architecture design to produce new, radical design opportunities like Matti Suuronen’s ‘Futuro’ house of the 1970s. This represented a new approach to architecture where prototypes could be mass-produced at a large scale and with a material efficiency synonymous with mass-production. While Suuronen’s attempts ultimately proved unfruitful, it opened a dialogue regarding designing affordable and efficient housing for the future1. This discourse around the future of domestic architecture was developed further in 2005, as seen through the humble beach shack, BURST*003.

Unassuming on the global stage, the work of SYSTEMarchitects is significant in the Australian push towards prefabricated, materially efficient housing. Rather than being delivered to site as an almost complete unit, these structures are delivered as flat-packs of pre-cut elements developed through algorithmic computer modelling2. These advancements in thinking are significant and earmark moments of critical reflection on our preconceptions of design culture and practice.

The plywood rib structure (FIG. 7) was cut from 25mm plywood by a computer-controlled laser. A significant degree of complexity and individuallyunique pieces were designed and fabricated in an time and resource-efficient manner through the advent of technology to the prefabricated housing discussion. Kit houses (like the ‘Futuro’ house) lack originality or unique spaces, yet the integration of technology simplified the design process, allowing for greater spatial experimentation. Despite being built in 2005, BURST*003 is being developed into a responsive parametric housing system that is earthquake, hurricane and flood resistant3 - furthering the discourse on prefabricated housing for our futures. Given that this is a project from 2005, I believe there is significant room for growth in the complexity of form and material technology - and this was emphasised through the MoMA in 2008 with BURST*008. The simple Australian beach house presents a lesson in material efficiency, structural integrity and modularity in a vernacular that is graspable to the Australian public - an architecture that could be produced without depleting our natural resources at its current, alarming rate.

1

Fiederer, Luke, What Exactly is Matti Suuronen’s Futuro House? | ArchDaily, https://www.archdaily. com/801269/what-exactly-is-matti-suuronens-futuro-house, accessed 1 August, 2018.

2

Meinhold, Bridgette, Prefab Friday: BURST*008 at MoMA | Inhabitat, https://inhabitat. com/prefab-friday-burst008-on-momas-west-lot/, accessed 1 August, 2018.

6

3

Philip Jodido, 100 Contemporary Houses, (Germany: Taschen, 2016), 594-599.

FIG.5: Front facade of BURST*003, borrowing motifs from bikini patterning.

FIG.6: Rear facade, showcasing the piers that support the structure for protection from flooding.

FIG.7, 8 & 9: The prefabricated, laser cut plywood elements are numbered and delivered on-site for quick erection.

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A.1.2 CASE STUDY 2 GEN Y HOUSE, DAVID BARR ARCHITECTS, 2016.

If design is to continue to functionally assist in humanity’s sustained existence, designers need to meaningfully apply design futuring. This is the idea that we as designers must take into account the negating, defuturing factors and sustainably address them4 - which is to say, applying design with the future in mind. The Gen Y House

by David Barr Architects attempts to account for these de-futuring factors, particularly in the Australian context.

An intelligent design schematic strives for “density by stealth” while also developing an ethical, environmentallyconscious design. One of Australia’s major societal and economic challenges exists in the housing affordability crisis and the inability for individuals to own their own home. Addressing this de-futuring factor underpins David Barr’s design philosophy - by establishing a “foothold in the housing market for a generation fast being priced out of the Australian dream”5. Three interlocking apartments populate this block with shared gardens and outdoor area. David Barr Architects have identified that the tendency in Australia is to erect large houses on large plots of land and instead propose a sustainable solution: ‘density by stealth’. Landcorp, the development company, believes the project could transform the way small lots are developed in Australia going forward6.

Furthermore, Gen Y House provokes ecological interaction and exceeds environmental sustainability criteria to establish a modular housing unit which limits strain on the surrounding environment7. Low maintenance materials are used; it is also energy and water efficient (with a rain tank) with a solar electricity and battery storage system shared between the apartments.

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Design futuring toward a happier future implies a critical reflection of current practice which allows us to act as conscious designers towards social, economic and environmental revitalisation. David Barr Architects assesses the interrelationships between humans and with their surrounds to realise that sustaining this relationship through our design choices will sustain all stakeholders.

Designing for a sustainable symbiosis is a great metaphor for current design philosophy, which must integrate futures of multiple stakeholders against sustainable criteria.

4

Fry, Tony, Design Futuring: Sustainability,

Ethics, and New Practice, 2008, p.4.

