Master of Architecture Sem 1 Portfolio by Wendy ZHANG

DESIGN STUDIO A

PORT FOLIO the SWIRL pavilion

BY. WENDY T. ZHANG Master of Architecture Semester 1, 2020 Swinburne University Unit Convenor - Dr Ian Woodcock Studio Leader Pantea Alambeigi

W E N D Y

Z H A N G

PORTFOLIO

S H A P E A S H E LT E R , S H A P E T H E S O U N D

A B S T R A C T What is the beauty of sound? experiences.

Let me tell you a story. A story from Mr. Yao, who has many dog-raising

Did you know, hearing is the last sensory function to disappear when the human body dies? Animals, after they die, the body is mostly very stiff, because they are scared. Before his pets leaves, Yao

always stayed with them, continually talked to them, later, when he picked them up and sent them to cremation, the pet’s body was surprisingly found to be soft, he could imagine, they were very much assured.

Sound, of course, is aesthetic. In addition to beauty, sound is a way to convey a message. We are usually more concerned about whether the food we consume is healthy, or toxic, but ignore the

messages that our eyes and ears are constantly receiving. It is especially important to choose positive contents from our everyday life, by media, the tone, attitude, picture presented ... They go directly into our head, affecting our thinking, our feeling.

There is also the ‘sound pollution’. Many aren’t aware how sound affects us physiologically, psychologi-

cally, cognitively and behaviorally all the time, even though we’re not conscious of it. Sounds such as loud talking, engine roaring, machine lathe sound, drilling sound...These sounds not only cause bad stimulation to our hearing, but also affects our mood and emotions: this is Noise.

This project is about the Importance of Sound Health. Raising awareness of the harm of noise/neg-

ative sounds to people.Our aim is to create spaces that will engage people with calming surround sounds which will gently guide them into a floating mind space, rejuvenating and detoxifying the human mind and body using acoustic parameters clarity and reverberation with open and semi enclosed geometries.

CONTENTS

Research Precedents Site Exploration Design brief & Proposal Geometry Exploration Acoustic Simulation Shape Development Structure & Material Final Simulations Colour Options Mid-semester Design

06 08 12 14 17 19 22 28 29 30

Site Plan / Analysis Responding to Feedback Weather Analysis Design Iteration 1 Design Iteration 2 Final Design Concept Final Ladybug Simulation Final Renders Project Conclusion References

32 34 38 50 56 59 61 64 72 73

SOUND IN SPACE 5

Why designers should care about sound?

Sound is there! Like it or not! - Pantea Alambeigi, 2020

A c o u s t i c

S he l l s -

Fl a nagan

Law re nc e

S ou ndsc a pe Mandai

Arc hi t e c t s

PRECEDENTS

D e n m ar k ’s

EK KO

Pa vi l i o n

S e r pe nt i ne H ou s e

S u m m e r

Bar kow

ASSIGNMENT 1

Exploring Auditory Environment

Glenferrie Placemaking Project I used to work right in the middle of this princinct, spending at least 9 hours here everyday, yet not realising how unfamiliar with the place I was. This observation trip brought me back to many interesting details I’ve missed. Such as the colouful shop windows, the beautiful central garden that i didn’t know until studied at Swinburne. And of course, the noisy bikes, trucks, trains, trams we cannot ignore.

Sho p

Swi nbur ne

Wi nd ow s Pop of colour

B u il d in g s

L i brar y

Least people

Tr ai n

St a tio n Most noisy

ASSIGNMENT 2 Geometry Exploration

Site Analysis 10

Place Time Weather

: Central Gardens Hawthorn : Weekday Later Afternoon (5-8 pm) : 18-25 °C Warm Sunny

Within the garden some sites have a much higher sound pressure level which can start to be considered noisy, (i.e. near the main street, near Swinburne Universit and railway stateion). Close to the playground, it has the highest density of visitors, mainly families with childern age from 0 - 10. Also some areas are too hidden away. Due to these reasons, the above sites won’t make it to the selection.

Site Selection - Centralised area - Under utilised - Spacious and potential for varying acoustic experiences - Visitors from all walks - Beautiful space to stay, stunning vegetation and fascinating textures - Viable site for an installation - Mostly calm with infrequent noise pollution - Visible from all directions outside the garden

DESIGN BRIEF Glenferrie Placemaking Project 12

Made for Location Concept

: Boroondara City Council : Glenferrie Road, Hawthorn : “A vibrant and inclusive city, meeting the needs and aspirations of its community.”

“Placemaking is a holistic, hands-on approach to creating peoplecentred places for the health and wellbeing of our community. It involves the re-imagining and activation of spaces to create vibrant, memorable and social places and precincts where people feel a sense of belonging. Creating vibrant and inclusive places starts with people. ‘Placemaking inspires people to collectively re-imagine and reinvent spaces to become places at the heart of every community’”.

PROPOSAL the SWIRL Pavilion Adding a new, vibrant element to the Central Gardens to enhance the publics experience and attract more visitors. Raise awareness of the harmful effects of noise/negative sounds and the importance of Sound Health/Meditation. Our aim is to engage people by creating spaces with calming surround sound experience with deep ocean music, soothing whale sounds that will gently guide people into a floating mind space, rejuvenating and detoxifying the human mind and body using acoustic parameters ‘clarity’ and ‘reverberation’ with open and semi enclosed geometries. A design that encourages exploration of the pavilion and of the park while rewarding curiosity with a unique auditory experience.

PRELIMINARY DESIGNS 14

The design started with an idea of creating two separate spaces for different acoustic experices for visitors. Thus an ‘S’ shape was the first coming to mind, initially was having a wall separating two zones, as we started modeling, a tunnel was also implimented, forming more interesting areas, bringing even more possibilities and variations to the design idea.

Iteration 1 S Tunnel

A tunnel to walk through Between tunnel walls

Iteration 2 S Shelter

Adjusting wall heights and angles of the installation

Iteration 3 S Shelter Curved

Creating seamless transition of moving from outdoor to indoor, experience the acoustic difference

Iteration 4 S Pavilion

Making contruasting ‘hubs’, one enclosed and one open

Iteration 5

hEar Pavilion Developed from ‘S’, inspired by beautiful trees, creating an ‘ear’

IDEATION DEVELOPMENT

More design ideation developed with trying out different Rhino plugins includes: Grasshopper Kangaroo Weaverbird Cacoon.

SOUND SIMULATIONS Clarity (C80)

(dB) 30

A-Weighted SPL

(dBA) Reverberation Time (RTx) (ms) 80 2.5

66.25

1.9

52.5

1.3

-15

38.75

0.7

-30

0.1

SIMULATION FINDINGS 18

Learning Grasshopper and Pachyderm from beginning honestly wasn’t a smooth learning jorney, There seemed to be problems for every step I took from script writing to generating results. However in the end, the outcome was rational and informative. We had a clear direction of what type of spaces need to be designed to try and achieve the specific results we desired. From the simulations with selected models, generally we could say that the more enclosed for the area, the more SPLA it is, and the less curvy and enclosed, the lower Clarity it is, moreover the more concaved it is for the geomotry, the more reverberation time it gets.

FURTHER DEVELOPMENT

DESIGN REFINEMENT Roof/ entrances

Clarity room

Initial geometry form Panels

Benches

Removing 2 panels for entrances

Roof/ entrances added

Base shape

The S shape was incorporated into the design drawing inspiration from waves of the ocean, as we knew that we wanted to play the sound of the ocean within the pavilion.

Roof & Entrance

This design also created 2 distinct areas and was also more harmonious with the garden, resembling the roots of a tree. also starting at a low height all around and getting higher in the centre. We further developed the design to be more suited to that of a pavilion and one within the park, by incorporating distinctive entrances, a roof and benches. These aspects all came out naturally from within the design itself. The benches were a seamless part of the panels, while the entrance was dominant in its form, it naturally guided people through the pavilion.

Curved Benches

Reverberation Room

Clarity Room

Roof & Entrance

STRUCTURE & MATERIAL 22

As to not have a negative effect and impact on the ground in the garden, implementing a channel for each panel within the ground was the solution to cause minimum impact. After our research process, a wooden structure was chosen. Wood, especially very thin wood, such as Plywood or Bendy Ply is very flexible in its bendability which is most suited to our geometry. Not only is it a material that will structurally work but also one that is sympathetic to the context of the park. For the sound absorbent area we chose to use perforated panels to enhance the clarity and applying a sound proof paint, while the sound reflective area (reverberation zone) would have a sound reflective polish to its enclosed inner circular wall. Its an experiential installation, allowing visitors to experience the auditory environment and make them aware of the auditory environment in their everyday lives.