GEN Y / Step House - DAVID BARR ARCHITECTS,

5

https://davidbarrarchitects.com.au/multi-residential/ gen-y-step-house/, accessed 3 August, 2018.

6

Landcorp, WGV | Gen Y Project, https://www. landcorp.com.au/innovation/wgv/initiatives/ Gen-Y-House/, accessed 3 August, 2018.

7

Cheng, Linda, Density by stealth: A house for Gen Y |

ArchitectureAU, https://architectureau.com/articles/gen-ydemonstration-housing-project/, accessed 3 August, 2018.

FIG.10: Three apartments interlock in close proximity to maximise the use of the block and to share the load of the high cost of land ownership in Australia.

FIG.11: The Gen Y House accommodates the lifestyle expected of the demographic while achieving a socially and environmentally sustainable design approach.

FIG.12: Social interaction is encouraged through the shared garden/courtyard space.

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A.2. DESIGN COMPUTATION

The computerisation of routine processes has allowed for a greater analysis and understanding of the principles which influence good architectural design (environmental factors, preconceived notions of construction like orthogonality, etc.)8.

Potential solutions can be compared relative to one another and selected within user-defined parameters to achieve the most appropriate solution9. Such designs as the Gehry’s Guggenheim Museum at Bilbao look at this computerisation of designs, yet these are very much borne from the minds of architects and not through the integration of ‘computing’ into the actual design generation process. Therein lies the key difference between computerisation and computing (and this is an important distinction to make). Computing has the ability to revolutionise the way we approach thinking about formalism and architectural development. We as designers can set constraints and particular rules, while the integration of computers and their sub-processes can serve to generate incredible numbers of variants on these rules. The incorporation of a symbiotic relationship with computing at the design generation (and eventually, fabrication) stage can manifest spectacular new forms10.

8 9 10

The speculative project by Ronald Snooks at Texas A&M University showcases a design that has arisen from computational generative design. In this case, a bizarre mess of fibres/tissue/ strands/tentacles has been generated through overlapping algorithmic processes, which have been tailored to produce architectural effect11. The product is something of a biological architecture, adopting aesthetics and materiality that otherwise would prove difficult to replicate - the accessibility of which has been improved drastically through new programming environments and scripting. Instead of following tired preconceptions of architecture (form follows function, symmetry, etc.), Fibrous House shows that we do not need to be restricted by these tendencies.

Rather, algorithms that draw on swarm intelligence and multi-agency have challenged preconceived notions of enclosure, structure and established a new precedent in architectural discourse12.

By giving agency to artificial systems to perform algorithms (and act within this ‘swarm’), various patterns and geometries emerge as they are allowed to go about their processes within stipulated behaviours13. Simple algorithms underpinned by these ideas ‘computed’ the resultant, curious design complexity of the Fibrous House.

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture, 2014, p.7.

Kaylay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, 2004, p.21.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3.

11

Snooks, Roland, Fibrous House - kokkugia, http://www.kokkugia.com/fibrous-house, accessed 6 August, 2018.

12

suckerPUNCH, suckerPUNCH >> Fibrous House, http://www.suckerpunchdaily. com/2014/01/23/fibrous-house/#more-34857, accessed 5 August, 2018.

13

10

Chen, Juxing, Swarm Intelligence in Architectural Design, http://ced.berkeley.edu/ downloads/thesis/arch/2015/Chen_Yuxing.pdf, accessed 6 August, 2018.

“During the last decade, innovative technologies have become a driving force in the formulation of new technologies as well as producing a new wave of tectonic and material creativity.” - Oxman, 2014.

FIGS.13,14,15: Fibrous House, Ronald

FIG.9: ICD/ITKE Research Pavilion 2011,Snooks, ICD/ITKE,Texas University of Stuttgart, 2012.

2011.

A&M University,

11

FIG.16,17: Great Museum British Court, Foster and Partners, London, 2000.

FIG.18,19: Aqua Tower, Studio Gang, Illinois, 2010.

12

FIG.20,21: Mickey Matter, Rc4, B-Pro Design Computation Lab, 2016.

A.2. DESIGN COMPUTATION

It is also worthy of note that computation exists at the production level in addition to the design conception stage. Using computers to design accurate means of fabrication is not a new idea, but new integrations of technology into the process of design have open new doors in the ability to fabricate. The advent of digital manufacturing and production computation allow for complex and intricate geometries to be not only describable but also producible14. Suddenly, doubly-curved surfaces can be communicated to fabricators by breaking these forms down into simple control data to drive manufacturing equipment - as is the case in the Great Museum British Court by Foster and Partners. The irregularly-shaped, truncated torus form of the roof was broken down into a triangulated frame network and fabricated with CNC cutting. This allowed form to be achieved and assembled that otherwise would have been too intricate and time-consuming without computation. Constructibility has become a direct function of computability15.