Steel framing (the Serpentine summer house - Barkow Leibinger)

Channel detail

Floor channel

Ragular pattern with circles

Perforated panel with acoustic insulation

Panel section 25

Per fo ra te d

A c ou s t ic

Panal s

Perforated acoustic panels are used to effectively reduce unwanted noise by helping to disperse it with a high degree of absorption, while aesthetic results can also be achieved. It is an economical choice used for our clarity area to maximise sound absortion.

Horizontal perforations

PERFORATION DESIGN Randomis pattern with circles

Horizontal stripes pattern

Absorbent Area Random pattern with circles

Option 1 : Ragular pattern with circles Option 2 : Random pattern with circles Option 3 : Horizontal stripes with various length Started with regular circles patterns for the perforations, but the pattern itself did not look applealling, it is then redesigned into randomised patterns with gradual density change from top to bottom, however due to technical issues and more importantly how it seemed not being blended in the whole design, another design was implemented which is the horizontal stripes.

SIMULATION (FINAL) Left circle : Reverberation zone Right circle : Clarity zone Clarity (C80)

(dB) 30

A-Weighted SPL

(dBA) 70

Reverberation Time (RTx)

(ms) 2.1

61.25

1.62

52.5

1.15

43.75

0.67

-10

0.2

The simulation results were very positive and achieved what we were hoping for with distinctive differences. For clarity the sound source is placed outside to allow the music to travel both inside the zone and to the benches. While for the reverberation zone the speakers are placed within the enclosing panel.

COLOUR OPTIONS

Final option 1

Final option 2

FINAL DESIGN (MID-SEM)

North Elevation

Clarity

Benches Top view

the SWIRL Pavilion

Reverberation

Benches

Clarity entry

Reflective area

Tunnel

Absorbent area

The final choice of the blue gradient from light to dark, top to bottom was inspired by the deep ocean idea, which is the music we will play in these spaces.

Section

LEGEND North Vegetation Central Garden Playground Public Toilet MFB Fire Station Railway Glenferrie Train Station Residencial Area Swinburne University Commercial Area Swinburne Senior SC

SITE ANALYSIS wi t h

M o de l

RESPONDING TO FEEDBACK 34

The main concern that was brought up to our attention from Mid-semester presentation was the acute dark corners between each panel, three potential problems may happen, firstly, some panels are close to each other which leaves a narrow space between the seats and panels. Secondly as the garden is popular among families especialy with small children, there is chance for them to get stuck in between. Thirdly, considering the high walls, it is an interesting element which adds an adventurous atmosphere to the structure, however there is also an potential safety hazard being at an public space especially during evenings and nights.

Clarity zone solution 1 1A 1B 1C

: Top transparent : Top transparent with solid panel partition : Bottom transparent

The first solution for opening up for Clarity zone would be having part of the panel transparent. 1C makes more sense with the top hidden to maintain some privacy for the person visitor the room, however it’s the least effective sollution also it will affect the benches.

Clarity zone solution 2 Solution 2 is a modification from option 1B, removing the top tansparent glass/acrylic as the material seems rather out of place with the whole structure and it would be a problem trying to make the material acoustic absorbent. Then lowering down the panel towards inside and chopping off the ends towards the room allowing more areas to be opened.

Reverb zone solution1 The idea for this solution is to create a walkway between some panels and the circle with the width between panels sufficient for visitors to comfortably walk through with min 1100mm which makes the walkway a min of 1300mm in width. Connection panels are added between some panels to provide privacy for visitors who does not wish to have others join in. 37

Reverb zone solution2 However for option 1, the panels are completely detatched from the main structure which makes it looses connection and unity as one design, separet. Therefore a connecting bridge for all panels was designed to solve this problem, not only it keeps the walkway but also joins the structure back to

SITE WEATHER ANALYSIS 38

Weather analysis is especially important for any architecture designs, particularly for the early stages. A new parametric Grasshopper plugin: Ladybug was introduced to help us create environmentally-conscious designs. It imports standard EnergyPlus Weather files (.EPW) in Grasshopper and provides a variety of 2D and 3D interactive graphics to support the decision-making process of designs. At first during the introductory learning stage I was overwhelmed by its complex-looking components, however as it designed to be a self taught platform with instructions, I’ve then found it easy to understand for its graphical visualizations and its algorithm. The plugin is also very self-explanatory and automatic which was ideal for someone who was unfamiliar with Grasshopper.

Sun Path Diagram - Dry Bulb Temperature Winter Summer Location

: 21st of July : 21st of December : Melbourne

According to Epwmap, July 21st has been the coolest day of the year for Melbourne CBD and 21st of December being the hottest. Thus this Sun path diagram is generated using these 2 days as a sample to show the position of the sun for the coolest day and for the hottest. Serving the same purpose as the sun path diagram previously, helping us to determine the orientation of our design and the direction and amount of shades and openness desired.

W i n d - R o s e f o r S u m m e r m o n t h s. Date Parameter Parameter

: 1st of November - 28th of February : Wind Speed (m/s) : Dry-Bulb Temperature (°C)

The wind-rose charts indicates wind speed/direction (Fig 1) and dry bulb temperature (Fig 2) for Melbourne CBD with the restriction of summer months (1st Nov – 28th Feb) and temperature greater than 20°C. Even though we want to gain natural ventilation for the hotter months and utilise the northern wind, previously the diagram for winter months has shown a predominant northern wind as well, thus we can choose the southern and south-eastern wind here that aren’t shown for the winter months to create natural ventilations from the heat.

W i n d - R o s e f o r W i n t e r m o n t h s. Date Parameter Parameter

: 1st of May - 31st of Auguest : Wind Speed (m/s) : Dry-Bulb Temperature (°C)

The wind-rose charts indicates wind speed/direction (Fig 1) and dry bulb temperature (Fig2) for Melbourne CBD with the restriction of winter months (1st May – 31st Aug) and temperature less than 20°C. As wind is predominantly coming from the north, thus we need to orientate our design so that we don’t have the tunnel/entrances facing north.

Dr y Bulb Temperature

GENERAL OBSERVATION One quick observation from the chart: Cold weather is dominating half of the time including peak hours in the morning and afternoons outside of winter months (May to August). This might due to the Data being sourced from Melbourne CBD where high towers are dominated thus creating more shades and wind as to empty lands. From the diagrams it shows even though the temperature for Melbourne can get very high, however it doesn’t last a very long time, as to the colder weather analysis previously, where from the chart approx. a third of the times Melbourne is in a relatively cool climate. When designing for Melbourne CBD, as the weather is occasionally very hot during the summer times, it is important for us to provide shade from the scorching sun, blocking the excessive heat and maximise natural ventilation. The bigger issue is the continuously cool climate, the structure needs to be designed as such that it can block some of the strong wind and minimises creating more draught.

MODEL WEATHER ANALYSIS 44

Average UTCI extreme hot week (10th Feb 16th Feb, from 7am - 9pm)

Average UTCI typical summer week (27th Jan - 2nd Feb, from 7am -9pm)

UTCI

fo r

Su m m e r

For extreme hot week (10th Feb - 16th Feb ) What can be seen is that the top temperature is around 26 degrees which means there is no thermal stress and it is comfortable, the top temperature is set to 28 degrees, since anything above that is moderate heat stress, however this graph shows that the temperature is never too hot. From the typical summer week we can instantly see that our site does not have a serious heat stress issue, it’s going to be comfortable throughout summer on average.

Radiation Rose for Winter During winter months (Jun - Aug) total radiation (diffuse radiation & direct radiation) for 7am - 9pm mostly come from the North special care needed for southern part of SWIRL pavilion.

WINTER ANALYSIS

Hours of Direct Sunlight and Shadow Range for typical Winter day 10th of July (7am - 9pm) 47

Average UTCI typical winter (15th - 21st June, 7am -9pm)

Radiation Analysis for winter 1st of June to 31st Auguest (7am - 9pm)

Average UTCI for typical winter week and an extremely cold week show that the temperatures are mostly between 0 - 9 degrees which is a slight Cold stress. (comfortable for short period)

PROBLEMS Predominant northern wind through tunnel. Panels blocking sunlight from north 48

During extreme cold week temperature reaches Minimum sunlight from south.

cold stress.

SOLUTIONS Removing some panels for opening up space & allowing more sunlight. Re-orientate tunnel avoid facing north. Having southern panels (reflective area) perforated through and skylights (provide rain protection too) added for tunnel roof to allow sunlight coming through. Relocating model to areas with less trees. Adding lamp heaters to panels next to benches with energy generated by flexible solar panels on roof. Adding sun reflection board to southern panels, receive winter northern light then reflect back to shadowy areas.