Critical analysis and assessment of designs through computation has proven to be a significant boon to the construction industry and has improved the life cycle of buildings markedly. Modelling the factors which affect a site can produce or alter a form which is more in keeping with the building’s surrounds - as is the case with Studio Gang’s Aqua Tower. While still operating under a strict brief, the facade treatment achieved variety and intrigue based on CFD (computational fluid dynamics) analysis of wind patterns in Chicago16. This facilitates a comfortable balcony area despite the high-rise nature of the apartments (and consequently requiring less lateral bracing)17. Assessing the expected building performance and using this as a guiding principle gives a more indepth architectural response that would prove impossible with more primitive resources.

The digitisation of the worksite can identify potential design clashes and constructibility issues, as is the case in RC4’s Mickey Matter research productions.

RC4 has developed a highly cost-effective method of producing modular building blocks which interlock at a sophisticated level using custom moulds and CNC milling as a fabrication tool. These are then precisely combined and fit together using a robotic arm. A computational method based on combinatorics enables the efficient approach.

Mass-customisability is achieved through algorithms with a simple set of rules and allow for these computed modular ‘bricks’. This is potentially more useful at a greater scale as a lesson on assembly and improving on the modular brick. In fact, RC4 believes that their system can be used to robotically assemble large building elements in a factory environment, which would then be transported and assembled on site18.

14

Kolarevic, Branko, Architecture in the Digital Age: Design and

Manufacturing (New York; London: Spon Press, 2003), p.31.

15

Kolarevic, Branko, Architecture in the Digital Age (New York; London: Spon Press, 2003), p.44-45.

16

Gang, Jeanne. “Buildings that blend nature and city” (TED Talk), 2016, accessed 8 August, 2018, https://www.ted.com/talks/jeanne_gang_buildings_that_blend_nature_and_city.

17

Studio Gang, Aqua Tower, http://studiogang.com/project/aqua-tower, accessed 8 August, 2018.

18

“Mickey Matter”, RC4, Design Computation Lab UCL, accessed 9 August, 2018, http://designcomputationlab.org/rc4-mickeymatter.

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A.3. COMPOSITION/GENERATION

While parametric modelling is not a new idea within the world of architectural generation of form, computational generation is a relatively new process within architectural design development. Our capacity to generate complex order, form and structure has been dramatically improved through computational design thinking. These generative design softwares work to create a new design opportunities by augmenting the designer and give some autonomy to intelligent systems19.

We have seen a very early example of parametric thinking through the conceptual development of Antoni Gaudi’s La Sagrada Familia, wherein the weighted string model (FIG.22) represented a baseline and reference point for further parametric design thinking20. Our ability to craft mathematically-determined, precise forms is now at a level which has not been seen through design history. Gaudi’s painstaking physical computation can now be emulated through a collection of nodes and wires through Grasshopper3D and other scripting cultures, and inconceivable forms are now very tangible and the possibilities are endless.

FIG.22: The hanging parametric model - a lesson in physical computation - constructed by Antoni Gaudi.

This move in architectural production - while good for the art form - may not necessarily be good for those in the occupation. In essence, the move from design composition to generation gives autonomy to digital processes and removes a fair chunk of the designer’s input. “We are moving from an era where architects use software to one where they create software”21 - Burry (2010) suggests that the place for architects within contemporary design is to facilitate and guide these algorithmic processes. The theory behind this is represented through Nerri Oxman’s Silk Pavilion installation at MIT, wherein a set of algorithmic limits are given to a CNC router to replicate the behaviour of silkworms - a kind of biological, generation. This acts as a metaphor for the move in architectural discourse: the crossing of biology and technology (designers and computing processes) is the future for successful design. Oxman’s pavilion follows a top-down design sequence, where a system is given its set of rules (algorithms) and allowed to run its course (scripts) to give life to form22. I think there is room for the architect in this form of design generation, but it is heavily reliant on a well-informed designer and may eliminate input from the wider design community.

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20

Peters, Brady, “Computation Works: The Building of Algorithmic Thought,” Architectural Design, 83, 2 (2013): p10.

FIGS.23,24,25: Silk Pavilion, Nerri Oxman,

UNESCO (2010), Works of Antoni Gaudi, http://whc.unesco.org/en/list/320/, accessed 9 August, 2018.