DESIGN ITERATION 1 50

The reason why changing the colour choice from the blue gradient to orange-brown colour gradient is due to its perfect blend with the environment. As much as the blue gradient design interperates the main idea very well and presented more meaning, the fact it seems rather an intrusion to the surroundings is a big factor we cannot ignore as it all comes down to design in the end, so the trade off there is neccessary. 3 Elements/solutions are added to iteration 1: skylight perforations sun reflection boards

S o l u t i o n

Skylight Perforations

In response to solving the issue for not obtaining enough sunlight during colder days, firstly by adding a skylight on the roof of the tunnel. Horizontal perforations within the panels are added for allowing more sunlight in, following the horizontal perforated pattern on the absorbent side.

I nspi r a t i on& I de a tio n Light Shelves Light Reflectors

Light reflector

SolaReflex mirror

Having perforations and skylight weren’t enough for our structure to receive sufficient light, thus implementing light shelves to our design was suggested to us. The idea of ‘recycling’ light for areas in need opened up a direction. As sunlight shelves are common and useful with requirement of a roof to bounce light further, which isn’t the case for our structure, then my light reflectors which I use all the time for my photography came to my mind, it shares the same logic and purpose, more research was done on reflectors for buildings and found out the mirrors specifically for reflecting sunlight for rooms, plants etc. However it is also great in heating objects i.e, lighting up wood, thus there might be a potential hazard as it will be close to visitors, thus concluded with shape of light reflectors and material of the light shelves (aluminum).

Figure. 3 Figure. 1

D e si g n Figure. 1 Figure. 2 Figure. 3

Figure. 2

S ke t c hes

: Reflectors on all panels : Bottom rotation : Centre rotation/only middle 4

Initial design was to have reflectors between all panels(fig.1), however the edges will be facing east and west which makes it almost useless, thus only keeping the centre ones(fig.3) for receiving northern sunlight. Ideally was to have the rotation from bottom(fig.2) eliminating interference to visitors, however technically its unstable thus finalised to a common central rotation.

S t r a t e gy

Sun reflector boards

These are curved aluminium boards coated with reflective paint coating, during colder months these are to rotate up, catching the predominant northern sunlight during winter and have it bounced back to the areas which are shown to be too shadowy and cold from the simulations. During hotter months these will be rotated down, hidden in between the panels, providing shades for visitors. Some panels are extruded up ensuring the boards are at a good height to receive light and obtain a safe distance from visitors.(fig. Passageway on right visualises distance between bottom of the board to figure with 1.9 meter tall).

ITERATION 1 Eastern entrance

Reverberation

Entrance

Clarity

Skylight

Tunnel/entrances

Reverberation area passageway

Reverberation room 55 Reflection boards

Panels

Passageway

Benches

DESIGN ITERATION 2 56

As the tunnel is blocking a great portion of the sunlight from reaching the southern part of the structure, the second iteration is focusing on opening up the tunnel.

S t r a t e gy

Redesign entrances incorporating ‘skeleton structure’ Removing some panels opening up more space

The two options serve the same purpose, however as making the entrances frames only, it gives a feeling of unfinished construction work and did not blend in well as a whole, thus closed up a portion of the front with the same plywood material making the design more tied in and more appealing.

Eastern entrance

ITERATION 2 Skylight

Clarity area seating

Tunnel/entrances Reverberation room

Panels

Reverberation area

Benches

FINAL DESIGN CONCEPT After trying to merge the two iterations, we’ve realised there was too much happening and had conflicting design languages, decision was made to simplify the entrance and remove the central skylight. We believe in having a transitional space from the outside walking into the tunnel as it gets darker in the centre and then transitioning into each respective acoustic zone which are open to the sky. Having a contrast in lighting will further enhance the explorational experience. Removing the four panels closest to the entrance tunnel to allow for more light and a more open feeling. As for the colours, they are bright and playful colours, which is in accordance to the Glenferrie Placemaking brief, It is also a warm, vibrant and inviting composition that will attract people to the pavilion. The Brown earthy colour of the entrance is similar to that of the roots of the tree. In addition our pavilion also resembles the sun in many ways. We continued the idea of the perforated panels onto the entrance walls, having the perforations on the northern side higher than the perforations on the southern side, at an angle that will allow the winter sun to penetrate through to the southern part of the pavilion. This design also makes for a playful opening.

FINAL DESIGN C l ar i ty

Room

Cl ar i t y

Ro om

E n t ra n c e

Pa ne ls e nt

a t

D iff e r-

He igh t s

Wa ve s

l ike

We s t e r n

Ent r a nce

FINAL DESIGN SIMULATION We believe our design solutions were working from the simulation results. Even though the simulations were not able to pick up all the changes that we have made, as some of them are fine details (for example the sunlight reflection boards, however we can still visalise improvements from the original simulations in the subtle colour changes.

U TCI

Radi a t i on

A na lysis

Average UTCI (Original) Typical cold Winter week (Mid June) 7am – 9pm

Average UTCI (Final) Typical cold Winter week (Mid June) –7am – 9pm

Radiation Analysis (Original) Extreme Winter Week – Mid July 7am - 9pm

LADYBUG SIMULATIONS D ire c t

S u nl i ght

H o u r s

Radiation Analysis (Final) Extreme Winter Week – Mid July 7am - 9pm

Hours of Receiving Direct Light & Shadow Range (Original) 21st of June 7am - 9pm

Hours of Receiving Direct Light & Shadow Range (Final) 21st of June 7am - 9pm

S o u nd

Abso r be nt

Ro om

S o u nd Ro om

Re fl e c t i ve

FINAL RENDERS

S o u nd S i t t i ng

Abso r be nt Are a

S o u nd S i t t i ng

Re fl e c t i ve Are a

Eas t e r n

En tr y

Su n

B oa rd s

p rov i de

sha d e s

t o

b e n c he s

du r in g

h ot t e r

days

Bi rdseye Su n

Vi ew

Boards

u p

w i t h

Aft e r no on

S u n set

S e c t i o n

A-A

To p

View

WHAT WE WANT YOU TO KNOW... Again, our goals was to activate the Central Gardens as a whole, with a design that encourages exploration of the pavilion and of the park, as well as rewarding curiosity with a unique auditory experience.

Indeed the SWIRL Pavilion is full of explorational surprises, with multiple functions such as the main purpose: the two acoustic chambers; then the passageway; even the seating arrangement are designed to satisfy different needs, there are benches more hidden away, for someone who wants a little privacy, also benches that are extended to the outer edge, which are for everyone, potentially for parents who have their children playing on the lawn next to the pavilion and wish to keep them within their sight the whole time. And of course, an intrigging shape open for different interpretations, you could say it is of tree roots, or reflection of the sun, or ocean waves... expend your imagination! We are not trying to spoon feed visitors, telling them this is what the pavilion is and in this area you have this experience in the that area you have this experience. Rather we leave it to the visitors how they decide to engage with it and feel adventurous, our design is open for them to explore and find these experiences.

REFERENCES Acoustic panel for wall and ceiling cladding. https://gustafs. com/wp-content/uploads/2019/03/acoustic-wood-panels-sound-absorbing.jpg Boroondara Council Placemaking. https://www.boroondara.vic.gov.au/about-council/projects-and-major-works/ placemaking Ceiling acoustic panel. https://img.archiexpo.com/images_ ae/photo-g/67438-12301020.jpg ClearDome SolaReflex AA Mirror. http://cleardomesolar. com/img/AADaylightingPnl-clouds1-sml.jpg Denmark’s EKKO Pavilion Records the Voices and Footsteps of Visitors Navigating its Spiral Path . https://inhabitat.com/ekko-pavilion-records-visitors-voices-and-footsteps-while-filtering-sunlight-in-denmark/ Light Shelves. https://lh3.googleusercontent.com/proxy/ jR8kdptSf6VtLYrw4U35iMlAn8cBLSyCfYOr9l-R3Nf8q5KhGKFh3Tqw-1MBbfrPzLdMOPjA84gqjbtadtG9kxS2dMCBFvw

Intangible Sound / HAS design and research. https:// www.archdaily.com/933563/intangible-sound-has-design-and-research?ad_source=search&ad_medium=search_result_all Serpentine Summer House / Barkow Leibinger. https://www.archdaily.com/790032/serpentine-summer-house-barkow-leibinger Sound in Space. [PowerPoint Presentation] The silent sound of the roots Drawing by Maomeii Be. https://www.saatchiart.com/art/Drawing-The-silentsound-of-the-roots/941978/6534331/view Whale illustration. http://image.biaobaiju.com/uploads/2 0190508/18/1557309844-cMYlmokJrp.jpeg

THANK YOU

WENDY T. ZHANG Master of Architecture Design Research Studio A Semester 1, 2020 Swinburne University Unit Convenor - Dr Ian Woodcock Studio Leader Pantea Alambeigi