MIT, 2013. Illustrates the various apetures

Burry, Mark, Scripting Cultures, (Chichester, New Jersey, John Wiley & Sons, 2010), p 8.

that were algorithmically sketched.

21 22

Howarth, Dan, Silkworms and robots work together to weave Silk Pavilion, https://www.dezeen.

com/2013/06/03/silkworms-and-robot-work-together-to-weave-silk-pavilion/, accessed 9 August, 2018.

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FIGS.26,27,28: Bloom Game variants, Andrasek and Sanchez, London, 2012.

To build off the lessons learned through the computation approach of Nerri Oxman and her team, we can contrast and compare with the Bloom Game installation as part of the London Olympic Games of 2012. 60,000 identical, modular elements called ‘bloom cells’ were digitally fabricated and distributed to three venues during the games - the goal of which was to encourage significant and varied public participation. At the outset, this appears a playful social experiment a collective urban garden, so to speak.

Forms were fluid and developed in a wide variety of manners depending on which individual chose to give them life23.

On closer inspection of this experiment - using our lens of algorithms and parametric modelling - this becomes a deeper investigation of computation through human participation. Andrasek and Sanchez simply gave the building blocks (similar to a designer feeding spool to a 3D printer or CNC machine) and sat back to observe as the algorithm produced fascinating results.

Immense variety was the product, as pictured in figures above, due to the intense variety of backgrounds, intellectual curiosity, personalities and so on, that would engage24.

In opposition to the silk pavilion, Bloom Game represents an extremely bottom-up design generation, where the composition of the final forms are influenced by the way each element joins together. The variable exists through multiple designers and the generated designs are more varied. This could be seen as an argument against the move towards generative design, as the designers that are less informed have less access or say in what is to be produced and designs like in Bloom Game may not be produced. The consequence of these two approaches to computation is no less effective than the other. Rather, allowing for random contribution to the unfolding of generative design through silkworms or members of the urban fabric, still prove to produce intriguing results.

Andrasek, Alisa and Jose Sanchez, BLOOM - A crowdsourced garden, https://www.archdaily.com/269012/blooma-crowd-sourced-garden-alisa-andrasek-and-jose-sanchez, accessed 9 August, 2018.

23

24

Urbanista, Bloom: Alisa Andrasek and Jose Sanchez,

http://www.urbanista.org/issues/issue-1/features/bloomalisa-andrasek-and-jose-sanchez, accessed 9 August, 2018.

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A.4. CONCLUSION

I feel that, as my understanding of computational design has developed and I have

been able to connect concrete examples to my theoretical learning, I have started to piece together a vague design vernacular. I have learnt from various sources the way that design is influenced by technology to that uncover forms and facilitate these forms in a large-scale, functional setting. I am buoyed at the idea that I can now identify that a building may have been designed using Grasshopper or other scripting mechanisms.

The particular approach I hope to work toward revolves around manipulating modular

elements into subtlety different moments. At the very least, this is my primary aim in

the

context

of

‘BOUNDARIES’.

The

aesthetic

simplicity

and

the

deeper

complexity

of Mickey Matter research project is a interesting for its implications for broader design. There is potential in achieving significant variety and customisability through this design principle and could lead to a BOUNDARY where no two portions are the same.

For this to become a reality, I look forward to the opportunity to further my

Grasshopper/computational skills - allowing me to find more radical forms than some of these precedents, even. In order to set my work apart as unique, I hope to incorporate lessons learnt from case studies: •

Variability based on Building Information Modelling and Computational Fluid Dynamics (Aqua Tower).

•

Emergent design based on agency and autonomy (Fibrous House or Silk Pavilion).

•

Catering for complex geometry through contouring or triangulation (Great Museum British Court).

•

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Mass customisability (Bloom Game or Mickey Matter).

FIG.29: The parametricallydesigned Foundation Louis Vuitton, Gehry Partners, 2014.

A.5. LEARNING OUTCOMES

Over the course of my architectural studies, I have felt that I have

excelled in applied knowledge and understanding, in the form of construction principles and historical precedent used to guide design. However, I have found that one area that I lack in proficiency is the ability to summon an idea and develop it to full realisation. This is primarily why I am so excited about the potential of Grasshopper as an augmentation to my existing Rhinoceros abilities.

I believe that I can achieve the symbiotic relationship elaborated by Kaylay (2004) to overcome some of my shortcomings in generative design in the past.

Already, I am encouraged by the form-finding abilities of parametric design

computation (and subsequently, fabrication and materiality) and I sincerely believe this will provide me with the spark to allow my designs to come together. This is particularly evident through past studio design is, where I have had a tendency to defer to established, precedent-laden notions of building

typologies,

rather

than

explore

my

creative potential. One of the more valuable insights I have gleaned is that in regard to experimentation. Architecture as a discourse experimentation

is

good

and

can

be

just

as

valuable as a solution to a brief (Fibrous House).

I hope that, with the addition of Grasshopper, my future designs can help me move from basic representational

methods

toward

the

exciting

frontier of architectural design and contribute to the profession in a new and exciting manner.

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A.6. APPENDIX - ALGORITHMIC SKETCHES

These

sketches

represent the

some

more

of

succesful

iterations of a variety of

representations

from 3D

the

plug-in

Grasshopper for

Rhino,

using these algorithms: •

Lofting.

•

Contouring.

•

Sectioning.

•

‘Brick’ aggregation.

The

result

something of

a

like

BOUNDARY,

is that to

be

applied to Merri Creek.

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A.7. BIBLIOGRAPHY

Andrasek, Alisa and Jose Sanchez, BLOOM - A crowd-sourced garden, https://www.archdaily.com/269012/

bloom-a-crowd-sourced-garden-alisa-andrasek-and-jose-sanchez, accessed 9 August, 2018.

Burry, Mark, Scripting Cultures, (Chichester, New Jersey, John Wiley & Sons, 2010), p 8.

Chen, Juxing, Swarm Intelligence in Architectural Design, http://ced.berkeley.

edu/downloads/thesis/arch/2015/Chen_Yuxing.pdf, accessed 6 August, 2018.

Cheng, Linda, Density by stealth: A house for Gen Y | ArchitectureAU, https://architectureau.

com/articles/gen-y-demonstration-housing-project/, accessed 3 August, 2018.

Fiederer, Luke, What Exactly is Matti Suuronen’s Futuro House? | ArchDaily, https://www.

archdaily.com/801269/what-exactly-is-matti-suuronens-futuro-house, accessed 1 August, 2018.

Fry, Tony, Design Futuring: Sustainability, Ethics, and New Practice, 2008, p.4.

Gang, Jeanne. “Buildings that blend nature and city” (TED Talk), 2016, accessed 8 August,

2018, https://www.ted.com/talks/jeanne_gang_buildings_that_blend_nature_and_city.

GEN Y / Step House - DAVID BARR ARCHITECTS, https://davidbarrarchitects.com.

au/multi-residential/gen-y-step-house/, accessed 3 August, 2018.

Howarth, Dan, Silkworms and robots work together to weave Silk Pavilion, https://www.dezeen.

com/2013/06/03/silkworms-and-robot-work-together-to-weave-silk-pavilion/, accessed 9 August, 2018.

Jodido, Philip, 100 Contemporary Houses, (Germany: Taschen, 2016), 594-599.

Kaylay, Yehuda E., Architecture’s New Media: Principles, Theories, and Methods of Computer-Aided Design, 2004, p.21.

Kolarevic, Branko, Architecture in the Digital Age: Design and Manufacturing (New York; London: Spon Press, 2003), p.3-45.

Landcorp, WGV | Gen Y Project, https://www.landcorp.com.au/innovation/wgv/initiatives/Gen-Y-House/, accessed 3 August, 2018.

Meinhold, Bridgette, Prefab Friday: BURST*008 at MoMA | Inhabitat, https://inhabitat.

com/prefab-friday-burst008-on-momas-west-lot/, accessed 1 August, 2018.

“Mickey Matter”, RC4, Design Computation Lab UCL, accessed 9 August, 2018, http://designcomputationlab.org/rc4-mickeymatter.

Oxman, Rivka and Robert Oxman, Theories of the Digital in Architecture, 2014, p.7.

Peters, Brady, “Computation Works: The Building of Algorithmic Thought,” Architectural Design, 83, 2 (2013): p10.

Snooks, Roland, Fibrous House - kokkugia, http://www.kokkugia.com/fibrous-house, accessed 6 August, 2018.

Studio Gang, Aqua Tower, http://studiogang.com/project/aqua-tower, accessed 8 August, 2018.

suckerPUNCH, suckerPUNCH >> Fibrous House, http://www.suckerpunchdaily. com/2014/01/23/fibrous-house/#more-34857, accessed 5 August, 2018.

UNESCO (2010), Works of Antoni Gaudi, http://whc.unesco.org/en/list/320/, accessed 9 August, 2018.

Urbanista, Bloom: Alisa Andrasek and Jose Sanchez, http://www.urbanista.org/issues/ issue-1/features/bloom-alisa-andrasek-and-jose-sanchez, accessed 9 August, 2018.

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